Cape Town for World Design Capital 2014 Bid Book by Cape Town Partnership

[ WORLD DESIGN CAPITAL 2014 ]

CREATING A WORLD DESIGN CAPITAL 2014 TRIBE The 2011 Design Indaba Expo created enormous exposure for the City’s World Design Capital 2014 bid through a stand dedicated to the bid and which invited Capetonians to leave their impressions behind in answer to the question: “What makes Cape Town a great Design City?” Sponsored by Cape Town Tourism on behalf of the City of Cape Town and the coordinators of the bid, Cape Town Partnership, the stand represented coloured pencils in the shape of Table Mountain, and attracted hundreds of signatories over a three-day period. Some of the messages are included in the opening page of this bid book. The excitement that this bid has generated has created a “tribe” of devoted World Design Capital 2014 supporters across the City, each dedicated to Cape Town’s theme of “Live Design. Transform Life.”

The City of Cape Town would like to acknowledge the following for the role played in the compilation of this Bid Book The Cape Town Partnership (coordinators of the bid on behalf of the City) and its Creative Cape Town programme | www.capetownpartnership.co.za

With thanks to the following for content sourced and project guidance: The Office of the Mayor of Cape Town The Office of the Premier of the Western Cape Alderman Felicity Purchase, Mayoral Committee Member for Economic Development and Tourism, City of Cape Town Mansoor Mohamed, Executive Director: Economic Development and Tourism, City of Cape Town Andrew Boraine, Chief Executive, Cape Town Partnership Co-ordinating Team (Cape Town Partnership): Zayd Minty (Creative Cape Town), Bulelwa Makalima-Ngewana (Managing Director),Terri Carter, Alex Jongens, Lorelle Bell, Carola Koblitz Suné Stassen, Editor of DESIGN>ED, design education specialist & consultant Cape Town and Western Cape Convention Bureau Adrienne Viljoen, Manager: SABS Design Institute Cape Town Tourism

The Cape Town WDC 2014 Bidding Committee: Zayd Minty, Bulelwa Makalima-Ngewana, Lianne Burton, Guy Lundy, Mugendi M’Rithaa, Rashid Lombard, Byron Qually, Mel Hagen, Luyanda Mpahlwa, Y Tsai, Mokena Makeka, Edgar Pieterse, Rashid Toefy.

Photography: Bruce Sutherland, Jacques Marais, Anita Reed, Ed Suter, Guto Bussab, Bruno Morphet, Yassar Booley, Bell-Roberts Gallery & Publishing, Cecile Mella, Eric Nathan, Alex Jongens, Andrew Boraine, Carola Koblitz, Petro Mostert, Deon Gurling, SABS Design Institute, Trevor Samson, image of Byron Qually courtesy of British Airway’s Horizons magazine with photograph by Stan Engelbrecht, Shaen Adey, Luke Metelerkamp, Wieland Gleich of Archigraphy, Santjie Viljoen.

We would like to thank the following members of the media for their ongoing support: LeadSA, One Small Seed, Independent Newspapers, Primedia, Elle Decoration (South Africa)

Editors: René Gilbert & Carola Koblitz Managing Editor: Terri Carter Design: Design Infestation | www.infestation.co.za Printing: House of Colours Cover silk-screening and box sleeve production: Tubarose Products Book binding: Printbind (Cape) (Pty) Ltd Cover modification: Cape Craft and Design Institute (FabLab)

LIVE DESIGN. TRANSFORM LIFE.

[ WORLD DESIGN CAPITAL 2014 ]

A BID BY THE CITY OF CAPE TOWN

* These questions have been included in this abridged version of Cape Town’s World Design Capital 2014 bid book. Questions excluded were relevant only to the application process.

SECTION 01: INTRODUCTION * INTRODUCTION TO CAPE TOWN’S BID TO BE WDC 2014 SECTION 02: BID APPLICATION GENERAL INFORMATION [ QUESTIONS 1 ] * [ QUESTIONS 2 ]

GOVERNMENT [ QUESTION 3 ]

LOGISTICS [ QUESTIONS 4 – 7 ]

CULTURAL INFRASTRUCTURE

* [ QUESTION 8 ] PUBLIC HEALTH [ QUESTION 9 ]

FINANCES [ QUESTION 10 ]

PROGRAMME

* [ QUESTIONS 11 ]

[ QUESTIONS 12 – 13 ]

ATTENDANCE [ QUESTION 14 ]

PROMOTION [ QUESTION 15 ]

DESIGN INFRASTRUCTURE

* [ QUESTION 16 ] DESIGN INDUSTRY

* [ QUESTIONS 17 – 18 ] DESIGN EDUCATION

* [ QUESTIONS 19 – 21 ]

PUBLIC APPRECIATION

20 24 34 36

[ QUESTIONS 22 ] * [ QUESTIONS 23-24 ] [ QUESTIONS 25 ]

DESIGNERS

* [ QUESTIONS 26 ]

[ QUESTIONS 27 -29 ]

PUBLIC INVESTMENT [ QUESTION 30 ]

NEIGHBOURHOODS/AREAS

* [ QUESTIONS 31 – 32 ] ARCHITECTURE

* [ QUESTIONS 33 – 34 ]

* [ QUESTIONS 35 – 36 ]

INTERIOR DESIGN

URBAN DESIGN

* [ QUESTIONS 37 – 38 ]

78 82

* [ QUESTION 39 ]

SUSTAINABLE DESIGN

INDUSTRIAL DESIGN

106

* [ QUESTION 40 ] COMMUNICATION DESIGN

108

* [ QUESTION 41 ] TESTIMONIALS

118

[ QUESTION 42 ]

OPEN QUESTIONS

126

* [ QUESTIONS 43 – 44 ]

176 177 186 188 214 216 224 238 262 266 286 300 308 318 338

SECTION 03: ANNEXURE

144

LETTERS OF SUPPORT [ RELATED TO QUESTION 3 ]

426

INTRODUCTION LIVE DESIGN. TRANSFORM LIFE.

INTRODUCTION THE MOTIVATION BEHIND CAPE TOWN’S BID 1

A bid by the City of Cape Town to be WORLD DESIGN CAPITAL 2014

THE MOTIVATION BEHIND CAPE TOWN’S BID Cape Town, 1994 20 years to 2014 … transformation begins When South Africa became a democracy in 1994, Cape Town began the process of reconstructing and reconnecting a City that had been physically, socially, economically, culturally and emotionally divided for many decades.

1. OECD Territorial Reviews: Cape Town, South Africa, 2008, OECD Publishing.

$V SDUW RI WKH SURFHVV RI UHXQLÀFDWLRQ DQG transformation, a large number of public and private programmes and projects have, since 1994, been geared towards delivering the type of innovative thinking, entrepreneurial spirit and successful implementation that will ultimately transcend boundaries to reconnect Cape Town in structure and spirit, and deliver a better quality of life for all our citizens. Our bid therefore to be World Design Capital 2014 has inspired us to embrace the theme: Live Design. Transform Life. The case studies contained in this Bid Book are tangible expressions of this theme and demonstrate how Cape Town is today becoming a design-led City committed to meeting the challenges of development and transformation. Through this commitment, our ultimate goal is to achieve a sustainable, innovative, inclusive and more liveable African City rooted in the strengths of our people and communities. In many ways, dramatic transformation has already taken place. As a country we have, for

example, developed a Constitutional democracy with three distinctive yet interdependent and interrelated spheres of government, with cities and municipalities having the right to govern the local affairs of their communities. As part of the process of democratisation, and based on the redistributive slogan “One City, One Tax Base”, municipal government in Cape Town LQ WKH V ZDV FRPSOHWHO\ UHFRQÀJXUHG ZLWK the formation of a single metropolitan authority, which replaced 61 racially-based and fragmented authorities. The redesign of the municipal system was a simultaneous process of devolution of powers and functions to local level, a consolidation of municipal boundaries and a rationalization of budgets and administrations into one municipality covering a territory of 2 455km² – today known as the City of Cape Town. To quote the Organisation for Economic Co-operation and Development (OECD)’s Territorial Review1 published in 2008: “Cumulatively, these reforms prepared regional and local governments to play a more prominent role in social and economic development. Few international precedents exist for such a rapid institutional change.” However, change is not without its challenges: as noted by the OECD, the task of mending a City divided by apartheid has presented city leaders with “…a challenge as daunting as any in the most segregated and spatially fragmented cities of the OECD.” In spite of these challenges, Cape Town’s urban form and local economy has been transformed on numerous fronts by public sector interventions, private sector developments and community initiatives.

INTRODUCTION LIVE DESIGN. TRANSFORM LIFE.

A VERY DIFFERENT PLACE A Capetonain walks through the streets of the City, looked on by the Father of the Nation, Nelson Mandela. Its a very different place to what it was pre-1994, and the City is now striving towards that which is required to complete our transformation.

POPULATION DENSITY (Persons/ hectare) 251 - 500 101 - 250 51 - 100 0 - 50 Urban areas extruded by population density

Outlining the resident population distribution across the City of Cape Town in 2001, this graph gives a visual impression of the sociospatial inequalities found in the region. With its urban form originating under apartheid, the disparities across the City further widened as a result of income inequalities and rural-tourban migration. The urban spikes occur in areas formulated as townships and informal settlements, while the lowest density areas represent the areas where jobs are generally situated. The graph was prepared from the 2001 Population Census, and produced by Ivan Turok, Ken Sinclair-Smith and Mike Shand.

)RU H[DPSOH D PDVVLYH HOHFWULÀFDWLRQ SURJUDPPH KDV EHQHÀWWHG WKRXVDQGV RI KRXVHKROGV LQ IRUPHUO\ unserviced townships and informal settlements. Access to education, health and welfare services has dramatically improved. The delivery of basic services to poor communities – in the form of housing, water, sanitation, roads, refuse removal, storm water drainage systems, clinics, libraries, sports facilities and public spaces – has improved the quality of life throughout the City. Wide-ranging infrastructure development has also taken place, creating the basis for the City’s future economic growth and expansion.

INTRODUCTION LIVE DESIGN. TRANSFORM LIFE.

But in spite of all that has been accomplished over the past two decades, there is still much work to be done. High levels of poverty, inequality and unemployment persist. Approximately 28% of the City’s residents still live in informal settlements. Apartheid spatial form still continues to shape the City, with much of the provision of low income housing taking place on the urban periphery, far from economic centres and urban resources. The isolation of many poor communities is exacerbated by decades of car-based City planning, resulting in a high level of unsustainable urban sprawl and suboptimal public transport. To realise our broader commitment to Cape Town’s future and to achieve our aim of being a worthy candidate for World Design Capital 2014, we have assessed the progress and acknowledged the

challenges that have led us to this point in time as a City. The City of Cape Town is currently preparing a new City Development Strategy which seeks to address the needs of the City and its citizens until 2040, bringing together land-use planning, transportation, housing and economic policy. Similarly, the Provincial Government is preparing a Future Cape Strategy.

PAST AND PRESENT Cape Town’s colonial and apartheid past contrasts starkly to the reality of its people today as they reach across the boundaries created in order to reconnect.

How do we use this Bid to add to these processes and help redesign our City and improve the lives of all our citizens? How do we: Rebuild our communities… Reconnect ourselves physically and through building cross-sector partnerships… Reposition ourselves for the future? 5

REBUILDING communities One hundred years ago, Cape Town was a City of around 100 000 people, of various cultures and colours. Most of the population lived and worked in and around the historical Central City area which lies between Table Bay and Table Mountain. But early in the 20th century, the fragmentation and disconnection of the City began. With racial bias rooted in slavery and colonial-era mentality, the 20th century saw these prejudices enacted into law. 7KH ÀUVW IRUFHG UHPRYDOV WRRN SODFH LQ ZKHQ African dockworkers were moved initially to Ndabeni (outside the then-City limits) and then in the 1920s further away to the township of Langa. The notorious Pass Laws were introduced into South Africa in 1927, designed to regulate the movement of all African people in urban areas. With the introduction of the formal apartheid system in 1948, Cape Town’s people were disconnected from each other even further along strictly racial lines. Many residents were forced from their homes, their houses bulldozed and their lives irrevocably and brutally altered. Forced removals resulted in the majority of citizens being moved away from economic, educational, cultural and leisure resources into dormitory-styled townships. This was an era of designed inequality and control. For example: - Graphic design was used to separate people by embedding apartheid legislation into visual representations across the City and the country declaring choice public amenities – from beaches, railway coaches and entrances to buildings, to toilets and public benches – as being reserved for “Whites Only. Net Blankes.” - Education systems were designed around racial policies based on keeping black people 6

inferior and “suited” only to certain forms of manual labour. - The media was tightly controlled, with blatant SURSDJDQGD RQ WHOHYLVLRQ DQG ÀOP GHVLJQHG WR VRZ division and instill fear. - Industrial design was largely geared towards creating a self-sustaining “state” as well as to protecting the country against the threat of an uprising. South Africa became an “innovator” and manufacturer of weapons, vehicles and planes – both for its own use and for international export. In spite of the legacy of apartheid, it is evident – even during the bleakest of times – that the roots of Cape Town’s multi-cultural society have remained intertwined. There were countless instances of resistance, mass action and protest that took place against the injustices of the apartheid system, and today these roots underpin our passion for our City and our support for the World Design Capital bid as a vehicle for reconstruction. A further elaboration of the ties that bind the people of Cape Town – even in our diversity and adversity – lies in understanding the creolisation of the City. This reaches back in time to the original inhabitants of the area and the many that have since arrived on its shoreline: the indigenous nomadic Khoi and San, who lived here for centuries before the arrival of others; the settlers from the Netherlands and other parts of Europe in the 17th century, who laid RXW WKH ÀUVW XUEDQ VHWWOHPHQW VODYHV EURXJKW IURP South East Asia, India and Africa for 180 years; British rule; African migrations from the north and HDVW WKH LQÁX[ RI SHRSOH IURP PDQ\ SDUWV RI WKH world that arrived with the discovery of gold and diamonds, including Jews predominantly from

INTRODUCTION LIVE DESIGN. TRANSFORM LIFE.

SIGN OF THE TIMES Where the writing on the wall once spoke of apartheid (left), today it gives way to more creative processes. Graffiti art in Cape Town (right) now speaks the language of its people.

INTRO World Design Capital 2014

Lithuania; more recently, immigrants from sub-Saharan Africa. The result was a creolisation not found in other South African cities. Just as inter-racial relationships KDSSHQHG HYHQ GHÀDQWO\ WKURXJKRXW WKH VODYH colonial and apartheid eras), so did the mixing of foods, languages, religions and cultural expression, resulting in a common thread that draws Capetonians together to this day. There are, for instance, few Capetonians who do not relate to the music of the region – the unique form of Cape jazz which grew out of District Six and the sounds of the Kaapse Klopse Karnival (Cape Minstrel Carnival) with its roots in the emancipation from slavery. More recently, Cape Town has seen the birth of Afrikaaps ² D EOHQG RI $IULNDDQV RQH RI WKH RIÀFLDO languages derived originally from the Dutch, but with its own twist in the Cape incorporating words from LWV VODYH SDVW DQG RWKHU &DSH LQÁXHQFHV WKDW KDV been claimed back by people living in the townships of the Cape Flats. It is Cape Town’s own brand of Hip Hop, a version of which has even found a following abroad through the international success of local music artists such as Jitsvinger and Die Antwoord (The Answer). Since 1994, the City has seen new community dynamics emerge. Civil society groups have mobilized, with corporate and government sponsorship, to combat problems of crime and drugs – as well as AIDs and other health-related issues – through job creation projects, literacy programmes and early childhood development. Key to this movement has been a positive youth energy inspired by past community building. The local Hip Hop movement in particular has been a dynamic force in “healing the hood”.

THE CAPE TOWN PEACE MARCH

On 13 September 1989, 30 000 Capetonians from across the City marched in support of peace and to end apartheid. Lead by civic and religious leaders, the PDUFK ZDV LQ GHÀDQFH ERWK RI WKH 6WDWH of Emergency, which banned political protests, as well as of apartheid laws which enforced racial segregation. Part of a strong City-wide movement for change, WKLV ZDV WKH ÀUVW HYHQW RI LWV NLQG WR LQFOXGH elected local government representatives. It was also considered the “last illegal march”. Five months later, Nelson Mandela was released from prison and resistance movements unbanned, helping to usher in the transition to democracy.

2. For the case study on the Violence Prevention through Urban Upgrade (VPUU), Khayelitsha – see Question 43. 3. For the case study on Design Indaba’s 10x10 Low-cost Housing Project, see Question 43. 4. For the case study on Tsai Designs’ Nested Bunk Beds – see Question 43.

Religious tolerance is taken for granted in a city that is both home to the Anglican Church of Archbishop Emeritus Desmond Tutu, as well as the oldest synagogue and amongst the oldest mosques in South Africa.

Rebuilding our communities, in particular, is therefore a key theme that has guided the selection of examples cited throughout this bid book, either as relevant models in support of questions or as case studies towards the end of this book. For example:

Nevertheless, while the ties that bind us remain in place, and fashion a new identity for the City, we have much work to do to reconnect across the physical, social and economic divide. In canvassing for Cape Town to be the WDC 2014, we have seen support come from many people across the City; not only from the creative communities in design-led folds, but also from communities organising for housing, services, better public transport, and access to jobs and skills. Support has ranged from social initiatives to government programmes; from IT incubators to corporate structures; from crafters to architects; from students of design to the academic institutes that nurture them; and from design-dedicated media to the popular press.

- The District Six Redevelopment Framework that guides the restitution of land to a community forcibly removed from the Central City 40 years ago; - The proposed redevelopment of the Athlone Power Station site into a facility that provides mixed-use and interactive space for local communities; - The Violence Prevention through Urban Upgrading Project (VPUU), aimed at designing an entire urban upgrade towards the prevention of violence in some of the poorest parts of Cape Town2;

NEW VISION FOR UNFINISHED WORK INTRODUCTION LIVE DESIGN. TRANSFORM LIFE.

An unfinished highway that hangs at the edge of the Cape Town Central City sparked many ideas during the MultipliCity competition.

THE MULTIPLICITY PROJECT

This public competition was conceived, sponsored and organised by members of the private sector – namely Rory Williams (of international consulting engineering ÀUP $UXS·V &DSH 7RZQ EUDQFK DQG &DSH 7RZQ EDVHG DUFKLWHFW 0RNHQD 0DNHND RI 0DNHND 'HVLJQ /DE DV D GLUHFW UHVSRQVH to Cape Town’s World Design Capital Bid process. The purpose of the competition was to encourage citizens to re-imagine how the City could be made better for its residents. The competition was successful in generating 70 entries covering a considerable range of formats (short-form written concepts, essays, DUFKLWHFWXUDO UHQGHULQJV DUWLVWLF VNHWFKHV HWF DQG WRSLFV FRYHUHG - The FAWU Gugulethu Development, an urban renewal project that aims to create a vibrant, mixed-use precinct in the heart of the township of Gugulethu; - The proposed Desmond Tutu Peace Centre, a landmark institution aimed at using the experience of all South African people and the example of Tutu himself to inspire a new generation of visionary peace builders; - A competition such as MultipliCity (see box) that calls for entries from communities across Cape Town to propose innovative ideas for improving the urban environment and community life; - Projects that look at providing solutions to shortages of housing and facilities, such as Design Indaba’s 10 x 10 Low Cost Housing project3. Likewise, there are projects that have created nested bunk beds4 IRU ÀYH WKDW IROG DZD\ LQ WKH GD\

An important objective of the competition was to generate fresh ideas about the future of Cape Town, and to encourage members of the public to participate in developing these. For this reason, entries were submitted on the basis of a Creative Commons licensing agreement that would allow ideas to be disseminated while giving credit to contributors, who remain the copyright holders. With the competition having successfully generated ideas from many quarters, the organisers now plan to follow up with further activities. A number of entries received during WKH ÀUVW FRPSHWLWLRQ DUH ² RU FRXOG EH ² practical project ideas. The organisers plan to use a public forum to present these ideas and generate additional input from members of the public. A number of the entries are to be LQFOXGHG LQ D ERRN WR EH FRPSOHWHG LQ 9

for use in settlements with limited space, or ones that create much-needed sporting facilities in poor communities such as the Safmarine Container Sports Centre. (See Question 38.) RECONNECTING physically and through crosssector partnerships The City’s challenges have drawn together LQQRYDWLYH FLWL]HQV OHDGHUV LQ WKHLU ÀHOGV RI GHVLJQ and numerous institutions (universities, local and regional government, parastatals, corporate and social movements) who seek to connect disparate efforts across the spectrum in order to create a critical mass for change. A number of Cape Town’s spatial challenges are thus already being met head-on to reconnect the City.

5. IRT is presented as a case study in Question 43. 6. The Public Spaces Programme is presented as a case study in Question 43.

One of these is Cape Town’s Integrated Rapid Transport (IRT) System5. Much like the rapid transport systems in the cities of Bogotá, Colombia and Curitiba, Brazil have transformed the lives of citizens through greater mobility and access, Cape Town – where the majority relies on relatively limited and often unreliable public transport – began construction two years ago on its IRT system. With an additional strong emphasis on new mobility transport (NMT), the IRT will, by 2023, see a network of bus, taxi, rail, pedestrian and bicycle paths rolled out across the City. Aligning itself to Cape Town’s new policies on public transport is the Switch Transport Demand Project, a private initiative currently being developed in order to complement the City’s new mobility strategy. This is a programme which aims to implement a technology-based “Large Employer Programme” that

will provide up-to-the-minute times and information for all public transport, identify gaps in the public transport system and increase user safety. Another aspect of the project will assist employees with cars to join car-pooling schemes. Also complementing the new IRT roll-out is the City’s Public Spaces Programme6. This programme has already created many new public spaces in poor communities and in the central business districts, giving new life to desolate areas. These developments in many instances incorporate public art that commemorates important historical moments in the City. A private initiative, the Safe Spaces Project adds to the concept of connectivity through public space. This project will see benches commissioned as art works placed in strategic public spaces as a grassroots campaign to raise awareness about the need to advocate for and create safe places for girls and women in schools, communities and EXVLQHVV DUHDV 7KH ÀUVW EHQFK WR EH FRPPLVVLRQHG by artist Lovell Friedman was placed in the Cape Town International Convention Centre in time for the 2011 Design Indaba Conference and Expo. The project is also intended to link to another Cape Town innovation – the MXit social networking system - in order to enable girls and women to tell WKHLU VWRULHV DQG FDOO IRU DVVLVWDQFH VKRXOG WKH\ ÀQG themselves in a vulnerable situation. Reconnection is also about building cross-sector partnerships that can unlock access to resources and opportunities. One example of this is the Cape Town Partnership. By the 1990s, the Cape Town Central City was

stripped of its energy, partly as a result of forced removals of residents from District Six and partly because of disinvestment by business to GHFHQWUDOL]HG RIÀFH SDUNV DQG VXEXUEDQ PDOOV The Cape Town Partnership, and its urban management arm, the Central City Improvement District (CCID), is a cross-sector partnership between the City of Cape Town, Provincial Government, business organisations, property owners and the social, cultural, tourism and educational sectors. Its mandate is to “manage, promote and develop” the Central City area as an “inclusive, productive and diverse centre that UHWDLQV LWV KLVWRULF FKDUDFWHU DQG UHÁHFWV D FRPPRQ identity for all the people of Cape Town”. Over the past twelve years, the Partnership has succeeded in reversing the process of urban decay and has begun transforming the Central City into a viable place in which to work, live, learn, visit, study and invest. Some of the Partnership’s goals, as it moves into the next decade, are to ensure that more people have opportunities to access affordable housing in the Central City, and to see urban GHQVLÀFDWLRQ EHFRPH D UHDOLW\ WRZDUGV HQVXULQJ D sustainable City. The Inner City Regeneration Project (ICRP) is a project of the Provincial Government that seeks to develop eight well-located parcels of public land DQG EXLOGLQJV IRU SXEOLF EHQHÀW 7KH SURMHFW RIIHUV a collaborative and consultative process that concentrates on delivering solutions, in partnership, to challenges regarding property development for socio-economic change, rather than the limited FUHDWLRQ RI ÀQDQFLDO UHWXUQ $ NH\ HOHPHQW RI WKH project is to create affordable housing in mixed-use environments. This will require cooperation between

government, the private sector, the Cape Town Partnership, educational institutions, and social housing organisations. Accelerate Cape Town (ACT) is a private sector organisation aimed at bringing together the corporate businesses in the region to work with the public sector to develop and implement a longterm vision and future strategy for sustainable, inclusive economic growth. Key priorities include the creation of job opportunities through attracting more corporates to the City. ACT has also set up Connect’d Cape Town, a business and investment “one stop shop” aimed at connecting visiting business leaders with their local counterparts. REPOSITIONING: innovation towards DQG WKH IXWXUH EH\RQG One of Cape Town’s goals is to improve regional innovation capacity and upgrade skills and labour markets to strengthen our participation in the global knowledge economy. The region has a number of strengths on which to build. For example, the Western Cape has proportionally more National Research Foundationrated researchers and research chairs than any other part of South Africa and it produces over a third of all South African PhDs. There are excellent research centres specialising in health care, biotechnology and environmental science. There are also a number of initiatives promoting regional innovation, such as the multi-stakeholder Fringe Innovation District project; the proposal of the Department of Science and Technology to establish a Cape Health Technology Park and the City of Cape 11

INTRODUCTION LIVE DESIGN. TRANSFORM LIFE.

CONQUERING DIVIDES There are still enormous social divides in the City of Cape Town, but the City’s challenges have drawn together innovative citizens, leaders in the fields of design and numerous institutions to create a critical mass for change.

HAVING A SAY The right to protest has always been important to Capetonians, and communities will continue to exercise their voices towards social change, including better education and economic opportunities.

INTRODUCTION LIVE DESIGN. TRANSFORM LIFE.

INTRODUCTION World Design Capital 2014

Town’s research on global competitiveness. In addition, there are also the Provincial Government’s efforts towards skills and enterprise development LQ VSHFLÀF VHFWRUV RI WKH HFRQRP\ WKURXJK VSHFLDO purpose vehicles (SPVs); the City of Cape Town’s partnership on entrepreneurship with Barcelona Activa; and the work of the Cape Higher Education Consortium (CHEC) representing the four main universities in the region. However, there are also a number of innovation challenges faced in the region. For example, university-industry linkages are relatively weak, with universities adopting a relatively traditional approach towards teaching, research and publication rather than focusing on patents or relationships with business. In general, public expenditure on research and development is low. The research that does take place is often not translated into business innovations, competitive DGYDQWDJH DQG VRFLDO EHQHÀWV &RQVWUDLQWV RQ the supply side of labour are as a result of poor performance in parts of the education system, and there is a “disconnect” between the skills being acquired in educational or vocational institutes and the skills that employers need. This is why Cape Town is using the Icsid World Design Capital bidding process to focus attention on regional innovation strategies and systems, not just in terms of transforming ideas into improved commercial products and services, but also on social innovation for the public good. Amongst other things, our approach to innovation is based on the need for improving the skills of the region’s workforce, implementing technologicallyadvanced infrastructure, transforming government to become more responsive and providing a high-

quality physical environment to attract, develop and retain knowledge workers. Key strategies to improve innovation capacity include: - analysing how our industrial sectors compete in the global economy and then organising our region accordingly; - the creation of a skilled workforce through improving education and workforce development systems; - investing more in infrastructure for innovation, including support for research, technology commercialisation programmes and modern telecommunications; - improving quality of life through a focus on livable neighbourhoods, cultural diversity, experiential cultural facilities, good urban design, better public safety and increased mobility; - promoting a more innovative business climate and more open civic cultures, which cross institutional, social and physical boundaries and promote greater levels of trust; - the transformation of government systems EH\RQG D WUDGLWLRQDO SUHRFFXSDWLRQ ZLWK LQÁH[LEOH and extensive regulations; and - building partnerships for better regional governance, including higher levels of cooperation across local government boundaries, between “town” and “township” and between the formal and informal economy. The City of Cape Town has a future vision for a &LW\ ZKHUH LQQRYDWLRQ DQG FUHDWLYLW\ ÁRXULVK where economic growth enables the access to opportunities and resources for the entire City’s people and a sustainable city designed to be conscious and considerate of the environment we inhabit.

7. Design Indaba is explored as a case study in Question 43. 8. MXit is explored as a case study in Question 43.

For example, the City has launched Cape Town Activa. Drawing inspiration from the highly successful Barcelona Activa model, which saw a knowledge economy hub emerge in Barcelona’s deserted industrial wasteland, Cape Town Activa encourages innovation and entrepreneurship through the creation of an “entrepreneurial ecosystem.”

become a lifestyle event that continues to evolve and today includes crafters, local restaurateurs, the fashion industry as well as an outreach programme for the youth that hosts writing workshops. In 2007, D SDUOLDPHQWDU\ EULHÀQJ UHYHDOHG WKDW WKH )HVWLYDO had contributed R342.4-million to the GDP of Cape 7RZQ ² D ÀJXUH ZKLFK KDG ULVHQ WR 5 P E\ and will no doubt continue to grow.

Already, the City of Cape Town’s SAP (Systems Applications and Products) system is considered to be one of the most innovative and far-advanced in the world. In turn, a number of public, private and partnership projects have been set up over the past 20 years to take Cape Town further into this domain.

The Fringe: Cape Town’s Innovation District is a project that has been in development for two years DQG ZLOO EHDU VLJQLÀFDQW IUXLW E\ /RFDWHG in the East City, the Fringe, which is a Provincial Government catalytic economic project, will be a design park and innovation hub that will function as a research, innovation and services centre for the design, media and ICT sectors. It is currently being managed by the Cape Town Partnership and the

Expos supporting the growth of business such as the Cape Town Book Fair (publishing), Decorex (design) and Cape Town Fashion Week, all work to support creative industries. The Design Indaba Conference & Expo7 is the longest-running private sector design initiative in the City. For the past 16 years, Cape Town has been home to this world-renowned conference and expo which attracts around 40 000 delegates and visitors annually, and where leading-edge designers from around the world congregate to share design visions. Design Indaba is now a year-long programme which annually hosts more than 30 speakers in a multi-tiered, design-related experience that incorporates events, media, education, training and business development. Its immediate future includes plans to go global with its annual conference and expo. Celebrating its eleventh year, the Cape Town International Jazz Festival (CTIJF) has extended well beyond the boundaries of a music festival to

“What makes this my Cape Town is the feeling I get when walking its streets. No matter whether it be day or night, the languages it speaks, the faces it juxtaposes, the tensions it bridges - all these force their way, somehow or other, into the music I compose. It is the only walking city we have in the country - let it be more so, enhancing the livelihoods that bring our streets to life. That is how we ensure our future.” Neo Muyanda Co-founder of the acoustic duo Blk Sunshine, famed composer and cocurator of the Pan African Space Station Development, University of Stellenbosch

INTRODUCTION LIVE DESIGN. TRANSFORM LIFE.

DESIGNED FOR LEARNING With four main universities represented in the City, numerous private learning institutions, and organisations devoted to skills development, the City is gearing up towards the creation of a skilled workforce that can take on the challenges of the future and participate actively in both local and global economies.

Cape Peninsula University of Technology, with the support of the City of Cape Town and other public and private sector partners. Through the SmartCape programme, communities will be better connected to cheaper and more widely available broadband. Already, the programme ensures community access to the internet at all public libraries throughout the city. Along similar lines, and connecting to its citizens across cyberspace, the City is also rolling out the Cape Town Portal Project, a project that allows access and FRQQHFWLYLW\ GLUHFWO\ WR WKH &LW\ RI &DSH 7RZQ·V ÀQDQFLDO department in order to make online payments. The Shuttleworth Foundation, with its vision to “support exceptional people to change the world in extraordinary ways”, is the Cape-based foundation of Mark Shuttleworth. Shuttleworth originally founded Thawte (which specialises in LQWHUQHW VHFXULW\ DQG GLJLWDO FHUWLÀFDWHV ZKLFK KH sold to VeriSign in December 1999 for US$575million. Today his Foundation is an experiment in open philanthropy, developing new methodologies, technologies and collaborative ways of working to HQVXUH WKDW HYHU\ LQLWLDWLYH LGHQWLÀHG UHFHLYHV WKH best exposure and resources to succeed. Instant messaging systems such as MXiT8 and Kijali are part of a focus which sees Cape Town’s IT sector designing social media to connect communities. In a partnership between private sector organisations, communities and universities, MXit – a very cheap mobile messaging system – is used as a platform to offer teens-at-risk access to drug counseling. Kijali is a cellphonebased programme that is assisting home-based healthcare providers in rural communities in Southern Africa to access medical advice and

support, and record patient histories. MXit is particularly exciting in the Cape context as it is a locally made solution (developed in Stellenbosch) that is now being used internationally. With 27million subscribers it is the largest social network in Africa with 40 000 new subscribers a day. Meanwhile, corporate giant Woolworths’ Making a Difference through Design programme has provided an innovative educational resource guide for teachers in a new design course developed by local designers in cooperation with the Western Cape Education Department. It is a unique design education programme in that its focus is on development at grassroots and pre-tertiary levels. 7KH LQLWLDWLYH LV ÀUPO\ URRWHG LQ WKH EHOLHI WKDW design education at such a young age develops not only designers for the future, but also designliterate citizens, discerning consumers of design, top-quality entrepreneurs and creators of products, services, systems, processes and environments. The Visual History Explorer (VHX) Portal is a ÁDJVKLS SURMHFW RI &DSH 7RZQ EDVHG ÀOP DQG documentary producer, Craig Matthews and his company, Doxa Productions. The VHX Portal pioneers new methods for the organisation and presentation of digital, audio-visual archive material RQOLQH ² IURP ÀOP FOLSV WR SKRWRJUDSKV DQG KLVWRULF documents – by utilising Natural Knowledge™ software architecture. The Doxa Liberation Struggle collection was placed on the UNESCO Memory of the World Register in 2007 and thus VHX’s pilot SURMHFW ODXQFKLQJ LQ WKH ÀUVW TXDUWHU RI ZLOO provide free access worldwide to archival material from the South African liberation struggle. In another private sector project, Design With Africa (DWA) is an initiative of …XYZ Design in Cape Town, which provides a shared knowledge-base and open 15

ACKNOWLEDGING ALL SECTORS Cape Town has a diverse design community, and all sectors of the industry are recognised and valued for their contributions, from those involved in IT and application design to those involved in crafts.

forum for debates and case studies on how design is emerging as a strategic development method on the African continent. DWA believes that Africa, with its constraints, community-centred thinking, and raw commerce, serves as an ideal “sandbox” for global challenges and new business models. The Cape Craft and Design Initiative (CCDI) is a highly successful craft sector support structure working between government and civil society to create opportunities for economic growth, skills creation and social development. CCDI supports craft producers and helps to network all players in the product-to-market chain. This includes producers and designer-makers, retailers, marketing agents, exporters and service providers such as other designers, product developers, skills trainers, business-development practitioners and mentors. Government and other funders form a vital part of this collaboration in order to build relations across all sectors.

9. CHEC stands for the Cape Higher Education Consortium made up of the four universities in and around Cape Town.

A number of other Special Purpose Vehicles (SPVs) have also been developed, among them: - Business Processing Outsourcing enabling South Africa (BPeSA). - Cape Clothing & Textiles Cluster (CCTC); - Cape Film Commission (CFC); - Cape Information and Technology Initiative (CiTi); - Cape Music Industry Commission (CapeMIC); - Cape Town Fashion Council (CTFC); - Performing Arts Network of South Africa (PANSA); - South African Oil and Gas Alliance (SAOGA) - Visual Arts Network of South Africa (VANSA); - Western Cape Clothing and Textile Service Centre (CLOTEX); - Western Cape Tooling Initiative (WCTI); - Western Cape Furniture Initiative (WCFI);

Achieving long-term sustainability and climate change mitigation and adaptation is vital to the City’s future. There are more researchers among the CHEC9 KLJKHU OHDUQLQJ DIÀOLDWHV LQ the Western Cape who focus their research and teaching on sustainable development issues than anywhere else in the country. Cape Town’s economy is characterized, in turn, by a wide range of businesses involved in sustainability – there are more recyclers in Cape Town than in any other South African city and Cape Town’s renewable energy businesses are seen by other cities as leading the way. Cape Town is also the home base of the Green Building Council of South Africa. ,Q WKH &LW\ ÀUVW DGRSWHG LWV ,QWHJUDWHG Metropolitan Environmental Policy (IMEP) to form the basis for a series of strategies and programmes to ensure that the principles of sustainability are adhered to. The IMEP was revised in 2009 to include key measurable environmental commitments over a ÀYH \HDU SODQ FXOPLQDWLQJ LQ To further address sustainability, the City adopted its Energy and Climate Change Strategy in 2006, with an Energy and Climate Action Plan than comprises 51 programme areas and 115 projects. With a longterm and fundamental shift to sustainability, key changes were in turn made to the City’s Integrated Development Plan with a primary focus on “Energy for a Sustainable City”. Along with its emphasis on a sustainable public (and non-motorised) transport system, the goals of the Action Plan also include a 10% reduction in electricity consumption by 2012 along with a 10% increase in the supply of renewable and cleaner energy by 2020. Projects include the .X\DVD (QHUJ\ (IÀFLHQW /RZ &RVW +RXVLQJ &0' Project, which has already seen solar water heaters, LQVXODWHG FHLOLQJV DQG FRPSDFW ÁXRUHVFHQW OLJKW

17 INTRODUCTION LIVE DESIGN. TRANSFORM LIFE.

A SUSTAINABLE FUTURE The City of Cape Town has shifted into gear towards creating a sustainable future for all its communities.

INTRODUCTION LIVE DESIGN. TRANSFORM LIFE.

bulbs installed in 2 300 houses, as well as the Green Development Guidelines and Spatial Development Framework that provides guidelines for the design, construction, renovation and operation of buildings. The City’s acclaimed Green Goal Programme, developed for the 2010 FIFA World Cup, ensured that the event was as environmentally friendly as possible. It created 41 projects (19 of which are legacy projects to contribute to the longterm wellbeing of citizens beyond the event), relating to energy, water, waste, landscaping, biodiversity, transport, sustainable lifestyles and communications. A spin-off of the Green Goal programme has been WKH GHVLJQ RI WKH &LW\·V ÀUVW Green Map, as well as a Smart Living Handbook DQG DQ RIÀFLDO Smart Events Handbook guiding event organisers, venues and suppliers. Another key tool developed by the City for the World Cup is an Event Reporting Tool (ERT) that will be used to ensure proper planning for all major events in the future, including World Design Capital 2014 and associated events. The ERT is structured not only to provide a database for planners on resources required to run a safe, sustainable and VXFFHVVIXO HYHQW EXW WR GHWHUPLQH WKH ÀQDQFLDO DQG socio/economic impact according to the expected HYHQW SURÀOH DQG IRRWSULQW $QG ÀQDOO\ DPRQJ QXPHURXV RWKHU SURMHFWV dealing with sustainability in this bid book, there is 6WHOOHQERVFK 8QLYHUVLW\·V QRQ SURÀW Sustainability Institute10 – an international centre focusing on studies and experience in ecology, community and spirit, in partnership with the University’s School of Public Leadership. The Sustainability Institute LV ORFDWHG ZLWKLQ WKH /\QHGRFK (FR9LOODJH WKH ÀUVW ecologically designed, socially mixed intentional community in South Africa with a social structure and urban management system designed to ensure ecological sustainability.

10. Together with the Lynedoch EcoVillage, the Sustainability Institute is explored as a case study in Question 43.

This, and the many other examples contained in this bid book, are steps along the way to repositioning mindsets across of all communities, reconnecting the people of Cape Town, and transforming the City LQWR RQH WKDW WUXO\ H[HPSOLÀHV WKH FRQFHSW RI ´/LYH Design. Transform Life.” 19

BID APPLICATION

QUESTIONS 1 - 44

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

CAPE TOWN TO THE FORE The positive media coverage and extensive visual documentation of an incident-free global event such as the World Cup in the City, was not only priceless in promoting the communities of greater Cape Town, but also boosted the City’s confidence levels on many fronts.,

QUESTION 2 World Design Capital 2014

the communities of greater Cape Town, but also ERRVWHG WKH &LW\·V FRQÀGHQFH RQ PDQ\ IURQWV

&DSH 7RZQ ZLWK LWV XQPLVWDNDEOH ÁDW WRSSHG 7DEOH Mountain and cityscape epitomises for many Africa’s best example of a lifestyle capital and a city where residents can potentially connect to their natural environment just as easily as they connect to their places of social interaction and formal work. The Cape has a unique quality of life and a quality of place that inspires. In recent years the City has increasingly been successful in harnessing a new energy from its diversity of cultures to create a friendly and hospitable community spirit. It has also succeeded in re-energising its Central City over the past ten years, and is once again becoming a “City for All” as demonstrated during the 2010 FIFA World Cup™ when hundreds of thousands of locals – many without tickets to the matches - took to the streets to celebrate with visitors, walk the new Fan Walk and gather on the Grand Parade, Cape Town’s oldest public space. The positive media coverage and extensive visual documentation of an incident-free event such as the World Cup, was not only priceless in promoting

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

QUESTION 2: *(1(5$/ ,1752'8&7,21 72 7+( &,7< D 3URYLGH D JHQHUDO RYHUYLHZ RI WKH FLW\ 7KLV FDQ LQFOXGH EXW QHHG QRW EH OLPLWHG WR JHRJUDSKLF RULHQWDWLRQ FLW\ OD\RXW LQIUDVWUXFWXUH XQLTXH FKDUDFWHU DQG OLIHVW\OH DVSHFWV

The human history of Cape Town, being the birth place of the story of South Africa, is dramatic and richly diverse, with large measures of both glory and injustice woven in its fabric. The end result is evident in a diverse and tenacious population. Its human and cultural pluralism connects the Cape to four continents through historical links. The competitive advantage of diversity in the Cape is that it can serve markets in the West, the East and Africa from a single location. The City started its life as a halfway station on the European trade routes to the East and present-day Cape Town remains a major maritime city where international trade routes intersect. It is also a bustling business centre that is home to large ÀQDQFH KRXVHV VHYHUDO PXOWLQDWLRQDO FRUSRUDWLRQV and media conglomerates. Fragmented as a result of colonial and apartheid policies and segregated planning, many facets of the fabric of historic Cape Town have been dispersed. The future vision among both policy makers and non-governmental agencies is to reconnect people by promoting its social, cultural and artistic resources and to integrate communities into an innovative and dynamic City. The City boasts an advanced infrastructure and logistics capability that can tap and shape that potential. Cape Town is a seat of learning that attracts both intellectual and creative institutions. Four universities and other research institutions in YDULRXV ÀHOGV DUH ORFDWHG LQ DQG DURXQG WKH &LW\ It has great potential for strengthening its position in the knowledge economy by bringing the universities, scientists and innovators into a development partnership for the region. 25

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

ONE CITY, TWO FACES Fragmented as a result of colonial and apartheid policies and segregated planning, many facets of the fabric of Cape Town have been dispersed. Two CBDs reflect the disparity: above left, the downtown of the Central City; to the right, the township of Khayelitsha.

Its standing as a tourist destination is without equal in Africa. Some 50% of all international tourists to the country visit the Western Cape and this equates to approximately 24% of the national tourism spend. Tourism is seen as a major growth sector in terms of investment, employment and the GLYHUVLÀFDWLRQ RI VHUYLFHV There are some 20 000 hotel rooms within a 30km radius of the Central City. With a unique accommodation offering, visitors to Cape Town are VSRLOW IRU FKRLFH UDQJLQJ IURP ÀYH VWDU KRWHOV DQG backpackers to university dormitories. 7KH &LW\ LV SURÀFLHQW LQ KRVWLQJ D ZLGH UDQJH RI conferences and conventions. It is the number one international conference destination in Africa and the Middle East and holds the 35th position in the 2009 ICCA (International Congress and Convention Association) global ranking. Cape Town, which is the legislative capital of South Africa, is located in the Western Cape, one of nine provinces of the federal state of the Republic of South Africa. The country is a constitutional democracy with multiparty elections HYHU\ ÀYH \HDUV The City of Cape Town has the most skilled portion of the province’s workforce, as well as a sophisticated support infrastructure. The metropolitan area of Cape Town boasts good accessibility for goods and people from throughout Africa, via a well maintained network of road, rail, sea and air. As the engine of the Western Cape regional economy most of the region’s heavy and medium industry is located within the metropolitan area of Cape Town. 28

Foreign trade makes up close to 30% of the gross regional product. The transport, maritime and logistics sector are consequently important factors in the economy. The Cape Town port plays a major role in exporting the province’s excellent fruit, wine and other agricultural products to international markets. It is a full-service, general cargo port, particularly well equipped in its general container storage, cold storage and fresh-produce storage facilities, and has a capacity to handle 1.4-million containers.

With a strong emphasis on the development of small business sector, the Western Cape economy boasts numerous competitive advantages for creative industries. Particularly active sectors LQFOXGH WKH HQWLUH VXSSO\ FKDLQ RI WKH GHVLJQ ÀOP commercials and television industry, as well as crafts, music, performing arts, visual arts industries and cultural tourism. The injection of R430-million into the building of D ZRUOG FODVV ÀOP VWXGLR KDV IXUWKHU ERRVWHG WKH :HVWHUQ &DSH·V FDSDFLW\ WR KRVW DQG SURGXFH ÀOPV DQG FRPPHUFLDOV $ ORFDWLRQ ÀOP DQG WHOHYLVLRQ production incentive offers 15% rebate to foreign productions. Another sector that has high growth potential is that of renewable energy. With high solar radiation levels and substantial wind and hydro resources, as well as land and technology costs that are comparatively low, the development of renewable energy projects is high on the agenda. As demonstrated by the spectacular stadiums and venues built for the World Cup, the South African construction industry is robust and in a generally healthy state. Residential, commercial and industrial buildings, as well as infrastructure development, continue to give impetus to this sector despite a world economic downturn.

QUESTION 2

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

World Design Capital 2014

SEAT OF GOVERNMENT A view of South Africa’s Parliament, located in Cape Town’s Central City.

‘ A CITY FOR ALL The re-energising of the Central City over the past decade is once again creating a “City for all” as demonstrated during the 2010 FIFA World CupTM when hundreds of thousands of locals took to the streets and public squares to celebrate with visitors. Above is the Grand Parade outside the City Hall, the official venue of the FIFA Fan Fest in the City.

31 BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

English is widely spoken and understood, but most South Africans are bilingual or even multilingual: English, Afrikaans and iXhosa are the three RIÀFLDO ODQJXDJHV PRVW FRPPRQO\ VSRNHQ LQ WKH Western Cape. South African Standard Time is set at GMT +2.There are no time zone differences within South Africa and there is no daylight-saving system. The local currency is the South African Rand (ZAR). South Africa has a Value Added Tax system of 14% on purchases and services. 6RXUFH Statistics South Africa, Regional Gross Domestic Product: Annual Estimates per region 1995-2007.

E :KDW LV WKH SRSXODWLRQ RI WKH FLW\" With a total area of 129 462km2, the province of the Western Cape is roughly the size of Greece and has a population of 5.29-million people with approximately 3.62-million living in the metro region known as the City of Cape Town. The City itself has a geographical footprint of 2 455km2 in total and a population density of 1 425/km2.

7RXULVP

F :KDW LV WKH *URVV 'RPHVWLF 3URGXFW *'3 RI WKH FLW\" The GDP of the City of Cape Town was R265-million in 2009. The City contributed 77% of the regional gross domestic product in 2007. The largest sector LQ WKH &LW\·V HFRQRP\ LV WKH ÀQDQFLDO DQG EXVLQHVV services industry. This is supported by the tourism, retail, construction and property sectors. The City of Cape Town has a diverse manufacturing sector, with petroleum products, food and beverages, metals and metal products being major sectors. Growth sectors include the knowledge economy, LQFOXGLQJ WKH ÀOP LQGXVWU\ DQG LQIRUPDWLRQ DQG communications technology (ICT), and creative industries such as design, media and advertising. Cape Town has been fortunate to have a low number of jobs lost during the economic downturn. This is due to the main area of job creation in recent years has been in respect of functions which require a relatively high level of skill.

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SECTORAL PROFILE OF WESTERN CAPE-BASED JSE COMPANIES 32

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World Design Capital 2014

Helen Zille, Premier of the Western Cape

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

“

QUESTION 2

“We must encourage entrepreneurship and self sustainable income-generating projects that give people the opportunity to break the cycle of dependency on the state.”

R304

Melkbosstrand

R27

R304 R302

Durbanville 60 64

Robben Island 9

Blaauwberg

Woodstock Observatory

16 27 33 36 40

24 37 51

Parow 78

Camps Bay Milnerton

Northern Suburbs

Table Bay

Tygervalley

45 52

V&A Waterfront

26 58 76

26 58

Central City

1 2 3 4 5 6 7 8 10 11 12 14 15 17 18 20 21 25 28 29 31 32 34 35 39 41 42 43 46 48 53 61 62 68 69 70 71 72 73 74 77 80

City Centre

43 7

15 28

2 39 5

29 17 76 1 53 31 25 10 41 20 35 8 3 46 6 61 62 42 73 71 18 21 14 4 12 72 48 34 79

16 56

40 33 27 37

District Six

TABLE MOUNTAIN NATIONAL PARK

22 44

Athlone

Rosebank 30

38 54 55 65

19 70

Stellenbosch

Bellville

Atlantic Seaboard

Somerset West

74 49

Cape Flats

Wynberg

23 49 75

Southern Suburbs

Langa

Hout Bay 66

Helderberg

Khayelitsha 50

Faure

Rondebosch 22 44

Phillipi 79

Muizenberg 50

False Bay Atlantic Ocean

Lwandle Peninsula

58 Cape of Good Hope

QUESTION 8 World Design Capital 2014

CULTURAL INFRASTRUCTURE

a. MUSEUMS Cape Town is home to one of the two of South $IULFD·V QDWLRQDO PXVHXP ´ÁDJVKLS LQVWLWXWLRQVµ The Iziko Museums of Cape Town consist of 12 YHQXHV FRQWDLQLQJ VRPH RI WKH EHVW QDWLRQDO collections in social history, visual arts and QDWXUDO KLVWRU\ ,Q DGGLWLRQ WR WKH 5REEHQ ,VODQG Museum and the Castle of Good Hope, there DUH ÀYH VLJQLÀFDQW LQGHSHQGHQW PXVHXPV LQGLFDWHG EHORZ WZR ORFDOO\ IXQGHG PXVHXPV DQG IRXU SURYLQFLDO ´DVVRFLDWHGµ PXVHXPV $ OLVWLQJ RI WKH PRVW VLJQLÀFDQW PXVHXPV IROORZV

1 - The Iziko Bo-Kaap Museum Bo-Kaap | www.iziko.org.za/Bo-Kaap Situated in the centuries-old Malay quarter established in the 1700s, the Bo-Kaap Museum casts a spotlight on the fascinating history of the area and its people, predominately Muslims, many of whom were former slaves and exiles from India, Malaysia and Indonesia.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

QUESTION 8: *LYH D GHWDLOV VXPPDU\ RI H[LVWLQJ FXOWXUDO IDFLOLWLHV 7KLV VKRXOG LQFOXGH EXW QHHG QRW EH OLPLWHG WR WKH IROORZLQJ

2 - 7KH ,]LNR 6ODYH /RGJH 0XVHXP Cape Town Central City | www.iziko.org.za The permanent exhibitions in this building UHFRJQL]H WKH KRUULÀF VODYH WUDGH OHJDF\ RI WKH Cape, instilled in its society from 1679 until 1811. Temporary displays have also paid tribute to the lives of apartheid heroes such as Steve Biko and Nelson Mandela, the African slave trade in Brazil, as well as the struggle against separate schooling in America. 3 - The Iziko South National Museum & Planetarium The Company’s Garden, Cape Town Central City www.iziko.org.za/sam Founded in 1825, South Africa’s oldest museum houses more than one and a half million specimens RI VFLHQWLÀF LPSRUWDQFH DQG HWKQRJUDSKLF YDOXH 4 - Iziko SA National Gallery The Company’s Garden, Cape Town Central City www.iziko.org.za 7KLV JDOOHU\ LV KRPH WR D ÀQH SHUPDQHQW FROOHFWLRQ representing South African, Dutch, Flemish, African,

“

“Cape Town Central City has a specific role to play in a future City events strategy. With its various public spaces and cultural venues situated across the CBD, it provides a natural arena to stage an entire host of events.” Andrew Boraine, Chief Executive, Cape Town Partnership

British and French masters. Contemporary pieces include an excellent collection of South African photography, textiles, architecture and African artifacts. It hosts regular exhibits of contemporary African arts. 5 - Iziko Townhouse Museum Greenmarket Square, Cape Town Central City www.iziko.org.za %XLOW LQ DV &DSH 7RZQ·V ÀUVW SXEOLF EXLOGLQJ LW ZDV JLYHQ D SURPLQHQW VSRW RQ WKH &LW\·V ÀUVW market square and served as Burgher Watch House, Burgher Senate and the original City Hall RI &DSH 7RZQ ,Q LW EHFDPH WKH &LW\·V ÀUVW DUW museum and it now houses the world-renowned Michaelis Collection of early Netherlandish art and is host to innovative contemporary art exhibits. 6 - Iziko William Fehr Collection, Castle of Good +RSH DQG ,]LNR 5XVW HQ 9UHXJG Cape Town Central City | www.iziko.org.za William Fehr (1892-1968) was a private art collector whose paintings, furniture and other objets d’art are housed in two of Cape Town’s most historic buildings. The artifacts in the William )HKU &ROOHFWLRQ UHÁHFW WKH SHULRG RI 'XWFK FRORQLDO settlement between the late 17th and early 19th centuries, as well as the post-1795 era of British occupation. The artworks represent a unique resource for this period of South Africa’s history. 7 - Gold of Africa Museum Cape Town Central City | www.goldofafrica.com Home of a collection of West African gold artefacts as well as objects from the ancient gold civilisations of Southern Africa, the purpose of the collection is to preserve the art of African goldsmithing while inspiring contemporary design. Temporary exhibitions from countries as diverse as India, 60

Brazil, Mali and Egypt explore commonality across geographical borders and cultural divides. 8 - Koopmans-De Wet House Cape Town Central City and Bertram House www.iziko.org.z/koopmans Hiddingh Campus, Gardens | www.iziko.org.za The Iziko Museums of Cape Town has a number of historic houses under its management, each ZLWK VLJQLÀFDQW FROOHFWLRQV LQ IXUQLWXUH SDLQWLQJV silverware, ceramics and other artefacts from both the Dutch and British periods. 9 - 5REEHQ ,VODQG 0XVHXP Robben Island | www.robben-island.org.za From the 17th to the 20th century Robben Island served as a place of banishment, isolation and imprisonment. Today it is a World Heritage Site and its museum a poignant reminder to the newly democratic South Africa of the price paid for freedom. Besides its recent history connected to the anti-apartheid struggle and as the site of Nelson Mandela’s incarceration of 18 years, it has ERWK D PLOLWDU\ KLVWRU\ DQG ÁRUD DQG IDXQD WKDW make it a unique environment. It is reached from the iconically designed (by Lucien le Grange) Nelson Mandela Gateway at the V&A Waterfront where further displays can be seen. 10 - The Castle of Good Hope Cape Town Central City www.castleofgoodhope.co.za Built between 1666 and 1679 by the Dutch East India Company, the Castle is the oldest surviving colonial building in South Africa. Managed by the military, it houses the Castle Military Museum and the Iziko William Fehr Collection and is a popular tourism venue, exhibition facility and events space.

PRESERVING MEMORY The District Six Museum remembers not only those families forced out of District Six, but acknowledges forced removals that occurred across the globe.

QUESTION 8 World Design Capital 2014

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

11 - Cape Town Holocaust Centre Gardens | www.ctholocaust.co.za A memorial museum erected in honour of millions of Jews massacred during the Second World War, in particular featuring footage of Holocaust survivors now living in South Africa. 12 - District Six Museum Cape Town Central City | www.districtsix.co.za A monument to the destruction of a community which followed the 1966 declaration by the South African government proclaiming certain areas as being for whites only. This museum commemorates not only the memories of the 60 000 residents that were displaced and their homes and businesses bulldozed, but acknowledges the history of forcedremovals globally. 13 - /ZDQGOH 0LJUDQW /DERXU 0XVHXP Lwandle | www.lwandle.com Working as a memorial to the system of migrant labour, single sex hostels and the control of black workers through the identity document (the infamous passbook) which controlled the lives of black South Africans under apartheid. The museum UHPLQGV UHVLGHQWV DQG YLVLWRUV RI WKH KRUULÀF OLYLQJ conditions that the migrant labour system imposed and includes installations and photo essays from famous South African artists. 14 - South African Jewish Museum Gardens | www.sajewishmuseum.co.za The museum, situated next to the majestic Old 6\QDJRJXH FLUFD DQG WKH ÀUVW WR EH EXLOW LQ the country), traces the history of South Africa’s -HZLVK FRPPXQLW\ VLQFH WKH DUULYDO RI WKH ÀUVW Lithuanian immigrants in the early 1800s through the Jewish community’s involvement in the apartheid struggle. 61

b. ART GALLERIES 0RUH WKDQ DUW JDOOHULHV FDQ EH IRXQG LQ DQG DURXQG &DSH 7RZQ 7KH PDMRULW\ RI these are clustered around the Central City, EXW PDQ\ DUH DOVR IRXQG LQ WKH 6RXWKHUQ 6XEXUEV )DOVH %D\ DQG 6WHOOHQERVFK 7KH EXON RI WKH ZRUNV DQG GLVSOD\V LQ WKHVH YHQXHV UHÁHFW 6RXWK $IULFDQ FXOWXUH EXW PDQ\ LQWHUQDWLRQDO ZRUNV DQG GLVSOD\V ZLOO DOVR EH IRXQG &DSH 7RZQ LV UHFRJQLVHG DV D OHDGHU in contemporary, African and wildlife art and antiques in South Africa, with the country’s PRVW DGYDQFHG JDOOHU\ DQG YLVXDO DUWV V\VWHP $ VHOHFWLRQ RI VRPH RI WKH JDOOHULHV DFURVV WKH HQWLUH &LW\ IROORZV

18 - Atlantic Art Gallery Cape Town Central City One of Cape Town’s oldest galleries (it opened its doors in the 1960s), this gallery is home to the works of some of South Africa’s most prominent artists, including John Kramer, Henk Serfontein, Robert Slingsby and Willie Bester.

15 - 3rd iGallery Cape Town Central City Situated in an 18th-century warehouse, the gallery showcases exhibitions exploring contemporary South African issues and alternatives its work every two months.

20 - Cape Gallery Cape Town Central City Exhibited here are many landscape paintings created by local South African artists. Trendy street art also makes a prominent appearance.

16 - Artapart Woodstock | waw@wam.co.za This gallery prides itself on its collection of funk art and functional art and represents a wide network of local artists and artwork.

17 - $VVRFLDWLRQ IRU 9LVXDO $UWV Cape Town Central City | www.ava.co.za The City’s acclaimed “AVA” is a non-profit artistsled gallery and one of the oldest in the City. Each year around 50 different art exhibitions are hosted here, several at a time, with the sole purpose of promoting local up-and-coming contemporary artists, who often debut their works in the gallery. It also runs the Artreach fund to support financially challenged artists.

19 - $57 % /LEUDU\ &HQWUH Bellville | www.artb.co.za Art.b, the Arts Association of Bellville, is a FRPPXQLW\ RULHQWDWHG QRQ SURÀW RUJDQLVDWLRQ supportive of established and emerging artists. Art.b’s art gallery showcases the visual art and artists of the Western Cape. The gallery is maintained and managed with the support of the City of Cape Town.

21 - Cape Glass Studio Cape Town Central City www.capeglassstudio.com A collaboration between the Cape Glass Studio (the first kiln-formed glass studio of its kind in South Africa) and EDGE Glass Gallery (the country’s only glass gallery), this gallery provides the first venue of its kind in the country where the best of South African glass art can be viewed under one roof. 22 - Centre of African Studies Gallery University of Cape Town, Rondebosch www.cas.ed.ac.uk Presents a series of exhibitions and workshops encouraging interaction between fresh minds from around the City.

23 - Chelsea Gallery Wynberg | home.mweb.co.za/ch/chelsart/gallery Nestled in the old Chelsea Village of Wynberg in the Ou Pastorie, the Chelsea Gallery showcases leading South African artists and hosts monthly contemporary art exhibitions.

28 - G2 Art Cape Town Central City | www.g2art.co.za This gallery is home permanently to a selection of South African-based artists (Roelie van Heerden, Jenny Merritt, Grada Djeri and Anthony Gadd) while also hosting a variety of rotating works.

24 - Curious, Whetstone & Frankley Observatory www.curiouswhetstoneandfrankley.com This young and vibrant gallery prides itself on being unconventional, without compromising on quality. (UGPDQQ &RQWHPSRUDU\ DQG 7KH 3KRWRJUDSKHUV 25 - Gallery ZA Cape Town Central City www.erdmanncontemporary.co.za This gallery is reserved for cutting-edge creations by photographers (among them Obie Oberholzer, /LHQ %RWKD 0HODQLH &OHDU\ DQG ÀQH DUWLVWV (including Karlien de Villiers, Leonora van Staden, Conrad Botes).

29 - i-Art Gallery Cape Town Central City www.iart.co.za This gallery is described as “a project room for contemporary art” and boasts a number of works of mammoth proportions including the full-length portraits of Matthew Hindley and Zwelethu Mthetwa’s photo studies of Mozambique.

26 - (YHUDUG 5HDG V&A Waterfront www.everard-read-capetown.co.za The gallery – one of three in South Africa – has DFFHVV WR WKH ÀQHVW ZRUNV IURP DEURDG DQG DURXQG the sub-continent, but takes particular pride in discovering and sustaining a growing stable of Cape-based artists. A quarter of this gallery also houses “Die Kunskamer” – renowned for handling South African masters of the last century as well as contemporary works. 27 - Goodman Cape Woodstock | www.goodman-gallery.com &RQVLGHUHG WR EH RQH RI WKH PRVW VLJQLÀFDQW contemporary art galleries in the country, the Cape Town branch represents some of the best of Cape artists including Brett Murray, Willie Bester and David Goldblatt.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

EXPRESS YOURSELF Cape Town prides itself not only on its permanent art galleries, but on the many venues around town that can become exhibition space for temporary collections, such as the Spier Contemporary held in the City Hall in 2010.

30 - Irma Stern Museum and Art Gallery Rosebank | www.irmastern.co.za Governed by the University of Cape Town and the Trustees of the Irma Stern Estate, the gallery is housed in the former home of famous South African Expressionist, Irma Stern (1894-1966). It hosts a permanent exhibition of the artist’s paintings, drawings, ceramics and sculpture, as well as her private collection of early European furniture and African and Oriental art. 31 - João Ferreira Gallery Cape Town Central City www.joaoferreiragallery.com This gallery features a selection of local Southern African artists as well as a selection of international artists. These include Alan Alborough, Bridget Baker, Dorothy Kreutzfeldt, Egon Tania, Jonathan Garnham, Eleonora Rossi, Julia Rosa Clark, Mark Hipper, Paul Edmunds, Robert Hodgins, Sam Nhlengethwa, Stephan Inggs and others.

(A)CROSS CULTURE With the City being a “melting pot” of people, Cape Town artists often express themselves across a number of cultural experiences and expressions, combining nuances of contemporary art with traditional African form.

32 - Johans Borman Fine Art Gallery Cape Town Central City www.johansborman.co.za This offers a showcase of the best South African Old Masters and some top contemporary artists. 33 - Michael Stevenson Gallery Woodstock www.michaelstevenson.com Michael Stevenson has been dealing in South African art since 1990. Initially focusing on 19th and 20th century paintings, as well as art from Africa, the business expanded to encompass contemporary South African art in 2003. It represents major artists Bernie Searle, Anton Kannemeyer, Nandipha Mthambo, David Goldblatt and more. 34 - Michaelis Gallery Hiddingh Campus, University of Cape Town, Gardens This is the only gallery in the country dedicated to video art. It forms part of the Michaelis School of Fine Arts, established in 1925 and exhibits students’ work, as well as that of local and international artists. 35 - 0LVDHO 6$ $UW DQG 'HVLJQ Cape Town Central City| www.misael.co.za This gallery is a collaboration between Italian architect Arrigo Cora and South African architect Y Tsai, and exhibits art, design, fashion, ceramics, furniture and photography. 36 - 5DZ 9LVLRQ *DOOHU\ Woodstock www.rawvisiongallery.com A relatively new gallery that promotes the work of South African and international artists, photographers, sculptors, ceramicists and animators. 37 - 8UEDQ &RQWHPSRUDU\ $UW 8&$ *DOOHU\ Observatory | www.ucagallery.com A new white-cube space featuring contemporary artworks by emerging and established artists. 64

38 - US Art Museum and Gallery Stellenbosch http://admin.sun.ac.za/usmuseum This gallery forms part of the University of Stellenbosch campus and hosts local and international artists as well as student shows. 39 - Wessel Snyman Creative Cape Town Central City A cutting edge gallery space, this venue is UHGHÀQLQJ DQG GHYHORSLQJ FRQWHPSRUDU\ ÀQH DUW in South Africa. 40 - What if the World Woodstock | www.whatiftheworld.com This fast-rising exhibition space creates a forum for emerging South African contemporary artists, and was nominated in 2007 by Contemporary Magazine (London) as one of the “Top 50 Emerging Galleries from around the World” It has also published numerous catalogues and artist monographs. 41 - Worldart Cape Town Central City| www.worldart.co.za Since opening in 2004, this gallery has become associated with a small stable of respected South Africa artists of the pop persuasion, including international respected talent such as Gavin Rain, Richard Scott, Alex Hamilton, Michael Taylor and Ayanda Mabulu. 42 - <RXQJ %ODFNPDQ Gardens | www.youngblackman69.com This project room gallery facilitates highly interactive dialogue between the artist and the visitor. Taking advantage of the shop-front quality of their space, the co-owners present exhibitions designed to be seen from outside looking into the gallery, and are often of a nature that they illicit such responses as bricks being thrown through windows, or “censorship” of the work by members of the public who have taken to whitewashing the outside. Pushing the envelope of acceptability and daring, this tiny gallery has a huge following and has effectively brought art onto the streets.

65 BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

c. THEATRES &DSH 7RZQ·V WKHDWUH VFHQH UHÁHFWV WKH FXOWXUDO PL[ WKDW LV UHVRQDQW ZLWK WKH DUHD 7KH VFHQH LQFOXGHV D QXPEHU RI PDLQVWUHDP DV ZHOO DV IULQJH WKHDWUHV RIIHULQJ WKH EHVW RI ERWK RXU KRPH JURZQ SHUIRUPLQJ DUWV WDOHQW DQG SRSXODU DUWLVWV IURP DEURDG 7KHUH DUH DOVR D VLJQLÀFDQW QXPEHU RI WKHDWUHV RIIHULQJ DPDWHXU GUDPDWLFV DQG SRSXODU PXVLFDO UHYXHV

43 - Artscape Theatre Centre Cape Town Central City | www.artscape.co.za While the outside of this building is pure 1970s, the facilities inside are state-of-the-art. At the heart of the theatre complex is the 1 187-seat opera house and a 540-seat theatre. There is a 120-seat arena and a 100-seat cabaret venue. Artscape is Cape Town’s home to an opera company, a ballet company, the city’s Philharmonic company and one of the top contemporary dance companies in the country - Jazzart. 44 - Baxter Theatre Centre Rondebosch | www.baxter.co.za Belonging to the University of Cape Town, this theatre complex with three venues (a 666-seat theatre, a 638-seat concert hall and the intimate Golden Arrow 172-seat studio theatre) provides a forum for dance, music and live theatre. Established in 1960, it has drawn on indigenous stories and talent and created a uniquely South African theatre tradition including cutting-edge drama, comedy and musicals. 45 - Barnyard Theatre Tygervalley | www.barnyardtheatre.co.za Part of a national network of theatres, it hosts popular touring shows. 46 - )XJDUG 7KHDWUH Cape Town Central City | www.thefugard.com Located in the heart of Cape Town on the edge of District Six, the Fugard Theatre is a new 220-seat theatre which has been beautifully designed within a renovated historic warehouse and church space. It is named after South African, Athol Fugard, a living, internationally recognized theatre legend. 47 - Joseph Stone Theatre Athlone Opened in 1969 as the new home for the Eon Group (established 1933), a once formidable performing arts unit from District Six who were relocated here post forced removals. It is one of the few theatres LQ DQ XQGHUSULYLOHJHG DUHD ,W LV D QRQ SURÀW VSDFH actively used by the local community.

FAMOUS FUGARD The Fugard Theatre is housed in an historic old church and warehouse space, and is named for one of South Africa’s most famous theatrical playwriters and actors, Athol Fugard.

QUESTION 8 World Design Capital 2014

49 - Maynardville Open Air Theatre Wynberg | www.maynardville.co.za This outdoor venue has a unique 720-seat theatre setting and is most famous for the annual “Shakespeare in the Park” event which seasonally attracts a 20 000-strong audience. 50 - Masque Theatre Muizenberg | www.muizenberg.info/masque The intimate 170-seat Masque Theatre plays host to a variety of professional and semi-professional productions. 51 - 7KH 0DJQHW Observatory | www.magnettheatre.co.za Established as the home of the Magnet Theatre Company in 2010, it hosts the company’s cuttingedge physical theatre productions and serves as a space for education. 52 - Milnerton Playhouse Milnerton | www.milnerton.info/Playhouse/ 7KLV WKHDWUH SURGXFHV DERXW ÀYH SRSXODU DPDWHXU productions a year and is open to touring shows. 53 - On Broadway Cape Town Central City | www.onbroadway.co.za This is a 200-seat, cameo theatre committed to Cape Town’s cabaret scene, and is housed in the premises of the Old Space Theatre (historically known as one of South Africa’s boldest anti-apartheid theatres). 54 - 2XGH /LEHUWDV Stellenbosch | www.oudelibertas.co.za This open-air amphitheatre on one of South Africa’s oldest wine farms was opened in 1977 by the worldrenowned Russian pianist and conductor Vladimir

Ashkenazy. It hosts the best in performing arts during the summer season. 55 - Spier Auditorium Stellenbosch | www.spier.co.za Part of a highly successful wine farm complex that includes numerous facilities including a hotel and cheetah conservation park. The 430-seat outdoor auditorium has hosted major acts from around the world and South Africa. 56 - Theatre in the District District Six Based in the original St Phillip’s Church with its high barrel-vault ceiling (1885). For two decades from the 1980s, the building became the home of the Community Arts Project providing alternative arts education to the disadvantaged. It now continues the focus with youth arts skills training and with performances of Woza Cape Town.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

48 - Little Theatre Hiddingh Campus, University of Cape Town, Gardens This theatre has become known for its cutting-edge productions staged by the students of the university, showcasing the next generation of actors and writers. Many of the country’s internationally renowned actors KDYH FURVVHG LWV ÁRRUERDUGV

57 - Theatre on the Bay Camps Bay | www.theatreonthebay.co.za Owned by South African-borne international theatre impressario Pieter Toerien, this intimate 257-seat theatre stages contemporary plays, farces, musical tributes and reviews. 58 - The Pavilion V& A Waterfront | www.thepavilion.co.za A 300-seat theatre popular for the hosting of live shows including stand-up comedy, jazz and rock. 59 - The Playhouse Somerset West | www.playhouse.com Run by the Hottentots Holland Dramatic Society, the Playhouse puts on musicals, reviews and live shows. 60 - 9LOOD 3DVFDO 7KHDWUH Durbanville | www.villapascal.co.za Owned by renowned French chanteuse Danielle Pascal and partner Eugène Lebreton, this is an intimate, multi-cultural venue offering live entertainment by local as well as international performers. 67

UNDER ONE ROOF The Good Hope Centre is a multi-purpose venue that has hosted some of the City’s largest events, and has even been the home of the creative industries’ Loeries Awards in the past few years.

d. CULTURAL CENTRES There are literally hundreds of community FHQWUHV WKURXJKRXW &DSH 7RZQ DV ZHOO DV IRXU PXOWL SXUSRVH FHQWHUV WKDW KRVW HYHU\WKLQJ IURP DUWV DQG GDQFLQJ WR ZHLJKWOLIWLQJ DQG RWKHU VSRUWV 7KHVH DUH PRUH RIWHQ WKDQ QRW UXQ E\ ORFDO JRYHUQPHQW DQG LQ VRPH FDVHV KDYH EHHQ IXQGHG E\ QDWLRQDO RU SURYLQFLDO JRYHUQPHQW ZKR SOD\ VRPH UROH LQ WKHLU PDQDJHPHQW 7KHUH DUH DOVR PDQ\ QRQ SURÀW DQG FRPPXQLW\ RZQHG DQG UXQ IDFLOLWLHV DV ZHOO 0DQ\ RI WKHVH FXOWXUDO FHQWUHV DOVR KRVW UHJXODU SUDFWLFH VHVVLRQV RI WKH troupes that participate in the annual Minstrels’ &DUQLYDO 7KH PRVW VLJQLÀFDQW FXOWXUDO FHQWUHV LQ &DSH 7RZQ DUH QRWHG KHUH

61 - Centre for the Book Cape Town Central City | www.nlsa.ac.za Boasting a beautiful original Edwardian dome, the building was initially designed as the home for the ÀUVW XQLYHUVLW\ LQ &DSH 7RZQ 7KH &HQWUH LV DQ DUP RI the National Library of South Africa and is dedicated to the promotion of reading, writing and publishing LQ DOO HOHYHQ RIÀFLDO 6RXWK $IULFDQ ODQJXDJHV ,W LV actively involved within communities, organizing reading, writing workshops, book launches, cultural events and conferences. 62 - 'LVWULFW 6L[ +RPHFRPLQJ &HQWUH Cape Town Central City | www.districtsix.co.za A part of the District Six Museum, the Homecoming Centre is used to extend the work of the museum by KROGLQJ VSHFLÀF H[KLELWLRQV DQG SURGXFWLRQV UHOHYDQW to the history of the people of Cape Town. 63 - *XJD V·7KHEH $UWV DQG &XOWXUH &HQWUH Langa This is a multi-purpose cultural and recreational centre that host exhibitions, along with local poetry readings, drama and traditional dancing. It was designed by architect, Carin Smuts, and is an iconic 68

building attracting the interest of tourists as well as locals. It was developed as part of a national community centre development programme through the RDP (Reconstruction and Development Programme) post-apartheid. Other multipurpose centres include Bonteheuwel, Hartebeeskraal (Atlantis) and Zolani Centre (Nyanga). 64 - 0HONERV &XOWXUDO &HQWUH Melkbosstrand 32km north of Cape Town Central City, this venue is surrounded by dunes and protected, rare and LQGLJHQRXV VWUDQGYHOG DQG I\QERV ÁRUD DQG IDXQD There is access to the beach and panoramic views of Robben Island, Table Mountain and Table Bay. It has the capacity for 107 beds and a hall capacity of 220. It is administered by the provincial government’s department of Cultural Services, for use primarily by youth groups. 65 - Okkie Jooste Cultural Centre Stellenbosch 65km from Cape Town Central City in Stellenbosch, this centre is situated in the Jonkershoek Nature Reserve in the Boland mountains. It has 260 beds available and a hall capacity of 300. 66 - Hout Bay Amphitheatre Hout Bay This venue brings the performing arts to Hout Bay, with special emphasis placed on community involvement and development. 67 - Lookout Hill Khayelitsha %XLOW DV SDUW RI WKH 'LJQLÀHG 6SDFHV 3URJUDPPH RI the City of Cape Town, this is a beautifully designed platform on the largest sand dune in Cape Town and offers views over South Africa’s second biggest township, with Mitchells Plain next door and Table Mountain in the distance (40km away). It has an exhibition space and auditorium and hosts exhibits periodically.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

MULTIPURPOSE VENUES 68 - The Cape Town International Convention Centre Cape Town Central City |www.cticc.co.za Including within its venue over 11 200m2 of dedicated exhibition space along with auditoriums and function rooms boasting seating for over 4 000, the CTICC is used regularly to stage everything from theatre productions and Cape Town Fashion Week, to the annual Cape Town International Jazz Festival and the Design Indaba Conference and Expo. 69- The Good Hope Centre Cape Town Central City Built in 1976 by engineer Pier Luigi Nervi, this domed-shaped building is equally appreciated and loathed by Capetonians. It has an exhibition hall and conference centre that boasts an enormous arch with tie-beams on each of the four vertical facades and two diagonal arches supporting two intersecting barrel-like roofs, which in turn were constructed from pre-cast concrete beams on the edges. The exhibition centre offers a wide range of

spaces and a total of 4500m² of space. The venue has a maximum capacity of 7 000. For many years it was the largest venue in the Central City and thus it hosted most of Cape Town’s expos, sporting events and numerous conferences, until the opening of the CTICC in 2003. 70 - The Bellville Velodrome Bellville An indoor sports facility seating 6 000, this venue has hosted sports and cultural events. A R2.2-billion development is planned on the site to include conferencing and more. 71 - Zip Zap Theatre Cape Town Central City A massive tent set up on the Founder’s Garden next to the Artscape Theatre Centre is home to one of Cape Town’s most interesting empowerment experiences through the teaching of circus skills to children and young adults. The venue is also a very unique multi-purpose space. 69

e. LIBRARIES AND ARCHIVES 7KHUH DUH OLEUDULHV VSUHDG DFURVV ERWK WKH &LW\ RI &DSH 7RZQ DQG 6WHOOHQERVFK 2I WKHVH WKH PRVW VLJQLÀFDQW LV WKH &HQWUDO /LEUDU\ LQ WKH 'ULOO +DOO 'DUOLQJ 6WUHHW &DSH 7RZQ &HQWUDO &LW\ ,W KDV D VLJQLÀFDQW FROOHFWLRQ RI DUW DQG PXVLF UHODWHG UHVRXUFHV DV ZHOO DV D VXEVWDQWLDO /RFDO +LVWRU\ &ROOHFWLRQ DQ HQWUHSUHQHXULDO WUDLQLQJ SURJUDPPH DQG LV WKH PRVW YLVLWHG OLEUDU\ LQ WKH UHJLRQ ZLWK RYHU YLVLWV D \HDU &DSH 7RZQ KDV VRPH RI WKH PRVW LQWHUHVWLQJ DQG XQLTXH DUFKLYHV LQ WKH FRXQWU\ 7KH DUFKLYDO KLVWRU\ RI WKH FRXQWU\ FDQ EH DFFHVVHG DW D QXPEHU of sites which also include unique collections UHODWHG WR WKH &DSH UHJLRQ VXFK DV WKH %OHHN DQG //R\G FROOHFWLRQ RI LQGLJHQRXV SHRSOH 6$ 1DWLRQDO /LEUDU\ DQG WKH .LUE\ &ROOHFWLRQ RI $IULFDQ PXVLFDO LQVWUXPHQWV 6$ &ROOHJH RI 0XVLF 8&7 ,Q DGGLWLRQ 7KH :HVWHUQ &DSH $UFKLYHV DQG 5HFRUGV 6HUYLFH KRVWV WKH PDLQ JRYHUQPHQW DUFKLYH DQG LV D IDYRXULWH IRU JHQHDORJLFDO UHVHDUFK D ÀOP DUFKLYH LV DFFHVVLEOH YLD WKH SURYLQFLDO JRYHUQPHQW OLEUDU\ VHUYLFHV WKH 0D\LEX\H &HQWUH DW WKH 8QLYHUVLW\ RI :HVWHUQ &DSH LV WKH NH\ DUFKLYH RQ WKH DQWL DSDUWKHLG VWUXJJOH and the Iziko Social History Centre hosts access to the Iziko Museums’ extensive social history FROOHFWLRQ RI DUWLIDFWV DQG GRFXPHQWV

f. OTHER /,9( 086,& &DSH 7RZQ LV WKH KRPH WR VRPH RI WKH JUHDWHVW 6RXWK $IULFDQ MD]] FRPSRVHUV DQG PXVLFLDQV ZKR KDYH EHHQ QXUWXUHG WKURXJK WKH &DUQLYDO WUDGLWLRQ ² OHJHQGV OLNH $EGXOODK ,EUDKLP 'ROODU %UDQG DQG WKH ODWH JUHDW 5REELH -DQVHQ KDYH DOO FRPH IURP &DSH 7RZQ $ \RXQJHU JHQHUDWLRQ RI URFN UDS IXQN and alternative musicians have now taken over DQG D QXPEHU RI OLYH PXVLF YHQXHV DURXQG WKH &LW\ UHJXODUO\ IHHG WKH IDQ EDVH ² WKH PRVW LPSRUWDQW RI WKHVH DUH LQGLFDWHG EHORZ 7KHUH DUH DOVR D FRQVLGHUDEOH QXPEHU RI FOXEV DQG EDUV ZKR KRVW ORFDO and international DJs around the City, too many to PHQWLRQ 6XIÀFH WR VD\ WKDW &DSH 7RZQ OLYHV XS WR LWV UHSXWDWLRQ DV D SDUW\ FDSLWDO ZLWK YHQXHV WR PDWFK

72 - Zula Sound Bar Cape Town Central City | www.zulabar.co.za A live music venue focusing on soul hop, funk, reggae, street poetry, beatbox, rap and everything in between. 73 - Mercury Live Cape Town Central City | www.mercuryl.co.za A long-running and important alternative live-music venue which is also attached to a music rehearsal space – Kill City Blues. 74 - 7KH $VVHPEO\ Cape Town Central City | www.assembly.co.za A slick live-music venue which can easily take a crowd of 1 000. It is the City’s home of rock and electro.

CENTRALLY SITUATED Cape Town’s main library (below left) is the Central Library situated in the Central City.

QUESTION 8 World Design Capital 2014

76 - Green Dolphin Bar V & A Waterfront | www.green-dolphin.co.za The City’s main jazz venue. 77 - The Cape Town City Hall Cape Town Central City | www.cityhall.co.za Initially the home of the municipal administration, since 1979 this venue has been a cultural center with a focus on music. It is home to concerts of the City’s Philharmonic Orchestra, and is currently going through a R7-million upgrade. In addition the venue has hosted important visual art shows. 78 - +XJR /DPEUHFKW 0XVLF &HQWUH Parow | www.hugolambrechts.co.za Inaugurated in 1986, this centre recently received a considerable upgrade by the City. It maintains a high standard of musical training in all the symphonic instruments (strings, woodwind, brass and percussion) as well as piano, singing and theory. It hosts 12 student orchestras. It has 25 music rooms, and a 450-seat auditorium for regular concerts. 79 - Marcus Garvey Community Hall Phillipi The center of Cape Town’s large Rastafarian community, this “free space” is less live music and more DJ – but the material spun is predominantly ORFDOO\ PDGH ² 3KLOOLSL LV KRVW WR D VLJQLÀFDQW number of reggae musicians, labels and home recording studios as well as the long-running Ghetto Sound Studio.

FILM &DSH 7RZQ LV D NH\ ÀOP IHVWLYDO FHQWUH LQ WKH FRXQWU\ ZLWK WZR PDMRU ÀOP IHVWLYDOV ² 7KH (QFRXQWHUV Documentary Film Festival and the Out in Africa Film Festival - as well as a number of smaller festivals held throughout the year. There are currently 19 multiplex complexes throughout the region between two major national cinema chains (Ster Kinekor and Nu Metro) with a total of 141 screens between them. Of these only one complex (with eight screens) exists within a previously disadvantaged area (Mitchells Plain). Both chains cater for the mass-market as well as art-house screenings in smaller niche cinemas.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

75 - 6ZLQJHUV -D]] &OXE Wynberg A Cape Town institution famous for jazz evenings and in particular its Monday jam sessions.

80 - 7KH /DELD &LQHPD Gardens | www.labia.co.za This is one of the oldest remaining independent cinema complexes in the City although its life did originally start as a live performance venue in 1949. It has six screens between two venues with between 66 and 176 seats per cinema. 81 - Cape Town Film Studios Faure | www.capetownfilmstudios.co.za $ KLJKO\ VLJQLÀFDQW DVSHFW RI WKH ORFDO ÀOP LQIUDstructure is this newly developed studio complex with world-class stages and backlot space never before seen on the continent. With phase one recently completed, Cape Town is now in a position to host WKH SURGXFWLRQ RI PDMRU LQWHUQDWLRQDO ÀOPV DQG KDV VLJQHG D GHDO WR ÀOP WKH QHZ Judge Dredd ÀOP LQ ' WKH ÀUVW ' ÀOP WR EH VKRW LQ $IULFD

QUESTION 11: Cities are encouraged to develop a theme around which to plan activities and promotion. Provide an outline of your proposed theme.

Throughout the introduction to this bid, we explore and elaborate on Cape Town’s World Design Capital theme: “Live Design. Transform Life”. The core part of our bid is to place people and their lived experiences at the centre of design, using design which is socially responsive to transform the lives of citizens for the better. In this way the aim is to make Cape Town a better city for all. Design has been used in South Africa to divide people during apartheid, and in the case of cities such as Cape Town, relegating both people of colour and the urban poor to the fringes of the City – physically and psychologically. It denied these people equitable access to resources and opportunities, and in turn denied them from making their own contributions towards a better City. Apartheid’s legacy also made the country a pariah in the eyes of the world and excluded it from many opportunities to engage in the globalising economy. As Capetonians, we therefore recognize our City as having been disconnected as a result of our past. In the last 20 years we have started to live out our theme for this bid: we have begun to use design to transform lives and make the reconnections. :H·YH VHHQ VLJQLÀFDQW SRVLWLYH FKDQJHV in South Africa: an increased selfFRQÀGHQFH HFRQRPLF JURZWK DQG WKH 2010 FIFA World CupTM introducing VLJQLÀFDQW LQIUDVWUXFWXUH UHSRVLWLRQLQJ 78

us as a friendly country that can deliver. Cape Town is felt by many to be a city of inspiration and it has begun to shine as a creative city. Coming together in networks of committed citizens, in forums involving government, the business FRPPXQLW\ WKH QRQ SURÀW VHFWRU DQG DFDGHPLD Cape Town has begun to re-imagine itself. Leading up to the 2010 FIFA World CupTM there was considerable behind-the -scenes visioning processes within our tourism agencies, in business circles and around urban nodes. Through this process a shared vision for Cape Town has emerged of an inclusive, innovative, entrepreneurial, sustainable and African City. Our bid, via the overall theme of “Live Design. Transform Life.” connects to that vision and organizes itself under three sub-themes: Rebuild, Reconnect and Reposition. Rebuild This is linked to our past and particularly to our communities. This sub-theme recognises that, on the one hand, we are a strong communityfocused city but on the other hand that we need to continue to rebuild community systems weakened during apartheid. The projects we look forward to taking place by 2014 through this sub-theme include aspects related to safety and security, housing, peace, history and memory as well as new opportunities to build community groups. Reconnect This is linked to our present, in particular the road we have travelled for the past two decades since democracy. This sub-theme recognises the extensive developments undertaken to establish new connective infrastructure. Some of this work began

QUESTION 11 World Design Capital 2014

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

in the 1990s but much of it, like our Integrated Rapid Transport system (IRT) is still in process with at least a decade to completion. Many of our projects under this sub-theme relate to infrastructure around our physical disconnectedness – public transport, better systems around non-motorised transport including bicycle and pedestrian networks, new public spaces and facilities for gathering, and a more “wired” city for the information age. However reconnection is also about the building of organisational support and cross-sector partnerships. Reposition This sub-theme is linked to our future. Cape Town has set its sights on being an important player in the global knowledge economy. It recognizes in this the importance of the creative industries, universities and colleges and our position as a leading economy in Sub-Saharan

“

“Our vision is to see Cape Town become a place that not only attracts the world, but that does so with a conscience that will result in real growth, social transformation and development across its many communities.” Mariette du Toit-Helmbold CEO, Cape Town Tourism

Africa. This sub-theme is based on evidence in Cape Town of design thinking that is emerging in all areas of design and becoming more socially responsive and contextually relevant. New urban design and architecture is transforming neglected spaces LQWR KDELWDEOH SODFHV LQGXVWULDO GHVLJQ LV ÀQGLQJ VROXWLRQV IRU RXU VSHFLÀF QHHGV WKURXJK SURGXFWV DQG VHUYLFHV ZKLOH JUDSKLF SURGXFW DQG VXUIDFH GHVLJQ LV LQFUHDVLQJO\ ÀQGLQJ D ORFDO YRLFH Cape Town is witnessing the emergence and celebration of highly rated furniture, jewellery, crafts, fabrics, clothing, publications and advertising. This sub-theme is geared towards repositioning ourselves in the global economy and promoting innovation and economic growth for our City in key areas. Projects under this subtheme include a major design and informatics innovation district, a design museum, projects entrepreneurship, hubs for innovation in the life sciences including a health technology park, and spaces for interdisciplinary advancement in the creative sectors. As important is the need to reposition ourselves as a City with a sustainable future and a social conscience towards issues of climate change. Likewise we need to become a city that embraces WKH FRQFHSW RI GHQVLÀFDWLRQ DQG LQ SDUWLFXODU WKH creation of affordable housing close to the areas where people work.

Bidding for World Design Capital 2014 is our opportunity to use the energy of our present to reinvent ourselves as a city: to use design to overcome our past, rebuild our communities, reconnect us with each other and reposition us towards a new future as an African city poised to make a global impact, economically, socially and environmentally. We recognise that we can, as a city, realize our vision and build on the growing design talents and assets if we embrace a design culture in the bid to address the challenges we still face. In this way we can transform Cape Town, collectively, into a city that works for all its citizens. Our bid for World Design Capital 2014 is a means of GRLQJ WKLV SURYLGLQJ WKH SODWIRUP DQG WLPHIUDPHV for using design towards a better city that will indeed transform lives.

QUESTION 11

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

World Design Capital 2014

A VISION FOR THE FUTURE An image from the MultipliCity competition to stimulate new ideas for transforming our urban landscape, included numerous ideas for the Central City’s “unfinished highways”.

DESIGN INFRASTRUCTURE

QUESTION 16: Provide a list and description of existing design facilities in the city. This could include (but need not be limited to) the following:

Until recently design in South Africa has not been seen as a discrete sector and as a result Cape Town (like other South African cities) has relatively low levels of hard infrastructure dedicated exclusively to design. This is because much of government’s key focus has been on transforming existing institutions and providing access to basic services and housing, rather than on building new facilities for the creative industries. Because design in South African has not had the VRUW RI VSHFLÀF SXEOLF VHFWRU SROLF\ GHYHORSPHQW or investment it needs, it has developed by default through existing institutions as well as through VLJQLÀFDQW SULYDWH VHFWRU LQYHVWPHQW DQG YLD WKH QRQ SURÀW VHFWRU 1. EIBTM is the leading global event for the meetings and events industry, held annually in Barcelona.

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Events, for example, have become an important vehicle for developing the design sector – often initiated by the private sector and part-supported E\ JRYHUQPHQW 7KH JURZWK RI VSHFLÀF GHVLJQ focused web resources and the predominance of design-related material in the country’s publishing sector also shows a strong local interest in design. It should be recognised in all of these areas related to design – Cape Town is the undisputed leader in South Africa and arguably on the continent.

Also, as the de facto centre for visual arts, and in particular Cape Town’s rising prominence in contemporary arts globally, means that much of the visual arts infrastructure has been used to promote design in recent years – from education to exhibitions and through to sales. However, much of Cape Town’s success can be attributed to the success of Design Indaba. This has become a respected institution on the creative landscape and one of the few global events that celebrates all the creative sectors - graphic design, DGYHUWLVLQJ ÀOP PXVLF IDVKLRQ GHVLJQ LQGXVWULDO design, architecture, craft, visual art, new media, publishing, broadcasting and performing arts sector. Its tireless and innovative approach to promoting design since 1995 has seen it position &DSH 7RZQ DV D GHVLJQ OHDGHU %HVLGHV LWV ÁDJVKLS conference and expo, Design Indaba has grown into a multi-tier experience that incorporates an extensive range of elements such as events, publications, education, training, business, development and community initiatives. With a focus on international thought leadership, the Design Indaba Conference has become one of the world’s leading design events and hosts more than 40 speakers and 2 500 delegates. Independently curated with a focus on case studies and ingenious problem-solving, rather than simply eye-catching portfolios, conference alumni are contemporary industry pacesetters. In 2005, the Design Indaba Conference was awarded the EIBTM1 award for Best Conference in the World, and won Best Live (YHQW DW WKH /RHULHV $ZDUGV ,W LV D QRQ SURÀW initiative founded and managed by Ravi Naidoo of Interactive Africa.

QUESTION 16 World Design Capital 2014

The near collapse of South Africa’s textile industry has meant public sector investment into both the clothing and textile sector and more recently into the development of the fashion industry itself. In WKLV ÀHOG WKH &DSH 7RZQ )DVKLRQ &RXQFLO ZRUNLQJ LQ WKLV ÀHOG LV D QDWLRQDO OHDGHU The section on the Design Industry (Questions 17 and 18) which follows picks up on many of these areas. a.

Design museums

ancient gold civilisations of Southern Africa. The purpose of the collection is to preserve the art of African goldsmithing while inspiring contemporary design. Temporary exhibitions from countries as diverse as India, Brazil, Mali and Egypt explore the commonality of this theme across geographical borders and cultural divides.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

A growing concern for job creation amongst the marginalised communities of the country has led to public sector investment in particular into craft promotion and development. This focus builds on long traditions of craft-making especially in African societies – bringing these age-old hand-crafted forms into the contemporary age. African-inspired craft traditions have in turn inspired new product development and led to the creation of much sought-after design pieces from furniture to fashion and other household objects. Cape Town has considerable strengths in this respect due to LQVWLWXWLRQV OLNH WKH QDWLRQDOO\ VLJQLÀFDQW &DSH &UDIW and Design Institute (CCDI) amongst others.

Iziko Museums of Cape Town (www.iziko.co.za), various venues in Cape Town Iziko museums, through its extensive social history FROOHFWLRQ LWV VLJQLÀFDQW FROOHFWLRQV IURP &DSH Town, Africa and Europe of furniture, jewellery, clothing and cutlery from the seventh to the twentieth centuries, host regular exhibitions of these collections at its various sites. In addition the museum has hosted in its art galleries noteworthy shows on architecture and design. These include retrospectives of Mozambicanborn architect Pancho Guedes (2008) and South African architect Jo Noero as well as The DaimlerChrysler SA Architecture Exhibition (2007/2008). Iziko’s museums are a collection of sites which are part of the national museum system. (See Question 8)

We note the following facilities in support of this question. Gold of Africa Museum (www.goldofafrica.com), Cape Town Central City This museum is home to a collection of West African gold artefacts as well as objects from the

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A number of design museums are currently in proposal or planning phases. These include the Modila Design Museum proposal which envisages an iconic design space in the City. By 2014 it is anticipated that the City will also be home to a dedicated design museum in the Design Park as SDUW RI 7KH )ULQJH &DSH 7RZQ·V ,QQRYDWLRQ 'LVWULFW This museum will work in conjunction with the Cape 3HQLQVXOD 8QLYHUVLW\ RI 7HFKQRORJ\·V )DFXOW\ RI Informatics and Design and will service the design sector broadly. A Transport Museum is still in the early planning stages. b. Design-focused galleries The Cape Institute for Architecture (www.cifa.org.za), Cape Town Central City. This is a dedicated gallery for architectural design. ^ÀHOG RIÀFH` Cape Town Central City This is a unique design space doubling as a coffee shop. Run by furniture designers Pedersen + Lennard, it hosts regular changing exhibits on design. Multi-purpose galleries exist at several education institutes which mainly feature annual end-ofyear design exhibitions of student work. These LQFOXGH DPRQJ RWKHUV &DSH 3HQLQVXOD 8QLYHUVLW\ of Technology (CPUT), the University of Cape Town (UCT), Cape College, City Varsity, the AAA School of Advertising and BHC School of Interior Design.

The {field office} in The Fringe. 120

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ONE OF A KIND A unique undertaking by local designers, Pedersen + Lennard, has lead to the {field office}, a design space-cum-remoteoffice-cum-coffee shop where creative professionals can mingle and work.

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Several specialist commercial design stores also operate as design galleries. c.

Dedicated centres or wings within cultural centres devoted to design

Montebello Design Centre (www.montebello.co.za), Newlands Over twenty arts and craft studios, workshops, and a forge are located on this site which is the result of D ÀQDQFLDO DQG SURSHUW\ EHTXHVW E\ &HFLO 0LFKDHOLV ,W LV D VLJQLÀFDQW VSDFH IRU GHVLJQ GHYHORSPHQW DQG promotion. It’s PROD (product design, research and opportunity development) programme is an outreach project run as part of the Centre’s mandate to promote craft and design. The Cape Craft and Design Institute (CCDI) and FabLab (www.capecraftanddesign.org.za), Cape Town Central City The CCDI was created to promote and grow craft as an economic sector in the Western Cape. It is a joint initiative of the Western Cape Provincial Government, the Advanced Manufacturing Technology Strategy (AMTS) of the Department of Science and Technology, and CPUT. The CCDI is a centre for innovation that provides a state-of-theart resourced venue aimed at encouraging design,

VIBRANT CRAFT Guga s’Thebe Cultural Centre in Langa was beautified by local artists using traditional craft skills and is rich in cultural symbolism.

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QUESTION 16 World Design Capital 2014

7KH )DE/DE DOVR JLYHV DFFHVV WR PRUH WUDGLWLRQDO manufacturing processes. It provides a platform for skilled crafters and designers to promote technical excellence, skills upgrading, knowledge transfer and access to technology and resources they may not otherwise be able to access. It also enables designers and crafters to create prototypes of products and to test samples of products on the market. There is currently no cost in using WKH )DE/DE DQG LW LV RSHQ WR DQ\RQH ZKR UHTXLUHV assistance in designing and developing fresh ideas. The Cape Town Fashion Council (CTFC) (www.ctfc.co.za), Cape Town Central City 7KH &7)& ZDV UHJLVWHUHG DV DQ LQGXVWU\ DVVRFLDWLRQ in 2006, to represent, develop, support and grow the Western Cape fashion sector. The Council represents over 350 members including local fashion brands and industry stakeholders within the clothing and textiles value chain. The strategic JRDOV RI WKH &7)& DUH WR SURYLGH LQLWLDWLYHV WKDW develop and support the fashion industry in the Western Cape, and ensure that local fashion designers access, maintain and grow their market share.

Guga s’Thebe Cultural Centre Langa This architectural beauty in Langa, the work of architect Carin Smuts of CS Architects, runs regular classes in ceramics and photography among others. It was originally built to provide a home for arts, culture and heritage for the Western Cape and is today a vibrant centre that serves as a focal point for cultural enrichment in Langa.

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product development and process technologies for crafters and designers in the Western Cape. The &&', DOVR LQFRUSRUDWHV D )DEULFDWLRQ /DERUDWRU\ )DE/DE VSRQVRUHG E\ WKH 0DVVDFKXVHWWV ,QVWLWXWH of Technology (MIT – USA). This laboratory is a high-tech facility with open-source design software linked to digital desktop manufacturing.

Freeworld Design Centre (www.freeworldcoatings.com), Cape Town Central City This design centre is the initiative of the company, )UHHZRUOG &RDWLQJV DQG LV FRQWULEXWLQJ WR WKH rejuvenation of a historical area of Cape Town which VLWV DORQJ WKH &LW\·V QHZ )DQ :DON URXWH FRQQHFWLQJ the Central City to the Cape Town Stadium in Green Point. The complex consists of a new design centre with showroom for designers, an auditorium IRU GHVLJQ UHODWHG HYHQWV D FDIp RIÀFH VSDFH meeting rooms and a rooftop entertainment area. The building centres on an open-air courtyard with IRXQWDLQV ZDWHUZD\V DQG IUHH :L )L IRU YLVLWRUV Art centres, various Cape Town locations The following art centres have a strong focus on art and design and serve both students and the SXEOLF 7KH ÀUVW WZR DUH SDUWLFXODUO\ VWURQJ RQ WHDFKHU WUDLQLQJ DQG KDYH KDG D VLJQLÀFDQW LPSDFW on improving the standard of visual arts and design HGXFDWLRQ DW VFKRROV )UDQN -RXEHUW $UW &HQWUH 1HZODQGV Battswood Art Centre, Grassy Park Tygerberg Art Centre, Parow Millstraat Art Centre, Strand PJ Olivier Art Centre, Stellenbosch 123

SILENCE PLEASE International sci-fi author and Capetonian Lauren Beukes during a visit to the Cape Town Central Library.

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QUESTION 16

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

World Design Capital 2014

d. Sections of libraries devoted to design The Central Library (Cape Town Central City) has an extensive collection of visual arts and design UHVRXUFHV ,W LV WKH PRVW VLJQLÀFDQW ORFDO UHVRXUFH and is widely used. The University of Cape Town has strong designbased resources in its various libraries across its six campuses. It has a dedicated architecture library and a dedicated creative arts library with a VLJQLÀFDQW GHVLJQ FROOHFWLRQ The Cape Peninsula University of Technology has an extensive up-to-date design collection in its &HQWUDO &LW\ FDPSXV OLEUDU\ FDWHULQJ IRU LWV )DFXOW\ RI Design and Informatics. All other institutions offering design programmes, listed in the section under design education (see Question 20), include design reference collections in their libraries. e. Other Much of Cape Town’s design infrastructure base is currently on-line and embedded in South Africa’s design and lifestyle publishing sector. These are explained in more detail in Question 24. 125

DESIGN INDUSTRY

QUESTION 17: List any professional organisations that exist locally and/or nationally to represent designers. The following design-related organisations include those which have programmes that support design in one form or another.

African Fashion International (AFI) www.africanfashioninternational.com This organisation runs key strategic fashion-related marketing initiatives in Africa throughout the year. It hosts the African Fashion Awards. Its focus is on strengthening the quality of fashion design output from Africa, promoting a contemporary African GHVLJQ DHVWKHWLF DQG UDLVLQJ WKH SURÀOH RI WKH continent’s diverse design talent. It hosts fashion weeks in major South African cities including Cape Town. Animation SA www.animationsa.org A representative body for the development of the animation and new media industry. It has branches in Cape Town and Gauteng. Arterial Network www.arterialnetwork.org A network of African artists, festivals, creative industry companies, NGOs and other arts DVVRFLDWLRQ LWV DGPLQLVWUDWLYH RIÀFHV DUH LQ &DSH 7RZQ LQ WKH RIÀFHV RI WKH $IULFDQ $UWV ,QVWLWXWH Secretariats in east, west, north and central Africa are being set up. It was mooted during March 2007 at a conference on Goree Island, Senegal to revitalise cultural assets. Formally established in 2009 after a conference in Johannesburg attended by 132 delegates from 28 countries, it has an 126

extensive array of projects, holds conferences around the continent and has a regular news service via the internet. Association for Communication and Advertising (ACA) www.acasa.co.za The members of this body represents advertising agencies in South Africa and are responsible for the production of the bulk of all advertising appearing in South Africa. The Advertising Standards Authority of South Africa (ASA) www.asasa.org.za This is an independent body set up and paid for by the marketing communications industry to regulate advertising in the public interest through a system of self-regulation. By working closely with government, statutory bodies, consumer organisations and the industry it ensures the content of advertising meets the requirements of the Code of Advertising Practice.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

LIGHTING UP THE FASHION WORLD Fashion apparel from local designer Darkie Clothing.

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Business and Arts South Africa (BASA) www.basa.co.za BASA was established in 1997 as a joint initiative between government and the business sector to secure the development of the arts industry in South Africa. The BASA supporting grant scheme is applied to support existing sponsorship by business of the arts, across all genres. Cape Craft and Design Institute (CCDI) www.capecraftanddesign.org.za (VWDEOLVKHG DV D QRQ SURÀW HQWLW\ WKH &&', ZDV incubated at the Cape Peninsula University of Technology as a sector body to support the development of the craft sector in the Western Cape. It is supported by a range of partners including provincial and local government and is considered one of the most successful craft development bodies nationally. It has a range of product-development, enterprise-training and market-access programmes. Cape Town Design Network (CTDN) www.creativecapetown.net This is a network based in Cape Town which arose out of the World Design Capital bid process. Its interim board is made up of key design professionals – many of whom run their own businesses. Cape Town Fashion Council (CTFC) www.ctfc.co.za Established by the Provincial Government of the Western Cape with the support of the clothing and textile industry and designers, this is the key body 128

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“We design and write bold, innovative, ‘out of the box’ software. Imagine what we can do if we bring together our filmmakers, storytellers and designers with our software professionals.” Jenny McKinnell,

executive director of the Cape IT Initiative

supporting the development of a fashion industry in the province. It runs a range of programmes, supports market access and manages a fashion WHFKQRORJ\ VWDWLRQ ,W ZDV WKH ÀUVW ERG\ RI LWV NLQG and was set up in 2006. Cape Film Commission (CFC) ZZZ FDSHÀOPFRPPLVVLRQ FR ]D 7KH &DSH )LOP &RPPLVVLRQ LV WKH RIÀFLDO representative of the City of Cape Town and the Provincial Government of the Western Cape, for the economic development, marketing and promotion RI WKH ÀOP LQGXVWU\ WKURXJK D VWUDWHJ\ RI JURZWK integration and transformation. Cape Institute for Architecture www.cifa.org.za 7KH &DSH ,QVWLWXWH IRU $UFKLWHFWXUH LV DIÀOLDWHG WR WKH South African Institute of Architects (SAIA) and is one of eleven regional institutes. Its objectives are to: promote the art, science, research and practice of architecture; serve the interests of its members;

QUESTION 17 World Design Capital 2014

Cape IT Initiative (CITi) www.bandwidthbarn.org and www.citi.org.za CITi was established in 1998 in Cape Town to support the Information and Communication Technology (ICT) sector in the Western Cape. It is a highly successful sector body working between government and the private sector. It has placed a strong focus on convergence between different sectors, recognising the connection between ICT and design. It manages one of the most successful incubator hubs in the country for ICT and related industries, namely Bandwidth Barn. Ceramics Southern Africa www.ceramics-sa-cape.co.za The group fosters the art of ceramics and craft pottery by encouraging its development, recognition and appreciation. The Cape Region has a skills development programme to equip candidates from poor communities with the skills training required to bridge the gap between tertiary education and the job market. Commercial Producers Association (CPA) www.cpasa.tv This is the professional association of companies specialising in the production of television and cinema commercials.

Consortium of African Film and Television Practitioners (CAFTEP) $ QRQ SURÀW RUJDQLVDWLRQ GHGLFDWHG WR WKH development of African audio-visual practitioners (cinema, television and multimedia) and to organise the marginalised communities into an economic sector that, with government and big business, can GHYHORS WKH ÀOP DQG WHOHYLVLRQ LQGXVWU\ IRU DOO

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uphold the dignity of the profession through maintaining a code of conduct, professional competence and integrity, which has been established by its DIÀOLDWHG ERGLHV WKH 6RXWK $IULFDQ ,QVWLWXWH RI Architects (SAIA) and the South African Council for the Architectural Profession (SACAP). It has a venue which hosts talks and exhibitions.

Design Education Forum of Southern Africa (DEFSA) www.defsa.org.za A professional organization of design educators, spanning most design disciplines such as industrial, graphic, interior, clothing, ceramic, textile, jewellery, as well as commercially focused photography. Documentary Filmmakers Association (DFA) ZZZ GRFÀOPVD FRP This is an organisation which represents both HVWDEOLVKHG DQG HPHUJLQJ GRFXPHQWDU\ ÀOPPDNHUV in South Africa. Engineering Council of South Africa (ECSA) www.ecsa.co.za ECSA is the association that regulates the registration of engineers in South Africa. Institute of Interior Design Professions (IID) www.iidprofessions.com The only professional body representing the interior design industry in South Africa, it operates nationally with representation in Gauteng, KwaZuluNatal and the Eastern and Western Cape. The Institute is dedicated to establishing, promoting 129

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“The Cape Craft and Design Institute reaches out into rural areas and spends a great deal of energy promoting the sector through our Handmade Cape brand, to increase consumer awareness and love of the local.”

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FEELING AFRICAN-INSPIRED A label nurtured by the Cape Craft and Design Institute, Feeling African has gone international.

Erica Elk, Executive Director, CCDI

QUESTION 17 World Design Capital 2014

Jewellery Council of South Africa (JCSA) www.jewellerysa.com In South Africa, the Jewellery Council represents most retail jewellers and sets a level of standards within the industry. MAPPP SETA www.mappp-seta.co.za This is a sector training authority that supports and facilitates education and training in the media, DGYHUWLVLQJ DQG YLVXDO DUWV ÀOP DQG HOHFWURQLF PHGLD cultural heritage, publishing, printing and packaging sectors. MAPPP-SETA assists organisations, who pay levies in this economic sector, to raise skills levels, therefore making the sector more competitive and sustainable in global markets. National Arts Council (NAC) www.nac.org.za A government-funded body, which distributes funding to arts organisations around the country. It has a peer review mechanism and is the main source of government funding other than the government regulated National Lottery fund. Professional Photographers of Southern Africa (PPSA) www.professionalphotographers.co.za This the only representative body for practicing SKRWRJUDSKHUV DQG RWKHUV ZKR DUH DIÀOLDWHG WR

the photography industry in Southern Africa. The Institute has played an important role in the development and promotion of the professional photography industry in Southern Africa. Publishers Association of SA (PASA) www.publishsa.co.za BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

and maintaining expertise, professionalism, sound business practice and high standards throughout the industry. The IID is a Member of IFI, the International Federation of Interior Architects & Designers.

PASA is the largest publishing industry body in South Africa, and is committed to creativity, literacy, WKH IUHH ÁRZ RI LGHDV DQG HQFRXUDJLQJ D FXOWXUH RI reading. Its aims are to: promote and protect the rights and responsibilities of the publishing sector in South Africa; promote creativity, literacy, and WKH IUHH ÁRZ RI LGHDV HVWDEOLVK DQG DSSO\ SROLF\ guidelines and codes of conduct; examine policy or legislative proposals likely to affect publishing. It is responsible for the Cape Town Book Fair and produces an extensive annual directory. It is based in Cape Town at the Centre for the Book. Silicon Cape www.siliconcape.com This is a dynamic membership-based structure set up in 2009 to further the ICT sector and focuses largely on entrepreneurs. It regards itself as a “nonSURÀW FRPPXQLW\ RZQHG DQG GULYHQ PRYHPHQW IRU entrepreneurs, geeks, venture capitalists, angel investors, marketers and other professionals in the IT industry. South African Bureau of Standards (SABS) Design Institute www.sabs.co.za/designinstitute 7KH 6$%6 'HVLJQ ,QVWLWXWH SURPRWHV WKH EHQHÀWV of good design in order to stimulate the economic and technological development of South Africa. It focuses on design and education – nurturing 131

and developing design leadership; design and industry – promoting design in industry, supporting new product development and marketing South Africa as an innovative, industrialised country; design and development – developing Southern Africa through focused design projects for developing communities in rural and urban areas; comprehensive information and liaison activities which involve all initiatives. The Design Institute coordinates several award schemes to acknowledge design excellence and innovative products across South Africa. South African Graphic Design Council (THINK) www.think.org.za Also known as The Brand Design Council of South Africa, the council serves the needs of the graphic and visual communication design professionals in South Africa. It works to provide an appropriate voice for the profession of graphic design in South Africa to its members, the public, government, and the business community. South African Guild of Interior Designers (SAGID) www.sagid.co.za SAGID promotes and recognizes the professional stature of its members and guides consumers in making use of its members. The South African Council for the Architectural Profession (SACAP) www.sacapsa.com This is the regulatory authority for the architectural profession.

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South African Institute of Architects www.saia.org.za 7KLV LV D YROXQWDU\ DVVRFLDWLRQ RI DIÀOLDWHG DQG regional institutes established in 1996 and incorporates the previous national Institute of South African Architects (established in 1927) and the regional Institutes of Architects. The Institute is a member of the Africa Union of Architects, the Commonwealth Association of Architects, the International Union of Architects, the International Commission on Monuments and Sites, and the International Committee Documentation and Conservation of buildings, sites and neighbourhoods of the modern movement. SA Publication Forum www.sapublicationforum.co.za This is a group that is committed to improving and promoting corporate publications throughout South Africa. Through the forum, publication practitioners get together to network, train and share ideas with each other. The South African National Association for the Visual Arts (SANAVA) www.sanava.co.za SANAVA has its origins dating back to 1851 when the Cape Fine Arts Society (CFAS) was established. It is a representative body for visual arts in South Africa. It is focussed on the development of artists and administers three fully equipped artists’ studios in the Cité Internationale des Arts in Paris, France. These were acquired during the early 1990s in terms of an occupational rights agreement, valid till 2060.

IDEAS FROM SCRATCH Capetonian Adri Schutz wanted to design and produce innovative, export-quality handcrafted products using local and recycled QUESTION 11

materials. The idea behind Mielie, a range World Design Capital 2014 of handbags, rugs and other items born in 2002, was that such products could create employment and ensure dignity and financial independence to township women. Most of the

Visual Arts Network of South Africa (VANSA) www.vansawesterncape.org.za

work is produced at the dining room tables of the capable artists in their homes across the City. This colourful ball made of recycled t-shirt strips was popular during the World Cup. The head office, workshop and studio of Mielie is at the Montebello Art and Design Centre in Newlands, Cape Town.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

VANSA is a national membership-based body which has been in existence since 2003 and has positioned itself to serve the needs of the visual arts industry and its members. It receives support from a number of sectors as well as from national government. The semi-autonomous Western Cape branch has a special status as a preferred sector body by the provincial and local government. Both run programmes to support the industry. Western Cape Furniture Initiative (WCFI) www.capefurniture.za.org WCFI was established to develop and grow the furniture industry in a sustainable manner through the implementation of programmes and interventions that will improve the industry skills and make the local furniture industry globally competitive. It works to provide training, conduct research and other services to improve the capabilities, competence and capacity of the local industry as well as the development of managerial skills of middle and senior managers in the furniture industry. It has a strong focus on design and manages an annual design competition in furniture. It was established as a sector body between government and business.

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QUESTION 18:

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List the key design industries in your city. How KDYH WKH\ PDGH D VLJQLÀFDQW LPSDFW RQ WKH VRFLDO FXOWXUDO DQG HFRQRPLF GHYHORSPHQW RI WKH FLW\"

“The ‘design economy’ is regarded as a growth catalyst with design and creative-based businesses outperforming their peers and offering huge potential for creating jobs, generating wealth and growing local and export markets.”1 Ravi Naidoo, Interactive Africa MD and founder of Design Indaba

The creative industries in Cape Town include: - graphic design, - advertising, ÀOP DQG YLGHR PXVLF SHUIRUPLQJ DUWV - fashion and jewellery design, - product and surface design, QHZ PHGLD VXFK DV WKH ,QWHUQHW DQG FHOO SKRQHV - publishing, - radio and television, - visual art, - architecture and - crafts. 2WKHU WUDGLWLRQDO PDLQVWUHDP LQGXVWULHV VXFK DV ÀQDQFLDO VHUYLFHV DOVR WDS LQWR WKH EHQHÀWV of innovation to ensure outstanding products and services. The City of Cape Town is positioning itself as an LQQRYDWLRQ KXE LQ $IULFD ,W LV DOUHDG\ UHQRZQHG IRU PHGLFDO EUHDNWKURXJKV ² ÀIW\ \HDUV DJR WKH ÀUVW KHDUW WUDQVSODQW WRRN SODFH KHUH DQG LW FRQWLQXHV WR LQQRYDWH LQ WKH ELRWHFK DUHQD ,Q WKH FRQFHSW FDU -RXOH $IULFD·V ÀUVW DOO HOHFWULF FDU GHYHORSHG E\ :RRGVWRFN EDVHG FRPSDQ\ 2SWLPDO (QHUJ\ KLW the roads. 'HVLJQ LQ &DSH 7RZQ LV EHFRPLQJ D FRPPHUFLDOO\ thriving industry and is growing an enabling HQYLURQPHQW IRU GHVLJQ 5HVHDUFK FRQGXFWHG E\ Creative Cape Town has shown the Central City DORQH KDV PRUH WKDQ RQH WKRXVDQG HQWHUSULVHV involved in creative industries (particularly designOHG ÀUPV DQG RUJDQLVDWLRQV &DSH 7RZQ DOVR KDV PDQ\ H[DPSOHV RI GHVLJQHUV active in socially responsible initiatives and

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The following elaborates further on each of WKH NH\ LQGXVWULHV RI WKH &LW\ MEDIA 7KLV VHFWRU LQFOXGHV DGYHUWLVLQJ FRPPXQLFDWLRQV graphic design, television and radio broadcasting, ÀOP 79 SURGXFWLRQ LQFOXGLQJ FRPPHUFLDOV DQG DQLPDWLRQ QHZVSDSHUV DQG PDJD]LQHV SULQWLQJ DQG SXEOLVKLQJ 6RPH RI WKH ODUJHVW SULQWLQJ DQG SXEOLVKLQJ FRPSDQLHV LQ 6RXWK $IULFD DUH EDVHG in the Western Cape, including Naspers, the ODUJHVW GLYHUVLÀHG PHGLD FRPSDQ\ LQ WKH FRXQWU\ 5DPVD\ 0HGLD 3LFDVVR +HDGOLQH DQG +LJKEXU\ 6DÀND 0HGLD $GYHUWLVLQJ FRPPXQLFDWLRQV DQG JUDSKLF GHVLJQ &DSH 7RZQ LV KRPH WR D QXPEHU RI ODUJH DQG VPDOO FRPPXQLFDWLRQV DGYHUWLVLQJ SXEOLF UHODWLRQV DQG JUDSKLF GHVLJQ FRPSDQLHV DV ZHOO DV PDQ\ LQGLYLGXDO JUDSKLF GHVLJQHUV ZRUNLQJ LQ WKH HOHFWURQLF PHGLD :KLOH -RKDQQHVEXUJ LV WKH DFNQRZOHGJHG OHDGHU LQ UHVSHFW WR WKH DGYHUWLVLQJ LQGXVWU\ VLQFH PRVW EXGJHWV RULJLQDWH LQ WKDW FLW\ &DSH 7RZQ LV DWWUDFWLYH WR VPDOO FRPSDQLHV because of the lifestyle opportunities on offer as well as lower barriers of entry.

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DFWLYLWLHV DQG ZKR DUH PDNLQJ D GLIIHUHQFH 7KHVH LQFOXGH IDVKLRQ DQG VXUIDFH GHVLJQHUV ZRUNLQJ ZLWK SULVRQ LQPDWHV WKH HOGHUO\ DQG SHRSOH OLYLQJ ZLWK +,9 $,'6; product designers helping to equip DUWLVDQV IRU LQIRUPDO IXUQLWXUH SURGXFWLRQ JUDSKLF designers lending their talents to socially conscious FDPSDLJQV DUFKLWHFWV FR GHVLJQLQJ DIIRUGDEOH KRXVLQJ DQG LQIRUPDWLRQ WHFKQRORJ\ SUDFWLWLRQHUV KHOSLQJ LQ WKH UHKDELOLWDWLRQ RI IRUPHU JDQJVWHUV GUXJ DGGLFWV DQG RWKHU PHPEHUV RI FRPPXQLWLHV LQ WHQVLRQ 7KHVH NLQGV RI DFWLYLWLHV EHVW LOOXVWUDWH WKH SRZHU RI GHVLJQ WKLQNLQJ LQ GLYHUVH VHWWLQJV

7KHUH DUH PRUH WKDQ DGYHUWLVLQJ DQG FRPPXQLFDWLRQV FRPSDQLHV EDVHG WKURXJKRXW &DSH 7RZQ ² PDQ\ PXOWLQDWLRQDO DQG QDWLRQDO DJHQFLHV KDYH RIÀFHV KHUH EXW D ODUJH QXPEHU RI &DSH 7RZQ FRPSDQLHV DUH WKHPVHOYHV VHHQ DV leaders in the sector. 7KH /RHULHV $ZDUGV LV 6RXWK $IULFD·V SUHPLHU DZDUGV FHUHPRQ\ ,WV QHZ UDQNLQJ V\VWHP EDVHG RQ WKH QXPEHU RI DZDUGV ZRQ SODFHV &DSH 7RZQ KLJK LQ DOPRVW DOO FDWHJRULHV ,W SURYLGHV HYLGHQFH WKDW DJHQFLHV VXFK DV .LQJ -DPHV 1HWZRUN %%'2 2JLOY\ &DSH 7RZQ -XSLWHU 'UDZLQJ 5RRP DQG )2;3 DUH QDWLRQDO OHDGHUV DQG LQFUHDVLQJO\ $IULFDQ OHDGHUV LQ WKH DGYHUWLVLQJ DQG FRPPXQLFDWLRQV VHFWRU ,Q WHUPV RI WKH GLJLWDO DZDUGV &DSH 7RZQ ² LQ ² KDG HLJKW RXW RI WHQ FRPSDQLHV DV OHDGLQJ DJHQFLHV LQ WKH /RHULHV ,Q WKH JUDSKLF GHVLJQ SKRWRJUDSKHU DQG LOOXVWUDWLRQ VHFWRUV DJDLQ &DSH 7RZQ UDWHV KLJKO\ 7KH 3UHVLGHQW DQG &ROH\ 3RUWHU %HOO &DSH 7RZQ DUH OHDGLQJ JUDSKLF GHVLJQ DJHQFLHV ZKLOH D &DSH 7RZQ DJHQF\ 6SDU[ 0HGLD UHSUHVHQWV DOO OHDGLQJ 6RXWK $IULFDQ LOOXVWUDtors with a large percentage of these based in Cape 7RZQ 3KRWRJUDSKHUV KHUH DUH DOVR OHDGLQJ SOD\HUV LQ WKH ÀHOG DQG DUH UHSUHVHQWHG E\ VXFK DJHQFLHV DV ,QÀGHOV &UHDWLYH 5HSUHVHQWDWLRQ

&RPPHQW EDVHG on research by the UK Design Council in Design ,QGH[ 7KH LPSDFW of Design on 6WRFN 0DUNHW 3HUIRUPDQFH which shows that the share prices of 63 design-led FRPSDQLHV RXWSHUIRUPHG NH\ VWRFN PDUNHW LQGLFHV WKH )76( DQG )76( $OO 6KDUH ,QGLFHV E\ D IXOO RYHU \HDUV IURP 'HFHPEHU WR 'HFHPEHU &UHDWLYH &DSH Town is a project of the Cape Town 3DUWQHUVKLS WKH coordinators of WKH %LG %RRN RQ behalf of the City.

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“My creativity went through the roof when I landed in this City. There have always been phenomenal creative people in Cape Town to live up to. And you do your best work when you’re working with the best people.” Alistair King Director of King James Advertising and Communication

7HOHYLVLRQ 5DGLR %URDGFDVWLQJ *DXWHQJ GRPLQDWHV WKH WHOHYLVLRQ EURDGFDVWLQJ LQGXVWU\ LQ 6RXWK $IULFD DV KRPH WR ERWK WKH SXEOLF EURDGFDVWHU 6$%& DQG FDEOH QHWZRUN 0 1HW EXW WKH Western Cape is the base of the privately owned, public broadcaster, e.tv. The free-to-air station broadcasts news, sport, local and international HQWHUWDLQPHQW 2Q WKH UDGLR IURQW DQG ZKLOH LWV FLWL]HQV HQMR\ WKH QDWLRQDO VWDWLRQV DV ZHOO &DSH 7RZQ LV KRPH WR D UDQJH RI ZHOO VXSSRUWHG UHJLRQDOV VWDWLRQV *RRG +RSH )0 &DSH 7DON .)0 )LQH 0XVLF 5DGLR DQG D QXPEHU RI FRPPXQLW\ VWDWLRQV LQFOXGLQJ %XVK 5DGLR DQG WKH SUHGRPLQDQWO\ ;KRVD VSHDNLQJ =LERQHOH )LOP 79 3URGXFWLRQ $FFRUGLQJ WR D &DSH )LOP 5HSRUW LQ WKH WRWDO turnover of the Western Cape production industry ZDV HVWLPDWHG DW 5 ELOOLRQ IRU WKH ÀQDQFLDO \HDU RI ZKLFK DERXW 5 EQ ZDV GHULYHG LQ WKH &LW\ RI &DSH 7RZQ /RQJ IRUP ZLWK D WXUQRYHU RI 5 EQ ZDV WKH ODUJHVW SDUW RI WKH LQGXVWU\ 7KLV LV IROORZHG E\ FRPPHUFLDOV DW 5 EQ DQG VWLOOV DW DQ HVWLPDWHG 5 EQ 7KHUH

136

DUH RYHU PDMRU SURGXFWLRQ FRPSDQLHV DQG D SOHWKRUD RI VPDOOHU FRPSDQLHV DFWLYH LQ WKH &LW\ &DSH 7RZQ LV DOVR D NH\ FHQWUH IRU ÀOP IHVWLYDOV KRVWLQJ WKUHH PDMRU ÀOP IHVWLYDOV DQG D QXPEHU RI VPDOOHU IHVWLYDOV 7KH QHZO\ HVWDEOLVKHG &DSH 7RZQ )LOP 6WXGLR LQ )DXUH LV D 5 PLOOLRQ LQYHVWPHQW LQ WKH ORFDO ÀOP LQGXVWU\ RI ZKLFK 5 P ZDV IXQGHG E\ JRYHUQPHQW 7KH HGXFDWLRQDO VHFWRU VHUYLFLQJ ÀOP DQG WHOHYLVLRQ SURGXFWLRQ LV DOVR VWURQJ ZLWK D QXPEHU RI WHUWLDU\ LQVWLWXWLRQV DQG SULYDWH FROOHJHV active in the region. &DSH 7RZQ·V DQLPDWLRQ LQGXVWU\ GHVHUYHV D VSHFLDO PHQWLRQ LQ WKLV FDWHJRU\ ,Q &RQUDG 0XUUD\ D JUDGXDWH RI WKH &LW\·V 7KH $QLPDWLRQ 6FKRRO ZHQW RQ WR ZLQ DQ (PP\ $ZDUG IRU ZRUN GRQH RQ WKH 6FL )L &KDQQHO PLQLVHULHV ´7KH 7ULDQJOHµ 7KLV LQGLFDWHV a strong turnaround in this sector of the industry: RQO\ WHQ \HDUV DJR WKH LGHD RI DQLPDWLRQ DV D FDUHHU SDWK IRU D \RXQJ 6RXWK $IULFDQ ZDV DERXW DV IDQWDVWLFDO DV WKLV LPDJLQDWLYH YLVXDO DUW IRUP LV LQ LWVHOI 0DMRU SOD\HUV LQ WKH DQLPDWLRQ ÀHOG LQ &DSH 7RZQ LQFOXGH 7ULJJHU )LVK &ORFNZRUN =RR DQG $WRPLF ); DPRQJVW RWKHUV :LWK D ERRP LQ DQLPDWLRQ EORFNEXVWHUV DQG ZLWK 6RXWK $IULFD JDLQLQJ JURXQG DV RQH RI WKH WRS ÀOP GHVWLQDWLRQV LQ WKH ZRUOG LW LV QRZ DOVR EHFRPLQJ FRPSHWLWLYH LQ WKH DQLPDWLRQ LQGXVWU\ ORRNLQJ WR WDFNOH ELJ LQWHUQDWLRQDO SURMHFWV /RFDO DQLPDWLRQ VWXGLRV RI DSSUR[LPDWHO\ WR SHRSOH DUH SURGXFLQJ ZRUN RI WKH VDPH TXDOLW\ DV PXFK ODUJHU VWXGLRV RI SHRSOH LQ GLYHUVH SDUWV RI WKH ZRUOG IURP WKH )DU (DVW WR /RV $QJHOHV ZLWK WKH ORFDO LQGXVWU\ DOVR EHLQJ PXFK PRUH FRVW HIIHFWLYH DQG SURGXFWLYH 2QH RI WKH ELJJHVW SUREOHPV IDFLQJ the industry however is capacity to contend with LQWHUQDWLRQDO SURMHFWV WKDW PD\ HPSOR\ DQ\WKLQJ

AN ANIMATED INDUSTRY On a quiet street corner in the Central City is the office of Clockwork Zoo, one of South Africa’s most successful animation houses servicing both local

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and international markets.

PLANTING THE SEED Cape Town has a thriving publications industry, from local versions of international magazines to independent publishing houses, one of which publishes the design magazine, One Small Seed.

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1HZVSDSHUV DQG 0DJD]LQHV The 'DLO\ 6XQ is one of the new tabloid newspapers WKDW KDV VKDNHQ XS WKH :HVWHUQ &DSH PDUNHW EUHDNLQJ D FRPSHWLWRU·V SUHYLRXV ÀJXUH IRU FLUFXODWLRQ DQG UHDFKLQJ VRPH PLOOLRQ UHDGHUV :LWK EDQQHU KHDGOLQHV WKDW RIWHQ EOHQG (QJOLVK $IULNDDQV DQG ;KRVD LQ XQXVXDO DQG ZLWW\ ZD\V this accessible and affordable cheap source of news is snubbing its nose at the prediction that the DJH RI SULQW LV GRRPHG ,QGHSHQGHQW 1HZVSDSHUV SXEOLVKHV GDLO\ DQG ZHHNO\ QHZVSDSHUV DFURVV WKH FRXQWU\·V PDMRU PHWURSROLWDQ FHQWUHV ,Q WKH :HVWHUQ &DSH WKH JURXS SXEOLVKHV PDLQVWUHDP titles such as the daily &DSH 7LPHV the Cape Argus, ZHHNHQG SDSHUV VXFK DV WKH 6DWXUGD\ $UJXV and the 6XQGD\ $UJXV DV ZHOO DV PRQWKO\ FRPPXQLW\ newspapers and the daily tabloid, the Daily News. Die Burger ´7KH &LWL]HQµ LV WKH :HVWHUQ &DSH·V ODUJHVW PDLQVWUHDP GDLO\ $IULNDDQV QHZVSDSHU DQG RQH RI LWV ROGHVW 1DVSHUV WKURXJK 0HGLD RZQV LW DV LW GRHV WKH FRPPXQLW\ WLWOHV LW FLUFXODWHV LQ the Boland, including (LNHVWDG 1HZV LQ 6WHOOHQERVFK 6HYHUDO RI 0HGLD ·V PDJD]LQH WLWOHV LQFOXGLQJ local versions of international syndications such as 0HQ·V +HDOWK are produced through subsidiary SXEOLVKLQJ KRXVH 7RXFKOLQH 0HGLD LQ &DSH 7RZQ

&DSH 7RZQ LV D VLJQLÀFDQW SURGXFHU RI OLIHVW\OH DQG GHVLJQ PDJD]LQHV ZLWK D KRVW RI SXEOLFDWLRQV VXFK DV ZRPHQ·V DQG PHQ·V PDJD]LQHV PRQWKO\ OLVWLQJV WUDYHO DUFKLWHFWXUDO PDJD]LQHV DV ZHOO DV VSHFLDOLVHG FUHDWLYH DQG GHVLJQ PDJD]LQHV such as &KLPXUHQJD, $57 6$ 9LVL and 2QH 6PDOO 6HHG. A local version of the international, socially UHVSRQVLEOH PDJD]LQH 7KH %LJ ,VVXH, is also produced in Cape Town.

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IURP WR DQLPDWRUV SHU SURMHFW $V D UHVXOW there is a strong partnership between the public VHFWRU LQ WKH IRUP RI VXSSRUW IURP WKH &DSH )LOP &RPPLVVLRQ DQG SULYDWH VHFWRU ZKLFK KDV FRPPLWWHG WR PHQWRULQJ DQG HPSOR\PHQW WR HVWDEOLVK DQ $QLPDWLRQ $FDGHP\ 7KH ÀUVW VLWH IRU WKLV KDV EHHQ FUHDWHG DW WKH )DOVH %D\ &ROOHJH·V *RRG +RSH &DPSXV LQ .KD\HOLWVKD DQG WKH JRDO LV WR FUHDWH IURP DPRQJ FDQGLGDWHV IURP WKH LPSRYHULVKHG &DSH )ODWV MREV VNLOOHG DQLPDWRUV E\

&DSH 7RZQ·V QHZVSDSHU DQG PDJD]LQH LQGXVWULHV LQ WXUQ KHOS VXSSRUW WKH VWURQJ SKRWRJUDSKLF DQG PRGelling industries that are highly active in the City. %RRN SXEOLVKLQJ DQG SULQWLQJ -XWD LV 6RXWK $IULFD·V ROGHVW SXEOLVKHU DQG LV EHVW NQRZQ IRU LWV ODZ UHSRUWV DQG DFDGHPLF SXEOLVKLQJ ,W DOVR KDV D VWURQJ HGXFDWLRQDO GLYLVLRQ DQG SXEOLVKHV JHQHUDO ZRUNV XQGHU LWV 'RXEOH 6WRUH\ LPSULQW -XWD DOVR UXQV 8&7 3UHVV 1HZ $IULFD %RRNV is a leading independent publisher where the QDPH RI 'DYLG 3KLOLS UHQRZQHG DV D WUHQGVHWWHU LQ LQGLJHQRXV SXEOLVKLQJ OLYHV RQ DV DQ LPSULQW /HDGLQJ HGXFDWLRQDO SXEOLVKHU 0DVNHZ 0LOOHU /RQJPDQ·V QDWLRQDO KHDGTXDUWHUV DUH ORFDWHG LQ WKH &DSH 7RZQ VXEXUE RI 3LQHODQGV 5DQGRP +RXVH 6WUXLN LV VLWXDWHG LQ WKH HDVWHUQ SUHFLQFW RI WKH &DSH 7RZQ &%' 0HGLD JLDQW 1DVSHUV FRQWUROV VHYHUDO SXEOLVKLQJ KRXVHV WKURXJK 9LD $IULND Those with headquarters in the City of Cape Town DUH 1DVRX 9LD $IULND VFKRRO ERRNV 1% 3XEOLVKHUV VHYHUDO JHQHUDO LPSULQWV VXFK DV 7DIHOEHUJ DQG 'LHS 5LYHU EDVHG %RRN 3URPRWLRQV WUDGH HGXFDWLRQ 7KH :HVWHUQ &DSH KDV DQ H[FHOOHQW UHSXWDWLRQ IRU TXDOLW\ SULQWLQJ &73 *URXS 3ULQWLQJ LV DPRQJ

WKH OHDGHUV SULQWLQJ VRPH PLOOLRQ ERRNV RYHU PLOOLRQ PDJD]LQHV DQG DERXW PLOOLRQ FRPPHUFLDO SULQW LWHPV HDFK DQG HYHU\ \HDU 3DDUO 0HGLD *URXS 30* KDV SULQWLQJ IDFLOLWLHV LQ WKH QHLJKERXULQJ WRZQ RI 3DDUO DQG D JUDYXUH SODQW LQ &DSH 7RZQ·V LQGXVWULDO DUHD RI 0RQWDJXH *DUGHQV 7KH &DSH 7RZQ %RRN )DLU KDV EHFRPH D PDMRU event in the publishing world. An international SDUWQHU RI 7KH )UDQNIXUW %RRN )DLU LW DWWUDFWV DURXQG H[KLELWRUV KRVWV RYHU HYHQWV DQG DWWUDFWV FORVH WR ORFDO DQG LQWHUQDWLRQDO visitors over four days.

* Based on the DVVXPSWLRQ WKDW WKH &&', GDWDEDVH contains a third of enterprises in the crafts sector in the province. **This is calculated based RQ HVWLPDWHV RI ·V of each enterprise type and average QXPEHU RI HPSOR\HHV SHU enterprise type. *** Based on H[WUDSRODWLRQ IURP turnover listed curio retail outlets in the province. 6RXUFH Western Cape 0LFURHFRQRPLFV 'HYHORSPHQW 6WUDWHJ\ &UDIW 6HFWRU RYHUDOO H[HFXWLYH VXPPDU\ 0D\ prepared by Kaiser Associates (FRQRPLF 'HYHORSPHQW 3UDFWLFH

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Department of Trade and Industry’s Clothing and Textile Competitiveness Improvement Programme WR HVWDEOLVK D FOXVWHU IRU GHVLJQHUV WR EHQHÀW IURP grants in its Export Development Programme for the fashion industry. The programme offers insightful knowledge, presented by Helma International Trading, a locally based export agency which specialises in exporting fashion apparel and accessories to the European market. With a growing allegiance to South African-made goods, local consumer acceptance towards our own manufacturing processes is growing and in turn South African clothing brands continue to grow steadily, contributing as well to the increased revenue of the local manufacturing sector. DESIGN FOR THE CONSTRUCTION AND ENGINEERING SECTORS There are strong mechanical and civil engineering sectors in the Cape – the latter saw the provincial government of the Western Cape inject R3.5-billion into transport and public works in 2009/10, of which R1.67bn was spent on roads and bridges. However, an industry particularly worth mentioning here is the City’s boat design and building industry.

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WIRED INTO THE ECONOMY The local craft industry is supported by a number of organisations involved in the development of skills, amongst them the Streetwires initiative.

The provincial trade and investment agency, :HVJUR KDV LGHQWLÀHG ERDWEXLOGLQJ DV RQH RI LWV VL[ priority sectors. With the erosion of South Africa’s perceived labour advantage, its competitiveness ZLOO EH LQFUHDVLQJO\ GHWHUPLQHG E\ HIÀFLHQF\ DQG productivity which is turn is driven by technology and innovation. This applies to materials, construction techniques as well as other innovations. Cape Town’s boat building sector remains a producer of sturdy, well-designed boats and PXFK RI LWV RXWSXW KDV EHHQ FHUWLÀHG DV PHHWLQJ internationally recognised quality standards. ,W HQMR\V WKH EHQHÀW RI D VROLG VXSSRUWLQJ infrastructure which includes specialist subcontractors, sail-makers, mast-builders and equipment suppliers. There are 75 boatbuilding concerns in South Africa, 42 of which are located in the Western Cape. Export revenue for the leisureboat sector was calculated at R1.25bn in 2007. 6LJQLÀFDQW LQYHVWPHQW LQ GHVLJQ DQG PDWHULDOV technology is vital to enhance the local industry’s LQWHUQDWLRQDO VWDWXV 'HVLJQ FDQ SOD\ D SDUW LQ ÀQGing ways to lower the costs of transporting boats 141

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143

19 DESIGN EDUCATION

QUESTION 19: List the total number of design programmes offered in the city.

Besides university programmes, numerous other facilities add to the creative buzz: the Gordon Institute for Performing and Creative Arts (GIPSCA), the Cape Peninsula University of Technology (CPUT) and 55 other education related entities. Since the 1990s, when tertiary student enrolments spiked nationally, there has been a rapid proliferation of private educational institutions. In Cape Town, HVSHFLDOO\ WKHUH KDV EHHQ D ÁRXULVKLQJ RI VFKRROV specialising in design and the creative arts. To date, a total number of 101 design programmes are offered in the greater Cape Town area, broken down into the following number of programmes at the different institutes: - Government Tertiary Education Institutions: 54 - Government Further Education and Training Colleges: 3 - Government High School Education: 1 - Independent Schools: 43

144

QUESTION 19

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

World Design Capital 2014

“

“Designers on our continent need to focus on the needs of a predominantly youthful population with exceptionally high unemployment rates and other pressing challenges associated with this reality.” Dr Mugendi M’Rithaa Senior lecturer at Cape Peninsula Univeristy of Technology

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QUESTION 20: List all educational institutions offering a design curriculum within the city. For each programme, please specify: a. Name of institution b. Name of programme F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG LH undergraduates, Masters, PhD, or the equivalent in your educational system) d. Average annual numbers of graduates from this programme e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. f. Prominent professors or graduates of the SURJUDPPH V

“

“Social responsiveness has long been part of the ethos of the universities and is supported formally in curricula, research contracts and a broad range of partnerships, as well as informally in a wide variety of student and staff initiatives.”

Nasima Badsha CEO, Cape Higher Education (CHEC)

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1. GOVERNMENT TERTIARY EDUCATION INSTITUTIONS a. NAME OF INSTITUTION &DSH 3HQLQVXOD 8QLYHUVLW\ RI 7HFKQRORJ\ &387 www.cput.ac.za), Central City & Bellville CPUT came into being in 2005 following the merger of the Peninsula Technikon and Cape Technikon. CPUT houses one of the largest design faculties in the country, including one of only two industrial design programmes. The Design and Informatics Departments here are merged recognising the synergies between designers and software programming. b. Name of programme The Faculty of Design and Informatics has the following departments devoted to design: · Architectural technology · Fashion · Film and video · Graphic design · Information technology · Interior design · Multimedia technology · Photography · Three-dimensional design · Town and regional planning · Jewellery design and manufacture · Surface design.

147 BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H XQGHUJUDGXDWHV 0DVWHUV PhD, or the equivalent in your educational system)

LEVELS OF QUALIFICATIONS OFFERED NAME OF UNDERGRADUATE QUALIFICATION

POST GRADUATE STUDIES

National Diploma / B Tech. Technologiae in Architectural Technology

Magister Technologiae in Architectural Technology

National Diploma/ B Tech. Fashion National Diploma In Film & Video Technology National Diploma / B Tech. in Graphic Design

Magister Technologiae/ Doctor Technologiae in Graphic Design

National Diploma/ B Tech. in Information Technology

Magister Technologiae/ Doctor Technologiae in Information Technology

National Diploma / B Tech. in Interior Design

Magister Technologiae in Interior Design

National Diploma / B Tech. in Jewellery Design & Manufacture National Diploma in Multimedia Technology National Diploma / B Tech. Photography National Diploma / B Tech. Degree in Surface Design National Diploma in Three-Dimensional Design B Tech. In Industrial Design National Diploma / B Tech. in Town & Regional Planning

Magister Technologiae in Town & Regional Planning

- Extended First Year Curriculum Programme (for the Design & Architecture disciplines) -

Special curriculum

Architectural Technology

Fashion Design

Graphic Design

Interior Design

Jewellery Design And Manufacture

Surface Design

Three Dimensional Design

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Magister Technologiae / Doctor Technologiae in Design (Generic)

QUESTION 20

d. Average annual number of graduates from this programme.

industrial designer, researcher and senior lecturer in the Industrial Design Department at CPUT.

The average annual total number of graduates from this programme is just over 1 000 students.

Educated in Kenya, the USA, India and South Africa, he has previously lectured in Kenya and Botswana. M’Rithaa is passionate about various expressions of socially responsive design including Design by All/Participatory Design; Design for All/Universal Design; Design for Development and Design for Sustainability. He is a co-founder of Design With Africa (DWA), and is currently an Executive Board member (South Africa) with Icsid.

e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. The Cape Craft and Design Institute (CCDI): a Section 21 company set up by CPUT and the Provincial Government of the Western Cape, with a range of programmes and services that are rolled out to help local craft producers to make use of various business opportunities. In 2010 the CCDI linked craft producers to corporate buyers and retailers to maximise 2010 event-related marketing with products ranging from beaded soccer boots to felt soccer balls. Craft producers are encouraged to make innovative, high quality products. Craft producers eager to perfect a prototype of a product receive hands-on assistance at the CCDI’s FabLab.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

World Design Capital 2014

a. NAME OF INSTITUTION 8QLYHUVLW\ RI &DSH 7RZQ 8&7 ZZZ XFW DF ]D 5RQGHERVFK 6RXWKHUQ 6XEXUEV UCT is South Africa’s oldest university, founded in 1829. It is one of Africa’s most prestigious universities and has six faculties. The Hiddingh Campus in the City houses the Drama and Fine Arts departments. b. Name of programme

f. Prominent professors or graduates of the SURJUDPPH V Past graduates Industrial designers Roelf Mulder and Byron Qually (product design company …XYZ). CPUT faculty member Dr Mugendi K M’Rithaa [MA Industrial Design (Bombay), PhD Universal Design (CPUT)] is an

In terms of design-related studies there are two institutions of note: Faculty of Engineering and the Built Environment - Department: Architecture, Planning and Geomatics Faculty of Humanities (Michaelis School of Fine Art) - Department: Fine Art

149

150

F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H XQGHUJUDGXDWHV 0DVWHUV PhD, or the equivalent in your educational system)

I. DEPARTMENT ARCHITECTURE, PLANNING AND GEOMATICS NAME OF UNDERGRADUATE QUALIFICATION

POST GRADUATE STUDIES

Bachelor of Architectural Studies (Professional)

Bachelor of Architectural Studies (Honours)/ Master of Architecture (Professional) Master of City and Regional Planning Master of Landscape Architecture

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Master of Philosophy in Transport Studies Postgraduate Diploma in Transport Studies

II. DEPARTMENT CIVIL ENGINEERING FACULTY OF ENGINEERING AND THE BUILT ENVIRONMENT NAME OF UNDERGRADUATE QUALIFICATION

POST GRADUATE STUDIES Master of Philosophy in Urban Infrastructure Design and Management Master of Engineering in Transport Studies

III. DEPARTMENT CONSTRUCTION ECONOMICS AND MANAGEMENT NAME OF UNDERGRADUATE QUALIFICATION

POST GRADUATE STUDIES

Bachelor of Science in Construction Studies

Bachelor of Science (Honours) in Construction Management Bachelor of Science (Honours) in Quantity Surveying

Bachelor of Science in Property Studies

Bachelor of Science (Honours) in Property Studies Postgraduate Diploma / Master of Science in Property Studies Economics and Management

IV. DEPARTMENT FINE ART NAME OF UNDERGRADUATE QUALIFICATION

POST GRADUATE STUDIES

Bachelor of Arts

Master of Arts in Fine Art Master of Fine Art in New Media

Bachelor of Arts Film Theory and Practice

Bachelor of Arts Honours in Film Theory and Practice

Bachelor of Arts Film Studies

Bachelor of Arts Honours in Film Studies Master of Philosophy in Fine Art Postgraduate Diploma in Fine Art

Bachelor of Arts Film and Media Production

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d. Average annual numbers of graduates from this programme: - Bachelor’s Degree Architectural Studies: 65-70 graduates. - Masters & PhD Programmes Architectural Studies: Masters - 25 graduates. PhD – 2 graduates. - Bachelor’s Degree Geomatics: 10 graduates. - Masters and PhD Geomatics: Masters (combined with Engineering) – 20. PhD - 3 graduates. Michaelis School of Fine Art Bachelors of Fine Art: 45 graduates. Masters in Fine Art: 8 graduates. Post grad diploma in Fine Art: 5 graduates. e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. The Africa Centre for Cities undertakes interdisciplinary research on urban issues – both theoretical and applied –addressing complex urban problems in a manner that engages the real policy challenges facing South Africa but that also hold valuable lessons for addressing urban processes in many parts of the world. Environmental Evaluation Unit has established LWVHOI DV D OHDGHU LQ WKH ÀHOGV RI LQWHJUDWHG environmental management and sustainable development responding to local, regional and global environmental challenges using interdisciplinary and participatory approaches.

152

The Green Campus Initiative was started by students and staff to address sustainability on campus and to make UCT carbon-neutral through key projects. The South African Centre for Photography, the Lucy Lloyd Archive, Resource and Exhibition Centre (LLAREC) and the Institute for Film and New Media are three research centres associated with the Michaelis School. Research areas include the production of art for national and international exhibitions; curatorship of exhibitions and museums; videographic and multi-media installations; the publication of books; international conference organisation; public commissions and consultation on government and public visual, historical and architectural projects. f. Prominent professors or graduates of the SURJUDPPH V The prestigious Michaelis School of Fine Art dates back to 1920 and has produced many famous alumni, including the internationally renowned painter Marlene Dumas as well as photographers Gary Schneider and Mikhael Subotzky. Twin brothers Hasan and Husain Jessop, whose photos form part of singer Elton John’s large-scale photography collection, are also recent Michaelis graduates. Staff members at the School for Architecture, Planning and Geomatics KDYH D KLJK SURÀOH LQ national and international bodies.

QUESTION 20 World Design Capital 2014

Prof Lucien le Grange [BArch SA, MIA Arch, CIA, SAIA] teaches in both the undergraduate and graduate architecture programmes. He is a practising architect and urban GHVLJQHU ZLWK SXEOLVKHG ZRUNV LQ WKH ÀHOGV RI housing, urban design and urban conservation. His most recent conservation work was the preparation of guidelines for mission settlements in the Western Cape and the development of a conservation management plan for Robben Island, a proclaimed World Heritage Site. Much of his architectural work is involved with community buildings for which he has been a recipient of both Project and Merit Awards from the South African Institute of Architects. His current urban design work includes public space and market space projects for the City, and as urban designer for the Cape Town International Convention Centre.

Professor Jo Noero [BArch Natal, MPhil (Architecture) Newcastle-UponTyne, Hon DSc Brighton, Hon Fellow RIBA, Arch SA, MIA Arch, CIA, SAIA], teaches architecture. Until 2000 Noero was the Ruth and Norman Moore Chair of Architecture at Washington University and Director of Graduate Studies. An internationally recognised architect, his work has been widely published and exhibited throughout the world. He is an honorary Fellow of the Royal Institute of British Architects, and has lectured and taught in the UK, Portugal, Norway, Sweden, Finland, Denmark, Botswana, Namibia and throughout the United States. His numerous awards for architectural design include the Ruth and Ralph Erskine Fellowship from the Nordic Association of Architects in 1993, nine Awards of Merit, and an Award of Excellence from the Institute of South African Architects for Outstanding Design. In 1997 he was awarded the Alexander Petrie Prize for outstanding contribution to the arts and humanities E\ 1DWDO 8QLYHUVLW\ +H UHFHQWO\ UHFHLYHG ÀUVW SODFH for his entry in the Apartheid Museum competition in South Africa for the Red Location district in the City of Port Elizabeth, now in design development.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

Prof Dave Dewar Recently retired. [BP Chair of City and Regional Planning) BA Hons, MURP, PhD Cape Town, TRP (SA)] heads the faculty’s City and Regional Planning department and has lectured widely in other countries. He has received numerous awards, including the Jaycees Four Outstanding Young South Africans award, and the Ernest Oppenheimer Travel Fellowship (twice). He was a founder member and for many years director, of the Urban Problems Research Unit. For the last two years he has been core consultant to the City of Cape Town in drawing up its Spatial Development Framework. In 1997 he was appointed to the National Development and Planning Commission charged, inter alia, with drawing up a Green Paper on planning in South Africa. The Commission has recently completed its work.

Professor Vanessa Watson [BA(Hons) Natal, MCRP Cape Town, AADip London, PhD Wits. MSAPI, MSACP; MASSAF] is the Director of the School of Architecture and Planning. She teaches in the City and Regional Planning degree masters programme and is on the executive of the new interdisciplinary research centre, the Africa Centre for Cities. Watson was awarded the Department of Science and Technology Distinguished Women in Science Award for 2003 and is on the editorial boards of Planning

153

journal articles pertaining to urban development, culture, local economic development and macrodevelopment issues. He is a founder member of the Isandla Institute and serves on various boards including the Sustainability Institute and the Cape Town Partnership. He also serves on the Council of the University of the Western Cape. Staff members at the Michaelis School of Fine Art, University of Cape Town, have received numerous national and international awards.

Theory (UK) and Planning Practice and Research (UK). Watson represents the Association of African Planning Schools on the Communications Committee for the Global Planning Education Association Network (GPEAN). Prof Edgar Pieterse [BA(Hons) UWC, MA (The Hague, Netherlands), PhD London] is the holder of the NRF SA Research Chair in Urban Policy and directs the Africa Centre for Cities. He has published a number of books on urban development and government, and has contributed numerous book chapters and 154

Jane Alexander [BA(Fine Arts) MA(Fine Arts) Wits.] teaches VFXOSWXUH DQG ZRUNV PDLQO\ ZLWK ÀJXUDWLYH VFXOSWXUH installation and tableaux, and photomontage. She was awarded the 2004 University of Cape Town Fellowship, prestigious art accolades like the DaimlerChrysler Award for Contemporary Sculpture (2002), the FNB Vita Art Now Award (1996) and Standard Bank Young Artist Award (1995). Her artworks are exhibited in prestigious public and corporate collections locally in Johannesburg, Durban and Bloemfontein and internationally in Berlin and Paris. Professor Gavin Younge works internationally as a sculptor, author, ÀOPPDNHU DQG FXUDWRU +LV PRVW UHFHQW H[KLELWLRQV include participation in the Champs de la Sculpture exhibition in Paris, and two solo exhibitions in France: Gilets du Sauvetage in Nimes and Collection Prive in Paris. Formerly Director of the Michaelis School of Fine Art, he has served as an artistic advisor at the Rijksakademie in Amsterdam. +LV ÀUVW ÀOP Abaphuciwe/The Dispossessed,

QUESTION 20 World Design Capital 2014

Director and Associate Professor Stephen Inggs [MA (Fine Art) Univ Natal, Postgraduate Dip Printmaking Univ of Brighton, England] holds regular solo exhibitions of his creative work nationally and was the 2003 prize-winner of the International Print Triennial, Krakow, Poland. His work has been included in numerous international group exhibitions and art fairs such as AIPAD, Art Chicago, Photo LA, A.r.e.a. Art Region End of Africa in Reykjavik, Iceland and the International Print Triennial in Krakow, Poland where he was a prize-winner. He has also curated and produced numerous print portfolios, published an artists’ book on lithography and co-convened the 3rd Impact International Printmaking Conference. Inggs’ work is held in numerous collections including Iziko South African National Gallery, Durban Art Gallery, UCT, Rand Merchant Bank, MTN, Sanlam, Northwestern University, the Library of Congress and the Museum of African Art at the Smithsonian, USA. Pippa Skotnes [M.(Fine Art) PhD (Lit)] is an artist, curator, author, director of the Centre for Curating the Archive and interim director of the Gordon Institute for Performing and Creative Arts at UCT. Major projects have included various publications around the Bleek and Lloyd archive (housed at UCT’s Manuscripts and Archives Library, Iziko and the

National Library) including Sound from the thinking strings (1991, which won the UCT Book Award), In the wake of the white wagons (1993, which was the Standard Bank Young Artist Award Winner exhibition), Miscast: negotiating the presence of the Bushmen (1996, which accompanied a major exhibition at the SA National Gallery), and The digital Bleek and Lloyd, a complete, searchable digital archive published with the book Claim to the country (2007). In 2008 she published Unconquerable Spirit: George Stow’s history paintings of the San (accompanied by an exhibition at Iziko South African Museum).

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

achieved a cinematic release in the UK and USA and was originally banned in South Africa. His video installation entitled Forces Favourites is now part of the Sanlam Permanent Collection and is featured on the New York-based Legacy Project.

Other projects have included Lamb of God, an exhibition of three bone books and other work (2004) exhibited in Europe and the USA (2009) and, in 2006, a permanent 127-cabinet installation for the Origins Museum at the University of the Witwatersrand with Malcolm Payne, as well as several visual history publications. Johann van der Schijff [MA Fine Art (new media), Frank Mohr Instituut, Academie Minerva, Groningen, The Netherlands; MA Fine Art (sculpture) UCT, BA Fine Art UP] is a senior lecturer in new media. His sculptural/ new media works have been exhibited nationally and internationally. Van der Schijff's research interests are in the areas of computer-aided design and manufacturing techniques and the design of interactive systems. Growing up in South Africa and living in a violent country and continent, questions of power relations in society underlie much of his work, forcing the viewer into a position of choice in their engagement with his artworks. 155

a. NAME OF INSTITUTION 8QLYHUVLW\ RI 6WHOOHQERVFK ZZZ VXQ DF ]D Stellenbosch The university dates back to the 19th century and today has more than 26 000 students enrolled. Studies are conducted primarily in Afrikaans. b. Name of programme Faculty of Arts and Social Sciences offers: · Visual Arts (Fine Arts) · Visual Arts (Jewellery Design) · Visual Arts (Visual Communication Design) · Visual Studies · Information Science · Centre for Knowledge Dynamics and Decisionmaking. 156

QUESTION 20 World Design Capital 2014

F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H XQGHUJUDGXDWHV 0DVWHUV 3K' or the equivalent in your educational system)

NAME OF UNDERGRADUATE QUALIFICATION

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

I. DEPARTMENT VISUAL ARTS POST GRADUATE STUDIES

Bachelor of Arts in Visual Arts (Fine Art) Bachelor of Arts in Visual Arts (Jewellery Design) Bachelor of Arts in Visual Arts (Visual Communication Design)

Bachelor of Arts Honours / Master of Arts in Visual Studies Master of Arts in Visual Arts Master of Philosophy/ Doctor of Philosophy in Visual Arts

II. DEPARTMENT INFORMATION SCIENCE & CENTRE FOR KNOWLEDGE DYNAMICS AND DECISION-MAKING NAME OF UNDERGRADUATE QUALIFICATION

POST GRADUATE STUDIES

Bachelor of Arts in Information Systems Management Bachelor of Arts in Socio-Informatics

Bachelor of Arts (Honours) in Socio-Informatics Master of Arts in Information & Knowledge Management Doctor of Philosophy in Information & Knowledge Management

d. Average annual numbers of graduates from this programme. Approximately 250 graduates. e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. Recruitment for Diversity Programme strives to be open and accessible to all of South Africa's rich and diverse cultural groups. The Department of

Visual Arts in constructive partnership with model C art schools, art and culture-focused schools and other organisations, offers information and skills workshops dedicated to provide previously disadvantaged learners with the necessary tools for portfolio application. Studios + Workshops of the Department of Visual Arts provide a range of specialised workshop areas and laboratories for studio photography, lithography, silkscreen, etching, clay, metal- and woodwork, as well as newly acquired bookbinding 157

Book Project uses the literary and visual arts as the vehicle to promote reading in indigenous languages and to foster individual and community development primarily in the disadvantaged communities of Stellenbosch and the greater Boland area in the Western Cape Province.

facilities. The well-equipped multi-media and video-editing laboratory allows for rigorous investigation and exploration of new media. The Mac Lab, equipped with scanners, printers (including a large format printer) and 30 workstations (with Final Cut Pro and the latest CS Design software) is used for both training and production purposes. The Platinum Studio is fully equipped for students to develop adequate technical skills and bench work techniques in the design and manufacture of platinum jewellery. The studio has a hot platinum casting-machine IRU HIÀFLHQW ORVW ZD[ FDVWLQJ DQG D -:; ZD[ carving machine for rapid prototyping. Community Interaction 1) Amabali Ethu is a project initiated in 2006 and forms part of the third-year Visual Communication Design (VCD) module where grade 10 learners from the nearby Stellenbosch township of Kayamandi spend an afternoon with the VCD students to investigate aspects of design and visual art. Students and learners work together on projects around oral, written and visual narratives of their own stories. 2) Learn to Earn is an NGO in the Cape Town township of Khayelitsha, that has with the Department of Visual Arts developed a bridging programme to assist black youths interested in VCD as a career choice. 3) The MPhil Picture 158

Centre for Comic, Illustrative and Book Arts is an interdisciplinary research, teaching and service institute involving the various dimensions of comic, illustrative and book arts. The Toonlab Training Initiative is a goal of the Centre for Comics and Book Arts and strives to develop and promote the talents of South African political cartoonists, comic artists and illustrators, and to identify and facilitate opportunities for the training and publication of aspirant cartoonists, comic artists and illustrators, especially those from disadvantaged backgrounds. Winter School Initiative aims to offer short courses to the public in comic art, illustration, printmaking, design, CAD, bookbinding, Photoshop, animation, jewellery manufacture, photography, sculpture, painting and drawing. Provision is made for ÀQDQFLDOO\ GLVDGYDQWDJHG OHDUQHUV Comics Collection The Special Collections in the JS Gericke Library houses an extensive collection of national and international comics and graphic novels of key importance. Anglo Platinum and NRF (THRIP) research project is a project for the Creative Jewellery Design and Metal Techniques Division to conduct research that is executed in partnership with Anglo Platinum and the NRF (THRIP). It is aimed at extending the development of innovative design solutions for the production of platinum jewellery and improving the capacity of designer jewellers to compete with

QUESTION 20 World Design Capital 2014

Gemmology Collection is a very large and special collection of gemstone and gem-testing material and equipment and is housed in the Geology Department where jewellery students follow the one-year course. The standard of this course is equivalent to the diploma course offered by the Gemmological Association of Great Britain, as well DV WKH &RORXUHG 6WRQHV DQG *HP ,GHQWLÀFDWLRQ courses of the Gemmological Institute of America. SPIT originated in 2005 with the inauguration of the Visual Arts Building. It is an ad-hoc collaborative research project undertaken by fulltime and parttime staff of the Department of Visual Arts. The form and format of SPIT changes every year, thereby challenging creative inter- and cross-disciplinary investigation. SPIT has produced a publication, a limited edition print portfolio and a series of three dimensional works. f. Prominent professors or graduates of the SURJUDPPH V Prof Keith Dietrich [BA Visual Art US, Post grad National Higher Institute for Fine Arts, Antwerp, Belgium, MA in Fine Arts (cum laude), Unisa, D Litt et Phil in History of Art, Unisa] is the departmental chair and has participated in over thirty community projects in Southern Africa. Dietrich has been the recipient of a number of awards in South Africa and abroad for both his creative and academic work. He has participated in group exhibitions and biennials in Belgium, Botswana, Chile, Egypt, Germany, Italy, Namibia, the Netherlands, South Africa, Spain,

Sweden, Switzerland, the United Kingdom and the USA, and has held nineteen solo exhibitions in South Africa. His work is represented in corporate, public and private collections in South Africa and abroad. Prof Lize van Robbroeck [PhD US] focuses her recent research on postcolonialism and nationalism in South African visual arts. As a council member of the South African Visual Arts Historians’ Association (SAVAH), she organised its 2008 annual conference and is one of the editors and a writer of the Visual Century, a four-volume revisionist history of South African art in the twentieth century.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

commercial jewellers by developing their CAD and RP skills for the manufacture of highly creative jewellery pieces.

Kathryn Smith is a senior lecturer and her scholarly work is focused on developing histories of avant-garde and experimental/radical/participatory practices in South African art, with special focus on “new” media and performance-based work. The recipient of the Sasol New Signatures award in 1999 and the Standard Bank Young Artist Award in 2004, Smith recently established an informal project room called Serial Works in her Cape Town studio. Publishing projects include One Million and Forty-Four years (and Sixty Three Days), an anthology of current attitudes towards the avant-garde (SMAC Gallery, 2007); and substantial monographs. Her writing has been published in numerous catalogues, journals and magazines in South Africa and abroad. Hentie van der Merwe is a senior lecturer whose current project is a collaborative work for the stage – a music-theatre work based on the remarkable exchange of letters between a Nama leader and a German &RORQLDO 2IÀFHU 159

160

QUESTION 20 World Design Capital 2014

2. GOVERNMENT FURTHER EDUCATION AND COLLEGES There are six further education and training (FET) colleges in the Western Cape, with each having several campuses. Some are in fairly small towns, thus making further education more accessible to people living in rural areas. a. NAME OF INSTITUTION &ROOHJH RI &DSH 7RZQ ZZZ FFW HGX ]D &DPSXVHV in Central City & Gugulethu plus Northlink College in Bellville b. Name of programme Art, Design & Interior Decorating Art & Craft

F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system). National diploma. d. Average annual numbers of graduates from this programme.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

9DQ GHU 0HUZH LV SUROLÀF DV DQ DUWLVW ZLWK VROR exhibits in many world cities in the past seven years and several noteworthy awards and merits to his name. These include the 2008 Sasol Wax Art Award, the Artissima /BIG Torino 2002 Prize for best visual artist and a prize at the International Biennial of Young Art, curated by Michelangelo Pisoletto. In 2003 he was an Artist-in-Residence as part of the BijlmAIR programme (a joint project between Artotheek Zuidoost/Het Nieuwe Podium and Stedelijk Museum Bureau, Amsterdam). He also completed a postgraduate 2002 Laureateship at the Higher Institute for Fine Arts (HISK), Antwerp, Belgium and the Skowhegan School of Painting and Sculpture, Maine, USA.

25–60 graduates. e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. All campuses make design education more accessible to general population and lower income groups. 2009: Top honours at ECD awards in the ABSA/ Sowetan Early Childhood Development Awards. 2009: Provincial winner in this same category in the Western Cape. a. NAME OF INSTITUTION False Bay College - Campuses in Noordhoek, Muizenberg, Khayelithsa, Mitchells Plain. Launched in March 2010 at the Khayelitsha Good Hope Campus, the Animation Academy grew out of the Animation Industry Development Initiative $,', 7KLV DFDGHP\ LV WKH ÀUVW LQVWLWXWLRQ RI LWV VRUW VSHFLÀFDOO\ ORFDWHG DQG DOORZLQJ DFFHVV WR previously disadvantaged communities in Cape

161

YOUTH DESIGN MAKES ITS MARK

Making the Difference through Design (MTDTD) is a unique collaboration between corporate, private/professional and educational sectors with a priority focus to educate, develop and grow a better South Africa for all through design education.

Town and South Africa. All course work and learning outcomes have been developed in collaboration with leading education and animation experts in accordance with world class standards. b. Name of programme A one-year fulltime Animation Programme F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system) National diploma d. Average annual numbers of graduates from this programme The academy currently takes on 80 learners per year. 3. GOVERNMENT HIGH SCHOOL EDUCATION a. NAME OF INSTITUTION Department of Education High Schools National 'HVLJQ &XUULFXOXP 1'& b. Name of programme In total, 42 Cape Town high schools offer design as subject. In addition there are nine focus schools.

162

As a leading retailer in South Africa, Woolworths is dedicated to the upliftment of design education in the country. Woolworths, together with the Western Cape Education Department, Design Indaba and Sappi, launched the MTDTD education initiative in 2005 as part of their corporate social investment programme. Initially piloted at some 120 schools in the Western Cape during the 2006 school year, MTDTD has received accolades from curriculum developers, administrators and teachers. The content supports the National Design Curriculum (NDC) and is a valuable and much-needed teaching tool to support and assist mostly unqualified educators to teach design on a daily basis. Studies are divided in four broad categories: visual communication; surface, product and environmental design. In addition an annual national design competition for high school design students (grades 10 – 12) is organised to motivate original and innovative design ideas with a priority focus on the use of waste. This also develops a much-needed awareness of environmental issues and social development. Woolworths offers an MTDTD Design Bursary, and other forms of collaboration. The impact: - 400 schools in South Africa already participating in programme: three classes per school of average 15 students per class = 18 000 students. - The design resource manuals have been distributed free-of-charge to participating schools and there is a high demand for these by non-participating schools. - The MTDTD programmes have been implemented in three of South Africa’s nine provinces and has huge potential for growth although funds are restricted.

QUESTION 20 World Design Capital 2014

4. INDEPENDENT SCHOOLS a. NAME OF INSTITUTION $$$ 6FKRRO RI $GYHUWLVLQJ ZZZ DDDVFKRRO FR ]D Cape Town Central City

VFKRRO DOVR ERDVWV WKUHH 3HQGRULQJ ÀQDOLVWV DQG ÀQDOLVWV LQ WKH (DJOH $ZDUGV )OHGJOLQJ f. Prominent professors or graduates of the SURJUDPPH V

b. Name of programme

F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system).

Bachelor of Arts Creative Brand Communication

d. Average annual numbers of graduates from this programme.

2009 Cannes Lions Festival: graduate students Rory Welgemoed and Leon Kotze (Winner Gold Lion for Y&R). 2010 OHMSA (Out of Home Media Association): for creative artwork used in outdoor advertising, winners student award Clayton Swartz and &RQÀGHQFH 6HOHPH The AAA School is rated number two in the world by Lürzer’s Archive. Past graduates: Mike Schalit, executive creative director and founding partner of the advertising agency Net#work BBDO.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

· Creative Brand Communication

60-65 graduates. e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city.

a. NAME OF INSTITUTION AFDA SA School of Motion Picture Medium and /LYH 3HUIRUPDQFH ZZZ DIGD FR ]D 2EVHUYDWRU\ b. Name of programme

- Creative awards since 2000: six Clio Gold, /RHULHV *ROG 3HQGRULQJ ÀYH *ROGSDFN ÀYH 6$33, 7KLQNDKHDG WKUHH $VVHJDL *ROG - International L’Oreal Brandstorm: marketing students have won the South African leg in 2007, 2009 and 2010. - 2010 Loerie awards: dominated the student category with four Gold, two Silver, six Bronze and D &UDIW &HUWLÀFDWH - Many former AAA School graduates have gone on to win Gold Loeries for their ad agencies. The

Bachelor of Arts "Live performance" Bachelor of Arts "Motion picture medium" BA Honours & Masters Fine Art F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system) Undergraduate degree – Bachelor's degree Post Graduate – Masters degree

163

d. Average annual numbers of graduates from this programme.

100-150 graduates.

35 graduates.

e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city.

Student Academy Oscar Awards 2010: South African candidate nominated for Best Student Short )LOP LQ WKH IRUHLJQ VWXGHQW ÀOP FDWHJRU\ Tampere Film Festival 2010: A Kosovo Fairytale – winner of 'The Student Award'.

N/A f. Prominent professors or graduates of the SURJUDPPH V N/A

f. Prominent professors or graduates of the SURJUDPPH V Gianfranco Human: BA Hons Motion Picture Medium - Head of Producing Hein Ungerer: Bachelor of Arts, University of Pretoria - TV Production Lecturer a. NAME OF INSTITUTION 7KH $QLPDWLRQ 6FKRRO ZZZ WKHDQLPDWLRQVFKRRO co.za ), Woodstock b. Name of programme Digital Animation F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system) 6RXWK $IULFDQ 4XDOLÀFDWLRQV $XWKRULW\ 6$4$ Diploma: Digital Animation (NQF Level 6) 3 yr fulltime.

a. NAME OF INSTITUTION &RQFHSW ,QWHUDFWLYH ZZZ FRQFHSWLQWHUDFWLYH QHW Gardens b. Name of programme Design Techniques Advertising Interactive Media Interactive Graphics F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system). 1DWLRQDO &HUWLÀFDWH 'HVLJQ 7HFKQLTXHV 1DWLRQDO &HUWLÀFDWH $GYHUWLVLQJ 1DWLRQDO &HUWLÀFDWH ,QWHUDFWLYH 0HGLD Diploma Interactive Graphics d. Average annual numbers of graduates from this programme. 35-50 graduates.

164

QUESTION 20 World Design Capital 2014

e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city.

f. Prominent professors or graduates of the SURJUDPPH V N/A

Third Learning Curve competition a. NAME OF INSTITUTION %+& 6FKRRO RI 'HVLJQ ZZZ GHVLJQVFKRRO FR ]D Woodstock

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a. NAME OF INSTITUTION Design Times - School of Interior Design ZZZ GHVLJQ WLPH FR ]D 2EVHUYDWRU\

b. Name of programme. b. Name of programme Interior Design

Interior Decorating Interior Design

F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system)

Diploma course 1 yr - Interior Design Higher Diploma course 2 yr – Interior Design

Diploma Interior Design (3 yr full-time / 6 yr part-time)

d. Average annual numbers of graduates from this programme.

+LJKHU &HUWLÀFDWH ,QWHULRU 'HFRUDWLQJ (1 yr full-time / 2 yr part-time)

25-50 graduates.

d. Average annual numbers of graduates from this programme

e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city

25-30 graduates.

- 2010: Eskom lighting competition: Ele Radebe - special award - 2010: Caesarstone student design competition: *DUHWK /HH QDWLRQDO ÀQDOLVW - 2010: PG Bison national competition: *DUHWK /HH ÀQDOLVW - 2010: Caesarstone national design competition: Antje Pluntke & Chloe Johnson (Joint second place.)

165

e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city.

a. NAME OF INSTITUTION &LW\ 9DUVLW\ ZZZ FLW\YDUVLW\ FR ]D *DUGHQV Film, TV and Multimedia School founded in 1996.

- 2009: Plascon Prism awards - Retail and Commercial Category (winner) (OOH 'pFRU VROYH FRPSHWLWLRQ ÀQDOLVW - 2009-10: Sanlam Awards (winner) 'HVLJQ DFKLHYHUV DZDUGV ÀQDOLVW - 2010: Caesar stone awards (third place) 3 * %LVRQ DZDUGV ÀQDOLVW ZLWK VSHFLDO merit award)

b. Name of programme

f. Prominent professors or graduates of the SURJUDPPH V 2009: Sue Lunnon [Private Providers of Education and Training Development (APPETD), Facilitator of the year]. 3DVW JUDGXDWHV ZLWK SURPLQHQW SURÀOHV LQ 6$ context: Evan Wannerton (Edcon Group) 1986, Marcia Margolis (Publisher Décor Design) 1986, Jacqui Wessels (Collaboration) 1992, Rhyno Dreyer (Delta Interiors) 1993. 166

)XOO WLPH FRXUVHV LQ DQLPDWLRQ ÀOP DQG WHOHYLVLRQ production, journalism, acting, sound engineering and motion picture production. F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system). - Animation (2 yr diploma/ 3 yr advanced diploma) - Film & Television Production Techniques (3 yr diploma/ 3 yr advanced diploma) -RXUQDOLVP 3ULQW 'LJLWDO 0HGLD \U FHUWLÀFDWH - Motion Picture Make-up / Production design (2 yr diploma) - Multimedia Design and Production (2 yr diploma / advanced 3 yr diploma) - Professional acting for camera (2 yr diploma / advanced 3 yr diploma ) - Professional photography (2 year diploma)

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3URJUDPPLQJ IRU 1HZ 0HGLD \U FHUWLÀFDWH - Sound Engineering (2 yr diploma / advanced diploma 3 yr) d. Average annual numbers of graduates from this programme . 90-120 graduates. e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. Numerous City Varsity graduates have been cast LQ PDMRU ÀOP DQG WHOHYLVLRQ SURGXFWLRQV LQ UHFHQW years.

F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system).

f. Prominent professors or graduates RI WKH SURJUDPPH V

Bachelor of Design

- Documentary photographer Jenny Altschuler: Head of Photography department - Lecturer Elke Knabel (BA Hons graduate of the Paedagogische Hochschule in Germany) - Lecturer Riaz Solker: taught at UCT, AFDA, CPUT & high schools - Past Graduates: Nicole Bailey (lead role in Judge Dredd ); Marguerite Wheatley (role in Invictus). a. NAME OF INSTITUTION ,QVFDSH 'HVLJQ &ROOHJH ZZZ LQVFDSH FR ]D Woodstock

d. Average annual numbers of graduates from this programme. 55-65 graduates. e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. 2009: Plascon Prism Awards - Liezani Kotze (winner Residential Category) f. Prominent professors or graduates of the SURJUDPPH V

b. Name of programme Graphic, Interior and Multimedia Design

Past graduate: 2009 Plascon Prism awards Chacey Eder (National winner) 167

168

QUESTION 20 World Design Capital 2014

a. NAME OF INSTITUTION 3UHVWLJH $FDGHP\ ZZZ SUHVWLJHDFDGHP\ FR ]D Bellville

f. Prominent professors or graduates of the SURJUDPPH V N/A

b. Name of programme. a. NAME OF INSTITUTION Red and Yellow Graphic Design ZZZ UHGDQG\HOORZ FR ]D &DSH 7RZQ &HQWUDO &LW\

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Art and Design Faculty Graphic Design and Web development, 3D Design and Digital Animation

b. Name of programme F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system). 8QGHUJUDGXDWH &HUWLÀFDWHV JUDSKLF ZHE GHVLJQ desktop publishing and computer art - Undergraduate Diploma: graphic web design and web development, print production and design, 3D design and digital animation $GYDQFHG FHUWLÀFDWH FRPPV LQ SKRWRJUDSK\ +LJKHU &HUWLÀFDWH GHVLJQ ÀOP 79 PDNH XS d. Average annual numbers of graduates from this programme. 100-150 graduates. e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. Students designed images for pillars in parking garages; print production students created new logos for NGOs in Cape Town.

Art Direction & Graphic Design Copywriting F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system). Diploma d. Average annual numbers of graduates from this programme. 20-30 graduates. e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. - 2010: Loeries TV - Megan Manzoni & Helene van Zijl (Silver), Lauren Smith (Bronze) - 2010: Loeries Print - Delano Chengan & JP Andrews (Silver) Delano Chengan (Bronze), Myka Hecht-Wendt & Paula Fraser (Bronze)

169

f. Prominent professors or graduates of the SURJUDPPH V

N/A a. NAME OF INSTITUTION 7KH 6$( ,QVWLWXWH KWWS FDSHWRZQ VDH HGX Cape Town Central City

The Grammy Award-winning producer José “Hyde” Cotto

A private tertiary educator focussing on creative media, SAE opened in Cape Town in 2008. Founded in originally in Sydney, Australia, in 1976 by the sound engineer and producer Tom Misner, the School of Audio Engineering, as it was then known, comprises a worldwide network comprising 52 campuses in 23 countries. The new Cape 7RZQ VFKRRO LV 6$(·V ÀUVW FDPSXV RQ WKH $IULFDQ continent. b. Name of programme - Audio Production (Audio Engineering & Music Production) - Digital Film Production - Animation and Visual Effects F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system). +LJKHU (GXFDWLRQ TXDOLÀFDWLRQV VKRUW FRXUVHV d. Average annual numbers of graduates from this programme. N/A e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. N/A 170

a. NAME OF INSTITUTION 5XWK 3URZVH 6FKRRO RI $UW ZZZ UXWKSURZVH FR ]D Woodstock The Ruth Prowse School of Art, founded in 1970 by artist Erik Laubscher, is named after a prominent Cape Town landscape painter. b. Name of programme Recognised as a talent incubator Ruth Prowse RIIHUV D ZLGHU UDQJH RI FRXUVHV LQ ÀQH DUW JUDSKLF design, photography and jewellery. F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system). Three-year full-time courses [South African 4XDOLÀFDWLRQV $XWKRULW\ 6$4$ DSSURYHG@ Diploma (NQF level 6) d. Average annual numbers of graduates from this programme. 35-40 graduates e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. - 2010: PlatAfrica jewellery competition (2nd place in the group category). - 2010: The Ministerial award for contribution of the Fine Art Dept to Visual Art in SA, (Accolade)

- Past graduates: Paris-based performance artist Steven Cohen, sculptor Donovan Ward, photographer Jo Ratcliff and Adam Letch, Zumarud Majiet (Jupiter Drawing Room) a. NAME OF INSTITUTION Stellenbosch Academy of Design and Photography ZZZ VWHOOHQERVFKDFDGHP\ FR ]D 6WHOOHQERVFK b. Name of programme

Schalkwyk (winner) - 2010: Justin Southey (2007 graduate), won the Best Stand Award Design Indaba - 2010: Africa/Asia leg of the Sony World Student Photography Awards - Lindsay Nel and Robyn Thompson (winners) f. Prominent professors or graduates of the SURJUDPPH V N/A

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

f. Prominent professors or graduates of the SURJUDPPH V

a. NAME OF INSTITUTION Vega, The Brand Communication School ZZZ YHJDVFKRRO FR ]D *UHHQ 3RLQW

Graphic Design and Photography b. Name of programme F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system) - Bachelor of Arts in Applied Design: Graphic Design, Art Direction &HUWLÀFDWH 3URJUDPPHV LQ $SSOLHG 'HVLJQ Graphic Design, Art Direction &HUWLÀFDWH LQ &RPPHUFLDO 3KRWRJUDSK\ d. Average annual numbers of graduates from this programme. Bachelor of Arts: 35 &HUWLÀFDWHV e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. - 2010: Fuji Film SA Photo Awards - Jessica Kincaid (Gold) - 2010: Loeries Packaging Design - Jeannie Sherwood and Thomas Pepler (Bronze) - 2010: Gold Pack awards - Charlotte van

Creative Brand Communications - encourages students to experiment with their creativity in branding, advertising and communications. F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system). Bachelor of Arts (Creative Brand Communication) Bachelor of Arts (Brand Building and Management) +LJKHU &HUWLÀFDWH LQ 3KRWRJUDSK\ $GYDQFHG &HUWLÀFDWH LQ 3KRWRJUDSK\ Bachelor of Arts Honours in Brand Leadership Bachelor of Arts Honours in Creative Brand Leadership d. Average annual numbers of graduates from this programme. 35-40 graduates e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. 171

- 2009: Loerie Awards – 2 Bronze - 2009: Pendorings – 1 Gold - 2009: Branson School of Entrepreneurship %XVLQHVV 3ODQ &RPSHWLWLRQ ÀQDOLVWV f. Prominent professors or graduates of the SURJUDPPH V N/A a. NAME OF INSTITUTION Cape Town College of Fashion Design ZZZ FWIDVKLRQFROOHJH FR ]D 3OXPVWHDG

f. Prominent professors or graduates of the SURJUDPPH V N/A

b. Name of programme

a. NAME OF INSTITUTION Design Academy of Fashion ZZZ GDI DFDGHP\ FR ]D 6DOW 5LYHU

Fashion Design Diploma

b. Name of programme

F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system).

Diploma in Fashion

Diploma (3 yr). d. Average annual numbers of graduates from this programme. 25-30 graduates e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. 2010: 7ZR ÀQDOLVWV LQ WKH 9RGDFRP 'HVLJQ Challenge;

172

- runner-up in the Foschini Heat Magazine National Design competition; - 50% of students selected to showcase at Cape Town Fashion Week’s emerging designer showcase, with the overall winner coming from the college.

F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system). Diploma (3 yr) d. Average annual numbers of graduates from this programme. 10-15 graduates. e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. 6WXGHQWV IURP WKLV $FDGHP\ ZHUH ÀQDOLVWV LQ WKH

173 BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

2010 Durban July Vodacom national fashion design competition. f. Prominent professors or graduates of the SURJUDPPH V N/A a. NAME OF INSTITUTION Elizabeth Galloway - Fashion Design Academy ZZZ VDIDVKLRQDFDGHP\ FR ]D 6WHOOHQERVFK

a. NAME OF INSTITUTION Friends of Design - Academy of Digital Arts KWWS IULHQGVRIGHVLJQ QHW :RRGVWRFN b. Name of programme -

Print Design & Publishing Digital Design Web Publishing Print Publishing Motion Graphics Games in Advertising .

b. Name of programme Fashion Design F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system). Diploma (3 yr) d. Average annual numbers of graduates from this programme.

F /HYHOV RI TXDOLÀFDWLRQV RIIHUHG L H undergraduates, Masters, PhD, or the equivalent in your educational system). 3ULQW 'HVLJQ 3XEOLVKLQJ \U +LJKHU &HUWLÀFDWH 'LJLWDO 'HVLJQ \U &HUWLÀFDWH - Web Publishing, Print Publishing, Motion Graphics, Games in Advertising (all part-time FHUWLÀFDWHV d. Average annual numbers of graduates from this programme.

50 graduates. 20 graduates. e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. - 2010 Fashion Week Award (Judy Nel); - 2010 National Foschini competition (Alschkae Melman) f. Prominent professors or graduates of the SURJUDPPH V

e. Any projects undertaken or awards received by this programme or institution that elevate the standard of design for the city. -N/A f. Prominent professors or graduates of the SURJUDPPH V N/A

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N/A

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QUESTION 21: Describe the global reach of your city by demonstrating how these institutions, as described above, have built international reputations?

Cape Town has emerged the leading African city for KLJKHU OHDUQLQJ LQ WKH GHVLJQ DQG FUHDWLYH DUWV ÀHOGV with the achievements of public institutions such as Cape Peninsula University of Technology and the University of Cape Town (the latter ranked 107th on The Times Higher Education World University Ranking for 2010), along with private academies such as the AAA Advertising School and the SAE Institute. These, among others, make Cape Town an attractive international study destination. Today there are more than 23 500 students enrolled at the University of Cape Town, including foreign students from more than 100 countries. There are 720 permanent staff and 32 A-rated researchers (40% of South Africa’s total). Stellenbosch University is recognised as one of the four top research universities in South Africa and has one of the country’s highest proportions of postgraduate students. In their 2006 overview of South Africa’s educational system, Harvard researchers highlighted a growing demand for ´EHWWHU TXDOLW\µ DQG ´PRUH ÁH[LEOH PDUNHW RULHQWHGµ tuition programmes in South Africa, “especially those designed for non-traditional students”. Cape Town is leading the way here. In their report the Harvard researchers noted African higher education has the potential to assist countries with technological catch-up and thus improve the potential for faster growth.

A phenomenon that is now becoming increasingly widespread in Cape Town is the uptake of foreign students. For example this year’s intake of new students into SAE’s Audio, Film and Animation departments hail from Israel, South Africa, Nigeria, Ghana, Angola, Cameroon, USA, Estonia, Kenya, Namibia and Zimbabwe. In further support of this question, we also wish to refer the reader to the sections marked (f) throughout Q20 that deal with the LQÁXHQFH RI LQGLYLGXDO ORFDO HGXFDWRUV DQG JUDGXDWHV on the global stage.

175

176

QUESTION 23 World Design Capital 2014

Numerous awards and recognition schemes pertain to the design sector. Only the most prominent ones are mentioned below1: Absa L’Atelier Award Open to artists between 21 and 35, the winner receives a R110 000 cash prize and a six-month sabbatical at the Cité Internationale des Arts in Paris, courtesy of Absa. The Absa L’Atelier Art Awards is Africa’s pre-eminent annual art competition and is the longest-running on the FRQWLQHQW DV ZHOO DV WKH PRVW LQÁXHQWLDO DUW competition. The ADvantage ADmag Awards This award recognises magazines and editors for excellence in publishing. Initiated by John Farquhar, AdVantage’s Editor-in-Chief, the awards recognise outstanding and innovative consumer publishing. APEX awards The Association for Communication and Advertising (ACA) hosts the annual APEX awards. Since its inception in 1995, an APEX symbolises the achievement of communications campaigns’ performance. The adjudication process is stringent because entrants have to demonstrating that their award-winning campaigns effectively contribute to WKHLU FOLHQWV· SURÀWDELOLW\ Design for Development Initiative This award recognizes products that exemplify the concept that good design contributes in offering solutions to various problems that face developing communities in rural as well as urban areas. Its focus is on the important role design can play in

industrial development and economic prosperity of the Southern African region as a whole. Design Indaba Awards and special initiatives to promote new talent - Most Beautiful Object in SA (MBOSA): Started in 2006, winners receive a free stand at the Design Indaba Expo the following year and extensive media exposure.

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QUESTION 23: List award programmes or other types of recognition in place for designers in the city.

- Construction New Media Awards (CNMA): These awards, launched in 2001, judge entries DFURVV ÀYH GLVFLSOLQHV LUUHVSHFWLYH RI VXEMHFW matter or target market: web sites, intranets, .exe ÀOHV &' 520V DQG RQOLQH DGYHUWLVLQJ ,W LV RQH of South Africa’s most coveted awards within the medium. Internationally renowned professionals such as Neville Brody, Tom Roope and Thomas 0XHOOHU DUH RQ LWV MXGJLQJ SDQHO - Emerging Creative initiative: Initiated in 2006, 40 emerging creatives participate each year and to date 200 emerging creatives have had this opportunity to exhibit with the best in the country, get exposure to media and local and international buyers. - 10x10 Housing project: This was a competition run by Design Indaba in 2008 inviting teams of local and global architects to design social housing that required “innovative responses to the urgent need to house the XUEDQ SRRU µ 7KH ZLQQHU &DSH 7RZQ EDVHG 00$ also went on to win the International Curry Award for the best humanitarian design in 2008. - Free Range: Spawned by a passion to create quality design at affordable costs, Free Range was born to open a

1. This data was compiled against the International Council of Graphic Design Associations’ report of the World Design Survey Pilot Project, South African ÀQGLQJV (www.worlddesignsurvey.org)

177

world of design to a market not normally catered for by professional designers. The collection consists of functional homeware items that range in mediums from plastics to felt. Pitched at offering affordable South African designed homeware to anyone and everyone, the range hopes to bring a touch of creativity into every South African’s KRPH +HDWK 1DVK ,PLVR 0DULVD )LFN -RUGDDQ from Zenzulu, Ronel Jordaan, Clementina van der Walt and Pepperplum Designs are just some of the participants who were asked to adhere WR VWULFW SULFLQJ JXLGHOLQHV ZLWKRXW VDFULÀFLQJ expressiveness or functionality. Gr 12 CREATE An exhibition to showcase some of the best work VXEPLWWHG IRU ÀQDO H[DPLQDWLRQV E\ 0DWULF learners in Visual Arts and Design. Presented by Iziko Education and Public Programmes (EPP), in association with the Friends of the Iziko South African National Gallery and the Ibhabhathane Project. Informatics & Design Exhibition Cape Peninsula 8QLYHUVLW\ RI 7HFKQRORJ\ &387 The CPUT hosts its faculty of Informatics & Design Exhibition at year’s end. Encompassing interior, product, surface, jewellery and graphic design, information technology, photography, architecture and public relations management this exhibit sets the tone to engage new markets and audiences in new design. Loerie Awards The Loerie Awards recognises, rewards and fosters creative excellence in advertising,communication and design. The awards have expanded to encompass every area of brand communication including radio and print advertising, design, architecture, direct marketing, non-broadcast video, 178

live events, and digital media. The awards are now UHJLRQDOO\ IRFXVHG RQ $IULFD DQG WKH 0LGGOH (DVW and entries from outside of this region are therefore not eligible. The Loeries has become far more than a single awards ceremony and now includes a biannual magazine, and the hard-cover printed annual and DVD of the year’s leading brands and agencies. Additionally, the Travelling Exhibition showcases the year’s winning work throughout South Africa, as well as in international destinations including Namibia and the One Club in New York. 0HUFHGHV %HQ] )DVKLRQ $ZDUGV Besides a monetary prize, the winning designers are represented in an installation at the Iziko 0XVHXP DV ZHOO DV DW D IDVKLRQ VKRZ LQ %HUOLQ 0LFKDHOLV *DOOHULHV DQQXDO HQG RI \HDU H[KLELWLRQ This is probably one of the more popular start-up showcases in the City, and is renowned in certain circles for fresh commentary on contemporary issues through painting, sculpture, new media, print and photographic works. Mondi Shanduka Newspaper Awards These awards are co-organised by the Newspaper $VVRFLDWLRQ RI 6RXWK $IULFD DQG 0RQGL 6KDQGXND Newsprint. It honours the South African newspaper journalism industry in all its facets including writing, investigative journalism, creative journalism, graphical journalism, news photographs, feature photographs and presentation. Pendoring Awards The Pendoring advertising competition and project, established in 1994 by the most important role players in the South African media world, focus on

DIVERSITY AND IDENTITY IN ART The Spier Collective runs a competition that annually attracts over 2700 entries, from which around 100 artists are chosen to exhibit just over 130 pieces of work that

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

reflect the theme of diversity and identity.

179

the promotion of outstanding Afrikaans advertising. The general public also gets an opportunity to vote for their favourite advertisement for the People’s Choice Award. PG Bison Student of the Year Award The award is recognised for identifying students who have become luminaries within the local interior design and architecture industry and celebrates local design excellence. This award is the one most sought after in the interiors industry. Students are adjudicated based on their interpretation of a brief set annually by a prominent industry expert. SABS Design Excellence Award Established in 1969 to encourage local product design and manufacture, this award also promotes international competitiveness of local products. 6$%6 'HVLJQ $FKLHYHUV $ZDUG This 24-year-old award scheme embraces the entrepreneurial spirit and leadership potential of VWXGHQW GHVLJQHUV VWXG\LQJ LQ DQ\ GHVLJQ ÀHOG DW D South African tertiary institution. Sappi thinkahead awards The Sappi thinkahead awards, organised by the South African Communication Design Council KRQRXUV ÀQDO \HDU VWXGHQWV QDWLRQZLGH ZKR VXEPLW outstanding pieces of communication design and promising portfolios. The thinkahead awards were launched by the newly-formed council to focus on the communication design education sector and provide design graduates with the opportunity to bridge the gap between study and career, by 180

awarding work that shows both originality and professionalism. The South African Institute of Architects Awards (SAIA) The SAIA Award for excellence programme supports excellence in architecture and creates public awareness and debate on architectural issues over a two-year period. In addition, the Corobrik SAIA $ZDUG RI 0HULW UHFRJQL]HV ODQGVFDSH DUFKLWHFWV DQG urban planners. Technology Top 100 (TT100) TT100 is a national awards programme that encourages, measures and honours organisations for the value that their use of technology brings to the South African economy. Whether they are small, medium or large businesses or technology organisations such as science councils and universities, the TT100 acknowledges the enterprises that optimize technology to maximise SURÀWV JDLQ PDUNHW VKDUH FUHDWH QLFKH PDUNHWV and add value for their stakeholders. Started in 1990, TT100 today has the strong support of both government and the private sector. TT100 is mandated by the Department of Science and Technology while Eskom is the premier corporate partner and additional private sector partners include the South African Academy of Engineering, 7%0 &RPPXQLFDWLRQV DQG )LQDQFLDO 0DLO Innovations. Both established and emerging TT100 organisations are eligible. SA Publication Forum’s Corporate Publication Competition 7KH 6$ 3XEOLFDWLRQ )RUXP·V ÀUVW FRUSRUDWH

QUESTION 23

publication competition took place in conjunction with the National Press Club in 2002. The aim of the competition is to reward excellence in internal and external corporate communication media. Entries are received across the board, from government and corporates to one-man-shows and agencies. The competition grows in stature annually and the SA Publication Forum strives to continuously ÀQH WXQH DQG VWUHDPOLQH WKH FRPSHWLWLRQ &XUUHQW categories range from newspapers to electronic newsletters and corporate DVDs.

including traditional mediums such as painting, printmaking, sculpture and photography, as well as newer languages such as installation art, QHZ PHGLD ÀOP RU SHUIRUPDQFH ,Q entries were received, from which 101 artists were chosen to exhibit 134 works. Five awards are made annually by an international judging team and a sixth award is voted for by visitors to the Cape Town exhibit. In addition there are also seven artistsin-residency awards including four international residencies.

SA Science Lens The SA Science Lens is a unique competition in South Africa that encourages amateur and professional photographers to enter images that give insight into the world of science and technology as well as the workings of nature. The SA Science Lens’ exhibition displays the winning images from the year’s competition. This competition is organized by the South African Agency for Science and Technology Advancement (SAASTA), a business unit of the National Research Foundation (NRF).

Young Designers Awards (Bridal Africa) This is an annual competition for young designers under 35 who are not yet established, and which results in the winner being given exhibition space at each year’s Bridal Africa Expo.

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World Design Capital 2014

6RXWK $IULFDQ )LOP DQG 7HOHYLVLRQ $ZDUGV 6$)7$ The South African Film and Television industry established these awards in 2005 with the primary objective to honour, celebrate and promote the creativity, quality and excellence of South African Film and Television talent and productions, and to encourage entrepreneurship and the development of new talent within the industry. Spier Contemporary The core of the Spier Contemporary is a national competition open to all artists and art forms, 181

MEDIA LIAISON The independent Book Lounge in the Cape Town Central City is a popular venue for the media in Cape Town to network, and exchange ideas, and also a valuable resource to the design community.

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24 QUESTION 23

World Design Capital 2014

TV programmes dedicated to design Television programmes that regularly feature local design and designers on the public broadcasting networks include: - Pasella (SABC2) - Kwela (Kyknet) - Dekor (Kyknet) 0RUQLQJ /LYH 6$%& (DVWHUQ 0RVDLF 6$%& - Top Billing (SABC3) - Design Indaba (SABC3) - Africa Rise and Shine (SABC Channel Africa) A large selection of pay-per-view channels that focus on design are available via DSTV; however the content is largely originated outside of South Africa. Design publications (trade journals, ERRNV PDJD]LQHV 7UDGH 0DJD]LQHV - AdFocus - Advantage - AFi Fashion Tabloid - Art South Africa %UDQG 0DJD]LQH '(6,*1 0DJD]LQH - Design Indaba magazine - Design Times - Designing Ways

- Enjin - Engineering News .%% 'HVLJQ 0DJD]LQH - Leading Architecture & Design 0LJUDWH 0DJD]LQH - Plascon Colour 3XUVXLW 0DJD]LQH - SA Architecture

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QUESTION 24: 3URYLGH D VXPPDU\ RI GHVLJQ UHODWHG FRYHUDJH LQ ORFDO PHGLD 7KLV VKRXOG LQFOXGH EXW QRW EH limited to) the following:

Specialist Publications $IUR0DJ H[SHULPHQWDO - FADA Research News (academic) - i-jusi (experimental) - Image & Text, Journal for Design (academic) &RQVXPHU 0DJD]LQHV - Absolute - Classic Feel - Condé Naste House and Garden - Elle Decoration - Home/Tuis - Habitat - Highveld Living - House and Leisure - Garden & Home LH 0DJD]LQH - InStyle - One Small Seed - SA Homeowner 6/ 0DJD]LQH 7KH 3URSHUW\ 0DJD]LQH - Top Billing - VISI

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'HVLJQ WKHPHG FROXPQV LQ QHZVSDSHUV RU PDJD]LQHV - Beeld - Business Day - Cape Argus - Cape Times )LQDQFLDO 0DLO 0DLO *XDUGLDQ - The Star - The Sunday Times

SUCCESS ON THE WEB

The Design Indaba website has more than 3 000 pieces of content relating to the South African and international GHVLJQ LQGXVWU\ 'HVLJQLQGDED FRP UHFHLYHG YLVLWV IURP )HE ² 17 March 2010 and 39 227 unique YLVLWRUV 2I WKHVH YLVLWRUV ZHUH QHZ DQG WKH\ YLVLWHG DQ DYHUDJH RI IRXU SDJHV RQ WKH ZHEVLWH 7KHUH ZDV D WRWDO RI SDJH YLHZV DQG SHRSOH VSHQG DQ DYHUDJH RI ÀYH PLQXWHV RQ WKH VLWH 7KH YLVLWRUV DUH UHSUHVHQWDWLYH RI FRXQWULHV ZLWK RI WKH WUDIÀF IURP South Africa, followed by the United States, United Kingdom, Germany, Netherlands, Canada, Australia, France DQG %UD]LO UHVSHFWLYHO\ www.designindaba.com

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:HE EDVHG GHVLJQ FRQWHQW Online portals and blogs - African Fashion International – www.africanfashioninternational.com - Art.co.za – www.art.co.za - Art South Africa – www.artsouthafrica.com - ARTTHROB – www.artthrob.co.za - bizcommunity.com - Bluprintmag – www.bluprintmag.co.za - DESIGN>ED – www.designmagazine.co.za - Design Indaba – www.designindaba.com 'HVLJQ0LQG ² ZZZ GHVLJQPLQG FR ]D 'HVLJQ0XWL ² ZZZ GHVLJQPXWL FRP - Design Sponge – www.designspongeonline.com - Futurespace.co.za – www.futurespace.co.za - Hippnotic – http://blog.hippnotic.co.za - ifashion – www.ifashion.co.za - SOAK. South African Arts and Creative Community – www.soak.co.za - South Africa Street Style – http://southafricanstreetstyle.wordpress.com - ZA@Play – www.mg.co.za/section/arts Radio 6$IP 0HGLD#6$IP - Radio Sonde Grense (RSG) .)0 3ULPHGLD - Cape Talk (Primedia) - Bush Radio

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“We can make Cape Town better by design by working across disciplines – imagine what a chef, a b-girl, a chemist and landscape designer might make together? – and by focusing on the experimental and the imaginary.” Andrew Putter

Artist and event founder of the Mother City Queer Project (MCQP)

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DESIGNERS

QUESTION 26: 3URYLGH SURÀOHV RI DQ\ ORFDO GHVLJQHUV ZKR KDYH PDGH D VLJQLÀFDQW LPSDFW LQ WKH FLW\ RU RQ WKH GHVLJQ LQGXVWU\ LQ JHQHUDO

DESIGN EDUCATION/ IMPACT ON DESIGN 0HO +DJHQ Hagen is a self-styled design activist. Hagen was president of the Design Education Forum of Southern Africa (DEFSA) for three years and served for a number of years as dean of the Faculty of Informatics and Design at the Cape Peninsula University of Technology (CPUT). She currently works independently as well as for the highly acclaimed Cape Craft and Design Institute (CCDI), which she helped establish. She holds an MA in Fine Arts from the University of Cape Town. ,DLQ /RXZ Prof Louw is based at the University of Cape Town where he convenes post-graduate programmes in architecture. He was a Fulbright scholar at the University of Pennsylvania in the USA and visiting scholar at the American Academy in Rome, Italy. As a practitioner he was project architect for the World Bank/GoL where he researched and designed schools for the Training for Self Reliance Project throughout Lesotho. He has designed an awardwinning reinstallation of Iziko SA Museum’s San Rock Art in Cape Town. Currently his research area is “space and transformation” and the spatialisation in the contemporary [post-apartheid] city. He has published in a number of local and international journals, notably AD|Architectural Design, the Journal of South African Architecture and most recently a chapter in Representation & Spatial Practices in Urban South Africa. He is editor of the Digest of SA Architecture and the Digest of African Architecture. 188

0XJHQGL 0·5LWKDD Dr M’Rithaa is an industrial designer, educator and researcher, and a senior lecturer at the Department of Industrial Design at the CPUT, Cape Town. He was educated in Kenya, the USA, India, and South Africa and has previously lectured in Kenya and Botswana. He is passionate about various expressions of socially responsive and responsible design, including design for sustainability; participatory design; and universal design. He has a special interest in design for development on the African continent and is associated with a number of international networks on design for sustainability, industrial design and universal design within industrially developing realities and contexts. M’Rithaa is also a design research associate at one of Cape Town and South Africa’s leading product design company’s …XYZ Design. He is currently an executive board member (South Africa) of Icsid. 5DYL 1DLGRR Naidoo is the founder and managing director of Interactive Africa, a Cape Town-based media and marketing company. Naidoo completed his MBA degree at the University of Cape Town in 1994, where he was nominated as the Nedbank MBA Student of the Year. In 1994, Naidoo founded Interactive Africa, a marketing and communications company. The company project-managed the “First African in Space Mission” and marketed South Africa’s bid to host the 2010 FIFA World CupTM as well as the 2006 campaign. Naidoo founded the highly successful international Design Indaba, one of the world’s leading annual design events EHVW NQRZQ IRU LWV ÁDJVKLS FRQIHUHQFH DQG H[SR held in Cape Town. 0DUN 6KXWWOHZRUWK 6KXWWOHZRUWK VWXGLHG ÀQDQFH DQG LQIRUPDWLRQ

The Foundation is also a catalyst for accelerated change in society, with the theme of greater openness and effectiveness. It seeks to identify people that have the potential to create WUHPHQGRXV FKDQJH IRU JRRG DQG DPSOLÀHV WKHLU own investment in their vision. 6XQp 6WDVVHQ Stassen is a design education specialist, design activist and editor of DESIGN>ED, an online design

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technology at the University of Cape Town, and went on to found Thawte, a company specialising LQ GLJLWDO FHUWLÀFDWHV DQG FU\SWRJUDSK\ 9HUL6LJQ bought Thawte in 1999, after which Shuttleworth founded HBD, an investment company, and the Ubuntu Project, a popular Linux-based operating system that is freely available worldwide for desktops and servers. He also created the Shuttleworth Foundation, which funds people who have the potential to bring about dramatic improvements to some aspect of society. The Foundation has worked in all nine provinces of South Africa, underwriting initiatives from teachers to small businesses and private individuals.

magazine that aims to nurture and stimulate young minds to reach their full potential by exposing them to the realities and developments of the design industry. A broad approach is taken whereby the development of “design thinking” is given equal importance to an understanding of design practice. 9DQHVVD :DWVRQ Prof Watson teaches in the City and Regional Planning masters degree programme at the University of Cape Town’s department of Architecture, Geomatics and Planning. Her research focuses on planning theory and practice, systems of spatial planning, local governmental institutions, and urbanisation processes. She is on the executive of the Africa Centre for Cities and was awarded the Department of Science and Technology Distinguished Women in Science Award in 2003. She is on the editorial boards of Planning Theory (UK) and Planning Practice and Research (UK) and represents the Association of African Planning Schools on the Communications Committee for the Global Planning Education Association Network (GPEAN). 189

$5&+,7(&76 6WHIDQ $QWRQL 6WHIDQ $QWRQL 2OPHVGDKO 7UXHQ $UFKLWHFWV Stefan Antoni completed his Bachelor of Architecture degree at the University of Cape 7RZQ LQ ZLWK D ÀUVW FODVV SDVV ,Q KH set up the architectural practice Stefan Antoni Architects, which today is known as Stefan Antoni Olmesdahl Truen Architects (SAOTA). Antoni is regarded as one of a number of architects who have contributed to setting a new standard of design and professionalism in the top-end of the domestic market in South Africa. 9HUQRQ &ROOLV Collis is a consulting engineer and architect with over thirty years’ experience in sustainable thinking and design. His professional experience includes structural, civil, material and construction engineering, quantity surveying, contracting and legal forensics. He has worked for a variety of large FLYLO DQG FRQWUDFWLQJ ÀUPV DQG KDV UXQ KLV RZQ practice since the early 1990s. Collis (in association with Anna Cowen and ARG Design) was involved in the design of the Mbekweni Stone Houses (see Question 38 for more details) as well as the Tsoga Environmental Centre (See Question 33). $QQD &RZHQ Cowen is an architect, urbanist and sustainability practitioner with 20 years interest and experience LQ WKH VXVWDLQDELOLW\ ÀHOG &RZHQ JUDGXDWHG IURP WKH University of Cape Town with a BArch in 1994. She founded her own architectural practice in 1995, at times working either in partnership or association, and has designed and built a diversity of projects. In 2003 she completed an MPhil in Sustainable Settlement, focusing on public participation processes and the production of public space. She taught design at the School of Architecture, Planning 190

and Geomatics at the University of Cape Town for an eight-year period, and was engaged in the development of elective studios and interdisciplinary projects between the Architecture and Engineering schools. Her partner in sustainable systems design SUDFWLVH LV 9HUQRQ &ROOLV *LWD *RYHQ $5* 'HVLJQV Goven graduated from the University of Cape Town with a Bachelor of Architecture in 1986. She is partner of ARG Design, a multi-disciplinary professional practice providing a range of services across the built environment professions. ARG Designs have been key to the artwork integration into the City’s new IRT stations which they designed and project-managed into existence. They are passionate about supporting the arts and as a result they ensured that a budget was made available for public art in each station. ARG Design was involved in the research, precedent study and FRQFHSWXDO GHVLJQ RI WKH /\QHGRFK (FR9LOODJH DQG community centre (See Question 43). As well as were part of the design of the Tsoga Environmental Centre (See Question 33). 'HULFN +HQVWUD GKN *URXS Henstra is a founding partner of dhk Urban Concepts and is head of the dhk Group. His passion for urban design and the recognition of its importance as an essential component in the resolution for good architecture is the reason why the establishment of dhk Urban Concepts was such a natural extension to the architectural practice, dhk Architects. dhk Architects has a track record RI LQQRYDWLYH DQG FRVW HIÀFLHQW GHVLJQV VSDQQLQJ 25 years and has become an internationally UHFRJQLVHG ÀUP ZKLFK KDV QXPHURXV DZDUGV 7KHVH

RESTORING HOPE One of the country’s most respected architects, Gabriel Fagan, contributed to more than 300 restoration projects

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including the Castle of Good Hope.

include the 2010 SAPOA Excellence Award for their design of the Cape Town hotel, 15 on Orange; 2010 Europe & Africa Property Award in the category of Best Leisure and Hospitality Architecture for South Africa; 2006 SAIA Award of Merit for the Cape Town International Convention Centre (in association with 9'00$ DQG FRPSHWLWLRQ ZLQQHUV LQ IRU WKH design of the University of the Western Cape’s Life Sciences Building (See Question 39). *DEULHO )DJDQ *DEULHO )DJDQ $UFKLWHFWV &RQVLGHUHG RQH RI 6RXWK $IULFD·V ÀQHVW DUFKLWHFWV Fagan has garnered most of the Institute of South African Architects’ awards and distinctions, including its Gold Medal in 1988. The country’s

most pre-eminent architect in historic preservation, he has contributed to more than 300 projects to date including the restoration of the Castle of Good Hope and Tuynhuis. Having studied civil engineering prior to taking up architecture, he has an instinctual feeling for and knowledge of all things technical. 0DUWLQ .UXJHU 6WXGLR .UXJHU 5RRV Kruger, urbanist, architect and artist, studied at the University of Cape Town, the Foundation School of Art and the University of Pretoria and established an architectural and urban design studio in Cape Town in 1993. The studio has since been involved in a diverse array of urban, architectural and cultural projects. Over the years his studio has 191

received numerous awards and citations for design excellence and has also won competitions that led WR WKH FRQVWUXFWLRQ RI VLJQLÀFDQW EXLOGLQJV LQ 6RXWK Africa. To date they have won 21 awards including the 2006 South African Institute of Architects Merit $ZDUG IRU WKHLU GHVLJQ RI WKH %3 +HDG 2IÀFHV LQ WKH 9 $ :DWHUIURQW 6HH 4XHVWLRQ IRU PRUH GHWDLOV /XFLHQ /H *UDQJH Le Grange teaches in both the undergraduate and graduate architecture programmes at the University of Cape Town’s department of Architecture, Geomatics and Planning. He is also a practising architect and urban designer. His research interests include conservation policy and architectural design practice. His most recent conservation work was the preparation of guidelines for mission settlements in the Western Cape and the development of

REJUVENATION Makeka Design Lab was contracted to create a new look for the old Cape Town Station in the Central City, successfully combining old and new.

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a conservation management plan for Robben Island, a proclaimed World Heritage Site. Much of his architectural work has involved the making of community buildings for which he has been a recipient of both Project and Merit Awards from the South African Institute of Architects. His current urban design work includes public space and market space projects for the city, and he is the urban designer for the Cape Town International Convention Centre. 0RNHQD 0DNHND 0DNHND 'HVLJQ /DE Mokena Makeka is principal and founder of Makeka Design Lab, a laboratory practice that designs innovative urban, architectural, cultural and installation solutions. He was selected among 100 architects globally by Hertzog and de Meuron to be a part of the Ordos 100 project. He is a two-time recipient of the CIA Award of Merit and a 2010 nominee for the Johnnie Walker Celebrating Strides Awards in Design. He sits on the World Economic Forum’s Global Agenda Council for Design, is an external examiner at the Columbia University School of architecture and lectures at the University of Cape Town. /X\DQGD 0SDKOZD 'HVLJQ6SDFH$IULFD Mpahlwa is an award-winning architect, urban activist and one of the founders of MMA architects. Mpahlwa recently launched his own practice, DesignSpaceAfrica, in Cape Town. His architectural education was interrupted in the 1980s when he ZDV LQFDUFHUDWHG RQ 5REEHQ ,VODQG IRU ÀYH \HDUV IRU his anti-apartheid political activities. He completed his architecture degree at the Technical University 78 RI %HUOLQ LQ 0SDKOZD ZDV D PHPEHU RI the 2010 World Cup Local Organising Committee’s technical team of professionals appointed as

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URBANITE The Cape Town Convention Centre is one example of the work of Capetonian Lucien le Grange who was the urban designer for the project, along with architects dhk and VDMMA.

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SAFE SPACES The Inkwenkwezi Secondary School in Du Noon designed by Noero Wolff Architects, protects the school from inclement weather, vandalism and theft by an outer “wall” with all play spaces secure behind the safety of the entrance gates.

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consultants for the construction and refurbishment of the 2010 World Cup stadia. During his time with MMA, Mpahlwa’s design solution to Design Indaba’s 10 x 10 Low-Cost Housing Project (which looks for alternative solutions to housing - see Question 43 for more details) also won an international Curry Stone Design Prize in 2008. Jo Noero 1RHUR :ROII $UFKLWHFWV Noero is a professor of Architecture at the University of Cape Town and principal at Noero Wolff Architects. The practice has designed more than 150 buildings throughout Southern Africa as well as the United States. Their work varies in scale and type, ranging from individual houses to large-scale cultural and institutional buildings such as law courts and schools (see Question 33 for

QUESTION 26

further information on their school designs). The ÀUP KDV GLVSOD\HG WKHLU ZRUN DW ÀYH RI WKH ZRUOG·V most prestigious architecture exhibitions: the 6KDQJKDL :RUOG ([SR WKH 9HQLFH %LHQQDOH LQ WKH exhibition titled People meet Architecture, at the Turkish Chamber of Architects’ Biennial Congress in Istanbul, the World Architectural Festival in Barcelona, and the Museum Of Modern Art in New York in the exhibition titled Small Scale, Big Change. Over the years the practice has received eight international awards and over 26 local and national awards for architecture. Noero himself has received international and national awards for architectural design including the Lubetkin Prize from the Royal Institute of British Architects in 2006 and the Institute of South African Architects’ Gold Medal for Architecture for his outstanding contribution to WKH ÀHOG

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World Design Capital 2014

&DULQ 6PXWV &6 6WXGLR Smuts gained her architectural diploma from the University of Cape Town in 1984 and founded her ÀUP &6 6WXGLR LQ &6 6WXGLR KDV D UHFRUG of producing innovative, cost-effective design VROXWLRQV 7KH ÀUP KDV PRYHG EH\RQG FRQYHQWLRQDO architectural practice to an approach which involves all stakeholders in the creative processes of planning, design and construction. The focus is on an interactive participative process rather than solely on an end-product. The studio has FRPSOHWHG RYHU VLJQLÀFDQW SURMHFWV LQ UXUDO DQG urban contexts. They have a reputation both locally and internationally for producing creative, quality architecture with limited budgets. The projects are of a public nature and include educational, healthcare, arts, culture and heritage and religious buildings, disabled facilities and community centres, such as the Guga s’Thebe Arts and Culture Centre in Langa. Smuts is an acknowledged specialist in low-cost housing and is often called upon to work on similar sites abroad, for example in Brazil in 2000, where she was invited by the MST Movement. Smuts won the annual Global Award for 6XVWDLQDEOH $UFKLWHFWXUH LQ DW WKH 9LOOD 6DYR\H in Poissy, France. 195

THINKING AHEAD The unfinished freeway suspended in mid-air at the edge of the Central City has stimulated much discussion and debate over the years, particularly on how to turn it into functional, public space. Tsai Design Studio is amongst those with ideas for its future (this page and right). Likewise the Tree House designed by VDMMA (far right) has worked with nature to create a nurturing home.

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< 7VDL 7VDL 'HVLJQ 6WXGLR Architect Y Tsai directs the Tsai Design Studio, a multiGLVFLSOLQDU\ SUDFWLFH 7KH VWXGLR LV QRW RQO\ FRQÀQHG to architectural design; it also designs products that are socially and culturally relevant to South Africa. This can be seen in Tsai’s designs for projects such as the Nested Bunk Beds which won the Most Beautiful Object in South Africa award at the Design Indaba Expo in 2008 (see Question 43 for the case study on the Nested Bunk Beds project). Tsai uses his eastern upbringing, combined with inspirations from the diverse South African culture in which he is immersed as a designer, to build a body of work that has already earned the studio a number of accolades and awards, including the prestigious European Red Dot Award.

$Q\D YDQ GHU 0HUZH 0LV]HZVNL VDMMA 9DQ GHU 0HUZH LV D GLUHFWRU RI 9DQ 'HU 0HUZH 0LV]HZVNL $UFKLWHFWV 9'00$ 3W\ /WG WRJHWKHU ZLWK partner Macio Miszewski, and is also a professor at the University of Cape Town School of Architecture and Planning. The practice has created iconic buildings including (in association with dhk) the Cape Town International Convention Centre (CTICC) and the residence, the Tree House, voted the best building in South Africa by 9,6, Magazine and the 6RXWK $IULFDQ ,QVWLWXWH IRU $UFKLWHFWXUH 9'00$ ZDV awarded the SAIA Merit Award, a national award of commendation, in 2006 for the CTICC, the 2005 CIA Award as well as the 2004 South African Institute of Steel Construction National overall winner.

/$1'6&$3( $5&+,7(&785( (DUWKZRUNV /DQGVFDSH $UFKLWHFWV 7KLV ÀUP LV IRFXVHG RQ GHVLJQLQJ RXWGRRU VSDFHV in ways that are sensitive to integrating the needs of human development and the natural environment. ELA’s portfolio includes Jetty Square, Pier Place and eight spaces within the Quality Public Spaces Programme (see Question 43 which LQFOXGHV WKLV DV SDUW RI WKH 'LJQLÀHG 3ODFHV 3URJUDPPH RQH RI RXU FDVH VWXGLHV 7KH ÀUP·V OHDG landscape architect is Adam van Niewenhuizen. 2Y3 $VVRFLDWHV This is a leading landscape architectural design ÀUP LQ &DSH 7RZQ ZKRVH H[SHUWLVH LQFOXGHV landscape and architectural design, master planning and environmental planning. The partners are Johan van Papendorp, Darryl Pryce-Lewis and Gregory Lok. Their portfolio includes the precinct master-planning and detail-design of the Green 3RLQW 8UEDQ 3DUN 9 $ :DWHUIURQW 6W $QGUHZ·V Square, upgrading of Table Mountain Cableway and Cape Point and the Life Sciences Department at the University of the Western Cape.

CITY SCAPES Earthworks Landscape Architects completed the squares at Pier Place and Jetty Square which are part of the Dignified Places Programme.

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GREEN LUNGS The Life Sciences Department at UWC is a prime example of local landscape engineering by OvP Associates and provides a green canvas within a built environment.

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63$7,$/ 3/$11(56 85%$1 '(6,*1 'DYH 'HZHU 8&7 6FKRRO IRU $UFKLWHFWXUH 3ODQQLQJ DQG *HRPDWLFV Prof Dewar held the BP chair in City and Regional Planning until his retirement and was convenor of the City and Regional Planning degree programme. He has lectured widely in other countries, and has received numerous awards for his work, including the Jaycees Four Outstanding Young South Africans award, and the Ernest Oppenheimer Travel Fellowship (twice). He was a founder member, and for many years, director of the Urban Problems Research Unit. He is author or co-author of nine books and over 200 monographs and articles on FLW\ DQG UHJLRQDO SODQQLQJ ,Q KH ZDV HOHFWHG a Life Fellow of the University. He also consults widely in Southern Africa and for the last two years has been core consultant to the City of Cape Town in drawing up its Spatial Development Framework. %DUEDUD 6RXWKZRUWK &LW\ 7KLQN 6SDFH Southworth graduated with a Bachelor of Architecture from the University of Cape Town followed by a Masters of City Planning & Urban Design. She worked for the City of Cape Town for ten years including two years as Director of City Spatial Development and has taught planning and urban design programmes at the University of Cape Town. Southworth founded (together with Thabo Mashologu and Sopna Nair) and is Managing Director of City Think Space, an innovative new

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urban strategy, urban design, city planning and SURMHFW SDFNDJLQJ FRPSDQ\ 6KH ZRQ ÀUVW SUL]H IRU WKH 1,$ +RXVLQJ *HQHUDWRU &RPSHWLWLRQ LQ and the Ralph Erskine Award for her work on Cape 7RZQ·V 'LJQLÀHG 3ODFHV 3URJUDPPH LQ )RU PRUH GHWDLO RQ WKH 'LJQLÀHG 3ODFHV 3URJUDPPH see Question 43). ,1'8675,$/ '(6,*1 5RHOI 0XOGHU «;<= 'HVLJQ Roelf Meyer is the managing director of …XYZ, and has been involved for more than twenty years in the industrial design industry. Mulder provides key input to all projects undertaken to ensure global parameters are met. Concurrent to this role, Mulder also plays an active role in the academic development of design education and implementation within South Africa. %\URQ 4XDOO\ «;<= 'HVLJQ Byron Qually is an industrial design researcher, and partner in the award winning ...XYZ Design ÀUP 7KH FRPSDQ\·V SURGXFWV KDYH EHHQ H[KLELWHG in the Cooper-Hewitt National Design Triennial, the Museum of Modern Art in New York, and the 9LFWRULD DQG $OEHUW 0XVHXP LQ /RQGRQ 4XDOO\ an industrial designer, has a particular interest in unpacking complicated socio-technical systems in emerging contexts, and is currently researching the intersection that exists between design and democracy.

'DYLG %RRQ]DLHU «;<= 'HVLJQ Dr Boonzaier has joined the ...XYZ team as 7HFKQLFDO 9LDELOLW\ $VVRFLDWH DQG ZLOO EH IRFXVLQJ RQ developments within the research centre. Having studied both medicine and engineering, he brings D ZHDOWK RI NQRZOHGJH DQG H[SHULHQFH LQ WKH ÀHOGV of inter alia, physics, electronics and universal design. To date the research centre has successfully provided clients with the opportunity to analyze their products from a variety of perspectives, resulting in unforeseen technologies opening up new market opportunities. .REXV 0HLULQJ 2SWLPDO (QHUJ\ Meiring graduated from the University of Stellenbosch as a mechanical engineer, before joining Denel Aviation in 1988, where he joined the Rooivalk helicopter and ACE turbo-prop programmes, eventually managing the on-board systems development for both of these projects. Rooivalk later UHFHLYHG WKH 'HQHO &KDLUPDQ·V $ZDUG DQG WKH ÀUVW production aircraft was handed over to the South African Air Force in 1999. Meiring was appointed as Project Manager of the Southern African Large Telescope (SALT) Project. SALT was completed on budget and in time and inaugurated by President Mbeki in November 2005. Upon completion of the SALT project, he co-founded Optimal Energy in 2005 with Mike Lomberg, Jian Swiegers and Gerhard 6ZDUW WR KHOS GHOLYHU 6RXWK $IULFD·V ÀUVW ´JUHHQ FDUµ

ELECTRIFYING IDEAS The Joule, designed by Optimal Energy, will be South Africa’s first electric car.

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AUTOMOTIVE DESIGN .HLWK +HOIHW 2SWLPDO (QHUJ\ Helfet has an international reputation in both automotive and product design. Born in the Cape, Helfet graduated from the Royal College of Art in the UK and worked at Jaguar where he designed Jaguar XK8, XK180, XJ220 and F-Type concept cars. Helfet has worked at Optimal Energy as design director since 2005 and has been working on both the interior and exterior design of the Joule, South $IULFD·V ÀUVW HOHFWULF FDU

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685)$&( '(6,*1 )DLWK )DLWK LV D VHOI WDXJKW DUWLVW ZKR GUDZV inspiration from her own intuitive political and existential questions. Her art takes on the form of metaphor. Initially recognized IRU KHU XQLTXH JUDIÀWL DQG VWUHHW DUW ZRUN )DLWK LV IDVW HVWDEOLVKLQJ KHUVHOI LQWHUQDtionally, showing in galleries and participating in projects worldwide. Despite this she UHPDLQV ÀUPO\ URRWHG LQ 6RXWK $IULFD

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SOCIAL COMMENT Unique graffiti and street art is the hallmark of Faith47 and she converses through her art on many current South African debates.

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/RYHOO )ULHGPDQ Friedman has an MFA in Ceramic Sculpture with distinction from the University of Cape Town. She has taught art at school and children’s workshops and has lectured at Cape Town’s Technikon as well as in Canada and the USA. Since 1984 she has exhibited widely in solo and group shows, including the UK and Canada. Her work is seen all over the greater Cape Town Area ranging from IRT stations in the Central City to mosaic-covered seats and pillars in Langa and building facades in Khayelitsha. Lovell has worked for a number of years training artists to do mosaic work and has, as an artist facilitator, contributed to a number of public art projects around the City over the years. She is also involved in the Safe Spaces bench project (for more information see Question 44).

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+HDWKHU 0RRUH 6NLQQ\ OD0LQ[ Moore is an illustrator, designer and cult-blogger. From ceramics and tea towels to her popular “Sevilla Rock” fabric range, Moore’s Skinny laMinx products are sold all over the world, both through her online shop and in retail outlets. Her work has been featured in numerous international publications, and her “I wish we had Ikea” tea towel has been included in a museum exhibition in Hamburg, Germany.

FUNCTIONAL ART Heath Nash uses craft techniques (left) to transform used rubbish into functional art. Lovell Friedman’s mosaic work (below left) appears on the benches of the Safe Spaces project. Carrol Boyes functional pewter art (below right) is now sold in branded stores globally.

QUESTION 26

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

World Design Capital 2014

352'8&7 $1' )851,785( '(6,*1 &DUURO %R\HV After eleven years of teaching, Boyes decided to pursue her childhood dream of being an artist. Equipped with an honours degree in sculpture, she wanted to make pure art accessible to everybody. ,Q WKH ÀUVW &DUURO %R\HV·V VSRRQ ZLWK LWV WUDGHPDUN ÀJXUH KDQGOH GHVLJQHG LQ SHZWHU ZDV created. This fusion of form and function had such enormous appeal that, virtually overnight, the demand for her products locally and internationally became overwhelming, leading to the formation of her company. Boyes has in turn adopted the role of mentor, nurturing new talent through design competitions and teaching skills to all those around her. In this way, she promises to guide a select team of new designers to continue the success of the company into the future. Her staff complement numbers over 400, mostly women both in Cape Town and Limpopo. Boyes earned last year’s national award for the Top Woman-owned Company RI WKH <HDU ,Q VKH RSHQHG KHU ÀUVW UHWDLO store and this new venture has seen the opening of dedicated and branded stores all over South Africa, Europe and in New York, USA. 3LHUUH &URQMH ,QWHJULW\ ÀQH FUDIWVPDQVKLS DQG SULGH KDYH FKDUacterised Cronje’s furniture designs for the past \HDUV &UHDWLQJ VXSHUE GHVLJQV ZLWK D ÁDZOHVV quality from the best timbers, sourced locally

and abroad. Cronje is a member of the Western Cape Furniture Initiative. +DOGDQH 0DUWLQ 0DUWLQ TXDOLÀHG DV DQ LQGXVWULDO GHVLJQHU DW WKH Cape Peninsula University of Technology and after a year branched off on his own to design and develop furniture and homeware. His furniture has won a number of design awards, including Real Simple SA – Green Innovation Award for Design 2008, and the prestigious SABS DISA award for his Zulu Mama chair LQ +DOGDQH KDV H[KLELWHG LQ 0DGULG /RQGRQ Paris, New York, Copenhagen, Oslo, Johannesburg, Cape Town and Durban. The furniture has been featured extensively in the local and international press including DESIRE, a design book published by Gestalten in 2009. Martin presented his work entitled Design with a Conscience on the main stage RI WKH 'HVLJQ ,QGDED FRQIHUHQFH LQ +HDWK 1DVK Nash holds a BA in Fine Art (sculpture) from the University of Cape Town. He was the Elle Decoration SA designer and lighting designer of the year in 2005/6, and also won the title of British Council South African Creative Entrepreneur of the Year in 2006. Heath uses craft techniques to transform used milk bottles into high-end designer products which form part of his Other People’s Rubbish line. 205

SIMPLE AESTHETICS The furniture of Pedersen + Lennard is popular for their synergy between South African craft and their own Scandinavian roots.

/XNH 3HGHUVHQ DQG -DPHV /HQQDUG 3HGHUVHQ /HQQDUG Pedersen + Lennard is a design company skilled in residential and commercial product design and manufacture, including lighting, furniture, storage and special commissions. It is focused on quality products, innovative design and a simple aesthetic. Pedersen + Lennard’s fabrication process is a combination of hand-made and machine-made elements which all come together in their workshop. 7KH WHDP KDV GHYHORSHG WKHLU RZQ UDQJH UHÁHFWLQJ their fascination with South African craft and the clean aesthetic of their Scandinavian forefathers.

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CREATIVE CONCEPTS Thingking’s award-winning ideas create unique concepts from everyday objects.

runner up for the SABS design achievers’ award. He has exhibited in Milan a number of times and with the travelling European exhibition, New Africa. He has also exhibited in South Africa at Design ,QGDED 5RRPV RQ 9LHZ DQG WKH 6RXWKHUQ *XLOG DW the Johannesburg art fair. He has recently started his company, Thingking, with Marc Nicolson, who also graduated in Industrial Design from the Cape Peninsula University of Technology and was the head designer of Rocketfuel working on major local and international brands.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

/\DOO 6SURQJ 7KLQJNLQJ Trained in industrial design at the Cape Peninsula of Technology, Sprong has subsequently exhibited furniture both locally and abroad. He has been interested in the role of perception LQ WKH H[SHULHQFH RI REMHFWV EXW QRZ DOVR ÀQGV himself drawn to simple, adequate interventions. He has won three awards, namely the Elle Decoration emerging designer of the year 2009; one of décor magazine 9,6,·V selected designers for the year 2009; winner of the House and Leisure 0U 3ULFH GHVLJQ DZDUG DQG KH ZDV WKH ÀUVW

CRATEFAN This 16,5m and 25-tonne “cratefan”, the work of Porky Hefer, was made using 2 500 standard Coca-Cola bottle crates and has been on exhibit since the World Cup at the V&A Waterfront.

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QUESTION 26 World Design Capital 2014

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3HHW 3LHQDDU 7KH 3UHVLGHQW Pienaar is a performance artist-turned-graphic designer and co-owner of The President design studio. The President has recently opened a studio in Buenos Aires, Argentina. Pienaar is also the editor and publisher of multi-award winning, Afro magazine – a Pan-African publication offering the best of contemporary writing and culture from the continent. Afro has won one Grand Prix Clio design award, two gold One Show awards in New York, two gold Clios in Miami and one gold pencil at the D&AD in London for magazine design. Some of his projects include the

design of a sneaker range; a cover for leading Hong Kong design magazine Outlook; T-shirt graphics for Comme des Garçons; graphics for the New York Times; and he founded the Bowling Club – a group that stimulates international exchange in Cape Town. He is also the South African organiser of the DQQXDO 7RIÀH &XOWXUH )HVWLYDO LQ &DSH 7RZQ

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

3RUN\ +HIHU $QLPDO )DUP Hefer has been in advertising for sixteen years and is one of South Africa’s most awarded creative people. For 11 years he worked as an art director, creative director and executive creative director at various advertising agencies in Johannesburg, Cape Town and New York. He has worked on brands like BMW, American Express, Nike, Levi’s, Coca Cola, Jaguar, Durex, Standard Bank and Nando’s. ,Q KH IRXQGHG $QLPDO )DUP WR GHPRQVWUDWH the power of collaboration, exploring what can be achieved when people work together with a common goal and mutual respect. Collaborating ZLWK VSHFLDOLVWV LQ YDULRXV ÀHOGV WR FUHDWH LQWHU disciplinary solutions for a better life for all, Animal Farm strives to produce work that elicits a smile and sticks in your head. Playing with toys and with the 2010 World Cup in the back of his mind, Hefer had an “architectural foray with Lego” that resulted in the idea for the Cratefan.

.LQJ -DPHV $GYHUWLVLQJ $JHQF\ King James is an independent advertising and communication group which originally started with just two individuals and has today grown into VL[ FRPSDQLHV .LQJ -DPHV .LQJ -DPHV 5693 Mnemonic, Atmosphere, Hammer and Proof) allowing for a multi-disciplined approach to advertising. These all work in tandem in the same building. King James is based in Cape Town and has expanded to Johannesburg. The King James Group celebrated its strongest year ever at the Loeries in 2010 bringLQJ KRPH RQH *UDQG 3UL[ ÀYH *ROG RQH 6LOYHU IRXU %URQ]H WZR *ROG &UDIW DQG WKUHH &UDIW &HUWLÀFDWHV The wins also gave King James the number one SRVLWLRQ DFFRUGLQJ WR WKH RIÀFLDO UDQNLQJ RI WKH South African Loeries. Major successes included Allan Gray’s Legend which was awarded a Grand 3UL[ IRU 79 DQG WKH FDPSDLJQ IRU WKH You Know What for kulula.com which scored an Advertising MixedMedia Gold. %ODFN +HDUW *DQJ The Black Heart Gang includes illustrator Ree Treweek, creative director Jannes Hendrikz and musician/writer Markus Smit (Wormstorm). Known for their icy cold bravado, whimsical works and monolithic life-long project, The Household, the trio 209

CARTOON CHARACTERS Zapiro has become well-known for his caricatures of local and international political figures.

developed The Tale of How. They achieved great success with this animated story which has gone on to win 15 awards. The Tale of How animation has grown into a multimedia project that includes prints, exhibitions and more. Forming part of a trilogy, the next instalment, The Tale of Then is currently in pre-production.

businesses/ government and individuals with a system with which to manage multiple conversations from different social media and instant messaging platforms. Locally it is being used to provide counselling and support services to more than 250 000 people across Africa. ,//8675$7256

IT DESIGN 0DUORQ 3DUNHU 5ODEV Parker is a social entrepreneur and an Information Technology lecturer at the Cape Peninsula University of Technology (CPUT). He founded the ReconVWUXFWHG /LYLQJ /DEV 5/DEV D QRQ SURÀW RUJDQLVDtion which offers local and global communities a platform to improve their skills through the use of various technology programmes. Parker is also the founder and CEO of JamiiX Social Exchange – a web- and mobi-based tool providing organisations/

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$QWRQ .DQQHPH\HU %LWWHUNRPL[ %RUQ LQ .DQQHPH\HU FRPSOHWHG D 0DVWHUV in Fine Art at the University of Stellenbosch in 7RJHWKHU ZLWK &RQUDG %RWHV KH KDV EHHQ DW the forefront of introducing a comic and satirical aesthetic to South African art. He and Botes were the co-founders and are the ongoing co-editors of the Bitterkomix series, which started in 1992 and has become revered for its subversive stance DQG GDUN KXPRXU +H KHOG KLV ÀUVW 1HZ <RUN VROR exhibition, The Haunt of Fears, at Jack Shainman

QUESTION 26 World Design Capital 2014

=DSLUR One of South Africa’s best-known and respected political cartoonists, Zapiro was born Jonathan Shapiro in Cape Town in 1958, and turned his hand to numerous careers (architecture and graphic design) before becoming the editorial cartoonist with the newspaper South LQ ,Q KH EHFDPH D Fulbright Scholar studying media arts at the School RI 9LVXDO $UWV LQ 1HZ <RUN VWXG\LQJ XQGHU FRPLF masters Art Spiegelman, Will Eisner and Harvey Kurtzman. Returning to South Africa, he was editorial cartoonist for the Sowetan (1994-2004) and has been editorial cartoonist for the Mail & Guardian since 1994, the Sunday Times since 1998 and since September 2005 he also appears three times a week in the Cape Times, The Star, The Mercury and Pretoria News. He has held solo exhibitions in New York, Amsterdam, Frankfurt and many in South Africa, and has published a number of volumes of his work. &(5$0,&6 &OHPHQWLQD YDQ GHU :DOW Clementina van der Walt is a well-known South African studio potter, based in Cape Town, who has in the past three decades lectured, run a production

studio and held many one-person shows. Her work is represented in several South African national collections. She has participated in major shows abroad including four consecutive years at Ceramic Art London. BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

Gallery in 2008. Recent group exhibitions include Les Afriques de Papa at l’Espace du Collectif Sadi, Kinshasa, DR Congo (2010); ... for those who live in it: Pop culture, politics and strong voices at MU Eindhoven, The Netherlands (2010); Halakasha! at the Standard Bank Gallery, Johannesburg (2010) and The Graphic Unconscious 3KLODJUDÀND The Print Center, Philadelphia (2010).

)$6+,21 '(6,*1 &UDLJ 1DWLYH 1DWLYH “Native” is a streetware brand, launched in 2000, by Native who hails from the Cape Flats and who is inspired by the country’s “diverse mix of cultures, improvisation in everyday life, and the ghetto lifestyle.” Graphics play a large part in the collections and are mostly derived from African iconic images like wild animals, vegetables, tribes like the Zulu and other current social issues. Native’s approach is socio-political and humanitarian, but always fun and quirky in that the buyer buys a “little piece of Africa”. Native was recently asked to be a worldwide ambassador for Green Peace, and his collections have won numerous awards. 0DOFROP .OXN .OXN &*'7 Born in Durban, Kluk received an MA Hons (1991) from the Central St Martin’s College in the UK and apprenticed under John Galliano before returning to South Africa, where today he is the owner/designer of Kluk & CGDT (with partner Christian Gabriel du Toit). He is one of only three South African designers (the other two being Julian Smith and Clive Rundle) to be invited by AngloGold Ashanti to be part of their Afridesia collection at the prestigious 2002 New York Fashion Week. Kluk is also a director of the Cape Town Fashion Council.

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38%/,6+,1* 7KHPED 0QJRPH]XOX 'DUNLH &ORWKLQJ Founded in Cape Town in 2000, the Darkie label ZDV RIÀFLDOO\ ODXQFKHG WR WKH QDWLRQDO PHGLD LQ 2002 at Sanlam South African Fashion Week. The label is the work of Mngomezulu, a BCom drop-out VWXGHQW ZKR ZDV ÀUVW LQWURGXFHG WR FORWKLQJ E\ his mother who used to sell second-hand clothes to locals. Mngomezula would recycle clothes for himself and friends and he soon started supplying the stores for which he was working on weekends, working out of a garage in Durban at the time. In February 2006 he joined forces with Cape Townbased designer Azaad Carrim and the Darkie label took shape. The streetwear brand, with the afrocomb signature, is inspired by the South African youth culture. *DYLQ 5DMDK *DYLQ 5DMDK $WHOLHU Rajah’s work has featured in numerous international publications and has appeared as a designer/judge in America’s Top Model in the USA DQG LQ -RGLH .LGG·V UHDOLW\ 79 SURJUDPPH Fashion Avenue in the UK. He sits on the adjudication panel for Anglogold Ashanti’s international jewellery panel, and was the only African to speak at the Global Fashion Conference in Milan last year, where his paper on Creating an identity in fashion: South Africa - the future of fashion? made headlines in the Wall Street Journal and Milano Finanza. Rajah founded and owned the Cape Town Flower Show, Cape Town Fashion Week, Durban Fashion Week and has been responsible for FRQFHSWXDOLVLQJ 'XEDL·V ÀUVW IDVKLRQ ZHHN for the Dubai Tourism Authority. He was selected as one of 40 people by FINWEEK that is responsible for shaping the future of SA, and is a UNICEF ambassador.

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$UW6$ 3XEOLVKLQJ This company is led by Suzette and Brendon BellRoberts. Originally an attorney, Suzette Bell’s passion for contemporary art, travel, research, reading and courses have given her an extensive knowledge of contemporary visual art production in South Africa, and she has been director and curator of BellRoberts Gallery since 2000. Brendon Bell-Roberts is recognised as one of the leading “colour” experts and best designers of art publications in the country. He obtained a NDFA at the Cape Peninsula Technicon (having studied under such luminaries as Kevin Brand, Brett Murray, Angela Ferreira and Mel Hagen). Select publishing accomplishments include Art South Africa magazine; Snapped Magazine; Itch magazine; 10 Years 100 Artists – art in a democratic South Africa; 10 Years + 100 Buildings; Picasso in Africa; The Standard Bank Collection; Africa Now (The World Bank, Washington) amongst others. 2QH 6PDOO 6HHG This magazine has been called “the ultimate reference to South African pop culture”, and is a publication aimed at urban men and women between the ages of 23 and 39. It appeals to those with a speFLÀF PLQG VHW UDWKHU WKDQ WR D VSHFLÀF GHPRJUDSKLF One Small Seed aims to provide South African creativity with a global platform whilst pushing the boundaries of other publications, resulting in a magazine that is unique, refreshing and a “keeper”. 'HVLJQ ,QGDED 0DJD]LQH This quarterly publication is led by Interactive Africa and distributed internationally. Its main aim is to VRXUFH QHZ LQVLJKWV DFURVV DOO GHVLJQ ÀHOGV DQG it does this by including insights and opinions of internationally renowned design practitioners who have taken part in the international Design Indaba Conference and Expo and its associated projects.

213 BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

NEIGHBOURHOODS/AREAS

QUESTION 31: Describe any areas in the city that could be perceived as a showcase for design. Include photographs and/or video to support your description where available.

6KRUW WHUP OHDVHV DUH DYDLODEOH IURP RQH GD\ WR RQH PRQWK DQG LQGHSHQGHQW FUHDWLYH EXVLQHVVHV DUH HYHQ HQFRXUDJHG WR XWLOLVH RQ /RQJ hourly – especially for meetings, presentations or conferences.

Cape Town is home to a number of areas or QHLJKERXUKRRGV WKDW FDSWXUH WKH ÁDYRXU RI WKH City’s edgy, authentic design. Among these are the following:

Closer towards the centre of town, two other distinct DUHDV KDYH HYROYHG LQ /RQJ 6WUHHW RQH IRU DQWLTXHV and another for African craft. The Long Street $QWLTXH $UFDGH D PDOO WKDW SOD\V KRVW WR D P\ULDG RI GLIIHUHQW DQWLTXHV DQG FROOHFWDEOHV DQG WKH $IULFDQ Women’s Trading Market, an authentic market with African crafts, jewellery, sculptures and textiles, are situated in side streets.

Long Street, Central City This street in the Cape Town Central City is fast WUDQVIRUPLQJ LQWR LWV RZQ GLVWULFW ZLWK GLVWLQFWLYH areas along its length. Upper Long Street, FKDUDFWHULVHG E\ D ERKHPLDQ VW\OH RYHUDOO ZLWK many low-lying Victorian-style buildings still with their original metal “broekie lace” (panty lace!) trim, has become known for its shops offering the work of young designers, from fashion to homeware, ZKLFK OLH FKHHN E\ MRZO ZLWK YLQWDJH PHUFKDQGLVH ,W LV DOVR D VWUHHW ZKHUH \RXQJ FUHDWLYHV FRQJUHJDWH either to work in independent studios or to meet at coffee shops, restaurants, galleries and clubs to get their inspiration. This is home, for example, to 210 on Long, which offers a sustainable solution to both retailers of green goods and socially aware consumers. 2YHU VHYHUDO SKDVHV WKH EXLOGLQJ KDV EHHQ transformed into a “green” mall by using recycled building materials, reducing energy usage and respecting the people and materials that create the goods for sale. Besides being a shopping GHVWLQDWLRQ LW LV DOVR DQ LQQRYDWLYH V\QWKHVLV RI DGDSWDEOH RIÀFH VXLWHV IRU YDULRXV FUHDWLYH ORFDO DQG LQWHUQDWLRQDO PHGLD DQG FUHDWLYH EXVLQHVVHV 224

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Kloof Street, Gardens/ Tamboerskloof People who don’t “know” Cape Town would assume Kloof Street to be an extension of Upper Long, as many shops here also offer designer furniture and homeware, but the nature of the work on display is slightly more upmarket. Kloof Street also features a number of small galleries displaying local artists. ,W LV D KXE DURXQG ZKLFK D QXPEHU RI &DSH 7RZQ·V WRS ÀOP WHOHYLVLRQ DQG DQLPDWLRQ FRPSDQLHV DUH EDVHG DORQJ ZLWK WKH &DSH 7RZQ EDVHG RIÀFHV RI QDWLRQDO SXEOLF EURDGFDVWHU H WY 2QH H[DPSOH RI D FXWWLQJ HGJH FUHDWLYH DJHQF\ found in this area is FoxP2 that specialises in brand mutations, design experiments and “cracking the FRGHµ WR HIIHFWLYH FRPPXQLFDWLRQV 7KH QDPH relates to the Forkhead Box Protein P2 gene, GXEEHG WKH FUHDWLYLW\ JHQH E\ VFLHQWLVWV )R[3 PRVW UHFHQWO\ FDPH RXW WRSV LQ WKH LQGLYLGXDO agency rankings at the Loeries Awards, scooping HLJKW /RHULHV LQFOXGLQJ D *UDQG 3UL[ LQ WKH UHODWLYHO\ new category of architecture and interior design IRU LWV RZQ RIÀFH VSDFH 6SDWLDO GHVLJQHU 5RWHP Shachar was responsible for the theme of a retro VFL À ODERUDWRU\ EHDNHUV UHSODFH GULQNLQJ JODVVHV FRQLFDO VHSDUDWRUV DUH XVHG DV DOFRKRO GLVSHQVHUV SODQWV DUH ZDWHUHG E\ LQWUDYHQRXV GULSV DQG VHUYLFHV VXFK DV DLU FRQGLWLRQLQJ DUH H[SRVHG

LONG ON DESIGN Long Street (above and left) offers an eclectic mix of designer goods and services with a strong emphasis on both local and sustainable.

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VILLAGE LIFESTYLE Once part of the Malay Quarter, the terraced houses and cobbled streets of De Waterkant (above and right) have become sought-after settings particularly for design, from clothing to bespoke furniture, and quality craftwork.

De Waterkant, Green Point Bordering on the Central City and situated on the slopes of Signal Hill, De Waterkant originally formed part of the Bo-Kaap Malay Quarter area. Most of the terrace-style buildings were erected by former VODYHV IURP WKH (DVW DQG IRUP SDUW RI WKH 0XVOLP history of the Cape. Separated from the rest of WKH %R .DDS E\ D ZLGH WKRURXJKIDUH +LJK /HYHO 5RDG WKH 'H :DWHUNDQW DUHD KDV RYHU WKH \HDUV regenerated into one of Cape Town’s trendiest areas. Many of the old 18th-century homes UHÁHFWLQJ WKH &DSH 'XWFK *HRUJLDQ DQG $VLDQ LQÁXHQFHV RI WKH WLPH KDYH EHHQ WUDQVIRUPHG WR FUHDWH D YLOODJH IHHO ,W KDV IRU D QXPEHU RI GHFDGHV been home to the “pink rand” in Cape Town and is famed for being gay friendly. Drawing on comparisons from cultural and artistic YLOODJHV DFURVV WKH JOREH 'H :DWHUNDQW HPEUDFHV LQGLYLGXDOLW\ LQ ERWK WKH UHYLYHG DUFKLWHFWXUH DQG WKH YLEUDQF\ RI LWV UHVLGHQWV PDNLQJ LW UHPLQLVFHQW of London’s Soho and New York’s Greenwich Village. The transformation of two entire City blocks LQWR D GHYHORSPHQW NQRZQ DV 7KH &DSH 4XDUWHU Lifestyle Village (please also see Question 32 below) has seen a number of the City’s top decor GHVLJQHU EUDQGV PRYH ERWK LQWR WKH 4XDUWHU LWVHOI as well as generally into the area around it, along ZLWK QXPHURXV DUW JDOOHULHV DQWLTXH VKRSV DQG UHVWDXUDQWV ,W LV DOVR ZRUWK QRWLQJ WKDW WKH WUHQG\ QHLJKERXUKRRG KDV FURVVHG WKH +LJK /HYHO URDG many new design establishments are now opening in the Bo-Kaap which will soon become a new design neighbourhood.

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227 BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

The East City, Cape Town Central City For many years, the grittier side of Cape Town’s Central City with a large number of abandoned RIÀFH VSDFHV JRYHUQPHQW EXLOGLQJV DQG LQGXVWULDO ZDUHKRXVLQJ WKLV DUHD KDV RYHU WKH SDVW GHFDGH seen a slow but steady growth in the number of FUHDWLYH LQGXVWULHV WKDW KDYH PRYHG LQ WR WDNH DGYDQWDJH RI LWV ORZHU UHQWDOV DQG ODUJH ÁRRUVSDFH DYDLODEOH

HPHUJLQJ GHVLJQHUV ,W LV WKXV DLPHG DW VXSSRUWLQJ start-up businesses in the design and media sector DV ZHOO DV WR FUHDWH DQ HQYLURQPHQW IRU \RXQJ designers and students of design from all disciplines.

7ZR RI WKHVH DUH WKH &DSH &UDIW DQG 'HVLJQ ,QVWLWXWH &&', DQG &DSH )DVKLRQ &RXQFLO ERGLHV VHW XS E\ WKH SURYLQFLDO JRYHUQPHQW DQG WKH SULYDWH VHFWRU to spur economic growth and create cohesion, and ZKLFK KDYH MRLQWO\ RSHQHG D IDFLOLW\ LQ +DUULQJWRQ 6WUHHW WKDW KRXVHV D &UHDWLYH (QWHUSULVHV 7UDLQLQJ Unit. The building is also home to a range of small- and medium-sized design and information WHFKQRORJ\ ÀUPV The presence of designers and design-related businesses already established in the area include the studios of furniture designers Pedersen+Lennard and Haldane Martin, lighting designers Heath Nash and Brett Murray, and fashion design company Darkie Clothing. :LWK WKH (DVW &LW\·V JURZLQJ DWWUDFWLRQ IRU WKH FUHDWLYH industries and with the area in close proximity to WKH &DSH 7RZQ 8QLYHUVLW\ RI 7HFKQRORJ\ &387 D SDUWQHUVKLS EHWZHHQ ORFDO DQG SURYLQFLDO JRYHUQPHQW resulted in a project, begun in 2007, to create an LQQRYDWLRQ KXE LQ WKH DUHD 7KH DLP RI WKH SURMHFW LV QRW RQO\ WR GUDZ PRUH FUHDWLYH LQGXVWULHV LQWR WKH DUHD EXW WR DOVR VHUYLFH VWXGHQWV RI GHVLJQ DQG \RXQJ

ON THE FRINGE OF AN EXCITING FUTURE A number of Cape Town designers are already based in the East City Precinct, where the work of (anti-clockwise from top to left) Pedersen + Lennard (stool), Heath Nash (light) and Haldane Martin (Zulu Mama

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chair) can be seen.

QUESTION 31 World Design Capital 2014

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

2ULJLQDOO\ NQRZQ E\ LWV ZRUNLQJ WLWOH DV WKH (DVW &LW\ 'HVLJQ ,QLWLDWLYH ('&, WKH SURMHFW ZDV ODXQFKHG formally this year as The Fringe: Cape Town’s ,QQRYDWLRQ +XE VHH PRUH DERXW WKH SURMHFW LQ Question 32 below.) Cavendish Square vicinity, Claremont CBD Until the early 1970s, the suburb of Claremont was predominantly a residential and small retail district until a major shopping mall, &DYHQGLVK 6TXDUH RSHQHG LQ LQ ZKDW LV today considered to be the area’s CBD. Other shopping complexes soon followed. A further building boom then occurred in the late 1990s, which saw the construction of a number of large DSDUWPHQW EORFNV D KRWHO WZR RIÀFH EORFNV DQG WKH remodelling of a number of commercial buildings. 7R FRSH ZLWK WKH GHPDQG RI WUDIÀF WKURXJK WKH DUHD a major transport interchange and bypass road were added to the mix. As a result, the area has transformed into one of Cape Town’s premier shopping destinations offering an array of local and international fashion brands, D FKRLFH RI PDLQVWUHDP DQG DUW KRXVH PRYLHV family entertainment, designer homeware, furniture DQG LQWHULRU GHFRUDWLQJ VKRSV 7KH PRYHPHQW of upmarket retail into the area really began ZLWK WKH RSHQLQJ RI &DYHQGLVK 6TXDUH KRZHYHU RYHU WKH \HDUV UHWDLO LQ RWKHU FRPSOH[HV FORVH E\ and particularly in the small lanes surrounding &DYHQGLVK KDYH DOVR EHHQ UHYLYHG ZLWK PDQ\ VPDOO GHVLJQHU ERXWLTXHV DUW DQG DQWLTXH VKRSV and decor stores now embracing the edges of WKH 6TXDUH 229

WASHINGTON STREET MURAL Langa is now high on the list of “to do’s” when visiting Cape Town, and over 25% of tourists take a township tour down Washington Street.

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7KH 0\QDUGYLOOH 2SHQ $LU 7KHDWUH ORFDWHG in the public park bordering Chelsea Village presents annual summer outdoor productions of Shakespeare as well as ballet and other performances. The beautiful trees in the park are WKH OHJDF\ RI ZKDW ZDV RQFH D ÀQH 9LFWRULDQ JDUGHQ owned by the Maynard/Farmer family, who asked a Kew Gardens horticulturist from the UK to landscape the property. The results are mediterranean cork oak trees that lie side-by-side with swamp cypress trees and lemon-scented gum trees, all of which create a canopy that contributes to the peaceful YLOODJH DWPRVSKHUH RI WKH DUHD Washington Square, Langa Langa is one of the oldest townships in Cape Town. Once an area made up of infamous singles’ TXDUWHUV KRVWHOV RI PLJUDQW ZRUNHUV RI WKH DSDUWKHLG HUD D VTXDWWHU FDPS DQG D YDVW WD[L rank, Langa is now high on the list of “to do’s” when YLVLWLQJ &DSH 7RZQ DQG RYHU RI WRXULVWV WDNH D township tour. Washington Street is in turn an area LQ /DQJD WKDW LV VHHLQJ QHZ GHYHORSPHQW Here the Guga s’Thebe Arts and Culture Centre was EXLOW WR SURYLGH D KRPH IRU DUWV FXOWXUDO DQG KHULWDJH IRU WKH :HVWHUQ &DSH DQG LV WRGD\ D YLEUDQW FHQWUH WKDW VHUYHV DV D IRFDO SRLQW IRU FXOWXUDO HQULFKPHQW

in Langa. The building is the award-winning work of Cape Town architect Carin Smuts, who has won two international awards for the complex. The centre consisting of a number of separate buildings that IRUP D ´YLOODJHµ ZLWK QXPHURXV LQGRRU DQG RXWGRRU rooms, and that house a Cape Town Tourism Visitor &HQWUH DV ZHOO DV DQ ,QWHUQHW FDIH Also situated along Washington Street is the Tsoga (QYLURQPHQWDO 5HVRXUFH &HQWUH D JUHHQ RDVLV LQ the township that facilitates youth programmes UHYROYLQJ DURXQG OLIH VNLOOV WUDLQLQJ MRE FUHDWLRQ DQG HQYLURQPHQWDO HGXFDWLRQ 7KH FHQWUH DOVR UXQV a recycling unit where members of the community can exchange waste for cash, and it also has a shop for locally made arts and crafts. These commercial YHQWXUHV IXUWKHU LWV JRDOV WR SURPRWH HFRQRPLF VHOI VXIÀFLHQF\ LQ WKH FRPPXQLW\ E\ HVWDEOLVKLQJ physical resources and supporting local sustainable MREV DQG VPDOO EXVLQHVVHV 7KH ,PEL]R /RXQJH DQG 5HVWDXUDQW RQ VLWH DQG SRSXODU ZLWK YLVLWRUV WR /DQJD VHUYHV WUDGLWLRQDO $IULFDQ IRRG

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Chelsea Village, Wynberg Lying in the Southern Suburbs area of Cape Town, Wynberg’s Chelsea Village has an authentically SUHVHUYHG KHULWDJH FKDUDFWHU DQG DOO WKH WUDSSLQJV RI D W\SLFDO OLWWOH (QJOLVK YLOODJH ZLWK WLQ\ URZ houses ranging in style from original Victorian to mock Tudor. The area apparently got its name from the many artists, interior decorators and furniture designers who made the area their home during the 1950s because it reminded people of London’s rather bohemian Chelsea district. The YLOODJH LV D FKLF GHVWLQDWLRQ IRU EX\HUV RI EHVSRNH furniture and art. Top interior decorators can be found amongst a collection of restaurants, pubs and outlets such as art dealers, and textile, DQWLTXH DQG SRWWHU\ VKRSV

'LUHFWO\ RSSRVLWH WKH 7VRJD &HQWUH LV WKH (]LNR &RRNLQJ School, a catering and cooking school built from retired seafreight containers supplied by international VKLSSLQJ FRPSDQ\ 6DIPDULQH 7KH VFKRRO KDV DQ VXFFHVVIXO SODFHPHQW UDWH ZLWK PDQ\ VWXGHQWV KDYLQJ found jobs in the hospital industry in Cape Town. The complex also houses a restaurant where tourists can stop for traditional fare. Kalk Bay Located along the False Bay coast, Kalk Bay was RQFH DQG VWLOO LV DQ LPSRUWDQW ÀVKLQJ YLOODJH +RZHYHU RYHU WKH \HDUV WKH TXDLQW EXLOGLQJV DQG WLQ\ VWUHHWV KDYH EHFRPH D GHVWLQDWLRQ UHWDLO H[SHULHQFH – the result of both its heritage character and the DUWLVWLF FRPPXQLW\ WKDW KDYH PRYHG LQWR WKH UHJLRQ 0DQ\ ZULWHUV ÀOPPDNHUV DQG PXVLFLDQV OLYH LQ WKH YLOODJH WKDW WRGD\ RIIHUV D GHOLJKWIXO PL[ RI DQWLTXH shops, bric-a-brac, art galleries, studios, and curio shops offset by restaurants, cafes and intimate FDEDUHW W\SH YHQXHV 231

QUESTION 32: Describe key urban regeneration or reconditioning projects in the context of the neighbourhoods or areas they have transformed.

The Old Biscuit Mill, Woodstock Once part of a derelict area in Woodstock – where the garment and furniture districts of the City were located – the Old Biscuit Mill has transformed the premises of a former biscuit factory into a design FHQWUH ZKHUH GHVLJQHUV FUDIWHUV DQG YLQWDJH traders attract the crowds. The Biscuit Mill is also home of the Neighbourgoods’ Market – a Saturday gourmet food and fresh-produce market that draws people from the entire Cape Town metropole and beyond. Adjacent to the food stalls is the Design Goods Market also open on Saturdays. Fine design objects ranging from clothing, jewellery, ceramics and other collectibles are sold by local independent designers that set up shop in stalls. $OEHUW 5RDG DORQJ ZKLFK WKH 2OG %LVFXLW 0LOO LV VLWXDWHG LV DOVR LQFUHDVLQJO\ EHQHÀWWLQJ IURP WKH UHQHZHG LQWHUHVW LQ WKH DUHD DQG KDV RYHU WKH past few years become the location-of-choice for emerging and established furniture, products, fashion and homeware designers. New coffee VKRSV DQG GHOLV KDYH WKXV DOVR VWDUWHG WR RSHQ WR VHUYLFH WKH FUHDWLYHV DQG QHZ UHVLGHQWV LQ WKH area, and the streetscape itself is also a constantly HYROYLQJ FDQYDV IRU WKH &LW\·V FRROHVW JUDIÀWL DUWLVWV

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Cape Quarter Lifestyle Village, De Waterkant Part of the De Waterkant area described in 4XHVWLRQ DERYH WKH &DSH 4XDUWHU FRPSOH[ ZDV EXLOW LQ WZR VWDJHV RYHU D \HDU SHULRG DQG LWV presence in the area has been largely responsible for transforming properties in surrounding streets into similarly themed shops dealing in home decor, art and artefacts, fashion, beauty, health and lifestyle-related stores. Much of the façade of the Cape Quarter is still made up of the original frontages of the heritage buildings that dominate the entire De Waterkant, with a contemporary fourstorey structure rising from the main core of the FRPSOH[ $Q LQWHUDFWLYH $UWMDPPLQJ VWXGLR LV DOVR housed in the complex as are a number of specialist cooking schools.

DESIGNERS’ MARKETPLACE The Old Biscuit Mill (left and right) has become a destination of choice for emerging and established furniture

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designers and other creative agencies.

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THE FRINGE An artist’s impression of the proposed incubation hub within The Fringe district in the East City area of the Cape Town Central City. (Reproduced courtesy of DesignSpaceAfrica.)

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World Design Capital 2014

QUESTION 32

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“Currently De Waterkant is the shopfront of design in Cape Town and Woodstock is the factory. We want The Fringe to be the brain where design happens and which keeps the energy flowing from the factory to the shop.” Johannes Cronje Dean of Faculty of Informatics and Design, CPUT

The Fringe: Cape Town’s Innovation Hub, Central City &DSH 7RZQ·V QHZ GHVLJQ DQG ,7 OHG LQQRYDWLRQ district, The Fringe, is about to take formal, physical shape on the edge of the Central City in its historical HDVWHUQ SUHFLQFW (DVW &LW\ )RUPDOO\ ODXQFKHG as The Fringe in January 2011, this project is the UHVXOW RI D SDUWQHUVKLS EHWZHHQ ORFDO DQG SURYLQFLDO JRYHUQPHQWV DFDGHPLF LQVWLWXWLRQV WKH SULYDWH sector and design entrepreneurs, and has been in GHYHORSPHQW VLQFH Built on the concept of a science park where entrepreneurs and established businesses are located around tertiary institutions and work in V\QHUJ\ ZLWK HDFK RWKHU 7KH )ULQJH ZLOO EH D YLWDO platform for Cape Town’s World Design Capital GHVLJQ DFWLYLWLHV LQ $Q DFWXDO LQQRYDWLRQ KXE LV DOVR FXUUHQWO\ EHLQJ GHVLJQHG DV D SK\VLFDO VSDFH WR SURYLGH LQFXEDWLRQ space for young designers in this district. The initial buildings of the hub will be built utilising old shipping containers until such time as more permanent structures can be funded and erected.

The Fringe project is closely aligned with the FDPSXV RI WKH &DSH 3HQLQVXOD 8QLYHUVLW\ RI 7HFKQRORJ\ ZKHUH WKH XQLTXH )DFXOW\ RI ,QIRUPDWLFV and Design promotes socially conscious design, and staff and students collaborate with communities LQ ÀQGLQJ GHVLJQ VROXWLRQV WR VRFLDO FKDOOHQJHV 7KH XQLYHUVLW\ ZLOO GHYHORS WKH ODQG DGMDFHQW WR LWV FDPSXV D ZDVWHODQG VLQFH WKH UHPRYDO RI 'LVWULFW Six families, into a mixed-use area with space for DFDGHPLFV GHVLJQHUV· RIÀFHV DQG ODERUDWRULHV 7KH GHYHORSPHQW RI WKLV ODQG ZLOO WKHUHIRUH DOVR 236

SURYLGH D OLQN EHWZHHQ WKH UHVWRUDWLRQ RI 'LVWULFW 6L[ WR LWV KLVWRULF FODLPDQWV DQG UHGHYHORSPHQW RI the area as a residential area, albeit painstakingly slowly and beset with political challenges. Affordable housing in this area will help postgraduates and emerging professionals become residents of the City. As outlined in Question 31, the entire area can already be seen as a showcase for design, but The )ULQJH 3URMHFW ZLOO WDNH WKH DUHD WR D WRWDOO\ QHZ OHYHO DV D GHVLJQ SUHFLQFW ZLWK LWV RYHUDOO YLVLRQ WR IRVWHU subsidised studio spaces for emerging designers, DFFHVV WR RSHQ FRPPXQLFDWLRQ HQYLURQPHQWV and information-sharing, and access to technical resources (such as rapid prototyping facilities) as well as fast and free broadband. Khayelitsha Craft Market, Khayelitsha Based at the St Michael’s and All Angels Anglican Church in the township of Khayelitsha, this market DLPV WR DOOHYLDWH SRYHUW\ LQ WKH DUHD DQG VKRZFDVHV for sale crafts produced by local community members. Very popular with tourists and other

QUESTION 32 World Design Capital 2014

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YLVLWRUV WR WKH DUHD ZRUN RQ GLVSOD\ LQFOXGHV handmade curios, pottery, beadwork, baskets and fabric paintings. Close by is another local artist, the Baboon Man, who uses cement to create baboon sculptures, as well as the Look-Out Hill facility. This IDFLOLW\ ZLWK LWV EUHDWKWDNLQJ YLHZV RYHU WKH WRZQVKLS and beyond to the mountains has yet to reach its SRWHQWLDO EXW LW LV KRSHG LW ZLOO HYHQWXDOO\ EH WKH VLWH RI D YLEUDQW DUWV DQG VFLHQFH FHQWUH D UHVWDXUDQW gift shop and information kiosk. Canal Walk Shopping Centre, Century City One of the largest shopping centres in South Africa today is Canal Walk, situated in the Northern Suburbs in what is also one of the fastest growing residential communities in the Western Cape, QDPHO\ &HQWXU\ &LW\ 7KH FHQWUH RQH RI WKH ÀUVW buildings to be erected on the Century City site, LV D FRPSUHKHQVLYH VKRSSLQJ GHVWLQDWLRQ IRU designer goods, furniture and fashion, and many WRS LQWHUQDWLRQDO DQG ORFDO GHVLJQHU EUDQGV KDYH ÁDJVKLS VWRUHV KHUH %LOOHG DV D FLW\ ZLWKLQ D FLW\ the surrounding components of Century City include not only residential units (affordable in particular to young families and singles), but also DQ RIÀFH SDUN WKDW KRXVHV D QXPEHU RI FUHDWLYH LQGXVWULHV SDUWLFXODUO\ WKRVH LQYROYHG LQ ,7 DV ZHOO as academic institutions such as the Academy of ,QYHQWLYH 'HVLJQ DQG 7HFKQRORJ\

EMPOWERING CRAFTERS The Khayelitsha Craft Market provides an ideal showcase for the work of local crafters, exposing them to tourists and providing economic empowerment.

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ARCHITECTURE

QUESTION 33: Provide a summary of architectural interest points. Include photos and/or video to support your description where available.

Cape Town, like the rest of South Africa, still has some way to go towards being a sustainable City in which all people’s basic needs are met and in which everyone feels included and connected. It is constantly confronted with balancing the needs of infrastructure development and upgrading on the one hand with social upliftment and placemaking on the other – all within its budgetary constraints. The needs of its diverse communities means that architects are challenged on all fronts – from re-thinking low-income housing and reusing containers to create sports clubhouses or student accommodation, to high-end houses, hotels and shopping malls in the wealthier areas. 9LVXDO UHPLQGHUV RI WKH FRXQWU\·V FRQÁLFWHG DQG divided past are everywhere: from the townships on the outskirts of the City crowded with self-built shanties to the cliffside mansions along the Atlantic Seaboard cantilevered across some of the most expensive real estate in Africa. And of course, there are the universal challenges that face all architects: the impact of buildings on people and their effects on how people experience space, together with the development of buildings that take cognisance of issues of environmental sustainability. These are critical considerations for all contemporary architects. Heritage needs to be preserved while contemporary trends are embraced along the way. 238

ARCHITECTURE THAT PRESERVES HERITAGE AND REFLECTS HISTORY Historic buildings and places in the Central City and beyond are valued, and the City (which subscribes to the guidelines of the South African Heritage Resources Agency - SAHRA), is intent on preserving DUFKLWHFWXUDO IHDWXUHV WKDW UHÁHFW WKH &LW\·V SDVW

Buried within every brick of Cape Town is a vast history of the forces that have shaped the City. As Cape Town has had to contend with two foreign colonial masters and a legacy of town planning that sought to divide rather than unite, this history of upheaval can be traced through a progression of building styles that are still visible across the metropole.

QUESTION 3 World Design Capital 2014

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REFLECTION OF AN ERA Cape Town’s British colonial past is well-reflected in the old City Hall. Still in place and in tact today, this image from the early 1900s highlights the Italian Renaissance style popular in the far-distant UK of the day.

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CIVIC DUTY The Castle of Good Hope replaced the first fort that was built by the original Dutch settlers in 1666. The Old Town House (below right), built between 1755 and 1761, is a prime example of the Rococo style seen in Cape Dutch architecture around this time.

CAPE DUTCH ARCHITECTURE $OWKRXJK WKH &DSH·V ÀUVW LQKDELWDQWV ZHUH WKH nomadic Khoison, the earliest visual examples of architecture that remain can be seen in the Cape Dutch style that held sway over the Dutch settlement at the Cape. This was a style that saw almost no distinction between residential dwellings, churches and public buildings and allowed for the inclusion of almost no other architectural style for close to a century. Eventually trends from Europe were incorporated into the Cape Dutch vernacular, which witnessed for example the change in shape of gables from the Rococo to the Neo-classical. Cape Town also still has clusters of simple and well-proportioned row houses from the Georgian era, particularly in the Bo-Kaap, once home to craftsmen and freed slaves and now an area predominantly inhabited by the City’s Muslim population. ([DPSOHV RI DUFKLWHFWXUH UHÁHFWLYH RI WKHVH SHULRGV DQG LQÁXHQFHV FDQ EH VHHQ DV IROORZV The Castle of Good Hope South Africa’s oldest civic structure, the Castle was built in 1666-79 to replace the original Dutch settlers’ fort constructed of earth and wood. Built in the shape of a hexagon, the Castle became the epicentre of life at the Cape: social, political and legal. Declared a national monument in 1936, it was extensively restored by Gabriel Fagan Architects between 1982 and 2000.

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QUESTION 33 World Design Capital 2014

The Iziko Slave Lodge Located on Church Square across the entrance from the Gothic-style Groote Kerk built in 1700, the Slave Lodge is today a museum that pays testimony to the slave experience. It was built in 1679 to

accommodate slaves, who worked in the gardens of the Dutch East India Company and built the early city. In the early 19th century, architect Louis Michel Thibault converted the building into a courthouse. It VHUYHG DV D SRVW RIÀFH DQG OLEUDU\ EHIRUH LWV SUHVHQW use as a museum began in 1960. BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

Groot Constantia $ ÀQH H[DPSOH RI RUQDWH &DSH 'XWFK DUFKLWHFWXUH the Constantia farm was granted in 1685 to Simon van der Stel, who became Governor of the Cape. The distinguishing feature of Cape Dutch architecture, the FHQWUH JDEOH LV D ÀQH H[DPSOH RI ERWK VLPSOLFLW\ DQG classicism on the farm’s double storey manor house. 7KH KRXVH ZDV H[WHQVLYHO\ UHEXLOW DIWHU D ÀUH LQ and is today both a museum and wine farm 20km from the Central City.

The Old Town House At the heart of Cape Town’s Central City lies Greenmarket Square, a microcosm of all of the Cape’s architectural styles. The oldest building here is the Old Town House, built between 1755 and 1761 DQG D EHDXWLIXO H[DPSOH RI WKH 5RFRFR LQÁXHQFH WKDW crept into Cape Dutch architecture. Today its threearched portico faces a market selling wares from across the African continent while inside is housed a collection of seventeenth century Dutch art.

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SLAVERY REMEMBERED Testimony is borne today to slavery in the Cape at the Iziko Slave Lodge, a building built in 1679 to accommodate the slaves who worked in the gardens of the Dutch East India Company and built the early city. A monument to General Jan Smuts overlooks the complex.

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Koopmans-De Wet House 7KH ÀQHVW SUHVHUYHG &LW\ KRPH LQ &DSH 7RZQ WKH Koopmans-De Wet house is a glorious example of WKH 1HR FODVVLFLVP LQÁXHQFH LQ &DSH 'XWFK DUFKLtecture, attributed to architect Louis Michel Thibault and sculptor Anton Anreith. In 1914 the house was WKH ÀUVW SULYDWH WRZQKRXVH WR RSHQ DV D PXVHXP and showcases life from 18th century Cape Town. BRITISH STYLE The nineteenth century saw the arrival of the British and the discovery of great wealth in the diamond ÀHOGV RI WKH 7UDQVYDDO LW KHUDOGHG WKH GDZQ RI DQ age of prosperity that brought with it an expanded civic building programme and saw dwellings emerge largely in a decorative Victorian style. The Central Library Once the Volunteer Drill Hall where the British army recruited and trained its soldiers, this slice of Victorian architecture (built in 1889) was transformed in 2007 into the Central Library. Design features ZKLFK LQFOXGH VXVSHQGHG LQWHULRU PH]]DQLQH ÁRRUV pay homage to the simpler space it once was.

KOOPMANS-DE WET HOUSE The house was the first private townhouse to open as a museum in 1914 and is a window into the life of a prominent family from 18th century Cape Town.

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The Cape Town City Hall Cape Town’s British colonial past is on full display in the old City Hall. Built in the Italian Renaissance style and completed in 1905, it still maintains an ornate and impressive appearance. Nelson Mandela’s speech from the Hall’s balcony upon his release from 27 years in prison is etched into Cape Town’s collective memory.

RETURN TO GLORY The City of Cape Town is hard at work restoring the City Hall to its former glory and status as one of the grandest civic buildings in Cape Town. Maintenance is being carried out to get the facility fully functional once again and to restore it in liaison with heritage authorities.

QUESTION 33 World Design Capital 2014

Nelson Mandela’s first public speech from the City Hall’s balcony, upon his release after 27 years in prison, is etched into Cape Town’s

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collective memory.

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Carl Herman & Co, 5-7 Corporation Street $ ÀQH H[DPSOH RI D ODWH 9LFWRULDQ EXVLQHVV SUHPLVH this well-preserved example sits nestled amongst more contemporary commercial buildings. Ornate, decorative and slender, this particular building style is often overlooked in favour of fussier Victoriana. Boorhaanol Mosque Although not Cape Town’s oldest mosque, it was WKH ÀUVW PRVTXH EXLOW LQ WKH &HQWUDO &LW\ WR IHDWXUH D minaret. Built in 1884, the wooden minaret did not

last long – it blew off in a storm and was replaced with its current concrete octagonal minaret in the 1930s. It is the only mosque in Cape Town to be declared a national monument. Metropolitan Methodist Church A piece of Victorian Gothic, located on a prime corner of Greenmarket Square, the church was completed in 1879 and today its spire still towers over the trees and market stalls at its feet. 19th CENTURY INFLUENCES The turn of the 19th century brought a number of new architectural styles into a City with an evershifting landscape. For example, the decision in 1937 to reclaim two square kilometres of land from the sea in order to extend the CBD has had a lasting impact. Poor planning combined with an era of fervent downtown construction on the reclaimed Foreshore saw the building over the decades of elevated motorways which effectively cut off the Central City from the sea. Alongside this expansion came the construction of buildings that housed apartheid’s bureaucracies, WKH YHU\ VW\OHV RI DUFKLWHFWXUH UHÁHFWLQJ LWV foreboding policies – for example, the large blockhouse that is the Customs House building or the monolithic Civic Centre, completed in the late 1970s, that straddles one of the City Centre’s major boulevards. Many of the following buildings have also added their texture to the architectural fabric of Cape Town over the past century:

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VARYING VICTORIANA The Metropolitan Methodist Church on Greenmarket Square (below + left) reflects a Victorian Gothic facade, spire and turrets. The Carl Herman + Co building (far left) a less fussy style.

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RECONCILING PAST WITH PRESENT The Cape Town Station, originally built in the 1960s under apartheid era planning, was recently given a much-needed facelift. While some of its old features have been retained (such as its roof struts) the structure today is a more slick, light, uncluttered and welcoming space.

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Mutual Heights The art deco movement reached its peak locally in the Old Mutual Building – today known as Mutual Heights - which was built as the headquarters of Old Mutual in 1939 and designed to impress. Constructed during the same era as New York’s Chrysler and Empire State buildings, the Old Mutual Building was for many years, at 300 feet, the tallest building in Africa, and is still considered to be one of the best remaining art deco examples in the world. Still blessed with the building’s original friezes, frescoes and murals depicting the peoples of Southern Africa, Mutual Heights is a model of sympathetic transformation, having been converted just on a decade ago into a upmarket collection of inner city apartments and mixed-use space.

Cape Town Station Replacing the original and beautiful Victorian structure that housed the City’s main railway station, Cape Town Station was built in the 1960s in accordance with apartheid era planning. Separate concourses, ticket RIÀFHV DQG HQWUDQFHV IRU ZKLWHV DQG QRQ ZKLWHV ZHUH required. In 2010 the new-look station was unveiled, incorporating the old building and redesigned by DUFKLWHFWXUDO ÀUP 0DNHND 'HVLJQ /DE 0'/ DQG associated company Arc Station. It is now a slick, streamlined, and uncluttered space with a new plaza alongside it for eventing and public gathering. 1 Thibault Square 2QH RI WKH ÀUVW ´JUHHQµ EXLOGLQJV LQ WKH &LW\ DQG RULJLQDOO\ designed as the South African corporate headquarters of BP SA, architect Revel Fox designed this corporate tower in 1971, tilting it an angle to the rest of the Central City’s grid to ensure maximum sunlight exposure. The Werdmuller Centre Unloved, unused and unwanted by the general public but lauded by many architectural minds since it opened in 1975, this is an almost deserted shopping centre in Claremont that nevertheless still represents a substantial achievement in modernist architecture. Designed by Roelof Uytenbogardt to bring the surrounding main street life into its concrete interior, its surprising angles and graceful central ramp are still adored by architects who want to see the building preserved. Another prominent example of this style exists on the University of Cape Town’s Upper Campus in its Sports Centre, another Uytenbogardt design completed in 1977.

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PRESERVING DIGNITY The Mutual Heights Building (right) is considered by the art deco fraternity internationally to be one of the finest remaining examples of the style in the world. The office building was converted a decade ago from a corporate headquarter to residential lofts above and mixed-use at ground level. The Mandela Rhodes Complex next to the Taj Hotel (below left) are prime examples of historic facades that have been preserved to accommodate contemporary structures rising from within.

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The V&A Waterfront The construction of the V&A Waterfront amongst under-utilised Victorian warehouses at Cape Town harbour in the early 1990s had a substantially rejuvenating effect on the area. A mixed-use shopping centre, hotel and residential complex built around waterways linked to the Central City, it has provided citizens with a restored link to the ocean. It has also become a very popular residential complex - albeit it very expensive and thus very exclusive promoting high-density and inner city living. Mandela Rhodes Place and the Taj Hotel With Cape Town’s strict heritage preservation laws, a recent phenomenon is the preservation of historic facades with modern structures rising from their core. Two examples of this that sit side-by-side in the Central City are Mandela Rhodes Place and the Taj +RWHO ERWK RQ 6W *HRUJH·V 0DOO 7KH ÀUVW RI WKHVH FRPELQHG ÀYH KHULWDJH EXLOGLQJV ZLWK D VKDUSO\ contrasting 21st century interior rising tower that houses a new hotel. The same concept has been successful achieved with the new Taj Hotel, which incorporates the facades of the old Reserve Bank Building and the Temple Chambers (BOE Building), again with the new hotel tower rises from the centre. The Cape Quarter Lifestyle Centre in Green Point was developed along the same principles. In a country that prides itself on moving forward, buildings such as these bring contemporary design ideas to the fore but not at the expense of our past.

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ARCHITECTURE TO PROVIDE DIGNIFIED HOUSING AND SAFE COMMUNITY SPACES

Between 1994 and 2005, more than 1.7-million housing units were provided as part of the government’s goal of eradicating informal settlements by 2014. This plan includes the development of low-cost housing, the building of amenities and the changing of spatial settlement patterns to build multicultural communities. The changes in township and informal settlements over the past 10 WR \HDUV XQGHUVFRUH WKH VLJQLÀFDQFH RI SXEOLF architecture. What had been dormitory townships – areas without any sense of place – have begun to be transformed into the beginnings of towns. A concerted effort is now being made by a number RI ORFDO DUFKLWHFWXUDO ÀUPV WR UHSODFH WKH VWDQGDUG issue sub-economic homes that have been rolled out to date with innovative and sustainable solutions in order to tackle the housing crisis. There is also the challenge of designing and developing affordable, attractive housing in areas closer to the Central City, at the same time meeting WKH GHPDQGV IRU GHQVLÀFDWLRQ LQ RUGHU WR FUHDWH D sustainable City. A few examples of noteworthy projects from an architectural perspective in townships are as follows:

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“Design is about finding an intangible way of providing solutions to tangible problems and these solutions inspire, excite, educate, involve and transcend mere functional requirements.” Mokena Makeka Principal architect and founder of Makeka Design Lab

Freedom Park Township, Mitchell’s Plain The result of an international design competition – the 10 x 10 project initiated at the 2008 Design Indaba and won by Cape Town architects, MMA this low-cost housing project which was built at a unit cost between R65 000 and R70 000, received WKH &XUU\ 6WRQH $ZDUG ,WV YLVLRQ ZDV WR ÀQG alternative design solutions to low-cost housing, within a prescribed budget, and which could make a contribution to the broader housing delivery debate, thus helping to ease the massive housing shortage in South Africa. The plot size was a predetermined Pñ 7KH ÀQDO GHVLJQ ZDV D GRXEOH VWRUH\ building (maximizing small plot size) locating houses close to the road edge to allow for private garden space at the back. This also increased safety as the houses look out on the street, and allow opportunity for expansion.

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QUESTION 33 World Design Capital 2014

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THUSONG SERVICE CENTRE

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QUESTION 33 World Design Capital 2014

Tsoga Environmental Centre Situated in the Samora Machel informal settlement and designed by ARG Design, Anna Cowen Architects, and Vernon Collis and Associates this centre is an outstanding example of sustainable architecture in an area that is faced with enormous challenges. Recipient of a Cape Institute for Architecture (CIFA) award in 2007, the centre has successfully realised a remarkable vision despite many bureaucratic obstacles. Surrounded by informal housing and extreme poverty, Tsoga serves as a community centre promoting much more than environmental education. Through projects such as community food gardens, nurseries, recycling programmes and compost production, it addresses local poverty, unemployment and environmental betterment. The difference in scale between Tsoga and the surrounding built fabric is just enough to create a strong presence and act as a magnet, but not so large as to be alienating. The same can be said about the carefully crafted interiors, with their simple materials and multiple textures. It is not GLIÀFXOW WR LPDJLQH KRZ WKLV EXLOGLQJ DQG LWV XUEDQ square will become the hub of activity and hope in Samora Machel.

Usasazo Secondary School Built in 2004, Cape Town architects Jo Noero and Heinrich Wolff have taken Usasazo Secondary School in the large township of Khayelitsha in Cape Town to become a new benchmark for schools with its open communal spaces and a mesh fence that allows students to look out into the township rather than shut it out. In order to be utilised as more than a school, the classrooms have been designed to have a common scale to that of the informal settlement that surrounds it but still in its formal line creates an institutional character. The classrooms of the Further Education and Training (FET) programmes can be used for activities such as car and appliance repair, hair care and food trade. This has been achieved by having classrooms on the street edge with hatches that open to the street to allow interaction with the public. Due to the high density population in the area the school has been designed to occupy as little space as possible and the remaining land is used for communal sports ÀHOGV DQG SURGXFWLYH ODQG XVH 7KH / VKDSHG GHVLJQ protects the open spaces from prevailing winds.

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Thusong Service Centre, Khayelitsha This is a sport and social centre amidst two new urban renewal programmes in Khayelitsha. Makeka Design Lab’s mixed-use construction is both powerful and thoughtful and, in contrast to much that surrounds it, spacious.

Inkwenkwezi Secondary School The importance of community involvement when designing is becoming more prevalent in architectural ÀUPV LQ DQG DURXQG &DSH 7RZQ 2QH H[DPSOH WKDW carries this philosophy is the Inkwenkwezi Secondary School in Du Noon designed by Noero Wolff in partnership with Sonja Spamer Architects. The main building’s structure creates protective outer walls which allow the inner courtyard spaces to be safe as there is heightened surveillance. The school is laid out

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CREATING PUBLIC SPACES Set amongst the highrise buildings of the Central City’s CBD is Thibault Square, a popular space for office workers. The tall building to the right is 1 Thibault Square, the work of architect, Revel Fox.

in a way that the teachers can look out over the whole school and be able to know what the learners are doing, saving teachers time as they no longer have to patrol the school grounds.

Policemen have been given an intimate courtyard space with a barbeque area, which has become one of the most important areas of the station, lending itself as it does to a sense of community.

Kalkfontein Primary School 7KLV LV DQRWKHU ÀQH H[DPSOH RI VRFLDOO\ UHVSRQVLEOH public design, by Michele Sandilands Architects, which received an award from the CIFA in 2007. The school gives presence to a large precinct of affordable houses and acts as a bulwark against the hostile space between this precinct and the economically distressed suburb of Kuils River. The architecture is further elevated by its response to climate and its sensitive use of scale, relative to intensity of use, function, and also age groups. The community itself has embraced and protected the school as a vital cultural component of the neighbourhood.

Guga S’Thebe Arts and Culture Centre This centre was built to provide a home for arts, cultural and heritage for the Western Cape and is today a vibrant centre that serves as a focal point for cultural enrichment in Langa. The building is the award-winning work of Cape Town architect Carin Smuts, who has won two international awards for the complex. The centre, consisting of D QXPEHU RI VHSDUDWH EXLOGLQJV WR IRUP D ´YLOODJHµ with numerous indoor and outdoor rooms, houses a Cape Town Tourism Visitor Centre as well as an Internet cafe.

Retreat Police Station Another example of architecture that integrates and facilitates connection with the surrounding community is the Retreat Police Station designed by Makeka Design Lab. Built at a cost of R2-million, the building was awarded a Cape Architects’ Federation Association merit award in 2007. Redesigning a police station that challenged the previous apartheid design, architect Mokena Makeka set out to design an attractive, comfortable space, safe for police and visitors, and where the public can seek refuge and help. It has no fences and is slightly set back from the street which invites people towards it. The spaces are designed to ensure the separation of victims and criminals within the police station.

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ARCHITECTURE TO CREATE PUBLIC PLACES Landscape architecture, urban planning and the need to create public space that encourages public life, inclusivity and pride are also important components to Cape Town’s reconnectivity.

)ROORZLQJ \HDUV RI WKH ´LQZDUG WKLQNLQJµ HQFRXUDJHG by apartheid, over the past two decades Cape Town KDV EHJXQ WR ´RSHQ· RXWZDUGV 6KRSV DQG FDIpV and galleries at street level spill out onto sidewalks. Pedestrian-prioritised routes with bicycle tracks are taking shape on roads previously dominated by cars. Open spaces in Cape Town’s Central City such as Pier Place and Thibault Square are gradually being transformed as upgrades take place, PDQ\ RI WKHP DV D UHVXOW RI WKH &LW\·V 'LJQLÀHG Places Programme.

257 BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

ICON FOR A NEW ERA The architecture behind the new Cape Town Stadium is awe-inspiring. Amongst many other features, more than 70 cables link the outer and inner rings of the circular glass roof, which weighs a massive 4 700 tonnes. Panels that are 16mm thick protect spectators from the elements without cutting out natural light.

Jetty Square This is a particularly interesting public space, GHVFULEHG E\ LWV GHVLJQHUV DV ´D VTXDUH WKDW ZRXOG provide a moment of magic to the person walking SDVWµ +LVWRULFDOO\ WKH VTXDUH IRUPHG SDUW RI WKH beach before the Foreshore was reclaimed for development. Sculptor Ralph Borland created interactive shark sculptures that move in the wind to create sounds and his patterned paving UHVHPEOHV ZDWHU ÁRZ UHPLQLVFHQW RI WKH VHD

1. The Cape Town Stadium and Green Point Urban Park are outlined in detail as a case study in Question 43.

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The Fan Walk A recent upgrade along Waterkant Street, and Main and Somerset Roads, makes it possible to walk or cycle safely from the Cape Town Station to the Cape Town Stadium. Two lightweight steel pedestrian bridges – one at Coen Steytler Avenue and the other at Waterkant Street – also enable safe passage for the 4 500 people who cross Buitengracht Street daily. Along the route is St Andrew’s Square, a public space with its new public art installations that was highly popular as a meeting place for fans during the World Cup. It is also the site of the Prestwich Memorial. Designed by internationally renowned architect Lucien Le Grange, the memorial holds the remains of over 2 500 exhumed bodies believed to have been those of slaves, servants and other underprivileged inhabitants whose unmarked graves were discovered during development of the area in 2003.

The Cape Town Stadium and Green Point Urban Park1 Around the impressive and beautifully designed new Cape Town Stadium an urban park is being developed. The 103-hectare park will ultimately LQFOXGH VSRUWV ÀHOGV D JROI FRXUVH D WHQQLV VWDGLXP and a trading plaza. Much of the park is pedestrianfriendly public space, creating the potential for open-air performances, vibrant markets, public sculpture projects, impromptu barefoot soccer games and more. Built for the 2010 FIFA World Cup™ the stadium is an architectural masterpiece in a stunning setting within the Park. It became an icon the moment the building’s elegant shape and translucent skin were revealed and changed forever the classic ´SKRWRJUDSKHU·Vµ VKRW RI &DSH 7RZQ DJDLQVW Table Mountain. The designer was Robert Hormes of GMP Architects in Germany who has described this as his favourite of the six stadiums he has designed worldwide. Murray & Roberts and WBHO completed the massive project at a cost of R4.5-billion. Along with GMP Architects of Germany, the project management team included two local architectural ÀUPV /RXLV .DURO DQG $VVRFLDWHV DQG 3RLQW Architects. The design aims to complement the shape of the mountain behind it. Having already accommodated events as diverse as soccer and rugby to the U2 360o concert, it is suitable for international sports matches and similar large open air events.

259 BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

QUESTION 34: Provide a summary of planned new builds of LQWHUHVW WR WKH GHVLJQ FRPPXQLW\ &RQÀUPHG projects only.

In support of Open Question 44 – the expectations of our city for the WDC 2014 designation – we have prepared a full list of all projects in the Cape Town that are currently either underway and will have an impact on design in our metropole as well as those that are still in the planning or early conceptualisation stage. We therefore draw on this list in respect of this question, and wish to refer the Judging Committee WR WKH IROORZLQJ ´QHZ EXLOGV RI LQWHUHVW WR WKH GHVLJQ FRPPXQLW\µ WKDW DSSHDU XQGHU RXU SURMHFWV OLVW LQ Question 44: - Artscape Precinct; - Athlone Power Station Redevelopment; - Bellville Science Park;

- Broadband Infrastructure Network; - Cape Town International Convention Centre (CTICC) expansion; - Cape Town Summer Pavillion; - Cape Town Station Phase 2; - Cape Peninsula University of Technology (CPUT) Design Park and Design Museum; - Provincial Government Inner City Regeneration Project; - The City Hall Development; - The District Six Redevelopment Project; - The Gordon Institute for Performing and Creative Arts: Interdisciplinary Arts Centre; - Iziko Museums - South African Museum Extension; - Khayelitsha CBD Development; - Safe Spaces Project; - The Desmond Tutu Peace Centre; - Velodrome Redevelopment; - Violence Prevention through Urban Upgrading.

LEARNING SPACE The campus of the Cape Peninsula University of Technology in the Central City.

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QUESTION 34 World Design Capital 2014

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INTERIOR DESIGN

In Cape Town, as in the rest of South Africa, many urban dwellers experience poverty, live in informal GZHOOLQJV DQG ÀQG WKHPVHOYHV XQHPSOR\HG ,Q the context of an emerging economy, issues of affordability and an emphasis on job-creation and skills-training are critical aspects of sustainability, as are the use of local materials and manufacturing techniques, the conservation of energy and the use RI UHQHZDEOH UHVRXUFHV

QUESTION 35:

Describe how Interior Design has been effectively used in the Hospitality sector (eg: retail, restaurant and hotel design) or elsewhere to elevate perceived cultural standards in the city.

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7KH 1HVWHG Bunk Beds project appears in Question 43 as a case VWXG\

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Take, for example, the recognition given to Tsai Design’s nested bunk beds1 which offers the dignity of multiple beds to families in a system that can be stored away to create more living VSDFH ZKHQ QHHGHG /LNHZLVH WKHUH LV DQ emphasis on designing multi-functional spaces and incorporating elements such as solar heating systems ultimately into all low-cost housing - all

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DREAMS FOR AFRICA South African design is being recognised by many other sectors of the economy and winning awards, such as this chair (above) which won the Most Beautiful Object Award at the 2011 Design Indaba. Made by 160 craft-women to create a “legacy of hope” it was sponsored by the Hillcrest Aids Trust. Designers Pedersen + Lennard (tables left) are also creating a stir with local design.

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AFRICAN ROOTS The colours and textures of Africa, along with the flavours produced by local Capetonian creatives, are increasingly finding their way onto the top shelves of interior design establishments catering for the hospitality and retail sectors.

ideas that underline the increasing commitment to VRFLDOO\ UHVSRQVLYH LQWHULRU GHVLJQ Secondly, in recognition of home-grown talent and design, local designers and their creations are increasingly popular amongst not only interior design professionals, but the local consumer PDUNHW 7KLV ZDV D WUHQG PDUNHGO\ UHSRUWHG RQ DW the Decorex Cape Town 2010 exhibition, about which The Property Magazine noted: “All eyes on Africa: the new design direction on everybody’s lips is the way the African continent has become a major source of inspiration for the design world, KHUH DQG DEURDG µ 7KH DHVWKHWLF LQÁXHQFHV RQ FRQWHPSRUDU\ interior design in the City are as diverse as the cultural roots of its inhabitants; from the use of traditional African paint techniques and patterns, IRXQG REMHFWV DQG ORFDO SRWWHU\ WKDW GHÀQH PDQ\ community bed and breakfasts and art or cultural centres in townships, to the use of local materials and contemporary designer crafts in the interiors of upmarket coffee shops, restaurants and hotels LQ WKH &LW\ 7KH LQFRUSRUDWLRQ RI FUDIWHG SURGXFWV from Mielie, furniture like Haldane Martin’s Zulu 0DPD FKDLU 3HGHUVHQ /HQQDUG·V JDOYDQL]HG bucket barstools with removable seats for storage, +HDWK 1DVK·V ÁRZHU EDOO OLJKWV PDGH RI UHF\FOHG plastic bottles, and Michael Methvin’s wire-andpaper animal light structures – these and the work of many other local creatives are all contributing to an edgy, urban, interior design which is increasingly ÀQGLQJ LWV ZD\ LQWR WKH KRVSLWDOLW\ DQG UHWDLO VHFWRU 264

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QUESTION 36: Describe how this has contributed to the design merits of your city.

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CONTRIBUTING TO DESIGN Cape Town designers are making huge contributions to the City’s design merits, from the work of crafters and furniture designers to architects and interior designers.

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URBAN DESIGN

QUESTION 37: Describe how Urban Design has been effectively used to create public areas that characterize the city and improve the quality of life of the city’s inhabitants.

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“The City’s Spatial Development Framework prioritised urban public spaces – streets, squares and promenades – as the most important form of social infrastructure in urban settlements, connecting communities and becoming part of the people’s mental map of the city.” Barbara Southworth Architect, urban planner and former director City Spatial Development, 267 City of Cape Town

HEERENGRACHT CENTRE ISLANDS

In 2002, the City of Cape Town upgraded the “Gracht” (or canal) on the centre islands of busy Adderley Street in the Central City (below right) as a design solution to the problem of pedestrians trampling the lawns when crossing the road, and complements other public space in the area such as Pier Place (below left). The majority of trees in Cape Town are European and American and thus alien in origin, a legacy of the strong historic connections with Europe, but to bring a more African link into the landscape acacias were planted; most appropriately as the acacia xanthophloea are also associated with rivers in their natural environment.

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In time for the World Cup in 2010, another project was the diversion of the natural spring DQG VWRUPZDWHU WKDW KDV WUDGLWLRQDOO\ ÁRZHG from Table Mountain to the sea in storm water drains, a waste of a valuable resource. The water has been brought back to the surface by means of a pump at the one end of the gracht that circulates the water from the stormwater channel, ultimately to be used in the new Green Point Urban Park and thereby not using any potable water. www.earthworkslandscapearchitects.com

CREATING SPACES The beauty of the Green Point Urban Park project lies not only in the design. More importantly it is found in the glimpse it gives of the City’s continued commitment to the creation of public spaces for people (and towards place-making), for the use and enjoyment of all communities in Cape Town. It is envisaged that the Green Point Urban Park, with its Biodiversity Garden, will become a valuable educational resource in particular for schoolchildren.

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Mitchells Plain Public Transport Interchange creates a sense of place and provides a safer living and shopping experience. In the past, commuters, pedestrians, traders, hawkers and shoppers waited, transferred, boarded or traded in an environment that was unsheltered, unlit, unwelcoming, inaccessible, unsafe and unsightly.

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WORLD CLASS IMPROVEMENTS The City of Cape Town has used preparations towards the 2010 FIFA World CupTM to fast-track its (clockwise from below) bus transport, the main station, pedestrian and cycle routes in the City.

QUESTION 37

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

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PUBLIC POTENTIAL A main goal in the development of the Public Transport Shared Services Centre was to show leadership in managing the demands of urban transport.

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QUESTION 37

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

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QUESTION 38: Describe how local materials or techniques have been used in the urban environment to promote sustainable design and build the city’s personality.

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“Housing must be about so much more than providing square blocks for families to live in. It must be about providing homes for them to grow in.”

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

A message left by an Indaba Expo participant, on the World Design Capital 2014 stand, in response to the question: “What will make Cape Town a Design Capital?”

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CONTAINED SUSTAINABILITY The designers added several multifunctional elements to the shippingcontainer sport-centre project in order to maximise its use. For example, the roof structure folds down vertically on one side and can be used for advertising and a movie screen.

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SENSIBLY SUSTAINABLE The BP SA Headquarters is an award-winning exercise in sustainability that has garnered international accolades.

3 SUSTAINABLE DESIGN

QUESTION 39 Describe any responsible or sustainable design initiatives in the public and private sectors.

Sustainable design initiatives cover all spectrums of design, in both private and public sectors, in Cape Town. These initiatives range from those addressing environmental sustainability to those ensuring social sustainability (by providing platforms for skills development and self-empowerment resulting in more sustainable job creation). The following examples highlight the diverse range of sustainable design initiatives in response to some of Cape Town’s fundamental challenges.

1. Both the Sustainability Institute and the Lynedoch EcoVillage are explained further as a case study in Question 43.

The Public-Private Sector The Sustainability Institute1 LV D QRQ SURÀW WUXVW founded in 1999, which focuses on learning for sustainable living by combining practice with theory in a way that integrates ecology DQG HTXLW\ VSHFLÀFDOO\ IRFXVLQJ RQ ZD\V RI reducing and eradicating poverty. The Institute works in partnership with the School of Public Leadership at the University of Stellenbosch, in the following areas of education: Masters and PhD degrees in Sustainable Development Planning and Sustainable Agriculture, Early Childhood Development, Community Development Practice and Management, as well as in project facilitation to establish Sustainable Neighbourhood Developments in various sites. It also does policy research in the sustainable development sector. The Institute is located in the Lynedoch EcoVillage, a place which provides development facilitation to create a space for sustainable living and learning. The Lynedoch EcoVillage is located in Stellenbosch DQG LV WKH ÀUVW HFRORJLFDOO\ GHVLJQHG VRFLDOO\ PL[HG

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intentional community in South Africa. The aim for the EcoVillage was to create a mixed community organised around a child-centred learning precinct, the Lynedoch Primary School, for 475 children from the farm worker families. It is a successful working example of a liveable, ecologically designed XUEDQ V\VWHP ZKLFK LV ÀQDQFLDOO\ DQG HFRQRPLFDOO\ independent in the sense that it does not require external funding to sustain itself. The village is made up of the school, a pre-school, a large multiSXUSRVH KDOO WKH RIÀFHV DQG FODVVURRPV IRU WKH Sustainability Institute, 25 student residences, a conference venue, 45 residential units, commercial space and a village green. The housing scheme in the EcoVillage bridges the gap between the wealthy and poor by creating an urban design framework which merges government-subsidised housing with commercial-rate housing. The urban design ensures ecological sustainability by offering appropriate water, refuse and electricity management as well as enforcing green-building principles in the development of housing. The New Life Sciences Building (LSB) at the University of the Western Cape (UWC) is a cuttingedge institutional research laboratory designed to be the home of social and environmental VFLHQWLÀF UHVHDUFK LQ $IULFD ,Q SURPRWLQJ LQWHU departmental and inter-disciplinary research the building incorporates several science departments and research centres, previously housed in two separate buildings, under one roof. The LSB FRQVLVWV RI WZR ÁRRUV RI LQVWUXFWLRQ DQDWRP\ DQG VSHFLDOLVHG ODEV DQG DQ DGGLWLRQDO IRXU ÁRRUV RI R&D labs including a Bioinformatics Institute, WKH 'HDQ·V RIÀFH DQG IDFXOW\ WHDFKLQJ IDFLOLWLHV Intended to also accommodate academic conferences outside of term time, the Learning Centre houses a state-of-the-art lecture theatre,

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LIFE AND LEARNING The Life Sciences Building incorporates a garden which assists in moderating the building’s microclimate as it absorbs heat from the sun, rather than reflecting it, and through evaporation helps cool the air which in turn assists in the cooling of the interior spaces below.

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computer lab resource center, seminar and tutorial rooms, assembly spaces and a cafeteria opening out onto the outdoor gathering space. The laboratory, a six-story “machine’” for learning and UHVHDUFK LV VXE GLYLVLEOH WR DOORZ IRU PRUH ÁH[LEOH use in terms of class sizes and scheduling. Climatic and relative air pressures are adaptable on each ÁRRU DFFRUGLQJ WR WKH ODERUDWRU\ IXQFWLRQV The development promotes a holistic approach and FRPPLWPHQW WR VXVWDLQDELOLW\ UHVRXUFH HIÀFLHQF\ and environmental responsibility. This is achieved by life-cycle costings, resource and environmental management and the adoption of worthwhile and cost-effective strategies. Stairs are provided in all lobbies to reduce the use of lifts. Showers were installed in bathrooms to encourage cycling to University. The LSB responds strongly to the surrounding context. The campus is situated on the Cape Flats ZKLFK LV SURQH WR GURXJKWV LQ VXPPHU DQG ÁRRGLQJ in winter, and where a number of plant species are under threat due to urban growth. As the building is located in a harsh environmental context, with gale force winds in summer, the challenge was to create a comfortable environment inside and outside the buildings. Examples of landscape responses to these environmental challenges are seen in the planting of tree belts to act as wind breaks against the prevailing wind conditions; deciduous trees have been planted in the main gathering spaces to ensure shade in summer and sun in winter as well as reduce heat UHÁHFWLRQ WR WKH ORZHU OHYHOV RI WKH EXLOGLQJ EHUPV have been installed and planted with indigenous vegetation for the dual purpose of acting as a sound

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barrier to the main road on which the LSB is situated as well as reintroducing indigenous vegetation to encourage biodiversity. Permeable paving has been used to reduce stormwater runoff and increase the retention of groundwater levels. The LSB uses an environmentally friendly grey-water system that harvests rain water and uses this as well as borehole ZDWHU LQ WKH GU\ PRQWKV WR ÁXVK WRLOHWV XULQDOV DQG VXSSO\ WKH ÀUH KRVH UHHOV DQG K\GUDQWV ZLWK ZDWHU The Learning Centre’s roof is a garden which assists in the moderating of the building’s microclimate as the garden absorbs heat energy of the sun, rather WKDQ UHÁHFWLQJ LW DQG WKURXJK HYDSRUDWLRQ KHOSV cool the air which in turn assists in the cooling of the interior spaces below. The roof garden also acts as a temporary water retention system during rainfall, reducing the amount of runoff which in turn reduces the impact on the City’s storm water system. Situated in the Cape Town Southern Suburbs area of Pinelands, Oude Molen is a working model of a sustainable eco-village in which respect and consideration for people, nature and diversity is encouraged. The long-term goal for the Oude Molen complex is to establish an economically sustainable micro-enterprise eco-village that illustrates the importance of partnerships between government, community and business. The aim is to enable the three stakeholders to work together to stimulate job creation, youth development, occupational therapy, environmental education, an appreciation for the arts and cultural interaction, micro-enterprise development, and the demonstrate the principles of eco-friendly energy and technology.

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“It is a myth to think that you can innovate in a technical urban development field in Africa without direct engagement with the people who are QUESTION 39 meant to World Design it.” Capital 2014 benefit from Edgar Pieterse,

Oude Molen EcoVillage in Pinelands.

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BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

Director of the Africa Centre for Cities

DRIVEN BY SUSTAINABILITY Designed by the Cape Town-based company, Optimal Energy, the Joule Car is Africa’s first entry into the zeroemission electric vehicle market, and will be in mass production by the end of 2013.

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QUESTION 39 World Design Capital 2014

Learn to Earn LV D QRQ SURÀW VNLOOV GHYHORSPHQW DQG job creation organisation, located in the township of Khayelitsha, which works with unemployed people from socially and economically disadvantaged backgrounds. One of the organisation’s main underlying principles is to create a place where people’s dignity and self-respect is restored to ensure they are provided with “a hand up and not a hand out”. This is achieved through the types of training courses the organisation provides. Learn to Earn offers adult training courses in market-related skills (e.g. sewing, woodwork, basic computers, graphic GHVLJQ KRPH DQG RIÀFH PDQDJHPHQW DV ZHOO DV supplementary courses in basic business and life skills which allow for a holistic approach to human development. Learn to Earn was acknowledged by the Impumelelo3 Innovations Trust who honoured

it with a Gold Award in February 2007. The Khanya Creation product line developed at Learn to Earn won the Gold award for Best Product at the South African Hand Made Collection (part of the Decorex expo in Johannesburg). The Joule Car LV $IULFD·V ÀUVW ]HUR HPLVVLRQ HOHFWULF vehicle designed by Optimal Energy. Optimal Energy (Pty) Ltd is a privately owned South African company based in Cape Town that specialises in delivering leading solutions for urban transport. Not only is the -RXOH ÀYH WLPHV PRUH HQHUJ\ HIÀFLHQW WKDQ SHWURO RU diesel vehicles, it also presents a radical reduction in noise pollution. The vehicle’s lithium-ion batteries can be recharged from any electricity source, and when obtained from clean sources such as hydro or solar, this multi-source energy carrier can lead to a 100% reduction in pollution. The rechargeable lithium-ion batteries (which take seven hours to charge) are recyclable and contain no heavy metals. This silent passenger vehicle LV PDQXIDFWXUHG DV D VWDQGDUG ÀYH VHDWHU ZKLFK complies with UN-ECE safety standards, offering an optimal zero emission urban driving experience. The Joule can save up to 90% on fuel expenses and up to 50% on maintenance costs. This is due to the vehicle containing fewer parts than a petrol/ diesel vehicle and which in turn results in servicing intervals being further apart. The Joule will be entering mass production by the end of 2013 and will be for sale mid-2014. It has been designed for the global market but will initially only be sold in South Africa. The Joule will be manufactured locally and it is predicted to create up to 8 000 jobs. The Joule’s beautiful and elegant design is set to transform the face of the urban transportation landscape.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

The Private Sector With the slogan “no waste, no pollution and absolutely no harm” the Eco Design Initiative is D 6RXWK $IULFDQ QRQ SURÀW RUJDQL]DWLRQ ZLWK WKH objective of developing opportunities for youth HQWUHSUHQHXUVKLS LQ WKH ÀHOG RI VXVWDLQDEOH GHVLJQ Through facilitating skills and culture-sharing youth globally, the Initiative aims to raise awareness and understanding about sustainability and to encourage the adaptation of sustainable design practises. With its cheeky No kak! 2 campaign, the Eco Design Initiative is engaging young designers, industry and the media in South Africa to embrace sustainable development through design. Calling for positive action towards our sustainable future, the initiative campaigns for No kak! … a beautifully South African way of expressing one’s intolerance to nonsense, which implies no waste, no pollution and absolutely no harm.

2. “Kak” is an Afrikaans word which, when very politely translated, refers to “excrement”. 3. The Impumelelo Social Innovations Centre LV D QRQ SURÀW organisation established in 1999 that identiÀHV UHZDUGV DQG promotes social innovation in public service and civil society. The annual Impumelelo Innovation Awards has established itself as one of South Africa’s premier independent awards programmes.

291

THE FREEPLAY WIND-UP RADIO Designed by Cape Town’s …XYZ industrial designers, this radio functions without an external power source. It runs on the energy generated by a winding handle, allowing communications to be received in parts of the world that do not have access to electricity.

The Freeplay wind-up radio, designed by …XYZ industrial designers, functions without an external power source. Instead it stores the energy (generated by a constant-torque spring-mechanism delivered via a winding handle), enabling the radio to be played “on demand”, giving one hour’s playtime when fully wound. The radio has proven vitally important in developing and disaster-stricken countries where radios are the only source of receiving communication. The Red Cross purchased large numbers of the radio and has distributed them worldwide, for example, to Uganda for a massive HIV/AIDS Awareness campaign and in Bosnia for use in landmine warnings. The same torque spring-mechanism was used in the design of the Freeplay self-powered electric lantern (also …XYZ Design) which is a robust, ergonomically designed, environmentally friendly, cost-effective, long-life lantern that does not require batteries. Unlike other wind-up lanterns, the Freeplay lantern is capable of storing energy for later use. The lantern has multi-functional, highHIÀFLHQF\ HOHFWURQLF FLUFXLWU\ WKDW QRW RQO\ FRQWUROV the output of the power to the low-power light bulb to keep the beam at a constant strength, but also protects the bulb from over-voltage and acts as a dummy load for the generator should the bulb fail. The lantern is manufactured in South Africa and exported to Africa, the USA, the UK, Canada and Europe. Other People’s Rubbish is a décor product line by Cape Town designer Heath Nash. Nash recycles rubbish into beauty with his high-end, designerhandcrafted products which range from light VKDGHV DQG OLJKW ÀWWLQJV WR ÁRRU VXUIDFHV FDQGOH 292

holders and kitchen accessories. All products are made from recycled rubbish that would normally be VHQW WR D ODQGÀOO The BP (Southern Africa) Headquarters is an example of responsible green architecture that KDV SURGXFHG DQ HIÀFLHQW EXLOGLQJ PDGH IURP sustainable materials sourced locally. This building has sustainable design imbedded in all aspects of its planning and construction, and within weeks of opening won the South African Property Owners’ Association (SAPOA) 2005 Award in the category RI LQQRYDWLYH RIÀFH GHYHORSPHQWV 6HH 4XHVWLRQ 38 for further details on the design and use of materials in this building). The Freeplay Fetal heart-rate monitor is a product of Cape Town company, Freeplay Energy. One million babies in developing countries die in child birth, half a million die due to complications and another one million die within a month of birth. The fetal heart-rate monitor is thus the most important indicator of a baby’s distress. Most infant deaths in the developing world are preventable with timely detections of complications. Should the infant not get enough oxygen in the mother’s placenta, the infant heart rate slows down to lower the need for oxygen and this is a clear indication that the infant is in distress and not coping with the birth process. Discovering the lowered heartrate during contractions gives medical workers a chance to suspend delivery, allowing time for more sophisticated medical assistance with the delivery. However, less than 1% of the world’s fetal heart-rate monitors are available in low-income countries and much of the medical equipment found in rural DUHDV LQ PRVW FDVHV LV GHVLJQHG IRU ÀUVW ZRUOG regions and is both expensive and easily breakable, but not easy to repair.

293 BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

GREENING THE CITY One of the legacy projects to come out of the City’s 2010 Green Goal Programme, was the Cape Town Green Map.

294

QUESTION 39 World Design Capital 2014

Public Sector Initiatives The City of Cape Town launched its Green Goal 2010 Programme to ensure the City was as environmentally friendly as possible during the 2010 FIFA World Cup™. There were 41 Green Goal 2010 projects of which 19 are ongoing legacy projects with the objective to positively affect the lives of citizens after the event. Project highlights included the harvesting of spring water which originates on Table Mountain (and ZKLFK SUHYLRXVO\ ÁRZHG GLUHFWO\ LQWR WKH VHD IRU WKH on-going irrigation of the new Green Point Urban Park around the Cape Town Stadium, reducing the use RI SRWDEOH ZDWHU ZDWHU HIÀFLHQW ÀWWLQJV RQ VKRZHUV taps and toilets in the new Cape Town Stadium; a WDUJHW RI GLYHUVLRQ RI ZDVWH WR ODQGÀOO ZDV VHW thereby encouraging recycling at the Stadium, Fan Fest and Public Viewing Areas during the World Cup; bicycle lanes were constructed around the Stadium and the Green Point Urban Park; the development of the Integrated Rapid Transport system ensured that

50% of fans could travel to the matches by public transport; a biodiversity garden was constructed as part of the Green Point Urban Park, creating DZDUHQHVV RI WKH &LW\·V ULFK ÁRUD DQG IDXQD DQG an environmental accreditation system for the hospitality industry, GreenStaySA was launched. The 2010 Green Goal Programme was given the Impumelelo Sustainability Award for its contributions to sustainability in South Africa.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

The Freeplay Fetal heart rate monitor is designed to safeguard childbirth for mothers and infants in remote areas of the developing world where expert care and electrical power are in short supply. The two most important factors in designing the monitor WKHUHIRUH ZHUH ÀUVWO\ WKDW LW ZDV UXJJHG UHOLDEOH and simple and, secondly, that it was not dependent on batteries or electricity. The Freeplay Heart Rate Monitor uses human energy and has been designed simply with an on-off switch and a hand-crank for generating its own electricity. It is built for robust operations in harsh rural and remote conditions of where it may be handled roughly. Cranking the onboard power-supply charger for one minute provides a full 10 minutes of operation.

Also launched as part of the Green Goal 2010 Programme, the Cape Town Green Map is a legacy resource which informs both locals and visitors of “greener”, more sustainable options available in the City and its surrounds. The map contains a wealth of information including the location of natural resources, green living options, ecofriendly transport options, waste recycling drop-off points, as well as eco-friendly accommodation and restaurants. The Dignified Places Programme4 introduced by the City of Cape Town developed a network of SXEOLF VSDFHV 7KHVH DUH DLPHG ÀUVW DQG IRUHPRVW at people living in the poorest, most underserved communities in the City to provide these people with positive places where they can rest in comfort, meet, trade or gather safely - in other words, places with a sense of dignity. Vibrant public spaces are critical in the creation of a sustainable future for Cape Town. These provide the necessary public space required to support a successful GHQVLÀFDWLRQ SURJUDPPH ² RQH WKDW VHULRXVO\ QHHGV to be escalated in the City in order to cope with increasing urbanisation and diminishing energy resources. Public spaces are thus vital for building communities and addressing issues of equity and social justice.

7KH 'LJQLÀHG Places Programme is explored as a case study in Question 43.

295

The Violence Prevention through Urban Upgrading (VPUU)5 project in Khayelitsha has been designed to reduce crime, increase safety levels, improve social standards, and introduce community projects to empower local residents to become economically independent and in turn facilitate the sustainability of the surrounding community. The VPUU project includes the upgrading of public spaces (incorporating sustainable stormwater management systems such as retention ponds which are vitally important in low-lying areas such as Khayelitsha), two new community buildings (which serve multiple functions including acting as a safe house for pedestrians walking between stations), a park and a sports complex. The project received the prestigious Impumelelo Award (in DQ DZDUG FDWHJRU\ WKDW LGHQWLÀHV UHZDUGV DQG promotes innovative public-private projects which improve the quality of life of the poor in South Africa) at the Sustainability Awards ceremony in May 2010.

5. The VPUU is explained further as a case study in Question 43. 6. The Green Point Urban Park is explained further as a case study in Question 43.

The creation of the new Green Point Urban Park6 on the site of the old Green Point Common saw the transformation of a once windswept, derelict space into a destination for both locals and visitors. The Urban Park now incorporates the new Cape Town Stadium precinct, Fort Wynyard (a historical military installation where the original cannons that used to protect Cape Town harbour are on show), a public transport hub with a landscaped pedestrian underpass, a 12.5ha public park, a pedestrian boulevard (the Fan Walk) connecting the Central City to the sea, a nine-hole golf course and a sports precinct. Every design aspect of the Green Point Urban Park has ensured the integration of the precinct into

296

the surrounding context by creating pedestrian access and inter-connectivity throughout. It is a public facility that marries sport, education and recreational facilities and is open seven days a week for multiple purposes. Its sustainability is strengthened by the use of universal design principles enabling use by all, such as the double drinking fountains which can be used by small children as well as people in wheelchairs. The irrigation of the park with potable water was not sustainable; therefore an alternative source ZDV LGHQWLÀHG LQ RQH RI &DSH 7RZQ·V RULJLQDO DQG IRUJRWWHQ VRXUFHV ² WKH QDWXUDO VSULQJ RQ 7DEOH Mountain. One of the Green Goal legacy projects mentioned above, the water from this fountain was diverted from its original path into the stormwater system and is now a feature of the Urban Park. The Park also includes a Biodiversity Showcase Garden which uses a combination of indigenous vegetation, interpretive signage and public art to educate visitors on the region’s unique biodiversity and the threats to it that have resulted in Cape Town having one of the highest levels of biodiversity loss. The upgrading of two of Cape Town’s most popular tourist destinations are two further excellent examples of sustainable design. Both the Table Mountain Cableway and Cape Point Tourism Upgrade, by landscape architects OvP Associates, were challenging as each project involved the upgrading of infrastructure within National Parks located in the Cape Floral Region. A sensitive and sustainable approach had to be taken in the design of both locales, ensuring all the built elements tied in with the natural surroundings. At the same time it was also important to reduce the visual impact of any obviously man-made structures.

The design, construction and operation of the Tsoga Environmental Centre, in the township of Langa, and the activities accommodated within it are intended to promote sustainable livelihoods in every possible way. Surrounded by informal housing and extreme poverty, Tsoga serves as a community centre that addresses both environmental education on the one hand and alleviation of poverty on the other, through projects such as community food gardens, nurseries and recycling programmes. Researchers at the University of Stellenbosch have designed a Nano Tea Bag which reverses the conventional role of a tea bag : instead of infusing ZDWHU ZLWK ÁDYRXU WKH 1DQR 7HD %DJ VXFNV XS toxic contaminants found in polluted water. The sachets are made from the same material used to produce rooibos tea bags, but inside are ultra-thin QDQRVFDOH ÀEUHV ZKLFK ÀOWHU RXW FRQWDPLQDQWV Also present within the sachet are carbon granules which kill bacteria. The tea bags require no infrastructure and use inexpensive raw materials. Designed with poorer communities in mind with no access to potable water, one sachet can clean one litre of water. The tea bag is also biodegradable, leaving little or no impact on the environment.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

Leading up to the 2010 FIFA World Cup™, many road upgrades used sustainable and environmentally sensitive design techniques as preferred options during construction. For example, instead of using the conventional methods of concretising road cuts, gabions have been used and appropriate planting schemes introduced so that the upgrades are both attractive and functional. This is especially important when dealing with interchanges that act as movement (transport) gateways into the City of Cape Town, such as the Koeberg Interchange.

NEW GATEWAYS Instead of using the conventional methods of concretising road cuts, gabions have been used at the Koeberg Interchange and appropriate planting schemes introduced so that the upgrade is both attractive and functional.

297

298

“

“This reimagining [of our world] is resulting in fundamental redirections in massive investment flows, public and private, around the world, leading to a reconfiguration of cities as we know and understand them.” Mark Swilling

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

Professor and head of sustainable development at the School of Public Management and Planning, University of Stellenbosch.

299

INDUSTRIAL DESIGN

QUESTION 40: Provide examples of the city’s achievements in industrial design.

The City of Cape Town is able to boast numerous achievements in industrial design, the best examples being those that have also received recognition locally in the form of awards from the South African Bureau of Standards Design Institute in respect of their relevance to the South African scenario. SABS Design Institute The South African Bureau of Standards (SABS) Design Institute promotes the economic and technological development of South Africa by SURPRWLQJ WKH EHQHÀWV RI GHVLJQ WKDW XOWLPDWHO\ aim to improve the prosperity of the entire nation. The Institute's initiatives include a number of award schemes which recognise the design achievements of South African designers. The table which follows outlines a sample of products that have received SABS Design Awards and which acknowledge design achievements including industrial design. The relevant awards are the SABS Design Excellence Award as well as the SABS Design Institute Prototype Award.

300

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

- SABS Design Excellence Award The scheme aims to recognise the achievements of South African product designers, encouraging local product design and manufacture, as well as promoting international competitiveness of local products. - SABS Design Institute Prototype Award This award forms a part of the Prototype Initiative which aims in assisting and encouraging new product development in South Africa. INDEX Award We have also listed designs that have received the INDEX Award - an international title awarded E\ ,1'(; D QRQ SURÀW 'DQLVK EDVHG RUJDQLVDWLRQ which promotes and applies both design and design processes that have the capacity to improve the lives of people worldwide). All designers and design entities listed in the table below are based in the greater Cape Town area.

IT’S ALL IN THE DESIGN While the 4 Second Condom (right) is an award-winner in its own right, its funky packaging also brings a fun, innovative style to safe sex. Imagery of the condom was even used tongue-in-cheek for one of the highly collectable WDC 2014 postcards produced to rally support for the bid. Meanwhile the Freeplay Selfpowered Electric Lantern (left) brings a new “hands-on” approach to generating electricity and light.

301

DAMAGE CONTROL The quick fitting of condoms safely and correctly is achieved with this applicator, designed by ...XYZ Design, that keeps the condom in a relaxed state, supported by the two half-moon parts of the applicator.

302

QUESTION 40 World Design Capital 2014

NAME

DESCRIPTION

YEAR

DESIGNERS

COMPANY

AWARD

ZITON SMOKE/ FIRE DETECTOR

$Q HDUO\ ZDUQLQJ ÀUH DQG VPRNH GHWHFWRU WKDW UHVSRQGV WR LQYLVLEOH FRPEXVWLRQ JDVHV DQG SURYLGHV DFFXUDWH HDUO\ GHWHFWLRQ RI ÀUHV ,W is stable and accurate under extreme temperature and integrates ZLWK ÀUH GHWHFWLRQ V\VWHPV ,W KDV D VHOI WHVW IHDWXUH DFWLYDWHG E\ D magnet that enables testing without smoke.

1994

RK MacFarlane and D Runciman

)LUHÀWH 3W\ Ltd (now Ziton (Pty) Ltd)

SABS Chairman’s Award for Excellence

FREEPLAY WIND UP RADIO

A radio which functions without an external power source by storing the energy generated by the constant torque spring mechanism by means of a winding handle that delivers it on demand, giving one hour’s playtime when fully wound.

1997

Byron Qually, Ettienne Rijkheer, Roelf Mulder and William Rabie

…XYZ

SABS Design for Development Award

BRIGHT WEIGHTS BALLAST SYSTEM

The ballast system is a three-part buoyancy and trim correcting system which allows divers the ability to split their ballast requirement along the longitudinal axis of their bodies thereby achieving balanced buoyancy at depth. A cylinder carrier and anti-roll device is also incorporated into the design.

1999

Jannie Wessels

Aquascience

SABS Design Institute Award and The Chairman’s Award

CERVITULA

A cervical pap smear device with a fenestrated tip which separates the ecto-cervical cells from the endo-cervical cells. By separating the cell types and ensuring a more representative sampling than with traditional spatulas, it makes the screening process easier and faster.

1999

Dr Marius van der Merwe

Harwill Medical - HarMed

SABS Design for Development Award

SMARTLOCK SAFETY SYRINGE

A three-piece, single-use syringe that uses reverse aspiration. The barrel, plunger and needle are drawn inside the sheath and locked in a retracted position. Once locked it is no longer possible to push the needle out, or to reassemble the syringe.

1999

William Blake, Paul Lambourn, Jose Loureiro, Michael Moore, David Shiel, Mirko Tappero, Henk van der Meyden and Alexis Wadman

Advanced Medical Technologies

SABS Design for Development Award

TRACMO TRACTION SYSTEM

The Tracmo Traction System creates a stabilised traction surface between the rear and front driving wheels through the use of a unique coupling around the vehicle’s front wheels. The downward weight of the no-traction front wheels acts as a moving anchor point to stabilise the traction surfaces as the vehicle moves forward.

1999

JP De La Porte

Delko Projects

SABS Design Institute Prototype Award

PUBLIC TRANSPORT SHELTER

In a drive to promote, coordinate and market public transport in the metropolitan area there was a need for more functional bus shelters than the low-quality structures currently in use. It is an elegant piece of street furniture that enhances surroundings and a safe environment. Its walls, while providing protection from the elements, have transparent panels for safety, while a smart column incorporates a panic button, strobe light, siren and communication link to a control centre.

1999

Neville Naylor, Julian Elliot, Johan van Papendorp, Gold Mametja

Naylor & Naylor and van Schalkwyk (commisioned by the Cape Metroploitan Council)

SABS Design Institute Prototype Award

DIAGNOSA DIGITAL DIAGNOSTIC SYSTEM

The Diagnosa Diagnostic System is an integrated, PC-based digital system that allows accepted medical diagnostic test procedures to be performed to high clinical standards by primary care physicians or nursing assistants. Test results can then be reviewed and interpreted by a medical specialist at any other networked location.

2000

Mirko Manojilovic, Brian Goemans, Achmed Giesler, Simon Churches, Justin Solms, Mike Hallauer, Harold Searle, Allan Holman, Ahmed Bhamjee, Andre Raderman, Alan Thomas, David Boonzaier, Debbie Louw and Ian Bennie.

Cyberscope

SABS Design Excellence Award

DIAGNOSA UNIT

The Diagnosa Unit is the patient interface component of the Sunesi Diagnosa System that is an integrated, PC-based system that allows accepted medical diagnostic test procedures to be performed to high clinical standards by primary care physicians or nursing assistants.

2000

Mirko Manojilovic, Brian Goemans, Achmed Giesler, Simon Churches, Justin Solms

Cyberscope

SABS Design Excellence Award

303

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

AWARDS

AWARDS NAME

DESCRIPTION

YEAR

DESIGNERS

COMPANY

AWARD

SUPERMAX

The Supermax is a borehole pump designed for use in areas with limited resources and technical infrastructure. It can be installed and serviced by people with practically no technical knowledge. 7KH PDLQ EHQHÀWV RYHU FRQYHQWLRQDO SXPSV DUH HDVH RI RSHUDWLRQ and fewer wearing components.

2000

JE Carstens

Prima Engineering Services

SABS Design Excellence Award

PAVESA PIPE CONNECTOR

The Pavesa pipe connector is a reusable plastic connector for plastic or metal pipes. It can withstand pressures of up to 25 bar and temperatures ranging from -40°C to 100°C. The sealing effect is achieved via a rubber O-ring and a metal spring holder combined with a ratchet connection.

2000

Kurt R Heinz

Pavesa cc.

SABS Design Institute Prototype Award

VIBOL EXHAUST VIBRATION BALANCER

The balancer was designed to contribute to the solution of the problems of heat, breakages, downtime, excessive fuel consumption and pollution experienced in the operation of diesel engines.

2000

Cobus Cronje

Vibol Marketing International (Pty) Ltd

SABS Design Excellence Award

AQUANOW WATER TREATMENT SYSTEM

The Aquanow Emergency Portable Water Treatment System produces sterile drinking water from even the most unhygienic and dirty water source. Designed for use predominantly in emergency VLWXDWLRQV VXFK DV ÁRRGV HDUWKTXDNHV DQG RWKHU QDWXUDO GLVDVWHUV where access to clean drinking water is necessary, the Emergency Portable Water Treatment System can be transported to site and immediately put into operation.

2001

Ian Vroom

Magnetic Hydro Dynamic

SABS Design Institute Prototype Award

BOBFLOR-PLUS PANEL

7KLV LQQRYDWLYH GHVLJQ RI D FRQFUHWH ÁRRULQJ SDQHO UHGXFHV RQ VLWH installation time and eliminates the need for mesh and concrete toppings resulting in greater cost-savings for the building industry.

2001

Phil Surridge

Bobcrete (Pty) Ltd

SABS Design Excellence Award

POP-A-PLUG

The Pop-a-Plug facilitates the easy removal of electrical plugs from any wall socket or multi-plug device. Designed with safety in mind, this innovative plug can be released from even the tighest connecWLRQ E\ FKLOGUHQ WKH HOGHUO\ RU LQÀUP

2001

Hans Zander

Pop-a-Plug (Pty) Ltd

SABS Design Excellence Award

TREE POPPER

The Tree Popper is a robust, uncomplicated tool that uses the simple concept of leverage. It can be used by one person and was designed in direct response to the need for eradication of invasive alien plants. The complete removal of unwanted vegetation provides a permanent solution to a long-standing problem.

2001

Frederick de Wet Negus

Tree Popper

SABS Design Excellence Award

ZP 755 INTELLIGENT SOUNDER

Designed as a primary evacuation alarm forming part of an anaORJXH DGGUHVVDEOH ÀUH GHWHFWLRQ V\VWHP WKH =3 LQWHOOLJHQW VRXQGHU LV DFRXVWLFDOO\ HIÀFLHQW LQGLYLGXDOO\ LGHQWLÀDEOH WR WKH V\VWHP DQG FDQ EH FRQÀJXUHG IRU D YDULHW\ RI DSSOLFDWLRQ RU VRXQG options.

2001

Terence Ewers

Ziton (PTY) LTD

SABS Design Excellence Award

GYPSY VANDAL RESISTANT WC PAN

A unique vandal resistant water closet pan. It is manufactured out of a virtually unbreakable polymer concrete substance; it has a wider inner trap eliminating blockages and the outlet and inlet pipes are fused which eliminates perished and leaking rubber connectors.

2002

Fritz Carel Schmidt

Gypsy Sanitaryware

SABS Design Excellence Award

FOURWAYFIN SYSTEM

$ PXOWL SXUSRVH ÀQ V\VWHP WKDW DOORZV VXUIHU WR RSWLPL]H WKHLU VXUIERDUG WR VXLW SUHYDLOLQJ FRQGLWLRQV LQ ÀYH ZD\V LQFOXGLQJ UHPRYLQJ WKH ÀQ IRU HDV\ WUDQVSRUWDWLRQ

2003

Dean Geraghty and Marc Ruwiel

Air-Core Technology cc.

SABS Design Excellence Award

304

QUESTION 40 World Design Capital 2014

NAME

DESCRIPTION

YEAR

DESIGNERS

COMPANY

AWARD

MAPTRIX

Comprised of learner support material for geography, it improves competence in map reading. This self-instruction programme is used to teach learners how to read the 1:50 000 topographic map of South Africa, an important geography learning outcome for various levels of education.

2004

Lorraine Innes and Graham Arbuckle

MapTrix Services

SABS Design Excellence Award and Chairperson’s Award

FX PEDAL SELFASSEMBLY TOY CAR

An innovative pedal car that introduces the fun of self-assembly to children and parents. Suitable for children between three and six years.

2005

Retief Krige and Wayne Batty

Retief Krige Industrial Designers

SABS Design Excellence Award and Chairperson’s Award (Nominated for INDEX: Award 2009 - Play Category)

STATSCAN

The Statscan is a digital X-ray system that completes a full body scan in 13 seconds. Originally used to search for stolen diamonds in miners it has been introduced to busy hospitals. It produces a clear image of the entire human body within seconds. This allows quick access to information at a time when diagnosing a patient is crucial. ,W RSHUDWHV DW VLJQLÀFDQWO\ ORZHU UDGLDWLRQ H[SRVXUH OHYHOV WKDQ KDV SUHYLRXVO\ DFKLHYHG ZLWKRXW WKH QHHG IRU ÀOP RU SURFHVVLQJ

2005

JH Potgieter, C Sousa, P van Looy, AGJ Vermeulen, R Sandwidth, A Booysen, A Gobind, B Wright, C Haworth, J Louw

Lodox Systems (Pty) Ltd

SABS Chairman’s Award for Excellence

INDUCTION CASTING MACHINE FOR PLATINUM JEWELLERY

The Hot Platinum ICON3CS is a compact integrated casting machine used in platinum jewelry manufacturing which uses innovative electronics technology to enable it to melt and cast 250g of SODWLQXP LQ OHVV WKDW ÀYH PLQXWHV

2006

Irshad Khan and Martin Cronje

Department of Materials at UCT

SABS Design Excellence Award and Chairperson’s Award

JEMBI

A wireless payphone used to provide public telephone services in under-serviced areas. The unit has been designed for clear viewing angle from table top and has a modern hi-tech appearance.

2006

Jan Badenhorst, Marilize Botha and Heidi Thietz

PSITEK (Pty) Ltd

SABS Design Excellence Award

JOOSTE FORCE HEAD

The Jooste Force Head is made from stainless steel and polyurethane and has greatly improved the functioning of windmill pumps, when compared to brass tubing force heads made with leather cup washers, which tend to lock when pumping. The advantages of these heads are the absence of friction, longer endurance and ability to withstand exceedingly high pressure.

2006

CJJ Jooste

Jooste Cylinder & Pump Co (Pty) Ltd

SABS Design Excellence Award

BUTTE TORCH TONGS

Braai (the South African word for “barbeque”) tongs which incorporate a light which illuminates food whilst cooking in the dark. The removable light projects through the centre of two hinged blades and is activated by pressing the tongs against the body or any other surface. This intelligent light source automatically switches off after 90 seconds.

2007

Roelf Mulder, Byron Qually, Richard Perez and Johan Bredenkamp

…XYZ / Todd Broome Utensils cc.

SABS Design Excellence Award (Nomination for INDEX: Award 2009 Home Category)

OSCAR

A wireless and cashless online transaction access point or kiosk that enables people to perform a broad range of online transactions using their bank cards for real-time payments. Functions include product marketing and advertising, product browsing and selection, product enquiries, payment and product delivery. Consumers can also use it to download government forms, pay trafÀF ÀQHV EX\ DLUWLPH DQG DFFHVV D YDULHW\ RI GLIIHUHQW JRRGV DQG services.

2007

Roelf Mulder, Byron Qually, Richard Perez, David Wiseman and Matthew Slaven

…XYZ / Touchmart

SABS Design Excellence Award

305

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

AWARDS

AWARDS NAME

DESCRIPTION

YEAR

DESIGNERS

COMPANY

AWARD

PADDLE YAK

The Paddle Yak Swift Hybrid Adventure is a commercially viable sitin/sit-on sea kayak. Its design combines elements of traditional closed and modern open cockpit craft for improved seaworthiness and comfort. If capsized, the craft drains itself and the paddler can remount a dry craft, eliminating the need for rolls, complicated reHQWULHV RU SXPSLQJ GU\ ÁRRGHG FRFNSLWV

2007

Johan Loots and Anton du Toit

Paddle Yak Sea Kayak Productions cc.

SABS Design Excellence Award

SECURITAPE(R) SYSTEM

A system that transforms regular packaging tape into high security packaging tape, via a specially designed compact tape dispenser. The main features of SecuriTape(r) is the mini-printer on board that prints the security seal at the same time the sealing of the carton occurs.

2007

Ari Shpigel, Ideso Industrial Design Solutions, co-developer Rolf Brenner

Skeitex (Cape) cc

SABS Design Excellence Award

VINESTAKE

$ WKLQ ZDOOHG UROOHG PHWDO SURÀOH ZLWK DFFHVVRULHV XVHG WR VXSSRUW wire when trellising vines or other plants. This stainless steel stake offers an alternative to wooden posts and incorporates several interchangeable components to provide a variety of trellising conÀJXUDWLRQV 7KH V\VWHP KDV EHHQ GHVLJQHG WR UHGXFH PDLQWHQDQFH cost and installation time.

2007

Jamii Hamlin, Marc Ruwiel and Peter Stephenson

Ecostake

SABS Design Excellence Award

ZEBRA E1/T1 GATEWAY

A media gateway that serves as a bridge between computers and WHOHSKRQH QHWZRUNV ,W DOORZV IRU ÁH[LEOH GLVWULEXWDEOH FRPPXQLcation systems architecture with unlimited scalability. It creates a myriad of opportunities for software engineers to access the telephony market and develop new applications and value-added services required by today’s converging telecommunications networks.

2007

Roelf Mulder, Byron Qually, Richard Perez, David Wiseman, Hayley Bradnick, James Keen, Rikus Grobler, Grant Broomhall and Marius Ackerman.

…XYZ Design/ VASTech

SABS Design Excellence Award

ZULU MAMA

A café chair that embraces traditional African craft and modern technology. A Zulu coil basket weaving technique is used to create the basket seat. The seat is woven by rural women in the Limpopo province, South Africa.

2007

Haldane Martin

Haldane Martin cc

SABS Design Excellence Award (Nominated for INDEX: Award 2009 Home Category)

4 SECOND CONDOM APPLICATOR

An applicator that keeps the condom in a relaxed state whilst supported by two half moon parts of the applicator. It is applied without scratching the user or damaging the condom which assists in WKH TXLFN ÀWWLQJ RI FRQGRPV LQ D VDIH DQG FRUUHFW PDQQHU

2008

Roelf Mulder, Byron Qually and Richard Perez.

…XYZ Design

SABS Design Excellence Award (Nomination for INDEX: Award 2009 - Body Category)

MES BUTTERFLY RANGE SINGLE SWITCH SOCKET OUTLET

7KH 0(6 %XWWHUÁ\ 5DQJH RI VZLWFKHV DQG VZLWFK VRFNHW RXWOHWV are used in a domestic environment. The range is manufactured through a plastic injection moulding process and the mould looks OLNH EXWWHUÁ\ ZLQJV 7KH UDQJH LV VLJQLÀFDQWO\ FKHDSHU WKDQ RWKHUV on the market and is an aesthetically pleasing feature in homes.

2008

Robert SA Bardo

Bardo Consulting Services

SABS Design Excellence Award

MODULAR TRAFFIC LIGHT SYSTEM

$ FROODSVLEOH WUDIÀF OLJKW WKDW RIIHUV ORZ LPSDFW UHVLVWDQFH DQG causes no injuries to motorists and minimal damage to pavements and vehicles on impact. The system requires no maintenance and has a low replacement cost. After an accident the system can be UHSDLUHG UDSLGO\ DQG WKH OLJKWV DUH HQHUJ\ HIÀFLHQW /('V

2008

Barry Geer and …XYZ

0RGXODU 7UDIÀF Light Systems

SABS Design Excellence Award (Nomination for INDEX: Award 2009 - Community Category)

MOVE-EEZ

A storage and movement system for hanging apparel. It is used to improve quality management, storage capacity, handling, throughput, tidiness, ergonomics, accuracy, safety and security in a variety of environments, whilst remaining environmentally friendly.

2008

Gavin Adams and Ari Spigel

BEE Green Logistics cc.

SABS Design Excellence Award

N/A

SABS Design Excellence Award and The Chairman’s Award (Nominated for INDEX: Award 2009 - Work Category). Red Dot Award for Product Design 2010.

ORGA8 AND ORGA15 MODULAR FILING SYSTEM

306

7KLV LV DQ HFR IULHQGO\ RIÀFH VWRUDJH VROXWLRQ WKDW FDQ EH FRPELQHG in different ways to suit the client’s particular needs. The components are recycled material and the compact design takes up less than standard storage units.

2008

Arnold van Wijk, Adrian van Wijk, Japie van der Westhuizen, Retief Krige, James McDonald and Roelf Mulder

NAME

DESCRIPTION

YEAR

DESIGNERS

COMPANY

AWARD

WIREMATE WIZARD

The Wiremate Wizard pull cord system uses a double-action manuDOO\ RSHUDWHG KDQG SXPS ZLWK WUDQVSDUHQW DGDSWRUV DQG ÁH[LEOH shuttles to draw pull-cord through electrical conduits in seconds. Products including urban furniture, equipment, tools and more. The unit is fully portable and the cord is pulled through the conduit without the use of electrical power.

2008

John Holtzhausen and Hano van Riet

Wiremate (Pty) Ltd

SABS Design Excellence Award

SNUZA BABY MONITOR

$ PRELOH VRIW DQG ÁH[LEOH VHQVRU SURWUXGHV RQWR WKH VWRPDFK RI a baby, monitoring it’s breathing.It has a vibration stimulator that helps reassert breathing if apnoea is detected.

2009

…XYZ, Savant, Savant, ID & B

Biosentronics

SABS Design Excellence Award and Chairman’s Award

STOPAK JUMBO INFLATOR

$ FDUJR VHFXULQJ DQG SURWHFWLRQ EDJ LQÁDWRU LQFRUSRUDWLQJ DQ DPbient air intake and digital pressure control system. It is used to inÁDWH GXQQDJH EDJV WKDW DUH W\SLFDOO\ XVHG WR ÀOO YRLGV EHWZHHQ PHUchandise packed into containers, trucks and the holds of ships.

2009

…XYZ

Stopak

SABS Design Excellence Award

THE TOUCHMART TAP

A one-stop-shop self-service terminal which allows customers in a ZLGH UDQJH RI ORFDWLRQV WR SXUFKDVH D SUHGHÀQHG DQG EURDG UDQJH of products, services and information. It provides a wireless network and can be deployed in any site that has cell phone reception.

2009

…XYZ

Touchmart

SABS Design Excellence Award

COMMAND & CONTROL BACKPACK

The backpack is a robust and ergonomic backpack to be used by a GHIHQVH IRUFH FRPPDQGHU IRU WDFWLFDO RYHUVLJKW LQ WKH ÀHOG :KHQ deployed, the backpack cover is zipped open to form a shade and ventilation canopy which protects electronic equipment from the elements.

2009

Marc Ruwiel, Derick Smith and Anesh Magan, Alastair Knight, Redlinx (project manager)

Ideso

SABS Design Excellence Award

WILLOWLAMP COLLECTION

Willowlamp creates a large range of chandeliers by arranging lasercut, stainless steel sheet metal and ball chain into a variety of designs. The patented notch in the steel allows unskilled workers to attach chains to form complex patterns. The hanging chains create the form of the chandeliers which collapse to ease packaging and transportation.

2009

Sian Eliot and Adam Hoets

Willowlamp

SABS Design Excellence Award

YBIKE BALANCE BIKE

Ybike is a plastic injection-moulded bike assisting children between the ages of two and four with balance and gross motor skills. The bike’s design makes it a safer ride with features such as larger wheels, a larger turning circle, a body design that makes it easier to clear obstacles and a closed rear wheel.

2009

Jean van der Merwe and Jaco Kruger

Chrome Cherry Design Studio (Pty) Ltd

SABS Design Excellence Award

FREEPLAY FETAL HEART RATE MONITOR

The Freeplay Fetal Heart Rate Monitor works off-grid, where there is no electricity to support delivery. The intent of the product is to safeguard childbirth for mothers and infants in remote areas of the developing world where expert care and electrical power are in short supply.

2009

Philip Goodwin (industrial designer); Stefan Zwahlen (electronics designer); John Hutchinson; (project leader).

Freeplay Energy

INDEX Award

SUMBANDILASAT

A small earth observation satellite, weighing just 82kg that produces image data to assist in disaster management, crop estimation, urbanisation patterns and more. The Sumbandilasat delivers imaging performance that is not equalled by any other satellite in its weight class.

2010

Sunspace Engineering and Technical Teams and University of Stellenbosch, Chromar Technologies and Indulec

Sun Space and Information Systems (Pty) Ltd

SABS Design Excellence Award

TAP-IT ® DISPENSING TAP FOR BAGGED LIQUIDS

A liquid dispensing solution for bagged liquids. The spiked design of the plastic TAP-IT® enables it to pierce a sachet of liquid, while immediately sealing it off from external contamination with a spring locking mechanism.

2010

Dr PJ Vlok, Juergen Heinrich, Ron Jones, Andy Kidd, Gerald Potash, Doug Jeffery and Mike von Seidel

TAP-it Liquid Solutions (PTY) Ltd

SABS Design Excellence Award

VIZIER GRAPESIZER

The Vizier Grapesizer System automatically grades table grape bunches to colour, berry size and weight and delivers precise weight groups for packs per class to packers. The accuracy of gradLQJ DQG VRUWLQJ DV ZHOO DV WKURXJKSXW UHVXOW VLJQLÀFDQWO\ LPSURYHV SURÀWDELOLW\ IRU WKH JURZHU

2010

Bernard van Zyl and Jopie ten Cate. Contributors: Andre Roodt, Francois Swanepoel and Piet Geldenhuys

Vizier Systems (Pty) Ltd

SABS Design Excellence Award

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BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

AWARDS

COMMUNICATION DESIGN

QUESTION 41: Describe how visual communication has been used by the city to promote itself locally, regionally and internationally. Include any major environmental or ZD\ ÀQGLQJ SURMHFWV 3URYLGH H[DPSOHV LI DYDLODEOH

While the City of Cape Town has often investigated and exercised different options for visually branding and communicating itself, it was only really as a result of the recent 2010 FIFA World CupTM that the true value and importance of visual communication and in particular the need for a common, shared strategy came to the fore. Traditionally the realm of tourism promotion agencies, the importance of consistency in messaging was also brought to the attention, for WKH ÀUVW WLPH RI WKH JHQHUDO SXEOLF 7KHUH ZDV D general desire for a common message to unite behind in time for the World Cup and indeed an awareness was borne overall to develop a strong and consistent visual communication strategy not just for the World Cup, but also beyond. It is therefore believed that Cape Town’s bid for the World Design Capital 2014 designation will help keep this need in focus, so that we may, as a City, ultimately showcase the power of our visual communication design industry and use our resources to create the change we require in our approach to visual communications about Cape Town. In other words, the bid towards WDC 2014 is an opportunity to stimulate a culture of visual communication design for the future.

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A LOGO FOR ALL For the 2010 FIFA World CupTM, Cape Town Tourism transformed the City’s own “Ready to welcome the world” logo into a definitive Cape Town look incorporating the rainbow - a South African symbol often used across the City.

QUESTION 41 World Design Capital 2014

One of the challenges in visual communication within the metropole itself, has been the extremely stringent bylaws that exist in terms of visual branding and bill-boarding, and there have been various groups at loggerheads on this matter for a number of years. One side will argue that the natural beauty of the City should not be “burdened” with unnecessary branding and that the iconic image of Table Mountain, recognised across the globe, is all that is needed to promote the City.

improve various other aspects of the City – from infrastructure to social development initiatives.

Another side may argue that we are missing out on enormous opportunities, among them sponsorship programmes whose funding could be used to

However, the building of the Cape Town Stadium in the Central City has itself caused a “shift” in the design of the traditional image the world has come to know: instead of the City Centre vaguely outlined and to a large part dwarfed against the mammoth mountain as seen from across Table Bay, the new image is one with the Stadium in the foreground, lying next to what is clearly a packed and therefore vibrant Central City, with the mountain in the background. Cape Town has a new look, and it is IDU PRUH UHÁHFWLYH RI WKH &LW\ DV D OLYLQJ EUHDWKLQJ entity in which people and the places they occupy play as important a role as our scenic beauty.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

The singular shape of Table Mountain, visible from afar, has been used repeatedly in the branding of the City both nationally and internationally. The fact that Table Mountain is also on the shortlist of the 28 sites competing to be the seventh natural wonder of the world, adds to the stature of its symbolism on the world stage.

Another visual symbol that is used in Cape Town more than any other city in South Africa, is the rainbow. The symbolism of the rainbow relates to the term “rainbow nation” coined by Archbishop Emeritus Desmond Tutu many years ago in an expression of the different colours and cultures that make up the South African nation. In many respects, Cape Town best represents a microcosm of this intermingling of people and culture. Much of Cape Town’s public imagery has thus been aligned

309

310

LANE CHANGE The City regularly promotes its biggest events via a series of flagpoles set up across the metropole, particularly in the Central City and along major entry and exit points to the City such as the main route to the Cape Town International Airport.

QUESTION 41 World Design Capital 2014

Locally, and in spite of its stringent bylaws, Cape Town has become quite adept at communicating events in the City at its various “gateway” points. Flagpoles are effectively used along the entry and exit routes to and from the Cape Town International Airport, and along major boulevards leading to event venues. For example, the Eastern Boulevard freeway (one of the main arteries into the Central City) is used to promote the City’s 10 most prominent events; the passageway along Somerset and Main Roads in Green Point leading to the Cape Town Stadium SURPRWH HYHQWV DW WKLV YHQXH DQG ÁDJSROHV throughout the Central City are used to promote events at the Cape Town International Convention Centre. The gateway of Coen Steytler Avenue which runs through the Central City to the Waterfront features the mammoth Civic Centre building,

regularly used (as is Customs House along the Foreshore) as a giant billboard to convey everything from events (such as the World Cup) to socially responsible messaging around HIV and AIDS.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

either with the colours of the rainbow and/or its shape. These colours are subtly used in tourism publications and in the City’s own municipal logo.

The City’s new IRT system is being designed with trunk route platforms and its primary stations are central to its visual communications plan. Each station has become home to public artwork, with the main station at the Civic Centre in the Central City being used to commemorate Cape Town’s urban and natural history. Currently it is a large cityscape that depicts a combination of history and the future. Other stations throughout the metropole also feature the work of crafters who have been trained in mosaics under the direction of artist Lovell Friedman. A new and much-improved communication campaign is therefore central to the City’s new Integrated Rapid Transit (IRT) system being rolled out over the next few years. A dedicated integrated transport communication centre

311

has been built in Athlone in order to design and implement a system that will enable all citizens and visitors to access transport information 24 hours a day, seven days a week, by calling a central toll-free number. The centre also runs the digital information boards at stations and on major road arterials, erected in time for the World Cup, and which now communicate any anticipated delays and give alternative routing advice when required. Visual communication around the 2010 FIFA World CupTM and beyond $V D QDWLRQ 6RXWK $IULFD·V RIÀFLDO VORJDQ IRU WKH World Cup was “Ke Nako. (It’s time.) Celebrate Africa’s Humanity.” :LVKLQJ WR HVWDEOLVK LWV RZQ VSHFLÀF EUDQG IRU WKH World Cup, the City of Cape Town in turn developed the slogan “Cape Town. Ready to welcome the world.” The brand and its visual communication were successfully rolled out across the metropole. ,W ZDV PDGH DYDLODEOH DV RSHQ VRXUFH WR LWV RIÀFLDO partners (such as Cape Town Tourism and the Cape Town Partnership) and was widely publicised through hardcopy media, on the airwaves and visually throughout the City on billboards, banners and merchandise. Organisations such as Cape Town Partnership adopted the slogan directly: others such as Cape 7RZQ 7RXULVP DGDSWHG WKH RIÀFLDO +RVW &LW\ VORJDQ and devised ways to make it more appropriate to their direct audience – the tourism industry and

312

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

GATEWAY TO THE CITY These bright and inspiring murals at the Cape Town International Airport formed part of Cape Town Tourism’s campaign to promote the City’s many other attractions during the 2010 FIFA World CupTM and stimulate visitors to visit more than just the Stadium.

313

locals themselves – by adding the citizen message, ‘Cape Town. Live It! Love IT! LOUDER!’, ultimately also targeted at World Cup visitors. Along with the City’s World Cup “Welcome” campaign, came improvements in visual communication across the City – a legacy project for post-World Cup and one that to a large extent was long-overdue. Via the “Legible City” project, for example, existing signposting was updated and new signposting produced. In addition, City partners were invited to be involved in the process in order to make suggestions for new and improved signposting 314

in the geographical areas in which they operate. The new signage now not only gives directional LQIRUPDWLRQ IRU ZD\ÀQGLQJ EXW LQWHUHVWLQJ KLVWRULF information relevant to a particular site. It is however a project that must be ongoing, as WKHUH DUH VWLOO PDQ\ JDSV LQ WKH ZD\ÀQGLQJ QHWZRUN across the greater metropole. The City of Cape Town chairs the Regional Tourism Liaison Committee (RTLC) which consists of Cape Town Tourism, the Provincial Government of the Western Cape and the City Departments of Tourism and Transport. The aim of this body is to assist in the drafting of a Tourism Signage Policy for the City and to make recommendations in terms of signage. Projects

QUESTION 41

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

World Design Capital 2014

that have been initiated by the RTLC include the following: – Procedures for assisting the tourism industry to apply for designated tourism signs; – A Tourism Signs Policy; – Tourism signage brochures (and making the information available online); – Development of a training manual. Another important communication tool which came out of World Cup preparations and formed

one of the 41 projects around the 2010 Green Goal sustainability action plan, was Cape Town’s ÀUVW Green Map. A valuable showcase of information for visitors, residents and the commercial sector alike, Cape Town’s Green Map communicates “hot spots” and locations of green areas as well as ecologically sensitive businesses and activities in and around Cape Town, including “green” projects, biodiversity and eco-tourism sites, biological production sites and agriculture, as well as eco-friendly transport and sustainable technologies, industries and SURGXFWV 7KH ÀUVW UXQ RI WKH PDS ZDV ZLGHO\ distributed free of charge. 315

Dealing with the post-World Cup communication strategy The role out of a post-World Cup strategic communication plan for Cape Town has been taken XS E\ &DSH 7RZQ 7RXULVP $V WKH RIÀFLDO WRXULVP agency for the City and custodian of Cape Town’s brand, the organisation’s marketing of Cape Town has to date largely been attributed to their strategies locally and internationally. However, post-World Cup, the organisation is now devoting HIIRUW DQG IXQGV RQ SURPRWLQJ &DSH 7RZQ ÀUVW DQG foremost to Capetonians. According to Cape Town Tourism’s chief executive RIÀFHU 0DULHWWH GX 7RLW +HOPEROG ´5HVHDUFK WKH ZRUOG RYHU FRQÀUPV WKDW FLWLHV WKDW DUH JUHDW SODFHV WR YLVLW PXVW ÀUVW DQG IRUHPRVW EH D JUHDW SODFH in which to live. In an age of social networking, citizens are the most effective brand ambassadors, and powerful city brands must always capture the imagination of citizens. We believe that a strong Cape Town brand is good for Cape Town Tourism, and a strong Cape Town Tourism brand is good for Cape Town.” While the overall brand is being developed in conjunction with partner organistions in the City, key commercial initiatives already being developed by Cape Town Tourism include a new retail range for Cape Town, designed and produced in Cape Town, and a City Card for visitors, locals and

316

members linked to the City of Cape Town’s new public transport systems. Social networking and e-marketing have also become a primary focus of the organisation. In fact, arguably, Cape Town Tourism’s most noteworthy communication success to date is its social networking strategy: its Facebook Fan Page, I Cape Town:, was launched on June 11, 2009 (one year to the 2010 FIFA World CupTM) and quickly became a fast-growing and active Cape Town brand ambassador community made up of proud citizens, homesick expatriates, and previous visitors yearning for a return trip to the Mother City. The I Cape Town: Fan Page currently has just on 160 000 active fans...and counting. It is a VLJQLÀFDQW OHJDF\ RI WKH :RUOG &XS An interesting comparison in rankings for the number of fan page supporters (as at November 16, 2010) were the following pages from other cities: – – – – – –

Paris: 421 735 supporters London: 255 702 supporters Barcelona: 216 092 supporters I Cape Town: 159 372 supporters I Love NY: 73 257 supporters Sydney: 29 617 supporters

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

”Citizens are the most effective brand ambassadors and powerful city brands must always capture the imagination of citizens” Mariette du Toit-Helmbold, Cape Town Tourism CEO 317

Communities CASE STUDY 1.1 - 1.3

We have, in this bid book, made a case for Cape Town’s diverse and abundant multi-culturalism. How then does a city like Cape Town, once torn apart by the legacies of colonialism and apartheid, and still in the relative infancy of a new democracy, approach its vastly different peoples with a view to inclusivity, reconnection and creating a City for All? First and foremost, it must rebuild its communities.

1. The Intercultural City: planning for diversity advantage (Phil Woods & Charles landry, Earthscan Publications Ltd 2007), a work based on numerous case studies worldwide that analyses the link between urban change and cultural diversity.

The large-scale research project Intercultural City1 UHYHDOHG ÀQGLQJV WKDW PXOWL FXOWXUDO VRFLHWLHV have the potential to be more creative than homogeneous ones, and that “…diversity within such societies, when managed strategically and with strong skills, is highly productive for cities in social, economic and environmental terms…” and that in turn such cities have “… a vast number of intercultural innovators or role models… who transgress cultural and social boundaries.” Therefore emerging from these intercultural cities \RX ÀQG D XQLTXH EUDQG RI LQQRYDWLYH WKLQNHUV ZKR

understand how to address diversity (including socio and economic disparity) and who can then become key connectors and implementers behind community engagement, participatory urban planning and development practices towards the positive transformation of a city such as Cape Town. In turn, the Provincial Government of the Western Cape (PGWC) – under which Cape Town falls as its capital - is the only institute of its kind in South Africa to recognize the notion of “social capital” as a vehicle of engagement with cultural diversity. Its programmic focus embraces “…developing the potential relationships with people around us: those in our communities, our schools, at the workplace, even with our neighbours.” 7KH ÀUVW LQ RXU VHFWLRQ RI FDVH VWXGLHV WKHUHIRUH looks at three examples of how “rebuilding” is taking place in particular among low-income communities, and how we are using design to alleviate the problems inherent in the demand and spatial issues around social housing.

1.2

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

1.1

1.3

1.1 The Violence Prevention through Urban Upgrading (VPUU) Project 1.2 10 X 10 Low–cost Housing Project 1.3 Nested Bunk Beds by Tsai Design Studio

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REBUILDING COMMUNITIES

340

CASE STUDY 1.1 World Design Capital 2014

The Violence Prevention through Urban Upgrading (VPUU) project is a holistic approach to urban upgrading that is unique in the Cape Town context in the way that it has integrated all forms of development and not only the physical upgrading of urban spaces. In a community that has been characterised by violent crime, poverty, unemployment, a harsh QDWXUDO HQYLURQPHQW DQG XQGLJQLÀHG SXEOLF space this type of development is transforming the township of Khayelitsha into a vibrant, safe, and attractive place but most importantly into a community that is environmentally, economically and socially sustainable. VPUU is a City of Cape Town project aimed at reducing violent crime and improving social conditions in Cape Town communities across the Cape Flats, of which the Khayelitsha community LV WKH ÀUVW 7KLV LQQRYDWLYH SURMHFW ZDV LQLWLDWHG LQ

2006, in partnership with the German Government, through the German Development Bank (KFW). VPUU aims not only to reduce crime and increase safety levels but to also upgrade neighbourhoods, improve social standards and introduce sustainable community projects to empower local residents. The project has so far focused on the improvement of areas in the Khayelithsa “suburbs” of Harare, Kuyasa, Site C/TR section and Site B to create safe areas for thousands of people.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

THE VIOLENCE PREVENTION THROUGH URBAN UPGRADING (VPUU) PROJECT

VPUU has a set of safety principles which are used as guidelines in the upgrading/development process, and are in line with those of Crime Prevention through Environmental Design1. These principles include the following: Surveillance and visibility (“eyes on the street”) The design of public spaces that have clear lines of sight and good lighting to ensure maximum public visibility. Territoriality (“owned” spaces) Refers to the sense of ownership a community has over its environment that encourages residents to become involved in reducing crime. 'HÀQHG DFFHVV DQG PRYHPHQW (DV\ DFFHVV DQG ZHOO GHÀQHG URXWHV WR DQG through, a public place help develop a pedestrian’s understanding of the space and perception of safety. Image and aesthetics (dignity) A positive image of a place can be achieved by ensuring a “human scale”. Using appropriate materials, colours, landscaping and lighting to encourage high levels of public activity.

1. Crime prevention through environmental design (CPTED) is a multi-disciplinary, international approach to deterring criminal behavior through environmental design. CPTED strategies rely upon the ability WR LQÁXHQFH RIIHQGHU decisions that precede criminal acts. As of 2004, most implementations of CPTED occur solely within the built environment.

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Physical barriers This relates to the strengthening of building facades and spaces to improve personal safety. Maintenance and management (pride and ownership) Well-managed and maintained environments encourage a sense of pride and ownership. 7KH 9388 XVHV VSHFLÀF GHVLJQ ´WRROVµ WR LPSOHPHQW the safety principles and these include the LQWURGXFWLRQ RI D FOHDU VLJQDJH DQG ZD\ÀQGLQJ system, creating visual connections along walking routes, ensuring movement routes are as clear and short as possible, the clustering and integration of public activities and ensuring that the site layout has active edges to increase passive surveillance. These principles and design tools are used in all areas of the upgrading process to ensure that the main challenge – crime prevention – is addressed in the new interventions. The project is based on a model made up of three “pillars” of development namely: situational crime prevention, social crime prevention and institutional crime prevention.

2. A spaza shop is an informal convenience shop business in South Africa, usually run from home. They also serve the purpose of supplementing household incomes of the owners, selling everyday small household items. These shops grew as a result of sprawling townships that made travel to formal shopping SODFHV PRUH GLIÀFXOW RU expensive.

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Situational crime prevention refers to the concept of preventing crime through good environmental design. It is assumed that positive changes in the physical environment will ultimately lead to safer communities. There are many aspects which work together in the Khayelithsa example in situational crime prevention, such as the design of Harare Square which is surrounded by Live-Work Units, a business hub, a multipurpose building, an Active Box and Masibambane Hall. This design ensures that the public space is surrounded by many activities meeting the needs of the surrounding community as well as ensuring the space provides a safe environment due to passive surveillance. Harare Square is an important public area offering

facilities, services, shops and businesses to the 60 000 residents in Harare and Monwabisi Park. Good lighting makes the square a safer space where community members can relax and enjoy the surroundings. The multi-purpose public space caters for the following: the youth, the general public, the business sector and it acted as a public viewing area during the 2010 FIFA World Cup. Masibambane Hall was renovated into a Love Life Youth Centre which serves as a community hall as ZHOO DV SURYLGLQJ RIÀFH VSDFH IRU RUJDQLVDWLRQV 7KH Live-Work Units surrounding Harare Square can be rented by local business owners. Each unit consists RI D ZRUNVKRS DW JURXQG ÁRRU DQG D ÁDW RQ WKH ÀUVW ÁRRU 7KH RZQHU FDQ OLYH RQ WRS RI WKHLU EXVLQHVV and protect both the business and the square during the night. The business hub has a bulk buying facility for “spaza”2 shops and is operated by the Triple Trust 2UJDQLVDWLRQ D QRW IRU SURÀW RUJDQLVDWLRQ ZLWK D mission to eliminate poverty through sustainable economic empowerment). It also incorporates a business support and advice centre, 15 shops for local business, and a boxing gym (something it was determined that the community wanted.) The multipurpose building provides services to the local residents, and combines a library, Early Childhood Development Resource Centre, an experimental learning facility for children, a FDUHWDNHU ÁDW RIÀFHV IRU RUJDQLVDWLRQV DQG D small hall. The Active Box is a feature found throughout the VPUU project and is one of the most important components of the project. It is a small three-storey EXLOGLQJ WKDW SURYLGHV RIÀFHV IRU DQ RUJDQLVDWLRQ FDUHWDNHU·V ÁDW DQG D URRP IRU SDWUROOHUV ,W LV KLJKHU than the surrounding built fabric, painted red, and is therefore an excellent landmark as it can be seen from far away. These Active Boxes, manned 24

PARTNERSHIP PROGRAMME The VPUU programme is a partnership between the City of Cape Town, the German Development Bank and the

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

community of Khayelitsha.

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hours a day, are found along the main pedestrian routes, intersections and public spaces and are set no more than 500m apart. This ensures that if an individual is feeling threatened they can clearly see ZKHUH WKH\ KDYH WR JR WR ÀQG KHOS The upgrading or introduction of public spaces falls within situational crime prevention as areas ZKLFK DUH LGHQWLÀHG DV FULPH KRWVSRWV GXULQJ D baseline survey are then upgraded. The Urban Park Precinct 3 in Harare is an excellent example of this as it was previously an unsafe open space that attracted thieves who robbed people on their ZD\ KRPH DQG ZDV LGHQWLÀHG DV RQH RI WKH ZRUVW crime hotspots by community members in 2006. The area also used to be a stormwater pond that captured water after heavy rainfall and prevented ÁRRGLQJ LQ ORZ O\LQJ DUHDV LQ +DUDUH DQG .X\DVD As a result, during the rainy season, pedestrians would have to wade through water on their way home. The site was also used as a dumping ground. Through a collaboration with local leadership and engineers from the City as well as creative design solutions from local professionals, this crime hotspot has now been transformed into a beautiful urban park used by hundreds of residents daily, the majority of which are school children. It has an Active Box, playground, main pedestrian route, a retention pond (which acts as stormwater relief GXULQJ WKH ZLQWHU DQG DQ LQIRUPDO VSRUWV ÀHOG during the dry season), the Football for Hope soccer ÀHOG DQG &HQWUH D OHJDF\ SURMHFW IURP WKH FIFA World Cup) as well as benches. Lights are strategically placed to light up the pedestrian route and are left on until late for kids to play. Many of the structures have been made by locals; the skills needed for such design work form part of the social and institutional crime prevention programmes discussed below. 344

Social crime prevention promotes a culture of lawfulness, respect and tolerance, and links social programmes that support victims or prevent violence and ensures safer spaces are created through the situational crime prevention programme. The main aim of these projects are to prevent and reduce the impact of crime or violence by strengthening relationships between people, drawing vulnerable people into safer conditions and improving the collective capacity of “safe node area” for residents to resist them becoming victims or perpetrators of crime or violence. This programme includes schemes such as Early Childhood Development (ECD), the Social Development Fund (SDF), gender-based violence programmes, the Patrolling Project, legal aid and school-based interventions. The ECD programme ensures that ECD structures are introduced in new developments, such as the Multipurpose Building at Harare Square, as well as HQVXULQJ WKHUH DUH VXIÀFLHQW QXPEHUV RI FUqFKHV within the community. The Social Development Fund (SDF) was established to fund resident-based projects in the four safe node areas of Khayelitsha, including sport development, soup kitchens/food gardens, aftercare school programmes which include IT services, home-based care, arts & drama festivals, skills development, and day-care centres for orphaned and vulnerable children, the elderly and the physically challenged. An example of a gender based violence programme LV 0RVDLF D QRQ SURÀW RUJDQLVDWLRQ ZLWK WKH YLVLRQ of creating a society free of domestic violence. The organisation enables abused youth and adults to heal and empower themselves in dealing with domestic violence through counselling and training programmes.

CREATING SAFE NODES The VPUU’s Safe Node Concept is based on the notion of creating safe and integrated neighbourhoods within communities.

The University of the Western Cape’s Legal Aid Clinic partnered with VPUU and opened a satellite clinic in 2008 based at the Khayelitsha Court. A VHFRQG RIÀFH UHFHQWO\ RSHQHG LQ 6LWH & 7KLV LV IRU persons who cannot afford to pay for an attorney DQG ZLOO WKHUHIRUH ÀOO D ELJ JDS E\ SURYLGLQJ DFFHVV to justice in economically disadvantaged areas. Lastly, the school-based interventions aim to reduce crime and violence through social development. Three schools in Harare and Kuyasa ZHUH LGHQWLÀHG DV FULPH KRWVSRWV DQG SURMHFWV ZHUH introduced to encourage sport and recreation as an alternative to violence and crime. The institutional crime prevention programme is made up of an Operations and Management (O&M) programme, and a Local Economic Development (LED) approach facilitating and encouraging local business as well as having a monitoring and evaluation process. The O&M component is led by a community group responsible for running and maintaining facilities on behalf of the municipality. This supports the Community Delivery of Services (CDS)

opportunities created by VPUU and is linked to the development and maintenance of facilities and the creation of basic and higher-skilled labour services. The VPUU’s LED is an area-based approach which aims to build a shared vision, reduce skills gaps, facilitate grass roots/community involvement, improve access to opportunities and mobilize partners. It also strengthens business associations and community organisations to enhance the sustainability of their initiatives. ,W EXLOGV FRQÀGHQFH ZLWK ´TXLFN ZLQµ SURMHFWV exploring practical ways of linking businesses from the formal and informal economies together, and making it harder for crime to be committed. The LED programme partners with organisations such as the Triple Trust Organisation and Love Life, as well as the Black Umbrella, to name a few.

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The Patrolling Project came about after the violence and crime baseline survey was conducted DQG LGHQWLÀHG WKUHH WRS SULRULW\ W\SHV RI FULPH DV being murder, rape and robbery. The community decided that civilian patrolling be introduced as a quick-implementation project. The sustainability of the patrols is ensured by the full involvement of local structures and state services. There is also a range of incentives which patrol members can access free of charge in exchange for credits earned patrolling, and include Adult Basic Education modules, driving licence training, business-related skills and life insurance.

The VPUU is committed to being an effective intervention. Projects are continuously monitored to ensure that delivery is on target and WR LGHQWLI\ DQ\ GLIÀFXOWLHV RU GHOD\V VR WKDW corrective action can be taken. Project evaluation takes place each year and, where needed, goals are amended. Monitoring and evaluation also provide the necessary information to determine if the VPUU as a whole is achieving its success indicators. Its success was acknowledged through the prestigious Impumelelo Award at the Sustainability Awards in 2010. Further developments have now commenced in Site C, Manenberg, Hanover Park, Lotus Park and Gugulethu – all communities affected by the same hardships. Through intensive media exposure on the success and importance of this project, the German Development Bank took the decision to extend funding by a further three years. 345

1.2 REBUILDING COMMUNITIES

10 X 10 LOW–COST HOUSING PROJECT In 2008, the Cape Town-based Design Indaba Expo held its “10 x 10 Low-cost Housing” competition, inviting combined teams of local and global architects to compete with designs for social housing that required “innovative responses to the urgent need to house the urban poor.” The vision driving the Design Indaba 10 x 10 /RZ &RVW +RXVLQJ SURMHFW ZDV WR ÀQG DOWHUQDWLYH solutions to housing which are affordable, LQQRYDWLYH DQG DWWUDFWLYH FUHDWLQJ GLJQLÀHG KRPHV The project was spearheaded by the Design Indaba 7UXVW D 1RW IRU 3URÀW 6HFWLRQ LQLWLDWLYH ZKLFK is dedicated to design education and development in South Africa. South Africa currently has a major challenge in providing low-cost housing to its urban poor and projects like these are addressing the situation with creative alternatives. The Design Indaba 10 x 10 project brought together the talent, skills and goodwill of the Design Indaba alumni, locally and internationally, to make an 346

impact in an area where design-thinking may be least anticipated. Ten architectural teams were challenged with this pro bono project. The winning design came from Cape Townbased MMA architects in partnership with Axis/ AKI Engineers (structural engineers) and BTKM (quantity surveyors) whose successful design stayed within budget, made use of local materials, reduced building time and ensured community involvement in the construction. The materials prescribed for the build needed to be sustainable in that they were to be local materials and readily available on site. The 54m² house was to require no tools or advanced construction knowledge and had to be built for no more than around R65 000, while still presenting a striking, modern design. Construction of the winning design A noteworthy sustainable aspect that is used in the design of the basic structure of the house, is the Ecobeam System developed by Eco-Build Technologies in Cape Town. It consists of a timber beam with steel inlays that increase the tensile strength of the structure. The sandbags used DV LQ ÀOO LQ WKH ZDOOV SURYLGH H[FHOOHQW LQVXODWLRQ for passive thermal control and have the same temperature control seen in traditional mud and wattle rondavels or stone houses. The sandbags also absorb sound that can often be a problem in areas with high density living. Another function of the sandbag is that it acts as an effective anchor ensuring protection against the wind, while also preventing water penetration into the interior of the house.

CASE STUDY 1.2 World Design Capital 2014

MORE THAN A HOUSE The winning design of the 10 x 10 Low-cost Housing competition strove to create an attractive structure that could provide space for a family to BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

grow into over the years.

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The exterior of the house is designed to be hard and reinforced cement. The sandbags are plastered with the cement that adheres easily to both the sandbags and the chicken wire that cover the walls. The Ecobeam sandbags are made wet before the plastering process. The wet bags behind the plaster enable the plasterwork to “cure” instead of merely drying, as it does in standard construction. 7KLV GHVLJQ EULQJV PDQ\ EHQHÀWV WR WKH FRPPXQLW\ For example, the simple design and construction process allows the community to get involved. Skills development programmes are offered in the building process which can include women as construction is not too labour intensive. There are DOVR PDMRU FRVW EHQHÀWV ZLWK QR EULFNV EHLQJ XVHG there is no need for site-clearing before or after construction which is a huge accumulative expense. The use of sand as the major building material results in less material loss due to wastage or theft. The design itself creates safe spaces for the community with the backyard being private and the front forming a part of the active streetlife, which retains the integrity and notion of community living. Outcome of the competition Design Indaba ultimately constructed ten of these houses in Freedom Park, Mitchells Plain - a township in Cape Town. In 2008 MMA’s design won the international Curry Stone Design Prize, an award given for the best humanitarian design towards “creative solutions to improve our lives and the world in which we live.” The 10 x 10 Low-cost Housing Project clearly aims to create a better future through the use of design. Not only will some of Cape Town’s most LPSRYHULVKHG IDPLOLHV EHQHÀW GLUHFWO\ EXW WKH project seeks to stimulate wider debate and creative thought around the delivery of low-income housing. 348

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KEEPING COMMUNITY CLOSE The design of the houses has incorporated private backyard gardens, while keeping the frontage directly onto the street, encouraging a spirit of community. The innovative Ecobeam sandbag system (inset) is used in their construction.

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CASE STUDY 1.3 World Design Capital 2014

REBUILDING COMMUNITIES

A major challenge facing many low income households in South Africa is a lack of space. Y.Tsai of Tsai Design Studio in Cape Town came up with an innovative design solution to address this issue whilst taking part in a competition involving the design of a 36m² house to be occupied by up to eight people. Tsai used the concept of the Russian Matriochka dolls that nest inside each other to create a set of stacked beds which retract into the space of a single bed at a height similar to a standard bunk bed. Sections can be pulled out for different functions such as a sofa for a few or even grand stand-style seating for many. When fully extended LW VOHHSV ÀYH RQH SHUVRQ WR D EHG DQG ZKHQ IXOO\ retracted it creates an open space where children can play during the day. The design allows for 20

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NESTED BUNK BEDS BY TSAI DESIGN STUDIO children to sleep in an area as small as 50m² whilst at the same time still allowing room for activities during the day. (DFK EHG LV ÀWWHG ZLWK D VWDQGDUG VLQJOH PDWWUHVV VR as the frame of each bed increases in size to allow for the beds to nest under each other, there is extra space then created at the foot of the mattresses (from the second bed from the ground to the top bunk) which serves as storage space. The bed system is manufactured by using local materials and local labour. The manufacturing process is a holistic one that incorporates skills training in woodwork in order to make local manufacturing viable. A later model of the nested beds incorporated a redesign that now allows for the easy self-assemblage of units as it was expensive to transport the fully assembled beds to site. 351

Tsai has had huge support for the project from Shoebox Homes, a non-government organisation which was founded by Charles Maisel, a renowned entrepreneur. Y.Tsai and Aram Lello (both architects) are in the process of setting up a factory which will mass-produce the beds, which will in turn be funded by the Ackerman Pick ‘n Pay Foundation and other corporate and private sponsors. The project has been a huge success and has gained wide media exposure from local television shows and magazines. In 2007, Tsai Design Studio received two awards for the bed: the local Momentum Top Billing Lifestyle Award for the décor category, and the international Red Dot Award in the concept category. In 2008 the Nested Bunk Beds project won the Most Beautiful Object in South Africa award at Design Indaba. Nested Bunk Beds are a perfect product for orphanages and large households where space is a OX[XU\ 7KH ÁRRU DUHD WKDW WUDGLWLRQDO EHGV XVHG WR take up can now be used as play and living space. It is a simple concept but for these households it’s a life-transforming design. ROOM TO SLEEP AND PLAY In an area the size of 50m2, four sets of beds can sleep 20 children, and still retract during the day to allow area in which to play. This has made a huge difference to the overall experience of living in low-cost housing where space is a luxury.

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DOING IT FOR THEMSELVES A revised model of the original nested bunk bed concept now allows for the beds to be assembled on site,

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saving on transportation costs.

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RECONNECTING Infrastructure

CASE STUDY 2.1-2.3

Apartheid not only brought ideological “disconnects” to the City of Cape Town, it also disconnected entire communities in terms of the supply of infrastructure and services, and in turn disconnected them from employment opportunities and other resources. Numerous initiatives have however developed over the past two decades since democracy, and along with organizational support, many of our physical infrastructure challenges are starting to be addressed at both City and Provincial levels. In the second of our case study sections, we outline three projects that illustrate just how the “reconnection” is starting to take place - reconnecting people to the places they must have access to in order to experience economic opportunities and quality of life.

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2.1

2.3

2.1 Integrated Rapid Transit (IRT) System 2.2 Dignified Places Programme 2.3 Cape Town Stadium and The Green Point Urban Park

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CASE STUDY 2.1 World Design Capital 2014

RECONNECTING INFRASTRUCTURE

FULLY INTEGRATED A key component of the City’s new IRT network is to integrate all existing modes of public transport, such as minibus taxis and Metrorail services, with all new services such as the BRT and NMT.

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The City of Cape Town Integrated Rapid Transit System is a bold initiative to transform the public transport sector by dramatically improving the customer experience. This initiative seeks to integrate all modal options into a coherent package for the customer. Amongst the modes to be integrated are Metrorail services, road-based services on trunk routes, conventional and feeder bus services, minibus and metered taxi integration, park-and-ride facilities as well as improved pedestrian and bicycle access (Non-motorised transport – NMT – see box at end). The principal way in which the City of Cape Town will transform the road-based public transport services is a concept known as Bus Rapid Transit (BRT). BRT is a high-quality bus-based transit system that delivers fast, comfortable, and cost-effective urban mobility with segregated right-of-way infrastructure, rapid and frequent operations, and excellence in marketing and customer service. It has virtually all the performance and comfort of a modern rail-based transit system but at a fraction of the cost – typically four to 20 times less than a tram or light rail transit

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INTEGRATED RAPID TRANSIT (IRT) SYSTEM

“After the success of the 2010 FIFA World CupTM, we can now dare to image a more walkable and legible City, a safer City, a more entrepreneurial City, a more welcoming City for Capetonians and visitors.” Andrew Boraine Chief Executive, Cape Town Partnership

system and 10 to 100 times less than a rail system. 7KH FHQWUDO GHÀQLQJ IHDWXUH RI %57 LV LWV IRFXV RQ customer service. Dedicated, median busways provide customers with dramatically reduced travel times. Because the vehicles move quickly in peak hour more people are encouraged to switch from private car use to public transport, which makes the whole system far more viable. The dedicated lanes also reduce operating costs so that fare levels are quite affordable. Special attention is also given in the Cape Town model to safety and security through the presence of extensive security personnel and the use of CCTV cameras.

THE CITY OF CAPE TOWN’S MOTORISED TRANSPORT PROGRAMME WHY CAPE TOWN NEEDS IRT In Cape Town, a large percentage of the population relies on public transport. While rail is the backbone of commuter transport in the Peninsula, there are also 550 000 passenger trips every day made by bus 357

able Bus Rapid Transit (BRT) systems have been established. Cape Town is one of several South African cities that will implement these road-based systems that prioritise public over private vehicles and offer commuters a fast, modern, comfortable, safe and affordable way to move around the city.

and minibus taxis. The disadvantages of the current public transport services are that they are: - Concentrated in the morning and afternoon peak hours, with limited services during the day or late in the evening; - There is no integrated ticketing system between the various modes; - The current system has been linked to major safety issues, with women and children being particularly vulnerable when they use public transport; - The current system is subject to inadequate regulation and law enforcement; - It was never originally planned to be part of an integrated public transport system.

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Other factors contributing to change are the phasing out of contracts between government and bus companies for subsidised services, and the formalisation of the minibus taxi industry. This LQFOXGHV PRYLQJ IURP LQGHÀQLWH SHUPLWV WR À[HG period operating licences and the implementation of the taxi recapitalisation programme, which provides a scrapping allowance to encourage minibus taxi owners with old vehicles to upgrade them or leave the industry. Finally, growing congestion on roads and concerns around air quality and long-term sustainability means that change is inevitable if Cape Town is to meet the needs of residents in the coming decades.

Like many other developing countries, South Africa is in the process of formalising its public transport services. A new national law, the National Land Transport Bill, spells out a plan for publicly controlled integrated transport systems and for cities to take greater control of planning, regulating, implementing and monitoring public transport services.

THE VISION OF THE PROJECT In June 2007, the City of Cape Town approved the Integrated Transport Plan, to “provide a world class sustainable transport system that moves all LWV SHRSOH DQG JRRGV HIIHFWLYHO\ HIÀFLHQWO\ VDIHO\ and affordably”. In alignment with this vision, the City decided to investigate the development of an Integrated Rapid Transit System for Cape Town, based on the concept and principles of a Bus Rapid Transit System.

This transformation process is drawing on successful examples from countries in Latin American cities (such as Curitiba, Bogotá and Sao Paulo with similar issues to Cape Town), as well as Asia, North America and Europe, where excellent and afford-

In early 2008 consultants, including highly respected international experts with experience in delivering BRT systems, were contracted to develop the operational and business plans for the Cape Town system.

ROOM FOR EVERYONE The new MyCiti buses (below) cater for all commuters, including bicycle riders (left) who are now for the first time able to take their two-wheeled transport mode onto buses as well.

INFRASTRUCTURE The IRT system will comprise separate busways or bus-only roadways, mostly in the middle of the roadway. Passengers will wait in convenient, comfortable, secure, and weather-protected stations, which will provide level access between

the platform and vehicle, particularly to allow easy access to children, the elderly and the disabled as well as for bicycles. MANAGEMENT The infrastructure will be owned by the City of Cape Town but there will be private sector involvement, including the existing bus and minibus operators on the various routes, in operating the service. Operators will be paid on the basis of how many kilometres are travelled by the vehicles and not on

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The result is a planned integrated rapid transit system, which will operate along a network of routes and corridors, and which will be unlike any previous public transport services in Cape Town.

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how many passengers are carried (a problem in Cape Town with the overloading of private minibus taxis). Fare collection will be independently operated and managed with quality control oversight by an independent entity. Based on international H[SHULHQFH HIÀFLHQW PDQDJHPHQW ZLOO PLQLPLVH public subsidies of the system operations. TECHNOLOGY The latest developments will make life for &DSHWRQLDQV FOHDQHU DQG HDVLHU 7KH VSHFLÀFDWLRQ is for clean vehicles with low noise technology. There will be automatic fare collection and fare YHULÀFDWLRQ WHFKQRORJ\ DQG ZLOO EH PDQDJHG through a centralised control centre, with Intelligent Transportation Systems (ITS) such as automatic vehicle location. The BRT will also have signal priority at intersections. OPERATING THE SYSTEM The business model for the Cape Town IRT System is based on successful models used by Bus Rapid Transit systems worldwide. Central to this model is a public-private partnership (PPP) in which most operational components are delivered through the private sector but with the municipality responsible for oversight and quality control. In this model private operators provide the day-today delivery of public transport services through a concession contract. Especially important is the full participation of the existing bus and minibus operators. As mentioned above, operators are compensated on the basis of pre-determined

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WAIT HERE Attractive new bus stations are being rolled out across town as part of the MyCiti system that not only keep commuters safe but will offer certain other facilities, as well as limited retail opportunities in and around the larger stations.

By law in South Africa, as in most countries, no public transport services may operate without government authority in the form of a permit, a licence or a contract. A process of formalizing and integrating public transport is currently underway, initiated in the mid-1990s. However, the strategy is clear: public transport services will be publicly managed and will be permitted where there is demand for them, in a manner that is lawful and regulated. When the public authority, in this case, the City of Cape Town, establishes an integrated rapid transit system, it seeks private-sector partners to operate the system. The ideal is for the existing bus and minibus operators to fully participate in the transformation process. The City of Cape Town is currently undertaking consultations with the industry to form a partnership for quality public transport. Not only is the new system likely to be SURÀWDEOH IRU WKH RSHUDWRUV EXW WKRVH HPSOR\HG LQ WKH LQGXVWU\ ZLOO EHQHÀW IURP IRUPDO VDODULHV KHDOWK DQG SHQVLRQ EHQHÀWV DQG DQ LPSURYHG ZRUN environment. FUNDING While the cost of establishing an IRT is capital intensive, international experience has shown that

VXFK V\VWHPV DUH FDSDEOH RI RSHUDWLQJ SURÀWDEO\ Each individual phase of the system has been GHVLJQHG WR EH ÀQDQFLDOO\ VXVWDLQDEOH LQGHSHQGHQW RI IXWXUH GHYHORSPHQW ZLWK QR VLJQLÀFDQW operational subsidies expected to be required. The costs of the initial phase which was required to be completed in time for the 2010 FIFA World CupTM was met by a contribution from national government of R995.02-million, while the City of Cape Town’s contribution was R421.14-million.

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vehicle-kilometres and a range of performancebased indicators. Instead of operating only when LW LV SURÀWDEOH WR GR VR PDLQO\ LQ SHDN KRXUV DQG completing journeys as quickly as possible to move as many people as possible, the incentive is to offer a quality service according to a strict schedule with electronic monitoring of where each vehicle is along the route.

Further phases are likely to be funded through a combination of national government grants, provincial government support, and City of Cape Town sources. The City is also strongly encouraging private sector partnerships, especially with property owners and private developers. EXPANDING THE SYSTEM IN PHASES The plan is to establish the full network, a Citywide integrated public transport system, with the remaining Phases 2 to 4 to be rolled out over a period of 10 to 12 years. While Phase 1 focused on the City’s 2010 obligations and thereafter servicing the West Coast Atlantis corridor, Phase 2 will address the more pressing social aspects of the public transport network by extending into all areas of the metro to the south east, as well as linking the Southern Suburbs. Phases 3 and 4 of the system will then deliver services within other areas of the city, including the Northern Suburbs, such as Bellville and Durbanville, the Delft and Blue Downs areas, as well as the greater Helderberg.

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THE CITY OF CAPE TOWN’S NON-MOTORISED TRANSPORT (NMT) PROGRAMME Integral to the success of the new IRT system, is the incorporation of the City’s Non-Motorised Transport (NMT) programme, which includes all forms of movement that do not rely on an engine or motor for movement. This includes walking, cycling, rickshaws, animal-drawn carts (especially in rural areas) and rollerblading, skateboarding or skating for recreational purposes, and including special needs users (wheel chairs, prams). Ultimately, NMT encourages liveable communities - it is the most basic part of the transportation system and pedestrians in particular contribute to the vibrancy of a community. The City’s partners in this project include both national and provincial government, as well as interested and affected members of the broader Cape Town community. It is envisaged that a budget of around R200-million would be spent on NMT by 2014. Cape Town’s vision To be a City where all people feel safe and secure to walk and cycle where non-motorised transport is part of the transport system, public space is shared between all users and everyone has access to urban opportunities and mobility. An important goal in realising this vision, as set out by the City, is to: “Increase cycling and encourage walking by creating a safe and pleasant bicycle and pedestrian network of paths to serve all the citizens in the Cape Town Area.” The primary objectives of this goal are to: - Increase cycling and enable walking as modes of travel; - Create safe pedestrian and cycling environments 362

'HYHORS D TXDOLW\ DWWUDFWLYH DQG GLJQLÀHG environment; and - Promote a changed culture that accepts the use of cycling and walking as acceptable means to move around in the City and elicit more responsible NMT behaviour. Further secondary objectives that will be achieved through the successful implementation of the programme are: - Integrated land use development appropriately suited for non-motorised transport; - The social and economic empowerment that nonmotorised transport can effect through improved low-cost mobility; - The development of a safer streetscape that allows non-motorised transport users their fair share of the available public space in the mobility network environment. 7KH EHQHÀWV RI 107 NMT is generally recognised as a valuable component of the transportation system and the environment owing to the various numerous EHQHÀWV LW KROGV 7KHVH EHQHÀWV LQFOXGH Environmental benefits: The environmental EHQHÀWV RI 107 DUH SULPDULO\ JDLQHG EHFDXVH it results in reduced pollution. Increased NMT movement in heavily congested urban areas can result in reduction of CO2-emissions. It is also VSDWLDOO\ PRUH HIÀFLHQW DV LW LV FRQGXFLYH WR WKH development of more liveable communities. It supports effective land use patterns and results in improved accessibility and independent mobility. WALKABLE CITY The City’s NMT policy calls to develop quality environments and public spaces that will enable people to walk safely and securely throughout the metropole.

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Increased liveability: NMT use also increases the liveability of CBD environments and community areas. The presence of pedestrians in streets, public spaces and buildings gives life to all public areas and contributes greatly to the conditions that make a city or community liveable. Improved health: NMT is a more active form of transportation and can result in improved societal health from increased physical activity. Health EHQHÀWV FDQ DOVR EH JDLQHG WKURXJK WKH UHGXFWLRQ LQ PRWRULVHG WUDIÀF WKH UHVXOWLQJ UHGXFWLRQV LQ &2 emissions and the generally improved quality of life. 7KH UHGXFWLRQ LQ PRWRULVHG WUDIÀF FRXOG DOVR UHVXOW in reduced accidents. Economic gains: NMT is economically cheaper. It LV PRUH DIIRUGDEOH WKDQ PRWRULVHG WUDIÀF RZLQJ WR reduced operating cost and the savings in parking fees. In congested urban areas it can also result in time saving for mobility. Project milestones: NMT is an on-going programme beyond 2020 with the following milestones already achieved or in the process of being achieved: - Policy and strategy completed in 2005; - Bicycle Master Plan of 2005 being reviewed; - City Wide NMT Network Plan with prioritized projects completed 2010; - Phase 1 of 16 prioritized projects in detailed design and should be completed by 2012; - Cape Town Inner City NMT projects 80% complete.

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THE RIDE OF YOUR LIFE In preparation for the 2010 World Cup, the City’s pedicabs received a new look compliments of the Netherlands Consulate. Consulate members and City councillors were treated to the first rides through the City on the newly reimaged vehicles.

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CASE STUDY 2.2 World Design Capital 2014

RECONNECTING INFRASTRUCTURE

DIGNIFIED PLACES PROGRAMME 7KH LGHD IRU WKH 'LJQLÀHG 3ODFHV 3URJUDPPH developed during the preparation of the City of Cape Town’s Spatial Development Framework in 1999. The focus was to determine a realistic and implementable way to address inequality and fragmentation in Cape Town, proposing a plan for strategic, integrated public investment that could catalyse the process of urban transformation, as it was realised that vibrant public spaces were critical to the creation of a sustainable future for Cape Town – and one that could also embrace LGHQWLÀFDWLRQ 3XEOLF VSDFHV DUH DOVR YLWDO LQ OLQNLQJ communities and addressing issues of equity and social justice.

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Before 1994, Cape Town was overall inequitable, fragmented and on the whole an unsustainable place. For decades there had been (and continues to be) a harsh contrast between the wealthy, well-resourced areas and the substandard quality of the spaces found in the poorer communities. The apartheid legacy saw very little public space provided for marginalised communities - any spaces that were used for sport and recreation were leftover spaces or road reserves, which were unsafe, GHJUDGHG DQG ZRUVW RI DOO WKH\ ZHUH XQGLJQLÀHG IRU any human being to use.

Before 1999, urban public space had never before been considered a part of Cape Town’s public City-building elements. Public space was therefore selected as a means to tangibly demonstrate post-apartheid policy. Priority was JLYHQ WR ORFDWLRQV WKDW KDG WKH SRWHQWLDO WR EHQHÀW the maximum amount of people, typically around SXEOLF WUDQVSRUW LQWHUFKDQJHV DW ZKDW TXDOLÀHG DV existing public facilities and busy pedestrian routes. Some of the main aims were to establish a sense of permanence, safety and provide support for emerging economic activities. But the main overarching aim of the programme was to promote a sense of dignity in the public realm, targeting the poorest and most disadvantaged parts of the City. The objective was to provide each local area with a place where individual circumstances of poverty were not starkly visible, where people could meet, trade, gather or just sit in a space which was as attractive and comfortable as any other well-made, positive place in the City. 7KH ÀUVW URXQG RI SURMHFWV KDSSHQHG LQ D FRQWH[W RI institutional fragmentation, at a time when public space did not feature on the City’s list of services. ,Q RUGHU WR LPSOHPHQW WKH ÀUVW URXQG RI SURMHFWV WKH planning team – a small group of urban designers - lobbied and negotiated with transport, community service, parks and other City departments to combine budgets for a range of smaller projects. The planners promoted the concept of integration linking several small projects with limited impact to IRUP RQH VLJQLÀFDQW SURMHFW )LQDOO\ DIWHU VL[ \HDUV of lobbying, the numerous City departments

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KEEPING COMPANY The statues on Pier Place in the Central City have been included to keep people “company” and make them feel that they are not alone, even when the square is not that occupied.

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NEW HOPE FOR COMMUNITY SPACES New public spaces and facilities have been created in a number of townships, including those areas that form part of the VPUU project (this page) or the Football for Hope centre (below right) that was a legacy project of the 2010 World Cup in Khayelitsha.

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“Not only is it the physical surroundings that give Cape Town its beauty. It is the fact that the different communitites which comprise the City are finally getting connected to one another and creating a fully integrated and sustainable economy.” Clem Sunter Scenario planner and trends analyst

However, it was also realised that public participation from the surrounding community needed to be an integral part of the programme, and so a project team made up of individuals from the community was set up with every project. The community project team was usually made up of women, churches, youth organisations, NGOs and the local ward councillor, and was present at concept, detail design and implementation stages of each project.

QUALITY PUBLIC SPACES PROGRAMME $V DQ RII VKRRW RI WKH 'LJQLÀHG 3ODFHV 3URJUDPPH the Quality Public Spaces Programme came about in answer to the City’s question of how to combine and fast-track the infrastructure development required towards the 2010 FIFA World CupTM, the overall location of public space and accelerated GHOLYHU\ RI WKH 'LJQLÀHG 3ODFHV 3URJUDPPH 7KH concern was whether the injection of investment

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involved assigned budget for the development of public spaces.

While the poor of Cape Town continue to be housed largely in dormitory townships isolated from the opportunities and resources of this economically polarised and spatially segregated City, the City RI &DSH 7RZQ·V 'LJQLÀHG 3ODFHV 3URJUDPPH LV D concerted effort to demonstrate the principles of equity, integration and sustainable development. 7KH IRFXV RI WKLV SURJUDPPH LV WKHUHIRUH ÀUVW DQG foremost on the design and construction of new public spaces in the poorest parts of the City as a means to improve accessibility, quality and dignity. The network of public places today includes spaces in Hanover Park, Browns Farm, Guguletu Gateway, Washington Drive and other areas in Langa, Oliver Tambo Drive, the improvement of public spaces in Weltevreden Valley, as well as the Nyanga street markets and bathhouse, and the 0DQHQEHUJ 3OD\ 3DUN $Q H[DPSOH RI D GLJQLÀHG public space situated at a busy transport interchange and which also enjoys commercial activity, is the Mitchell’s Plain Interchange (explained in detail in Question 37 – Urban Design). Harare Precinct 3, part of the VPUU programme, also falls ZLWKLQ WKH 'LJQLÀHG 3ODFHV 3URJUDPPH 369

REMEMBERING THE SEA The shark sculptures by Ralph Borland on Jetty Square are used as a metaphor for the sea lost in the reclamation of land for the Foreshore, while the cobbled paths remind us of the sand dunes, and the wave edge that used to lap at the shoreline.

for 2010 could simultaneously become an urban renewal initiative for Cape Town. Whilst the initial vision of public spaces did gain support early on, it soon became clear that the scale proposed for 70 to 80 public spaces distributed throughout the City by 2010 and linked through safe public transport systems could not be achieved due to limited resource capacity. It was decided to go ahead with the development of certain quality public spaces but on a smaller scale. 7KHUHIRUH WKH 4XDOLW\ 3XEOLF 6SDFHV DQG 'LJQLÀHG Places Programmes had the same motive of urban renewal and the provision of opportunities for people to congregate allowing for economic activities and creating a sense of place. Twenty SXEOLF VSDFHV ZHUH LGHQWLÀHG IRU LPSURYHPHQWV as part of the Quality Public Spaces Programme and were fast-tracked to be ready for the 2010 World Cup. -HWW\ 6TXDUH DQG 3LHU 3ODFH GHVLJQHG E\ WKH ÀUP Earthworks Landscape Architects, for the City of Cape Town, were both upgraded as part of the Quality Public Spaces Programme within the Cape Town Central City, and provide just two examples of how public space has been improved. Jetty Square is situated in the Foreshore area of the Central City, on what was for many years a dilapidated parking lot, near what would have been WKH RULJLQDO EHDFK ZKHUH WKH ÀUVW VKLSV DQFKRUHG LQ Table Bay in the 17th century. The development of the Foreshore in the 1930s pushed the coastline out towards the sea as land was reclaimed for the expansion of the CBD. Today the area is completely developed and very little memory of the beach and ocean exist in the current urban landscape. The concept for the design of the square was to 370

celebrate the historical connection of the site to Table Bay, by referencing the “lost” landscapes through the development of an interactive urban pedestrian project. Sculptures of skeletal sharks created by Ralph Borland are used as a metaphor for the lost marine environment. The space was intended to provide a serendipitous experience for the pedestrian urban users, a moment to stop DQG UHÁHFW EHIRUH UXVKLQJ IRUWK RQ WKHLU GDLO\ errands. The sharks move in the wind (and also when detecting close movement through infrared sensors), releasing a wind-generated sound. The SDYLQJ SDWWHUQ UHVHPEOHV D SDWWHUQ RI ÁRZLQJ ZDWHU and refers to the sea that was laid dry for our feet. The Foreshore was originally designed for vehicles, with pedestrians channelled along narrow VLGHZDONV IRU VDIHW\ $ VLWH DQDO\VLV LGHQWLÀHG KLJK numbers of people walking through the disused and neglected parking lot. This project therefore aimed to celebrate pedestrians and prioritise them above cars, contributing to the sustainability of our City: had this development not taken place, the square would have been converted into a multi-level parking facility which would have encouraged even more vehicles in the City. Pier Place is adjacent to Jetty Square, and thus the materials used in Jetty Square as well as some of its visual imagery were pulled through to Pier Place. The concept behind Pier Place was to design a comfortable urban square that commented on its contemporary users as well as inner city life in Cape Town. The original square was devoid of any life or users: it was a barren, wide open space with no place to sit or be comfortable. 7KH VFXOSWXUHV WKDW H[LVW WKHUH WRGD\ UHÁHFW ERWK the life in the surrounding buildings and the people

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who inhabit the streets of the Foreshore. Sculptor (JRQ 7DQLD FUHDWHG WKH OLIH VL]HG EURQ]H ÀJXUHV each telling an individual “story’ captured in intricate detail while the overall grouping has its own narrative. However, one of the main concepts behind the sculptures, interspersed with shade-offering trees, is to help real people feel comfortable on the square even when they are completely alone hence WKH UHDOLVWLF KXPDQ ÀJXUHV 7KH FXUYHG EHQFKHV LQ WXUQ DOOXGH WR VDQG GXQHV ÁRDWLQJ DERYH WKH JURXQG plain. Charcoal cobbles were used in a sea of white to resemble the tiny bits of marine and other debris left behind after waves pull back over a beach, and

the lines in underwater sand ripples. The “debris” or cobbles also accumulate around the sculptures like energy particles. Both Jetty Square and Pier Place are excellent examples of City spaces transformed for human life DQG RFFXSDWLRQ FRPIRUWDEOH SODFHV WR UHVW UHÁHFW or have a lunch break while being exposed to art and an aesthetically inspiring environment. After all it is the simple notion of having the opportunity to sit on a bench, under a tree, in a safe environment WKDW FUHDWHV GLJQLÀHG DQG TXDOLW\ VSDFHV IRU DOO WKDW pass through them. 371

RECONNECTING INFRASTRUCTURE

IN HONOUR OF THE ORIGINAL INHABITANTS With the new Stadium in the background, the original inhabitants of this area, the Khoisan, are remembered in the new Green Point Urban Park through recreations of the huts they used to build.

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The development of the precinct which contained the old Green Point Stadium and surrounding Green Point Common has given a face lift to what was once a neglected, underutilised and largely inhospitable place for Capetonians. The upgrading has not only provided Cape Town with a landmark structure of international acclaim (known today as the Cape Town Stadium) but it has also provided the community with an open space (the Green Point Urban Park) to recreate, learn and gain insight into the history of the Green Point Common, which goes as far back to when the Khoisan inhabited the area before the Dutch settled in the 1600s. The whole precinct provides Cape Town with a worldclass all-purpose, international-standard venue, an extensive sporting and recreation precinct, and a sustainable space to learn about Cape Town’s history and biodiversity. This is a milestone project in the vision of reconnecting the City to the sea with the designed pedestrian link running through the Green Point common connecting the Central City to the Atlantic Seaboard. The history of the Green Point Common The area which is known as the Green Point Common used to be inhabited by indigenous Khoisan people who relied on the resources from the Atlantic Ocean to survive in the area. With the arrival of the Dutch settlers in 1652, the lives of the Khoisan were changed dramatically and so did the landscape of Green Point.

World Design Capital 2014

The Khoisan were forced into enslavement and the land started to be grazed by livestock and used by the new residents for recreational activities. With the abolishment of slavery in 1834, the Green Point Common quickly transformed into a space for celebration and it was this “mother of all parties” that gave rise to the annual Cape Minstrel Carnival (Kaapse Klopse Karnival) which is still celebrated today.

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CAPE TOWN STADIUM AND THE GREEN POINT URBAN PARK

CASE STUDY 2.3

Over the centuries, the Green Point Common was used for a diverse range of sporting activities ranging from horse races, rugby, cricket, and athletics. It was even able to accommodate sailing regattas until the shallow vlei (lake) at its core dried up. During the Anglo-Boer War the Common was used by the British Military as a base and concentration camp. In 1923 King George V announced that the Common was to become a public space to be used for the purposes of recreation and sport. It was then handed over to the Cape Town City Council who have managed it ever since. In the early twentieth century the Green Point &RPPRQ ÁRXULVKHG PDLQO\ EHLQJ XVHG IRU VRFFHU matches by local clubs and by all races until the onset of the Group Areas Act which forcibly removed any people of colour out of the area. In 1940 the ÀUVW *UHHQ 3RLQW 6WDGLXP DQ VHDWHU ZDV built which included an athletics track but was mainly used for soccer. Later on in the stadium’s “career” it became a multi-purpose venue hosting DWKOHWLFV PHHWLQJV ÀOP VKRRWV DQG FRQFHUWV A new place for all Capetonians With the approach of the 2010 FIFA World CupTM it was realised that the old stadium would need to be replaced with a bigger one. In 2007, the old Green Point Stadium was partly demolished to allow for the development of the Cape Town Stadium which we see today. 373

From the outset, the vision for the 68 000-seater1 Cape Town Stadium had been to create a landmark structure that did not dominate the natural splendour of its surrounding landscape. Not only did the designers achieve this, but they also incorporated the surrounding context with subtle design details such as the sweeping lines of the external structure which line up with Signal Hill. Careful attention was paid to ensure that WKH URRÁLQH RI WKH VWDGLXP ZDV QRW WRR KLJK DQG the stadium was placed on a podium to reduce the impression of height as well as to provide an elevated lookout “deck” over the urban park.

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“The 2010 FIFATM World Cup gave us the platform to overturn our reputation from a no-go zone to a must-go zone.” Alan Winde Western Cape Minister of Finance, Economic Development and Tourist

1. The Cape Town Stadium was originally built to house 68 000 seated for the 2010 FIFA World Cup. However after the event ended, the top tiers of seating were reduced to make it a 55 000-seater venue.

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7KH VWDGLXP ZDV GHVLJQHG E\ DUFKLWHFWXUH ÀUPV GMP Architects from Germany and two local &DSH 7RZQ ÀUPV /RXLV .DURO DQG $VVRFLDWHV and Point Architects. Two other local contracting ÀUPV 0XUUD\ 5REHUWV DQG :%+2 PDGH WKH architects’ drawings a reality in just 33 months. Urban designer Henri Comrie of Comrie Wilkinson $UFKLWHFWV 8UEDQ 'HVLJQHUV ZKR ZHUH LQYROYHG in the overall precinct design, made sure that the stadium was not the sole focus when approaching the City as it was vitally important to them that the views towards the ocean and mountain were kept

clear. It is due to this that the stadium is set “offgrid”, to the right from the approach route. The architects of the stadium have dubbed it “the GLYD RI &DSH 7RZQµ GXH WR LWV DELOLW\ WR UHÁHFW WKH constantly changing moods of the surrounding City in varying weather conditions. The entire stadium is covered in a light, silver mesh fabric ZKLFK UHVHPEOHV D URVH FRORXUHG ERZO ÁRDWLQJ RQ a base when lit up at night. This material transmits RQO\ RI WKH QDWXUDO OLJKW DQG WKXV VLJQLÀFDQWO\ reduces thermal radiation and glare while still providing natural ventilation and cooling for spectators in the stadium bowl. The roof structure resembles a bicycle wheel, open in the middle, which is a feature unique to anything else in the world. A total of 72 cables link the outer and inner rings of the circle and during construction were slowly tightened to raise the roof from ground level to its present height. Another unique feature is the use of 16mm thick panels of glass which cover and protect spectators from strong winds and rain. This allows light in whilst ceiling panels made of woven PVC fabric situated below the glass softens the noise impact from within. Numerous design features take into account the comfort of spectators: for example the roof design ensures 93% shading of seats at midday and the overall design of the outer structure also encourages natural air movement throughout the stadium. Sustainable construction and operation The use of passive cooling (relying on natural YHQWLODWLRQ UDWKHU WKDQ DUWLÀFLDO DLU FRQGLWLRQHUV is just one element ensuring the stadium is HQHUJ\ HIÀFLHQW $ UHYLHZ WHDP DSSRLQWHG E\ WKH Department of Environmental Affairs and Tourism has found that the stadium meets high standards of environmental protection. Water and energy HIÀFLHQF\ PHDVXUHV DUH DQ LQWHJUDO SDUW RI WKH design. When the old Green Point Stadium was demolished, 95% of the components were recycled

COPING WITH THE ELEMENTS Even though the Stadium has an open roof, it has been designed to ensure maximum comfort to as many spectators as possible, irrespective of the weather.

Appropriate water management systems are in place, such as water from the stadium roof and drainage from the pitch being pumped into ponds within the surrounding Green Point Urban Park, reducing its reliance on potable water to water both the public park and new sporting facilities. Waterwise systems have been incorporated internally within the stadium, with the ablution EORFNV EHLQJ ÀWWHG ZLWK PHFKDQLVPV ZKLFK UHGXFH ZDWHU FRQVXPSWLRQ (QHUJ\ HIÀFLHQW V\VWHPV DUH also in place which vary from the materials used LQ FRQVWUXFWLQJ WKH VWDGLXP EHLQJ UHÁHFWLYH WR radiant energy and as well as allowing for natural ventilation; a building-management system (BMS) DOORZV IRU WKH HIÀFLHQW FRQWURO DQG PRQLWRULQJ RI air-conditioning and lights in the stadium; many halogen lights have been used which are 45% more HIÀFLHQW DQG WKH VWDGLXP KDV EHHQ EXLOW FORVH WR major transport interchanges reducing the reliance on private cars and therefore cutting down on harmful emissions. Being based close to major transport routes also encourages people to walk: the development of the Fan Walk pedestrian and bicycle-prioritised route leading from the Cape Town Central City to the stadium has seen an average of more than 50% of all event attendees walking to the stadium along the 2.5-km route, while the lion’s share of the remaining attendees use the public transport system than has been provided. This has been a success story beyond the City’s original dreams for the project, and one that is helping to instill an

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

and reused by incorporating these into the layering works of haul roads. Most of the building materials ZHUH ORFDOO\ VRXUFHG WKHUHIRUH VLJQLÀFDQWO\ UHGXFLQJ the stadium’s carbon footprint, and during the construction of the stadium 95% of the labour was local. The future sustainability of the stadium is vitally important – even to a maintenance scheme which will ensure that only local small businesses are used for future maintenance projects.

important new culture among Capetonians: the use of non-motorised transport. The stadium was designed to be used for differentsized events and it has an energy system that FRPSOLPHQWV WKLV ÁH[LELOLW\ )RU H[DPSOH HOHFWULFDO supply to certain zones can be switched off when not in use and the air-conditioning system can be FKDQQHOOHG IRU XVH RQO\ LQ VSHFLÀF DUHDV The new Green Point Common and Green Point Urban Park The concept of the stadium being environmentally conscious and incorporating sustainable design follows through into the surrounding landscape of the newly revived Green Point Common. The Green Point Common is made up of facilities for seven different sports codes, a golf course, a public recreation precinct (the Green Point Urban Park) and even incorporates Fort Wynyard - the oldest structure on the Common. This military facility protected Cape Town harbour for centuries and was originally built as a gunpowder storage depot by the Dutch. The Green Point Common is rich in historical stories not all of which are visibly commemorated: Fort Wynyard is therefore a highlight for any visitor wishing to experience a glimpse into the age and history of the area. The precinct as a whole has been designed to be integrated with its surrounds, once again ensuring interconnectivity with the City. This is achieved by 375

WATERWISE The Metropolitan Golf Course has also been revamped as part of the Green Point Common upgrade and juts up against the stadium and the new Urban Park, sharing water resources.

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ensuring pedestrian access throughout and via the Fan Walk route, all the way through to the Central City on the one side and the promenade along the Atlantic Seaboard on the other. The new pedestrian underpass that takes walkers safely below a major WUDIÀF FLUFOH LV D ODQGPDUN LQ LWVHOI :LWK WUDIÀF ÁRZLQJ SDVW RYHUKHDG RQ WKH UDLVHG URXQGDERXW the area below accommodates a landscaped pedestrian forecourt and access via tunnels to the new integrated rapid transit (IRT) bus station. Beneath the raised road, pedestrians can also gain access to the stadium forecourt, where a stone wall built around an old tree has already become a popular meeting place for people to sit and wait for friends before carrying on to the stadium forecourt or strolling to the Urban Park. The visual impact of the raised roundabout has been softened with the use of appropriate waterwise indigenous vegetation and the introduction of berms which also reduce WKH WUDIÀF QRLVH LPSDFW ZLWKLQ WKH SUHFLQFW At the heart of the old Common area is the freely accessible 12.5-ha public Green Point Urban Park – a multifunctional park of metropolitan scale. It comprises a series of ponds, playgrounds, a biodiversity showcase garden, as well as an amphitheatre and large multi-functional lawns. Future plans include an eco-centre and tea room. /RFDO ODQGVFDSH DUFKLWHFWXUH ÀUP 2Y3 $VVRFLDWHV were responsible for the design of the urban park, including every minute detail of which there are many. Every element has been designed with sustainability in mind, from the precinct layout to the use of materials. An emphasis was placed on minimising energy and material consumption as well as the use of renewable materials and safeguarding of a low carbon footprint. The team at OvP Associates spent three years designing every paving pattern, tree grid, seating wall and piece of playground equipment found throughout the stadium forecourt and Green Point Urban Park. 377

The landscape design of the entire Green Point Common has turned a once derelict space into a prime location – a place that Capetonians and tourists visit regularly. Major challenges faced by OvP Associates in the design process were the poor soil conditions, exposure to wind and the question of how to irrigate a park of this scale, as to irrigate with potable water was not considered to be a sustainable option. An alternative and sustainable way was achieved by sourcing water from Cape Town’s original and forgotten water source, a natural spring that has run for centuries from Table Mountain directly into the sea. The water is now gravity fed in an underground pipe to the park LQVWHDG RI ÁRZLQJ ZDVWHG LQWR 7DEOH %D\ KDUERXU The revitalised use of this springwater plays tribute to its history as it was once the reason settlers were originally attracted to the area. Today, a water feature greets one on approach into WKH 8UEDQ 3DUN ZLWK WKH ZDWHU WKHQ ÁRZLQJ LQWR D channel designed on the original Dutch “lei-water” system. Two shallow steps lead down to the channel allowing dogs an opportunity to take a drink, splash around and cool off while also providing relief for hot human feet during the summer season. The ponds, which have been re-introduced in the design, act as a memory to the vleis that used to be present before the onset of urbanisation. These are interspersed throughout the Biodiversity Showcase Garden and form part of the educational landscape (in terms of water conservation) which has been designed by local team, Beyer Honig Landscapes. Cape Town is internationally known as a biodiversity hotspot with many species occurring nowhere else in the world; however we also have one of the highest rates of biodiversity loss. The Biodiversity Showcase Garden is therefore a vitally important 378

The Biodiversity Showcase Garden is surrounded on three sides by water and on the forth by the Little Common. The garden itself is made up of three themed sections which are interconnected. There is the “People and Biodiversity” section which incorporates the historical and cultural elements in biodiversity. Food historian, Renata Coetzee, was involved in this section as well as Stephen Lamb (of the “Touching the earth lightly” project) who was responsible for the Khoisan inspired huts which are dramatically juxtaposed in front of the Cape Town Stadium. One then moves onto “The Biodiversity Trail” which is an educational route answering questions such as: What is Biodiversity? What is so special about the Cape? What are the threats to Biodiversity? Instead of having to read these answers on boards, YLVLWRUV DUH SUHVHQWHG ZLWK D FRPELQDWLRQ RI VSHFLÀF planting schemes (according to what is indigenous and endemic to the region), accompanied by educational art such as beaded wire creatures by Streetwires (a Fair Trade-accredited enterprise providing sustainable employment opportunities for many formerly unemployed men and women) and steel animal cutouts by metal artist Roddy

McGuffog to name a few. The path then guides visitors over a bridge and either on towards the Mouille Point lighthouse which has been made a prominent feature with the strong pedestrian link connecting Somerset Road (part of the Fan Walk route) to the ocean, or one can wander into the “Wetland Garden” which is a system of three lakes where indigenous wetland vegetation has been reintroduced.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

tool in creating awareness about the importance of Cape Town’s unique biodiversity and how to manage it appropriately. Capetonians visiting the Biodiversity Showcase Garden, situated within the Green Point Urban Park, are able to self-educate themselves about all the elements making up biodiversity. Instead of learning by being bombarded with wordy information boards, the design of this garden incorporates appropriate planting schemes and visual displays that highlight the different elements of biodiversity through a combination of interpretive signage and public art provided by local artists.

As one moves through the Biodiversity Showcase Garden one is greeted by the 360-degree views which range from the curves of the new Cape Town Stadium, to a direct visual link with Mouille Point lighthouse on the seaside and to Signal Hill with Table Mountain lurking behind. With the entire SDUN RQO\ UHFHQWO\ RIÀFLDOO\ RSHQHG DVWRQLVKHG Capetonians are fast starting to discover not only just how much public green space there now is in the middle of the City, but how this makes a valuable contribution to City life. The relationship between the different elements making up the new Stadium and Urban Park precinct and the revitalised Green Point Common LV RQH RI ÁXLGLW\ DQG FRQQHFWLYLW\ $ ´JUHHQ JHPµ has been created in the centre of an urban environment, providing a vitally important space of refuge to exercise, watch sport or simply relax. This project is an excellent and exciting example of what lies ahead for sustainable development of public space in Cape Town.

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CASE STUDY 3.1-3.3

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3.1

3.3

3.1 Design Indaba 3.2 MXit 3.3 The Sustainability Institute and Lynedoch EcoVillage

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REPOSITIONING FOR THE FUTURE

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CASE STUDY 3.1 World Design Capital 2014

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

DESIGN INDABA® 'HVLJQ ,QGDED LV D \HDU ROG QRQ SURÀW institution created by Interactive Africa, a Cape Town-based media and projectmanagement company founded by managing director, Ravi Naidoo. Design Indaba has changed the face of design in South Africa. Its vision is that creativity can fuel an economic revolution in South Africa. This vision starts from the basis that “design can help solve the problems of an emerging country, [and] takes the view that a better future can be design.” Since 1995 it has consistently brought together international and local thought-leaders through the Design Indaba Conference – hosting more than 40 speakers and 2 400 delegates in 2010. The numbers have trebled since 2003.

THE TOP SHOW IN TOWN The annual Design Indaba expo which

The quality of its speakers are impressive and include industrial and graphic designers, architects, educationalists, record producers, chefs and many more – some of its alumni from across the globe have included designers Bruce Mau (USA) and Shigeru Uchida (Japan); product and interior designer Marcel Wanders

follows the conference is considered the best showcase of South African design talent in the country.

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(Netherlands); architects David Adjaye (UK) and Alejandro Aravena (Chile); record producer Chris Blackwell (Jamaica); and chef Ferran Adrià (Spain), The event’s target market has increased from young “hipsters” from the advertising industry to a mix of senior and middle-management marketers, design practitioners, students, academics, and overall growth in attendance from the corporate sector. It has become an annual “must-go-to” conference and an important networking opportunity for the design industry across all disciplines and from across the country. Through its opening events and “Dine Around” programme, it introduces its speakers to its local constituency. The Dine Arounds are intimate gatherings in which speakers and media are invited into the homes of local designers or thought-leaders. 384

The Design Indaba Expo, which follows the conference, provides a commercial platform for South African designers to showcase and sell their products and services. The Expo attracts over 30 000 visitors and importantly has 475 registered EX\HUV DWWHQGLQJ PDQ\ RI ZKRP DUH LQÁXHQWLDO international buyers. Working closely with partners, Design Indaba hosts a competition annually for the “Most Beautiful Object in South Africa,” the winners of whom are announced at the Design Indaba Expo after an extensive public voting campaign. This is a major RSSRUWXQLW\ WR UDLVH WKH SURÀOH RI ORFDO GHVLJQHUV The hugely successful expo and conference garnered an impressive R27.7-million worth RI PHGLD YDOXH LQ WKH ÀQDQFLDO \HDU 7KH University of Cape Town’s Graduate School of

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

DIVERSITY ON DISPLAY Displays from furniture designers Fiona Stansfield (left) and Haldane

Business did an economic impact assessment which found that Design Indaba contributed R232m to the national GDP in 2010, the bulk of which came from business orders to the value of R123m. It has sustained or created a total of 956 full-time jobs. There have been consistent increases in all these values annually.

Martin (middle) stand side-by-side with those of architects such as VDMMA.

Apart from the economic impact it has, Design Indaba has also won important local and international awards, most notably: - The international EIBTM Award for Best Conference in the World (2005); - A Gold Award at the South African advertising, communication design and experiential media awards, the Loeries, for Best Live Event (2007). %HVLGHV LWV DQQXDO ÁDJVKLS FRQIHUHQFH DQG H[SR Design Indaba is now a multi-tiered “experience” 385

PUBLIC PARTICIPATION While the Design Indaba conference is a delegates-only event, the expo which follows is open to the public who annually flock to it to see the latest design innovations on show.

which combines other events, media, education, training and business development. This includes a regular Design Indaba magazine, an active website and social media presence, the Design Indaba Trust, the 10x10 project which includes housing and industrial projects as well as the Cape Town Design Route. The quarterly Design Indaba magazine was launched in 2001 and serves to spread the impact and values of the Design Indaba conference and expo throughout the year, reaching people who are unable to attend, reinforcing fraternity within the creative industries, as well as increasing local consumer awareness of high-quality design. In DOLJQPHQW ZLWK WKH ÁDJVKLS HYHQW LW RIIHUV DQ inclusive view of design, featuring disciplines including fashion, architecture and animation to product, interior, industrial and jewellery design. The Design Indaba magazine is the only African magazine to win the Best Design for New Magazine Award at the Folio Show in New York, and won gold again in the Open Category in 2005. In 2009 it was included in Colophon’s (the international magazine biennale) Top 100 Most Innovative Magazines in the World. - The Design Indaba Trust’s development work LV VLJQLÀFDQW DQG LQFOXGHV D UHJXODU ZRUNVKRS series conducted around the country and aimed at young designers where it exposes these designers to the workings of international designers through one-on-one engagements. The end-product is always a tangible piece of work that is produced, such as a brochure, book bag or posters. - Launched at Design Indaba 2007, the 10x10 Low-Cost Housing Project challenged ten handpicked local architectural teams, 386

supported by 10 international alumni from previous Design Indaba conferences, to provide innovative and dynamic design solutions for the low-cost housing sector. The inaugural $100 000 Curry Stone Humanitarian Design Prize went to MMA Architects for their solution to Design Indaba’s challenge, which incorporated the Ecobeam sandbag system. This international prize is awarded annually to recognise breakthrough design solutions with the potential to improve our lives and the ZRUOG ZH OLYH LQ 6XVWDLQDEOH HQHUJ\ HIÀFLHQW design, construction and operation techniques have been incorporated into the Design Indaba project, and the design principles are to be encapsulated into a manual to be presented to the South African Minister of Housing, so that these principles and resources utilised can be added to the low-cost housing database, as well as be made available to all as architectural open source material. - The Design Indaba 10x10 Industrial Project matches ten local manufacturing companies with ten design groups (made up of local and international designers) to collaborate, design and manufacture new products for export. All companies involved have distinct competencies in a variety of niches such as injection moulding or sheet metal work. As suppliers to bigger manufacturers, these companies often become buried in the value chain. The 10x10 industrial projects aim to give these companies new scope and a sizeable morale boost by producing their own marketable products. The trickledown effect includes increased exports and job creation. - Design Indaba has regularly experimented with projects to promote creativity including

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innovative interactive marketing campaigns as well as projects such as the SOUTH Exhibition. Over the past few years, Design Indaba has witnessed the emergence of a new creative ethos. With South Africa’s diverse, rich heritage as source material, and inspired by the rebirth RI WKH 6RXWK $IULFDQ QDWLRQ GHÀQLWLRQV KDYH emerged that move beyond ethnicity, religion, race or language. In recognition of this development, Design Indaba, working with The Creative Circle and the Loeries Awards established the Creative Alliance towards the inaugural SOUTH award and exhibition, sponsored by the South African Broadcasting Commission (SABC). The SOUTH exhibition in 2009 celebrated the legendary creative icons who have been at the centre of the country’s creative renaissance over the past few years. As the Design Indaba institution has grown, it has taken a leadership position in South Africa, driving advocacy programmes to promote the creative industries among business, government, academia and civil society. Creative Industries: The Sleeper in South African Economy is a document compiled by Design Indaba and was briefed to cabinet PLQLVWHUV DQG WKH 2IÀFH RI WKH 3UHVLGHQW ,W LQVSLUHG the formation of a government task team that plotted a way forward in creating a much-needed coherent, cohesive national strategy for the creative industries. Through advocacy, Design Indaba hopes to expand South Africa’s global reach by increasing its international delegate base, promotion of South Africa for tourism development, encouraging export of South African design goods, and being part of the process of growing the creative industry towards sustainable job creation and development. 387

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3.2

MXit

Mobile social networks are alive and well in South Africa. Thanks in no small measure to a nextgeneration company called MXit (pronounced mix it) that was born in the early 2000s in the university town of Stellenbosch, about 40 km from Cape Town. In its infancy of development, the MXIT application was used as a cheaper replacement for SMS among the youth. Rapidly however the service has evolved into a broader social network. Today the MXit Lifestyle is continually evolving to enhance the lives of an ever-increasing number of people globally. Once described by its founder and CEO, Herman Heunis, as a lifestyle company with “disruptive technology” (which refers to it using innovative approaches to build new mobile service models that go against the grain), it has close to 33-million registered users, making it the largest social network in Africa, with more than 40 000 new subscribers joining every day. &RQQHFWLQJ WKH ZRUOG MXit is a free instant messaging application that runs on mobile phones with WAP (Wireless Application Protocol) connectivity, for Java-enabled phones, as well as Blackberry, Windows Mobile, Android and iPhone. The name evolved from the FRQFHSW RI PHVVDJH H[FKDQJH DQG LW IXOÀOOHG WKH need for a free instant messaging (IM) application, both text and multimedia for computers and mobile phones, as well as music, social networking, fashion, banking access and more.

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It works by sending and receiving instant messages via GPRS/3G, rather than via standard SMS technology. The user can also accept contacts from other online chat communities like Windows Live Messenger, Yahoo, ICQ, AIM and Google Talk – as well as update Twitter and Facebook. The range of services now also includes communitybased applications and entertainment. The application is distributed internationally and used in over 120 countries daily, but the bulk of the user base is in South Africa and Indonesia with fast growth in 123 other countries. While the service has swiftly achieved cult status among the youth of South Africa with its affordability of messaging, its online chat rooms and other mobile services, the company targets all age groups. 0;LW /LIHVW\OH 6RXWK $IULFD KDV EHHQ SURÀWDEOH VLQFH September 2006 and since then has not required any outside funding. MXit has recently launched into international markets in South East Asia, Latin America and Africa, and is downloadable internationally. MXit International is still in an investment phase and the shareholders are Cape Town-based corporate media giant Naspers (30%) and Heunis. 7DON WR PH Heunis, who has been the driving force behind MXit, now faces the challenges of growing wireless communications in a developing country. Notwithstanding the fact that the product became part of the youth identity, MXit’s vision is to be a vehicle for change and a social network with a social conscience. It strives to eliminate barriers, enabling communities to develop, grow and interact unhindered by demographics. After graduating with a degree in communications from Stellenbosch University, Heunis followed

CASE STUDY 3.2 World Design Capital 2014

In 2003, the game’s functionality was re-assessed DQG LQ WKH ODWWHU KDOI RI WKH \HDU WKH ÀUVW YHUVLRQ RI 0;LW ZDV UHOHDVHG WKH ÀUVW PRELOH LQVWDQW messenger of its kind in South Africa. In April 2004, Swist’s R&D division achieved independence as Clockspeed Mobile and on 1 July 2006 the entity became MXit Lifestyle (Pty) Limited. The team’s initial aim was to create a community using mobile phones. Its success can be ascribed to it anticipating the desire for connectedness among people on the move but without complex technology and at low cost. Young users especially DQG LPPHGLDWHO\ VDZ D FRVW EHQHÀW LW DOPRVW renders ordinary text messaging obsolete. It is an easy application to place onto even a low-end phone and makes sense compared to something more complex like Facebook or Twitter. Since launching, MXit has shown explosive growth and has introduced many new products and continues to make communication affordable for all, allowing users to adopt the MXit brand as their own. The service offers free text services but charges for chat rooms and other content. It also carries mobile advertising. The MXit team continues to innovate, striving to break barriers and in so doing, to create an extended and intricate web of networks across cultures and lifestyles. With only around a hundred employees, a company like MXit can also move

quicker than other operators in implemening new services demanded by its customers. Many industry analysts say that demand for innovations like MXit could hasten the spread of mobile broadband in emerging markets. In some parts of Africa, in-home high-speed Internet access can cost as much as eight times more than Web connections over wireless networks. Add to that weak infrastructure such as access to electricity, SKRQH OLQHV DQG WKH ,QWHUQHW LW PDNHV VXUÀQJ WKH Web often an expensive luxury.

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a traditional software engineering path until he started his own ICT consulting company called Swist Group Technologies. In 2000, the research and development division of Swist developed a Massive Multiplayer Mobile game. The game was SMS-based and was not successful due to the high cost of SMS, since GPRS was still not widely implemented.

6RFLDO FRQVFLHQFH MXit describes its brand as simple, energetic, iconic and a little rebellious. A brand that everyone can identify with, and to which everyone can aspire. It has a brand language that demonstrates that

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“The mobile phone is the remote control of the Universe.” Herman Heunis, CEO and founder of MXit

VITAL STATISTICS

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MXit is in touch with its users, and has a strong emphasis on community creation. It is to the community power of MXit that many turn when they want to actively engage the youth. In comparison, less than three-million South Africans use Facebook, which is why - during the 2010 teachers’ strike - tutors chose MXit as a platform to answer questions from students and to provide study materials for download to allow preparation for exams. In addition and following the release of the end-of-year 2010 exam results, almost 500 calls per day were handled in post-result counselling via MXit by Reconstructive Labs (RLabs) to alleviate learners’ disappointment and frustrations. 2WKHU VRFLDO LQLWLDWLYHV 6XSSRUWLQJ &KLOGOLQH 6RXWK $IULFD Childline South Africa and MXit have launched a joint venture to increase calls of help from children, by being available to a wider social networking platform and where the youth feel most comfortable to request counselling for physical and emotional abuse, neglect and family problems. Around 68 000 MXit users have downloaded the application on MXit for private counselling sessions conducted in specially adapted chatrooms. +,9 $LGV LQIRUPDWLRQ DQG FRXQVHOOLQJ VHUYLFH MXit, in partnership with Cell-Life, hosts the “Red” contact service offering free HIV/Aids information and advice. When the user adds the service on KLV KHU 0;LW SURÀOH DV D EXGG\ LW DOORZV WKHP WR YLHZ +,9 $LGV LQIRUPDWLRQ LQ IRXU RI WKH RIÀFLDO South African languages, as well as in text (mobile) language. The counselling integration to MXit is by means of a Gmail contact.

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'UXJ VXEVWDQFH DEXVH GHSUHVVLRQ VWUHVV DQG GHEW FRXQVHOOLQJ MXit supports RLabs efforts to offer South African youth drug and substance-abuse counselling, as well as depression and debt counselling. The RLabs portal, called “Angel”, is available free of

charge to all MXit users and is supported by twelve counsellors available daily. Information includes description and affects of drugs and substances such as tik (crystal methamphetamine), heroin, cocaine, ecstasy, marijuana, alcohol and even cigarettes. Users can then speak anonymously to a counsellor or “Angel”, who is most frequently an ex-addict or rehabilitated substance abuser themselves. Over 40 000 youths have added the ´$QJHOµ FRQWDFW LQ WKH ÀUVW ZHHN RI OLYH FRXQVHOOLQJ and the counsellors help an average of 384 youths every three hours using a JamiiX interface to MXit. (JamiiX, another Cape Town-based innovation, is a web-based tool allowing users to manage multiple conversations from different social networks and instant messaging platforms.) 0DWKHPDWLFV HGXFDWLRQDO VFKRROV SDUWQHUVKLS ZLWK 1RNLD This project, run by Nokia in collaboration with the Department of Education and MXit, allows a number of Western Cape Grade 10 learners (around 15 years old) to receive free access to an interactive mobile learning solution in mathematics. Learners work through a series of math modules from easy WR GLIÀFXOW FRPSHWLQJ ZLWK RWKHU 6RXWK $IULFDQ schools. The pilot of 260 learners was recently extended to 3 000 and will soon extend to schools in two provinces. &RPEDWLQJ LOOLWHUDF\ E\ SURPRWLQJ UHDGLQJ MXit users are able to download m-novels, as well as to comment on chapters and publish their own works. MXit work with authors as well as organisations such as The Shuttleworth Foundation to develop literacy programmes to get youth excited about reading. The aim is to access and interact with literature at a fraction of the price of books sold in traditional book stores. 6XSSRUWLQJ 81,&()·V ´5HG &DUGµ FDPSDLJQ UNICEF’s initiative of “Let’s Give the Red Card to Child Exploitation” seeks to help children and

DISRUPTIVE TECHNOLOGY With only one hundred staff members, MXit uses innovative approaches to build new mobile service models that go against the grain and rise to challenges quickly to meet users’ demands.

3UHVHUYLQJ ODQJXDJH DQG LQWHOOLJHQFH WKURXJK PRELOH JDPHV MXit understands its role in preserving language, and as such it has developed two multiplayer educational mobile games; chess and tiXi - the latter being a cross between Tetris and Scrabble which helps users with their spelling and numeracy. Launched in January 2010, tiXi has seen close on 154 000 MXit users adding the spelling contact, which is available in two languages (English and Afrikaans). 7HDFKLQJ 6RXWK $IULFDQV WR OHDUQ KRZ WR GULYH MXit assists learner-drivers to pass their examinations by offering young drivers mobile WXWRULDOV GULYH DVVLVW TXHVWLRQQDLUHV WR ÀOO LQ DQG access to online video tutorials to help them pass their learner-driver (K53) tests. Over 85 000 users downloaded and used the m-learning portal in WKH ÀUVW PRQWK RI RSHUDWLRQ ZLWK RYHU subscribers to the “k53assist” contact on MXit. 'HYHORSLQJ HQHUJ\ VDYLQJV LQLWLDWLYHV ZLWK WKH 6RXWK $IULFDQ 'HSDUWPHQW RI (QHUJ\ MXit helped the Department of Energy to develop a fun, interactive game that would encourage the youth market to save energy. 6XSSRUWLQJ ´ GD\V RI DFWLYLVPµ WR FXUE DEXVH DJDLQVW ZRPHQ FKLOGUHQ PHQ The “16 Days of Activism” against the abuse of women, children and men is an international campaign which runs annually from 25 November to 10 December and is aimed at raising awareness about the prevalence of abuse around the world. MXit hosts a celebrity chatroom for this initiative, and has recruited a local celebrity DJ to use the

platform to help young people open up in a nonthreatening environment. +HOSLQJ 86 3UHVLGHQW 2EDPD FRQQHFW ZLWK $IULFDQ \RXWK In an effort to better understand the mindset of African youth, President Barack Obama asked young people across the continent to engage with him on MXit prior to his visit to the continent in July 2009. 65 000 MXit users, over a 24-hour campaign period, sent a question or comment to President Obama.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

young people to stay safe. Children around the world are at risk and by working in partnership with government, civil society and the private sector to enhance and strengthen child protection systems in the country, the red card contact on MXit assists with this.

6XSSRUWLQJ WKH JOREDO ´ DQG&RXQWLQJµ FDPSDLJQ The “15andCounting” campaign was a plea to governments globally to honour their pledge made at the International Conference on Population and Development in 1994. Governments agreed on a 20-year programme of action to improve the sexual and reproductive health of young adults globally. MXit not only canvassed its user base to support the initiative, it also ran a user poll amongst 222 000 of its 22-million user base to determine key issues and concerns highlighted by South African youth. 'LVDVWHU PDQDJHPHQW The World Health Organisation (WHO) has turned to South Africa’s MXit and JamiiX to prepare communities in Southeast Asia for disaster management. The plan is to provide emergency preparedness information, as well as how to prepare emergency kits and plan for evacuations. Information on safe hospitals in disaster zones, along with ways to support the WHO’s drive for safe health facilities, is also provided. The WHO said that using such mobile and social media platforms was novel for the group. “We are leveraging new communication technology in order to ease the availability, accessibility, and effectiveness of health information and services,” said Dr Roderico Ofrin, the regional adviser for the WHO’s emergency and humanitarian action.

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REPOSITIONING FOR THE FUTURE

areas such as the Government’s Economic Policy, 6XVWDLQDEOH &LWLHV WKH 1RQ 3URÀW 6HFWRU FRPSOH[LW\ theory and leadership development.

3.3 392

7+( 6867$,1$%,/,7< ,167,787( $ QRQ SURÀW WUXVW HVWDEOLVKHG LQ E\ (YH Annecke and Mark Swilling, focuses on learning for sustainable living by combining practice with theory in a way that integrates ecology and equity, VSHFLÀFDOO\ IRFXVLQJ RQ ZD\V RI UHGXFLQJ DQG eradicating poverty. The Institution works in partnership with the School of Public Leadership at the University of Stellenbosch across a range of educational programmes. The institute offers a MPhil and Phd in Sustainable Development Planning and Management; courses in Early Childhood Development; it encourages job creation for youth through Sustainable Construction training and it is involved in Community Development, Management and Practice which focuses on capacity building and career-pathing in the HIV/Aids sector. There are applied research projects on the strategic design of sustainable neighbourhoods at Phillipi AgriBusiness Place, Oude Molen and other locations. The Institute is involved in ongoing research in

The Sustainability Institute is based in Stellenbosch within the Lynedoch EcoVillage and has partnerships with Spier Holdings (with which the Institute was involved in ensuring the Spier developments were done sustainably) and the Stellenbosch Municipality. It is a working example of an integrated private-public-community partnership. 7+( /<1('2&+ (&29,//$*( 0DQDJHG E\ D QRQ SURÀW FRPSDQ\ FDOOHG WKH Lynedoch Development Company (LDC), this is WKH ÀUVW HFRORJLFDOO\ GHVLJQHG VRFLDOO\ PL[HG intentional community in South Africa. The main aim for the EcoVillage was to create a mixed community organised around a child-centred learning precinct, which is the Lynedoch Primary School - a government school, for 475 children from the farmworkers’ families. It focuses on being a successful working example of a liveable, ecologically designed urban system whilst being ÀQDQFLDOO\ DQG HFRQRPLFDOO\ LQGHSHQGHQW E\ QRW requiring external funding to sustain itself. The LDC board was set up in 2000, made up of a mixed group of local community leaders and professionals. The board was never able to raise

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CASE STUDY 3.3 World Design Capital 2014

393

the resources required to cover the costs of the innovation and social facilitation processes that were needed to close the gap between vision and implementation, and in terms of it the creation of a living and learning community demonstrating what it means to live in sustainable ways. The Sustainability Institute was however able to close this gap by working in partnership with the School of Public Management and Planning at the University of Stellenbosch. This NGO/University alliance was able to mobilize intellectual capital, research networks and a sense of vision-in-practice that made the project credible for the providers of investment, the Development Bank, local bankers (Nedbank), local authorities and the property buyers themselves.

in 2004. The ecologically designed infrastructure included water, roads, sanitation, electricity and telecommunications. The housing scheme in the EcoVillage bridges the gap between the wealthy and poor by creating an urban design framework which merges government-subsidised housing with commercial-rate housing. The urban system has been designed to ensure ecological sustainability by having appropriate water, refuse and electricity management as well as enforcing green-building principles in the development of housing. It must however be noted that the Lynedoch EcoVillage is also ensuring social and economic sustainability which provides a holistic approach to development and is an excellent precedent for the development RI RWKHU DUHDV LQ &DSH 7RZQ DQG IXUWKHU DÀHOG

The village consists of the Lynedoch Primary School (a Montessori-based non-government school), a PXOWL SXUSRVH KDOO RIÀFHV DQG FODVVURRPV IRU WKH Sustainability Institute, 25 student residences, a conference venue, 45 residential units, commercial space and a village green.

(FRORJLFDO 6XVWDLQDELOLW\ Five systems have been introduced to encourage ecological sustainability within the village. The systems involve appropriate freshwater, stormwater, grey-water, energy and waste (including HIÁXHQW PDQDJHPHQW ZLWKLQ WKH XUEDQ IDEULF This also includes a regulated housing scheme involving architectural guidelines which provide a range of housing typologies suitable for the range of

Phase 1 of the housing development saw a R4-million infrastructure programme completed 394

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

incomes, as well as specifying building materials to be used and where they can be sourced.

CREATING SUSTAINABLE COMMUNITIES The Lynedoch EcoVillage focuses on being a liveable, ecologically designed, fully integrated

Each household in the EcoVillage is supplied with potable water from the main municipal water, and UHF\FOHG ZDWHU ZKLFK LV XVHG IRU WRLOHW ÁXVKLQJ DQG irrigation, reducing potable water consumption by at least 40% per home. Each household has two water metres generating one invoice per household with a fee for potable water, which goes to the municipality, and a fee for recycled water that goes towards the operation and maintenance of the on-site water recycling system. Each house is DOVR ÀWWHG ZLWK ZDWHU VDYLQJ GHYLFHV VXFK DV WDSV VKRZHU KHDGV DQG WKH GXDO ÁXVK WRLOHW V\VWHPV Stormwater run-off (from both surface and roof areas) is conveyed via open channels and pipes into a dam located at the bottom of the site. +RXVHKROG HIÁXHQW SDVVHV WKURXJK VHSWLF WDQNV where the main solids are deposited and follow through to a vertically integrated, constructed wetland at the bottom of the site where treatment RFFXUV 2QFH WUHDWHG WKH ZDWHU ÁRZV LQWR D GDP from where it is pumped into storage tanks for onward transmission into households for toilet

urban community that is financially and economically independent of any external funding as well as being sustainable.

ÁXVKLQJ DQG LUULJDWLRQ RI JDUGHQV (IÁXHQW IURP WKH on-site guest house and main building is channelled directly into a biolytic system. This is an engineered PLFUR HFRORJ\ FRQVLVWLQJ RI D SHDW ÀOWHU WKDW KDV been inoculated with earthworms that deal with the solid matter. The treated water then retains its primary nutrients (nitrogen and phosphorus) for re-use as a natural organic fertilizer for developing a nursery or for irrigating the orchards on the SURSHUW\ %\ WUHDWLQJ WKH KRXVHKROG HIÁXHQW on-site the Lynedoch EcoVillage cuts costs on bulk sanitation. On top of this, three buyers have collaborated to build a biogas digester to replace the septic tank and the methane gas produced will EH XVHG WR ÀUH WKH NLWFKHQ VWRYHV 395

(QHUJ\ HIÀFLHQW V\VWHPV KDYH EHHQ LQWHJUDWHG into the design of the buildings which make up the EcoVillage. Electricity is reticulated for each household from the grid; however solar water-heaters are used in every household, saving 60% of normal energy costs, and only gas stoves are permitted in households. Passive heating and cooling methods are in place to ensure effective thermal regulation such as the north-south orientation of buildings together with roof overhangs and proper insulation. Low energy lighting is required throughout the EcoVillage in both public and private areas. There is a mixed system on-site for energy generation and for feeding back into the grid using solar, wind and hydro systems.

The design of the built form of the EcoVillage is one of its most important aspects as this has a major impact on the natural environment. Five pre-designed housing types are in place which range from single residential dwellings to semidetached houses and terrace housing. Buyers are able to generate their own design as long as it is in accordance with the overall architectural guidelines. The main building materials set out to use are either an adobe brick made from clay and straw, or a cement-soil brick (with a 5% cement content).

6RFLDO 6XVWDLQDELOLW\ There are two aspects to the social sustainability RI WKH /\QHGRFK (FR9LOODJH 'HYHORSPHQW WKH ÀUVW being the governance and the second ensuring a proper social mix of people. The Lynedoch Development Company acts as the developer which means that it applied for the development rights, raised the funding and managed the infrastructure construction as well as the community building aspects of the development. When the local authority approved the development, this approval was granted on condition that a Home Owners Association be established to take primary responsibility for service delivery within the EcoVillage. This resulted in the Lynedoch Home Owners Association (LHOA) being registered as a Section 21 company and this association drew XS WKH FRGH RI FRQGXFW ZKLFK GHÀQHV WKH ZD\ LQ which the community would like to live on a daily basis. The most important aspect in this scheme is that all property owners, including the Lynedoch Development Company, are members of the LHOA, which means they have taken ownership of the development and truly care about the sustainability of the EcoVillage.

A community based, sustainably managed, forestharvesting project in Mozambique has agreed to supply hardwoods for the manufacture of

Retaining a balanced social mix was a challenge as the subsidy buyers were refused loans from the bank. Due to this, an innovative system was

Waste management is achieved by each houseKROG VHSDUDWLQJ WKHLU RZQ ZDVWH LQWR ÀYH VHSDUDWH containers (paper, cans, glass, plastic and organic waste). The waste is then collected and sold to recyclers for the productive re-use of non-recyclables, and the organic waste is composted and used in the community garden. This system results in at most RI ZDVWH UHDFKLQJ WKH ODQGÀOO VLWH

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windows and door frames in order to prevent the use of woods imported from forests in Indonesia and Brazil (which are widely used throughout the Western Cape). Aluminium is also being used as, even though it has a high embodied energy content, it is maintenance-free, durable and insulates ZHOO $OO RWKHU ÀQLVKHV KDYH WR EH LQ DFFRUGDQFH with the architectural guidelines to ensure a balanced relationship between natural and built environments.

(FRQRPLF 6XVWDLQDELOLW\ In retaining the economic sustainability the main FKDOOHQJH LV HQVXULQJ WKH LQWHQGHG EHQHÀFLDU\ UHPDLQV WKH EHQHÀFLDU\ 7KLV LV DFKLHYHG E\ WKH constitution that the LHOA compiled, which imposes strict restrictions in the resale of property. The seller RI DQ\ SURSHUW\ KDV WR ÀUVW RIIHU WKH SURSHUW\ WR WKH LHOA who can accept or decline the offer. It can then HLWKHU EH VROG WR VRPHRQH HOVH ZKR KDV TXDOLÀHG IRU D VXEVLGLVHG KRXVH DQG FDQ PDNH WKH ÀQDQFLDO obligations, or it is sold to a buyer who is prepared WR SD\ FRPPHUFLDO UDWHV UHVXOWLQJ LQ D SURÀW IRU WKH seller. The LHOA can still approve or disprove a buyer even if they, as an association, don’t purchase the property. These schemes ensure the integrity of the vision and values of the EcoVillage. The LDC has worked closely with the Sustainability Institute to assist with the establishment of a Savings and Credit Cooperative at Lynedoch. This is essentially D QRQ SURÀW FRPPXQLW\ EDQN WKDW SURYLGHV QRQ secured loans to low income earners, based on their savings record. LDC is also connected to a land-reform project led by farmers from historically disadvantaged backgrounds. The project aims to supply food directly to the Lynedoch EcoVillage members,

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

devised whereby the buyers have possession and occupation rights but ownership is achieved after the house has been paid. Another design element introduced to achieve a social mix was that not all subsidy sites were grouped together in one place. Instead, both the subsidy and non-subsidy buyers were invited to choose their plots, which created a natural balance amongst buyers and therefore a more natural integration. The most important factor is the centrality of the children in both the spatial structure of the development process and in the social dynamic that characterises daily life.

bypassing packhouse operators and supermarkets. This means that the farmers are not getting ripped off by the packhouses (who normally buy food at very low prices) and reduces wastage of food as food ZKLFK LV SHUIHFWO\ HGLEOH EXW QRW SHUIHFWO\ UHÀQHG DV VXSHUPDUNHWV UHTXLUH VWLOO ÀQGV D PDUNHW The Lynedoch EcoVillage is an example of how ecologically designed urban systems and built forms can save households money and reduce the operation costs of municipal infrastructures. The concept of developing a child-centred community could be mandated through zoning conditions that provide equally for low, middle and high income households, thus encouraging a social mix. The social mix can then be enhanced by integrating low- and high-income households. This integration creates a diverse range of markets that build relational capital and reinvestment rather than detracting resources from poor areas, while at the same time providing affordable healthy food, thus increasing household nutrition levels and higher returns for the farmer. 397

OPEN QUESTIONS

QUESTION 44: Describe the expectations of your city for the WDC 2014 designation.

There are obviously a number of expectations around the WDC designation, among them the H[FLWHPHQW WKDW LV EHLQJ JHQHUDWHG ÀUVWO\ DURXQG the opportunities that this would give Capetonians to interact and share ideas with colleagues globally. Secondly, there are expectations around what this designation will do to spur on the local creative industries to network among themselves to address the needs of our City and its Citizens. Thirdly there is the legacy that comes with the preparation of the bidding process and, hopefully, preparations towards 2014: the accumulation of knowledge and resources to be shared among the design community, and with cross-sector partnerships, and the public at large; and the educational opportunities that this bid and the designation will afford us. However, we believe that the most tangible expectation is what the title will mean for current development projects: the recognition that the role of design will play in them, their association with a City that holds such a prestigious title, and way in which the WDC 2014 designation could provide additional impetus to the projects. 7R WKLV HQG ZH KDYH FRPSLOHG D OLVW RI DOO VSHFLÀF projects, at the time of going to print, that the Cape Town World Design Capital 2014 bid team believe ZRXOG EHQHÀW IURP DVVRFLDWLRQ DQG LQWHUDFWLRQ ZLWK World Design Capital 2014.

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The following projects are taking place between 2011 and 2014, and appear in alphabetical order. Many of them have been detailed elsewhere throughout this bid book, but their amalgamation into this section we believe is important to demonstrate the volume of work being undertaken to incorporate the importance of design in transforming lives and reconnecting that which has been disconnected across the entire Cape Town metropole. Artscape Theatre Centre Artscape is a provincial government-run theatre centre with excellent facilities. For years it has stood on an extensive footprint which has been partially utilised (with a large poorly designed public garden surrounding it) and cut off from the rest of the Central City by the monolithic Civic Centre. Thanks to two new developments in the vicinity, it is now on the brink of reconnection to the rest of the City: the main Central City IRT station has been built on its doorstep, and plans are in development to extend the Cape Town International Convention Centre (CTICC) in an expansion that will border onto Artscape’s boundary. The land it sits on, owned E\ WKH SURYLQFH KDV WKXV EHHQ LGHQWLÀHG DV RQH of four major areas in the Central City needing development in partnership with the private sector. The Artscape precinct is therefore being conceptualised as an extension of the CTICC with DQ H[SDQGHG $UWVFDSH FRPSOH[ FRPPHUFLDO RIÀFH space/residential component, a three-star hotel, parking and improved public space (including an outdoor auditorium). Budget to be developed (April 2011).

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

RECONNECTING WITH THE CITY Cut off visually from the rest of the City by the monolithic Civic Centre, the Artscape Theatre Centre is planning an upgrade that will see it reincorporated into the City landscape.

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BEFORE AND AFTER For many years a landmark on the Cape Town horizon, the dilapidated Athlone cooling towers have been demolished to make way for a mixed-use space to benefit local communities.

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BIRD’S EYE VIEW An aerial view of the site of the cooling towers, post -demolition.

QUESTION 44 World Design Capital 2014

The Bellville Science Park This project is being driven by the University of Western Cape, the Cape Peninsula University of Technology (Bellville Campus) together with Stellenbosch University. The rationale is that there are a number of key agencies and institutions dealing with health and science in Bellville. The 300ha proposed area which approximates the size of the Cape Town Central City is one of the fastest growing districts in the metropole. There

are six hospitals, the Medical Research Council, and energy and ICT telecommunication industries in the area. The vision is for an integrated centre for education, innovation, business excellence and mixed residential and community development. It proposes a tract of land, currently belonging to the parastatal, Transnet, to be developed as a key opportunity to unlock a connection between the universities, hospitals, industries and the Bellville Central Business District. Areas of focus of the Science Park will include renewable energy hydrogen, bio-fuels, fuel cells, and integrated water resources management, and nanotechnology. 7KHUH LV VLJQLÀFDQW FDSDFLW\ LQ ELRWHFKQRORJ\ bioinformatics and metagenomics amongst the related institutions. In addition here is a strong focus on medical and health care. Budget: to be confirmed.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

Athlone Power Station Site )RUPHUO\ D FRDO ÀUHG SRZHU VWDWLRQ LQ $WKORQH RQ the Cape Flats, the facility is in the process of being decommissioned. It was for many years a landmark on the Cape Town horizon until the implosion of its towers in 2010. A public participation process driven by a multi-disciplinary team of consultants has looked at proposals for the site to be redeveloped as a mixed-use precinct over a 22month period. It has been proposed that the 36ha site include public institutions (a museum/cultural centre in particular); commercial/business/retail opportunities, a residential component, room for light industry as well as a refuse transfer station. The remaining historical red brick buildings are to be retained for predominantly public usage, most likely for the cultural centre. The redevelopment plan is scheduled to be completed by 2014 at the latest. Due to its strategic location, between the previously racially segregated communities of Pinelands, Athlone and Langa, the sort of mixed-use development proposed for the site could provide a spark for further integration. Budget: approx. R6.5-million.

Broadband Infrastructure Network The City of Cape Town decided to install its own network to provide connectivity for general voiceover IP and digital connections as a cost-saving mechanism. Rollout has begun on Phase 1 of a GDUN ÀEUH QHWZRUN D QHWZRUN RI ÀEUH RSWLF FDEOHV across the City, which will ultimately run from the CBD to Atlantis, Kraaifontein, Gordon’s Bay, Simon’s Town and back to the CBD (the system has already been linked to the IRT system). Within this “ring” 52 council-owned buildings will be connected, improving their current connectivity tenfold. This will allow these buildings to communicate to each other rather than through the normal telephone system. Spare capacity from the system will be sold to other internet service providers providing bandwidth to

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citizens at a cost-effective rate. The introduction of the system is expected to attract foreign investment and bring major economic and social EHQHÀWV WR WKH &LW\ 'DUN )LEUH $IULFD ')$ RZQV builds, maintains, secures and monitors the dark ÀEUH QHWZRUN LQIUDVWUXFWXUH ZKLFK LV WKHQ OHDVHG to telecommunications operators. The company works with a number of network operators, large and small, who recognise the value in shared network infrastructure. A report on investment constraints, commissioned at the City’s request by :HVJUR LGHQWLÀHG KLJK WHOHFRPPXQLFDWLRQ FRVWV as one of the obstacles to domestic and foreign investment. The City therefore believes the network will particularly attract investment from the creative LQGXVWULHV DQG WKH FDOO FHQWUH VHFWRUV 7KH ÀEUH optic cables make internet access much faster with RQH ÀEUH RSWLF FDEOH WDNLQJ XS WR OLQHV DQG more. It will also reduce the City’s running costs. 7KH ÀEUH RSWLF QHWZRUN PDNHV WHOHFRPPXQLFDWLRQV more accessible to and affordable for poorer communities. Budget for Phase 1 of the project: R125-million. Cape Town Activa The City of Cape Town has embarked on a long-term strategy known as Cape Town Activa to develop an “ecosystem” for promoting entrepreneurship in the Mother City. The new strategy draws on the success achieved by other cities that have become competitive entrepreneurial centres. It seeks to ensure that all of the organisations and groups in Cape Town which can contribute to vibrant and dynamic entrepreneurial growth have access to shared information and tools and work with each other to promote development. Increasingly, the role of the City is not to directly assist entrepreneurs, but rather to create an “enabling environment” that improves the 402

cooperation between all of the key functions required by entrepreneurs, such as research and innovation, business schools, venture capital, consulting and export support. The City has signed a strategic partnership agreement with Barcelona, which shares numerous economic, geographic and social similarities with Cape Town. The Barcelona Activa model has become an international benchmark in the support for entrepreneurs, innovation, professional improvement and creation of employment. Cape Town Activa will take the form of a range of activities and programmes, including: the annual Cape Town Entrepreneurship Week; a project to identify and map the various entrepreneur development institutions in the City; a new annual entrepreneurship competition; and partnership development between academic institutions, venture capital funders, sector development bodies and entrepreneurs. Budget: R14.5-million over the next three years. Cape Town International Convention Centre (CTICC) Extension 'XULQJ WKH VHYHQ \HDUV VLQFH LW ÀUVW RSHQHG LWV doors, the CTICC has established itself as the premier conference venue in South Africa, and regarded as one of the best in the southern hemisphere. Hosting such events as the World Economic Forum on Africa, (which has made Cape Town and the CTICC its home), and the Mining Indaba (the world’s largest investment conference for the international mining industry, which today attracts some 5 000 delegates), the centre also caters for around thirty exhibitions and trade fairs a year. Meanwhile, large cultural events such as the Cape Town International Jazz Festival, which attracts up to 40 000 people in one weekend, are held there every year. To date the centre has created some 3 700 direct jobs and 5 300 indirect jobs.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

CRUISE CONTROL Expansion planned for the Cape Town Harbour includes a new cruise liner terminal which will not only increase harbour capacity but help to reconnect the City to the sea.

In 2008 its turnover was R128-million, and its contribution to South Africa’s GDP was R2.7-billion. The centre occupies 55 000m² currently. The expansion plans to deliver increased exhibition space as part of a mixed-use development including commercial space. The new landmark building is planned as a green building with everything from a green roof to photovoltaic systems. Budget: R650-million.

Cape Town Port Development and Cruise Liner Terminal As a result of Cape Town’s port development and WKH FUHDWLRQ RI WKH DV \HW XQÀQLVKHG )RUHVKRUH highways, Cape Town’s CBD and its people were for many years cut off from direct access to the sea until the V&A Waterfront development opened in the 1990s. The proposed new port development with the focus on a cruise liner terminal will address 403

DESIGNED TO MOVE PEOPLE The redesign and upgrade of the Cape Town Station and all its facilities is significantly enhancing the experiences of the 140 000 commuters who use it daily.

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QUESTION 44 World Design Capital 2014

Cape Town Summer Pavilion Cape Town is initiating an architectural competition to erect a temporary annual summer pavilion within a public space in Cape Town. Cape Town has a rich architectural fraternity and strong architectural schools in the University of Cape Town and the Cape Peninsula University of Technology (CPUT). Cape Town will draw on the pioneering work of the Serpentine Gallery in London in this regard but the focus will be on South African talent and relevance. The aim of this competition is to motivate, inspire, expose and celebrate innovation and creativity in public architectural design and to celebrate the talent we have in South Africa, while opening an avenue for exposure to search for new talent. The competition

will also aim to spur discussion and debate on the role of high quality and innovative architecture in our built environment. The pavilion will serve to celebrate public space in Cape Town by drawing people to it through activities to be associated with the pavilion. 7KH FRPSHWLWLRQ DLPV WR ODXQFK LQ ZLWK WKH ÀUVW summer pavilion in 2013. Budget: to be confirmed.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

issues of greater connectivity between the City and sea. It will connect the water’s edge to the CTICC and Roggebaai Canal precinct, and create a dynamic opportunity for urban regeneration. This will build on the innovative multi-dimensional, mixed-use of working harbour and public gathering space pioneered by the V&A Waterfront. Cape Town is well-placed as a stopping point for cruises and this will further build on its positioning as a premier tourism industry. The international cruise line industry is worth more than US$29bn and sustains over half a million jobs. However since Cape Town’s weather does not enable cruising for longer than IRXU WR ÀYH PRQWKV D \HDU LW LV HVVHQWLDO WKDW DQ\ form of infrastructure be multi-functional and able to expand and contract depending on the season. The broader long-term vision for the port is currently LQ SODQQLQJ DQG ÀQDO GDWHV DUH VWLOO XQFHUWDLQ Budget: to be confirmed.

Cape Town Station Opened originally in the 1960s, the Cape Town Central Station received a major revamp in time for the 2010 World Cup, initiated by the Passengers Rail Association of SA (PRASA) who commissioned archiWHFWXUDO ÀUP 0DNHND 'HVLJQ /DE 3KDVH LQFOXGHG a revamp of its foyers and renovation of its station forecourt into a public space to be used for major events. Phase 2 of the renovations will include the completion of the new long-distance bus terminus, the conversion of the old terminus area into public space and a renovation of the station deck. The station’s 2030 vision will also be explored in this period in terms of detailed studies and costings. This vision includes the sinking of the railway lines all the way from Cape Town to Woodstock and the release of 30 city blocks for development. It will be the biggest development since the sea was reclaimed for the port in the early 20th century. Budget for phase 2: still to be confirmed. Cape Peninsula University of Technology (CPUT) Design Park and Design Museum CPUT is a major partner In The Fringe project which includes possible development of its own massive site in a key part of the Central City.

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This development provides an opportunity for a major statement to be made in the Cape Town landscape as well as the creation of new facilities relevant for innovation development. The site has been earmarked as a mixed-use zone with facilities for incubating companies, technology stations, student housing and amenities, conference facilities as well as a design museum. This proposed development is currently in conceptual phase and no budgets or details are ready. By 2014 a full plan will be in place and the project will be underway as a development. Budget: still to be confirmed. The City Hall Development The City Hall, built in 1905, was for many years the seat of local government. Since 1979, when City &RXQFLO PRYHG RIÀFHV WR WKH &LYLF &HQWUH WKH &LW\ Hall served a largely ceremonial function with a strong cultural focus as both the main City library and an auditorium hosting music events. In particular it has been home for many years to the City’s philharmonic orchestra. Since 2010 the venue has been increasingly used for other forms of cultural eventing, particularly once the City library moved out. This began with the Spier Contemporary art exhibition which repositioned the venue and opened the way for other exhibitions. It was the City’s RIÀFLDO 0HGLD &HQWUH GXULQJ WKH :RUOG &XS SRVLWLRQHG DV LW ZDV RQ WKH GRRUVWHS RI WKH RIÀFLDO FIFA Fan Fest on the Grand Parade). A process to renovate the City Hall began in 2011 and plans are underway for improved management and direction including enhanced stakeholder engagement. Budget: R7-million.

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Creative Industries Strategy In 2010, the City of Cape Town, with the support of consultants, completed a report on the creative industries in Cape Town. The report proposed the development of a creative industry strategy and the development of institutional capacity to achieve WKLV 6LJQLÀFDQW WR WKH VWXG\ ZDV WKH LPSRUWDQFH RI the design sector. Budget: to be developed. Culemborg (Transnet property) This massive tract of land lies between the N1 and N2 highways (the two main routes into the Central City) and the port. The City would prefer to see it become a mixed-use, high density development with housing, retail and commercial opportunities. However, the land is owned by Transnet, the parastatal dealing with roads and ports, which has prioritised it for back-of-port activities. Recently the decision was taken to develop a plan for the site to be partially developed with light industry and commercial facilities. The IRT route from the West Coast will shortly be running through the area and a decision has been taken in principle to allow at least a layer of housing along this important transit route. Budget: still to be confirmed. Culemborg Quarter The vision for the redevelopment of the existing Culemborg Motorcity precinct is to create a vibrant, urban mixed-use quarter within the Cape Town Central City. It will connect with the IRT system close by. Its position at one of the corners of the Central City, against the N2 highway,

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

A FACELIFT FOR A GRAND OLD DAME The Cape Town City Hall ,with its magnificent organ, is set to benefit from a much-needed R7-million upgrade.

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creates an opportunity to develop what has been until now a low-rise area. Approximately 198 000m² of bulk will be provided, consisting of high street UHWDLO RIÀFH VSDFH UHVLGHQWLDO DSDUWPHQWV DV ZHOO as a hotel. A set of proactive sustainable design features means the site will have a sustainable living and working environment and vibrant public space will be created. Budget: to be confirmed. The District Six Redevelopment Project District Six was regarded for years as the dynamic heart of the CBD. It was demolished between 1966 and 1982 and its largely mixed-race community of 60 000 people (over half the population of the CBD at the time) was moved to the Cape Flats some 30km from the Central City as part of the apartheid government’s policies of forced removals. The move entrenched poverty and social disintegration in many of the new dormitory suburbs far from employment and with few services. A campaign to prevent District Six becoming an area for white people in the 1980s has today morphed into a plan to redevelop the now 40ha site to support the restitution of land. The new framework for redevelopment recognizes District Six as an inner FLW\ DUHD ZKLFK FRXOG VLJQLÀFDQWO\ FRQWULEXWH to the revitalisation of the CBD. Social justice, socio-economic integration, and restoration of land rights are key pillars of the framework. An integrated approach that includes a range of social, environmental and economic concerns relevant to District Six and the Cape Town CBD is proposed. The approach is strongly informed by the history and memory of the site. The innovative urban design of the area, developed over a number

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RECONNECTING PEOPLE TO PLACE The District Six Redevelopment Project aims to redevelop 40ha to support the restitution of the land to the community that once lived here.

QUESTION 44 World Design Capital 2014

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

of years of with the participation of the original District Six community, proposes a dense area accommodating over 20 000 people in 5 500 units. 'HVSLWH LWV VLJQLÀFDQW SROLWLFDO DQG LPSOHPHQWDWLRQ challenges over the years, this project is an emotive and deeply felt one which the entire City supports. Its redevelopment would be a coup for the triumph of “memory over forgetting” and the return to the Central City of people denied access for over 30 years. Budget: to be confirmed. Doxa Visual History Explorer Portal This initiative is the brainchild of production company Doxa Productions, created by internationally acclaimed Cape Town documentary producer, Craig Matthews. The Doxa Liberation Struggle collection was created using the Visual History Explorer (VHX) Portal, a product which provides free access to archival material relating to the South African liberation struggle in an interactive web-based environment. The material – which is an integration of mapping technologies, audio-visual, textual and photographic documents gets compiled into new complex narratives through the custom-designed Natural Knowledge™ software architecture. The original Doxa Liberation Struggle collection was placed on the UNESCO Memory of the World Register in 2007. The new portal was conceptualised and designed as a means to bring this archive (and other collections) into the public arena by affording end-users access to this material online. The platform, which appeals to researchers, educators and any member of the public looking to learn more about South Africa’s recent history and the relationships between events, people and

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CONTEMPLATIVE SPACES The Dojo project’s purpose is to alleviate poverty by creating a space and format where people can use the Japanese concept of “Doa”.

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QUESTION 44 World Design Capital 2014

Along with providing resource material, there is great potential for the platform to educate individuals interested in understanding the rich history of Cape Town and the linkages between people, events and places over time. There is also plenty of potential for Doxa’s platform to be used as a tool to not only understand Cape Town’s history in context but also explore the contemporary landscape and map out the future of the City’s development. With this tool, both local and international users can explore Cape Town’s heritage, while mapping contemporary happenings and visualizing its future potential. Development budget: to be confirmed. Dojo for Social Entrepreneurs Conceived by the Innovation Shack, the Dojo project’s purpose is to alleviate poverty by creating a space and format where people can use the Japanese concept of “Doa”: in other words, by

reconceptualising one’s approach to this problem by using, accessing and creating knowledge with an ethic and an aesthetic that has characteristics of specialization, normativity, universality, and authoritativeness.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

places, was developed entirely by South Africans. The nature of the content and the ability for the site to act as a silo for local knowledge about our common history means that as the site grows it will become a “living archive”. Online communities can engage with the platform’s content and contribute via comments and by eventually uploading their own content.

The Dojo Project seeks to do this in two ways. One, by creating a space where creative people can place themselves in an environment that uses this concept to give them focus, and an ethic that will help them think out-of-the-box to create new solutions to solve problems. Two, by establishing a catalogue of new design innovations that will help governments and NGOs in developing nations to alleviate poverty. The next step is the construction of Dojo facilities, marketing and research work. Budget for pilot project: R2.2-million. Economic Development Agency In 2010, the Provincial Government of the Western Cape (PGWC) announced that it planned to establish an Economic Development Agency to coordinate and implement a regional economic strategy in partnership with business. The move is aimed at streamlining the development of the Western Cape economy. Currently in research and planning mode, a clear proposition will be made in the latter part of 2011. Budget: to be confirmed.

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The Fringe: Cape Town’s Innovation District This area is Cape Town’s newly formed design and informatics innovation district. It contains key agencies involved in the promotion of design, media and ICT entrepreneurship growth and innovation. Leading design and informatics enterprises and private design colleges are being attracted into the area. It is a triple helix project engaging government, the private sector and academia with its lead academic partner being Cape Peninsula University of Technology’s Faculty of Informatics and Design. Much of the land and some key underutilised buildings are governmentowned. The project is a co-ordinated one involving many levels of society and is planned to impact positively on urban regeneration in the area. Work is underway to establish the urban branding of the area including both the urban design of key streetscapes and the development of an interactive forum for stakeholders. 7KH FUHDWLRQ RI D VKDUHG RIÀFH IDFLOLW\ LQ partnership with agencies such as the IT hub Bandwidth Barn, the Cape Craft and Design Institute, and the Cape Town Fashion Council together with the establishment of an innovative temporary incubator initiative - will provide a necessary foot-in-the-door for young entrepreneurs. The incubator is a project in partnership with the OHDGLQJ DUFKLWHFWXUDO ÀUP 'HVLJQ 6SDFH $IULFD 7KH development of a design museum, together with an 80-seat auditorium space for presentations, will create the infrastructure for soft networking and the promotion of design and informatics innovation. The area is destined to host on-going networking and info-sharing events, student programmes and projects including the SPAZA Festival of Temporary Public Interventions. Estimated Budget: R20-million.

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QUESTION 44

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

World Design Capital 2014

THE HUB OF CREATIVITY The Fringe aims to create a temporary incubator space for young entrepreneurs, as seen in this artist’s impression by DesignSpaceAfrica.

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The Gordon Institute for Performing and Creative Arts (GIPCA) : Interdisciplinary Arts Centre The University of Cape Town’s GIPCA facilitates new collaborative and interdisciplinary creative research SURMHFWV LQ WKH GLVFLSOLQHV RI PXVLF GDQFH ÀQH DUW GUDPD FUHDWLYH ZULWLQJ ÀOP DQG PHGLD VWXGLHV Interdisciplinarity is a key theme of the institute and projects are imbued with innovation, collaboration, and dialogue with urbanism and community. GIPCA was launched in December 2008 with a substantial grant from Sir Donald Gordon, founder of insurance giant, Liberty Life. This particular project looks at the creation of an interdisciplinary space to help foster relationships between the departments at UCT and the City as a whole. The vision to develop the current Hiddingh Campus (in the Central City) is for a venue that takes its cue from innovation spaces throughout the world but also importantly takes into account the particularities of the growing contemporary art scene in South Africa and on the African continent, and in particular the rapid growth of projects that have seen the culmination of design, dance, music and other disciplines. The venue would

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house a gallery, a large workshop area for physical movement, and a concert area, with spaces that FDQ EH PRUSKHG DQG ÁXLGO\ VKLIW IURP ZRUNVKRS WR concert, to gallery, to conference. Budget: R24-million. Grand Parade Redevelopment (Phase 2) The Grand Parade in the Central City is South Africa’s oldest public space. In 2010 it received an extensive upgrade in time for the 2010 FIFA World CupTM. To improve its use as an eventing venues, the parade was paved, new lighting and electrical systems introduced, and landscaping improved. During the World Cup, it was the site of WKH RIÀFLDO ),)$ )DQ )HVW LQ WKH &LW\ DQG RIIHUHG an iconic background for the media against Table Mountain. Phase 2 of the development involves the space being extended to its outer edges (up to the City Hall, the Castle of Good Hope and Grand Central WKH ROG &HQWUDO &LW\ SRVW RIÀFH $ QHZ PDUNHW VW\OH retail component will be developed together with an IRT station. There are also plans to relocate the current bus terminus so that the space can

MY TRANSPORT The new Bus Rapid Transit (BRT) system with its “MyCiti” livery is an important component of the City’s new public transport infrastructure.

QUESTION 44

be converted into a market to provide room for WKH JURZWK RI &DSH 7RZQ·V ROGHVW ÁHD PDUNHW 7KH design team is ARG Design. Budget: to be confirmed.

plan, it is getting a much-needed extension to the South African Museum including new exhibition VSDFHV RIÀFHV UHVHDUFK DQG DUFKLYH VSDFHV Budget: R40-million.

Integrated Rapid Transport (IRT) The City of Cape Town’s IRT is a bold initiative to transform the public transport sector across the metropole, by integrating all transport modal options onto one coherent package for commuters. Among the modes to be integrated are the rail services, road-based services on trunk routes, conventional and feeder bus services, minibus and metered taxi services, park-and-ride facilities, and improved new mobility transport such as dedicated lanes for pedestrian and bicycle access. The principle way in which the City will transform the road-based transport network is through the new Bus Rapid Transit (BRT) system to be networked across the City. IRT is currently being rolled out LQ LWV ÀUVW SKDVH ZLWK IXOO LPSOHPHQWDWLRQ WR EH completed over a period of 10 to 12 years. Budget: R995.02-million from national government and R421.14-million from the City of Cape Town.

Khayelitsha CBD Development This is a project which originally began a few years ago and ground to a halt. It is now being revitalised by the City of Cape Town, and is a joint venture between the City, the private sector and the community of Khayelitsha.

Iziko Museums - South African Museum Extension The Iziko Museums has, amongst its important museums countrywide, the oldest museum in South Africa. The South African Museum, which also houses a Planetarium, is situated in the Company’s Garden in the Central City. With its focus on natural science, and culture, is also the headquarters of the Iziko museum group of 12 museums and heritage sites. As part of its growth

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

World Design Capital 2014

The site is located in the heart of Khayelitsha, a sprawling township on the Cape Flats with a population of about 500 000 – the second largest “township” in the country. Its CBD is situated next to a largely informal housing settlement and the area’s main railway station. Buildings in the immediate vicinity already house a retail centre, D WD[L UDQN DQ RIÀFH RI WKH 'HSDUWPHQW RI +RPH Affairs, the Thusong Centre, Magistrate’s Court, a district hospital, public swimming pool, pump KRXVH DQG D VSRUWV SDYLOLRQ 7KH ÀQDO IUDPHZRUN will incorporate these buildings into a holistic design which is aimed at allowing more access and connectivity. New housing will also form an integral part of the development. Ultimately, the overall objective is to uplift the community of Khayelitsha through the development and improvement of its infrastructure and the establishment and development of commercial, residential and community facilities. The alleviation of poverty is envisaged through direct and indirect economic opportunities. Budget: R2.1-billion

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RECOGNISING NEW TRANSPORT MODES Along with getting their own parks, skateboarders are now more welcome in a City that recognises skateboarding as a viable mode of new mobility transport.

Cape Town Skateparks Skateboarders sometimes have the unfortunate and misguided reputation of being rebellious “anarchists” with no regard for law and order, and often this is due to their use of public space. The lack of dedicated spaces for them to practice their sport forces them to use shared open space which often clash with other users. There are few venues in the City that allow skateboarders and there were, until very recently, also no big public skateparks in or around Cape Town. However the City’s Quality

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QUESTION 44 World Design Capital 2014

Nano Tea Bags Microbiologist, Professor Eugene Cloete (Dean of the Faculty of Science), together with researchers at the University of Stellenbosch, have designed a Nano Tea Bag which reverses the conventional UROH RI D WHD EDJ LQIXVLQJ ZDWHU ZLWK ÁDYRXU ,W LV

RQH RI WKH ÀUVW PDMRU SURMHFWV WR FRPH RXW RI WKH new Stellenbosch University Water Institute, a transdisciplinary initiative established to intensify the search for lasting solutions to the country and continent’s water crises. The Nano Tea Bag sucks up toxic contaminants found in polluted water. The sachets are made from the same material used to produce rooibos tea bags but inside DUH XOWUD WKLQ QDQRVFDOH ÀEUHV ZKLFK ÀOWHU RXW contaminants. Also present within the sachet are carbon granules which kill bacteria. The tea bags require no infrastructure and use inexpensive raw materials. It has therefore been designed with poorer communities in mind as they are usually the ones with no access to potable water. One sachet can clean one litre of the most polluted water. Once thrown away the tea bag will biodegrade therefore leaving little to no environmental impact. The sachet combines years of fundamental research RQ ZDWHU SXULÀFDWLRQ QDQRWHFKQRORJ\ DQG IRRG microbiology in a practical way. It promises to provide easy access to clean drinking water for vulnerable communities, such as those situated near polluted water streams. There are also plans WR FRPPHUFLDOLVH WKH ÀOWHU EDJ LQWR D SURGXFW WKDW can be used by outdoor enthusiasts on hiking or camping trips. Budget: to be confirmed

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

Public Spaces Programme is in the process of changing this. Three skateparks have already been constructed on the Cape Flats in the suburbs of Kleinvlei, Belhar and Delft, and a fourth is under construction in Scottsdene. These parks are linked to open space upgrades which include hard and soft landscaping and are usually connected to SXEOLF IDFLOLWLHV 7KH GHVLJQ RI WKH ÀUVW &HQWUDO &LW\ skatepark is now underway and will be conveniently located next to the Mill Street MyCiti bus trunkstop. $V WKLV VNDWHSDUN ZLOO EH WKH ÀUVW LQ WKH &%' DUHD LW is predicted that it be well-used by skateboarders travelling to the area from all over the metropolitan area. This will also put Cape Town on the map as a City that’s “friendly” to skateboarders – a mode of transport that is also now recognised by the City as a viable new mobility transport option. Budget: still to be confirmed.

Parliamentary Precinct Development For many years, since the days of apartheid, parliamentarians have lived outside of the Central City in suburbs. Today, as has always happened, parliamentarians come from all over the country for the few months in which parliament sits.

NANO TEA BAG

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Bringing parliamentarians to live closer to parliament in the Central City would not only cut down on travelling time for them but also add to the cosmopolitan mix in the CBD. A proposed parliament precinct next to parliament - the initiative of the same developers responsible for Mandela Rhodes Place - hopes to achieve a number of objectives. First, it promotes not only WKH GHQVLÀFDWLRQ QHFHVVDU\ WRZDUGV D VXVWDLQDEOH city, but also a mixed-use development including entertainment facilities for the City as a whole, as well as retail, parking, other residential apartments for the public, and a three star hotel. The proposed development could also include public space upgrades with a retail edge. A proposed parliamentarian banqueting hall completes the development. Projected budget: assessed at over R4-billon. Safe Spaces Project The Western Cape has the highest incidence of sexual violence against girls and women in South Africa. To heighten awareness around this issue and inspire other “Safe Space” initiatives, Rock Girl (a community initiative) has launched “Safe Spaces”, a grassroots public art and education campaign to raise awareness about the need to strengthen and create safe places for girls and women in our schools, communities, CBDs , and indeed everyZKHUH ZH OLYH DQG ZRUN 7KH ÀUVW EHQFK GHVLJQHG by acclaimed ceramicist and mosaic artist Lovell Friedman, was placed at the CTICC in 2011. Each

QUESTION 44 World Design Capital 2014

bench will be linked to a toll-free number that will allow listeners to hear stories of women and girls, more information about the project and artists involved, and where to go for help with issues of violence against women and girls. “Safe Spaces” was inspired by a group of grade six girls at Red River Primary School in Manenberg who demanded a “safe space” at their school. The girls are building a safe bench on the school grounds and have also LQLWLDWHG D FDPSDLJQ WR FOHDQ XS WKH VSRUWV ÀHOG and toilets and repair fences. They have enlisted the help of their teachers, the administration, and their families, and together are working to make their own school a safer place for all. The intention is to place benches throughout the metropole. Budget: benches cost between R10K-20K each to produce.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

PARLIAMENTARIAN PRECINCT A private development group has initiated an idea to develop a mixed-use residential and retail area next to Parliament in the Central City, in order to house parlimentarians closer to town.

St Georges Mall Upgrade St Georges Mall is a leafy, pedestrianised thoroughfare in the Central City running almost its entire length and linking the Foreshore precinct at the one end to Government Avenue and the Company’s Garden at the other. The street was FORVHG WR WUDIÀF LQ WKH HDUO\ V EHFRPLQJ RQH RI WKH ÀUVW SHGHVWULDQ RQO\ ZDONZD\V RI LWV NLQG LQ South Africa. The character of the street changes subtly from the bottom end at the Foreshore where take-away stalls are congregated to the top end of the mall - site of the modern mixed-use development, Mandela Rhodes Place and the newly completed Taj Hotel. 419

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“Creativity happens on the boundaries and a place like Cape Town is uniquely positioned as a melting pot of cultures and people with a rich history and a focus on modernity.” Mark Shuttleworth, entrepreneur and founder of the Shuttleworth Foundation

Once Cape Town’s “Fleet Street”, Independent Newspapers (a major national print media JURXS VWLOO KDV LWV RIÀFHV DW WKH WRS RI WKH PDOO Along the way, the mall passes by a number of MHZHOOHU\ VKRSV ÁDJVKLS GHSDUWPHQW VWRUHV tourist memorabilia stalls and outdoor coffee shops. Buskers use it often and there are three contemporary public art works along it. A Thursday organic foods market has opened at its top end close to Company’s Garden. Although the mall received a boost with the Fan Walk intersecting it at Waterkant Street, Cape Town’s version of La Ramblas is beginning to look a bit tired and there is a need to enhance the much-loved walkway. A key project of the Central City Improvement District, together with its partner ratepayers, is to upgrade the mall through improved signage, lighting, kiosks and informal trading units, as well as street furniture, greening projects, improved management and marketing. By 2014, the plan, currently in development, will see implementation in time for the World Design Capital. Budget: to be confirmed. Signal Hill Gateway Precinct Signal Hill is an iconic part of the Cape Peninsula National Park network managed by the South African National Parks. It is an important tourist destination as it provides beautiful vistas over the City, and has walking trails up Lion’s Head, to the kramat (a Muslim holy site) and the famous noon day gun. It is reachable by car (and with some measure of exertion, by foot) and has facilities that require further upgrading. In 2002 an initial plan to examine additional gateway sites to Signal Hill, Kloof Nek and Tafelberg Road was initiated and thereafter proposals for a funicular from the Bo420

QUESTION 44 World Design Capital 2014

WALK THIS WAY Closed to traffic in the early 1990s, St Georges Mall was one of the first pedestrian-only walkways of its kind in the country, and an upgrade is planned in time for World Design Capital 2014.

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

Kaap Quarry to the top of Signal Hill were mooted. (Bo-Kaap is a historic area which was settled by (ex) slaves of the Muslim faith. Its quaint houses, unique ecosystem and many mosques also make it a popular tourist destination.) Although the plans have been placed on hold for further studies, public participation and negotiation, the proposed development offers a number of opportunities: it will provide a car-free option of going up to Signal Hill; it will effectively add to the pedestrianisation of the Central City; and lastly, the development effectively creates another gateway within the historic Bo-Kaap area onto the national park. Budget: to be confirmed. SmartCape Access Point Project The SmartCape Access Point Project is an initiative of the City of Cape Town to ensure that all citizens have access to basic information and communication technologies, free of charge. A model has been developed for public access that allows computing facilities with Internet to be provided cost-effectively, using open-source software and existing infrastructure and resources. After a successful roll-out that has seen thousands being serviced at libraries and communities in Cape Town, SmartCape has become a model for municipalities throughout South Africa. The team has now worked on similar projects in eThekwini (KwaZulu-Natal), the Nelson Mandela metropolitan municipality (Eastern Cape), and has also been approached \by the City of Johannesburg. It is an on-going project which is currently installing PC access SRLQWV LQ LGHQWLÀHG DUHDV WKURXJKRXW &DSH 7RZQ with further rollouts by 2014 to tourist locations. Overall budget: to be confirmed. 421

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COMMEMORATING DIVERSITY The Desmond Tutu Peace Centre honours the notion that people can exist in peace and still celebrate their diversity. This artist’s impression is by architects VDMMA.

QUESTION 44 World Design Capital 2014

arsenic (CCA), which results in toxic ash and related public-health issues. The design phase has been concluded with the decision to roll-out high HIÀFLHQF\ VWRYHV UDWKHU WKDQ WU\LQJ WR LQWURGXFH DQ alternative fuel source. Two types of stoves were WHVWHG WR HQVXUH WKH HIÀFLHQF\ RI WKH VWRYHV DQG WR evaluate their effectiveness in townships: a large industrial stove along with the medium domestic stove. Both stoves are insulated with vermiculite, an inexpensive natural resource which is heatresistant to 1000°C. The tests indicated that both of the stoves boiled water much quicker, using less fuel than the regular ones. In small township catering businesses, where time is money, this proves to be a much better option. The plan for roll-out of the stoves is set for early 2011 in the township of Nyanga on the Cape Flats. Budget: R 1.4-million over two years (2010/2011).

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

The Desmond Tutu Peace Centre The proposed Desmond Tutu Peace Centre is dedicated to the contribution of one of the City’s most celebrated sons – Archbishop Desmond Tutu. The Peace Centre is based on the notion that people can co-exist in peace and can celebrate their diversity and differences. It builds on the pillars of love, hope, tolerance and courage, and is planned as the practical manifestation of this thinking. It will help provide the tools for negotiaton, and teach young people how to become agents for change. It will provide a safe space where nations can broker peace, and where the marginalised can be heard. The site is situated in the Cape Town Central City adjacent WR WKH &7,&& 7ZR DZDUG ZLQQLQJ DUFKLWHFW ÀUPV – VDMMA and Luyanda Mpahlwa’s DesignSpaceAfrica - have completed plans for the site. It features a substantial museum space dedicated to the Truth & Reconciliation process, with a café, bookshop and temporary exhibition facilities, meeting, teaching and auditorium spaces, a foyer space for gatherings and - linking the various facilities at ground level - a contemplative space in the form of an outdoor public square connected to the museum. Estimated budget: around R400-million. Technology Deployment For Sustainable Urban Sustainable Catering Solutions This is a multidisciplinary University of Cape Town project - part of Engineers without Borders (EWB) as well as the Engineering and Built Environment faculty and the Chemical Engineering department - developed in response to the practice followed by informal street food vendors of burning construction timber treated with chromated copper

Urban Transformers This is a paper-based interactive aid designed by a Cape Peninsula University of Technology design student. It helps participants entering into the NGO Rethink Leadership’s follow-up programme, to begin to work on a project of community development that is relevant to their lives and communities. The aid acts in conjunction with meetings run by the staff members of Rethink Leadership. Each installment will address a different step in the process of putting ideas into action. These installments will have generic activities and challenges for the participants to complete. However, each participant will end up customizing their kit to suit the needs of their project. 423

HEALING COMMUNITIES The VPUU (right and far right) looks to restoring dignity to impoverished communities, creating safe public spaces, and exposing the disadvantaged to economic opportunities.

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This completed aid, tailor-made by them for their SURMHFW ZLOO SURYLGH WKHP ZLWK FRQÀGHQFH DQG structure to actualize their project on their own, independent from the organisation. This project was started as there was a need to help youth in Cape 7RZQ DQG VSHFLÀFDOO\ LQ WKH 5HWKLQN /HDGHUVKLS programme, to begin to actively engage in activism and leadership roles. Within the organisation it was apparent that participants were fearful of taking action, as they felt overwhelmed by the problems in their communities and did not know where to start. They also felt powerless and did not believe they could instigate change. The project will commence HDUO\ LQ RQFH IXQGUDLVLQJ KDV EHHQ ÀQDOLVHG Budget: R10 000 (2011).

alignment anchored by the Velodrome. The concept includes retail, business, residential, hotel and conference facilities. The Velodrome will be remodelled to upgrade its facilities to host sporting events, conferences, concerts, shows, trade fairs and exhibitions. A high-performance sports centre will be incorporated into the existing sport and athletic facilities, and will be used to provide specialised training to athletes of all communities. This is a private-public partnership between the City of Cape Town and private developers. Funding for WKH GHYHORSPHQW ZLOO EH SURYLGHG E\ ÀQDQFLDO DQG insurance institutions. Total development cost of the project: approximately R2-billion.

Velodrome Redevelopment The City of Cape Town has begun the process of re-developing the Velodrome and Municipal Sports Ground in Tygerberg in recognition that it is an under-utilized resource within the emerging but disjointed Tyger Valley business node in the Northern Suburbs. A connective “tissue” is to be developed called The Galleria, that will link the 7\JHU 9DOOH\ 6KRSSLQJ &HQWUH WR D QHDUE\ RIÀFH complex, creating one continuous commercial

Violence Prevention through Urban Upgrading (VPUU) The VPUU is a City of Cape Town project aimed at reducing violent crime and improving social conditions in Cape Town communities including the township of Khayelitsha and the Cape Flats. It was initiated in 2006 in order to enhance the quality of life of poor communities in partnership with the German Government. The VPUU aims not only to reduce crime and increase safety levels but

QUESTION 44 World Design Capital 2014

BID APPLICATION LIVE DESIGN. TRANSFORM LIFE.

to also upgrade neighbourhoods, improve social standards and introduce sustainable community projects to empower local residents. The VPUU project seeks to improve the social circumstances that may lead to crime prevention and to empower residents to become economically independent. A number of artisans and businesses have been established or supported – including welders, informal traders, mosaic artists and contractors. This has helped to provide income and formalise the industry within the areas. Completed developments, which form part of WKH ÀUVW VWDJH RI WKH ÀYH \HDU 9388 SURJUDPPH include two community buildings, a park and a sports complex. In addition, various safety initiatives that include the construction of Active Boxes (24-hour recreation centres which help WR LPSURYH WKH VDIHW\ RI D VSHFLÀF DUHD DQG WKH RSHQLQJ RI D JHQGHU EDVHG YLROHQFH VDWHOOLWH RIÀFH have been completed. The VPUU team has also played a leading role in partnership with the City’s Library and Information Services Department in the design and development of a new community library in the Khayelitsha “suburb” of Harare which is due for completion in 2011. This library will incorporate a dedicated section for early FKLOGKRRG GHYHORSPHQW RIÀFHV IRU ORFDO 1*2V DQG civic organisations, reading and study rooms for students and a community meeting hall. Further developments have commenced in Site C, as well as the nearby areas of Manenberg, Hanover 3DUN /RWXV 3DUN DQG *XJXOHWKX ZLWK VLJQLÀFDQW progress being made. Budget: R606-million. 425

FOR ANY QUERIES OR COMMENTS CONTACT: BULELWA MAKALIMA-NGEWANA MANAGING DIRECTOR The Cape Town Partnership – coordinators of the bid book on behalf of the City of Cape Town PO Box 1997, Cape Town 8000 Republic of South Africa Tel: +27 (0)21 419 1881 Fax: +27 (0)21 419 0894 bulelwa@capetownpartnership.co.za

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