DESIGN>EDUCATION No.3 by DESIGN>

EDUCATION NO. 3 2011

EURO RSCG 4847/E

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CONTENTS FEATURES 14 > Oona Scheepers: A fairytale from Prieska to Porsche

24 > Fabrica: 10 questions for Omar Vulpinari

38 > Re-sounding (architectural) success

50 > After the glass shoe

COMMUNICATION DESIGN 64 > Frost*: Understanding the serious playground of business and good design

76 > Summer Olympics 2016: Rioâ&#x20AC;&#x2122;s brand sculpture gets the thumbs-up

88 > The sound of music BUILT ENVIRONMENT

EDUCATION

BUILT ENVIRONMENT 98 > Capsulation for 9 hours

INDUSTRIAL DESIGN 104 > Transit cases: Chairs from Mexico

112 > Glass, a fragile yet giant industry

124 > Designing the world: An introduction to a sustainable future and the role of industrial design

130 > The jury adjourns

136 > Designing for life

DESIGN PROMOTION 144 > Leimei Julia Chiu: A champion for design promotion across boundaries

148 > DESIGNING_SOUTHAFRICA: A new lens on the known world

CREAM OF THE CROP 156 > Knitting for initiates

162 > Moving images: Time to catch a wake-up call

166 > Vases for lifestyles

172 > All stars below

178 > Design sensibility

182 > Vega School of Brand Innovation shines brightly

EDUCATION

CREATIVE LEARNING 188 > Images for change: A sustainable bond with spaces and places we occupy

194 > Authentic African stories. The real deal

200 > Cross-Pollination

208 > Sketch Assembly: The Merry Company. An exercise in collaborative sketching

HIGH SCHOOL RESOURCES 216 > Design for yet another age

222 > Growing young talent

230 > Recommended reading

EDUCATION

www.bowman.co.za EDUCATION

10 >

11 >

EDITOR'S FOREWORD A new year has begun and just

quality and output, but also create

and knitting. The Sound of Music

when we think we are a little more

a culture that is characterised by a

introduces the world of sound

familiar and comfortable with the

gradual increase in strategic think-

design and we specifically look

trendy titbits of 2011, another list

ers, true leaders, problem solvers,

at production companies Milestone

of X-factors make the front pages.

innovators and entrepreneurs.

Studios and Adelphoi Music. As a

Technology makes our world so

This is another reason why we are

great designer, strategic thinker

pliable and malleable that it can

keeping a keen eye on creative city

and brand developer, Vince Frost

reinvent itself again and again. Un-

Cape Town who is currently get-

certainly needs no introduction.

fortunately the rules of Mother

ting ready to bid for the Interna-

While using the 2010 FIFA World

Nature is less pliable and struggles

tional Design Alliance’s World De-

Cup as a measuring tool, DESIGN-

to adjust to the world’s greed

sign Capital 2014 designation.

ING_SOUTHAFRICA is taking count of the true impact of the creative

for success – so much so that she reacts more and more in despair

In this edition of ED> we intro-

industry on economic develop-

and desperation. Thinking, work-

duce you to a number of designers

ment. Brazil is also starting to

ing and doing everything sustain-

who are impacting greatly on the

take stock and we have a look at

ably is not trendy anymore or even

world around us. One being South

the branding development of Rio

limited to a minority group in so-

Africa’s own design star, Oona

Olympics 2014.

ciety. It is slowly becoming an

Scheepers who is a great success

everyday lifestyle. Just imagine the

in the automotive industry. Véro-

We also explore the teachings of

immediate change if we could live

nique Vienne contributes a special

biomimicry and the Cross-Pollina-

in a world where it is second nature

interview with Omar Vulpinari,

tion workshops where nature is a

to act responsibly in everything

head of Visual Communication at

vital mentor in developing better

we do?

Fabrica, the Benetton Group’s com-

solutions for the changing world in

munication research centre, and

which we live. Also check out the

Designing a different world sounds

we ‘re-sound’ architectural design

experiential and collaborative

like an enormous task but it is cer-

when talking to local talent Don

methods of the Sketch Assembly,

tainly possible, and even more so if

Albert who recently launched the

as well as the latest hot talents

we change our teaching method-

book, Sound Space Design. Meet

under our Cream of the Crop sec-

ologies to rather fit in with the

Zimbabwean-born shoe designer,

tion.

changing needs of the world around

Liam Faye and learn how he uses

us. It is also imperative to move

his native country as inspiration

It is indeed a rapidly changing

towards developing a ‘culture of

for most creative decisions that

world. Have a great and inspiring

design’ that will not only ensure a

he make.

read.

ket that will force businesses to

We also showcase a different set

Suné Stassen

become more competitive in

of design fields like glass, ceramics

Editor

better educated consumer mar-

EDUCATION

12 >

CREDITS FOUNDER > Cameron Bramley

COVER ARTWORK > Rob Mills, Edge of light 2, 2004. Pigment ink

CHIEF EXECUTIVE > Karuna Pillay

print on rice paper worked over with beeswax and oil paint. Dancer, Kristin Wilson from

GROUP EDITOR > Jacques Lange

Natalie Fisher's Pieces of a Dream. © Rob Mills, www.signsoflife.co.za

EDITOR > Suné Stassen DESIGN & LAYOUT > Bluprint Design CONTRIBUTORS > Jimena Acosta, Fatima Cassim, Maran Coates, Vikki du Preez, Jennie

PUBLISHED BY >

Fourie, Melissa Haiden, Kigge Hvid, Jess Henson,

DESIGN>MAGAZINE

Janine Johnston, Angelique Kendall, David

T: +27(0) 12 346 7788

Larsen, Anastasia Messaris, Beth Peterson, Chad

F: +27 (0) 12 346 2559

Pietersen, Erin-Lee Saunders, Sarah Stewart ,

E: design.arrow.magazine@gmail.com

Liani van der Westhuizen, Retief van Wyk, Marlé van Zyl, Véronique Vienne

W: www.designmagazine.co.za Twitter: http://twitter.com/DESIGNarrow

Number 3, February 2011

DISCLAIMER: No material may be reproduced in part or whole without the express permission of the publisher. No responsibility will be accepted for unsolicited material. The publisher accepts no liability of whatsoever nature arising out of or in connection with the contents of this publication. The publisher does not give any warranty as to the completeness or accuracy of its contents. The views and opinions expressed in DESIGN>EDUCATION are not necessarily those of the publisher, its endorsers or media partners.

EDUCATION

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ENDORSERS

MEDIA PARTNERSHIPS

EDUCATION

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OONA SCHEEPERS

A fairytale from Prieska to Porsche By Chad Petersen

The multibillion-Rand automotive industry

The ash heap was her favourite place where

has many designers vying for a position in

she would find broken porcelain objects,

the field of vehicle design. This highly com-

glass and other interesting bits and pieces to

petitive field makes it extremely difficult

create fantasy worlds. This, together with her

for aspiring designers to find a job. So it should

fascination for semi-precious stones that

come as a surprise that a farm girl from

she found on the farm, formed the basis for

Prieska, a small town in the Northern Cape,

what she loves doing today, which she says

has managed to cement her place in the

are “cars, colours and materials”.

international automotive design industry. Oona studied Graphic Design at the then Cape Oona Scheepers is South Africa’s very own

Technikon (now Cape Peninsula University

‘star’ automotive designer who has managed

of Technology) and drew a few automotive

to make it big internationally, designing for

illustrations while at Tech but this was mostly

prestigious companies such as Porsche, Audi

to please her car-crazy husband. She could

and most recently Volkswagen AG where she

never have dreamt that this was a sign for her

is head of the Design Studio for Colour and

future success. After completing her diploma

Trim.

she applied for a job as a layout artist at Car magazine. She really wanted this job but was

Her humble beginnings found her playing

turned down. This incident was a huge turning

in an old ash heap on the farm and at this

point for her, instilling a lot of drive in her to

point Oona never dreamed of becoming an

become successful. She now looks back think-

automotive designer but always knew that

ing that not getting the job was actually a

she would do something art or design-related.

blessing in disguise because had she been

15 >

LEFT: Oona Scheepers with some of her tools of trade. RIGHT: Colour range of the new Volkswagen Polo.

EDUCATION

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accepted for the job she might not have be-

never looked back with any regrets,” says

come the amazing automotive designer she

Oona. The rest, as they say, is history.

is today. Oona quotes the Dalai Lama who once said that what you don’t get is usually

Her first permanent position was at Porsche

the bigger gift, and this is something that

where she was involved with the design of the

in hindsight makes complete sense to her.

Carrera GT. For her, working on the Carrera GT is one of her career highlights: “It was the

Oona’s husband Stef worked at British Ley-

birth of new car development when the Car-

land and Renault in Elsies River until the

rera GT had its so-called rollout” It was dusk

companies withdrew from South Africa. After

at the test track in Weissach when the engine

this there was not much else relating to the

roared up for the first time and blasted down

automotive industry in South Africa for Stef

the straight. The feeling is indescribable and

to get involved in so the family relocated to

every time I think about it, I still get goose

the UK in 1987, where Stef got a job in auto-

bumps.”

motive design. After spending two years in the UK, they moved to Germany in 1989. Ini-

Oona draws much of her inspiration from

tially they only planned to be abroad for two

nature. She believes that nature holds the key

years but those two years have become 20!

to the perfect colour palette. This can be seen

After moving to Cologne in Germany, Oona

in the Porsche Cayenne that was inspired by

was unable to work since she did not have a

the Kalahari’s colour palette and the Audi TT

work permit. She started drawing portraits

by the shades of a Free State thunderstorm.

of the kids in their son’s kindergarten and

“There is nothing that beats the colour and

little did she know that this was going to

textural inspiration that you get from nature.

be her ticket into the wonderful world of

Nature has a few golden rules and if you keep

automotive design. One of the fathers was

to them you can’t go wrong. I love using South

so impressed with Oona’s art that he offered

African landscapes when selecting colour

her a job and promised to sort out a work

– it is pure and crisp. It’s almost like looking

permit. At this point she knew nothing of

at everything through a polarising filter,” she

what the job offer would entail and was

explains. She also mentions that many design-

surprised to find out a few days later that she

ers often get their inspiration from everyday

would be working in an automotive design

life, architecture and furniture design. Here,

studio. Initially she was hesitant to accept

she says, you can find the perfect balance be-

the position but her boss told her that au-

tween contemporary materials and colour.

tomotive design was all about proportions and she has mastered this skill through her

When asked how her studies in graphic design

portraits. “That was 21 years ago and I have

helped her refine her automotive design skills,

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TOP: Design team of the Porsche Carrera GT.

BOTTOM: Porsche Carrera GT interior. ÂŠPorsche.

EDUCATION

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she explains: “The basis of any creative pro-

In recent years computer-aided design has

fession, be it architecture, furniture design

become more and more prominent in auto-

or automotive design, is a solid foundation

motive design studios and with good reason:

in art. I am responsible for design, colour and

it allows for a more realistic representation

trim, which means I develop the colour pro-

of a design and changes can be made easily

grammes for all our vehicles, exterior as well

without having to redraw the whole concept

as interior. As a graphic designer I had a very

by hand. However, Oona says that there is

good intuition and knack for colour, texture

no substitute for the “mighty pencil” be-

and composition. This has helped a lot.”

cause any good designer will still start with original sketches and ideas on paper. “The

The colour and trim form one of the three

essence of good design is the skill of deliv-

classic pillars of automotive design – the other

ering good drawings.” Walter de Silva, chief

two being exterior and interior. Everything

designer at Volkswagen, finds time to draw

you can see, feel and touch on the vehicle

each and every day. “To draw should be sec-

comes from the colour and trim designers.

ond nature and it should be an unconscious

She explains that only when all three ele-

act. You should automatically start sketching

ments are in harmony does the car become

when you see a piece of paper and a pencil/

a perfect unit.

pen without giving it much thought. There

19 >

FAR LEFT: Oona Scheepers with the new Volkswagen Polo. ÂŠ Volkswagen. LEFT: Original drawings of the third generation Volkswagen Polo supplied by VW Design. Although technology has certainly added great value to this industry, and the initial design phase is definitely more computer-oriented than in the past, it is fair to say that any good automotive designer will still create initial concept sketches on paper before enhancing it on computer with the aid of 3D renderings and virtual reality. Interestingly enough something like clay modeling still has a very hands on role in the design process and makes it possible for all concerned to see and touch a real life sized model. ÂŠ Volkswagen.

EDUCATION

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TOP LEFT: Oona Scheepers and Stefan Sielaff, head of Audi Design with the Audi A5 3.0 TDI quattro. © Audi.

will always be hundreds of pictures trapped

TOP RIGHT: Audi A6 interior sketch. © Audi.

Mentors are very important in a designer’s

CENTRE: Selection of interior trim materials. © Audi. BOTTOM: Trim variants for the Audi R8. © Audi.

in your mind that need to escape onto paper,” says Oona.

life – they are there to inspire and to keep one motivated. Walter de Silva is one of Oona’s mentors and to her he is one of the greatest automotive designers. He makes the final decisions on a design and he understands how to define the identity of the brand. This makes him the ideal mentor and an asset to the Volkswagen brand. “Having the privilege of working with Walter is like being part of a live thriller” says Oona. She left Porsche to join his team at Audi and later followed

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when he was called to head up design at Volkswagen. The more time the designer spends with his or her product, the more successful the bonding process. Oona explains that one needs to understand the car and react to its needs. The automotive designers are actively involved in the process from the very beginning through the first initial sketches, of which there are hundreds, until the start of production. The exterior designers start with the design and are very closely followed by the interior designers. The colour and trim process, which Oona leads, starts in this phase as well. Colour and trim stay on board the design process for much longer than the rest of the design department to sort out all the final detailing needed for a new vehicle. The design process of a car, as one can imagine, is extremely complex. From scratch through to the marketplace takes about 48 months of intensive work. It is for this reason that predicting rather than following trends drives Oona’s work. She explains that longevity of proportion is more important than the detailing on a design and she strives to create timeless designs that are not trenddependent. She lives by the design philosophy of “Keep it simple – every line has a function!” When Oona stepped on board at Volkswagen she was responsible for the VW Polo which

EDUCATION

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became her ’baby‘. The Polo is a global prod-

the best results when put under immense

uct but if one looks closely at the design of

pressure. Adriaan van Hooydonk, chief de-

the Polo in different parts of the world,

signer at BMW, once said that it is important

you will notice slight tweaks in the design.

to find a rhythm similar to that of top sports-

Oona explains that Volkswagen AG values

men who are also not able to constantly fight

the concept of localisation. All right-hand

for the gold medal. This strategy avoids burn

drive Polos, as well as the Cross Polo are

out. “I had excellent training growing up in

built in South Africa and when they build

the Karroo. The Karroo taught me endurance.

the cars locally, she makes sure that they

Twelve years of boarding school also taught

get as much local content into the product.

me a lot of discipline – these two qualities

This allows for clear differentiation between

make you succeed when others tend to give

markets. Oona has close contact with all the

up,” says Oona. “Creative people hardly ever

production plants worldwide, which include

have breaks. By this I mean that even at

South Africa, Mexico, Brazil, the USA, India,

home designers are always absorbing new

Russia and China. And it is important for her

ideas so their antennas are always set on

to have regular international contact to make

‘receive’.” Some of Oona’s best ideas come

sure that all market demands and needs are

during the night, which is why she has a

met. “The intercultural challenges are ex-

notepad and pen next to her bed. “Of

tremely exciting and I love collaborating

course it is not always possible to make out

with the designers from the different coun-

the scribbles in the morning.”

tries,” says Oona. Oona concludes: “South Africa is alive with The automotive design industry is still a pre-

possibilities and South Africans need to

dominately male-dominated profession.

know that they have every right to stand

However, Oona says that she has absolutely

proud. If one is ambitious, have clear goals

no problem working in this profession and

and believe in yourself, you will make it, no

that she actually enjoys it. She goes on to

matter what your circumstances are. Suc-

say that as in every profession, you have to

cess is just a by-product of dedicated hard

earn respect regardless of your gender.

work.”

“One of the most important things is to try and keep emotion out of business. It is not always easy for females to stick to the cold

About the author

business facts,” says Oona. Chad Petersen is an industrial designer speThere is constant pressure in the automotive

cialising in consumer electronics with a par-

design industry to always 'up your game' to

ticular focus on socially responsible design.

improve on models and compete with other

He is currently working at …XYZ in Cape

manufacturers, and creative people deliver

Town. <

23 >

TOP: The new Amarok from Volkswagen Commercial Vehicles is the company's first foray into the bakkie market. Working across the entire Volkswagen product range, Oona Scheepers says that the Amarok is the one project that is most influenced by her country of birth. â&#x20AC;&#x153;As I grew up on the back of a pick up, this is a true homage to South Africa." ÂŠ Volkswagen. BOTTOM: Wolfsburg, Germany. Volkswagen's state-of-the-art car plant, one of the most advanced automotive factories in the world.

EDUCATION

10 QUESTIONS FOR OMAR VULPINARI

FABRICA

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By Véronique Vienne Photo by EJ Camp

25 >

Serving humanity and art in roughly equal doses A new generation of dreamers is coming of age, young people who believe that humanist convictions can shape their future. Omar Vulpinari is among a handful of experienced educators who actively support their aspirations and efforts. As head of Visual Communication at Fabrica, the Benetton Group’s communication research centre, Vulpinari is helping them become the kind of communication designers who will make a difference.

The work atmosphere at

address the most pressing

art and design residents who

Fabrica is unique – some have

social issues.

stay at Fabrica for 12 months, but also for visiting design

compared this intercultural campus to the Bauhaus. Fab-

V> Fabrica is located less

educators, entrepreneurs,

rica’s studio consists exclu-

than 30 minutes from Venice.

promoters and writers. In fact,

sively of young designers

Every two years, at the Venice

many prominent artists and

from all over the world who

Biennale, the most provoca-

designers passing through

develop campaigns for clients

tive contemporary artists

the region frequently stop

with a social agenda. The Jap-

worldwide exhibit their most

at Fabrica for casual visits,

anese architect Tadao Ando

recent projects. It’s such a

lectures and workshops,

has transformed an old Pal-

stimulating environment,

making the institute a very

ladian villa into one of the

isn’t it?

special and dynamic ‘thinkhub’ in a global network of

most remarkable contemporary landmarks which has be-

O> Fabrica is definitely in a

come home to Fabrica. The

very fortunate cultural and

place, and the people working

geographical position. It is

V> Your visual vocabulary is

on the premises, expresses,

located just north of Treviso

direct, bold, often unnerving

in 21 century language, the

so by car it’s 30 minutes from

(your Global Violence Preven-

values elaborated by archi-

the culture capitals of Venice

tion campaign or anti-smoking

tects like Le Corbusier and

and Padua, 40 from Cortina

ads, for instance). You don’t

Mies van der Rohe – values

(the heart of the Dolomite

seem to be afraid of contro-

that the architectural critic

Mountains), and another 40

versy. Is getting people upset

Peter Blake had described as

from Lesolo, the most pop-

about issues a Benetton

“serving humanity and art in

ular beach-culture coast of

tradition?

roughly equal doses".

the Adriatic Sea.

design-led innovation.

O> Truth sets you free, but

In a recent interview, Omar Vulpinari explained how he

This makes the Fabrica ex-

can also hurt. Our images are

tries to create memorable

perience very appealing, not

about universal realities that

and artful campaigns that

only for young international

need to be communicated EDUCATION

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and addressed, but in a universal

work like Fabrica to attract people

Essentially, lateral thinking is

audience context this can mean

who are aligned with that nature

about thinking without (or with

displacing someone.

of work. We are mostly known for

less) fear of failure. Advancement

our communication design for so-

and creative solutions cannot

Very often our images are direct,

cial concern through our global

come from environments that can-

and for this reason disturbing, but

campaigns for United Nations

not take risks of failing. In the end,

this is not a stylistic/self-marketing

and for 19 years of publishing

the privilege of being able to af-

choice. International research ef-

Colors – The Magazine About the

ford failure first of all requires il-

forts in social communication have

Rest of the World.

luminated governors/entrepreneurs/patrons and their support.

demonstrated that when behaviour change is required through

Secondly, our selection process

visual communication, the mes-

is very sensitive towards sincere

V> Is providing students with real-

sage and its language must be

care for design as a social agent

life clients and real-life challenges

direct and emotionally impacting

of change. This also means look-

one of the new possibilities you

to be memorable and therefore

ing for candidates who have strong

see for people who teach commu-

effective.

image-based communication skills

nication design? Is it what ‘practice

that can transcend perennial lan-

research’ is all about?

For example, countries that adopt

guage barriers and have a more

those disturbing but realistic

direct impact in a global multi-

O> It’s not a new possibility but it’s

photographic images of smoke-

lingual context.

an increasingly relevant one. In a world and market of growing multi-

related diseases on cigarette packs have on average an immediate

Thirdly, my being at Fabrica for 12

player complexity the designer can-

drop of 20% in tobacco consump-

years now has probably also helped

not avoid collaborating closely

tion.

a lot in maintaining consistency of

with the end-user, the client and

message and image.

numerous other stakeholders

V> Your residents (as Fabrica’s

and professionals in different

grant holders are called) are young

V> Massive change will not happen

disciplines (scientists, program-

communication and product de-

with old ideas. You are a pioneer

mers, business consultants, and

signers, video makers, photogra-

of what you call ‘lateral thinking’.

more). Therefore, the designer’s

phers and interaction designers,

What makes this approach really

project-based training cannot any

most of them under 25. And they

different?

longer be focused on the slow-

stay with you for a year or two,

track classroom-simulation basis.

maximum. Plus they come from

O> ’Lateral thinking ideas‘ first

Practice research must take the

around the world. Yet your cen-

need ’Lateral thinking funding’.

students into the clients’ meeting

tre creates socially aware cam-

Unfortunately very few govern-

rooms and to the streets of public

paigns that are surprisingly con-

ments have effective research

service. This will not only turn

sistent in terms of message and

funding policies. Italy is definite-

out as a real benefit for the stu-

image. What’s your secret?

ly not one of them as our univer-

dent but also for the market and

sity research funds are almost

the community.

O> First of all, it’s natural for any

the lowest in Europe, and still

environment doing distinctive

falling.

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TOP: Japanese architect Tadao Ando has transformed an old Palladian villa into a remarkable contemporary landmark which has become home to Fabrica. BOTTOM: Fabrica students at work.

EDUCATION

28 >

V> Are you foreseeing social networking as a way to promote long-term environmental and humanitarian responsibility? What we learnt from the Obama campaign is that the Internet can trigger change — but how do you sustain a new vision over time? O> Certainly. I think that social networking is an extraordinary vehicle for long-term social change and will become more so when issues like China’s government censorship and Africa’s lack of adequate infrastructure are resolved. But because we are in the realm of social networking it’s more a question of who will determine the long-term vision. Here is where I see the great importance of the hundreds of thousands of design students we have globally today. If all these future designers embrace the enormous social responsibility they have from day one of their careers, and take advantage of the communication potential of social networking, they will absolutely be able to make a very important contribution to sustaining and spreading a new vision over time. This is my most important mission with residents at Fabrica and also my students at the IUAV University of Venice in San Marino.

29 >

Client: UNWHO Road Safety | Art director & photographer: Yianni Hill | Creative director: Omar Vulpinari Campaign commissioned by UNWHO for the First United Nations Global World Road Safety Week 2007. The campaign includes five posters and public service announcements addressing “young road users” which are the most frequent victims of road accidents. © Fabrica 2007.

Client: UNWHO Child Injury Prevention Campaign | Art director: Valery Gudenus | Photographer: Piero Martinella | Creative director : Omar Vulpinari The global campaign was commissioned by World Health Organization and UNICEF for the launch of the World Report on Child Injury Prevention in 2008. The campaign aims to convince policy makers to implement preventative measures for the top five injury causes. © Fabrica 2008. EDUCATION

30 >

V> I have a bone to pick with you: I don’t believe that ‘expanded media’, which is central at Fabrica, is really going to transform the way we think and behave. I would compare the blending of all disciplines to the Tower of Babel, not to the invention of the printing press. Can you convince me that the world is a better place because I can take photographs with my iPhone? O> If anyone can effectively, easily and economically document images, text and sound any and every

COLORS magazine issues – Madness, Slavery, Trujillo and Tours – under the creative direction of Adam Broomberg and Oliver Chanarin. Adam, a South African, was a Frabrica resident in 1998 and creative editor for Colors from 2000 to 2003. Adam and Oliver are a photographic team who have been collaborating for over ten years and are now based in London.

instant of their life, anywhere they are, I’m sure the world will be a better place in many aspects. Just think of the citizen journalist phenomenon. Today we have more uncensored information shaping our reality, coming from off-the-street people with phone cameras and blogs than from professional journalists. Another example is the e-reader that is already giving us the possibility of having thousands of e-books in our pocket wherever and whenever we want them. Personally, and I’m not alone, this is definitely comparable to the invention of the printing press. V> You are probably better informed than most regarding the numerous problems and conflicts afflicting people around the globe.

Client: Ulss 9 Treviso: Mamma Beve Bimbo Beve | Art director & photographer: Alizée Freudenthal | Fetus photo © Contrasto | Creative director: Omar Vulpinari Fabrica conceived the symbolic image for the communication campaign Mamma beve, bimbo beve (Mummy drinks, baby drinks) for USSL 9, the public health unit of the Treviso area, Venice, Italy. © Fabrica 2010

31 >

Kuduro series by Chris Saunders, a South African photographer and filmmaker. In 2010 he won a year-long grant at Fabrica where he researched and helped produce two issues of Colors magazine and worked on various video and photo projects for United Colors of Benetton and Fabrica. ÂŠ Chris Saunders.

LEFT: Pantsula series. CENTRE: The Smarteez series. RIGHT: The Tshe Tsha Boys series by Chris Saunders ÂŠ

EDUCATION

32 >

In your opinion, what was the most

to contemporary communication

pressing social issue in 2010?

design and curriculum development.

O> No doubt that global warming is always at the top of the list.

V> You told me once that you are

The UNWHO has global warming

not interested in “design for de-

effects on human health as its

signers” but that you’d rather

current priority, because the

champion “ideas for people”. I

Earth will regenerate in time but

want to make sure that I get what

humanity could be in front of

you mean. Are you saying that

the so-called ’sixth extinction’ of

too often designers try to please

life on the planet.

themselves rather than have a real impact on their audience?

V> You are a vice-president of Icograda, the global body for com-

O> Some young designers are too

munication design. What specific

often influenced by ‘designer

impact do you have on its philoso-

cool’ and by what other designers

phy, strategy and programmes?

think of their work – often featured out of context on their per-

O> Currently I’m leading two ma-

sonal websites. In the name of

jor projects: the Icograda Design

peer-related approval I see too

Education Manifesto 2011 and

much work that is not focusing

Iridescent – The Icograda Journal

on the essentials of the message

of Design Research.

required by the client and the user. This can happen not only

The Icograda Design Education

because of ego-centred agendas,

Manifesto 2011 is a core document

but also because it’s very easy to

that defines Icograda's position on

be creative and cool with what is

design education, taking into con-

not essential, and very hard to

sideration the emerging themes

be creative and cool with only

of technology, inter-disciplinarity,

the essential.

cross-disciplinarity, design research, entrepreneurship, design

I myself have not been alien to

management and design thinking.

this attitude in the early stages of my career. My experience makes

Iridescent offers an international

me think it’s part of the common

peer-reviewed publishing platform

personal evolution that all de-

for innovative research with a spe-

signers deal with sooner or later.

cific focus on issues of relevance

33 >

Client: UNWHO World No Tobacco Day – Show the Truth | Art directors: Namyoung An and Gabriele Riva | Photographers: Piero Martinella and Sebastiano Scattolin | Creative director: Omar Vulpinari | Teeth photo © Province of British Columbia, brain photo © Commonwealth of Australia and child photo: © World Lung Foundation. World No Tobacco Day is celebrated around the world on 31 May. The theme for 2009 is Show the truth: picture health warnings save live”. For this occasion UNWHO commissioned a global campaign to urge decision-makers to apply pictorial health warnings on all packages of tobacco products. © Fabrica 2009.

The body of work, Die Vier Hoeke, is an in depth photographic study of the South African Correctional Services system. These photographs originally started while Mikhail Subotzky was an undergraduate student at the Michaelis School of Fine Art, are now complimented by a new series, Umjiegwana. Mikhail was a Fabrica resident 2006 and has subsequently exhibited in major galleries and museums worldwide. © Mikhail Subotzky.

EDUCATION

34 >

The Albino series by Pieter Hugo. Pieter, a South African photographer, worked in Fabrica’s photography department for two years. His interests alternate between socially aware documentary photography, especially on themes relevant to Africa and other developing countries. Pieter's series of portraits of albinos are actually fragments of mirrors. When you really look, those pale, transparent eyes, that hair of a color without color, that fragile and delicate skin, they really tell us about ourselves. They bring out fears and our prejudices to the surface. © Pieter Hugo.

RIGHT: From the series Die Vier Hoeke by Mikhail Subotzky ©

35 >

About the author

for UNWHO, UNICEF, UNESCO,

VĂŠronique Vienne is a former

tute, The World Bank, Lawyers

magazine art director and editor

Committee for Human Rights,

and has written extensively on

Witness, Amnesty International,

lifestyle trends, design ethics,

Reporters Without Borders, In-

and business practice. She is the

stituto Terra, ArteFiera, Istituto

editor/author of Citizen Design-

Luce, The New Yorker, The Walrus,

er and The Education of an Art

Flash Art, Electa and Cult TV â&#x20AC;&#x201C; Fox

Director (with Steven Heller), Art

International to mention just a

Direction Explained, at Last!,

few. Omar also teaches Commu-

Fresh Dialogue Three and Fresh

nication Design at the IUAV Uni-

Dialogue Four and a collection of

versity of Venice in San Marino. <

UNDCP, UNICRI, Max Planck Insti-

her essays on design was published by Graphis Press under the title Something to be Desired. She teaches a graduate course in design criticism at the School of Visual Arts in New York, is a visiting professor at the BeauxArts School in Lorient, France, and a lecturer at Parsons Paris.

About Omar Vulpinari Omar was born in the Republic of San Marino and raised in the USA. Today he lives in Treviso, Italy. Since 1998 he has been Head of Visual Communication at Fabrica, the Benetton Group communication research centre founded by Luciano Benetton and Oliviero Toscani. Here he has been creative director for social and cultural communication design projects

EDUCATION

38 >

RE-SOUNDING (ARCHITECTURAL) SUCCESS By Anastasia Messaris With the release of their new book Sound

fulfilling and more beneficial than the end

Space Design: The Architecture of Don Albert

result. It may be interesting to note that Mau’s

and Partners (Pythagoras Media Company,

An Incomplete Manifesto for Growth seems

2010), Don Albert & Partners have the oppor-

to condense what I think your practice is

tunity to showcase their conceptually inno-

about: growth and discovery, both for your

vative, technologically astute and slightly

architecture and for the environment in

unconventional method of creating universal

which it is situated. Has there ever been an

architecture. ED> spoke to principal architect

occasion in which you found the journey

Don Albert about key issues surrounding

vastly more rewarding than the end prod-

their approach to creating sound spaces.

uct? Has this shaped your idea of ‘not knowing’ at all?

ED> Central to your investigations of space and innovative design is your idea of ’not

DA> Yes certainly, and that ‘process-driven’

knowing’. The communication designer Bruce

approach is something promoted by many

Mau stated in his An Incomplete Manifesto

designers, physicists and educators, including

for Growth that: “Process is more important

Thomas Heatherwick, Isaak Newton and Aris-

than outcome. When the outcome drives the

totle respectively. I think in any of our un-built

process we will only ever go where we’ve

work, the ’end product’ is merely drawings,

already been. If process drives outcome we

models, animations and images, so here the

may not know where we’re going, but we

process is more rewarding simply because

will know we want to be there.”

there isn’t a built work as such. Of course this media is still an architectural artefact. I would

I find this idea appealing in that it fits into

go so far as to say that ALL our projects’

your idea of ‘not knowing’, that the progres-

processes are more rewarding to me as an

sion of the wander is undoubtedly both more

architect than their built manifestations,

39 >

The Millennium Tower provides an ideal urban focus, new symbol and powerful identity for Durban, Africa's busiest port. The tower is a port control and vessel-tracking facility. It communicates fluctuations of sun, wind and tide, while symbolising the growth and transformation of the city into the third Millennium. It is a 75 m high kinetic sculpture that add significant information for the local surfers, sailors, fishermen, workers and holiday makers.

EDUCATION

40 >

because, in general, the memories I have of the projects are in the making. I rarely get to use and experience the buildings as a client would, or the public would. In any case, architecture is in the mind first and foremost.

Views of the book Sound Space Design: The Architecture of Don Albert and Partners.

ED> How have the advances in computer technology aided in your design exploration? DA> When I started practising as an architect, I used an abominable piece of software on a PC called TurboCAD. It was really crude 3-D. When I got to UCLA, real-time movement through 3-D environments was just being pioneered on Silicon Graphics machines the size of an average car, using military flight simulation software no less! Nowadays that kind of computing power resides in a cheap laptop, let alone an Apple PowerBook. Software has improved exponentially too. Today Rhino Grasshopper and similar software are capable of doing mathematically rich generative scenarios that a decade ago could only be done through MAX SP and Mathematica, both of which were impenetrable

41 >

software to most architects. At each step, we at

ED> Does this then correspond to your beliefs

Don Albert & Partners have tried to keep

of an architecture of longevity, that the build-

abreast of, if not be ahead of, the curve. Hav-

ings people like to look at and inhabit (i.e. are

ing said that, and as noted in ‘not knowing’, I

popular) will have the most lasting success as a

am very sceptical about how BIM is affecting

design? But if pop (or popular) abides by trends,

the industry from a creative point of view, as I

does that mean that the architecture that pop or

believe it short circuits a lot of abstraction

popular-ism produces is also a trend? Further-

that should occur in the design process.

more, how does your version of pop context

ED> In your book you call yourself a contextual architect and you explain context as something that is not entirely rational, that is fluctuating and circumstantial and will most certainly alter within the lifespan of a building. You also (quite refreshingly) draw influence from pop, specifically the music videos of Kylie Minogue and Dawn Shadforth. In this way I see pop (or popular-ism) in

differ to that of say, the Century City’s and Caesar’s Palaces of pop context? DA> There is obviously a question of taste in everything, however, my view on pop music, as much as pop architecture, is that the song itself, or the building itself has to be intrinsically meritorious from a ‘structural’ or ‘functional’ point of view to enable any kind of longevity or appreciation in the first place. There are rules, but the

itself becoming a context. Is this a correct cor-

most important quality of pop is currency. This is

relation?

what elevates it into the popular consciousness and might separate it from the competition,

DA> Yes, certainly. Although popular culture

however from that moment on, i.e. the moment

is an intangible thing generally, it certainly is a

it has registered as ’popular‘ it becomes legacy,

’context’ to me.

precisely because it was once novel enough to

EDUCATION

42 >

register as such. I hope I am making sense, but I think a simpler way of saying it is that everyone remembers a fresh take on something, or something that is original and new. The imitations are generally what are not ’lasting’ as you say. We will always remember Lady Gaga’s Poker Face even if it’s hideously dated today. The song only broke through at a certain time, because it was great POP! From that moment on though, it becomes a ‘classic’. THIS PAGE: Stills from Kylie Minogues' videos Can't Get You Outta My Head (left) and Love at First Sight (right), both directed by Dawn Shadforth, showing a distinct appreciation for the structural possibilities of fabrics and simplistic computer generated grids that were popular in 1980s video games and music videos. These concepts were reinterpreted in the structure of the building trusses which modulated up and down in a simplistic fashion, filled with mesh to allow natural air flow into the building, Proud Heritage Clothing Campus, 2005. View the videos here.

There is nothing wrong with being ‘on trend’,

OPPOSITE PAGE LEFT: Design study for the balcony of the diner at Proud Heritage Clothing Campus, Warehouse 1.

One finds, particularly in South Africa, that the

FAR RIGHT: Proud Heritage Clothing Campus.

quence. In almost all design and architectural

but its far more interesting for me, to be pioneering. The Caesar Palaces of the world, whilst being popular venues of commerce and retail, are not particularly innovative aesthetically, so if I had to split hairs, I would say I am interested in intelligent, innovative ‘POP’ (music and architecture), as opposed to works that are following an already established trend.

design culture is especially trend-driven, and lacks depth and conceptual rigour as a conse-

43 >

publication in South Africa, there is an at-

and limiting regurgitations of the past,

titude that ‘as long as it looks trendy, it’s ok’.

period.

The current big trend is ‘green’, or ‘eco’ of course, which I feel has become somewhat

The history of South Africa is an appalling

of a facile pretext for conceptualisation, as

one, and is not to be shied away from, how-

if the concern for sustainability has never

ever, I believe that we need to fashion a

been on any architectural agenda before.

positive vision of the future, one where our commonalities and capacities as human be-

ED> Both your writings and your architecture

ings are amplified, as opposed to our dif-

convey a relentless sense of enthusiasm and

ferences, which, seventeen years into so-

optimism. It is a feeling of looking forward

called democracy, still seems to be the case.

(in pre-conceived notions of culture and context, of budget and technology, of form, of

ED> Your (in South African terms) unconven-

education) as opposed to a very strong South

tional method of producing architecture is

African tendency to look back to previously

occasionally conceived locally as a Eurocentric

defined ideas of context and identity. Perhaps

way of designing, and the consequent archi-

this is why you seem to court a fair amount

tecture is then viewed as best suited to the

of controversy. Can you respond to this?

cultural and technological climates of Europe. But was there ever a time when you were

DA> I actually don’t know about any con-

startled by how very South African you seemed

troversy. I certainly haven’t seen anything

in your design process, when your way of

in print. I can imagine what you are writing

creating space was so obviously local?

of though, in terms of the way I have been shunned occasionally by certain groups in

DA> I think if you look at how certain neo-

the academe and in the profession, so a fair

modern architects are designing from Cali-

response to your question would be that

fornia, to Spain, to China, that there is nothing

certainly, I am not interested in self-fulfilling

especially European, or Eurocentric in them,

EDUCATION

44 >

45 >

and by extension, in the approach of Don

I think the connection between so-called

Albert & Partners, unless you are suggesting

Western modernism and African, and the

that all neo-modern (process-driven?) archi-

Eastern cultures, is a deep one and should not

tecture is Eurocentric? I have a big problem

be oversimplified in the criticism of modern

with that statement, for many reasons, but

architecture.

mostly because I believe that Western civilisation draws on extensive roots and borrowings

ED> I personally sense enormous growth

from Africa in the first place.

in your designs between the initial concept and the final architectural product. To me

I think that there is a great degree of sensi-

it seems your grasp of intricate and alter-

tivity towards ‘specificity’ and context in the

native technologies is able to transform

architecture that I regard as inspirational and

your vision into an architecture that is (in

merit worthy. The key for me is how to abstract

your own words) “robust enough to endure

contextual issues (as opposed to forms) in

and meaningful enough to be valued.” Yet

order to unleash their power and create new

in your book you speak relatively little about

ideas and new architectural forms and spaces.

technology and more often about concept.

I also don’t see anything particularly prob-

For you, how does the one influence the other,

lematic with being influenced by local forms

and at what stage is technology thought

or morphologies either, as long as there is

about as a concept in itself?

some critical attitude towards such physical hegemony. Furthermore, I don’t see why or

DA> To me, technology is an enabler, not

how that notion of abstraction belongs ex-

an end-in-itself. It is the tool that allows us

clusively to Europe when in fact, the idea of

to be creative, to see things differently, to

abstraction belongs to everyone, and is

make things differently. There is no single

very alive and well in Africa.

technology that is inherently any better than any other. I am very happy to draw on a draw-

Do these critics who view our process as

ing board, if that is all that is at hand. It’s

Eurocentric not know of the abstraction in

what you do with it that matters; and that is

carved African masks that influenced Picasso

why the concept is always stressed in our of-

(and thus the whole of modern art), or the

fice, not the medium. Of course, sometimes

wonderful mathematics and abstraction in-

the medium informs the concept, and vice

volved in Zulu beadwork? Or how much the

versa, but it’s about the idea ultimately. I

Greeks in fact borrowed from the Egyptians

am not interested in pontificating about

forming the bedrock of Western civilisa-

certain technologies, as these, inevitably

tion, amongst many, many other examples?

become redundant sooner or later anyway.

The Fingerprint House concept was their first attempt at a digital, algorithmic design process. The basic idea is to create a HIS and HERS type web-enabled, flash-generated software that would enable you to design for different clients, as it would automatically generate a hybrid of the clients' tastes. Don Albert and Partners believe that Internet-enabled house design has great potential in the future. View the videos here. EDUCATION

46 >

ED> In the commercial reality of architecture in practice, how do you manage to convince your clients of the importance of concept? DA> Usually the concept should be big enough to survive commercial realities and should obviously be borne of the same. I can think of only one example in the past when the concept just couldn’t be achieved for reasons of budget. That’s not a bad track record! ED> In an interview with Nic Coetzer you called the current practicing architects in South Africa “a small new elite”. Do you think a lack of interest from government and an THIS PAGE LEFT: Diagrams of Organic House, Cape Town – searching for three-dimensional common spaces (double volumes) and then converted into a spline system inspired by Peter Eisenman's 'virtual house' process. RIGHT: Spline diagram. OPPOSITE PAGE: Views of the completed Organic House.

increase in architecture of commercial gain has contributed to this? Where do you feel the current state of South African architecture is in terms of discourse, education and practice? If we continue in this vein what do you think the eventual outcome will be? DA> I am not clairvoyant, but I do believe that a dwindling economy, coupled with a

47 >

lack of intellectual rigour, rampant corrup-

ED> Your book is an exciting new addition to

tion, a lack of concern for meritorious appoint-

the chronicles of local architectural theory

ments and a paucity of competitions and

and practice. What prompted its produc-

genuinely public debate (i.e. involving city

tion and have you learnt anything through

planners and administrators) on architecture

the process of recording your thoughts and

in South Africa, as is currently the case, is

documenting your discoveries?

going to have a negative long-term effect on the profession. The climate of public commis-

DA> Thank you. I think your preceding ques-

sions in architecture should always be the

tion, more than anything, alerted me to the

litmus test of a nationâ&#x20AC;&#x2122;s values, and its value

fact that South African architects need to

in architecture.

engage with each other and their audience more. We need to be proactive, and of course,

At the moment, there is a coterie of 'glamor-

document what is going on in our heads, if

ous' architects doing well for themselves,

anything.

and there is a justifiable concern for 'green' architecture which is worthy and will hope-

Your questions are indeed a welcome out-

fully have a greater impact on commercial

come of the process of taking the time to take

developments, however, in the main, the art

stock. I think that I have learnt that making

and role of architecture is simply not on the

architecture is much easier than making books

radar in South Africa and is practically ignored

about architecture, but unfortunately I will be

by government. Until something radical hap-

doing more of that too. My next book, inci-

pens in that regard, I see very dire consequenc-

dentally, is going to be the first in a series on

es for South Africa, and not just from a purely

Pop Architecture, one pre-millennium, and

architectural point of view. We need to see

one post.

architects returning to an active position of intellectual and commercial integrity.

EDUCATION

48 >

ED> You have studied in both California and Durban, at two very different institutions. Are there any aspects of the educational process at each institution that you believe KwaZulu-Natal Legislature building, 2009. This complex is a microcosm of the province's landscape, geology and diverse cultures. Drawing on the accretive nature of building in Africa, and indeed in all life-forms, the architecture fuses vernacular and futuristic geometry into a hybrid that is able to change and grow without compromising the aesthetics. A landscape of ceremony and celebration is devised by emphasising outdoor eventing particular to Zulu culture and by imbuing certain areas like the Ensamo (sacred place) and Olwandhla (artificial ocean) with ceremonial functions that incorporate ancestral approval and blessings. The building is conceived to render unto the nation, an elevated status of the province known as the Kingdom of the Zulu, whilst giving the Legislature and Administration the authority, space and technical ability to perform its duties.

should be incorporated into the study of the built environment? DA> Each had their pros and cons. The standard of education and of the teachers at both, in my time anyway, was outstanding. If I had to be glib, I would say that the South African education, which stems from the British, like it or not, is inherently more interested in the minutiae of building, the structure, the envelope, and the detailing (i.e. it is Victorian in outlook, and also, rather fond of industrial building processes and materials), whereas, in the USA, the agenda is possibly more Greek, (i.e. it is more about space, proportion and meaning) which I think is a Jeffersonian influence, who of course was a great

49 >

architect, and not just the President of the United States. It would be wonderful if South

About the author

Africa had an architect for President one day,

Anastasia Messaris graduated with a Masters

wouldnâ&#x20AC;&#x2122;t it?

in Architecture at University of Cape Town. Her research topic dealt with music as an

NOTE: ED> would like to thank Don Albert

inspiration to and generator of space. Focus

for his continuous enthusiasm, interest and

areas of her career are architecture as a social

involvement in both the practice of archi-

construct and architecture of light. <

tecture and this article.

References Oâ&#x20AC;&#x2122;Toole, S. & Gunning, S. (eds.), 2010. Sound Space Design: The Architecture of Don Albert and Partners. South Africa: Pythagoras Media Company. Mau, B., 2010. An Incomplete Manifesto for Growth [online]; available: www.brucemaudesign.com Trumpet House, view of master bedroom from below. The client was particularly enthralled by Art Nouveau, which became an entry point into the design. Although the house was never destined to be built on the initial site, the Trumpet House design perfectly demonstrates 'a not knowing' approach. During a site investigation it was envisioned that the building should rest within a grove of jacaranda trees and that a very flexible scheme to the precise location of the trees, would be ideal. View the videos here.

EDUCATION

50 >

AFTER A

GLASS

SHOE By Maran Coates. Liam Fahy’s unconven-

conceptual signature styles impressed the

tional background has greatly affected the

judging panel which included the legendary

man he is today. Having launched his compa-

Manolo Blahnik.

ny, Liam Fahy London in 2010, specialising in women’s luxury shoes, Liam seems to be fol-

As part of his prize Liam got a paid intern-

lowing the natural progression of an already

ship alongside Rupert Sanderson, learning

award-winning shoe designer.

the secrets of true Italian craftsmanship and design. Liam says, “Italians work to live. They

Amongst his most important successes was

do not live to work. And you need to speak

winning the first ever Fashion Fringe Shoe

Italian if you want to work in Italy.” Sander-

competition in the UK in 2008, when he was

son is quoted as saying, “for me, it's refresh-

picked from six finalists. Liam’s innovative,

ing to be able to work with such a young and

diverse design experience and unusual

enthusiastic mind.”

I Ashi Bionicus range. © Liam Fahy London.

51 >

EDUCATION

ÂŠ Liam Fahy London.

52 >

53 >

EARLY YEARS AND INFLUENCES

The role of ‘two’ gets interpreted into other

As a youngster growing up on a snake farm

and flexibility which he always use in his de-

outside Harare, Zimbabwe, his isolated Afri-

signs.

contexts where it implies symmetry, ‘positive and negative, black and white and rigidity

can upbringing crafted his fundamental approach to design. By focusing on designing

From a very early age Liam’s Lego collection

from the inside through to the outside rather

sparked his interest in physics. For him, Lego

than designing the outside only, Liam cap-

portrayed the “very close relationship with

tures a sensibility of what he calls “our African

graphics and geometrical proportions, espe-

aesthetics’ powerful signature which em-

cially in relation to structures and move-

phasises functionality and simplicity”.

ment”. The I Ashi Bionicus range of boots he designed is an example of both the use of

Liam’s strong aversion to capitalist corpora-

structure and movement and also of his re-

tions, along with his design approach, means

search which won him the 2006 Linea Pelle

that the commercial weapon in his design is

Footwear Award in Milan.

to focuses on quality craftsmanship and conceptual interpretation. His frustration

Liam’s conceptual formula for success seems

with capitalist corporations stems from the

to be pretty straightforward and in many of

fact that Liam has seen the social and eco-

his interview responses he mentions the role

nomic effects of mass production and poor

of research. “You can never do too much re-

quality imitation in his own country, as well

search. I love the research process. A project

as other third world countries. Liam’s con-

will always evolve as you do more and more

ceptual process is based on his personal

research.”

theories of physics and psychology which he couple with the powerful tool of research.

As an example he explains that the I Ashi Bionicus range was inspired by a myriad of

As part of his personal philosophy Liam talks

sources, ranging from a telephone handset,

passionately about the number two. “The

a ceramic plate, Bjork’s music video All is full

most important number in design is two.

of love, Apple iPod, Toyota i-series, i-robot,

Perfection in nature supports this. There are

armadillos, the joints of crabs, the tops of

two main hemispheres of the brain, two

coffee cups and helmets. The overall con-

eyes, two ears -the list is endless. Nature al-

cept emphasises purity and simplicity in

ways maintains balance, simplicity and mini-

form through clinical colour and minimal

malism.” Liam further interprets this number

construction. Though the inspirations are

by looking at contrasting characteristics that

futuristic in some sense, the conceptual

rely on the tension between the opposites.

principle is rooted in functional simplicity.

This tension creates energy and strength.

EDUCATION

54 >

Liam proudly says: “Some people look at

on the farm where he grew up have, for in-

how shoes are made and design a shoe that

stance, given him the knowledge to look at

conforms to that. I like to design a shoe and

a sample of python leather and determine

then invent a way to make it.” With this in

its authenticity and also recognise the spe-

mind Liam then thinks of the ‘how’ part

cies and its age.

which is where he poses questions like, “can I combine an inflexible incongruous medium to a traditionally flexible and soft product? Or could the product be mechanical, have

FOLLOWING HIS PASSION FOR DESIGN

moving parts like pressing a button that opens the top? Or can the heel be altered

After high school, Liam briefly studied at

with a remote control?” In the end the I Ishi

the local international art school. At the

Bionicus boots were made from a neoprene

same time he spent time learning about the

‘sock’ with vac formed plastic gloss caps and

value of social thought through his informal

detailing.

training with local artists, mainly stone sculptors, welders and painters. “Zimbabwe,

Liam first experienced ‘the theatre of fash-

I think, has the highest concentration of

ion’ where design and psychology meet

sculptors in the world. We used to make art

when he was head boy at Harare Interna-

just for the sake of it and left pieces in

tional School. Here he learnt that entertain-

strange places for someone to find one day.”

ment gets the audience’s votes. “Entertainment and emotion depend entirely upon

Liam left art school for what he calls a hiatus

personal perception. Psychology is the big-

and “a break from the conventional Western

gest component of entertainment.” For

definition of work”. The hiatus was spent

some the entertainment is in the fleeting-

along the Zambezi River with the Batonga

ness of fashion itself. However, engaging

tribe. “It is their completely different way of

the emotions in that experience adds an-

looking at life that interested me.” Many

other dimension to Liam’s work. By consid-

people in the area have a two-hour com-

ering and experimenting with functionality,

mute to work, work 9-6, no lunch, two-hour

internal construction, acoustics of the prod-

commute home, microwave meal, sleep, and

uct, light properties and touch, Liam reacts

repeat this Monday to Friday.”

to his clients preconceived perception of footwear.

Living in Zimbabwe meant that Liam did a lot of travelling when he was younger. “It

Liam has also made the connection between

was pretty isolated so it made me want to

his homeland and his career. The experiences

get out there and see what was going on.” Wassili range. © Liam Fahy London.

55 >

EDUCATION

56 >

Deciding to study abroad seemed to be the

The Safari range of high-end boots referred

most obvious way to do that, where he

directly to Southern Africa’s colonial period

could embrace his passion for hands-on de-

of the 1900s. Liam added to the authenticity

sign. After his hiatus, Liam left for the UK to

of the boots by using materials such as khaki,

study at the prestigious De Montfort Uni-

canvas, mahogany and vegetable-tanned

versity in Leicester where he enrolled to

natural leather. Most interestingly, Liam

study shoe design.

took his inspiration to another level by moulding the shape of the heel on the butt

When reminiscing about his student days at

of a vintage revolver from the 1900s.

De Montfort University, Liam notes that the “strange thing is that out of 20 students on

After graduating Liam got a job at a consul-

my course, four of them were Zimbabwean!

tancy that was designing for the Cushe foot-

It must be something in the water.” He says

wear brand. He says: “I learnt more in one

that many of the foreign students have a

week than I did in three years at university.”

unique approach to design. Based on the im-

During this period Liam spent almost every

pact of their culture and upbringing, Liam

month in China and Hong Kong, visiting

says, “I can look at a design now and tell if it

huge factories, eating strange things and

was a Japanese designer, an African one or

doing work for clients such as Harley David-

an English one.” However, his advice to any

son and Caterpillar. He says that this first-

African who wants to study abroad is “to go

hand experience of the commercial process

straight to work experience” but that “most

was a shock to his creative system but was a

of what you learn is not what you are taught

great learning curve.

but what you teach yourself.”

EARLY ACHIEVEMENTS

VIEWS ON THE FASHION INDUSTRY

Being an achiever seems something that

Liam believes that the contrast between the

comes naturally to Liam (or maybe due to

Chinese and Italian processes is immense.

the ‘Zimbabwean water’). In 2003, Liam was

Having seen the vast worlds between qual-

awarded H.I.S Presidential Award for his

ity crafted footwear from Italy and the mass-

academic achievements at school and while

produced imitations in China, Liam had the

at university, he was awarded first place in

experience to decide where he wanted to

the Drapers Designer of the Year Award in

align his own business. Also, the time Liam

2006 in the UK with his Safari range.

spent with the Batonga tribe in Zimbabwe,

TOP: Safari range. © Liam Fahy London. LEFT: Charlotte black satin. © Liam Fahy London. RIGHT: Charlotte printed satin. © Liam Fahy London.

57 >

EDUCATION

58 >

allowed him to get to know people who bear the brunt of mass production. “Every coun-

I’M MY OWN BOSS

try and footwear industry in Africa have suf-

Liam Fahy London was officially launched in

fered because of a lack of protection from

2010. From the onset Liam had to decide

their own governments from what we call

where his new business would stand on cre-

‘footwear dumping’ or ‘predatory prices’

ating and supplying clients with magnificent

originating from China. Nobody wins but

shoes. Liam notes that “in China the factory

the corporation or the dodgy government

does it all, but in Italy the designer has to

minister.”

do everything, all the sourcing and even the packaging”.

There are many designers who believe that creativity is suffering because of the fast

Liam Fahy London only makes limited edi-

pace of fashion. Liam sees the impact that

tion ranges which are available on its e-bou-

publication dates, sales seasons, VIP events

tique and through VIP agents around Europe.

and special issues place on have on the qual-

“We really want to maintain a sense of exclu-

ity of the product and on the design itself.

sivity and authenticity with our clients, even if

Some mass-produced labels can go from

it means turning down large orders and cus-

idea to store in under a month, yet for small-

tomers. For me it’s not about the money, it’s

er design houses this usually takes six

about the appreciation of the article.”

months. This gives mass-produced brands more than sufficient time to imitate and

Liam’s latest collection for Spring/Summer

capitalise on others’ ideas. His other con-

2011 was inspired by two opposing ele-

cern is that “audiences are being diluted by

ments: leather and metal. He employed

the ‘atomic’ creation of media platforms for

‘metal-smithing’ techniques that were used

fashion marketing such as MySpace, Face-

to make armour and helmets in the 13th

book, Twitter, YouTube, blogs and vlogs.

century for the nickel or silver embellish-

The result is that shoes no longer last a year,

ments on the new shoe collection. Though

they are in vogue for a month, max.”

ancient methods were utilised, it was important for Liam that his shoes be classic and “highlight and complement the foundations of a strong wardrobe”. “Most fashion designers tend to create collections that have a superficial aspect to them that don’t really go deeper than the

TOP: Charlotte purple satin. © Liam Fahy London. LEFT: Cerise mirror patent. © Liam Fahy London. RIGHT: Cerise black satin. © Liam Fahy London.

59 >

EDUCATION

60 >

surface of what their audience can see – colour, patterns and silhouette. Many people spend too much time with their heads down instead of sitting back and thinking.” Liam quotes Pierre Cardin who recently said: “There is no more fashion because there is too much fashion.” Liam draws on the diversity of his work and life experiences to create richness, including the contrasts between the intensity of Chinese production, the quality of Italian craft, the practical functionality of Zimbabwean art, as well as the context of living and working in London. When asked what is next, Liam answers with the most unlikely yet suitable reply for a shoe designer: “I’ve always liked the idea of a glass shoe – it’s just finding a way to make it work.”

ABOUT THE AUTHOR Maran Coates is currently doing a Masters degree in Fashion Design at Nelson Mandela Metropolitan University. She has a particular interest in conceptual fashion styling, social commentary and critical fashion journalism. <

TOP: Chaunte python navy. © Liam Fahy London. BOTTOM LEFT: Caresse caramel. © Liam Fahy London. BOTTOM RIGHT: Caresse navy patent. © Liam Fahy London.

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EDUCATION

ION COLLECT E T A U D GRA 10 SHOW 20

WIN A NANO

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65 >

Frost*

UNDERSTANDING THE SERIOUS PLAYGROUND OF BUSINESS AND GOOD DESIGN By Marlé van Zyl. These days it could be

report, State Library Centenary typeface,

difficult to use the word ‘design’ without

Woolworths South Africa packaging and

the name Vince Frost or Frost* coming to

FUTU Magazine. He is the man behind a

mind. The innovative, out-of-the-box thinker

range of projects including TV graphics,

has taken the design and business worlds by

large wayfinding systems and books despite

storm and with studios in both London and

also being named one of the top 100 most

Sydney and with his eyes fixed on expanding

influential people in Sydney by The Sydney

the base to Dubai and Asia, it seems that his

Morning Herald in its December issue. In the

staff of 35 might soon be growing exponen-

magazine he is referred to as “the visualiser”

tially.

by a team of expert panellists.

You might recognise his fun speech bubble

In an interview with ED> this creative genius

design for the retail signage at Sydney Air-

gave us a sneak peek into his cheerful world

port or the environmental graphics he did

of graphics and brands.

for Sydney Park Playground that simply oozes playfulness. Or his name might sound fa-

Vince Frost, born on 23 November 1964 in

miliar as the man who won awards such as

Brighton, UK, is a man who believes that

the D&AD silvers, golds from the New York

“the core to success is aiming for success

Society of Publication Designers as well as

and getting it as right as possible”, and that

the New York and Tokyo Art Directors Club,

is exactly what he is doing. When asked

Futuretainment book, Abundant exhibition,

about his inspiration his answer was simple:

Sydney Airport brochure, State Library annual

“the client”. From the moment of meeting

To celebrate Actew AGL’s 10th anniversary, the company commissioned Frost*, in collaboration with renowned Canberra-based artist, Robert Foster, to create a sculptural installation for the foyer of their new headquarters, 2010. EDUCATION

66 >

with the client and hearing their desires and

with a new and different input that shakes

objectives the ideas and images start pop-

up predictable thinking” is great for a unique

ping into mind, he says. He and his staff then

development of each project.

start brainstorming and try to visualise ideas and test their quality and viability. He de-

Together with a major retrospective of his

scribes it as an exciting process, which in-

work entitled frost*bite: Graphic Ideas by

volves lateral thinking, strategy and creative

Vince Frost, which was exhibited at the Syd-

exploration.

ney Opera House, he also launched a book entitled, Sorry Trees. The book formed part

During his formative years, designing was

of his exhibition and the title he explains

something that excited him, but he first had

“was an idea I had after thinking about all the

to do a lot of soul searching and struggling

trees that died with every job I had specified

for a while to find a possible career until he

over the years. The book is full of case studies

stumbled across a design school, the West

and captioned with explanations on how and

Sussex College of Design. He was deter-

why they grew into what they did”. Readers

mined not to waste one single opportunity

can expect a unique insight into the daily

and jumped in 100%. He drew inspiration

working practices of his award-winning de-

from magazines such as The Face and in his

sign studio.

first job his early inspiration came from watching senior partners at Pentagram Lon-

Unlike some, Frost admits to his contribu-

don working on solving problems. One of

tion to an unsustainable environment and

the founders of Pentagram, Alan Fletcher, is

today he shows great responsibility towards

also one of Frost’s icons. He describes him

the environment and social development –

as “amazing but a gruff designer and an in-

hence the reason why they are a carbon natural

credibly witty thinker, whose ideas always

studio that aims to minimise waste. Despite

seemed effortless but they were clever,

technology, which allows for mass-produc-

spot-on and eventually made you smile once

tion, consumerism and mass communication

you understood them”.

through various social media platforms, Frost still believes that print and paper will

From the days of watching his seniors, al-

not disappear and will always be used in

ways aiming for the best solution you can

some form or other. Might it be due to

achieve with the opportunity in front of you,

greed or survival, “Man has always designed

Frost still believes that this is the core of

ways of using natural resources, and today

success of any project. “Be hungry to please

we need to continually look for new ways of

your clients and involve them in the process.

capturing energy with little or no negative

Try and capture a unique point of difference

harm to the environment. Creative thinking

with every project. Collaborate because if

can bring about new concepts and innova-

you want to work in isolation, become an

tive ideas that can make this possible.”

artist”. Frost is very enthusiastic about collaborations across different creative disci-

Every season trends come and go, but

plines, as he believes that “bringing in anyone

according to Frost trends must not be

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TOP: Retail signage for Sydney Airport, 2010, incorporating devices such as speech bubbles and witty captions for a tone that is fun and approachable â&#x20AC;&#x201C; almost as though the Airport is having a conversation with you. MIDDLE: Abundant Australia, Venice Biennale book, 2008. BOTTOM: Advertising campaign for the Sydney Dance Company, introducing the 2009 dance season.

EDUCATION

68 >

TOP: Celebrated publisher Phaidon Press commissioned Frost* to design the first truly comprehensive collection of Indian recipes, demonstrating the incredible diversity of Indian cuisine. The inspiration for the design came when visiting a small Indian grocery around the corner from the Frost* studio. The design team noticed that the rice came in a cotton bag, which coincidentally had the same proportions as the big India cookbook. Every chapter is printed on different coloured stock to suggest the texture and colours of India, 2010.

69 >

LEFT: Book design for Rizzoli Publications, 2006. CENTRE: Trio, property development magazine. RIGHT: One-off Frost*flat for Trio in Sydney, 2009. Frost* was one of four companies commissioned to design the interior of exclusive apartments in the newly developed City Quarter. The 3D team at Frost* had great fun bringing its type and ideas to life. They created new homeware products such as typographical cushions, limited edition prints, bed spread, beach towels, plates and table runners.

EDUCATION

70 >

TOP LEFT: Frost* has developed a very successful signature range of fashion, accessories and homeware products. RIGHT: Packaging for Woolworths South Africa, 2010. The in-house design studio Frost* has set up for Woolworths has begun rolling its first new packs onto shelf, the initial stage of what will be a mammoth packaging redesign program, eventually encompassing more than 5000 items.

71 >

overlooked: “Trends have lots of power and

At present Frost is also appointed as the cre-

what is popular today creates interest, PR,

ative director of Woolworths, South Africa

demand and sales.” The same can be said

where he works closely with other design

for the power of the creative industries.

companies. One of his first major challenges

Because everything that is manmade has

was to be the ‘caretaker’ and manage the

been designed, Frost explains that design is

different applications of the new brand

not only there to make things look nice:

identity during the recent transition phase

“Design can be bad too”. He states that hu-

from the old to the new. According to Vince

man ideas are unstoppable and we will re-

it can become important for such a trusted

lentlessly continue to think up new ways to

brand to change their identity, as the com-

make things better and simpler. “We all

pany should always “remain relevant and

want a better world in which things work

front-of-mind with its customers”. One

well, easy to clean and sustainable. And we

might wonder what the risks are when such

all want to put our own ideas into reality.

a trusted brand decides to go all the way

Therefore creativity can be seen as power-

and whether the new would add value to an

ful and wonderful. Society progresses

already valued company. But according to

through inquisitive minds,” he continues.

him “it’s a competitive changing environment where innovations and designs need

Frost was first introduced to typography by

to be constantly developed to meet the de-

his dad who worked as a letterpress com-

mand and improve our lifestyles. Wool-

positor. Typography, the expression of

worths needs to always be modern. The

words, is a very powerful, creative and social

danger with any brand is that, in time, it can

tool as words are the expression of ideas

appear to become complacent and dated,

and thoughts. Therefore, it can be seen as a

with the effect of not appealing to its cus-

different communication system through

tomers or younger new potential consum-

creating visual stimulus and engagement

ers. Woolworths is a company that seriously

with the reader, audience or consumer.

values design and quality like I have never

When Frost worked at Pentagram London

experienced before. It’s very much a leader

they only had four fonts they could choose

in the world by being determined to be dif-

from which were Helvetica, Franklin Gothic,

ferent and make a difference in everything

Garamond and Bodoni, but although it was a

it does. To stay different you need to con-

limited ‘palette’ they were all very proud of

stantly change,” Frost explains.

it. Times have changed and today there are millions of fonts to choose from and a great

When he was asked to comment on whether

variety to express design: “We spend our

South Africa has the correct ingredients to

childhood learning how to spell and read.

be a global role player in fields of design he

And then our lives and eyes are hit by typog-

seemed puzzled by the question and asked

raphers and designers.”

why people think that life, work or design might be better elsewhere? Or why should it be important to design in a specific ‘South

EDUCATION

72 >

African’ way? “One should rather focus on

Today we experience a sense of a global

where you are and do good work. We are all

style, which Frost is very excited about. One

different, be yourself and stand tall.”

can no longer clearly distinguish between one countries approach from another’s. In

While there is still a common misconception

the past designers seemed to be much more

that design is simply a frivolous industry, in

secretive about their ideas, but today it is

reality it can be a major role player in as-

certainly customary for most designers to

pects of innovation, job creation and intel-

communicate openly about their projects

lectual property that will contribute to eco-

and ideas. Frost believes that this type of

nomic prosperity of any country. Frost

collaboration and sharing is of great value

admits that at first he didn’t quite under-

for the development of unique ideas and for

stand what design was, until he was about

individual development as it is vital to learn

18 years old. Although he was aware of the

from each other.

world of design it did not mean that he understood the process behind the projects

When asked if he had any advice for young

and how the things he experienced came

graphic designers the reply was simple,

about. He refers to the world’s image of de-

“have fun, listen, explore, question, learn

sign as “fashion or home ‘make- over’ chan-

and make”. Being passionate about what

nels”. According to him people need to be

you are doing and going about life in a posi-

educated to the fact that design is every-

tive way is the key elements to his success.

where and anything can be seen as a form of

It seems that there are no definite rules or

design, whether referring to an accountant

guidelines to becoming a great designer ex-

designing a better financial system or a chef

cept for hard work and perseverance and to

designing a tastier meal. He therefore pre-

do and explore whatever feels natural to

fers the word “create” to the word “design”.

you, “and if you fail...try, try again” he concludes.

Currently designers are often seen as problem solvers, people who strive to find a solution for every obstacle and one can expect

ABOUT THE AUTHOR

nothing than the same positive attitude from Frost, as he believes that design can be

Besides being a qualified scuba diver, Marlé

used in so many ways to fix problems and

van Zyl also achieved a Degree in Drama and

have a role to play in all communities.

English Studies at the University of Stellen-

Whether you are living in a first world, de-

bosch. She enjoys writing about anything

veloping or third world country one should

that is informative and can add value; as

strive to “think big for even small problems

well as current news, no matter the field. <

and believe that anything is possible.”

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TOP: Refreshing strategy of Sydney Airport’s airline marketing collateral, 2010. Sydney, as a hub, offers something that most other cities in the world can’t – its unique outdoor lifestyle. This brochure needed to use the city itself as a selling tool for the airport. Frost* wanted to realise the idea of the true Sydney visually and reflect its famously cosmopolitan, confident and easy-going personality in the design philosophy, engaging the reader with an exciting sense of vibrancy. LEFT: Cover of Zembla Magazine, Issue No. 5, 2004. RIGHT: Book cover of Some Trains in America.

EDUCATION

Inspirational Innovation Graphica is synonymous for creative and exquisite cover materials.An unequalled stance of highest quality, be it for sales enhancing, packaging, demanding folding boxes, luxurious displays, books, diaries, exceptional mailings and advertising, our unique materials delight the eye and touch alike. Our new concept offers you the perfect guide to your current projects. It is always your creativity and imagination that transforms the visual communication into reality. We take great pleasure in introducing an aid that inspires the mind to allow for creative and exceptional solutions. Six main topical themes facilitate the entry to new ideas and elevated imagination. Leatherlikes - Leather is synonymous with nobility, style and quality. The world of Leather offers a rich variety of surfaces and textures. Our product range offers a wide selection of solutions to meet the needs of those looking for a material both classic and contemporary.

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SUMMER OLYMPICS 2016: RIO’S BRAND SCULPTURE GETS THE THUMBS-UP By Jennie Fourie Rio de Janeiro’s Copacabana beach was abuzz

stages, the proposals submitted by the eight

on New Year’s Eve when a million people saw

remaining agencies were evaluated by a

the launch of Rio Summer Olympics 2016’s

multidisciplinary evaluation commission,

brand identity. Developed by the agency Tátil,

composed of 12 professionals enjoying both

a Brazilian company specialising in strategic

national and international market recogni-

consultancy, brand building and management,

tion for their experience in brand design and

the brand Rio 2016 breaks new ground with

approval. The team finally made their decision

its sculptural form. The brand mixes volume

in Tátil’s favour.

and form, light and shade. It has a front and a back, and can be viewed from multiple angles.

The logo was the result of a co-creative and collaborative process that lasted almost

According to Beth Lula, manager of the Brand-

two months generating more than 50 options

ing Department of Rio 2016 Organising

up for consideration and producing hundreds

Committee, Tátil entered the process of

of renderings. The design process brought

designing the logo along with 138 other

together multidisciplinary teams from the

competitors. By the end of several qualification

agency’s offices in Rio and São Paulo. The

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Guanabara Bay panorama. Photo by Anatoly Terentiev.

brand Rio 2016, the designers believe, epitomises the Olympic spirit and its athletes, as well as the nature, feelings and aspirations of Rio de Janeiro and Brazil. Tátil says that the logo is based on four concepts of contagious energy, harmonious diversity, exuberant nature, and the Olympic spirit. Supporters raved at this colourful, multidimensional masterpiece, while hard line critics immediately started scanning for a scandal. Critics soon found something to hook onto – alleged copying. However, this was soon rejected by the creators of the Rio identity who proved that

The colour choices for the official Summer Olympics 2016 logo are based on the Brazilian environment as well as the character of it's people. "Yellow symbolises the sun and our warm, vivacious and happy nature. Blue expresses the fluidity of the water that surrounds us, and our easygoing way of life. Green represents our forests and hope, a positive vision that inspires us to go even further," explains Tátil's creative team.

similarities with the logo of the Telluride Foundation in Colorado were vaguely coincidental.

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Fred Gelli, Tátil’s partner and creative director

copy of the Rio Carnival logo) and what simi-

told the GloboEsporte.com that the agency

larities were there to be found with Henri

did extensive research to guarantee the de-

Matisse’s painting, The Dance that was paint-

sign was unique. "For some reason, we missed

ed in 1910? The plagiarism claims, in this

that one," Gelli said, when he acknowledged

instance, were somewhat of a long shot.

the similarity with the foundation logo. "The brand is radically different because it is tridimensional," Gelli said. On the other hand, could the foundation’s logo also have ele-

Controversy’s the name of the game

ments of the logo of the Rio Carnival of 2004 (the similarities are glaring and an obvious

Olympic branding programmes are notoriously prone to controversy. Since the inception of the modern Olympic Games at the turn of the previous century there has not only been fierce competition on the sports fields and in the water, but life-and-death contests have also been fought about who would be hosting the event that is presented every four years. But the battle doesn’t stop once a host city has been appointed. Then follows the race of who would get the prize

The logos of Sydney 2000 and Vancouver 2010 both attracted controversy due to 'appropriation' of symbols originating from ancient indigenous cultures.

contract of designing the host city’s logo or emblem. Cities invest massive resources to host these prestigious events and they call upon their most talented designers to come up with an emblem that would not only embody what the games are all about, but also what the host city wants to show the world when it comes to its geography, it philosophy and its essence. Barring the mutters of copying when the Rio logo was unveiled, the general verdict has

The original bidding logo vs the official logo for the 2012 Summer Olympics. Te redesigned logo attracted much criticism from the design community, the citizens of London and other quarters, spawning a plethora of love/hate blog posts and polls which were further fueled when the development costs became public.

been positive. In a newspaper poll conducted in Brazil more that 70% of respondents liked the logo. This figure is in stark contrast with the 80% of respondents who gave the London 2012 Olympic Games logo the thumbsdown in a BBC poll conducted in 2007.

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Shown here are the logos for the final bidding cities for the 2016 Summer Olympics including that of Rio which drew much praise. "The Sugar Loaf in the shape of a heart represents the Brazilians' indisputable passion and vibration for sports. The exclamation point replacing the numeral 1 in the writing 'Rio 20!6' symbolises Brazil's heightened expectations with the chance of hosting the event," said Ana Soter, designer of the Rio bid logo. It is standard practice for winning cities to change their logo after the initial bidding process. The new official logo for Rio 2016 drew much inspiration from the original bidding logo.

Respondents did not rate this controversial

culture of the Vancouver region and the rest

logo as gold, silver or bronze, but just about

of British Columbia, such as totem poles. One

across the board gave it a wooden spoon.

comment from an Inuit elder summed it up

Comments buzzing over the Internet de-

when he asked whether the logo depicted

scribed the problematic emblem as a

Pac Man or Frankenstein.

smash. Someone commented that it looked as if the logo had been dropped on the floor

Other controversial logos include that of

and it broke. And as if this wasn’t enough, a

the Sydney 2000 Summer Olympics, mainly

segment of the animated footage promot-

because of a complicated and drawn-out

ing the 2012 London Games had to be re-

process calling for submissions. The logo

moved from the organisers’ website, as it

included a boomerang to depict aboriginal

could apparently cause epileptic fits.

culture, but many critics thought this inclusion to be forced.

Other recent controversial sports logos have included the logo of the Vancouver Winter

The fact remains – it’s a highly complex proc-

Olympics 2010. The logo depicts an inukshuk,

ess to design a sports emblem or logo. Not

a symbol used by the Inuit people of Canada's

only does the design team have to depict

arctic regions. For centuries the Inuit have

the spirit of the event and the location,

stacked rocks, sometimes into human forms,

they also have to take cognisance of the

to create guideposts for travellers. The de-

subtexts involved and how the logo would

signers saw the logo as an "eternal expres-

be received internally, as well as by a broader

sion of the hospitality of a nation that warmly

audience that, in many cases, include most

welcomes the people of the world with open

of the nations of the world.

arms every day." But some people felt that the symbol did not reflect the native art and EDUCATION

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Official logos of Summer and Winter Olympic Games since 1924

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Images courtesy of IOC/Olympic Museum Collections.

EDUCATION

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In recent years, Athens 2004 and Beijing 2008

and in a dancing mode. The shape of the logo

seem to have done it right, with the design

is formed by the space between the dancing

teams behind the branding programmes re-

figures and resembles one of Rio’s most mag-

ceiving more acclaim for a job well done than

nificent landmarks, Sugarloaf Mountain. The

criticism. Even the harshest critics could find

vertical shape between green and orange

little fault with these, which were beauti-

and the horizontal shape between green,

fully executed in their rollout.

orange and blue, both make up the shape of the Sugarloaf. This landmark comes to life and

But back to Rio

gains a three-dimensional perspective, with volume and cut-outs. Contours create the topography of the city in our imagination. A

Advertising specialist, Washington Olivetto

brand-sculpture, infinite, that gains textures

describes the Rio 2016 brand as having “graph-

and shapes, transforming it into an object.

ic harmony and continuous movement needed in the practice of all sports”. It can be still or

As one commentator said: “The final logo of

in 3D, with angles suggesting infinity. Design-

the Summer Olympics 2016 is in complete

er Ricardo Leite also waxed lyrical about the

affirmation with the culture and colours of

logo which he describes as “a sculpture or

Rio de Janeiro, the host city and the spirit of

jewellery that gains new angles as it turns”.

Olympics Games.”

A logo of an international sporting event

We can go with that. All that remains is to see

should reflect the country in which the event

how the brand will be rolled out. If the success

will be held. One of the premier design ele-

of the logo is anything to go by, this will in-

ments that can be used to this end is colour.

deed be a celebration of what can be achieved

Previous logos that used colour (or the lack

by design.

of it) to great effect have been the starkly beautiful black-and-white op-arty logo of the Summer Olympics 1968, hosted by Mexico and vivid blue of the Athens Olympics 2004

In conversation with the Tátil design team

that brings to mind the Aegean Sea in all its sparkling splendour. Barcelona’s logo for the

What was the initial brief and how did

Summer Olympics 1992, on the other hand,

their original interpretation change as

used a vivid palette of red, orange and blue

the project developed?

resonating with the rings of the Olympics emblem.

"The Olympic Games Committee’s original brand evaluation briefing included the fol-

In the case of the Rio logo colour is an embed-

lowing:

ded theme. The theme is carried out by three

• To reflect the local culture having a uni-

human figures in green, blue and orange (again

versal understanding, in line with Olympic

reflecting the Olympics’ rings) holding hands

values;

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Although initially presented in two-dimensions, the logo was conceived as a three-dimensional form as these models illustrate. Tátil's creative team describes it as "a sculptural brand for a sculptural city". © Tátil. EDUCATION

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The development process of the Rio 2016 Summer Olympics logo

First drafts with carioca's topography references and volumetric studies.

Initial logo study with visual reference to human figures and the shape of the Sugarloaf Mountain.

Attempt to make the logo more organic and fluid.

New study of the logo's shape, emphasising the three human figures by making them more robust. In addition, the first volumetric study was made with plastic dough.

Original draft of the final logo.

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New draft attempting to make the logo more organic.

Study on the logo's expression lines.

Study to include other shapes of Rio's topography to the logo's curves.

Three-dimensional volumetric study made from the final logo's shape.

The final logo.

EDUCATION

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• To avoid local stereotypes; • To be innovative and to inspire and thrill a diversified public; • To transform the city and the country’s image in synergy with the transformation moment of the Olympic movement." How did this project differ from other branding projects that that the company had developed in the past? "The method was the same used in others brand creations. We used our tool 'BranDirection' to create the four inspiration pillars: Olympic spirit, harmonious diversity, exuberant nature and contagious energy. The difference is that the brand was born from a cocreative process of collaboration that lasted This brand matrix plots the values that Rio 2016 logo aims to represent. © Tátil.

almost two months. Our staff immersed themselves in the Olympic world, in the

A process consisting of extensive research, brainstorming and co-creation guided Tátil's multidisciplinary creative team throughout the development of the Rio 2016 logo. More than 40 people, including strategists, designers and editors, participated in the process. © Tátil.

87 >

relation of Brazil and Rio de Janeiro and the

About the author

Olympic spirit, working together on the two main themes: transformation and passion."

Jennie Fourie has roamed the South African media landscape for the past 25+ years. At

What were some of the challenges and

present she is a freelance copywriter, jour-

the solutions the design team faced?

nalist and media consultant with a special interest in innovation and design. Industrial

"We followed and accomplished all the proce-

journalism is a passion and she has been co-

dures and strict requirements set by the Rio

organiser of the corporate publication com-

2016 Organising Committee. Internally we

petition of the SA Publication Forum for the

took serious precautions to insure the brand

past ten years. She has been a judge in a

remained unpublished and unique until its

variety of publication competitions, both

official launch. We were very happy and proud

locally and abroad. Jennie holds a Masters

of the final results, especially because the

degree in Journalism. <

brand was approved by members of the judging committee and its members from IOC, BOC, federal, state and local government, marketing consultants that worked in the Beijing and Athens Olympic Games, and design agenciesâ&#x20AC;&#x2122; representatives."

Animated 3D sequence of the Rio 2016 logo by Super Uber. See more about the making of the logo here.

EDUCATION

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Scenes from the original The sound of music movie.

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THE SOUND OF MUSIC By Fatima Cassim

It has been over 30 years since its release,

sought-after profession with numerous ap-

but The Sound of Music is probably one of the

plications and possibilities.

most memorable movie musicals of all time. The opening sequence, in particular, is a splendid piece of film-making. The viewer is pre-

HEAR, HEAR

sented with aerial views of the snow-capped Alps surrounding Salzburg, before zooming

By definition, sound design ranges from de-

into a lush field where we are introduced to

signing, recording and manipulating sounds

Maria, played by Julie Andrews. The cinema-

to serve a specific purpose and create mean-

tography needs no further elaboration be-

ing for a variety of productions ranging from

cause by now I am sure that you want to break

the more traditional applications such as thea-

into song, acknowledging that, indeed, “the

tre and film to television, computer games

hills are alive with the sound of music.” Now,

and even live performances. Sound design

imagine the scene without the chirping birds

encompasses both music and sound effects

and the adventurous singing spirit of the nun-

and varies according to the medium and

turned-governess .... (Silence).

context for which it is created.

“No sound?” you may ask. Yes, it is very diffi-

The purpose of sound is to set a tone and

cult to separate the sound from this scene

create the correct ambience for a produc-

and much of the success of this film is due

tion or product. Ultimately, the success of the

to the design of sound. In most creative

sound, together with the other visual ele-

productions, such as films and commercials

ments is to ensure that viewers are enter-

for example, sound is not treated as a step-

tained and/or immersed and to encourage

ping stone for the creative family but it’s

them to suspend their disbelief. This implies

rather more like a governess that tugs at your

that sound designers need to reference

heartstrings. Sound design plays a pivotal

previously created sounds, such as previously

role in conveying meaning and is used to

recorded songs and sound effects but they

strengthen and support moving images. It

also need create new sounds. In light of this, a

creates a mood and helps to simulate a

sound designer plays a creative role in com-

more real experience for the viewer. Owing

posing and editing different sounds.

to the increasingly audio-visual nature of contemporary culture, sound design has

This role and purpose of sound design is per-

matured into a vital discipline and is now a

haps mostly known within the context of EDUCATION

90 >

the film industry. Even during the silent era, when the marriage between synchronous sound and image was not possible, silent movies were often accompanied by live musicians and projectionist. Although there was experimentation with sound film technology during the silent era, 1929 marked the turning point in film when sound became standard in Hollywood. Many directors began experimenting with the creative potential of sound and began incorporating this into their work. Alfred Hitchcockâ&#x20AC;&#x2122;s Blackmail and William Wellmanâ&#x20AC;&#x2122;s Chinatown Nights are early examples of the successful use of creative sound design. Sound also facilitated the growth of different film genres, such as musicals. This transition was slower in other countries such as China and Japan, mainly due to economic reasons, but they soon followed suit. The 1950s was another important decade for the development and progression of sound design since in Hollywood, sound design began to influence theatre productions. Following from this, the 1980s and 1990s also saw rapid growth in sound design with the introduction of musical instrument digital interface (MIDI) and digital technology playing a key role. Since then continual advances in digital technology have influenced sound design to such an extent that it is now applied to new areas of media including television, commercials as well as the Internet and computer games. New software continues to be developed with unlimited possibilities and applications and as a result, sound designers today are dependent on being at the forefront of technology. A good grasp of the various sound and picture platforms, such as Final Cut Pro, makes it easier

Corporate campaign, titled Letâ&#x20AC;&#x2122;s reach for the sun, created by Adelphoi Music for the Aditya Birla Group. Click here to see the commercial.

sometimes sound effects were also made by the

91 >

EDUCATION

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for sound designers to interface with the

sound designers are founder Murray Ander-

different media in which sound is necessary.

son and Warrick Sony, who joined the com-

Owing to the wider application of sound

pany in 2001. The two are currently in a crea-

today, sound designers need to liaise with

tive partnership doing commercials, film

many different designers, hence making

scores and music for theatre. In 2005, Ander-

the profession collaborative in nature.

son and Sony won Best Music Gemini Award, one of Canada’s highest accolades, for their for Madiba: The Life and Times of Nelson Mandela. According to Anderson, other recog-

At present, sound design is an expanding and

nisable work that the studio has done includes

diverse area both as an academic discipline

music/jingles for many television advertise-

and as a career path. The demand in sound

ments like the Klipdrift Met Eish series, re-

design for various media has been the driv-

cording African stars like Yvonne Chaka Chaka,

ing force behind the success of a number

HHP and Baaba Maal, and international art-

of sound design companies within an inter-

ists like Annie Lennox and Queen. View the

national as well as a local context. Two compa-

company’s portfolio, which spans over 20

nies which bear testimony to this are Mile-

years at www.milestones.co.za

stone Studios and Adelphoi Music, local and international companies respectively.

A younger but nonetheless extremely successful production company specialising in

Milestone Studios is Cape Town-based and

music and sound design is Adelphoi Music.

has a long tradition of excellence in all aspects

The company, currently with studios in London

of sound design. Murray Anderson started

and Berlin, originally started out in 1993 and

Milestone studios in 1987 to record demo

has a huge amount of experience in the music

songs for musicians such as Robin Auld, Lesley

and sound design industry. Adelphoi Music

Rae Dowling, Robbie Jansen, Louis Ribeiro

caters for a wide variety of global clients in

and many others. Since inception, the studio

the advertising and media industries, creat-

has grown in size from a single room in Wood-

ing innovative audio for commercials, digital,

stock to a state-of-the-art studio in 2007,

television, film and network branding.

According to the company, “with 13 full-time

studio complex boasts vintage analogue and

staff and a large network of highly talented

state of the art digital sound equipment

freelancers, Adelphoi Music Ltd has the best

and offers a full range of audio services in-

professional team to satisfy any music or

cluding original music recording, audio pro-

sound requirements, no matter how diverse

duction and post-production for commer-

the brief. Recognition of Adelphoi's work

cials as well as film scoring.

includes industry awards such as Emmy, Clio, D&AD, New York Festivals, Midsummer, BTAA,

The staff of Milestone Studios has enjoyed great success in their careers. Two noteworthy

LIAA, ADC, Aerial, Kinsale Shark and Promax.”

Viral campaign for the launch of Sony’s 3D World. See this magnificent 3D display here.

MAKING (SOUND)WAVES

creative collaboration composing the music

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LOOK AND LISTEN

The Aditya Birla Group is a multinational

The following three recent examples of sound

From being present in eight countries, the

design in advertising, by Adelphoi Music, il-

group has expanded and now has operations

lustrate the power of sound.

in 25 countries. According to Dr Pragnya Ram

corporation with its headquarters in India.

(executive president Aditya Birla Group: Corporate Communications) the diversity and ethnicity that the Group represents is EDUCATION

94 >

very large and that is what they wanted to

pinball section simulates the arcade game

represent with their third corporate cam-

in an unbelievable way. In the context of an

paign, titled Let’s reach for the sun. Working

open space such as the Plaza, the sound must

again with Mumbai-based design and com-

have created an electric ambience with the

munications specialist, Vyas Giannetti Crea-

ringing clicks and other synthesised sounds,

tive (VGC), The Aditya Birla Group’s brief was

lending itself to the entertainment quality

to capture the fact that despite the diversity

and ultimately to the success of the out-

of the Group, they are one team with one

door campaign.

voice. Consequently, Preeti Vyas, CEO of VGC says that the company used music as a meta-

Skandia, an investment company, spon-

phor to bring to life the essence of the brief.

sored the UK sailing team for the Olympic

Mathias Zentner, graphic designer turned

London-based, independent creative agency,

director, was called on to lend his expertise

St Lukes to create an advertisement to lever-

to the motion graphics and Aldelphoi Music

age their sponsorship in the run up to the

was responsible for the sound. The arresting

Olympics, bringing to life the brand’s unique

visuals would not have had the same impact

perspective. The resulting design includes

were it not supported by the spellbinding

gripping footage of Skandia Team GBR cou-

musical orchestra produced especially for

pled with an equally gripping sound design

this advertisement. It is a fact that the mar-

produced by Adelphoi Music. The intention

riage between the audio and the visual in

of the agency was to demonstrate the team’s

this example is what drives its success.

brilliant sailing prowess through careful planning and calculation, which is in keeping

In 2009, Anomaly was appointed as Sony

with Skandia’s work ethic of applying a me-

Electronics’ key strategic and creative partner.

ticulous approach to investment to help

For the launch of Sony’s 3D World, Anomaly

their client’s achieve their financial goals. See

created a viral campaign comprising of a se-

this gripping commercial and experience the

ries of advertisements that were filmed in 3D

UK sailing team for yourself by clicking here.

but then aired in 2D. The result was a blurred, double exposed sort of image. In the adver-

In all three examples the sound is used to

tisement, viewers are encouraged not to

strengthen the visual language and provides

adjust their TV sets and the advertisement

a compositional structure for the final prod-

concludes with the following pay-off line:

ucts. Sound design forms an integral com-

“Maybe it's time to get a 3D TV.” The adver-

ponent of the creative unit and just like The

tisement first aired on in three European

Sound of Music reminded viewers about the

countries during the final of the Champi-

importance of family and the universality

ons League in Madrid. This event was also

of music. The three examples also highlight

marked with a unique outdoor projection on a

the central role of sound in contemporary

building in the capital's Plaza Santa Ana.

visual communication design.

For this projection, Adelphoi Music created an intense sound design. In particular, the

Television commercial for the Skandia. Click here to see the commercial.

Games. For this event, Skandia selected

95 >

So, if you are Sixteen Going on Seventeen and sound

of Visual Arts at the University of Pretoria. Her re-

and music are a few of your Favourite things why not

search focuses on the culture of design in the current

consider sound design as a future career option?

creative economy and she is particularly interested in the strategic role of design within this changing

About the author

environment. <

Fatima Cassim holds a Masters degree in Information Design and is a full-time lecturer at the Department EDUCATION

98 >

99 >

CAPSULATION FOR 9 HOURS

By Sarah Stewart

The first capsule hotel is believed

stereotypical capsule hotels and

resort as most users would rather

to have opened in Osaka, Japan

is wholly capable of competing

prefer to stay in a standard hotel

in 1979. Originally designed as a

with luxury accommodation.

if they could afford to do so.

layover sleeping space for business people, capsule hotels have

Fumie Shibata, president of Design

become the low-cost solution to

Studio S, first joined the 9h project

Japanâ&#x20AC;&#x2122;s exorbitant accommoda-

as a product designer. She is re-

tion rates. Capsule hotels are re-

sponsible for the design of the

As an experienced product design-

garded as transit spaces and they

sleeping capsules and all of the

er, Shibata believes that consum-

are located close to central busi-

branded amenities. Her design

ers make decisions based on their

ness districts, are low-cost and

philosophy is that spaces and

needs. Most standard hotels offer

their small tubular sleeping pods

products only become worth-

varied services that often include

are most often rented to busi-

while when they are useful to

entertainment, catering and spas

ness people who want to catch up

society. As her involvement and

but always place most emphasis

on a few hours of sleep.

level of responsibility increased,

on the rooms that guests retire

she was appointed general crea-

to. While most hotels might offer

tive director of the 9h project.

entertainment and leisure facili-

9h is a new capsule hotel located in Kyoto, Japan. The name refers

The concept

ties, 9h offers optimised sleep

to the nine hours that on-the-

Shibata spent three years on re-

move users generally require for

search and product develop-

showering, sleeping and relax-

ment and convinced her client to

The 9h capsule hotel questions

ing. 9h is groundbreaking in its

invest in a new concept that re-

the stereotypical view of a hotel.

approach towards these three

defines what a capsule hotel is

Instead of restricting you to your

principal functions. The design

and can be. Part of her research

room, 9h becomes an extension

focuses on maximising the expe-

involved staying at a capsule ho-

of the cityscape where people

rience of showering, sleeping and

tel which enabled her to identify

share communal spaces. 9h has

relaxing. This new breed of cap-

existing problems. Capsule ho-

attuned itself to the needs of

sule hotel shirks the kitsch and

tels often have cheap and kitsch

those who have a hectic urban life-

claustrophobic associations of

associations and viewed as a last

style, catering for those whose

as its unique selling proposition.

EDUCATION

100 >

lives revolve around work or to

designer Takaaki Nakamura to

automatically know where to go.

tourists travelling alone. 9h be-

design a clear visual identity that

This integrated system reduces

comes a dependable infrastruc-

reflects the keywords ‘seamless

language confusion.

ture that users will choose be-

connection’ and ‘signs with inlay’

cause it suits their lifestyle.

as conceptual guidelines. The

The branding of the 9h acts as a

graphics are an integral part of

unifying element that creates a

the design. It’s completely inte-

visual language of black and

grated with the interior and form

white, clean lines and geometric

a visual language that is able to

shapes. The cohesive visual lan-

What distinguishes 9h from its

guide and inform users of direc-

guage is also seen in the brand-

predecessors is its seamless in-

tions and instructions without the

ed, duel function 9h slipper bag

tegration of functionality and

user being dependent on written

which provides storage for slip-

clean modern aesthetic. In order

words.

pers as well as acting as an infor-

The design

mation manual to guests. Fur-

to change the capsule hotels’ typecasting as cheap accommodation,

This visual language is visible in

thermore, individual sachets of

it was critically important that the

the wayfinding system that is ap-

shampoo and soap replace typi-

branding of 9h was repositioned

plied on floor and wall surfaces

cal large communal dispensers

as a ‘reasonable place to stay’.

which signal capsule numbers,

that are often found in capsule

Shibata directed graphic designer

directions to the reception desk,

hotels and bottled water, tooth-

Masaaki Hiromuro and interior

lockers, etc., ensuring that guests

brushes and signature night robes

101 >

OPPOSITE PAGE: Views of the reception area showing the strikingly simple wayfinding system which assists guests in navigating their way throughout the hotel. © 9h. THIS PAGE: Each sleeping capsule is fitted with Panasonic’s advanced system for good sleeping with computerised control lighting that will wake you up with artificial light according to the time the user sets. © 9h.

are amongst the other branded

one side of the building that feed

capsule is fitted with Panasonic’s

amenities.

off onto different guest facilities.

advanced system for good sleep-

The Ladies Only facilities include

ing with computerised control

9h is situated in a long and narrow

a lounge floor, a floor with show-

lighting that will wake you up

nine-storey building and divided

ers, washrooms and lockers and

with artificial light according to

into ‘Gentleman Only’ and ‘Ladies

two floors of sleeping capsules.

the time the user sets. This re-

Only’ floors accommodating 125

The Gentleman Only floors have

moves the user’s need to inter-

capsules in total. In a capsule hotel

similar facilities but no private

act with an audible alarm which

where individuals share ablu-

lounge as men are expected to

would disturb other users. Spe-

tions with other members of the

use the public lounge.

cialised ergonomic pillows and four-star quality bed linen improve

same sex and travel the distance from bathroom to sleeping pod,

With sleep being the priority at

the user’s sleep experience. The

privacy is a major consideration.

9h, particular attention has been

facilities available at the 9h are

For this reason, men and woman

paid to the design of the sleeping

appropriate for a nine-hour stay

have separate lifts, bathrooms

capsules. Manufactured of fibre-

but users are also allowed to

and lounge areas.

reinforced plastic, the capsules

check in for up to 17 hours.

are slightly rounded and organic As a core consideration, Shibata’s

in shape. Top and bottom rows of

design focused on maximising the

sleeping capsules are positioned

space by keeping all passages to

in a hive configuration. Each

EDUCATION

102 >

9h provides its patrons with various amenities such as bottled water, fresh towels, slippers, night robes and basic toiletries. © 9h.

Final thoughts

be an essential need. With 9h re-

Fumie Shibata’s advice to aspir-

tion on the capsule hotel con-

ing designers is to be aware of

cept, there has been much

what is going on around them

speculation over whether this

every day. She does her best to

new breed of capsule hotels will

use natural resources and her

be well received by Japan’s West-

aim is to design products that

ern counteracts. Is the West ready

can be utilised for an extended

for the capsule hotel? Why not?

period of time.

We vote yes.

She says that: “Design is not almighty, but many things can be

defining the individual’s percep-

About the author

improved through design. Design gives us multiple points of

Sarah Stewart is a BTech Interior

view, which may make it possible

Design graduate from Cape Penin-

for us to find a breakthrough on

sula University of Technology who

various kinds of contradictory

is passionate about user-centric

events and ideas around us.”

design that fosters social behaviour within communal spaces. She

A capsule hotel definitely ques-

believes that everything is a me-

tions what an individual actually

dium and is continually amazed at

needs within a living quarter. In

the power design has to posi-

the past Western users have

tively affect people and change

been sceptical of capsule hotels,

their preconceived ideas. <

considering personal privacy to

103 >

The stunningly simple wayfinding system assists guests in navigating their way throughout the 9h capsule hotel with limited use of writing. ÂŠ 9h.

EDUCATION

104 >

TRANSIT CASES:

Chairs from Mexico By Jimena Acosta

TOP: Installation views of Transit Cases: Chairs from Mexico exhibition. Visit the site here. BOTTOM: Butaque by Clara Porset, 1950.

105 >

The exhibition Transit Cases: Chairs from

sea, Spaces for conversation, Playful attitudes,

Mexico, curated by designers Emiliano Godoy,

Design for the few and Time for leisure.

Renata Fenton and myself, Jimena Acosta, aimed to show contemporary Mexican design

Design for everyone is about all the demo-

to a European audience, which has had little

cratic design efforts such as the Arrullo Chair

contact with Mexico and its contemporary

by Oscar Hagerman. His easy and inexpen-

culture.

sive design enables any Mexican carpenter to build this chair and reproduce it as many times

For decades Mexican culture, unfortunately,

as he pleases. By the sea puts together pieces

has been represented internationally by a

that were used in tropical conditions such as

handful of modern painters such as Diego

the Acapulco Chair, and the Compadre. Spaces

Rivera and Frida Kahlo, or by archaeology ex-

for conversation is about the chairs that were

hibitions featuring pre-Hispanic artefacts.

made to sit on and talk for a while in coffee

These images have constructed stereotypes

shops and restaurants. Playful attitudes refers

about Mexico that do not help to create a

to the shapes that challenge the concept of

cultural context that nowadays produces

a chair such as the Criollo by Edgar Orlaineta.

functional and beautiful objects.

Design for the few is based on those examples design as one of a kind and limited edi-

Our curatorial team used the national repre-

tions such as Mecedora M by Colectivo NEL.

sentation model as a way of presenting the present of Mexican design. The exhibition in-

The show was curated for the Mexican Minis-

cludes six overarching themes that bind the

try of Foreign Affairs and between 2009 and

pieces together: Design for everyone, By the

2010 functioned as a â&#x20AC;&#x2DC;cultural ambassadorâ&#x20AC;&#x2122;

EDUCATION

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BELOW: Silla para el Eco by Mathias Goeritz and Daniel Mont, 1952-3. LEFT: Acapulco, designer unknown, 1960. CENTRE: Arrullo by Óscar Hagerman, 1968. RIGHT: IA by Bernando Gómez Pimienta, 1999.

in six European cities – Madrid, Berlin, Dublin, Eindhoven, Brussels and Copenhagen. As the curatorial team we are proud that contemporary Mexican design had an audience and that we are part of a bigger effort to make Mexican design visible in an international arena. We selected the chair as the subject matter because this piece of furniture can efficiently and graciously tell a history of contemporary design and the materials, forms and colours that integrates it. The curatorial team made an effort to link the recent production to a few modern predecessors that were also

107 >

included in the exhibition, as well as two

Peyret, Clara Porset, Luis René Quintero,

vernacular pieces that have been used by

Dení Reye, Kenya Rodríguez and Karla

everyone for decades such as the Acapulco

Vázquez.

Chair and the Equipal. We also included designers that do not live in Mexico City such as Mauricio Lara (Guadalajara), Mumo De-

From the beginning Transit cases was planned

sign (Guadalajara) and Marilies Gelens

as a travelling exhibition, so the installation

(Oaxaca). Other designers included in Tran-

and general idea would have to adapt to

sit Cases: Chairs from Mexico are: Adriana

different venues. Since we included valua-

Domínguez. Yessica Escalera, Héctor Esrawe,

ble historical pieces such the Butaque by

Ezequiel Farca, Héctor Galván, José García

Clara Porset, we thought that the best op-

Torres, Emiliano Godoy, Mathias Goeritz,

tion would be to make contemporary re-

Ernesto Gómez Gallardo, Bernando Gómez

productions that could be shipped abroad

Pimienta, Óscar Hagerman, Cecilia León de la

without putting the few existing originals

Barra, Daniel Mont, Liliana Ovalle, Abraham

at risk of damage or loss. The task was not

EDUCATION

108 >

simple as it required the permission and help of the owners, in the case of the Butaque, the Porset’s estate is taken care of by the Centro de Investigaciones de Diseño Industrial (CIDI) at Universidad Nacional Autónoma de México. This was an incredible and rewarding experience and we respected every detail and curve of the original Butaque, and subsequently found that the fibre weaving techniques, traditionally made by skilled artisans, are sadly disappearing in Mexico.

TOP: Martes by Marilies Gelens, 2003. CENTRE: Luna by Dení Reye, 2002. BOTTOM: Pedazo de Escalera by Liliana Ovalle, 2003. RIGHT: Knit chair by Emiliano Godoy, 2004.

109 >

The exhibition was also accompanied by a compact educational component entailing a collection of images that visually explain the origin of each chair, the ways in which it is commonly used and some historical background. As a curator Iâ&#x20AC;&#x2122;m pleased that many different audiences saw Transit Cases: Chairs from Mexico and it is our hope that this vehicle contributed to building a positive perception of Mexican culture abroad.

EDUCATION

110 >

TOP: Banca Falc贸n by H茅ctor Esrawe, 2004. BOTTOM: Criollo by Edgar Orlaineta, 2006.

111 >

LEFT: Chac-seat by Mauricio Lara, 2005. RIGHT: Stitch Kit by NEL Colectivo, 2005. BOTTOM: Silla Sam Corona by José García Torres, 2005

About the author Jimena Acosta Romero (Mexico City, 1972) is an independent curator focusing on contemporary art and design. She holds a MA in Curatorial Studies from the Center for Curatorial Studies at Bard College and a BA in Art History from Universidad Iberoamericana. She has curated shows for museums and galleries such as the Fondazione Sandretto Re Rebaudengo in Torino, MUAC in Mexico City or the A+D Gallery in Chicago. She also writes in magazines such as Arquine, La Tempestad and Código 06140, and teaches at Centro de Diseño, Cine y Televisión in Mexico City. < Photos by Dante Busquets, courtesy of Godoylab.

EDUCATION

112 >

From a cooking fire lit by Phoeni-

glass vessels holding fruits and

cian traders on a sandy beach, the

liquids. Hard and unyielding when

fortuitous birth of glass has ben-

cold, yet soft and malleable when

efitted and intrigued mankind for

molten, it is one of the most versa-

thousands of years. This initially

tile, difficult and most taken-for-

opaque molten mass was devel-

granted media known to mankind.

oped not only as a raw material for trade, but also formed into prod-

These extreme qualities have, how-

ucts ranging from monetary trad-

ever, intrigued artists and patrons

ing beads to status objects in the

alike, giving rise to a world of beau-

form of mouth-blown wine cups

tiful objects and difficult tech-

serving royalty and generals. Mu-

niques. The manipulation of glass

rals found in Pompeii (79AD) show

as medium showcases a countryâ&#x20AC;&#x2122;s

the earliest depictions of blown

industrial and cultural development

113 >

GLASS, A FRAGILE YET GIANT INDUSTRY By Retief van Wyk

Glass platter by David Reade ÂŠ

in the true sense of the word. Glass

companies like Africa Glass and

molecular disarray in the glass

has always had the allure of the

Northern Hardware and Glass, to

medium, as it is subjected to rising

fine and fragile but no glass indus-

name but a few. This huge industry

temperatures, allow the glass to

try is complete without its factory

is, however, not the focus of this

obtain various degrees of softness

giants that supply flat sheet glass

article, which rather highlights

enabling industrial and domestic

windows, bottles, glasses, lamp

the development of the relatively

application and of course creative

shades and automotive wind-

young artistic glass profession in

intervention. For the sake of clarity

shields. With its humble begin-

South Africa.

I will briefly mention the techniques, starting at the cold inert

nings in the 1870s the South Afri-

state, going up in temperature.

can Glass Company was the first to

The nature of this manmade me-

melt glass in South Africa. Today

dium lends itself to various form-

this local industrial market is domi-

ing techniques ranging from the

Cutters and polishers manipulate

nated by PFG Building Glass, CON-

inert cold state to the fluid, mol-

the cold, hard state that produces

SOL for vessel making and smaller

ten state. The variable states of

products such as stained glass EDUCATION

114 >

LEFT: Blown glass works by Guido van Besouw. CENTRE & RIGHT: Glass artworks by Liz Lacey, Red Hot Glass.

115 >

windows or sculpted forms carved

although equally difficult as any of

from either laminated or a solid

the above, it remains a spectator’s

hard glass mass. As the glass sof-

art.

tens, round about 610°C, coloured glass, moulds and fusing kilns enable the slumping/fusing artist

Leading the way

to produce works serving refined utilitarian and ornamental artistic

The South African artistic glass

tastes. As the temperature rises

movement was started with a

and the glass starts to melt, round

keen interest in the medium by

about 850°C (depending on the

Shirley Cloete (1921-2010). She

type of glass), the very patient kiln

studied painting at Michaelis

caster carefully observes the glass

School of Art in the 1960s but soon

flow into the carefully prepared

started making glass mosaics from

moulds, made to support the heavy

scraps found on rubbish dumps

molten mass. Once filled the mould

and in the ocean. Legend has it

is gradually cooled for days, some-

that she often dived at Danger

times weeks, depending on the

Point to observe the colour of the

thickness of the glass piece inside.

ocean to translate it back into her

Once cold, the process returns to

glass work.

the cleaning and polishing of the object. Then there is also glass

Cloete initiated her glass blowing

flame working that allows glass

career with instruction from An-

makers to manipulate coloured

ette Meech at the Glasshouse in

glass rods, at about 1100°C, into

London in 1974. She settled on the

the most beautiful and intricate

Morgenster estate in Franschoek,

beads and jewellery items. Keep-

where she started a small glass

ing glass molten at 1200°C allows

blowing studio. She was soon

one to gather and blow the glass,

joined by David Reade who, with

either freely or into moulds. This

his studio knowledge and skilled

technique is very popular and

craftsmanship acquired on the

EDUCATION

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Glass artworks by Nelius Britz, Cape Glass Studio.

Isle of Wright, helped form what is

at Gallery G in Cape Town, produc-

works are technically superb and

known today as the artistic glass

ing glassware and developing an

usually of a grand scale. A visit to

movement in South Africa. Reade

awareness of glass as a creative

The Barn studio can be comple-

can be hailed as the ‘great helper’

form. Reade, with the help of

mented by relaxing at the tea gar-

who with his kind and focused

Dutch studio glass artist Kea Ver-

den after watching the blowers at

love of the medium helped not

weij, started a blowing studio on

work.

only Shirley Cloete, but also assist-

her farm in 1986, and eventually

ed in establishing the only teach-

his own studio in Worcester.

Another central character in the early development of studio glass

ing institution focusing on hot glass techniques in Southern Afri-

Reade is one of a few studio own-

was Elizabeth Lacy. Born in Lusaka,

ca, the CONSOL Glass House at the

ers who actually blow the glass

Lacy received glass blowing train-

Pretoria Technikon, now known as

himself. Reade’s glass studio

ing from Reade and subsequently

Tshwane University of Technology,

called, The Barn, has recently been

started Red Hot Glass with her

in 1995.

expanded and now has four young

husband, David Jackson, who man-

glass blowers producing minor

ages the enterprise with Lacy. She

The partnership between Cloete

masterpieces with Reade at the

also oversees the production team

and Reade lasted only a few

helm producing the major, if some-

that consists of young local and

months and Reade joined forces

what traditional, masterpieces. I

foreign glass blowers. Their skilful

with glass artist Gary Thompson

call these masterpieces, for the

development of her designs have

117 >

Glass artworks by Jeannette Unite.

created items ranging from per-

closed down, but the Smelt ide-

glass artist in 1977. In 1996 Van

fume bottles, one-off glass sculp-

ology still continues with designs

Besouw upped the temperature

tural vessels, escalating into mam-

by Jansen van Rensburg and fel-

and built his first furnace and

moth installations for casino

low artist Sielja Vos, being pro-

started glass blowing in 1997. To-

environments all over the African

duced at the Glamosa factory in

day he is a well featured artist in

continent. Red Hot studio is situ-

Estcourt, KwaZulu-Natal.

various public spaces and collections. His studio is situated in

ated on the Siedelberg Wine estate

Kloof, Durban.

in Paarl and ensures a rewarding

Henk Nel, a young glass blower

visual and culinary experience for

who interned at Red Hot Glass,

tourists visiting the studio, winery

has now started his own small

Situated in Swaziland, is a medium-

and top class restaurant.

studio at the Backsberg Estate in

sized glass factory called Ngwenya

Franschoek. Much to the delight

Glass that produces on a large

Industrial lampshade producer

of his visitors, especially holiday

scale. Ngwenya is well known for

Glamosa Glass, formed in 1956,

makers, Nel produces traditional

its solid glass animal range, wine

collaborated with Martli Jansen

blown studioware and other col-

glasses and most recently its ta-

van Rensburg to form a contem-

ourful glass ornaments.

bleware for the Boardmans retail group. Owner Chas Prettyjohn has

porary glass blowing studio called Smelt, in Melville, Johannesburg.

A self-taught glass blower Guido

over the years developed strong

The Smelt studio has subsequently

van Besouw started off as a stained

ties with foreign glass artists and

EDUCATION

118 >

Glass artworks by Sue Meyer.

often invites students and young

well-equipped studio is frequently

artist, Sue Meyer. Meyer is based

designers to collaborate at the

occupied by collaborators like Sue

in Cape Town and works from her

Swaziland furnace, resulting in

Meyer, Abraham le Roux and Tom

studio in Fish Hoek. Britz and Mey-

fun-filled glass workshops.

van Hove who together with Britz

er are considered to be South

are responsible for large architec-

African pioneers of kiln casting.

The flow and fusing of glass

tural kiln cast installations suspended from steel cables. The gal-

Turning off the temperature com-

lery represents local and famed

pletely one can now look at the

glass artists from England and

artists who are brave enough to

Situated at the bottom end of Long

Australia and is a must see for any

attempt working the medium in

Street in Cape Town is the Cape

serious glass collector. Britz has

its hard state.

Glass Studio and gallery, EDGE.

18 years of experience and is a

Owned by ceramicist turned glass

leader in kiln casting glass art.

artist, Nelius Britz, EDGE gallery

This difficult and time-consuming

is the first and only of its kind in

kiln casting technique is one shared

South Africa. The adjacent large,

by another ceramicist-turned-glass

119 >

Glass sculptures by Lothar Böttcher, Obsidian Glass.

Stone cold, in it’s hard state

as well as producing glass tro-

art sought after by collectors and

phies. Back in Gauteng, perhaps

galleries alike. Visits to the studio

the most artistic and adventur-

are by appointment only. Böttcher

One of the most established cold

ous of this cold working group is

also teaches part-time at the CON-

glass factories must be Universal

Obsidian Glass, owned by Lothar

SOL Glass House at Tshwane Uni-

Crystal Glass Factory in Krugers-

Böttcher. He started off at the

versity of Technology, Pretoria.

dorp. Polish father and son duo,

Pretoria Technikon, studying glass

Bronek and Damien Cholewka con-

and sculpture as subjects, but

The ancient art of lead window

tinue a tradition initially gained

eventually moved abroad to focus

making is one of the most well rep-

in Poland and settled here in 1981.

on glass cutting at the Hadamar

resented glass techniques of all.

They do anything from masterful

Glass School in Germany where

Fanus Boshoff from Pretoria has

cutting and polishing to slumping

he completed his journeyman

run his dalle de verre (thick cast

basins and glass furniture. Then

course in 1997. On his return to

glass in concrete) and stained

there is also Cape Town-based

Pretoria he set up Obsidian stu-

glass studio for two decades. He

Terry Haden who is well known for

dio, producing solid glass pieces

operates with three skilled crafts-

his skill at cutting and polishing

as trophies and unique works of

men producing a full spectrum EDUCATION

120 >

Stained glass works by Fanus Boshoff.

Glass jewellery by Lynkx SA.

121 >

of liturgical and private designed

educational alternative could be

stained glass windows with vari-

the short courses offered at the

ous important commissions. Cozy

Glass Forming Academy (GFA) in

Lamp Place, also in Pretoria, is run

Pretoria. The owner, Marileen van

by Leonie Meyer and is well known

Wyk, obtained both her BTech

for her floral decorative imagery.

degree Fine Arts (Glass) and MTech

Meyer also offers classes in this

degree Education, at TUT. With

technique.

the assistance of her highly skilled team, she offers bead-making

If you want to learn more

(flame working), kiln working (fusing and slumping) and also glass blowing. Although the courses are non-credit bearing, the level of

When it comes to classes and train-

instruction is high and studio space

ing in glass forming, the options

can be rented to continue with

are few but here are some choices.

the skills acquired.

The Nelson Mandela Metropolitan University situated in Port Elizabeth offers stained glass educa-

Last words

tion, glass forming and flame work. This course forms part of their

Various leading South African art-

Fine Arts course and is well-known

ists like Gordon Froud, Clive van

for in-depth education in the var-

den Berg, Berco Wilsenach, Jean-

ious techniques included in the

ette Unite, Michaella Janse van

stained glass art form. Short cours-

Vuuren and the recently deceased

es are also available at the Sum-

revered painter, Robert Hodgins,

merstrand campus.

have tried their hands at glass as a creative medium.

The other two options are both found in Pretoria. The Tshwane Uni-

Glass is versatile, beautiful to be-

versity of Technology (TUT) offers

hold, difficult to manipulate, in-

a degree in Fine Arts, with glass as

triguing to some and seductive

medium of choice. The subject

to others. Make a small commit-

glass is studied in conjunction with

ment to yourself and look around

other subjects like painting, sculp-

at the various manifestations of

ture, printmaking or ceramics over

the medium as found in your eve-

a three-year period. This culmi-

ryday life. You will be delighted to

nates in a fourth year, focussing

see how often it serves you either

only on glass, resulting in a BTech,

aesthetically or practically. Visit a

Fine Arts qualification. The other

studio and see the artist at work,

EDUCATION

122 >

take up a glass hobby or enjoy the thin glass that holds your wine. Best of all, recycle! Offer your respect to the earth that gave us this sand to make glass.

About the author Retief van Wyk is the subject leader of Glass and Ceramics as offered at the TUT Department of Fine and Applied Arts, Pretoria. He is the author of Glass production in India (1999), Leading Trends in Studio Glass (2005) and also The Ceramic Art of Robert Hodgins (2007). His glass and ceramic works are in various public and private collections and his commissions include clients like Ophra Winfrey, SASOL, Karel Nel, the Minister of Finance, CSIR and ATKV to mention a few. < All images courtesy of the artists.

Glass artwork by Retief Van Wyk.

EDUCATION

123 >

124 >

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DESIGNING THE WORLD An introduction to a sustainable future and the role of industrial design By Vikki du Preez

Earth images courtesy of NASA Blue Marble project.

125 >

Today we see the word â&#x20AC;&#x2DC;sustainableâ&#x20AC;&#x2122; on high-

Three major phases of growing awareness

end retail products, in corporate annual

have been highlighted in the move to a more

reports, on billboards, in social awareness

sustainable world. The first phase, which oc-

campaigns and in magazines, but what does it

curred during the 1960s and 1970s, is charac-

really mean? And, why is it so important for

terised by a growing awareness and the de-

p 7i

industrial design? The Industrial Revolution

velopment of organisations, which address

of the 18th and 19th centuries changed the way

environmental and social problems (Bharma

we viewed and produced products. No longer

and Lofthouse, 2007:1). Numerous NGOs

were products handmade and scarce. With

were founded during this period including

the rise of industry and new industrial pro-

Greenpeace, Friends of the Earth and, in South

duction methods products could be produced

Africa, The Endangered Wildlife Trust. During

faster and at a fraction of the cost. No longer

this phase, people from many different back-

were products only functional, they became a

grounds, countries and cultures became

way to physically represent wealth and status.

aware of one frightening shared reality: that

Today, nothing has changed. Global and na-

the planet, as a giver of life and sustenance,

tional brands fight for our attention, encour-

was in grave danger of being destroyed.

h I

B ~

aging us to buy their mobile phones, cars, clothing and digital cameras, resulting in

The ideals and views that characterised the

unnecessary mass consumption.

first phase towards a sustainable future were finally discussed by world leaders at the 1972

Global consumption, a growing world pop-

United Nations Conference on the Human

ulation and the excessive use of fossil fuels

Environment (also known as the Stockholm

have placed immense pressure on our planet.

Conference). The conference focused not only

Primitive man consumed energy primarily to

on our responsibility as a species to protect

find food but modern man consumes energy

the earth, but also on the social responsi-

for agriculture, transport, technology and

bilities that we have towards one another.

many other purposes. Global warming, natural

This conference elevated social and environ-

resource depletion, rising sea levels and ex-

mental concerns into the realm of govern-

tinction of fauna and flora are only a few of

ment and international legislation.

the problems that we face today as a result of consumption patterns.

The second phase is characterised by a continued interest in sustainability at governmental

So, where do we go from here? How do we

level during the 1980s. Various catastrophes

start to change how we live and how we

such as the nuclear meltdown at Chernobyl

choose products? How do we find the balance

and social unrest preceding the fall of the Ber-

between our actions â&#x20AC;&#x201C; as consumers and as

lin Wall spurred global debate and a call for

inhabitants of a fragile earth? How does de-

change. The ideas formulated during the first

sign, and industrial design specifically, play a

phase were formalised in numerous envi-

role in finding the balance? Critics and design-

ronmental laws and standards across the

ers themselves have asked these questions

globe, including The Environment (Protection)

repeatedly.

Act of 1986, implemented in India, the United EDUCATION

126 >

127 >

Kingdom’s Food and Environment

of sustainability, we simply can-

community with statements like:

Protection Act of 1985 and the

not imagine a world without our

“There are professions more harm-

South African Environment Con-

designer coffees, imported cloth-

ful than industrial design, but only

servation Act No. 73 of 1989. The

ing, fuel and diesel gluttonous

a very few of them” (Papenek,

global focus on environmental and

4x4s, new cell phones and exotic

1985: ix). Papanek did not disap-

social concerns, which began dur-

fruit in excessive packaging. The

prove of industrial design as a dis-

ing this phase, developed even

design, production and disposal

cipline, but commented on the

further during the third phase of

process of the items and prod-

link between industrial design and

awareness at the beginning of

ucts we find so irresistible often

the production of unnecessary

the new millennium (Bharma and

contribute to the environmental

mass consumer products, which

Lofthouse, 2007: 2).

and social problems we are meant

were often not functional and

to be addressing if our species

merely desirable. Although Design

Various wars in Africa, Eastern

hopes to survive on this planet.

for the Real World was not well

Europe, the Middle East and other

Industrial design, as a profession,

received by all designers at the

regions during the 1990s and

plays a key role in addressing the

time, it did grab the imagination

2000s resulted in heightened so-

impact that product design and

of a new group of industrial de-

cial unrest, poverty, inequality and

manufacturing have on the envi-

signers who realised the impor-

environmental devastation. At the

ronment, exploring solutions to

tance of social and environmen-

same time, lifestyle choices in many

both social and environmental

tal design considerations. These

first world countries continued

problems through design and

designers realised that design

to contribute to environmental

design thinking.

could make a noticeable differ-

problems, such as sea, land and air

ence, and focused on functional

pollution. Despite the develop-

design for third-world regions and

ment of appropriate legislation, a growing awareness of the implications of our actions and the tireless efforts of NGOs and concerned

From the story of Design for the Real World, to Manzini and beyond

individuals, the environmental and

minority groups. Papanek and other writers of the time form part of the first stage of moving towards a more sustainable design ethos (Bharma and Lofthouse, 2007).

social problems highlighted in the

Victor Papanek, a designer, edu-

1960s are still relevant and press-

cator, critic and philosopher, fo-

The third stage in the development

ing today.

cused his life’s work on investi-

of sustainable design practices

gating questions around socially

transpired during the 1980s and

Overconsumption and a relent-

and ecologically sensitive design.

1990s with the rise of ‘green’ con-

less appetite for the ‘new’ contrib-

In 1971 he published Design for the

sumerism and sustainable design

utes to an even more dangerous

Real World, which documents his

considerations. Ezio Manzini is a

modern threat to the earth and

views regarding social and envi-

key figure in this period, as well as

society: the unperturbed consum-

ronmental awareness in design

the Design for Sustainability move-

er. Even though we have the ben-

practices. Papanek advocated re-

ment, focussing on both social and

efit of past experience and a mass

sponsible design and caused out-

environmental concerns. A fea-

of information regarding issues

rage within the industrial design

ture in the designs and writing of

EDUCATION

128 >

Manzini is his focus on human beings and an acknowledgment of their indigenous knowledge and culture. The solution to social problems may not necessarily be a product or service, but may be an adapted process or system, which addresses the needs of the community. The role of the designer is consequently quite different, requiring the designer, through design thinking, to gain a deeper understanding and awareness of the situation. Through this awareness, the designer can identify the most suitable solution â&#x20AC;&#x201C; whatever that solution may be. Since the 1990s and 2000s the focus on sustainable considerations in design practices has become more pronounced. Many large corporations now actively develop sustainable practices and publicly state environmental and social intentions to which the corporation can be held responsible. SustainAbility, formed in 1987, is a consultancy that helps the worldâ&#x20AC;&#x2122;s leading brands create new visions in line with sustainable trends while, at the same time, addressing the requirements of good business value. Jacque Fresco, a designer, innovator and futurist, often uses the holistic design focus of sustainable objects and systems in his lectures and writing. His passion for sustainable practices can be traced back to the Venus Project, which he started in the mid 1970s with his partner Roxanne Meadows. The ultimate goal of the project was to design a space where mankind, nature and technology reach a balance and can exist indefinitely in a sustainable manner. The 2006 film, Future by Design, reflects on the life and work of Fresco and the impact that his research, design and views on sustainability have had on modern design processes. On a practical level, many industrial design products today have adopted one or more sustainable characteristics including the use of indigenous

129 >

materials and labour, an exten-

produces clean drinking water

African industrial designers are in-

sion of the product life cycle, and

from polluted water sources. The

troduced to the importance of

more. Design, in this way, becomes

design of these products addresses

Design for Sustainability and re-

a functional representation of our

real world problems through ac-

flect on views of writers such as

goals regarding a sustainable fu-

tual products and design thinking.

Papanek, Manzini and Fresco, to ensure that future products are not

ture. There are, however, various problems facing sustainable prod-

Lynedoch Eco Village, and the

only desirable, but also contribute

ucts. The one that recurs most is

Sustainable Institute located with-

to a better, more sustainable world.

that these products are often ex-

in the village, is another example

pensive. It is important to view

of a move towards a sustainable

any sustainable system or product

lifestyle in South Africa. Lynedoch

within a specified context, and

is located in Stellenbosch and, as

also, to consider the long-term

an eco village, has three main goals:

Bharma, T. and Lofthouse, V. (2007)

consequences of the product.

to develop a learning precinct at

Design for Sustainability: A Practi-

the centre of a socially and eco-

cal Approach. United Kingdom:

nomically viable mixed community,

Gower Publishing

to develop practical ecologically

Papanek, V. (1971) Design for the

designed urban systems that can

Real World. New York: Pantheon

be implemented in other areas,

Books

South Africa, and the African con-

and to develop the property into a

Papaken, V. (1985) Design for the

tinent as a whole, benefits from

financially viable project. The Lyne-

Real World: Human Ecology and

the focus on and development

doch Eco Village represents achiev-

Social Change. United Kingdom:

of sustainable design practices.

able sustainable living for all.

Thames and Hudson.

One last idea

About the author

sustainable systems and prod-

We so often hear the phrase, â&#x20AC;&#x2DC;we

Vikki du Preez is a multi-disciplinary

ucts are developed to address

only have one earthâ&#x20AC;&#x2122; and yet, our

lecturer at the Cape Peninsula Uni-

these issues. Through various ini-

habits as consumers display a

versity of Technology. Her focus

tiatives designers have the op-

lack of understanding, or complete

areas include the theory and his-

portunity to make a difference

disregard, for the finality of the

tory of Industrial Design and Sur-

to the lives of people living on the

statement. Our choices, big and

face Design, as well as the research

African continent. The EcoSan Dry

small, impact not only on our fu-

and development of learner-cen-

Sanitation System, designed by

ture but also on the future of

tred design education practices. <

Dave Maartens, Anton Maartens

those who come after us. The bal-

and Jan Joubert, is a safe ablution

ance between a positive prosper-

system which requires no water

ous lifestyle and global devasta-

and the AquaNow Portable Water

tion is more fragile than many

Purification System, designed by

would like to believe. Through ed-

Ian Vroom and Carlos de Nobrega,

ucation, new generations of South

A South African perspective

References

Given the high levels of violence, poverty, unemployment, illiteracy and medical requirements in South Africa, it is imperative that

All images courtesy of Jacques Lange except for top left image on page 126 sourced from http://images. google.com/hosted/life/ and sustainability model on page 128 sourced from Wuppertal Institut. EDUCATION

130 >

THE JURY ADJOURNS The Design Challenge from INDEX: Design to Improve Life addresses education-related issues in the developing world by design. By Kigge Hvid, CEO Education is the second of the UN’s eight

Recently the design challenge jury adjourned.

Millennium Development Goals (MDGs). The

Members include prominent design thinkers,

target for this MDG is to ensure that by 2015,

including Nii Commey Botchway, communica-

children everywhere, boys and girls alike, are

tion designer & educator; Carlos Vasquez, CFS

able to complete a full course of primary

Design & Construction, UNICEF; Look White,

schooling. Achieving universal primary edu-

CEO, INDEX:; William Fowler, Director, Global

cation means more than just full enrolment.

Education, Cisco Systems; Kim Fridbjørg,

This MDG also presupposes quality educa-

Architect MAA, creative director, Built Identity;

tion, meaning that all children who regularly

Kippy Joseph, associate director, Rockefeller

attend school learn basic literacy and numer-

Foundation; Hanne Bak Pedersen, deputy

acy skills and complete primary school on time.

director Supply Program, UNICEF Supply; Elizabeth Scharpf, founder and chief instigat-

Literacy remains among the most neglected

ing officer, Sustainable Health Enterprises;

of all education goals, and millions of children

Ana Karinna Sepulveda, alumna global leader-

are leaving school before acquiring basic skills.

ship fellow, World Economic Forum; Jack Sim,

In some countries in sub-Saharan Africa, young

founder, World Toilet Organization and Peter

adults with five years of education have a 40%

Stebbing, professor Hochschule für Gestal-

probability of being illiterate. About 759

tung Schwäbisch Gmünd.

million adults lack literacy skills today. Twothirds are women.

More than 1 000 students from 29 countries across the globe joined the competition,

UNICEF and the Danish-based non-profit or-

which resulted in 115 submitted design so-

ganisation INDEX: Design to Improve Life has

lutions. These solutions address four issues

challenged design and business students

as defined by UNICEF, based on its work in

from around the world to develop solutions

disaster areas and developing countries.

that can improve educational conditions in developing countries. The participating stu-

The first two challenges focus on how to make

dents have worked for months on solutions

a sustainable and comfortable floor for tempo-

with names such as Soap Shish, Elephant

rary use in classrooms without furniture and

Walk Desk, Lilly Pad and Wash Wheel.

how waste materials can make environmental

131 >

Overall winner of the Design Challenge, Teddy Bag by François Verez and Ane Eguiguren, Université Technologique the Compiegne (UTC) and Elisava School of Design (France and Spain).

EDUCATION

132 >

TOP: Akshara Learn As You Play by Sayantani Dasgupta and Meghma Mitra, Srishti School of Art, Design and Technology (India). CENTRE: Elephant Walk Desk by Stephen Pennington, University of Notre Dame (USA). BOTTOM: Lily Pad by Shiny Lam and Joey Loi, Ryerson University (Canada).

133 >

friendly and inexpensive school furniture.

which together account for 3.5 million child

These challenges emanate from the chronic

deaths annually.

lack of adequate quality education infrastructure and facilities, particularly school structures

Topping the general hygiene challenges is

and furniture for students. In many cases,

the fact that many girls miss school from the

the traditional classrooms and furniture are

onset of puberty because they face the em-

either not available or, when they are available,

barrassment of menstruation at schools

are old and dilapidated. Furniture is in short

where toilets are unclean, have no doors and

supply or undersized and students often use

are shared with the boys. Parents also do not

alternative objects such as their books, bags,

want to send girls to school during menstrua-

bricks, and logs to sit on or even sit on the

tion, sometimes for cultural and religious

bare floor, under trees, or in an open space.

reasons, but often because of the lack of run-

The conditions are uncomfortable and de-

ning water, safe sanitation and consumables

meaning to both students and parents.

such as sanitary pads. For instance, 94% of girls in Uganda reported problems at school

The third and fourth challenges focus on

during menstruation and 61% reported stay-

hygiene issues such as avoiding the stigma

ing away from school during menstruation.

of menstruating girls in schools and how to produce a soap that cannot be stolen or lost,

But in a different world not far away solutions

thus ensuring hygiene in schools, especially

to challenges like the above are exactly those

for 'un-pure' girls. Poor environmental condi-

that can ensure a child's education and give

tions in the classroom can make both teaching

them a crucial edge in a future filled with

and learning difficult and children’s ability

great challenges. According to UNESCO’s 2010

to learn may be affected in several ways by

Education for All Global Monitoring Report

inadequate water, sanitation and hygiene

the number of children out of school has

conditions. Statistics show that diarrhoeal

dropped by 33 million worldwide since 1999.

diseases, intestinal worms and other debilitat-

In South and Western Asia the number of

ing parasites affect unacceptably high num-

children that are not in school have more than

bers of schoolchildren – about 40% of an

halved – a reduction of 21 million. But the

estimated 578 million school-age children

latest numbers show that 72 million children

are infested with worms.

are still out of school and if the trend continues, 56 million children will still be out of

Schools are described as places with intense

school in 2015. Improvements are urgently

levels of person-to-person contact, as high-

needed and every small step counts.

risk environments for children and staff and are likely to exacerbate children’s par-

The finalists of the challenges, selected by

ticular susceptibility to environmental

the jury, were invited to Denmark in February

health hazards. The simple practice of wash-

2011 where they worked with international

ing one’s hands with soap is among the

and Danish funders, investors and companies

most effective and inexpensive ways to

to ensure the realisation and distribution of

prevent diarrhoeal diseases and pneumonia,

their designs. EDUCATION

134 >

The finalists are:

and hearing pleasure through sensory ex-

Akshara Learn As You Play is a fresh perspec-

ploration and can build motor development,

tive on the traditional alphabet book in the

special awareness and logical intelligence

form of a toy, similar to a jigsaw puzzle, which

through sensory play.

helps children assimilate language better through tactile experience as well as devel-

Soap Shish is inspired by an abacus and uses

oping motor skills which are important for

the colourful and slippery features of soap

children at a primary school level.

and thereby attracting kids to play with it, whilst at the same time cleaning their hands.

Elephant Walk Desk is a locally manufactured

It aims to provide hygiene to schools at all

and sustainable furniture solution, which

times, preventing the soap bars from being

targets primary school children to create a

removed or melted.

more collaborative and engaging classroom environment.

Teddy Bag (the final winner) is a school bag that turns into a desk. It allows children to

Lily Pad is a water lily-shaped mat made of

carry all they need to study â&#x20AC;&#x201C; in school or at

hemp, which ensures a comfortable and flex-

home. It is made from cardboard making it

ible seating option in schools with uneven

light and the simple production process

floor surfaces. Lily Pad is a contemporary

enables the bag to be produced in develop-

design that addresses the problem of un-

ing countries with ease.

comfortable learning environments whilst responding to the natural environment through the use of sustainable materials.

About the author

padBack is a sanitary protection solution

Kigge Hvid has led the development and

for rural areas. The aim is to ensure that girls

growth of INDEX: Design to Improve Life since

do not drop out of school due to stigma re-

her appointment as founding CEO in 2002.

lated to their menstrual cycle. The padBack

In leading the Danish government's mandate

is a self-maintaining system and the pads are

to advance the humanist tenets of Danish

made of papyrus and biodegradable non-

design, Kigge is a frequent panelist at the

woven fabric.

World Economic Forum's annual meeting in Davos and is a member of the Forum's Global

Reach & Match is designed to create an

Agenda Council on Design. In 2010 she joined

educational and playful kit that assists the

the board of Danish shipping foundation Lau-

emotional, communicative and cognitive

ritzen Fonden as well as the internatioal advi-

development of young children with visual

sory board of the Hong Kong Design Centre. <

impairments. It provides children (three to six years old) with a unique bridge to Braille literacy. The design provides tactile strategy

Images courtesy of INDEX: and the entrants of the Design Challenge.

135 >

TOP: padBack by Cansu Akarsu, Korea Advanced Institute of Science and Technology (South Korea). CENTRE: Reach & Match by Lau Shuk Man, Monash University (Australia). BOTTOM: Soap Shish by Cansu Akarsu, Korea Advanced Institute of Science and Technology (South Korea).

EDUCATION

136 >

DESIGNING FOR LIFE By Beth Peterson

Copying the structure of the nano-scales of a butterflyâ&#x20AC;&#x2122;s wing has made colourful, non-toxic paints, fabrics and cosmetics. Photo by Izzy LeCours, courtesy of The Biomimicry Institute.

TOP: The kingfisher's beak is so aerodynamic, the bird can dive for fish without making waves. Photo by Flickr photographer wildxplorer, courtesy of The Biomimicry Institute. BOTTOM: Shinkansen Bullet Train is based on the shape of the kingfisher's beak. Photo by Pagemoral.

137 >

Imagine we had access to an encyclopaedia

In other words, all other species that we share

of ten to thirty million sustainable designs that

the planet with, inherently promote life. It all

have stood the test of time for over 3.8 billion

seems so obvious and begs the question:

years. These blueprints of sustainable living

How is it possible that throughout thousands

could enable us to do all the things that hu-

of years of human innovation we have failed

mans need and want to do, but completely

to recognise and draw on Nature’s sustain-

without the waste and toxicity that is com-

ability expertise? The answer is all about

promising our survival. Well, according to

attitude. Humans have long believed that they

biomimics, we do have this extraordinary de-

have dominium over the natural world; that

sign resource readily available – we only need

it exists apart from us and solely for our use;

to recognise the true and incredible value of

that we are entitled to extract whatever we

Nature to be able to start learning from it.

like from it and despoil it however we choose. It is an eco-illiterate view that is bringing us

Biomimicry is described as both a science

perilously close to our own extinction.

and an art. The word derives from the Greek, bios, meaning life, and mimesis, meaning imi-

What underpins biomimicry is a shift to a

tation. It is a term that was coined by natural

much saner and hopeful way of viewing the

sciences writer, Janine Benyus in her seminal

world. Our industrialised lifestyles may offer

work Biomimicry: Innovation inspired by nature.

us delusions of grandeur beyond Nature, but

Biomimicry proposes that we can find the

no human technology has ever changed the

answers to all our problems of sustainability

fact that we are inexorably part of Nature,

by regarding Nature as our mentor, measure

fully dependent on the Earth and its networks

and model.

of interconnected living things. Instead of looking at what we can take from Nature,

All the plants and animals alive on the planet

we need to start looking very closely at what

today know how to live sustainably. They have

we can learn from it.

innate strategies to feed themselves, harness energy, make materials, store infor-

Biomimicry is a growing field of designers,

mation, heal themselves and conduct their

engineers, scientists, developers, researchers

business of living. They do all of this not

and many others who study Nature’s ideas to

only without harming the eco-systems that

better understand not just what works, but

sustain them, but they actually enhance

what survives on the planet. By analysing

their environments through living and dying.

Nature’s designs and models and by using EDUCATION

138 >

an ecological standard to measure the sustainability of human innovations, we can engage with the genius of life. Throughout the world people are realising that the more we emulate the natural world in every possible way, the more chance we have to achieve sustainable human communities. This is what inspires biomimics to explore a host of exciting and inspiring designs for life. The bumps on the back of a Namib beetle have motivated the design of water-harvesting panels in dry areas, eliminating the need to drill below ground. Self-cleaning paints, textiles and glass surfaces have been made by mimicking the surface of the lotus leaf, doing away with the use of toxic detergents. A silent, low temperature manufacturing process produces an exceptionally durable, clear glass based on the same process an abalone uses for self-

The microtopography of shark skin inhibits growth of microbes, meaning that nothing can attach itself to a sharkâ&#x20AC;&#x2122; skin. Photo by Erik Charlton, courtesy of The Biomimicry Institute.

assembly. The flowing spirals of seashells and ram horns have inspired the design of optimally efficient fan blades and propellers. Copying the structure of the nano-scales of a butterflyâ&#x20AC;&#x2122;s wing has made colourful, nontoxic paints, fabrics and cosmetics. A vaccine exists that does not require costly refrigeration because it has been produced by using the natural process that a resurrection plant uses to remain in a desiccated state for long periods. A bacteria-resistant surface coating based on the structure of a shark skin, was made possible after it became known that nothing can attach itself to a sharkâ&#x20AC;&#x2122; skin. While there are many examples of biomimicry in practice, there is even more happening in research fields. The Land Institute studies prairies with the aim of developing a model of agriculture that uses edible perennial grains grown in polycultures to replace the unsustainable

Blue mussels attach themselves to rocks in harsh conditions using only natural adhesives. Photo by John Davey, courtesy of The Biomimicry Institute.

139 >

'Lightweighting' is commonly found in nature which makes a design strong and light by optimising geometry and structure. Strategies include hollow parts, ribs, posts, corrugation, trusses, and gussets. Photo by Jim Champion, courtesy of The Biomimicry Institute.

Self-cleaning paints, textiles and glass have been made by mimicking the surface of the lotus leaf. The microscopic structures on lotus' surface are super-hydrophobic, causing water to roll off and take particles with it. Photo by Claire Houck, courtesy of The Biomimicry Institute.

EDUCATION

140 >

Termites live in extremes: extreme heat during the day and extreme cold at night. Their mounds are ventilation structures that maintain temperature, CO2 levels and humidity in the nests below the ground. Photo by J Brew, courtesy of The Biomimicry Institute.

The design of Eastgate Centre is influenced by the passive heating and cooling structures of termite mounds. Photo by Mandy Paterson, courtesy of The Biomimicry Institute.

The structure of owl feathers reduces noise. Photo courtesy of The Biomimicry Institute.

Humpback whales have bumps on the front of their fins, allowing them to turn on a dime underwater. Photo by Christine & David Schmitt, Courtesy of The Biomimicry Institute.

141 >

monocultures of needy annuals that are

into Nature; exploring, observing and ques-

currently our staple foods. Researchers

tioning how life works.

at the University of Arizona are studying how a leaf captures energy with the aim of

Biomimicry South Africa is a network affili-

producing a solar cell the size of a mole-

ated to Benyus’s Biomimicry Group and

cule. Others are studying the capacities of

headed up by Claire Janisch. Biomimicry

the blue mussel to learn how to create a

workshops, training and presentations are

non-toxic underwater glue. Industrial ecol-

now available. To contact Biomimicry South

ogists are looking to mature hardwood for-

Africa, email claire@biomimicry.net and

ests to model a closed-loop economic sys-

for more information about biomimicry

tem.

visit www.biomimicryinstitute.org. To become part of the global biomimicry net-

Nature’s store of designs is so tremendous-

work join www.asknature.org

ly vast and diverse that it is conceivable that the solutions to all our design problems already exist. We just need to know how to engage with Nature as a teacher. In the

About the author

face of our crisis of unsustainability, it is arguable that eco-literacy is an essential 21st

Beth Peterson is a professional writer with

century life skill; and for the designers

a special focus on sustainability, human de-

who are shaping our world, it is then also

velopment and natural history. She also

a crucial job skill. Benyus suggests an im-

provides unique ‘writer-at-the-table’ cre-

mersion in Nature and entering into a

ative services – ideas generation, storytell-

“sort of intimacy with Life on Earth”. At the

ing and strategy for brands and organisa-

core of biomimicry training is getting out

tions. <

EDUCATION

Absa Bank Ltd, Reg No 1986/004794/06. Authorised Financial Services Provider. Registered Credit Provider Reg No NCRCP7.

The Jupiter Drawing Room 44130

Creativity takes courage. Just ask Guy du Toit. Overcoming one’s fears is easier said than done. That’s why we sponsor the Absa L’Atelier – an art competition that rewards brave, young artists with the opportunity to live and learn at the world-renowned Cité Internationale des Arts in Paris. As a look through the list of past winners will testify, when courage and this kind of opportunity come together, greatness is sure to follow suit. Visit www.absa.co.za for entry details.

LEIMEI JULIA CHIU

144 >

A champion for design promotion across boundaries

145 >

In August the SABS Design Institute was in-

Born in Taiwan, Leimei was raised and edu-

strumental in bringing Leimei Julia Chiu to

cated in the United States and later in Japan,

South Africa as the international guest ad-

offering her a diverse cultural and academic

judicator of the 2010 SABS Design Excellence

foundation. This might be the reason why

Awards. According to Adrienne Viljoen, man-

she has chosen to help designers and de-

ager of the SABS Design Institute, the pres-

sign students to promote their work across

ence of international adjudicators in the

national and cultural barriers. She herself has

Design Excellence Award scheme creates

traversed disciplines by starting off as a math-

an international benchmark and adds cred-

ematician before moving on to become a pro-

ibility to the entire process. It also offers an

moter of design.

international perspective on the South African design industry.

Before her current position, Leimei was director of the International Design Center Nagoya.

Previous international names that have added

She also worked with major Japanese corpo-

lustre to the Design Excellence Awards adju-

rations, as well as with governments and aca-

dication panels were Satish Gokhale, award-

demic institutions in over 35 countries across

winning industrial designer from India (2004),

Europe, North America and the Pan Pacific Rim.

Marcelo Aflalo, architect and designer from

She is an executive board member for the ad-

Brazil (2005), Eric Anderson who taught indus-

visory council of METI (the Japanese Ministry

trial design at the Carnegie Mellon University

of Economics & Industry) to implement na-

in Pittsburgh in the USA (2006) and Lorraine

tional design policy in Japan, as well as the

Justice, director of the School of Design at

mayorâ&#x20AC;&#x2122;s advisory council on implementing the

the Hong Kong Polytechnic who joined the

10-year strategic plan (2010-2020) for the

judging panel in 2007. Carlos Hinrichsen, past

future of the city of Nagoya and strategic

president of Icsid was the international ad-

visions for the economic development of the

judicator in 2009.

central Japan region.

Leimei Julia Chiu, by all accounts the most re-

A stalwart in professional design associations,

spected and experienced design promoter in

Leimei has become Icograda's first female

the world, has never been restricted by bound-

president elect. She will preside over this or-

aries. She moves easily across disciplines, cul-

ganisationâ&#x20AC;&#x2122;s 50th anniversary celebrations in

tures and geographical borders.

2013 when she becomes president for the 2011 to 2013 term. Icograda (International

Leimei is currently the executive director of

Council of Graphic Design Associations) is the

the Japan Industrial Design Promotion Organ-

world body for professional communication

isation (JIDPO) and a professor in the De-

design. It was founded in 1963 and is a volun-

partment of Visual Communication Design

tary assembly of organisations concerned with

at Musashino Art University.

graphic design, visual communication, design management, promotion, education, research and journalism.

EDUCATION

146 >

From 1997 to 2001, Leimei served as an Icograda vice-president and executive board member of the International Council Societies of Industrial Design (Icsid) from 2007 to 2009. A recipient of the Mainichi Design Award (jointly with the 2003 Icograda Congress VISUALOUGUE planning team) and Icograda Presidentâ&#x20AC;&#x2122;s Award, she has served on numerous competition juries including Red Dot Design Concept Award, Brno Biennial, Design for Asia Award, World Design Leadership Award, BIO, Adobe Design Achievement Awards and the Good Design Award.

The role of design awards in design promotion During her visit to South Africa, Leimei spoke at length about the role of design awards in design promotion. She was adamant that a discussion about design awards should reach further than just a conversation amongst designers in the design community. And she should know, as she currently serves on the jury of the Good Design Award, Japan's only overall system for evaluating and promoting design. The Good Design Awards is a comprehensive programme to evaluate and encourage design and is organised by the Japan Industrial Design Promotion Organisation (JIDPO) of which Leimei is the executive director. This award, commonly known as the G Mark, has been in place since 1957 when the Japanese government realised that design was essential for breaking the cycle of poverty that was in place after Japanâ&#x20AC;&#x2122;s defeat in WW2. Since then in the region of 35 000 designs have been awarded the G Mark.

Click here to read more about the Good Design Awards.

147 >

It is interesting to note that the Good De-

Leimei shared the insights on the SABS Design

sign Awards operates on a screening policy

Excellence Awards process and products.

that is expressed in five words:

She was most impressed by the attention

– HUMANITY: Inspiration for products and

the adjudicators paid to the different entries

conceptual embodiments – HONESTY: Perceptiveness toward contemporary society – INNOVATION: Concepts to pioneer the future – AESTHETICS: Imagination for prosperous lifestyle culture – ETHICS: Reflecting on society and environment

and the knowledge they displayed in a variety of fields. Compared to Japan where great attention is paid to detail and small elements, Leimei commented about the sheer size of many of the entries. She was particularly impressed with the huge treasure of indigenous knowledge that was applied to award-winning products and the fact that most of the products were designed to overcome challenges faced by South African society. So, for ex-

Leimei insists that the Good Design Awards

ample, was the award made for a modified

is all about the people who will eventually

armoured car to her an example of designing

use the designs. It boils down to a basic phi-

for security where a disadvantageous situa-

losophy that design is a humanitarian act put

tion could be turned into an advantageous

in the service of the human community.

one. The first wholly South African designed aviation aircraft also elicited positive com-

Leimei believes that the G Mark concept

ments from Leimei. She was impressed by

could work well for South Africa, as it has

the expertise and research efforts that were

never awarded individuals, but rather com-

applied and the fact that collaboration be-

panies, organisations and institutions that

tween disciplines and institutions could lead

have excelled in design. With the G Mark

to an award-winning product.

comes many training programmes, seminars and more to encourage entrepreneur-

Leimei believes that design and design think-

ship and design and this could also help to

ing can be applied to building a nation, just as

bolster the South African economy, should

the G Mark did for Japan in the previous cen-

such a concept be carried through locally.

tury. Japan’s Good Design Award was initially a vehicle for government to work with indus-

Design can be applied to meet the challenges

tries to show how design thinking could help

faced by South Africa at present. Leimei made

business to incorporate new strategies to

the suggestion that design could, for exam-

become more successful – create jobs, grow

ple, be applied to redesign education, encom-

the economy.

passing different disciplines of design like communication design (for learning mate-

It will bode well for South Africa if government

rial), architecture (for school infrastructure)

would follow the same strategies here on

and more. Design could also be applied to

the tip of the African continent. <

public services to improve infrastructure.

EDUCATION

148 >

DESIGNING_SOUTHAFRICA A new lens on the known world By Jess Henson

The 2010 FIFA World Cup helped South Africans and their continental compatriots to wake up and work together to welcome the world with a vigour not seen before. If your goal is to live and thrive in the metaphorical global village of 2011, this is the time to focus and find out about DESIGNING_SOUTHAFRICA.

149 >

The multi-media library otherwise known as www.designingsouthafrica.com holds a host of light boxes with detailed audio-visual insights into South African urbanism, design and development.

2010 was big. We worked hard,

amazing. And if we can learn from

to the fan park, sharing a vision,

played even harder and joyfully

it, we can build on it. For that, we

celebrating and achieving. It’s a

hosted an event of global propor-

need to focus and put ourselves

pretty picture, in retrospect, and it

tions that boosted South Africa’s

centre stage.

can serve a greater purpose than beautifying the mantelpiece of

social, economic and infrastruc-

our national pride.

tural development by leaps and

Perhaps the most profound achieve-

bounds. Most importantly, we

ment of 2010 was that we have

did this by ourselves. If last year’s

begun to believe in ourselves in a

Planning and strategising for a

successes are anything to go by,

global context. We became one

new year means looking back and

2011 is going to be even more

– sharing workloads, sharing lifts

learning from the previous one. EDUCATION

150 >

LEFT: Safety and traffic flow are key in any inner city. Thanks to collective vision and a new pedestrian bridge, crossing Buitengracht Street in Cape Town is now easy, and it comes with a view. Photo by Cape Town Tourism. CENTRE: Cape Town’s Green Point Stadium is a new icon on the city map and an architectural feat that proves that the country’s talent is capable of creating and producing first-class products. Photo by Bruce Sutherland and City of Cape Town.

But how can you confidently step

identity. It’s not instantly obvious

returning friends. A concentrated

into the new if you’re not sure what

just when and where, and who and

portion of these came from South

you’re looking at?

what were done to make us proud

America.

of our cities and the souls living in them, of our hard work and hope.

Connectivity saw Brazil importing

It feels as if we were thrown into a

its samba musicians and capoiera

time machine, and by some miracle,

dancers on dedicated cultural ex-

came out clean, ready and really

change programmes “to enhance

The FIFA 2010 World Cup was ex-

happy to be in the present. That

an awareness of Brazilian culture”

citing and overwhelming – so much

‘miracle’ is called connectivity.

as 2010 Western Cape co-ordinator,

In the wake of the World Cup

Dr Laurine Platzky stated. They

happened so fast. Most of us have mental snapshots of moving

Connectivity means that South

joined us in the streets, on stages,

through the streets with strangers

African cities fed into design and

in the stadia and behind the scenes.

or monumental stadia filled with

architecture, which fed into a

waving arms. There were thou-

world event, which fed into the

Connectivity resulted in experts

sands of related events and new

economy, building the country.

from all disciplines and fields pulling together to prepare for

initiatives, roads being remodelled, airports revamped and media cam-

Connectivity brought us first-time

the event, and the country deliv-

paigns redesigning national

visitors and turned them into

ered, on time, to the masses, to

151 >

Abitare is an international design magazine that responded positively to DESIGNING_ SOUTHAFRICA’s invitation to see for itself that progressive South African urbanism is on the rise. It explored how ‘African’ our stadia are, with a focus on Johannesburg. Image by Abitare magazine.

international media and ultimately to you and me.

Connecting the dots

DESIGNING_SOUTH AFRICA – a meeting of minds

this comprehensive compendium of World Cup-related developments and design is, in effect, a lens and a library, an exchange, a

DESIGNING_SOUTHAFRICA is a

reference guide and a dialogue.

collaborative exploration of how To continue the connectivity, to

design, creativity and architecture

The project uses analysis, critical

build and work together to do

affect cities and society. In a lo-

commentary, panel discussions,

things better, we need to be able

cal context, DESIGNING_SOUTH

photography, audio and video to

to see it and to build on these

AFRICA is a discovery of South

tell the story of urbanism and de-

lessons and benefits. Imagine that

African urbanism that uses the

we would have a loop and a link

2010 FIFA World Cup as a focal

helping us to understand and think

point for these evolving rela-

The result is a series of snapshots

about where we’ve been, what

tionships.

of South African design and urban-

we’ve learnt, where we’re going

ism showcasing expertise, identity,

and how to do so optimally. Imag-

Contained in a multimedia web-

public transport and spaces, eco-

ine DESIGNING_SOUTHAFRICA.

site, travelling exhibition, a book,

nomic development and service

and an ongoing forum of experts,

delivery.

EDUCATION

152 >

Urban realities and sustainable solutions

shantytowns at the entry and

cultural commentator, Zahira As-

exit of every major city and town

mal, lived and worked in Lisbon.

in South Africa is a clear indica-

There she met with a group of de-

Urbanism – a word referring to

tion that thorough planning is

sign critics and editors while work-

urban character or an urban way

necessary as population density

ing on the ExperimentaDesign

of life – is not just a thought trend;

increases.

Biennale.

than half the world’s population

DESIGNING_SOUTHAFRICA is tak-

“It was an opportune time to in-

now lives in an urban centre and

ing notes in the hope that every-

vite the world’s most illustrious

open-platform thinking is neces-

one will get involved in the conver-

design critics and editors to South

sary to connect the dots.

sation, from expats to experts,

Africa – it being the World Cup. I

students to street sweepers. Plan-

was also curious about what urban

In keeping with global population

ning means looking at the whole

and design projects were kicking

and development trends, South

picture. The whole picture involves

off developments, and how the

African urbanisation is on the in-

the whole world, as the project

national government, municipal-

crease as more and more people

origins illustrate.

ities, tourism agents, architects

it’s a worldwide movement. More

and designers were working to-

migrate to economic centres to thrive. The blossoming, colourful,

DESIGNING_SOUTHAFRICA start-

gether to ‘Design South Africa’

haphazard sprawl of informal

ed in 2009 when creative and

for the World Cup.

153 >

LEFT: DESIGNING_SOUTHAFRICA has contributed to coverage of South African development with editorial in the renowned design, interior, fashion, art and lifestyle magazine, Wallpaper*. Image by Wallpaper* Magazine. CENTRE: Another guest of DESIGNING_SOUTHAFRICA, Icon magazine aptly and cheekily dubbed their June 2010 issue 'The Africa Issue' and investigated Cape Town’s city's transformation towards the World Cup as well as featuring fine young architect, Mokena Makeka. Image by Icon magazine. RIGHT: Zahira Asmal has developed a framework for DESIGNING_SOUTHAFRICA and directs its various executions; in articles, as a book and travelling exhibition, in broadcast media and on the web. Photo by Antonia Steyn.

“I invited the editors to key urban

on the topic of South African de-

came third in the Best City cate-

centres in South Africa to explore

sign and urbanism across the

gory.

the developments with me, meet

world. While still in its initial stages, in

the relevant people, as well as experience first-hand what they

The project’s multimedia documen-

2010, DESIGNING_SOUTHAFRICA

would report in their respective

tary platform, www.designing

single-handedly engaged a dia-

publications, with the aim of pub-

southafrica.com, features in-depth

logue with the United States,

lishing a book on the impact of

panel discussions on nation de-

the United Kingdom, Spain, Bra-

the 2010 FIFA World Cup on South

sign and identity, lessons learned

zil, Japan, Germany, Belgium and

African cities.

from the World Cup, and new ur-

China. The project invited and

banism and World Cup legacies.

hosted visitors from international

Contributing to the dialogue

independent media. The positive Johannesburg was nominated

spin-offs included one-on-one

for the Wallpaper* Design Awards

exchanges between media and

2011 for 'Best City' due to DESIGN-

field experts, as well as dedicat-

In the past year, DESIGNING_

ING_SOUTHAFRICA hosting the

ed urbanism and design-related

SOUTHAFRICA has established

prestigious international life-

articles in nine high-profile, in-

itself as a vehicle for information

style magazine in South Africa in

ternational publications cover-

exchange, generating dialogue

2010. The result: Johannesburg

ing transport, architecture, graphic EDUCATION

154 >

design and brand identity. Nota-

to serve on the DESIGNING_

bly, a cover on the November

SOUTHAFRICA Advisory Panel.”

2010 issue of Wallpaper* maga-

Onwards, upwards, outwards – The DESIGNING_SOUTH AFRICA directive

zine. DESIGNING_SOUTHAFRICA

The experts making up the panel

coverage extended to five conti-

include Edgar Pieterse, urbanist

nents in nine languages.

and director for African Centre

In its endeavour to support a wider

for Cities; Mokhena Makeka, an

interdisciplinary discourse and

architect who focuses on sus-

tell the story of new spaces, new

tainability and durability; and

identity and new thought in the

Henning Rasmuss, director of

wake of the World Cup, DESIGN-

A notable World Cup success, Za-

Points Architects and Urban De-

ING_SOUTHAFRICA makes a

hira notes, is that “design thinking

signers.

point of:

Experts from all areas

and applied design work was se-

• engaging government, munic-

riously contracted, the result be-

”Perhaps this is an opportunity

ipalities, the private sector,

ing a cohesive national expres-

to create a national council to

tourism agents, designers, ar-

sion that was celebrated by

advise on all South African crea-

chitects and educators in the

South Africans and the world.

tive executions.”

delivery of efficient service

We want to continue on this trajectory and have sourced experts

155 >

LEFT: Johannesburg city from the sky. The World Cup has helped South Africa reach a global audience and express itself in an authentic, natural and newly South African way. Image by Michael Meyersfeld. RIGHT: DESIGNING_SOUTHAFRICA has its sites set on Brazil as a partner in global information exchange and the ongoing dialogue of urbanism. São Paulo is its largest city. Photo by Nelson Kon.

• shifting negative perception

Cup and the 2016 Olympics. A

other and ourselves. “Nation build-

to positive ones, locally and

visit to Brazil in January will forge

ing and development require

globally

ties. In addition to sharing knowl-

collaboration,” concludes Zahira.

• highlighting development ini-

edge of lessons learnt in the World

“No city is an entity on its own

tiatives and achievements in

Cup, Zahira says that “we have

anymore, especially with com-

design, architecture, public

similar social and developmental

munication technology, and the

transport and public spaces

concerns that I would like to ex-

ease with which people travel.

plore with the Brazilians”.

We have to collaborate and

• granting global access to South

share information and expertise.

African expertise, and enabling sharing of expertise between

With South Africa now included

Brazil and Africa.

in the BRIC nations (Brazil, Russia, India and China) as a developing

It’s essential.”

About the author

The near future sees DESIGNING_

nation of increasing power on

SOUTHAFRICA publish a book

the world market, sharing knowl-

with panellist insights and expert

edge can be invaluable going

Jess Henson covers the arts, de-

essays, roving international exhi-

forward.

sign and urbanism for print and

bitions (Durban, London and

pixel with a focus on integration,

Berlin), as well as a focus on Bra-

2011 is already looking good. We

zil, host of the FIFA 2014 World

would do well to invest in each

education and elevation. <

EDUCATION

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KNITTING FOR INITIATES By Maran Coates. Laduma Ngxokolo, a

Ireland, New Zealand, Pakistan, Singapore,

young South African knitwear designer, has

United Kingdom and South Africa. The com-

been named the top new creative talent in

petition required that all entries show evi-

his field by the UK-based Society of Dyers

dence of colour use as an integral component

and Colourists' (SDC) annual International

of the design process as, well as incorporat-

Design Competition 2010. Laduma’s range

ing social responsibility. Laduma’s range was

of jerseys titled The colourful world of the

inspired by his culture and heritage but more

Xhosa tribe was awarded first place at the

specifically, traditional Xhosa beadwork and

prestigious evening ceremony held at the

food. However, the most fascinating consid-

Clothworkers Hall in London.

eration of Laduma’s jerseys is his intended clients: initiates.

The SDC’s annual International Design Competition received 500 entries from 100 terti-

Once the young initiates (amakrwala) rejoin

ary institutions representing ten countries

society, they are required to throw away all

including Australia, China, Hong Kong, India,

their old clothes that they wore as a boy and

157 >

then to don new clothes. This uniform of sorts consists of smart trousers, a blazer or jacket, hat and formal shoes. Though there is an element of individuality about the garment selection, the whole body has to be covered for three to six months. Once dressed, the young men have to appear and behave as

Once young Xhosa initiates rejoin society, they are required to don new clothes which commonly consist of smart trousers, a blazer or jacket, hat and formal shoes. Photo by Araminta de Clermont at Joao Ferreira Gallery, Cape Town, from the series A New Beginning.

responsible ‘gentlemen’. Throughout the country there are various interpretations of this uniform but often young Xhosa men dress like Scottish golfers or 19th century Englishmen, says Lin Sampson in article for Times Live (Clothes that make the man, 11 April 2010). Laduma’s concern is that this image or attire represents a British context

EDUCATION

158 >

Presentation boards of Laduma Ngxokolo's winning entry for the Society of Dyers and Colourists' annual International Design Competition 2010.

159 >

and has been unquestioned for generations. For Laduma this required ensemble does not reflect the initiates’ Xhosa cultural aesthetic and “is too Western” for his liking. “With my knitwear collection, I intended to remind my fellow South Africans where we come from and how that makes us distinctively different from other parts of the world. I felt that there is a need to celebrate my culture in a way that would be relevant to my society.” In order to make the garments more relevant to both the initiates and the initiation practice, Laduma referenced two staple symbols of Xhosa culture: samp and beans (umngqusho) and traditional beadwork. Laduma used the texture of the umngqusho, as inspiration for the texture of his jerseys, which are knitted in a blend of kid mohair and merino wool. Many traditional beadwork references are used which form a vital part of ceremonial regalia to signify social status and is presented or worn for major rites of passage such as initiation celebrations. The zigzag pattern, Laduma says, is a symbol of strength and is very popular in local beadwork. Laduma used the inspiration of this zigzag pattern in various contemporary applications in the sweaters as can be seen in his mood boards. Another important point of reference for Laduma’s inspiration was the role of colour and its symbolism. Although Laduma says

EDUCATION

160 >

that his initial research gave him little help in colour symbolism as it was found that of all the tribal groups in South Africa, the Xhosa valued colour symbolism the least. The most important colour for his jerseys is ochre, which is traditionally used to dye cotton blankets in various shades of red or rust. The ochre is extracted from the earth in various parts of the Eastern Cape and led to the Xhosa also being referred to as the ‘Red Blanket People’. An ochre paste is also used for a period of time on the initiates’ faces once they re-enter society after their isolation period. This ochre colour is used in various ways in all of Laduma’s garments. Other colours with strong symbolic meaning include white symbolising purity and the power of spiritual healing, while turquoise is associated with diviners. Dusty pink and yellow have lesser symbolic meaning and is used as complimentary or contrasting colours for aesthetic appeal. Laduma’s interest in textiles, he says, started at a young age when his late mother taught him how to knit. Laduma had to use his skills soon after he learnt to knit as he had to help care for his family’s financial needs once his mother passed away. He says of his late mother that she “always taught me to never be in a comfort zone. So, I always question the relevance of the work that I design”. For Laduma the role of the next generation forms the foundation of his design philosophy, which is interpreted into

Laduma Ngxokolo's final designs for the The colourful world of the Xhosa tribe range.

EDUCATION

161 >

a question that he constantly poses: “What

heritage on to him – and this is his greatest

relevance can the work that I design have in

source of influence. His mother was a seam-

the present and the future”?

stress, his grandfather an artist and his sister is a fashion student. Laduma is in a good

With this in mind, the quality of the garment

position to one day pass something of great

is most important, using premium quality

value on to his own emerging generation.

mohair and merino wool provided by his sponsors, Cape Wool and Mohair South Africa,

Laduma has just completed his BTech at Nel-

both of whom awarded Laduma bursaries

son Mandela Metropolitan University in Port

for his studies.

Elizabeth and is planning to use his winnings (£1 000 – ZAR10 900) to set up a business

For Laduma the idea of passing something

that will make his knitwear designs available

on from one generation to another is truly key

to the world. <

to his view on Xhosa culture in a culturally evolving South Africa. His creative family have passed their skills and also their

EDUCATION

Do you ever fast forward during

The theme for the 2010 Vuka!

the ad breaks while watching TV?

Awards was aptly named Art with

Yes?

a heart. Almost 200 entries were

It’s time to pause and catch a wake-

received by the deadline in Octo-

up call as watch-worthy advertise-

ber last year from which 28 final-

ments, or public service announce-

ists were selected by a panel of

ments, are making waves on M-Net.

judges from the film and advertising industry. The awards scheme

There are more to these advertise-

consists of three categories: New-

ments than meets the eye. Unlike

comer (student), Contender (young

most commercial advertisements

professionals under 28 years of

that promote products and serv-

age) and Professional filmmakers.

ices, the intention of public service

The Newcomer category saw a

announcements (PSAs) is to create

huge increase in student entries in

awareness about an issue, change

2010 with a total of 116 entries,

perceptions and encourage action.

as opposed to 67 in 2009.

It is this call for action that is one

By Fatima Cassim

MOVING IMAGES

Time to catch a wake-up call

162 >

of the aims of M-Net’s various cor-

The winning entries were selected

porate social investment (CSI)

by the final judges across a range

projects. The M-Net Vuka! Awards,

of crafts such as direction, cinema-

one noteworthy CSI project, was

tography, concept and script. One

introduced in 1999 as a platform

of the judges, Festus Masekwa-

to reward and nurture South Afri-

meng, chief creative officer at

ca’s filmmaking talent while pro-

MotherRussia, said that the 2010

viding vital exposure to social

Vuka! entries addressed a broader

causes and charities”. Vuka!, the

range of social issues than before

name of the project, means ‘wake

and that mainstream issues such

up!’ in Nguni and now in its 11

as HIV/Aids, road safety and home-

year. The Awards calls on advertis-

lessness were tackled: “this time

ing agencies, budding filmmak-

the approaches were very differ-

ers and students to create public

ent: more uplifting and less guilt-

service announcements for wor-

tripping”. Winners in all three

thy social causes as well as non-

categories were acknowledged

governmental organisations and

at an awards ceremony held at the

charities to highlight and address

Theatre on the Track in Kyalami,

pressing social issues in South

Johannesburg, on 30 November

Africa.

2010.

163 >

to Amy, the group saw merit in the concept because despite the recent xenophobia attacks in the country there was little communication about refugees in particular, as opposed to the anti-xenophobia sentiments that are commonly expressed. A visit to the Jesuit Refugee Services’ offices in Braamfontein proved very worthwhile to the team when they were given an opportunity to speak to two young ladies working for the organisation. The team listened to a number of accounts about the plight of The Vuka! Award for Best New-

stand its own in the professional

refugees which at first made them

comer went to the team from the

category. This is for me the stand-

feel unbelievably ignorant to the

University of Pretoria for their

ard that I hope more newcomers

suffering of refugees. The team’s

innovative animated PSA for the

will look to in their future pro-

initial meeting altered their per-

Jesuit Refugee Service, with its

ductions, to craft their work as

ceptions and substantiated their

stirring message of fighting xen-

well as this.” This sentiment about

need to create awareness about

ophobia by beating ignorance.

the quality of work in the New-

this social issue and also gave

Information Design students,

comer category was shared by

them a lot to go home and ponder

Morné Venter, Amy van Vuuren,

judge Masekwameng, who said

about. Another benefit of the visit

Karen Meyer and Micaela Reeves

that he was “especially impressed

was the fact that the organisa-

were honoured in this and several

by the quality of thinking from

tion was extremely excited about

other categories on the night for

the Newcomer category”.

the opportunity which motivated the students even further.

their excellent PSA. The other categories for which they received

One of the student team members

awards included best animation,

suggested doing a PSA for the

For the project, the team conduct-

editing, script and soundtrack.

Jesuit Refugee Service and the

ed research and even interviewed

team decided to focus their con-

some high school students who

Judge Peter Carr commented that

cept on the refugee’s point of

are refugees. Speaking about their

“a lot of time and effort went into

view, instead of the usual South

personal engagement with the

the making of this film which could

African’s point of view. According

refugees, the team said that “the

EDUCATION

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165 >

thing that struck us with these stories

with Kyle McIntyre to produce the

is that all these young, young kids

sound which is an integral component

came to South Africa because they

of the PSA and ties the animation

saw the country as ‘this shining bea-

together beautifully.

con of hope’ on the continent. They thought that they would be taken

When asked about their creative

care of and be able to live a normal

process and involvement with Jesuit

life. But the reality was very far from

Refugee Services, the students af-

that. These kids live in poverty and

firmed that by the end of the project,

go to school with other children who

they had all changed their percep-

don't want them there. They all said

tions. One team member even ex-

that if they had a choice, they would

claimed: “we started as quite a use-

not want to be here.”

less group to be honest, compassion wise, only to become a bloody power-

From their findings it became clear

house of refugee-loving strength! If

that for the most part, South Africans

nothing else, and if no one else, this

do not understand who refugees are,

project changed the four of us.”

why they are here and why they are allowed to be here. This seemed to be

The feedback from the students is

the main problem and gave the team

heartfelt and demonstrates the

a clearer idea of what content to focus

worth of participating in such a project.

on for their PSA. Consequently, the

Social innovation and creative collabo-

team decided that what they needed

ration are also key drivers for M-Net’s

was “a non-sentimental, punchy ani-

corporate social investment so they

mation that showcased the facts”

continuously strive to improve and

and illustrated the difference between

sustain their projects. During the past

an illegal immigrant and a refugee.

two years, M-Net has spent time examining all aspects of the Vuka! initiative.

They kept the execution simple and

Koo Govender, M-Net director of Cor-

the text straightforward. The visual

porate Marketing & Communications,

style incorporates cell animation,

promises that “in 2011 the Vukas! will

photography and hand drawn type

be a more holistic experience with a

to keep the communication interest-

bigger focus on training and develop-

ing and fresh. The students worked

ment opportunities and more viewer participation”.

The Vuka! Award for Best Newcomer went to the team from the University of Pretoria for their innovative animated PSA for the Jesuit Refugee Service, with its stirring message of fighting xenophobia by beating ignorance.

All the Vuka! finalists are flighted on air for a year, beginning January 2011. For the full list of 2010 winners and finalists click here. <

EDUCATION

VASES FOR LIFESTYLES

166 >

By Erin-Lee Saunders. With a tangible

This yearâ&#x20AC;&#x2122;s initiative was themed VASE-a-

current of vibrant creativity floating

Lifestyle and 133 aspiring product design-

through the air, the moment had finally ar-

ers submitted their prototypes with the

rived for Carrol Boyes to announce the

hope of winning one of the cash prizes to-

three winners of the Metal 2010 New De-

talling R90 000. Only ten finalists had the

signer Search Competition. The prestigious

opportunity to present their original and

event was held at her new store in Canal

beautifully crafted designs and I suppose

Walk offering the ideal setting for the

that the decision must have been a rather

announcement and to show off the well-

tough one.

executed prototypes.

167 >

LTR: First prize winner, Urchin is by Carson Smuts. Second prize winner, Eclipse by Cobus van den Berg. Third prize winner, Towering Tree-Ou by Chris Bradnum.

I was particularly attracted to the Towering

on display. Towering Tree-Ou took the third

Tree-Ou, which was designed to display all

prize in the competition and was designed

parts of a flower, including the stem. The

by Christopher Bradnum who is a practicing

vase is made up of two cast metal compo-

design consultant and head of the Depart-

nents that are repeated three times to

ment of Industrial Design at the University

form the vase structure, a glass holder and

of Johannesburg.

a hinging base. I was also attracted to the fact that the top diameter of the vase can

Second prize went to Eclipse, an inverted

simply be adjusted via a cable to accommo-

vase designed by architect, artist and de-

date a variety of thicknesses of the plant

signer, Cobus van den Berg. Eclipse is part

EDUCATION

168 >

of a trilogy of objects collectively titled Lu-

Architectural Design at Columbia Universi-

nar. Cobus describes his creation as having

ty, New York, Carson explains that he en-

both a functional value and a symbolic

joys working across all scales of design and

meaning, and cited his particular interest in

feels that when designers from different

sacred geometry, especially the circle, as

disciplines work with and learn from each

the inspiration behind Eclipse, an inverted

other, the results are always enhanced by

vase.

the collaboration.

I was truly inspired by the wealth of talent

Carson claims that he has not yet had suf-

that this yearâ&#x20AC;&#x2122;s ten finalists exhibited, es-

ficient experience in the product design

pecially when I saw heads turning and

industry and sees his win as a great oppor-

watched how faces lit up when the winner

tunity to be able to learn from Carrol

was announced.

Boyes, who is one of the leading product designers in Africa.

Carson Smuts took home first prize and earned himself R50 000 for his vase called

For this project Carson experimented with

Urchin. Carson says that he feels highly

resins and 3D prototyping that enabled

honoured to win this prestigious award. A

him to produce the accuracy and details in

Bachelor of Architectural Studies graduate

the curvature which he had initially required.

from the University of Cape Town and cur-

â&#x20AC;&#x153;Coming from an architectural background,

rently enrolled in the Masters of Advanced

I feel that there should also be a synergy

169 >

TOP LTR: Brio by Brad Fraser, Echo by Philip van den Berg and Metropolis by Mohammed Chohan. BOTTOM LTR: Voupot by Nina Holm, Configuration by Helena Klawikowski, Loft Vase by Geoffrey Brown, 9T by Raoul de Villiers and Pyramid Vase by Warren Matten.

EDUCATION

170 >

TOP LTR: To Barbara by Oupa Vusimusi Mokwena, Narcissus by Phil Oosthuizen, Skeleton Vase by Jared Cohen, Slice by Dale Holmes and Morabaraba by Oupa Vusimusi Mokwena. LEFT: Fluid by Albie Spangenberg. RIGHT: Paradisea by Jeanne Fourie.

171 >

between structure and beauty. My intent

sustainable business based on the power of

was to create a vase that was structurally

design. “I am very excited to see this com-

sound, yet elegant.”

petition continuing in the years to come.”

He explains that the brief asked for a design of a vase that was ‘fresh and functional’. With

ABOUT THE AUTHOR

the prototype resting on three stems, Urchin creates a minimal structure and a perfect

Erin-Lee Saunders has a Diploma in Journal-

balance, while the arrangement of the stems

ism from Varsity College. She currently works

remains free as well as playful. He says that

for SABC Radio Broadcasting where she is a

“Nature always achieves perfect balance

producer and occasional newsreader. <

with minimal structure, where the form appears elegant, yet seemingly haphazard.” Carson concludes that Carrol Boyes has managed to do what many artists and designers fail to do and that is to create a solid and

EDUCATION

172 >

ALL

STARS

REIJER VAN DER VLUGT Reijer studied Multimedia at City Varsity and continued studies in visual communication, specialising in art direction at the AAA School of Advertising. “I am qualified in anything I put my mind to,” says Reijer. “Due to the nature of creativity, hours vary

BELOW

gently”, explains Reijer when asked about

By Erin-Lee Saunders. Developing and

to a deadline, anything goes. He says it can

nurturing young talent is essential for future growth. The Loerie Awards, first held in 1978, is passionate about this aspect and initiated the Loeries Young Creatives Award in 2007 which recognises outstanding achievement of talented individuals’ at the beginning of their careers. Individuals under the age of 27 working in brand communication (advertising, communication design or experiential media) submit a portfolio of their work and the winners receive a Gold Loerie Award, as well as an all-expensespaid trip to an international award show. This year saw some new categories being introduced which included a section for creative professionals. In between the riveting sounds, flashing wonders and nail-biting moments, the most talented were announced. Reijer van der Vlugt, an art director at FoxP2 and Mbuso Ndlovu, an art director/ designer at Y&R each took home the Loeries Young Creatives Award and a Gold Loerie. ED> met up with the well-deserving individuals.

his day-to-day schedule. He mentions that he could work until 2am on one day and arrive at work around 2pm the next day, as long as the workload is managed according be very stressful at times but liberating if one enjoys it. Generally, Reijer believes in approaching a brief from as many angles as possible. As an art director, he works very closely with his copywriter. Together they would get a brief from a client and think of how they’d interpret and express the requirements in the most creative way. His working process often consists of lots of research, thinking, continuous drawing, writing, going for a brisk walk, trying out the actual product/ service, an incredible amount of coffee, experimenting, learning what doesn’t work, the list goes on and on as each brief is unique. “The only consistent formula that works for me is: find the truth, say it simply in an interesting or beautiful way.” Reijer says that he experienced a strong adrenaline rush coupled with fear and ecstasy, followed by a sense of relief and satisfaction when it was announced that he had won the Loeries Young Creatives Award. “It’s a great feeling to get industry recognition for hard work.”

Project: Drive Dry initiative Advertising Agency: FoxP2, Cape Town, South Africa Creative Directors: Andrew Whitehouse, Justin Gomes Art Director: Reijer van der Vlugt Copywriter: Justin Osburn TOP RIGHT: Reijer Van Der Vlugt. 173 >

EDUCATION

Project: Print campaign fo Master Lock Agency: FoxP2 Creative Directors: Justin Gomes, Andrew Whitehouse Art Director: Reijer van der Vlugt Copywriter: Justin Osburn TOP RIGHT: Mbuso Ndlovu

174 >

MBUSO NDLOVU Mbuso also believes that his achievement at the 2010 Loerie Awards is the absolute highlight of his young career and he explains that there’s no greater feeling than being recognised by the industry as a whole, both locally and internationally. He studied Visual Communication and focused on graphic design and art direction. “I am very passionate about creativity and wanted to study something that was related to the subject, and getting exposure develops confidence.” He says that he has been particularly fortunate to have worked for two global agencies – Saatchi&Saatchi and Y&R – and he highlights the opportunities and experience that

Client: UNICEF Agency: Y&R Johannesburg Chief Creative Officer: Michael Blore Executive Creative Director: Liam Wielopolski Copywriter: Ian Franks Copywriter: Sebastian Schneider Art Directors: Alison Stansfield, Mbuso Ndlovu

175 >

EDUCATION

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177 >

he gained while working on many interna-

He has also been working on a couple of big

tional accounts. “It is pretty enlightening to

projects such as repositioning one of SAB’s

realise that, as the creator, one can change

major brands. He is very excited to travel

and impact on the mindsets of consumers

abroad, especially to meet his peers at the

around the world.” He continues that having

international awards show: “It will be great

global clients also present its own list of lo-

to make relevant contacts which could fur-

gistical problems and sometimes these cli-

ther enhance my learning and career!”

ents try to direct the brief and delegate what they think is best for the South African market. Mbuso says that this approach to the South African market does not always

2010 STUDENT LOERIE AWARD WINNERS

work. Students also did well at the 2010 Loerie According to Mbuso a creative must always

Awards and from 380 entries, 109 were

question the brief; understand if the strat-

short-listed as finalists. Two student Gold

egy is spot-on for the brand; identify the

Loeries were awarded to Chrizanne van

target market; identify methods of engage-

Breda, Marize Engelbrecht and Shannon

ment by its users and see that the concept

Devy, from AAA School of Advertising Cape

is in line with what they are trying to achieve

Town, for their National Geographic Calen-

through any of the creative vehicles. Gener-

dar and Clayton Swartz and Jessica Crozier,

ally, this is how Mbuso approaches each brief.

from AAA School of Advertising Johannes-

He finds brainstorming useful and surfs the

burg, for their print advertising campaign

Internet for inspiration, looking for cool vid-

for Leatherman.

eos, artworks, design, movies and blogs. Three Craft Gold Loeries were awarded to Having fun while you work is a priority for

Chad Goddard, from Vega, the Brand Com-

Mbuso and working in the creative industry

munications School Johannesburg, for his

makes this all very possible and accessible:

book, Fortywords; Michael Tymbios, from

“Kind of learning while having fun doing so.”

AAA School of Advertising Cape Town, for

He believes that the UNICEF Child Soldiers

his graphic novel, Onwards!; and Johan

and XBOX Need for Speed are by far the best

Horn, from AAA School of Advertising Cape

projects that he has worked on to date.

Town, for his publication, 10 Things you should

These projects have been awarded and rec-

know about sport.

ognised both locally and internationally and he specifically enjoyed the craft detail that

Other tertiary institutions that received Sil-

went into executing each piece.

ver, Bronze and Craft Certificates were from North-West University, Vega, the Brand

Mbuso is currently working as a designer/art

Communications School, Red and Yellow,

director at MetropolitanRepublic, a cross-

Stellenbosch Academy of Design and Pho-

platform agency. He particularly loves work-

tography, The Open Window, Greenside De-

ing on local accounts such as MTN, SAB,

sign Center, City Varsity and Tshwane Uni-

FNB, Wimpy and Vuzu.tv, to name just a few.

versity of Technology. <

EDUCATION

178 >

By Janine Johnston. In most people’s

the world’s wealthier 20% who consume

minds design means veneer, the finishing

80% of global resources. If the 80% less for-

process, the cherry on the top. Nothing

tunate individuals want to adopt the models

could be further from the true meaning of

of consumption so widely and powerfully

design. Steve Jobs got it exactly right when

promoted by contemporary industrial soci-

he said: “Design is the fundamental soul of

ety, they will not find the resources to do so:

manmade creation.” When we recognise de-

there is insufficient clean air, water, energy

sign sensibility at the core of our business

and land for 6 billion to consume in the

– people and environmental development –

same way as the ’rich‘. This environmental

only then will we create sustainable success.

pressure creates social and political tensions. The ratios 80/20 and 20/80 express

Sustainable design entails the theories and

the desperate need for alternative life-

practices that cultivate ecological, economi-

styles, new proposals and designs on how

cal and cultural conditions that indefinitely

we can improve our choices and actions so

support human wellbeing. We’re at a stage

that these are more sustainable and envi-

where environmental intervention must be-

ronmentally friendly.

gin at a product’s conception because even though the world is filled with remarkable

A new design revolution is underway, one

people, we are still consumers and we’re

not seen since the Bauhaus movement of

consuming at a rapid rate.

the 1920s: ‘Eco design’ takes the emotional, ecological and economic factors of our soci-

Consumption is emotional; purchases are

ety into account. This is design for a sustain-

status symbols and style is transient. The

able future. Innovators and inventors are no

Journal of Advertising Research published a

longer waiting for overall change in the sys-

study that showed emotions are twice as

tem – they’re driving the change. Projects

important as facts when people make buy-

are approached as ’solutions for people‘–

ing decisions. These are characteristics of

making new products and services accessible

179 >

to the widest possible audience with the

“If there was no design there would be

least possible negative impact. Efficient de-

nothing to do and nothing would progress

sign carefully measures the energy, resourc-

or get better. The world would fall apart.” –

es, costs of production and its influence on

Anna, age 11.

local and global communities. Maybe it is time, after all, to put the design Sounds like a walk in the park, but in reality,

of our future in the youth’s hands.

and particularly in Africa, we are faced with enormous social and environmental devel-

Enter the Eco Design Initiative, a South Afri-

opmental challenges that push the design

can non-profit organisation with the objec-

sector from centre stage. Designers practis-

tive to develop opportunities for youth en-

ing sustainable design are challenged even

trepreneurship in the field of sustainable

more than those just doing conventional de-

design. By facilitating skills and cultural

sign. There’s a lack of education and under-

sharing amongst youth, the Initiative aims

standing about sustainability in design and

to raise awareness and understanding about

the choice of materials is limited. So, our

sustainability and to encourage the adapta-

creative communities are faced with these

tion of sustainable design practises.

hurdles as well as other common design challenges, such as costs, short schedules

During 2011 Eco Design Ambassadors from

and meeting client demands.

South Africa and Sweden will participate in an interactive skills and cultural exchange

Management guru, Tom Peters, sees design

which will entail the Fresh Talent Workshop

as the principal reason for emotional attach-

and the Eco Design Showcase, to be hosted

ment (or detachment) relative to a product

in Cape Town and the City of Malmö.

or service or experience. “Design is arguably the no.1 determinant of whether a product-

Calling for positive action towards our sus-

service-experience stands out – or does not.

tainable future, the Initiative calls for No

Furthermore, it’s one of those things that

Kak! This is a vernacular South African way

damn few enterprises put – consistently –

of expressing one’s intolerance to nonsense

on the Front Burner.”

and this campaign implies no waste, no pollution and absolutely no harm.

Designers are the catalysts that make a sustainable future possible. Today’s ultimate

The Eco Design Initiative debuts in Cape

design challenge is to create durable prod-

Town in February 2011. Cape Town is one of

ucts and services that minimise adverse im-

Africa’s most important design hubs. It’s

pacts on the environment, while making

beautiful setting, pedestrian-friendly city

everyday life simpler and more pleasant.

centre and interesting urban landscape is a

EDUCATION

180 >

magnet for creative people. “We are proud

While the exhibition is running in Cape

to be one of the global cities championing

Town, the Fresh Talent Workshop will engage

sustainability through various redesigns of

30 eco -inspired designers in an intensive

the way we live, work and play and we feel

learning, skills and cultural exchange pro-

it is enormously appropriate that we host

gramme which will run from 28 February to

the new and exciting Eco Design Initiative.

4 March. Twenty South African participants

We truly believe that design can play a ma-

were selected as finalists in the Eco Design

jor role in future-fitting Cape Town for gen-

Competition in 2010, which called for en-

erations and we feel sure that this initiative

tries from design students and entrepre-

will bring that message home even more

neurs across South Africa. For the past few

clearly,” says Mariette du Toit-Helmbold,

months, these ’Fresh Talents’ have been

CEO, Cape Town Tourism.

producing their sustainable design prototypes to be the feature of the international

The Eco Design Showcase will be a spectacu-

Eco Design Showcase. They meet with Eco

lar display of design prototypes, sustainable

Design Ambassadors, Apokalypse Labotek,

concepts and design stories, as portrayed by

Righteous Fashion, Swedish Ninja and Liv

young Swedish and South African partici-

Andersson (from Sweden) and the LIV Green

pants. The exhibition launches at Iziko Slave

Design team (South Africa) to be inspired to

Lodge, Cape Town on 25 February and will

innovate with sustainability as the front-of-

be open to public until 9 March.

mind objective. The Fresh Talent Workshop programme will also include contributions

Built in 1679 by the Dutch East India Com-

from South African design educators and

pany to confine the Company’s slaves, the

sustainability champions.

Slave Lodge is today a museum dedicated to highlighting histories of slavery and human

The challenge presented to the participat-

rights. Under the umbrella theme From hu-

ing designers will be to reinvent the space

man wrongs to human rights, and through

of an under-resourced youth centre, using a

permanent and temporary exhibitions, the

supply of waste materials. With the partici-

museum strives to increase awareness on is-

pating designers’ creativity and ability to in-

sues such as human rights, equality, peace

novate, waste will be up-cycled to create

and justice. “Such issues are directly affect-

products of greater value to better serve

ed by climate change and the Iziko Slave

our community. This positive community ac-

Lodge is therefore pleased to host young

tion inspires respect and pride in diversity,

designers’ perspectives on possibilities for

while encouraging the application of good

our sustainable future,” says Fiona Clayton,

design to improve the lifestyles of all our

curator, Iziko Slave Lodge.

society’s people.

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The initiative is included as a case study in

The winner of the Eco Design Competition

Cape Town’s World Design Capital 2014 bid

will enjoy a Sustainable Design Tour to Swe-

book for this prestigious international title.

den to attend the launch of the exhibition in

The Eco Design Initiative’s headline activi-

Malmö on 15 May. The no kak! ingen skit! Eco

ties are staged when the city is ’buzzing de-

Design Showcase will be open to Scandina-

sign and creativity’, coinciding with the

vian audiences until late October.

launch of Cape Town’s bid activities during Design Indaba 2011. “As much as it is about

These exciting activities are the first steps in

positioning our city as a place with great de-

the Eco Design Initiative programme to fa-

sign capacity, bidding for this title is an im-

cilitate more qualified educational exchang-

portant way for us to hone our ability to use

es between South Africa and Sweden.

design thinking in addressing many of the

Through sharing skills, culture and innova-

social challenges we face as a city.”

tion amongst talented youth, the campaign aims to further global sustainable develop-

This impactful meeting in Cape Town will

ment objectives.

then proceed to the international leg of the Eco Design Showcase at Malmöhus, Scandi-

The Eco Design Initiative is supported and

navia’s oldest surviving Renaissance Castle.

sponsored by an impressive list of organisa-

Malmö Museum has cooperated with muse-

tions which include: The Swedish Institute,

ums and organisations in South Africa for

Swedish Arts Council, Proudly South African,

many years, with particular focus on issues

Swedish Industrial Design Foundation (SVID),

related to the democratisation of cultural

Malmö Museum, Iziko Museum of Cape

heritage, diversity, empowerment and hu-

Town and DESIGN>MAGAZINE. <

man rights. For more information visit www.nokak.com

EDUCATION

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183 >

VEGA SCHOOL OF

of thinkers with the expertise to generate

BRAND INNOVATION

to adding value to the lives of people has

SHINES BRIGHTLY

To the rule-breakers and the revo-

healthy brand ideas, linking business profit been realised. Pertinent and purposeful, their commitment to cultural and social responsibility comes naturally and is reflected through context, content and creativity. Vega’s reputation as a hotbed of creative talent and a new breed of thinkers has been further entrenched by the impressive list of

lutionaries... To the ones who don't

industry accolades received in 2010. One of

do conformity, and don't do ordi-

Vega’s biggest triumphs was the success at

nary... To the ones who want to spin

the Pendoring Awards 2010. Vega Durban students, Sharleen Hollick and Senzo Zulu,

the world on its head... To those of

received two Gold awards for a group effort

you looking for wisdomwithmagic.

for their Blindside print campaign in English,

When Vega School of Brand Innovation started ten years ago, few would have predicted the impact that one tiny renegade branding school would have on the lives of hundreds of students and the branding community. Vega’s aim to inspire a new breed

Afrikaans and Zulu for the NGO, Kick Racism. Hollick’s execution of the Afrikaans advertisement in the Blindside campaign also won the overall Student Award, with Brendan Loughrey winning gold in the Truly South African category. A member of the judging panel commended the “combination of intensity and subtlety” in the work as well as its “outstanding synthesis of concept, copy and design”.

TOP: Blindside (Afrikaans, English, Zulu), a series of hard-hitting print advertisements that convey the essence of the Kick Racism organisation. Team: Sharleen Hollick, Brendon Loughrey and Senzo Zulu. BOTTOM: Flipside, a series of message-based T-shirts that convey the essence of the Kick Racism organisation. Translation for Zulu execution: Indololwane is the Zulu word for 'elbow' which is used as a shibboleth in the context of xenophobia. When challenged, if someone cannot pronounce the word properly it is presumed they are a foreigner. Team: Sharleen Hollick, Brendon Loughrey and Senzo Zulu.

Amongst the seven Loerie Awards won by Vega in 2010 was the Bronze Loerie for the book cover designs for H.G. Wells’ novels designed by Shaun Mill and tutored by Nicci Martin. Furthermore, at the 2010 Vuka! Awards, Vega students won the best concept for their TV commercial MIA, for Missing Children South Africa, while their Seeds of Change commercial for Project Heifer won for best animation. As part of its endeavours to produce outcomes-based, integrated and interactive training, Vega launched the annual Brand

EDUCATION

184 >

Challenge a few years ago. At the end of each year, clients from industry, corporates, NGOs and government sectors brief students on specific challenges facing their unique brands. Students from both the strategic and creative degrees are placed in integrated strategic and brand communication teams and are then required to do in-depth research and propose innovative solutions for these clients and their real-life briefs. In the past clients such as Discovery, MNet, Protea Hotels and the Nelson Mandela Childrenâ&#x20AC;&#x2122;s Fund have briefed students who have brought fresh thinking and new ideas to build and sustain their brands. All records were broken in 2010 with 30 briefs received across the three Vega campuses. Clients included The Sharks, The Foschini Group, Sony, Sappi, The Brand Museum, The Ceres Group, SABC3, Animal Action and Grant Thornton, to name just a few. In exchange for the integrated brand and communication campaigns prepared by the students over a five-week period, clients make a contribution to the Vega Bursary Fund that enables previously disadvantaged students to enter the brand communications industry. Approximately R900 000 was generated in 2010. Ten years since its founding, Vega has grown Book cover designs for H.G. Wellsâ&#x20AC;&#x2122; novels designed by Shaun Mill.

from small beginnings and is now part of The Independent Institute of Education (Pty) Ltd group and has grown both physically and philosophically, yet its essence remains unchanged: constant endeavours to teach, live, breath and embody the wisdomwithmagic philosophy. It has grown in stature and now counts among the top private design education institutions in South Africa. <

EDUCATION

DIPLOMA IN

INTEGRATED BRAND COMMUNICATIONS

BA DEGREE

IN BRAND BUILDING & MANAGEMENT

BA HONOURS BA HONOURS IN BRAND LEADERSHIP CREATIVE BRAND COMMUNICATIONS

BA DEGREE CREATIVE BRAND COMMUNICATIONS

HIGHER CERTIFICATE IN PHOTOGRAPHY

JHB (011) 521 4600 PTA (012) 343 3669 DBN (031) 266 2595 CT (021) 425 7591

ADVANCED CERTIFICATE IN PROFESSIONAL PHOTOGRAPHY

Vega The Brand Communications School, is an educational brand of The Independent Institute of Education (Pty) Ltd which is registered with the Department of Higher Education and Training as a private further and higher education and training institution under the Further Education and Training Colleges Act, 2006 (reg. no. 2009/FE07/003, prov. to 31/12/2014) and the Higher Education Act, 1997 (reg. no. 2007/HE07/002).

120374

Rich aroma. Refined taste.

Find your inspiration

188 >

IMAGES FOR CHANGE: A SUSTAINABLE

BOND WITH

SPACES AND

PLACES WE OCCUPY

Liani revealed to ED> how her curious nature, a handful of disposable cameras and a group of young people managed to challenge her role as an architect and sole creator to move beyond the design of buildings towards the design of new creative processes of engagement. By Liani van der Westhuizen. One would have thought that five years of notoriously late nights and hard work at architecture school would have squashed my curious nature, but with a MArch(Prof) degree from the University of Pretoria under my belt and two and a half years of work experience, I was surprisingly eager to be a student again. With a scholarship from the Audi Design Foundation and a confirmed place on the Design for Development MA course at Kingston University in London, I embarked on further postgraduate studies in October 2009.

189 >

Illustration of Cambridge Road Estate. ÂŠ Liani van der Westhuizen

EDUCATION

190 >

Activity: Capture/ Investigate Equipped with a disposable camera the participants were given three days to visually document the subjective reality of their everyday life and environment before the next activity took place. An accompanied ‘instruction book’ served as a quick reference of technical things to remember, and included a list of emotions and themes to consider whilst exploring their environment.

During the run of my studies in sustainable develop-

their environment, then respond and reflect on their

ment I became progressively interested in how I

findings, together with an opportunity to visualise

could use the design process as a problem-solving

future solutions – all of this through the means of

tool and deploy my skills to empower users to de-

a camera lens.

mand more from the places and spaces they occupy. My master’s thesis investigated the social im-

Equipped with disposable cameras the young peo-

pact of the built environment and allowed me to

ple were given three days to visually document

challenge my role as sole creator and architect by

their everyday life and environment before the rest

involving children and young people on a social

of the activities took place. An accompanying ‘in-

housing estate in Kingston (where residents experi-

struction book’ served as a quick reference of tech-

ence poorer health than in more affluent areas of

nical things to remember, and included a list of

the borough), in developing ideas to improve their

emotions and themes to consider whilst exploring

environment during a participatory workshop.

their surroundings. Photography was favoured as medium as it puts less pressure on young people to

Faced with the daunting task to deliver a weeklong

be verbally articulate and neither do they need par-

workshop during the summer holiday in a foreign

ticularly good drawing skills to express their ideas.

country with no specialist knowledge on how to engage with children or facilitate a workshop, I was

Once developed, the collection of photographs

ready to throw in the towel. But design is considered

taken by the participants was used as a resource to

a solutions-orientated discipline, and I soon realised

promote critical dia¬logue about positive and nega-

that I could use my design skills to plan a creative

tive issues within their built environment. A series

process to assist the participants to firstly explore

of activities challenged the young people to voice

191 >

TOP: Polaroid layout of young people's photographs. BOTTOM: Collage of young people's photographs.

EDUCATION

192 >

their emotional response to the photographs. The key themes that emerged from the process were a lack of green space and opportunities to play. These were used as ‘informants’ to compile recommendations for suitable public space interventions on the estate. The project proved to be a good opportunity to broaden participation with a group that is usually excluded from spatial decision-making processes and put equal weight to young people’s voices as to the other stakeholders involved. The range of activities contributed to the participants’ understanding of design quality and allowed me to assist them in evaluating their existing spaces and articulate how their spaces affect their ability to realise their aspirations. It also encouraged them to demand more from their local spaces. The process was extremely valuable as it afforded the participants the opportunity to explore their relationship with their built environment and provided them

Activity: Mad/Glad/Bad/Sad A collection of photographs, represe and objects in and around the estate the young people were challenged t pictures made them feel. They were this by using only four words: mad, b

with new skill sets to further their creativity and selfexpression. In turn, it offered me the chance to employ my design skills to greater relevance and work with the young people to develop their own ideas without predetermining what the outcome might be. Most importantly, the project marks a shift in my own professional focus where I aspire to put end users at the heart of all my future endeavours to ensure that the process of designing and building becomes a rich learning experience for all involved. Fingers crossed that it will keep my intellectual curiosity acute.

ABOUT THE AUTHOR In addition to being an architect, Liani van der Westhuizen has an avid interest in the role of design within education and is involved as a part-time studio lecturer at the School of Architecture at the University of Cape Town. <

Activity: Alter my ego Each participant received a copy of a took earlier on. The task required th contribute or alter the image, either

enting different spaces e were pinned up, where to comment on how these e however restricted to do bad, glad or sad.

a photograph which they hem to positively r through text or drawing.

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Activity: Photo-voice Discussions about the photographs produced during the week, gave the young people the opportunity to pick their favourite photographs out of the group, as well as the preferred picture which they took themselves. The activity did not only allow them to select their favourite picture

Activity: Draw my estate This activity used an open play area on the estate as an outdoor classroom, where the young people where given the opportunity to visually propose (through sketches) how the space could be altered and improved either through temporary or permanent changes. EDUCATION

194 >

AUTHENTIC

AFRICAN STORIES. THE REAL DEAL Over the past two years South African media organisation, Africa Media Online, together with Dutch organisations, World Press Photo, FreeVoice and lokaalmondiaal, have been running a project called Twenty Ten: African media on the road to 2010 (and beyond), training over 120 journalists from 34 African countries to tell Africaâ&#x20AC;&#x2122;s story from an African perspective on the run up to and during the 2010 FIFA World Cup. Africa Media Onlineâ&#x20AC;&#x2122;s managing director, David Larsen, tells the story.

195 >

By David Larsen. It was early July 2008. I had just

World Press Photo and another Dutch-based or-

sent out a blog posting on our Digital Picture

ganisation, FreeVoice, had conceived to empower

Library Manager blog when I received a phone call

African journalists ahead of the 2010 FIFA World

at our offices in Pietermaritzburg from Maarten

Cup. At last we had found some common ground!

Koets, deputy managing director of World Press Photo. I had been introduced to Maarten via email

During the next month Maarten, myself and Africa

some years previously by Shahidul Alam, head of

Media Online’s media manager and owner of Moon-

the Drik photo agency in Dhaka, Bangladesh, while

shine Media, Dominique le Roux mapped the pa-

Maarten was still head of training at World Press

rameters of that common ground, in the midst of

Photo. Since then I had been trying to find some

the Cape Town leg of the APEP programme.

common ground between us around the training of African photojournalists. World Press Photo not

By the time we were done, Maarten looked across

only runs the world’s largest annual photojournalism

the table at Dominique and I, laughed and said:

competition, but has also conducted innovative

“When I share this with everyone in Holland people

training programmes for photojournalists in Africa.

are going to fall off their chairs. It is so huge!”

My blog post had been about our up-and-coming

What we all recognised was that the 2010 FIFA

African Photo Entrepreneur Programme (APEP)

World Cup was a massive opportunity, not just for

that we were about to run in August 2008. Maarten

South Africa, but for all of Africa. What we had

picked up the phone to say that what we were do-

worked out was a plan to make sure that we as

ing with APEP was exactly in line with a project that

Africans get to tell Africa’s 2010 story from our

Learners from a high school in Cape Town take in some of the multimedia productions produced during the Twenty Ten project at the Twenty Ten On the Road Exhibition at the Waterfront in Cape Town. The travelling exhibition was a major output of the Twenty Ten project and will travel to five other African countries. Other outputs included a photo book, content to sell to media around the world and a documentary film. © David Larsen/ Africa Media Online.

A visitor is captivated by the Twenty Ten On the Road Exhibition at the Waterfront in Cape Town. © David Larsen/Africa Media Online.

EDUCATION

196 >

perspective. This fitted in with Africa Media Online’s

He was right. At a glittering award ceremony in Am-

passion to enable locals to tell Africa’s story.

sterdam in February, Twenty Ten: African media on the road to 2010 (and beyond) was presented with a

The plan was to recruit and train over 100 journal-

cheque for €2.2 million from the Dutch Postcode

ists from all over the continent including photo, ra-

Lottery. Soon afterwards the organisations met in

dio and text journalists. These would be known as

Amsterdam to work out the details and the project

the All Stars. These journalists would then report on

began to take shape.

the lead-up to the event from their home nations and the content would be distributed to African

We built an application system and hundreds of pro-

and global media markets. Participants, or their em-

fessional journalists from all over the continent ap-

ployer media organisations, would get 50% of all

plied for the training programme. From September

revenue from sales. From these All Stars, a Dream

2009 to February 2010 we ran six training blocks in

Team of 18 journalists would be selected to come

Ghana, Egypt, Nigeria, South Africa and Zambia.

to South Africa during the World Cup and report on

Journalists were trained in radio production, writ-

the event while other members of the All Stars con-

ing, photojournalism and multimedia. All-in-all over

tinued to report from their home nations.

120 journalists from 34 countries in Africa were trained. After receiving the training each journalist

The partner organisations would work to their

had to produce three stories, two while being men-

strengths – World Press Photo would train photo-

tored and one on their own.

journalists, FreeVoice would train radio and text journalists, Africa Media Online would provide the

From the 120 or so All Stars a panel of judges se-

technological backbone to recruit the journalists,

lected the top 18 journalists to become part of the

market and sell the content through its global dis-

Dream Team. The Dream Team was invited to come

tribution network and provide the logistical sup-

to South Africa during the 2010 FIFA World Cup to

port for the Dream Team while in South Africa. An-

cover the event. At the same time, in the run-up to

other Dutch organisation, lokaalmondiaal, would represent the content to the Dutch public via the website www.roadto2010.nl and write a book about the project, which would be published by the Topenmusem Press in Amsterdam. Tropenmuseum would also produce an exhibition about the 2010 FIFA World Cup in South Africa in their main exhibition hall that would become a major gathering point for the Dutch public to engage with the event. All of this, of course, depended on successfully raising funds. I met Aik Meeuse from FreeVoice in September as he visited South Africa with a 2010-related Dutch delegation. He was confident that the Dutch Postcode Lottery would award us the funds. “It is such a fantastic project,” he said.

197 >

the World Cup, All Stars as well as Dream Team

website, as well as being distributed to Africa Me-

members were commissioned to do stories from

dia Online’s network of agents around the world.

their home countries for which they were paid. Sev-

The content was also used to produce a book, Afri-

eral All Stars continued to be commissioned during

ca United, and a travelling exhibition Twenty Ten on

the event while the Dream Team was in South Africa

the Road.

producing work on the ground. Most aspects of the project worked well and in An editorial team guided the journalists in what

spite of the usual attrition of journalists who for

they produced and ensured the work was of suffi-

one reason or another did not continue with the

cient standard to be offered to the market. Fea-

process, we certainly saw significant progress in

tures that were produced were published in news-

skills development in a number of journalists, par-

papers and websites around Africa and were sold

ticularly in the Dream Team. Perhaps the most dis-

directly by Africa Media Online’s special project

appointing aspect of the project was the sales of

TOP: Nigerian photographer, Andrew Esiebo, capturing sound on a playing field in a Lusaka township as part of a multimedia production. Andrew and other photographers learnt skills in the production of multimedia feature stories. © David Larsen/Africa Media Online. BOTTOM: Photographers from six different African countries participating in the Ghana workshop together

with trainers Greg Marinovich (South Africa) and Chris De Bode (Netherlands). © David Larsen/Twenty Ten. RIGHT: Danesius Marteh from Liberia captures sounds of Lagos traffic as part of a production of a radio story during a Twenty Ten workshop held at the Nigerian Institute of Journalism in Lagos. © David Larsen/Africa Media Online.

EDUCATION

198 >

the content. Africa Media Online was driving that

hoped Twenty Ten would become the kick-start for a

aspect and in spite of significant effort and distri-

continent-wide features agency that could continue

bution networks that reached around the globe,

to tell Africa’s story from an African perspective.

sales of the content were minimal. There were a number of reasons for this including the glut of

While market realities did not allow this to happen,

free content that was available to editors at the

there is perhaps a silver lining to this cloud. What the

time. The fundamental issue, however, was that the

inability to create a sustainable market for this mate-

Twenty Ten project produced feature stories – pho-

rial had done was to bring into sharp focus the in-

to, radio, text- and multimedia features. The markets

creasing reality of the new markets where the pro-

for features have changed radically in the past few

ducers of content are able to interact directly with

years and there are now very few places, locally and

the consumers. The mass media mediators in the

internationally, that features can be placed.

middle are being cut out and it is the age of the personal market. For us at Africa Media Online the Twen-

With the markets absent there could be no ongoing

ty Ten project has pinpointed the need, not just to

production of this kind of content after the project

equip professional journalists with hard skills in media

had run its course which was certainly a desired out-

production, but also in entrepreneurial skills and an

come of the project. We at Africa Media Online had

understanding of markets and ways to access them.

Twenty Ten workshop in Ghana. World Press Photo's Friederiek Biemans discusses a photo story with South African participant photographer Alexia Webster. © David Larsen/Twenty Ten.

Workshop in Accra, Ghana training African photographers and text journalists. South African Twenty Ten photographer, Davina Jogi (centre far side) gets a different perspective to the local press. Participants in the project were taught how to create in-depth photo stories, and not simply capture the obvious. © David Larsen/Africa Media Online.

199 >

To this end the final element of the Twenty Ten project comes into its own. Africa Media Online is

ABOUT THE AUTHOR

pulling together a team of international experts to

David Larsen is managing director of Africa Media

write an online resource that will be freely available

Online. A journalist and photographer by trade,

to photographers all over the continent. Known as

David graduated from UCT with a BA in social an-

the African Media Entrepreneur Programme

thropology and environmental and geographical

(AMEP) the resource will seek to give photogra-

sciences, and also graduated with a DipCS and MCS

phers an understanding of the markets for their

from Regent College, Canada. He founded Africa

work, how to place themselves in those markets,

Media Online in 2000.

how to access them and how to deliver quality products that meet the markets’ needs. We are ex-

David's passion, to see Africans telling Africa's story

pecting that the online resource will operate as the

to African and global audiences has led him to de-

basis for online mentoring and the running of phys-

velop systems for the effective delivery of media

ical courses.

content, develop training that ensures African media and museum professionals are keeping up with global trends and standards, and develop markets for Africa's story. <

Nigerian photographers Adolphus Opara (centre) and Andrew Esiebo (right) hone in on a Ghanaian cheerleader at a 2010 FIFA World Cup qualifying match between Ghana and Sudan. Ghana won the match and was the first African team to qualify for the World Cup. © David Larsen/Africa Media Online.

Dutch trainer Chris De Bode (centre) and South African trainer Greg Marinovich (right) discussing a shoot done by Ethiopian photographer Michael Tsegaye. The workshops held in six countries around Africa were focused on the production of features that had the potential to be sold to publications and broadcasters. © David Larsen/ Africa Media Online.

EDUCATION

200 >

By SunĂŠ Stassen

201 >

Karen Suskin is a true change agent. Her

home 12 years ago. She achieved this with

commitment and passion for design educa-

the help of husband Anthony, family and a

tion and her exhaustive search for new and

small local workforce.

more integrated ways of doing design have lead to the development of a creative and

Karen explains that Cross-Pollination ad-

innovative teaching practice. A practice

dresses change within and outside the de-

shared in Cross-Pollination. “The Cross-Pol-

sign studio. Its teaching methods are

lination workshops explore the role of de-

aligned with David Sogge who said: “learn-

signer as mediator between culture and na-

ing has to move to the heart of practice.”

ture and endeavour to understand nature as a powerful source to stimulate an organic type of thinking that is fluid and flexible. A thinking which enlivens the ability to perceive connections between things – the connection to us, others and that of the environment,” she explains. As an interdisciplinary designer, educator, multimedia artist, Karen can be found exhibiting her art work at major venues one day, and on another day mentoring and motivating aspiring designers to change their manmade world into one that is more inclusive, collaborative and sustainable. “Designers, like all citizens, are required to become agents of change,” she says. But in most formal institutions “personal development is not given the attention it deserves and this is a critical component of the work

So what exactly is Cross-Pollination all

that I do. Cross-Pollination confronts pre-

about? “The shift we are experiencing in

vailing conventions and urges participants

design is a response to a complex mix of

to find more authentic and integrated ways

some of the negative features of modern

in which to arrive at the outcome” explains

life like over-consumption, depleted natural

Karen.

resources, alienation from nature and antisocial behaviour. A manifestation of this

She has always followed a sustainable path,

shift is the radical changes taking place in

long before the rest of us became aware of

nature herself – we are being rocked out of

the necessity for it. One of her largest crea-

our complacency by global climate change

tions was the construction of her straw-bale

and ecological catastrophe.

EDUCATION

202 >

203 >

The problems we face have been caused in

group. The other area that Cross-Pollination

large measure by the disconnected way in

focuses on is the emergent design student”

which we think about, do and relate to the

says Karen.

world. We can no longer afford to view life through the familiar lens of materialism

The student programme helps designers un-

alone, but must evolve to a way of thinking

derstand that the primary function of de-

that recognises nature as our teacher. We

sign is not perfecting form. This definition is

must expand our field of vision to encom-

far too narrow and completely ignores de-

pass the living world as our university. By

sign’s vital connection with cultural life and

returning to nature's genius, we may find

nature, hence the title of the workshops.

that we can craft interconnected and intel-

Karen says that design education cannot be

ligent design solutions, which benefit both

excluded from this mismanagement and

people and nature” says Karen.

material manipulation. She continues: “there is enough evidence that we are doing

Karen explains that the Cross-Pollination se-

something wrong. Cross-Pollination creates

ries of workshops that she presents is really

a forum in which to learn individually and

a response to the above and an invitation to

collectively, and where the principles of self-

all who want to explore and develop new

organisation and transformation are ex-

ways of thinking, learning and doing design

plored.”

in a more connected and intelligent way. “The challenge is to make space for the

Cross-Pollination is part of the Cape Penin-

emergence of new insights through devel-

sula University of Technology’s design pro-

oping our self-knowledge and consequently

gramme and is presently being offered to

expanding and enhancing our engagement

all design institutions across disciplines na-

with the world which we inhabit.”

tionwide. Karen, Haldane Martin, an industrial designer, process art and social facilita-

So who exactly is the Cross-Pollination

tor Helen van Zyl and two social development

audience? Cross-Pollination creates a forum

practitioners Alan Kaplan and Sue Davidoff,

for design educators interested in exploring

facilitate a week-long residential process.

better practice to come together to develop

This takes place bi-annually in a wilderness

their personal skills as well as a sense of

area outside Cape Town where students and

camaraderie within their field of expertise.

professional designers from diverse disci-

The workshop series is relevant to all design

plines participate in an extended creative

educators committed to self-study and

process, inspired by close observation of na-

building future capacity. “Support is given

ture.

for developing new learning systems, developing partnerships and future networks

So why is it so important for designers to

in the form of cross-institutional collaboration,

become agents of change? The current

envisioning and re-structuring of a depart-

ecological crisis and the social dilemma we

ment, or developing an institutional working

are facing call for a different type of action.

EDUCATION

204 >

“Through ecological catastrophe it is clear

In rising to the challenge of change, Karen

that our existing world is unsustainable and

says that “design education must address its

that nature is nudging us towards some sort of

present traditional definition of knowledge

shift which could be that of inner responsibility

and ask: How do we shift educational sys-

and outer sustainability,” says Karen.

tems from traditional knowledge and the known to being in the knowing and liberate

“Humanity is crossing a major threshold.

design from its own ingrained patterns and

The boundaries that surrounded conscious-

entrenched habits? Furthermore, in accept-

ness centuries ago are no longer fixed, and

ing the less recognised modes of perception

it is not only the physical world which im-

such as intuition, inspiration and imagina-

plies reality. Instead of sending voyagers to

tion, I believe the design process will unfold in

discover unknown continents, the explora-

more organic, conscious and connected ways.”

tion of inner frontiers is taking place” (Lievegoed, 1985:223). According to Karen, this

“Once the designers are equipped with this

less travelled and rather uncertain path

knowledge and understanding, it should be-

summons us as designers to become agents

come second nature for them to develop

of change.

their own experiential pathways and align their personal potential and ability to har-

It’s moving from an intellectual, convention-

ness creativity with purpose-filled intention

al materialistic outlook that views the hu-

and innovation.”

man being as ‘ego system’ to an outlook that views the human being as ‘ecosystem’

As William Blake so beautifully said: “To see

which includes man and nature as mutually

a world in a grain of sand, and heaven in a

interdependent. “Only then do I believe will

wild flower…” suggests the unity of micro-

we find a more life-engendering way of do-

and macrocosm and establishes the possibil-

ing design in the future.”

ity for designers to experience the world as an interconnected whole. Our modern way

How do we do this? This is achievable

of living and modes of gathering knowledge

through establishing different methods of

has numbed our ability to mobilise our

teaching. Designers must engage in a learn-

thoughts. We need to learn again how to un-

ing journey, which enables them to gain a

derstand the fine relationships between

grasp on the complexities and the relations

things and find new methods to partner

between man and nature and all the deli-

them so that we can create a true overview

cate nuances between. “It’s a new way of

of the needs of the world. “Only now we can

developing a ‘living thinking’ approach

truly move towards a human agency that

which is as flexible, agile and adaptable as

can positively contribute to meaningful

Nature herself. This entails accurately and

change,” explains Karen.

sensitively ‘reading‘ or observing the connecting patterns that make up the dynamics

“The lawfulness we experience in nature is

of life,” says Karen.

a golden thread that runs through the

205 >

EDUCATION

206 >

207 >

Cross-Pollination programme and guides

to their best ability the experiential nature

understanding towards our own individual

of each process and create space for a deep

purpose and that of humanity. I believe this

emersion into each project.”

is the way to empower designers in leading design to the heart of a sustainable future.”

Although the studio space is informal and the workshops broadly experiential, the

The intention of Cross-Pollination is that

course is highly structured and disciplined.

each designer finds the courage with which

The creative process will stimulate both per-

to cross self-imposed boundaries and dis-

sonal and collective dialogue around new

cover a living balance between their holistic

ways of thinking that is in tune with issues

mode of thinking – which includes imagina-

such as social revitalisation, ecological sen-

tion, intuition and inspiration and acknowl-

sitivity and new economical development.

edge these faculties as trusted modes of cognition – alongside the complementary

And the difference between the Cross-

analytic and rational mode of thinking. “This

Pollination methodology and that of

way we can reground our knowing through

biomimicry? Karen concludes: “I see Cross-

lived experience, enabling us to find new

Pollination as a universal approach to design

ways of being in the world in the future.

that doesn’t only consider the technical

““Now the design process becomes more

aspects of design challenges, but also the

conscious and our actions all the more re-

transformation of the designer and his/her

sponsible,” explains Karen.

relationship to society and the environment. Cross-Pollination shares the values and life

She says that the six modules included in

principles subscribed to by biomimicry, and

the workshops are “sensitively designed to

both are inspired by a vision of a just and

embrace change and redirect attention

sustainable world. Cross-Pollination is an

from the object or end product to the proc-

integrated approach to design that strives

ess, the journey. The designer is cautioned

to avoid creating the problems that require

not to try and fix the design result prema-

technical solutions.” <

turely with a solution, but rather understand

EDUCATION EDUCATION

208 >

TOP: Mixed Couple – we see a young Khoikhoi and Dutch woman holding hands, except that both are dressed in a hybrid costume that draws on both Khoikhoin and Dutch costume history. TOP CENTRE: Hand on boob. TOP RIGHT: Threesome – the Sketch Assembly have set up a composition that sees a young Dutch couple and a young Khoikhoin relaxing together around a table. RIGHT: Hand up Skirt.

209 >

SKETCH ASSEMBLY:

THE MERRY COMPANY

AN EXERCISE IN COLLABORATIVE

SKETCHING By Melissa Haiden. At the beginning of

of photography, communication design, industrial design, fine art, clothing design, production design and architecture. The entire project, which spanned four months, culminated in an exhibition held in the Michealis Gallery at UCTâ&#x20AC;&#x2122;s Hiddingh Campus. Opening on 19 October 2010, the small gallery space was packed to capacity. The hordes of art aficionados who came expecting to see a typically pristine Putter-style exhibition would have benefitted from receiving the brief that the Sketch Assembly was a visually-based educational project, not a body of new commercial artworks.

2010 Andrew Putter began his fellowship at the Gordon Institute for Performing and

The previous two movements in Putterâ&#x20AC;&#x2122;s

Creative Arts (GIPCA) at the University of

Hottentots Holland cycle took the form of

Cape Town (UCT). The Sketch Assembly

sumptuously staged, pristinely styled pho-

project subtitled The Merry Company, was

tographs inspired by the merging of the lo-

born out of his desire to set up a project

cal contemporary and the local historical.

that would straddle his interest in arts edu-

Sketch Assembly can be seen as the third in-

cation, interdisciplinary collaboration and

stallation, and although the outcome was

histories of interracial contact in the Cape.

more a display of the process work rather than the final products, it clearly communi-

As his collaborators, Putter selected a group

cated what goes on behind the scenes of a

of 30 young creatives working in the fields

photographic shoot. EDUCATION

210 >

REMEMBERING OUR VISUAL DIARIES

elegant Hiddingh Hall staircase. To your left

Displaying the origins of one’s work is not a

small space was a bustling hub of action.

new idea. Anyone who has taken art or de-

The collaborators were working away,

sign at school or varsity will be all too famil-

slightly under the influence of iTunes,

iar with the stipulated visual diary – the

coffee, rusks and apples. At the time the

hours of frilly decoration we poured into

walls where covered in progress works;

that little book in order to bump up our ac-

duplications of source material, preparatory

cumulative assessment mark. Ultimately,

sketches and photographs from test shoots.

however, the outcome was pretty but con-

The tables seemed to be an organised chaos

trived. Sketch Assembly served as the sort of visual diary our educators could only have dreamt of. The exhibition made public what is usually the intimate and hidden creative process behind an artwork. The underbelly of

was the Sketch Assembly workroom. The

of concertinaed hessian ruffs. Sitting at the table was a designer piecing together lutes and Dutch mustjes made from cardboard cut-outs. Handmade wigs, painstakingly twisted and

creative processes is comprised of diver-

rubbed into dreads from nylon weaves

sions, seeming mistakes or small moments

perched upon polystyrene heads. On the

of ‘fluke-ish’ cohesion.

shelves and windowsills were pots of clay and mud makeup. On the mantelpiece of

Snuffling amongst the spidering clusters of

the fireplace were clusters of carefully se-

sketches and meticulously documented test

lected costume jewellery from the UCT’s

shoots taped to the walls, the guests famil-

Drama Department and other interesting

iar with Putter’s previous works would not

pieces crafted from baby tortoise shells.”

find the product they had come for. The modest size of the ostensible final products

Then there was Putter’s impressive library

drew attention away from their identity as

of source material, which he constantly en-

the ‘end-product’, thus amplifying the proc-

courages the collaborators to consult. Just

ess as the creative work itself. We are being

off the workroom was the vaulted ceilinged

educated to move away from the old fash-

Hiddingh Hall, which serves as the airy set-

ioned idea of the emphasis being placed

painting and construction studio. Eventually,

solely on the finished product. Some people

when Putter approved the compatibility of

just didn’t seem to get it. I overheard a guest

every element, this grand, naturally lit space

telling Putter that she hoped he would fin-

was the location of the photographic shoot.

ish the project.

BACK IN TIME – A VIRTUAL VISIT TO THE WORK SPACE

THE WORKS IN PROGRESS AS PRIMARY FOCUS Most conventional commercial creations

Working on this project was something

conceal their origins – they are presented as

unique and I still recall walking up the

products without presenting its history, a

211 >

TOP LEFT: Work in progress for Mixed couple shoot. LEFT: One Small Seed magazine cover shoot. TOP RIGHT: Painters at work. ABOVE LEFT: Make-up in progress. ABOVE: RIGHT: One Small Seed magazine cover shoot.

EDUCATION

212 >

RIGHT: Threesome test shoot. BOTTOM LEFT: Some of the Sketch Assembly members. BOTTOM RIGHT: Threesome test collage.

213 >

process that has been demolished long be-

Dutch scenes of high society to create hy-

fore the final presentation. It’s like when we

bridisations of the original culturally distinc-

see a sculpture on a plinth in an auction

tive and segregated source material. One

house; the traces of the generative process

clear stipulation was that all the costumes,

such as the working and pre-photographs,

props and scenery had to be drawn from the

sketches, dirty rags and redrafting have

original bodies of source.

long-been thrown away or hoarded back into the artist’s workbox.

THE COLLABORATIVE ASPECT

The opposite was true for Sketch Assembly.

Collaboration always connects the partici-

The Sketch Assembly exhibition was a meta-

pants and their shared workplace, letting

phorical workbox. Those who attended the

them explore multiple possibilities through

exhibition could not have missed the con-

sharing of ideas and dilemmas they face

versations set up by the intricate physical

along the way through a wider pool of refer-

documentation of discoveries, diversions

ences and experience. The collaborators

and dead ends. These preparatory tests and

were constantly showing their work to each

sketches were arguably presented as crea-

other and testing out the compatibility and

tive works in their own right.

thus they concretised the development of abstract concepts and thoughts. It was a

THE SUBJECT MATTER AS SECONDARY FOCUS

valuable experience to have creatives from so many different disciplines, collaborating in one space. Experimentation was key and

The work featured in Sketch Assembly was

collaborators were encouraged to work out-

strictly based on the hybridisation of two

side their comfort zone and field of exper-

bodies of source material. The project was

tise, sharing their valuable experiences and

geared towards the self-conscious imitation

skills with the rest of the group.

of the first body of source: four Dutch ‘merry company’ prints (popular art in Dutch house-

Joint ownership is always an issue with col-

holds of the 1600s). The second body of source

laborative work, which presents its own

material consisted of the rare drawings of

problematic financial implications. In this

the Khoikhoi and San living at the time.

case the collaborators were not affected since Putter ensured that the project was

The new images were to be a mischievous

not geared toward commercial ends. The

re-imagining of the early interaction be-

fact that Sketch Assembly was not a com-

tween indigenous Khoikhoi and the Dutch

mercial project was also liberating and in a

youth of the Dutch East Indian Company in

way alleviated the pressure of having to

the 1600s. The structure of the Dutch Merry

please the audience who were familiar with

Company images would be translated into

Putter’s previous work.

the contemporary format of digital photography depicting models of European ethnicity carousing with models of mixed ethnicity. The Khoikhoi and San subjects and elements would be integrated into the

EDUCATION

214 >

TOP LEFT: Hand up skirt test shoot. TOP RIGHT: Work in progress for Threesome shoot. BOTTOM RIGHT: Work in progress.

215 >

THE EDUCATIONAL ASPECT OF COLLABORATIVE WORK

identify the actions of its maker. In other words we ask ‘What did the creator physi-

“Education must begin with the solution of

cally do to make this happen?’ Sketch Assem-

the teacher-student contradiction, by recon-

bly displayed the work (noun) and the work

ciling the poles of the contradiction so that

(adj.).

both are simultaneously students and teachers” (Freire, 1970, p. 72).

The focus of appreciation of any creative performance cannot adequately be articu-

Those with an interest in education will have

lated in an exhibition of the residue of its

come across the influential theories of Pau-

creative process (i.e. photographs, sketches,

lo Freire who challenged the teacher stu-

etc.) let alone in a magazine article. The best

dent dichotomy and those in the perform-

way would be to let in an unobtrusive audi-

ing arts will be aware of the collaborative

ence during production. The work (verb) of

projects that were facilitated by Augusto

the collaborators was elemental to the ap-

Boal who tested out Freire’s theories. Freire

preciation of Sketch Assembly, so only by ac-

disagreed with the teacher-student dichot-

tually witnessing the creators at work, could

omy. This ‘feeder-eater’ relationship has

the creations be exhibited with utmost in-

been spatted and theorised over in the pa-

tegrity. Ultimately Sketch Assembly articu-

pers of many philosophers and theorists in-

lated that artworks are actually just the ve-

cluding Rousseau and Dewey. However

hicles through which creatives articulate a

Freire’s approach was the most dramatic as

particular creative statement in carrying out

he maintained that the authoritative role of

a performance. The performance (the act of

the teacher should be completely abolished

generation) is the creation. Or less radically,

and replaced by a teacher-student relation-

any creation’s origins are an integral part of

ship based on the teacher having the same

an artwork or appreciation thereof.

capacity to learn, as the student has to teach. The reciprocal relationship between

The allure of the work was clearly the out-

Putter (as the facilitator) and the 30 collabo-

come of pooled creativity. The project dis-

rators was the backbone of the educational

played the wry humour, discipline, and integ-

vein of the Sketch Assembly project.

rity of the facilitator and the collaborators and ultimately succeeding in the actualisation of reams of theoretical writings on crea-

THE PERFORMATIVE ASPECT The project’s arguable status as perform-

tive process and collaborative education and execution.

ance art is another aspect for consideration. As viewers we somewhat follow a generic pattern of perception and appreciation. We

ABOUT THE AUTHOR

perceive the material object, then we evalu-

Melissa Haiden studied Theatre and Perform-

ate it according to the quality of the experi-

ance at the University of Cape Town. She is

ence we have through engaging with it

currently a member of the Siyasanga Theatre

(sometimes requiring familiarity with writ-

Company at Artscape on the foreshore. <

ten theory). We are interested in how the physical properties came about, wanting to

216 >

Water Jar, Yangshao culture, Neolithic period ca. 5000 - 3000 B.C.

217 >

DESIGN FOR YET

ANOTHER

AGE

civilisation. The Sumerians are also credited with perfecting the potter’s wheel and making clay bricks, which were used to build temples and cities. William Morris, the British artist and writer who lived in the 18th century, did much to rekindle interest in the ceramic manufacturing industry. This was the time of the Industrial Revolution, where machines and factories began mass-producing utility objects for sale to consumers. Finding much of the products made in this manner to be dull and devoid of ‘life’, Morris instigated the Arts

By Angelique Kendall. Ceramics is one of

and Craft Movement. Thanks to this move-

the oldest applied arts disciplines going

ment, we now have designers employed in

back more than 30 000 years, sometime dur-

manufacturing companies, bringing their

ing the last Ice Age. During this time people

keen artistic eye to visually enhancing prod-

learnt to fashion objects out of mud and fire

ucts and making them more desirable as

them at high temperatures as a means of

worthy and cherished objects. No doubt

making them more durable. Besides func-

marketers also soon realised the impor-

tional ceramics made and used for practical

tance that aesthetic appreciation holds for

purposes such as the storage of food, statu-

consumers.

ettes and figurines of both animals and humans were also fashioned for ritualistic and spiritual purposes. By studying the remains of ceramic shards and intact objects, archae-

CLAY AND ITS CONNECTION TO AFRICAN MYTHOLOGY

ologists have uncovered a spectacularly vast trove of treasures that tell the story of hu-

Clay also features in certain creation myths

man history and the development of civilisa-

from around the world, including tribes in

tion.

Africa. Myth has it that Wongengi, the creator goddess of the Ijaw people of Nigeria

In ancient Mesopotamia one of the earliest

fashioned dolls from clay and breathed life

forms of writing – the cuneiform – was in-

into them to create humans, while the chief

scribed upon hundreds of thousands of clay

god of the Congo’s Bambini people created

tablets, documenting the daily lives, eco-

people from clay; black clay made black peo-

nomic transactions, literature and spiritual

ple, white clay made whites, and red clay

beliefs of the highly advanced Sumerian

made the pygmies. A little closer to home,

EDUCATION

218 >

Kgobeane, the son of the high god Kgobe in

beautiful things, whether those things are

the Northern Sotho tradition, sat like a pot-

functional or not. As peopleâ&#x20AC;&#x2122;s tastes are so

ter making a vessel, fashioning humans out

diverse there is really no limit to the variety

of clay.

of styles that can be designed.

GENERAL CHARACTERISTICS AND USES

CERAMICS AS A CAREER Ceramics offers a diversity of career options.

It is very easy to understand the allure of

As it is a process-driven industry, there are

clay. In its wet form, clay is a highly pliable

many areas in which to specialise, be it scien-

medium that yields willingly under the di-

tific experimentation involving glaze technol-

rection of the creator who manipulates it.

ogy, or the manufacturing of moulds used in

And yet, once it is fired, clay becomes one of

fabrication. Some are excited by the gather-

the toughest and most durable materials.

ing of and dealing in raw materials, while oth-

Ceramics has one of the highest melting

ers find the complexities of kiln building and

temperatures of all materials on earth and

firing a professional attraction. Still others

has therefore been used for millennia in di-

may see themselves as a studio potter,

verse and innovative ways in art, industry

throwing on the wheel and hand building;

and science. Today, for instance, it is used to

whilst others may be more influenced by

coat heaters, in exhaust engine compo-

contemporary art and decide to use the me-

nents, in computer chips and even as a buff-

dium for process work and in concept-driven

er and protective layer on space rockets and

artworks.

trans-terrestrial shuttles. One thing is for sure: a certain level of techOf course we are most familiar with the ce-

nical skill is required in order to achieve re-

ramics used as tiles in our homes and the

sults. Not only does that mean that those

crockery that holds our drinks and meals.

trained in this discipline possess sought-af-

These can be visually diverse, from the most

ter skills, but also that there is the opportu-

basic industrial mass-produced functional

nity to continually develop further skills and

ware used by catering companies and the

technological advancement, which equates

like, to quirky and artistic handmade pieces

to a high level of job satisfaction and per-

which speak to the senses and create senti-

sonal achievement.

mental attachment. Working in ceramic factories, one could exAesthetic values are important for people at

pect the thrill of operating large machinery

some innate and intrinsic level, and most

and kilns, or work as a designer, exploring

people like to surround themselves with

new forms, shapes, colour and pattern

219 >

TOP LEFT & BOTTOM RIGHT: A beautiful example of a celadon glaze. Image from The Art and Craft of Clay – A complete Potters handbook, 4th edition by Susan and Jan Peterson. TOP RIGHT: Artist Luo Xiao-Pin with his artwork Times Square Talks. Image from The Art and Craft of Clay – A complete Potters handbook, 4th edition by Susan and Jan Peterson. BOTTOM LEFT: Some functional ceramics. Image from The Art and Craft of Clay – A complete Potters handbook, 4th edition by Susan and Jan Peterson.

EDUCATION

220 >

TOP LEFT: Chinese Longquan Celadon from Zhejiang, Song Dynasty, 13th century, Musée Guimet in Paris. TOP RIGHT: Japan's Living National Treasure, Shoji Hamada. ABOVE: Works by Emily Myers. Image from The Art and Craft of Clay – A complete Potters handbook, 4th edition by Susan and Jan Peterson. RIGHT: Ceramics used in space vehicle. Image from The Art and Craft of Clay – A complete Potters handbook, 4th edition by Susan and Jan Peterson.

221 >

configurations to pass on to the ground

Ceramics is exciting and challenging as an

crew who produces new commercial prod-

art medium too, as it comprises the three-

ucts.

dimensional sculptural form as well as a two-dimensional painterly surface. It is pos-

As a studio potter you would be more self-

sible to make some exceptionally innova-

directed, working on your own or in a com-

tive, conceptual and aesthetic artworks with

munal studio where you would be involved

clay.

in all areas of clay, from its wet form, all the way to its final glaze firing. Some potters

Designers are equally excited by ceramics

find it a thrill to gather their own clay and

for the same reasons, even if they conceptu-

glaze materials straight from Nature, work-

alise functional mass-produced ware. It

ing close to the land, whilst for others de-

would be very exciting to see some new,

pend on pottery suppliers who provide the

fresh ideas for ceramics touching different

clay and raw materials needed via retail

spheres of life in future, opening up the

sources. Working in retail as a ceramics sup-

possibilities of what can still be done.

plier is also a rewarding career option for anyone interested in and knowledgeable about the clay and pigment industry.

ABOUT THE AUTHOR Angelique Kendall is a visual artist who lives

... AND OTHER AVENUES

in Cape Town. She has some experience in both making and writing about ceramics as

Not everyone may make a full-time career

an art discipline. <

out of clay. Some may enjoy it as a part-time hobby/leisure activity, or decide to teach techniques in workshops or schools. Ceramic classes could take on the form of art therapy â&#x20AC;&#x201C; some people will vouch for the calming qualities of clay. For instance, the Japanese have for centuries used ceramicmaking as a revered technique for meditation and they love the medium so much that they even declared one of their best potters, Shoji Hamada, a living national treasure.

EDUCATION

By Suné Stassen

GROWING YOUNG TALENT

222 >

As in any successful collaboration, refined teamwork and communication skills are known to be critically important, not just for effectively communicating one’s ideas, but also for building honest and trustworthy relationships and mutual respect amongst all participants. It’s also about sharing great ideas and allowing someone else to make them even better. In a world of innovation, creativity and entrepreneurship, working together as a unit is vital if you are striving for success. Every year when the Woolworths Making the Difference Through Design (MTDTD) programme introduces its annual high school design competition, an energetic buzz emerges amongst the participating schools and everyone starts checking their competition, betting that this year their team will be the best of the best. Well, 2010 was no different and while South Africa was already celebrating the FIFA World Cup, nothing could stand in the way of the national winners of MTDTD. Freedom Fighters, as this creative team from Zwartkops High School in Centurion likes to call themselves, were over the moon twice when they took top honours in the MTDTD national high school design competition. Introducing ORIGAMI, their new clothing brand, they have not only designed a new clothing range, but also its brand identity and marketing campaign, which included two commercials for radio and TV. Another striking component was a photo shoot showcasing the clothing range, which was smartly presented in a magazine format.

223 >

Their integrated business, identity and

For the Freedom Fighters teamwork

marketing strategy impressed the MTDTD

was the essence of their success and

judges enough to comment that the

they had regular status meetings dur-

team members, Bianca de Beer (17),

ing which they discussed all aspects of

Lanthe Louw (17), Mareli Jooste (18)

their campaign: “The meetings were

and Bianca Boshoff (18) “showed ma-

very important to us because that is

turity, professionalism and creativity

where we brainstormed and shared

beyond their years”.

ideas.” EDUCATION

224 >

225 >

“I have found that one person may have a great idea but, it takes objective opinions, planning and uniqueness from everyone to grow it into a practical, yet creative idea. One person cannot carry all the innovative responsibility alone,” says Bianca de Beer. The team explains that the main task given to them was to come up with a realistic and practical design idea and expand it into an entire campaign. It could either be an event, awareness campaign or new product. “The brief contained a lot of fine print which had to be read carefully – our first reaction: This is going to be hard work...Okay, let’s do it!” For them it was easy to get going because “we all agreed on fashion as the main focus and after splashing out wild ideas during the initial brainstorming session, the idea of the ‘Freedom Fighters’, a fashion design company, was born. We started with loads of inspiration and passion and new concepts kept pouring in from everybody. We then spent an additional day on planning the dynamics of the project.” Once the company’s name was finalised, the next step was to develop a concept for its launch range. The team explains: “Origami is the name of Freedom Fighters’ first clothing range and the style is simple, calm and natural. Origami is symbolically connected to the Japanese paper folding art’s principles of simplicity and calmness. We also decided that the overarching consideration of the Freedom Fighters’ campaign should focus on a strict environmentally friendly policy, which is represented by the paper-shaped origami crane logo. The crane is also a well

EDUCATION

226 >

227 >

known symbol of freedom and for us rep-

into a magazine format. I spent hours paging

resents what the company stands for.”

through inspiring magazines to get a good grip on the look and feel of a professional

Freedom Fighters followed a pretty impres-

layout. For the catalogue, which was our

sive and structured design process, starting

main focus in the magazine, I experimented

with extensive brainstorming that included

with different solutions and developed op-

a lot of sketches and ideas doodled on pa-

tions to share with the group. They then

per, careful planning and setting deadlines,

gave me feedback and the final solution

assigning responsibilities, experimenting

was a real group effort. The idea for the

with colour, fonts, photos, fabrics and many

catalogue was to give it a relaxed yet pro-

ideas. They then made comparisons and

fessional tone. I then focussed on the main

eventually chose the best concept, collect-

look en feel of the clothing range and used

ed and bought fabrics to construct the first

it as a guide for most of the final solutions.

garment. They then developed storyboards for the television and radio commercials

For Biance Boshoff editing home videos in

and the layout of a magazine. Finally they

the past gave her some experience in filming

went through an evaluation process that

the TV commercial but she had to learn a lot

included individual and team reflections on

more on the job. “The outcome was based

the final outcome.

on a series of experiments that came out well. Some of the shots that I originally imagined

“We believe that we had a good balance be-

didn’t work out so well because we didn’t

tween planning and creating. We also had

have professional cameras or lighting.”

open and honest communication throughout the process. Every team member had a

She continues: “We listened to a lot of music

chance to share her ideas and feelings and

for inspiration. It was very important to have

nobody’s opinion was nullified.” For them,

the right audio for the video because we didn’t

communication skills were vital and the

have any dialogue and the music would set

group quickly realised the importance of re-

the emotional stage for our commercial. I

flecting and sharing crucial information: “We

wrote and visualised the type of scenes we

also had confidence in each other’s design

would use and roughly sketched it. Luckily my

skills and creative abilities.”

mind works like a movie so the angles and cuts came easily. I wanted to create a big contrast

Yet, everything didn’t go as they had originally

between being a prisoner and having freedom.

planned, but that’s always part of the real

We used the city, taxi rank and parking lots in

world design process.

the first part and a wide-open field in the second. We used two days for the shoot and a

Bianca de Beer who was responsible for

friend as our actress. Editing took a long time

the magazine explains: “We looked at the

and I still think I could work on it more. We

six anchor campaign components – logo,

were very privileged to have a musician friend

merchandise, prototype, TV ad, radio ad and

who composed the audio for the video.”

print media – and how to incorporate those EDUCATION

228 >

And the shoot? â&#x20AC;&#x153;We all had a hand in choosing

Being in matric brought on a different set

the wardrobe for that exciting day but the

of stresses for Mareli and Bianca Boshoff as

weather was a challenge. On the day of the

studying for their final exams could certainly

photo shoot it was cloudy and we were a bit

not be ignored and late night emailing to

disappointed. At the end it was the clouds

check on progress and little sleep were the

that added a stunning and dramatic backdrop,

order of every day. Yet, that is part and parcel

a unique effect that was really perfect!

of what careers in the creative industries

Shooting the taxi scene while it was raining

require.

was not ideal but eventually added a perfect droopy and sombre feel that was a good

Bianca Boshoff hopes to follow a career in

fit for our storyline,â&#x20AC;? says Bianca Boshoff.

design while Mareli wants to study dramatic

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arts and be an actress. For now, Lanthe has her sights set on coaching trampoline overseas and Bianca de Beer who is in Grade 11, is considering becoming an architect. One thing is certain; these girls have certainly set the bar very high! <

EDUCATION

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RECOMMENDED READING DESIGN>MAGAZINE No. 18 World Architecture Festival honours the best of the best by Jacques Lange For three days in early November the world’s architecture aficionados waited in suspense as the World Architecture Festival (WAF) unhurriedly announced the 25 category winners of its 2010 awards. As in the past two years since the WAF awards’ inception, the competition was fierce and the panel of 66 jurors – comprised of architects, allied professionals, clients and critics – had the grueling task of selecting the best of the best from 512 entries and 236 short-listed finalists. READ MORE HERE >

In conversation with Elmo Swart by Jennie Fourie What you see is not what you get. South African architect, Elmo Swart, with his quick smile and easy, engaging manner is much more than just surface. Spending time with Swart propels you on an amazing journey of deep insights, startling views and offers a fresh take on architecture – and on his other great love, photography – that keeps you thinking, mulling, digesting and disseminating for days afterwards. READ MORE HERE >

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The deep image by Richard Stone 3-D is here. Better believe it. And if youâ&#x20AC;&#x2122;re a designer, now would be a really good time to start developing an understanding of the new opportunities made possible by recent developments in visual media. Of the senses we possess, sight accounts for the bulk of the stimulus we absorb from the threedimensional world. READ MORE HERE >

Brian Steinhobel: Smart industrial design by Stacey Rowan Brian Steinhobel is one of Africaâ&#x20AC;&#x2122;s most preeminent industrial designers of our time. The element of smart design is crucial to what Steinhobel delivers as it improves both functional and aesthetic appeal of products. READ MORE HERE >

DESIGN>MAGAZINE No. 17 Harry Pearce's schizophrenic road by Zelda Harrison Harry Pearce is a man that prompts, pokes and provokes. His work touches many disciplines, from spatial design and identity to print and packaging. He has designed for a broad range of clients and to each he brought his own brand of intelligence, elegance and wit. READ MORE HERE >

EDUCATION

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Design, a viable tool for social innovation? An interview with William Drenttel by Zelda Harrison William Drenttel is a communication designer, publisher and industry leader who works from the picturesque mountains to the north of New York City, USA. As a co-founder of Winterhouse, a niche design studio that focuses on social innovation, online publishing and educational and cultural institutions. READ MORE HERE >

Anton Sassenberg: "The original design guerrilla” by Suné Stassen Anton Sassenberg is often referred to as being the most influential and groundbreaking South African magazine designer of the past two decades. Looking at his life’s work that represents an impressive and colourful diversity of publications, we can’t help but to note his seminal contributions to the brand repositioning and design. READ MORE HERE >

What is a Brand worth? by Sasha Strauss “As an educator, I am often asked why branding matters. As a strategic brand development professional, whose job it is to look clinically at brands, I often have to determine how and why brands move us to purchase products that are non-essential or not even well designed.” Innovation Protocol’s Sasha Strauss discusses seven of the many critical aspects that he considers when reviewing the role of branding in the marketplace. READ MORE HERE >

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Making sense of strategy and policy by Jennie Fourie Most designers from disciplines across the board have little or no interest in design promotion strategies and policies. Truth be told, they most probably donâ&#x20AC;&#x2122;t spend a minute thinking about these issues while there are deadlines to meet, plans to be made and projects to present. It is clear that designers should start paying attention to regional, national and international design promotion activities if they would like to elevate the status of their profession on the global platform. READ MORE HERE >

Rebranding: A few legal considerations by Reggie Dlamini At some point during the life cycle of most organisations, there will come a time when it is considered appropriate to change the corporate identity or its flagship brands. There are a few basic intellectual property considerations which businesses would do well to keep in mind in the rebranding process. Perhaps a good starting point is the recognition that trade marks or brands are a valuable form of intellectual property. READ MORE HERE >

EDUCATION

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DESIGN>ART No. 2 Diane Victor by Gordon Froud Diane Victor is best known for her large-scale charcoal drawings and etchings depicting mythical subjects and her social commentary rooted in the South African situation but made universal through her skilful technical abilities. Beyond this, she is also a pioneer of alternative drawing techniques, constantly reinventing her media to the amazement of her appreciative audiences. READ MORE HERE >

Deborah Bell: Notions of the self by Jacques Lange In the TAXI Art Book series, Deborah Bell’s work is aptly described “as fundamentally informed by a personal search for the ‘Self’ and she often draws on spiritual imagery from a wide range of sources.” In an interview with DESIGN>ART, Bell shared some insights into her career as well as her current creative work. READ MORE HERE >

Two hats, one head by Usha Seejarim "The phenomenon of dual identity is explored in my latest body of work titled Mine over Matter. It involves a deeply personal investigation of the self and the relationship of the self to its environment; an understanding of oneself beyond the burden of labels that we carry. It is an analysis of identity further than culture, nationality, gender and heritage." READ MORE HERE >

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Re-constructing my journey by Bongi Bengu "I have been dealing with the theme of emancipation and freedom since the beginning of my career as an artist. Not only do I talk about the freedom to be an artist and to be able to express one freely, but I also talk about the freedom to use different materials in my work. Over the years my artwork has evolved in texture and depth." READ MORE HERE >

Human gestures make us human by Judith Mason "Life has been, for me, a mass of contradictory and often threatening stimuli, flashing past at random. My attempts to catch, pin down and identify some of these are what my work is about. In the nature of things I don't explore those which satisfy and delight, although in my old age I am tempted to recall beloved people, gods and mountains in paint to remind myself what a pleasure my sliver of life has been." READ MORE HERE >

How we parcel, package & shelve by Reshada Crouse "So called 'creative' people often get tetchy about being defined, boxed. Why not? I wish to examine the use of the word 'portrait' when referring to painting and paintings. Just for fun." READ MORE HERE >

EDUCATION