INSCAPE TRIBE MAGAZINE

MAGAZINE // ISSUE NO. 3 / 2017 / ISSN 2414-8202 //

OUR TRIBE Inscape Alumni: Meet Schalk Steenkamp owner of Bark Design, and Johnny Allison, 3rd year graduate and cover art illustrator.

USER EXPERIENCE

ADAPTIVE REUSE

User Experience Design: What is it, who does it and what does it mean for the future of design in the digital space?

What is adaptive reuse, why we need it and how does it feature in the South African Design landscape?

INSIDE:

>Intuition > & experience

>Fashion: > The Joinery >Environmental > Design

DESIGN THINKING

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

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Design THINKERS are our FUTURE The world has changed in leaps and bounds in the years that I have been alive. I have had the privilege of watching it change and grow. I have been even more privileged to have been part of the design fraternity in the last two decades during the rise of the technological age.

Thirty years ago even the brightest minds could was in full swing, and yet we were unable to foresee the not have predicted the world we would live in today. massive advancements that were just around the corner.

Home computers were few and far between, mobile

In the last 10 years the way we live, work, communicate

phones nonexistent (not to mention the thought of a and exist has changed so entirely, that 20 years ago I smartphone), and artificial intelligence was the stuff of would have laughed at the mere suggestion that artificial which horror movies were made.

intelligence, virtual reality and robotics might become

Late in my high school years, the internet slowly part of our lives in the near future. started integrating itself into the South African lexicon.

With these advances, we as designers had to change

By the turn of the century computers and mobile our approach and share our long-established way of phones were commonplace, the communication age thinking with the world at large. Design thinking is the future, and we can see it integrated into everything from banking to engineering. As we embark on this ever-changing,

DESIGNERS ARE NOW TASKED WITH TEACHING DESIGN THINKING TO OTHERS.

unpredictable

future,

we

as

design thinkers are becoming the new leaders and innovators.

This issue of Tribe is dedicated to just that – Design thinking and how it is changing the world.

Editor: Gwynedd Peters

It is a great responsibility, but without minds like ours the world in which we live today would not exist and would be a far less colourful place to be.

TRIBE MAGAZINE PUBLISHED ON BEHALF OF: INSCAPE EDUCATION GROUP UNIQUE THINKER: Helen Bührs EDITOR: Gwynedd Peters PHOTOGRAPHY:

Maryke

Terzi

ADDITIONAL

PHOTOGRAPHY:

Inscape,

Adobe

Stock,

The

Royal

Portfolio,

Kris

Barnard,

Bark

Design,

I Scream & Red, Lyal Coburn, Janet De Jager. CONTRIBUTORS: Cassandra-Lee Vincente, Rikke Dam & Teo Siang, Fiona Mosca, Gwynedd Peters, Maryke van Wyk, Carsten Walton, Catharine Lategaan, Gail Henning. What is design thinging and Intuition & Experience published in Tribe with permission from The Interaction Design Foundation. COVER IMAGE: Johnny Allison PUBLISHERS: Main Angel Publishing, 462 Grysbok Street, Waterkloof Ridge, Pretoria, Tel: 012 347 3630, E-mail: tribe@mainangel.co.za. ADVERTISING: tribe@mainangel.co.za SUBSCRIPTION: tribe@inscape.co.za PRINTING:Minit Print Hatfield, Tel 012 362 2807 Unless otherwise agreed to, all contributions are the property of Tribe Magazine, and its publishers. All editorial, business and production correspondence should be addressed to Main Angel Publishing: 462 Grysbok Street, Waterkloof Ridge, Pretoria. © Copyright by Main Angel Publishing. All rights reserved. The opinions expressed in Tribe Magazine are not necessarily those of the Inscape Education Group, the publishers, its suppliers, subsidiaries or affiliates. The editor and publisher reserve the right to alter copy and visual material as deemed necessary.

In collaboration with

*This article is purposely printed upside down to encourage lefties to deeply consider the impact they might have on the world if they were to make decisions for the righties. gravity of the revolution nor am I as familiar with its concepts as I probably should be.

Whilst my findings are not terribly encouraging, I go on to discover that famous left-hand-

ness, math, and architecture. One in four Apollo

best to partake.

left-handers are more talented in spatial aware-

campaigns that convince them that it really is

right-handed people. Studies have suggested that

the population follow through smart marketing

more left-handed people with IQs over 140 than

group of humans who drive the engine. Most of

University in New York found that there were

previous industrial revolutions, a relatively small

left-handed. Tests conducted by St. Lawrence

tion, I begin to realise, I am not alone. It is, as with

lin. Twenty percent of all Mensa members are

eration’ about the subject of big data and automa-

Newton, Charles Darwin, and Benjamin Frank-

peers, my community and even ‘the younger gen-

ed intellectuals include Albert Einstein, Isaac

In the dark, I reluctantly engage with my

left-handers are more efficient multitaskers.

considered a minority and how I could use my

faster in left-handed people, which suggests that

about where and how I might legitimately be

between the right and left sides of the brain are

ity with such profound influence, I try to think

astronauts were left-handers and connections

Considering whether I would ever be a minor-

minority status to impact the masses.

And so, I endeavour to impact the other 90%

for the fourth revolution when they address the

lective power and no real sense of common iden-

might create awareness for those responsible

minorities in society because they have no col-

if this small attempt to alter human behaviour

left-handers may be one of the last unorganised

ture for a leftie – reading a book. And I wonder

I am a minority. Further research indicates that

start by addressing a typical modern form of tor-

Only 10-12% of people on earth are “lefties.”

of the globe to satisfy my need for progress, and I

I am left-handed!

flict resolution.

nated against by social, educational, and religious

improvement of human communication and con-

tity. Additionally, left-handers are often discrimi-

in a world designed for right-handers.

30,000 years.

and frustrations left-handers experience every day

of left-handers has remained constant for over

handedness and raises awareness of the difficulties

“bad.” Researchers postulate that the proportion

Launched in 1996, this yearly event celebrates left-

set the left-hander apart as “different” and even

Note: August 13th is “Left-Hander’s Day.”

institutions. Social customs and even language

2

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

The 4th Industrial Revolution is upon us The 4th Industrial Revolution is upon us. AI and UX are recognised phenomena.

The world becomes smaller by the day. Data collection and analysis are overwhelming and I wonder if there is a definitive time that this happened.

According to Professor Klaus Schwab, founder and executive chairman of the World Economic Forum, the fourth revolution is fundamentally different from the previous three, which were characterised mainly by advances in technology.

These technologies have great potential to continue to connect billions more people to the web, drastically improve the efficiency of business and organisations and help regenerate the natural environment through better asset management.

According to him, the next era holds unique opportunities to improve human communication and conflict resolution.

My deduction, therefore, is that the fourth revolution is to accommodate the impact of number one, two and three and the impact on our world that was perhaps not fully understood before and during those times.

I imagine during the 18th, 19th and 20th centuries that as people we did not have sufficient data to predict the outcome of ‘progress’. Now as we strive because of previous revolutions to Unique Thinker: Helen BĂźhrs

combat disease, poverty and degeneration of our planet, we are left with no alternative but to introduce that which we call the Fourth Industrial Revolution. Albeit, I do not understand the

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

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6 26

INTUITION & EXPERIENCE IN INTUITIVE DESIGN

14

36

WHAT IS DESIGN THINKING?

FAST TIMES, FAST FASHION

18

THE RISE OF THE 4TH INDUSTRIAL REVOLUTION

42

CONTENTS Tribe Magazine is printed on Sun Cartridge 90gsm and Eltoro Board 200gsm sourced from sustainably managed forests available from Antalis South Africa (Pty) Ltd

10 INSCAPE STUDENTS

MAKING MAGIC With only 48-hours to complete their brief, Inscape students wow.

30 IS THE CHOICE OF PAPER

STILL A CREATIVE ACT How much does your choice of paper in marketing and design contribute to the impact of a message?

22

DESIGNING FOR WHATS NEXT

32 SOME MIGHT SAY

PRINT IS DEAD Despite the popularity of digital media in the 21st Century, print is making a rebound.

46 ENVIRONMENTAL DESIGN Improving the Built Environment through Environmental Design takes understanding and commitment.

50

ADAPTIVE REUSE

54 THE FUTURE IS DESIGN The Middle East will require as many as 30 000 design professionals by 2019.

58 INSCAPE IN THE MIDDLE EAST Inscape and its alumni are putting down roots in the Middle East.

62 THE CHANGING FACE OF

EDUCATION Introducing Inscape OffSite; a custom-developed online learning platform.

64 ANOTHER 48-HOURS

Standard Bank and Inscape team up for another On the cover: By Johnny Allison – Inscape Pretoria 3rd Year Graphic Design Students. See page 8 for details.

48-hour brief.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

2017: THE YEAR OF AI

6

“About 100 years ago, electricity transformed every major industry.

Artificial Intelligence has advanced to the point where it has the power to transform every major sector in coming years.”

–Andrew Ng

Then... AI was officially Granted Residency A chatbot based in Tokyo, Japan has just been granted residency and is designed to help navigate the city. The intelligence’s name is Shibuya Mirai and exists only as a chatbot on the popular Line messaging app.

A Robot was Granted Citizenship

https://line.me/en/

Sophia, the robot designed by Hong Kong-based AI robotics company Hanson Robotics, has been granted citizenship by the Kingdom of Saudi Arabia. It is the first time a robot has been given such a distinction, and is fuelling the “robot rights” debate. http://www.hansonrobotics.com/

This AI wrote horror stories for Halloween In the lead up to Halloween 2017, Shelley AI, which was named after Frankenstein author Mary Shelley, was penning one scary story every hour. Created by researchers at the Massachusetts Institute of Technology (MIT) Media Lab, the AI author is powered by deep-learning algorithms that allow it to collaborate with budding human horror writers. http://shelley.ai/

Facebook shut down its AI

Facebook shut down an artificial intelligence engine after developers discovered that the AI had created its own unique language that humans can’t understand. Researchers at the Facebook AI Research Lab (FAIR) found that the chatbots were communicating in a new language developed without human input.

AI meets robotics in the home

Kuri, a robot designed by Mayfield Robotics (a Bosch start-up) was designed to create connections between family members, and in doing so enrich their lives. Kuri quickly learns a home’s floor plan, where stairs are, and which room belongs to whom. The intelligent robot learns the rhythm of its household, can wake it’s occupants in time for work, and greet them when they get home at night. https://www.heykuri.com/

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

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TRIBE MAGAZINE / ISSUE NO. 3 / 2017

New designer, artist’s mind

JOHNNY ALLISON Johnny Allison is a Pretoria based designer, animator and illustrator who works primarily in ink on paper and has recently transitioned to digital mediums.

His area of expertise lies in extraordinarily complex

MC Escher to evoke wonder and promote existential

and detailed illustration. He strives to create work that

philosophy through only line. He has been featured in

multiplies and forms meaning the longer you stare at

numerous different group exhibitions and has recently

it, by juxtaposing numerous different artistic elements

collaborated with a multitude of artistic platforms

and styles to create a tapestry of thought-provoking

including the Momo magazine. Johnny has been honing

perfectly designed illustrations. Johnny’s work draws

his craft for eight years, since the start of his high school

inspiration from new-school illustrators and street

career at Pro Arte Alphen Park, and is currently focusing

artist combined with more classical masters like

on animation and has his eye set on Cape Town.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

TRIBE Magazine cover art

When

Johnny

was

first

approached to create his vision of his tribe for this issue, the brief was simple: Let your imagination run wild.

The team at Tribe Magazine then introduced Johnny to the concept of Mosaic Hyper Customisation and what resulted is remarkable. We can not help but applaud Johnny for his craft.

Johnny is well known for his illustrations around the Pretoria campus, and during his three years with Inscape has created murals and artworks that adorn the campus. His work can also been seen in our most recent promotional video.

9

10

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Inscape & Entrawood make magic In 48-hours Our Tribe celebrated a considerable success as Inscape’s 2nd year Interior Design students collaborated with industry-leading furniture manufacturer Entrawood in a challenging 48hour design project.

W

ith over 20 years of experience in manufacturing office furniture, Entrawood prides itself on the quality of its prod-

ucts and the reliability of its services.

It is this dedication to excellence that led the company to Inscape, where the project aimed to challenge and promote the creative spirit within Inscape students.

“We believe that the world needs innovative entrepreneurs and successful small businesses; and that intentionally designed office spaces and a vibrant office culture play a big role in their success. We aim to align our products and systems with our clients’ needs and expectations and to tie this in with well-designed, functional and attractive office furniture.”

The 48-hour project challenged students to design an ergonomic and functional office environment utilising products from the Entrawood range, within a tight time constraint.

“Students showed us amazing solutions, especially incorporating our new ‘salon’ range,” says Nushke Grobler, Entrawood Product Manager.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Inscape 2nd year Interior Design students presented Entrawood with a vast selection of top design concepts. Pictured here is a small sample of some of the top designs.

11

UNESCO CITY OF DESIGN

Africa’s 1st

Cape Town

12 TRIBE MAGAZINE / ISSUE NO. 3 / 2017

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

13

Cape Town has become the first city in Africa to be named a UNESCO City of Design, joining a total of 180 cities in the global Creative Cities Network. The honour recognises a city’s design status and commitment to promoting and developing the cultural and creative industries.

L

aunched in 2004, the UNE-

City’s Organisational Development

SCO Creative Cities Network

and Transformation Plan to position

aims to foster international

Cape Town as a forward-looking, in-

cooperation with and between cities

novative, globally competitive busi-

committed to investing in creativity

ness city and will help us take this

as a driver for sustainable urban de-

mission forward as we take our city

velopment, social inclusion and cul-

to event greater heights.”

tural vibrancy.

Cape Town joins a group of 31

ESCO was put forth in June 2017

UNESCO Cities of Design across the

following broad consultation with

world. Other cities that received the

stakeholders representing the lo-

designation this year include Bra-

cal design ecosystem, including the

silia (Brazil), Dubai (United Arab

private and public sectors, academia

Emirates), Greater Geelong (Austral-

and civil society.

ia), Istanbul (Turkey), Kolding (Den-

With the designation, the City

mark), Kortrijk (Belgium), Mexico

in partnership with the local design

City (Mexico) and Wuhan (China).

sector aims to develop and nurture

Said

Woodstock Exchange /Cape Town Design hub

The City’s application to UN-

Cape

Town

Executive

international partnerships; collabo-

Mayor, Patricia de Lille: “The City of

rate on projects and events linked

Cape Town is delighted to have been

to sustainable urban development;

admitted into UNESCO’s Creative

build better communities; and en-

Cities Network as a Design City. We

hance and develop a more robust lo-

recognise that creativity and culture

cal design sector.

are critical components in shaping

“These new designations show-

Cape Town as a thriving and resilient

case an enhanced diversity in city

city. Being part of the Network will

profiles and geographical balance,

help create valuable partnerships;

with 19 cities from countries not

coordinate, focus and grow Cape

previously represented in the Net-

Town’s local design sector; share and

work. The cooperation framework

create knowledge, grow new markets

proposed to foster candidate cities

and have an impact on Cape Town’s

from the Africa region – a UN-

ability to achieve inclusive, urban

ESCO Global Priority – has been a

sustainable development.

true success, with nine African cit-

“This achievement is a testa-

ies now joining the Network,” said

ment to our efforts paying off in

UNESCO Director-General, Irina

line with the commitments of the

Bokova.

14

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

What is Design Thinking & Why Is It So Popular?

Contributor: Rikke Dam & Teo Siang

Design Thinking is not an exclusive property of designers - all great innovators in literature, art, music, science, engineering, and business have practiced it. So, why call it Design Thinking?

What’s special about Design

in an attempt to identify alternative

Thinking is that designers’ work

strategies and solutions that might

processes can help us systematically

not be instantly apparent with our

extract, teach, learn and apply

initial level of understanding. At

these human-centred techniques

the same time, Design Thinking

to solve problems in a creative and

provides a solution-based approach

innovative way — in our designs, in

to solving problems. It is a way of

our businesses, in our countries, in

thinking and working as well as a

our lives.

collection of hands-on methods.

Some of the world’s leading

Design

Thinking

revolves

brands, such as Apple, Google,

around a deep interest in develop-

Samsung, and GE, have rapidly

ing an understanding of the people

adopted

Thinking

for whom we’re designing the prod-

approach and Design Thinking is

ucts or services. It helps us observe

being taught at leading institutions

and develop empathy with the tar-

around

the

the

Design

including

get user. Design Thinking helps us

d.school, Stanford, Harvard, MIT

world,

in the process of questioning: ques-

and locally at Inscape. But do you

tioning the problem, questioning

know what Design Thinking is?

the assumptions, and implications.

And why it’s so popular?

Design Thinking is extremely useful in tackling problems that are ill

What is Design Thinking?

Design Thinking is an iterative process in which we seek to understand the user, challenge assumptions, and redefine problems

defined or unknown, by re-framing the problem in human- centric ways, creating many ideas in brainstorming sessions, and adopting a hands-on approach in prototyping

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

and testing. Design Thinking also involves ongoing experimentation: sketching, prototyping, testing, and trying out concepts and ideas.

15

The Problem with Ingrained Patterns of Thinking Sometimes, the easiest way to understand something intangible, such as Design Thinking, is by

Design Thinking’s Phases There are many variants of

understanding what it is not.

Humans

thinking

develop

the Design Thinking process in

patterns

use today, and they have from

on the repetitive activities and

three to seven phases, stages, or

commonly

modes. However, all variants of

These assist us in quickly applying

Design Thinking are very similar.

the same actions and knowledge

All variants of Design Thinking

in similar or familiar situations,

embody the same principles, which

but they also have the potential

were first described by Nobel Prize

to prevent us from quickly and

laureate Herbert Simon in The

easily accessing or developing new

Sciences of the Artificial in 1996.

ways of seeing, understanding, and

Design Thinking can be broken

of

naturally

accessed

modelled knowledge.

solving problems.

into five phases or modes, which

These patterns of thinking are

are: 1. Empathise, 2. Define, 3. Ideate,

often referred to as schemas, which

4. Prototype, and 5. Test.

are organised sets of information

In the same way, all great

and relationships between things,

innovators in literature, art, music,

actions, and thoughts that are

science, engineering, and business

stimulated and initiated in the

have practiced it and still practice it.

human mind when we encounter

It is important to note that the

some environmental stimuli.

five phases, stages, or modes are

A single schema can contain

not always sequential. They do not

a vast amount of information.

have to follow any specific order

As these schemas are stimulated

and can often occur in parallel

automatically, this can obstruct

and repeat iteratively. As such,

a more fitting impression of the

you should not understand the

situation or prevent us from seeing

phases as a hierarchal or step-by-

a problem in a way that will enable

step process. Instead, you should

a new problem-solving strategy.

look at it as an overview of the

Innovative problem solving is also

modes or phases that contribute to

known as “thinking outside of the

an innovative project, rather than

box�.

sequential steps.

16

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Design Thinking or ‘Outside the Box’ Thinking

make it possible to prove whether

departments;

they are valid or not. Once we have

developing,

for

this

reason,

categorising, ideas

and

and

Design Thinking is often re-

questioned and investigated the

organising

ferred to as ‘outside the box’ think-

conditions of a problem, the solu-

solutions can be difficult. One way

problem

ing, as designers are attempting

tion- generation process will help

of keeping a design project on track

to develop new ways of thinking

us produce ideas that reflect the

and organising the core ideas is

that do not abide by the dominant

genuine constraints and facets of

with a Design Thinking approach.

or more common problem-solving

that particular problem. Design

Tim Brown, CEO of the cel-

methods.

Thinking offers us a means of dig-

ebrated innovation and design

At the heart of Design Think-

ging that bit deeper; it helps us do

firm IDEO, shows in his success-

ing is the intention to improve

the right kind of research and to

ful book, Change by Design that

products by analysing and under-

prototype and test our products

Design Thinking is firmly based on

standing how users interact with

and services so as to uncover new

generating a holistic and emphatic

products and investigating the

ways of improving the product,

understanding of the problems that

conditions in which they operate.

service, or design.

people face, and that it involves ambiguous or inherently subjective

At the heart of Design Thinking lies also the interest and ability to ask significant questions and chal-

Design Thinking is an Essential Tool – And a Third Way

concepts such as emotions, needs, motivations, and drivers of behav-

often

iours. This contrasts with a solely

of outside the box thinking is to

involves a number of different

scientific approach, where there’s

falsify previous assumptions, i.e.,

groups

more of a distance in the process

lenging assumptions. One element

The

design of

process

people

in

different

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

17

of understanding and testing the

users operate and the problems and

product, or service in order to drive

user’s needs and emotions — e.g.,

obstacles they might face when

new alternatives for business and

via quantitative research.

interacting with a product. The

society.

According to Brown: “Design

creative element of Design Think-

“Design thinking begins with

thinking taps into capacities we

ing is found in the methods used to

skills designers have learned over

all have but that are overlooked by

generate solutions and insights into

many decades in their quest to

more conventional problem-solv-

the practices, actions, and thoughts

match human needs with available

ing practices.

of real users.

technical resources within the practical constraints of business.

It is not only human-centred; it is deeply human in and of itself.

Design thinking relies on our

Design Thinking is an Iterative and Nonlinear Process

By integrating what is desirable from a human point of view with

ability to be intuitive, to recognize

This simply means that the de-

what is technologically feasible and

patterns, to construct ideas that

sign team continuously use their

economically viable, designers have

have emotional meaning as well as

results to review, question, and im-

been able to create the products

functionality, to express ourselves

prove their initial assumptions, un-

we enjoy today. Design thinking

in media other than words or

derstandings and results. Results

takes the next step, which is to put

symbols. Nobody wants to run a

from the final stage of the initial

these tools into the hands of people

business based on feeling, intuition,

work process inform our under-

who may have never thought of

and inspiration, but an overreliance

standing of the problem, help us

themselves as designers and apply

on the rational and the analytical

determine the parameters of the

them to a vastly greater range of

can be just as dangerous. The

problem, enable us to redefine the

problems.”

integrated approach at the core of

problem, and, perhaps most im-

the design process suggests a ‘third

portantly, provide us with new in-

way.’”

sights so we can see any alternative

“The ‘Design Thinking’ label is

solutions that might not have been

not a myth. It is a description of

available with our previous level of

the application of well-tried design

understanding.

process to new challenges and op-

Generating Creative Ideas and Solutions by Holistically Understanding Humans With a solid foundation in science and rationality, Design Thinking seeks to generate a holistic and emphatic understanding of the problems that people face. Design thinking tries to empathise with human beings. The nature of generating ideas and solutions in Design Thinking means this approach is typically more sensitive to and interested in the context in which

Last Thoughts

portunities, used by people from

Design Thinking is for Everybody Tim Brown also emphasises that Design Thinking techniques and strategies of design belong at every level of businesses. Design thinking is not only for designers, but also for creative employees, freelancers, and leaders who seek to infuse design thinking into every level of an organisation,

both design and non-design backgrounds. I welcome the recognition of the term and hope that its use continues to expand and be more universally understood, so that eventually every leader knows how to use design and design thinking for innovation and better results.”

– Bill Moggridge, Design Thinking: Dear Don

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TRIBE MAGAZINE / ISSUE NO. 1 / 2016

TRIBE MAGAZINE / ISSUE NO. 1 / 2016

The Rise of the

4 INDUSTRIAL th

REVOLUTION Contributor: Fiona Mosca

It has been referred to as the Fourth Industrial Revolution, 4ID and Industry 4.0, but what is clear is that, no matter what it is called, it represents the combination of cyber-physical systems, the Internet of Things, and the Internet of Systems and it’s well on its way to changing most of our jobs and the way in which organisations function in a major way.

The first Industrial Revolution

This industrialisation marked a

which took place from the 18th to

significant shift towards powered,

19th centuries was a period during

special-purpose machinery, factories

which, predominantly agricultural,

and mass production.

rural societies within Europe and

The second Industrial Revolu-

America came to be more industrial

tion, also known as the Technologi-

and urban in terms of production

cal Revolution occurred during the

and manufacturing. Prior to the

early twentieth Century. Considered

Industrial

which

a continuation of the first Indus-

began in Britain during the latter

trial Revolution, this phase of great

part of the 1700s, manufacturing

transformation was primarily char-

was mainly performed in people’s

acterised by the increased adoption

own homes, with the aid of hand

of steam transport, the large-scale

tools or rudimentary machines.

manufacture of machine tools, and

Revolution,

19

20

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

The 4th is characterised by a fusion of technologies that is blurring the lines between the physical, digital, and biological spheres.

the increased use of steam-powered

technological change that has essen-

machines within companies.

tially put an end to industrial produc-

It was during these years that

tion as we know it and has created a

many railroads were constructed

new mindset among the world’s in-

and the large-scale production of

dustrial planners.

steel and iron could be seen. One of

The 4th Industrial Revolution

the most significant catalysts of this

Founder and Executive Chairman of

manufacturer, Henry Ford mastered

the World Economic Forum, a fourth

the moving assembly line and ush-

Industrial Revolution is building on

ered in the age of mass production.

the third. Where previous industrial

Considering that we live in a

The 1st Industrial Revolution marked a significant shift towards special-purpose machinery, factories and mass production.

According to Klaus Schwab,

era was when American motorcar

revolutions

liberated

humankind

world where the only real constant

from animal power, made mass pro-

is change and where technological

duction possible and brought digital

advancement occurs at an exponen-

capabilities to billions of people, the

tial rate, it should come as no sur-

fourth is characterised by a fusion of

prise that the 20th Century has also

technologies that is blurring the lines

witnessed the birth of yet another

between the physical, digital, and

industrial era.

biological spheres.

The third Industrial Revolution

“We stand on the brink of a tech-

saw the digitisation of manufac-

nological revolution that will funda-

turing, and this digitisation can be

mentally alter the way we live, work,

considered the breaking wave of

and relate to one another. In its scale,

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

21

The 10 skills you need to thrive in the Fourth Industrial Revolution According to the World Economic Forum, there are ten critical skills that are necessary to thrive during the 4th Industrial Revolution and the future workforce will need to align its skill set to keep pace.

1.

Complex problem solving

2.

Critical thinking

3. Creativity 4.

People management

5.

Co-ordinating with others

6.

Emotional intelligence

7.

Judgment and decision making

8.

Service orientation

9. Negotiation 10.

Cognitive flexibility

scope, and complexity, the transfor-

transformation of entire systems of

mation will be unlike anything hu-

production, management, and gov-

mankind has experienced before�,

ernance.

Design thinking is primarily and

focused on the creation of strategies

In his book, The Fourth Indus-

disruptions mean that we live

which guarantee that innovation

trial Revolutions, Schwab continues

in a time of great promise and

and

in saying that society does not yet

great

organisations.

know just how this era will unfold,

the potential to connect billions

Bearing this in mind it would be

but stresses that one thing is clear:

more people to digital networks,

wise to consider the effects gener-

the response to it must be integrat-

dramatically improve the efficiency

ated by new frontiers of technology

ed and comprehensive, involving

of organisations and even manage

in the age of the fourth Industrial

all stakeholders of the global polity,

assets in ways that can help

Revolution while exploring how de-

from the public and private sectors

regenerate the natural environment,

sign thinking can be applied to ex-

to academia and civil society.

potentially undoing the damage of

ploit and expand opportunities.

says Schwab.

The speed of current break-

The

Design Thinking and the 4th Industrial Revolution

resulting

danger.

The

shifts

world

has

previous industrial revolutions.

creativity

Organisations

flourish

within

which

have

throughs has no historical prece-

On the other hand, there is also

dent. When compared with previous

the possibility that organisations

apart

industrial revolutions, the fourth is

might be unable to adapt. If you look

willingness to engage in the task

evolving at an exponential rather

at the implications of exponential

of continuously redesigning their

than a linear pace. Moreover, it is

growth, it creates a very different

businesses to create advances in

disrupting almost every industry in

picture of the future, and it is not

both innovation and efficiency.

every country, and the breadth and

intuitive.

depth of these changes herald the

embraced design thinking stand from

the

rest

in

their

22

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

23

DESIGNING for what’s NEXT

Contributor: Maryke van Wyk

“The term User experience is used by people to say ‘I’m a user experience designer, I design websites’, or ‘I design apps.’ But user experience is more than that. It’s everything—it’s the way you experience the world, it’s the way you experience your life, it’s the way you experience the service. It’s a system that’s everything.” — Don Norman, pioneer and inventor of the term ‘user experience.’

The design industry is becoming

in say application design, but includes

more and more exciting, as products,

the way that certain elements look, feel

marketing, strategies, brands and even

or deliver certain outputs.

the way we think needs to be increas-

UX design incorporates the process

ingly unique, specialised and better un-

of creating products that provide mean-

derstood to have any impact at all.

ingful and personally relevant experi-

With more than 7.5 billion people

ences. This involves the careful design

on planet earth, whose dynamic and

of both a product’s usability and the en-

ever-changing political, cultural and

joyment consumers will get from using

economic backgrounds make for vastly

it.

different experiences with products,

The design - whether in the form

systems and services, the need for a new

of a mobile application, website, physi-

approach to design was born. From this

cal product or service - should focus

comes the emergence of user experience

on natural intuition and usability. It is

(UX) design.

important to understand how different people and cultures interact with vari-

What is UX DESIGN?

ous elements, and therefore UX design

User experience (UX) design is a pro-

focuses on exploration before execution

cess that focuses on the overall experi-

(see page 26 for our discussion on Intui-

ence between a user and a product. It is

tive Design).

not just about the interactive elements

Photos: Courtesy of INSCAPE EXCHANGE

24

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Developing the UX Designer

a period of time. In this process, the

The growth in the user experience

user’s perception, action, motivation,

industry is exciting and noteworthy

and understanding integrate to form a

and is driving the need for more spe-

memorable and coherent story which

cialist designers in the field. In recent

ultimately becomes ‘the user experi-

years the designation UX designer has

ence.’ This process elicits emotional re-

become relatively commonplace, and

sponses, which mostly decide whether

growing numbers of institutions are

the experience will be considered posi-

offering specialised courses in the field

tive or negative.

of interaction, ideation and UX design.

Research oriented thinking will

Designers from all disciplines spe-

give one the context to build compel-

cialise in creating and developing vis-

ling stories for new brands and prod-

ual representations of ideas. They are

ucts. If you want to understand context

taught skills and techniques to make

– ask questions and be patient in find-

tangible what was once intangible. At

ing the answers.

the same time, innovative companies

If we can learn to create valuable

are focusing their marketing strengths

stories based on insightful research,

on creating stories for their customers

then we move closer to creating a

to relate to. In this way, strong brands

shared culture around products and

are building communities around their

designs.

products or services that allows for

A Move Towards Responsible and Inclusive Design

fierce loyalty in a world that offers alternatives to everything. There is great

In the process of user experience

power in understanding and utilising

design, it is essential to acknowledge

storytelling in the field of design.

that visual design is no longer enough

Research is Key to UX Design

Mobile devises have unlocked a whole new era of products that are waiting to be developed

of a defining factor, and the focus needs

Until as recently as the year 2000,

to move to the conversation. What is

the majority of people did not have mo-

your relationship with your customer?

bile phones or email, and social media

How does your product impact people’s

didn’t exist. Important information

lives? It is crucial that we move away

was communicated via storytelling as

from designing things that designers

humans are instinctively wired to re-

want people to want, and instead move

member and repeat stories. But how do

on to developing solutions that people

we teach ourselves to be good storytell-

really and truly need. That is the future

ers? It all starts with research.

of design.

An important research concept

Designers need to build trust with

in UX design is the process by which

consumers, and likewise be trustwor-

users form experiences. When first

thy by taking responsibility for what

experiencing a product, a user forms

they put into the world.

a brief impression, which evolves,

An important aspect of responsible

typically as the product is used over

design is the focus on inclusive design.

Twitter profile page of Microsoft’s Tay

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Information expands borders, cultures,

25

Design for What’s Next

languages and social norms. The best

The current proliferation of mobile

strategy to ensure inclusive design

devices has unlocked a whole new era

is to test our products or ideas in as

of products that are waiting to be devel-

many different scenarios as possible.

oped. What might have seemed mythi-

Testing in a closed group will hinder

cal and magical a few years ago is now

the development of design solutions

being developed into existing technolo-

and can also cause significant problems

gy. Want magic shoes? You can now tap

for a brand or company. We can no

your heels three times, and the Dorothy

longer afford to exclude different races,

app (and a connected device that is fit-

languages or cultures. Take a look at

ted to your shoe) will make a call to get

these examples:

you out of a disastrous date.

In 2015, Google released an algo-

Artificial intelligence allows us to

rithm for a photo application that mis-

amplify human presence. It’s easy to

takenly tagged an African woman as a

become fearful when we discover the

gorilla. Despite apologising profusely,

extent to which technology is integrated

the damage to Google’s reputation was

into our lives. Big brother is no longer a

done. This offensive incident might

myth, yet we voluntarily give away per-

have been avoided is the algorithm had

sonal details to websites and apps with-

been tested on a wide enough platform

out question. Fortunately, we are in an

before releasing it.

exciting position because as designers;

Similarly, in 2016, Microsoft re-

we don’t need to fear these develop-

leased an artificial intelligence chatbot

ments but rather turn the fears into de-

named Tay on Twitter that was created

sign principles.

to interact with other users and learn

The Future is Now

and develop its personality based on in-

Most people fail to see the whole

teractions with the community. Within

picture when it comes to user experi-

16 hours Tay had to be shut down be-

ence. And when one can’t see the big-

cause it started posting offensive tweets

ger picture, you may be missing many

on an open and international platform.

factors that help to create the ideal user

The entire episode reflected very poorly

experience. That’s why having a com-

on Twitter, and the company faced the

prehensive understanding of the entire

consequences for much longer than Tay

spectrum of user experience, backed by

was online.

solid research is essential. In the very

We live in an age where artificial in-

near future these skills will become

telligence is no longer a PG13 movie (see

critical if we consider that customer in-

page 6 for a few more AI stories), and thus

telligence agency Walker recently pre-

it is crucial to understand our responsi-

dicted that experience would overtake

bility for designing well researched and

price and product, when it comes to

inclusively designed products.

brand differentiation, by 2020.

26

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Intuition and experience: the cornerstones of INTUITIVE Design “The main thing in our design is that we have to make things intuitively obvious,” the founder and former CEO of Apple, Steve Jobs, explained. We can easily agree that design should be intuitive. We can also easily agree that something is intuitive when we can use it without thinking about it. Making a design intuitive is much tougher. Solving this task requires an understanding of the psychology behind human interaction, specifically how humans come to understand the physical and cultural environment. Design does not become intuitive by magic. When we experience a design as intuitive, it’s because we have encountered something like it before.

What is Intuitive Design?

the design. So, if we are to evaluate

on what features are likely to be

There is no widely agreed-up-

whether a design is intuitive, we

present due to the target audience’s

on definition of the term “intuitive

must also think about who will use

culture, industry background, etc.,

design.” Rather, intuitive design

the design.

a designer can deliver a product

is used informally to describe de-

Users will feel that a design is

or service that users can take to

signs that are easy to use. So, when

intuitive when it is based on princi-

without having to hesitate and

a user is able to understand and

ples from other areas that they are

wonder how they can perform an

use a design immediately—that

familiar with. Designs can there-

action.

is, without consciously thinking

fore provide experiences that seem

about how to do it—we describe the

intuitive to some users but not to

design as “intuitive.”

others.

While there is no standard def-

The Connection Between Intuition and Experience From our very first breath, we

The IUUI offers the following of

intuitive

use:

interact with the physical environ-

inition, some research groups have

definition

“A

ment and learn the fundamentals

worked towards building a clearer

technical system is, in a specific

of how physical objects behave. We

understanding of the term “intui-

context of a user goal, intuitively

confront and learn from the physi-

tive design.” Members of the inter-

usable to the degree the user is able

cal reality every day. Humans also

disciplinary research group Intui-

to interact with it effectively by

grow up in a cultural environment

tive Use of User Interfaces (IUUI)

applying knowledge unconsciously.”

consisting of language, metaphors

argue that intuition is not a feature

Here is where the designer’s

and symbols that are more localised

of design—instead, intuitive use is

carefully collected knowledge of

and unstable than the physical en-

a characteristic of the interaction

the target audience for an item

vironment. Some cultural artefacts

process between a specific user and

comes into play. By capitalising

we encounter all the time; some we

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

only encounter occasionally.

27

thing humans know how to do,

sidering them. They are, in other

Both the physical and cultural

we have learned at some point in

words, intuitive.

environment play a fundamental

our lives. Some things we learn as

All interface design builds on

role in our expectations and under-

newborns; some things we learn as

the users’ previous experience

standing of the world.

adults through hard study. When

with the physical and cultural en-

In a widely cited paper, psy-

we first learn how to do something,

vironment. When we design in-

chologists and interaction design

it is a conscious action. With prac-

terfaces with objects that the user

researchers Klaus Bærentsen and

tice, actions turn into operations

can move or sort into folders, the

Johan Trettvik state that every-

that we can perform without con-

user can rely on their experience with the physical environment to understand the properties of the objects in the interface. When we use icons and text, the user relies on experience from the cultural environment to understand them. The user always uses both experience from the physical and cultural environment to understand what action possibilities she

Intuitive design relies on our interaction wih our environment, and previous experience.

has with an interface.

‘Intuitive’ has become such a trendy word— especially in the realm of experience design— that we’re tempted to use it for everything.

Unfortunately, overuse reduces its significance and renders it meaningless.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Still, obviously, limitations to

According to activity theory,

it via the Macintosh, which had a graphic representation interface.

what we can do and how much

human

information we can handle exist

understood separately from the

Now tablets and touch technol-

when we have to obey the laws of

physical and cultural environment

ogy have made it so you can liter-

physics.

we grow up in, so it makes sense

ally point to the thing you want.

to

There’s no more trash-can or lim-

Bærentsen

and

Trettvik

base their analysis on Activity

cognition

analyse

cannot

human

be

technology

interaction in this perspective.

ited use of folders. It’s so easy a

a

Let’s use human-computer in-

child can make sense of it; just find

psychological theory which was

teraction as a model for true intui-

the picture of the game you want,

pioneered by Lev Vygotsky, Alexei

tive design.

point to it, and play.

Theory.

Activity

theory

is

Leont’ev and Sergei Rubinstein and

has

leading for

been

one

theoretical understanding

of

Back when you had to under-

the

stand command-line prompts to

frameworks

navigate them, computers were

human-

counter-intuitive.

Then

Xerox

computer interaction since the

PARC created the graphic user

1990s.

interface, and Apple popularized

Last Thoughts Intuitive design is not simple to achieve. You must always base your designs on a good understanding of users’ prior experiences and the expectations they form based on

Xerox Star - Early example of Graphic User Interface

28

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

these. You can use the activity theoretical framework and the research

KEY QUESTIONS TO ASK WHEN EMBARKING ON INTUITIVE DESIGN

on intuitive use to identify how to take advantage of different types

of prior experience to design more intuitive user experiences, namely

“In my opinion, no single design is apt to be optimal for

everyone.” Donald Norman

experience with the physical and cultural environment. Designers should take advantage of both types of experience to create intuitive interfaces. If creating something new

Two practical questions will help designers in the messy reality of designing intuitive interfaces: •

and ground-breaking, you can make design

universally

Who is the user and what is his/her previous experience with related products?

understand-

If your particular user is familiar with experienc-

able by taking advantage of the

ing interactions in a certain way, the designer

user’s experience with the physical

should think very hard before breaking with ex-

environment.

pectations. Even though a design does not appear as intuitive as it could be, experienced users may find it to be entirely intuitive. If one has to accommodate different user groups who have different expectations for how something should work; a design that takes advantage of the user’s experience with the physical world will be easiest to learn and remember.

•

What is the current state of the art?

If a state-of-the-art interaction for what is being designed already exists, the designer should consider how widespread it is. If it is commonly used (and not widely disliked), one should consider following the same interaction principles as the current solutions. If several widely distributed solutions exist, the designer should try to choose the solution that relies the most on experience from the physical world.

29

30

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Is the choice of paper still a creative act Is the choice of paper still a creative act and does it contribute to the impact of a message, an idea or a concept? These questions were put to 12 designers across the world, who consider paper to be an integral part of the creative process.

Book of 12: Creative paper in the Digital Age by 12 Iconic Designers interviewed by Veronique Vienne (Internationally renowned Graphic Design specialist) on the place of paper in digital age. “Those 12 artists work with paper and digital, and never separate the idea from the media”. 12 Creative Papers.

T

hese 12 designers shared

on paper is as important as choosing a

Tribe Magazine: The choice of pa-

their vision of the continued

typeface or a colour…” These are some

per at Tribe Magazine goes part

importance of paper in the

of the thoughts and observations

and parcel with the design of the

digital age with respected specialist

from the 12 contemporary Graphic

publication itself. While maintain-

Graphic Design writer, Véronique

Designers, which included Hans

ing our commitment to more sus-

Vienne in a project commissioned

Wolbers an art director and founder

by Antalis.

of one of Holland’s leading design

tainable paper use, we love using non-fine papers for traditionally

The full interviews have been

agencies, known for his talent in

captured in individual notebooks,

creating and developing smart and

The Book of 12, each showcasing

trendy editorial publications, Reza

a piece of the artists’ work with a

Abedini of Iran who designs posters,

unique design, choice of paper and

book covers, and announcements to

from sustainably managed forests

printing technique to bring it to life.

promote events and Elaine Ramos

available from Antalis South Af-

“Paper delivers an emotional

a Graphic Designer as well the Art

rica (Pty) Ltd.

experience

doesn’t

Director at Cosac Naify, the main

provide…”; “if you pick the wrong

that

digital

publishing house in Brazil dedicated

paper there is no magic…”; “deciding

to visual arts.

fine applications. Tribe Magazine is printed on Sun Cartridge 90gsm and Eltoro Board 200gsm sourced

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

31

For further information ‘Just ask Antalis’ Call 0861 268 2547 or visit www.antalis.co.za

Email: sales@antalis.co.za Tel: 0861 268 2547

32

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Some might say PRINT IS DEAD!

I DON’T THINK SO Despite the popularity of digital media in the 21st Century, print is making a rebound from its expected demise. Physical advantages of print as well as demographic and environmental trends are pushing back against the tide of digital. Marketers, designer and advertisers should be aware of these trends and look for opportunities to introduce print into their marketing campaigns to gain attention and increase comprehension.

Over the past decade, we have seen

will continue to double every 18-24

an explosion in the amount of digital

months as technology to carry this

content and the capacity to transfer

information improves. Perhaps even

this data. In fact, there are currently

more surprising is the capacity of the

three zettabytes of digital content

internet to transfer data, which is

in the world (a zettabyte is a trillion

now approaching one zettabyte. This

gigabytes of data), and experts expect

is a far cry from the dial-up modems

that this amount of information

of the 1990’s.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

33

The average consumer is frantically trying to keep up with all this new information, and it seems we are always connected to our laptops, tablets, smartphones, devices and watches – reading and digesting information 24/7/365.

Meanwhile, marketers are very conscious of digital trends as they enthusiastically try to get the attention of potential customers.

In a digital world print stands out.

Content strategy top of mind as marketers work to develop the perfect way to connect with their audiences via a multitude of platforms from email and websites to social media and mobile applications. Meanwhile, traditional marketing techniques like direct mail and print collateral is left in the dust.

There seems to be a common misconception within these marketing circles that print is now dead some 500 years after the invention of Guttenberg’s printing press. From many angles, it seems clear that digital media has won the race.

Or so we thought.

Interestingly enough print has experienced a resurgence over the past few years. Due to a perfect storm of trends and a better visual experience, printing is making advances against the digital onslaught. Some of the most compelling of these reasons include sustainability, preference of print by the millennial generation and, believe it or not, a number of health reasons.

1. It’s still easier to read From experience, even with improvements in digital screens, it is still easier on our eyes to read printed content than digital content because of the better contrast of ink and paper. In June of 2015, a report was released showing that in the USA alone 81% of respondents preferred to read print on paper over a digital screen.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Print is tactile/Letterpress

Sustainability: Sappi forests/All Sappi owned and leased plantations are 100% FSC®certified.

Reading from print leads to higher rates of information retention

34

The amount of reading people do tripled from 1980 to the late 2000s, and it’s probably safe to say that trend continues today.

2. Information Retention

that “People reading on screens take

Context and navigation not only

a lot of shortcuts—they spend more

make it easier to read printed

time browsing, scanning and hunting

materials, but they also make it easier

for keywords compared with people

to learn. One study showed that

reading on paper.” As Piper observes,

“88% of respondents indicated that

“Skimming is the new normal.” People

they understood, retained or used

don’t successfully learn what they

information better when they read

read if they don’t approach it with

print on paper compared to lower

a

percentages (64% and less) when

thoroughly.

reading on electronic devices. The

4. Print is tactile

same trend was found for reading complicated documents with 80% indicating a clear preference for reading print on paper.”

determined

mindset

and

read

The tactile, sensory experience of reading print on paper is significant.

Scientific American points out that text on a screen is an “ephemeral

3. Skimming vs reading

image” – it has no reality. What paper

Research has shown that people don’t

feels and sounds like matters. One

take digital reading seriously. A San

survey showed that 67% of people

Jose State University survey cited

interviewed said they liked the feel of

by Scientific American concluded

print media over other mediums.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

5. Credibility

35

the audience from your brand;

a printed piece stands out more

meanwhile,

mail

than personalised emails. There

titled Print is Dead? Not So Fast,

marketing, there is a smaller pool

is also an enormous range of print

speaks

of

of competition, and thus you have

design options with a multitude

print. According to the article,

a greater chance of connecting with

of variations for printing like die-

“The saturation of digital pop-ups

the audience long enough to make a

cutting, embossing, stamping, and

and banner ads on the web can

conversion.”

special coatings.

be overwhelming, and the fear of

Think of how little physical mail you

spam and viruses is enough to make

7. Sustainability

receive, especially at the office, and

Paper is also a renewable resource.

people wary of clicking.” This is true

how much attention you pay when

Renewable resources can be regrown

of emails as well. By investing in

you do receive something, primarily

or replenished in one or two human

print collateral companies can stand

if it’s designed and printed well.

lifetimes. Throughout the world,

Another way to stand out using print

paper is part of a much larger

is personalisation or customisation

industry and is usually sourced from

(this issue of Tribe is an example

managed forests or farms, which

of hyper customisation; not one

replant about four times more than

According to one study, “On the

single cover is the same). It’s not

they harvest.

Internet, there is an unlimited

exceptionally difficult or expensive

amount

to personalise print media, and

Forbes

magazine, about

the

in

an

article

credibility

out and earn trust for their digital marketing at the same time.

Mosaic hyper customisation/Diet Coke

6. Print stands out in a digital world

of

content

to

distract

with

direct

Adapted from a white-paper published by Hubcast

36

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

FAST TIMES, FAST FASHION Fast fashion is a modern term used by the fashion industry to describe clothing inspired by recent trends displayed during Fashion Week and then replicated cheaply for commercial consumption.

Fast fashion has been a mainstay of the local fashion industry for decades, but just how has it influenced the South African textile industry, and what are local designers doing to combat the effects? Cassandra-Lee Vincente, 3rd year Fashion Design student explores the topic.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

37

The primary aim of fast fashion is

consumption and more production

the pesticides that permeate our

to manufacture the most current

leading to more waste.

groundwater channels.

fashion

As

fast

Thankfully, local consumers are

affordably, allowing the everyday

fashion has on the environment is

starting to become interested in

consumer to buy catwalk styles at low

tremendous. It is both the process of

how and where their clothing is

prices. The downfall of this practice,

manufacturing of synthetic fabrics

manufactured. It is for this reason

however, is that as certain studies

(releases harmful carbon emissions

that the demand for locally produced,

have shown fast fashion does more

into the atmosphere and toxic dyes

quality clothing is rising in South

harm than good to the environment,

into the water supply), and the

Africa.

economy and employment figures,

fabrics’ inability to biodegrade that

often foregoing ethical practices and

is leading to landfills filling up with

creating sustainability concerns.

discarded clothing. This coupled with

Globally the fast fashion industry is

the carbon footprint of the transport

growing at an astonishing rate and

process

consumers are spending as much as

devastating the environment.

$1.2 trillion on clothing every year.

Additionally, commercially farmed

Tasha Lewis, a professor at Cornell

cotton used in the manufacture of

University’s Department of Fiber

many clothing items is one of the

Science and Apparel Design, has

most impacting fibres when it comes

said; “There used to be four seasons

to

in a year; now it may be up to 11 or

Cotton crops require a lot of water,

15 or more.” What this means is that

approximately 3 800l/kg, as well

the amount of clothing purchased

vast amounts of fertilisers and

every year throughout the world has

pesticides. The impact of this is

increased by 400% in just the last

the loss of biodiversity and health

two decades. This equates to more

problems due to toxic chemicals in

trends

quickly

and

a

result,

leads

the

to

environmental

impact

fast

fashion

sustainability.

Did you know?

Currently South Africa has no textile weaving/manufacturing facilities. In 1995 when South Africa joined the World Trade organisation and opened its borders to international trade, the influx of less expensive mass-produced fabrics led to the demise of the local industry. In recent years however, the industry has seen an upswing in employment rates thanks to the growth of the CUT MAKE TRIM (CMT) industry. CMT facilities provide for the local manufacture of finished clothing in SA.

38

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

To combat fast fashion at home,

townships to sew, which has an

by buying locally manufactured

local designers are creating fashion

enormous impact on its ethical

clothing,

brands that are both sustainable as

footprint. Even though they use

shipping expenses and supports the

well as produced in South Africa.

hemp

sustainably-

local economy. You can also commit

I Scream & Red is a Cape Town-

sourced cotton as much as they can,

to a more sustainable lifestyle, by

based brand that was founded

they are researching and creating

choosing local brands dedicated to

by Zaid Philander. The company

new ways to produce their very own

improving both the local industry

manufactures bags from recycled

sustainable fabrics (see page 40 for

and

seat/safety belts, reused upholstery

more about The Joinery).

African Industry cannot only rely on

and

organic

which

requires

environment.

The

lower

South

or 100% locally farmed and produced

The production of and sale of

the designer to change their ways;

organic cotton. Its main aim is to

sustainable fashion and clothing

the consumer also needs to have

ensure that the materials used do

has become of utmost importance

an understanding of the effects of

not affect the environment. The

both locally and internationally. To

unethical clothing and its impact on

company is so conscious about the

support this initiative one can start

the environment and industry.

environment that all the materials used for its bags are sourced directly from Cape Town, reducing travelling costs and carbon emissions.

Natalie and Kim Ellis are two Cape Town sisters who have founded the fashion brand, The Joinery. At The Joinery, all fabric that is used in the production of goods is locally produced and sustainably sourced.

The company is also dedicated to growing the local community by teaching people from the local

I Scream & Red backpack

Did you know?

Only 25 - 30% of clothing sold in South Africa is locally made, the remaining 70 - 75% is imported.

Of this, South Africa imports 80% of fashion items from China. The reason: Many Asian countries often have more relaxed labour laws, which means that employees work long hours for a low wage.

This makes the overall cost of manufacturing far lower than can be expected locally, where SACTWU (Southern African Clothing and Textile Workers Union) ensure South African garment workers are paid a fair wage.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

39

40

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

THE JOINERY ETHICAL FASHION FIRST Contributor: Cassandra-Lee Vincente

Photos: Lyall Coburn

The Joinery is a Cape Town based African fashion and lifestyle brand that believe in sustainable and ethical fashion. It was founded in 2012 by two sisters, Natalie and Kim Ellis who aim to better the design world by empowering the local community (employing seamstress’s from local townships in the manufacture of their clothing) without exploiting workers. Besides creating beautiful unique pieces, this has an enormous impact on the ethical footprint.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

41

These amazing sisters believe that ethical fashion and empowering the local community are equally important factors in bringing the people and the factory together for a better and brighter future. The Joinery has created a sustainable movement in South Africa, by providing the consumer with a better understanding of the importance of sustainable fashion, while still producing beautiful fashion pieces.

The textiles that are used in the brand line-up are all made from organically-grown natural fibre and include linen, hemp and tencel. However, recognising the sustainability concerns

around

certain

natural

fibre

production, and the ever-growing waste problem in South Africa, The Joinery is researching and creating ways to produce its

own sustainable fabrics from recycled plastic bottles by collaborating with partners that have a minimal carbon footprint.

Working hand in hand with a South African recycling company, The Joinery has managed to create a fabric from recycled plastic bottles that very closely resembles felt but does not harm the environment. Additionally, all the plastic bottles used in the production of this fabric are collected on the streets in and around Cape Town. But this is not where it ends - the company and its owners are constantly working in conjunction with other suppliers to create more sustainable textiles.

This year The Joinery showcased its latest collection at Mercedes-Benz Fashion Week where it joined forces with Caroline Tomlinson, a fashion illustrator and owner of Imaterial, a textile printing company, using eco printers to print their beautiful prints onto natural fabrics.

The Joinery is more than just a fashion and lifestyle brand, and also creates sustainable bespoke products for corporate companies from recycled plastic bottles, such as felt shopper bags for Petco and tech accessories from recycled Coca-Cola prodcts.

The Joinery has recently won two Eco Awards, namely winning the PETCO 2017 (Best Product using recycled PET) and receiving the award for the most Eco-Innovation at Eco-Logig 2017.

42

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

BARK

as good as its bite Founded by Schalk Steenkamp in 2017, Bark Design is a small design firm that specialises in original leather products. However, this is not where it ends; the company also delves into lighting designs, furniture and other products depending on how busy the leather side of the studio is. Tribe editor, Gwynedd Peters, had the opportunity to sit down for a chat with this intrepid designer.

Steenkamp founded the brand while studying design at Inscape. “The brand name

was everywhere.”

has always been something that stuck with

It was in Cape Town that Steenkamp found

me. Although it took about four years and

Inscape, where he graduated with a Diploma in

five different logo’s to get the brand identity

Interior Design. “I think my first year influenced

to where it is today. I always knew I wanted to

the rest of my course from an artistic perspective,

have my own studio where I could create and

as I would use hand renderings over computer

design anything imaginable. And as the years

drawings. After graduation I sent my printed

went by I began to realise that when doing an

portfolio to Dutch designer Piet Hein Eek and

interior project time was always against us,

two months later I was in Eindhoven. It was mind

and there never seemed to be time to focus on

boggling - a factory that included workshops for

the details. So that’s when my interest moved

everything from ceramic, steel work, upholstery,

towards the minutiae of furniture and product

woodworking, printing and exhibition space. I got

design”, he says.

four briefs for the time period that I was there,

Originally

Photos: Courtesy of Kris Barnard/Bark Design

moved to Cape Town everything changed: design

from

Namibia,

Steenkamp

including one for Ikea.”

first made the move to South Africa to study

When asked about his penchant for leather,

culinary arts in Hermanus, after which he

Steenkamp answers matter-of-factly: “Leather

spent time interning at Overture restaurant

found me”. It was in the course of his tenure at Piet

in Stellenbosch. His experience in the kitchen

Hein Eek that Steenkamp was asked to design a

segued into an interest in designing kitchens, a

leather bag for Eek’s collection. “This was my first

profession which took him back to Namibia for

time working with leather and I was absolutely

a year.

blown away by the material. With the help of the

At only 26 years old, Steenkamp defines

studio’s upholstery department I learned about

himself as a creative, a designer, an artist and

patterns, different stitching techniques and how

small business owner. “I grew up in Namibia, a

to finish off products”, he says.

small country with far fewer modern creative

On his return to Namibia in 2016, Steenkamp

influences than in South Africa. And when I

experimented with a variety of mediums

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

43

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Kris Barnard/Bark Design

44

and industries, until a friend

Steenkamp says of his approach

and out to make a statement. We

commissioned him to design and

to his design and aesthetic, that he

also don’t waste anything in the

make a leather bag. Steenkamp spent

tries to maintain a timeless quality to

studio every little piece of leather gets

the next week with a hammer and

his work, as he believes trends and

used so the leather as a material gets

nail patching the bag together, but

fads come and go but a good design

respected. At times this translates

enjoyed the experience so much that

will always stay great and timeless.

into some bags looking lazy, since

he bought two more skins and built

He elaborates: “I try and keep my

the one side is lower than the other

up a stock pile of simple hand-stitched

design really simple, it has taken nine

on the flap. Others have got loads

leather bags. Two months later at

months to get the products to where

of little curves turning each bag

a small city market in Windhoek

they are now but the sketches I’ve

into a character of its own; no two

Steenkamp sold all his inventory,

been refining since April last year,

customers will ever have the same

from art and children’s chairs to

just figuring out how they would

bag. All the bags are also stitched and

leather bags, within two hours.

work and the small details. I don’t

punched by hand so it is very labour

“I was just blown away by the

even think one should refer to them

intensive, and if you buy a bag you

demand for hand-stitched leather

as details; they are the actual design.

really have to appreciate the value

products, so I enrolled in a leather

Anyone can make a leather bag but

of it.”

course in South Africa for two weeks

it’s the time to figure out the small

Additionally, Steenkamp em-

just to refine my skills. The Bark

design aspects that in the end make it.”

phasises that at Bark only Namibi-

Design studio officially opened its

“I don’t like to put labels on

an leather is used and the company

doors in February 2017, and by April I

my work, but some bags might be

doesn’t import any raw materials at

had two employees,” he says.

considered quirky, others are formal

all.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

45

Why Bark Design: “The name Bark Design refers to organic textures of the products we make, yet each design has a loudness to it.

Asked what the future holds, Steenkamp responds that after a year, the product range has finally been finalised, with packaging being the next aspect to focus on. “That is almost just as important if not more so than the product”, he says, “First impressions really do last.” He also hopes that the company’s website will soon be up and running by the end of 2017 allowing 2018 to start with a bang.

In closing Steenkamp says: “Our first shipment of bags went to Germany at the end of July, so this is only the start of things to come. Then the brand can only grow from here. We have some really exciting collaborations with a well-known coffee brand and a lodge in Namibia in the pipelines, so watch this space.”

Bark Design’s team is definitely its backbone; and the two women, Utili and Johanna have more than 50 years of experience in leather work and clothing manufacture between them. Utili has almost 20 years experience working with leather making vellies and other leather products in Windhoek, and is an expert in manufacturing of traditional Nama-Damara clothing. Johanna was head seamstress at Steenkamp’s parents clothing factory for 15 years, after which she continued working in the clothing manufacturing industry amassing a wealth of experience and know-how in terms of patterns and putting together quality products.

46

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

ENVIRONMENTAL

DESIGN

Contributor: Carsten P. Walton

Environmental design in the built environment is not a new idea. In fact, the concept of environmental design can be traced as far back as 500BC when the ancient Greeks first incorporated environmental concepts into the construction of their homes. Skipping forward some 2 500 years, the early origin of the modern environmental design movement began in the late 19th Century when Arts & Crafts designer William Morris rejected the use of industrialised materials and processes in wallpaper, fabrics and books his studio produced. He believed that the industrial revolution would lead to harmful environmental and human impact.

But what is Environmental Design?

Environmental

design

incorporate renewable resources that (also

impact

minimally

the

and

called sustainable or green design)

to

and its planning principles have

environment.

interact

with

environment allow

people

the

natural

gained momentum internationally and

in

South

Africa

in

the

last decade. The principles are

How do we Achieve Impactful Environmental Design

considered far more than just trends

According to Vivian Loftness,

and have become indispensable in

key member of Pittsburgh’s Carn-

the modern Built Environment.

egie Mellon University’s leadership

According to The Philosophy of

in sustainability research and edu-

Sustainable Design, environmental

cation: “Understanding the unique

design

is

of

qualities of each climate and context

the

is the foundation for sustainabil-

built environment, and services

ity – studying climates and natural

to comply with the principles of

systems, indigenous building and

social, economic, and ecological

community design solutions for

sustainability. In layman’s terms:

each, and embracing materials, as-

environmental

semblies and land use patterns that

designing

the

philosophy

physical

objects,

design

aims

to

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

47

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Victoria & Alfred Waterfront, Cape Town

48

are unique and best suited to place.

efficiently

climate

in the SA commercial property

The sustainable architecture of hot,

change while creating healthier and

sector, 45 of which were existing

dry Africa will – and should – be

more productive environments for

buildings.” She went on to elaborate

different than that of hot, humid

people and communities.

the need for environmental design

and

address

already

as: “Building green is an opportunity

comfortable Africa – with material

requires that energy usage in a

to use resources more efficiently,

and craft and quality of life patterns

building be calculated. Taking this a

to address environmental issues,

designed to support the longest

step further, the GBCSA has aligned

while creating healthier and more

stretches of natural comfort and re-

itself

productive environments for people

siliency.”

councils to create a strict measuring

Africa and that of mild, year-round-

National

with

legislation

fellow

international

system for gauging ‘how green a

Building Green in South Africa The awareness of green and

and communities.”

There are numerous ‘6 Green

building is’ called the ‘Green star

Star’

rated

projects

in

South

rating.’

Africa. Most include technological

environmental design has grown

The Green Star rating judges a

expectations such as solar electric

exponentially, and South Africa is

building according to management,

collection, the use of locally sourced

leading the way on the continent,

indoor environment quality, energy,

building materials and finishes,

creating an opportunity in the market

transport, water, materials, land use

greywater systems, and the use

for

and ecology, emissions, innovation

of natural light and cooling, as

and socio-economic impact.

well as implementing sustainable

specialists

in

environmental

design.

According to The Green Building

The highest numbers of Green

construction methods, by recycling

Council of SA (GBCSA), buildings are

Stars attainable is six. Ms Dorah

and upcycling previous building

one of the leading contributors to

Modise, CEO of the GBCSA says’: “In

components like rubble concrete.

climate change, and building ‘green’

September 2016, we celebrated the

Some of the most popular of

is an opportunity to use resources

major milestone of 200 certifications

these projects include the new

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

49

Belgotex, Pietermaritzburg

‘Menlyn Maine Precinct’ in Pretoria,

the South African market, as well

technology allows us to stay con-

‘Waterfall Estate’ in Midrand, the

as the many solutions and options

nected to the global green innova-

‘V&A Waterfront’ in Cape Town,

available abroad. These green ‘prob-

tion and development platform, the

and the ‘Belgotex’ factory near

lem solvers’ can guide and direct a

impact of which can be seen espe-

Pietermaritzburg.

building project by incorporating

cially at a design and education level.

Growing Demand for Environmental Designers Green buildings are the future, but who consolidates and collects all

new and sustainable design thinking

Environmental Design does not

and technologies, they are creating a

stop within the built environment

future where environmental design

but permeates all aspects of our

doesn’t remain a ‘nice-to-have’ but

lives from the buildings and spaces

jumps to ‘not-optional.’

we inhabit, to the clothing we wear,

the green information and knowl-

It is important for existing busi-

the gadgets we occupy our time

edge? There are currently only a

nesses and young designers to re-

with and even the printed pages of

handful of specialists that have over-

alise that the inclusion of green

this magazine.

sight of the wide range of technolo-

and environmental concepts is a

At the end of the day, the Built

gies, manufacturers and products on

critical part of the future. Modern

Environment needs more designers who are passionate about sustainability, who want to design liveable, healthy and distinguishable spaces and who understand the fragile dynamic between humankind and the natural environment and the long term impact of their buildings.

Menlyn Main Precinct, Pretoria

Walter Gropius once said: “Don’t think that when you have done something, it is of importance. Because what is important is that the thread of action behind your action will be picked up by somebody else. Your worth will be the judgement of those who pick up your work and carry it further”.

50

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Adaptive Reuse Contributor: Catherine Lategaan

South African cities are littered with vacant structures either abandoned, demolished or stripped.

Most of these buildings seem to have lived out their potential and are left to decay. The same can be said for many of South Africa’s historical buildings, buildings that hold cultural significance but have become seemingly disconnected from the culture of today. However, in an effort to remain sustainable, and to reduce wasteful property expenditure, cities have made an effort to revive these structures and, in turn, grow and reconnect urban districts, all through the process of adaptive reuse.

What is Adaptive Reuse?

Benefits

The term, adaptive reuse, refers

Adaptive reuse benefits cities

to the process of reusing an existing

socially, environmentally and cul-

site or building for a new and inno-

turally, and also play a large role in

vated purpose, separate from that for

conserving a city’s character.

which it was actually designed and

By adaptively reusing a build-

built. Hand in hand with Brownfield

ing, any cultural or historical value

reclamation, a similar term, describ-

it originally held is then carried

ing land that was previously used for

through its process of revitalisa-

industrial or commercial purposes,

tion. It is preserved and enhanced

adaptive reuse has become a crucial

for new purpose yet still carries the

component in land and historical

historical and cultural value it held

conservation as well as in diminish-

before.

ing the abundance of urban wasteland present in South Africa’s cities.

Environmental, reuse of an existing building means salvaging

Additionally the mainstream

existing materials, which means

design industry is leaning towards

reduced demand for additional ma-

adaptive reuse more actively, thanks

terials and resources. Using existing

to its emphasis on conservation, ad-

buildings lowers the demand for

aptation and sustainability. It is, as a

new construction, which further

result, turning into a distinctive and

reduces the demand on resources.

important trend in the design world

Instead of encroaching on the wild,

at present. Not to be confused with

open landscape a city can be self-

renovation or facadism, adaptive re-

sustaining.

use is a compromise between his-

In the case of historically

toric preservation, demolition and

significant

heritage

revitalisation, and can make a big

adaptive

difference culturally, creatively, aes-

preservation

thetically and even economically.

cultural character of a community.

reuse of

assists

buildings, in

historic

the and

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

51

Adaptive reuse in South Africa

The National Heritage Resources

to draw people in. Often, a reused

Act of South Africa helps determine

building served a more exclusive

In South Africa, adaptive reuse

guidelines for the adaptation and

and disconnected purpose before

has been practiced over the years as a

alteration of Heritage Buildings,

and becomes, through adaptive re-

necessity to repurpose buildings that

thereby

over

use, a community driven building.

have fallen into disrepair. Instead of

adaptation and alteration of a

By this any social significance it held

leaving these buildings to ruin, new

heritage building without limiting

before is increased tenfold, as it now

life is given and they become, once

the

connects with the younger genera-

again, a part of the urban culture.

preventing

creative

renewal

the

of

said

building.

Socially, a city feels more connected when its architecture serves

tions as well as keeping with what-

The trend of adaptive reuse in

ever social context it previously

South Africa only really began in

possessed.

the 1980s with one of the earliest

52

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

examples being the adaptive reuse

Developers and designers con-

of a Durban railway station in the

tinue to be drawn to adaptive reuse

Grain Silo Complex at the V&A Waterfront

Durban Central Business District.

for a number of reasons, and as the

One such non-traditional example

The site and its structures have been

demand for urban metropolitan resi-

of adaptive reuse has recently been

revamped and adapted to serve as a

dency and tenancy climbs, rethought,

opened in the mother city, The Zeits

retail shopping centre. This sort of

reinvented and renewed urban dis-

Museum of Contemporary Art Af-

restoration and reuse is an example

tricts too, need to be on the rise.

rica designed by Thomas Heather-

of necessity and the change that

In South Africa, urbanisation,

comes with the times. The railway

is at an all-time high. Due to the

At Design Indaba 2014, during

station which was no longer in use

high availability of abandoned

world renowned Architect and de-

would have remained vacant and

and dilapidated buildings in the

signer, Thomas Heatherwick’s talk,

distinctly separate from the so-

country’s cities, adaptive reuse has

it was announced that the Cape

cial and cultural context of its sur-

been a common practice through

Town, V&A Waterfront would re-

roundings. By giving it new purpose

the country’s history but as of late

ceive an exciting and ground break-

and creating a new retail centre, it

the demand and practice of adap-

ing new addition. The Grain Silo

has once again connected with the

tive reuse has resurfaced, specifi-

Complex, abandoned and left in

people, whilst tending to the need

cally in the way of non-traditional

disrepair, would become the first

for more accessible retail centres to

buildings used for non-traditional

contemporary art museum on the

cope with population growth and

purposes.

African continent.

wick.

The original Grain Silo building in Cape Town

ever increasing urbanisation.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

In 2001, the massive Grain Silo

After consideration, Ravi Nai-

Complex closed, once South Africa’s

doo’s proposal was accepted and

tallest building at 57m. It was first

Thomas

53

complex, cut from both halves of the overall architecture.

commis-

The remaining bulk of the build-

purchased by Dubai World but af-

sioned for the design. The building

ing has been hollowed out to make

ter the emirate failed, Growth Point,

would be designed to function as

space for appropriate display and

one of South Africa’s leading prop-

an art museum but still lacked an

gallery areas. Skylights at the top of

erty management companies, seized

art collection to host. Then, Jochen

each silo in the atrium connect the

possession and purchased the site.

Zeits, Puma’s chief executive, an

‘in’ with the ‘out’, as light pours in

Heatherwick

Growth Point then decided to

avid collector of African art jumped

from the rooftop sculpture garden

commission designers to present

at the chance and thus the Zeits

above.

proposals as to how to convert the

Museum of Contemporary Art Af-

building. Ravi Naidoo, the Design

rica was born in embryo.

Then as if the interior structure and design wasn’t enough to ‘wow’

Indaba conference organiser, sug-

This project would be no easy

the world, Heatherwick went one

gested that the building be used for

task given the unusual skeleton of

step further. The exterior façade of

cultural purposes, putting Thomas

the building. The first section of

the building is designed to be cov-

Heatherwick’s name forward as the

the silo complex is a rectangular

ered in panels of large windows that

designer and architect.

building that housed offices, man-

bulge out like bubbles, as if all the

ning stations and machinery on a

wonder inside cannot be contained.

The Silo Hotel interior bar

number of floors. The second sec-

Since opening its doors in Sep-

tion of the complex is made up of

tember 2017, The Silo has taken on

42 concrete tubes with a rectan-

the duty to connect with the gen-

gular top floor placed over these

erations who have only ever seen it

tubular structures. The industrial

as a vacant and cold waste of space.

monument holds within it a sense

It brings to the community a source

of character like no other. Heath-

of culture and education, a sense of

erwick recognised this value and

pride and an atmosphere that will

rather than fight the nature of

encourage inspired growth. It will

the structure, he wanted to use its

fill the gap that all adaptive reuse

powerful geometric forms to create

projects aim to fill.

something of significance and authenticity.

The overall design is truly a marvel of space, light, texture and

The two separate pieces of the

raw architectural personality. The

complex, which before had func-

character of the original building

tioned as two separate entities,

bleeds through every new addition

now needed to connect. Using the

and seems to have become more

imperfect and organic shape of

of itself than it had been before,

a grain, Heatherwick cut a hol-

a free spirit of potential that had

low through the silo tubes and the

been trapped by concrete windows

edge of the adjacent rectangular

and a coat of magnolia coloured

structure creating a grand atrium

paint.

that functions as the heart of the

54

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

The Future is Design

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

55

It has been widely reported that the Middle East will require as many as 30 000 new design graduates by 2019. This means that there is a tremendous opportunity for aspiring designers to pursue careers in the region.

L

ate in 2016 the Dubai Design and Fashion Council (DDFC), in partnership with Dubai Design Dis-

trict (d3) published the “MENA Design Education Outlook� study. This study is a ground-breaking report which is the first of its kind in the region and gives insight into the design education landscape across the MENA(Middle East North Africa) region. The report highlights the phenomenal growth of the design sector in recent years and consequently, the need for at least 30 000 design graduates by 2019. This demand, which is essential for sustainable growth in the design sector, translates into a need for a nine-fold increase in the current number of young designers.

When we consider the existing conversation surrounding design and design thinking, it becomes clear that design is a crucial driver of innovation. Since Dubai has long been hailed as a leader in innovation, it makes perfect sense that the design industry would play an essential and integral role in continuing this innovative, forward motion.

The study also identifies the opportunities and trends that are considered most important to developing the design sector.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

The study pointed out that the

is assumed to be crucially important

design industry in the region is ex-

to Dubai’s tourism and retail sectors.

pected to grow at a rate of 6% a year

Astoundingly, the total value

over the next five years. That is twice

of the design industry in the Mid-

as fast as the growth occurring in the

dle East is expected to reach $ 55

rest of the world’s design industry

billion within just two years. Given

and is expected to represent as much

this overall positive outlook, organi-

as 5.2% of the world’s design sector

sations anticipate at least a 20% in-

in 2019.

crease per year in the number of designers working in the region,

is viewed as a promising sector glob-

especially

ally, in the MENA region fashion,

growth is expected most significantly

new

graduates.

This

in particular, is the most significant

amongst juniors in the Fashion and

contributor to the industry (as much

Interior Design segments.

as 69%). The fashion industry is also

Taking this into account into ac-

expected to continue to grow at a rate

count, it becomes clear that design is

of 6.1% this year and to increase in

a vital driver of the region’s creative

growth to 7.5% by 2019. In so doing it

economy. However, the MENA study

Scenes from Dubai Design Week 2017

And, while the creative industry

Scenes from Dubai Design Week 2017

56

57

Dubai Design District Phase 2 Conce

pts

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

did also identify obstacles that could

of the design industry in the region.

ined the current best practice inter-

potentially hamper this growth, such

Commenting on the importance

nationally of important design edu-

as the lack of dedicated design educa-

of this report, Dr. Amina Al Rus-

cation centres such as the USA, U.K.,

tion facilities and design courses, and

tamani, Chairperson of DDFC said:

The Netherlands and South Africa.

the low awareness of design courses

“The MENA Design Education Out-

This examination has helped iden-

currently available. It is at this junc-

look, developed in collaboration with

tify numerous opportunities for the

ture that institutions such as Inscape

students and professionals in the

region to adopt the practices to build

become vitally important to the ful-

design field, provides insights into

a strong global reputation for design

filment of the required number of

the state of design education today

education. These include recognis-

graduates in the highlighted fields.

across various segments such as ar-

ing the importance of education

But it’s not only designers and

chitecture, visual arts, interior de-

planning and early learning experi-

design institutions that the region

sign, fashion design, product design

ences, providing a structured career

needs. To produce the number of

and many more. Ultimately, we hope

path and aligning education skills

graduates to fulfil its lofty needs,

that the study will help educators

with the needs of the economy. Arab

Dubai and its surrounds urgently

and policy-makers alike to identify

countries need to unify their efforts

need educators that can shape design

industry trends and support them in

and craft paths into the design sec-

education. Growing the design edu-

developing curriculums, courses and

tor, such as establishing design edu-

cation sector is not only a strategic

policies to nurture the talent pool in

cation institutes to create diversity in

imperative but is also vital to drive

the region�.

the marketplace.

innovation and preserve the growth

In conclusion, the study examThe report sited was published originally by Design Creative Cluster Authority.

58

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Inscape in the Middle East

A

lways at the forefront of progressive and in-

dom of Bahrain in January 2007, and we have been

novative approaches to education, Inscape is

here ever since,” says Elara. “I completed high school

looking into expanding its footprint into Dubai,

here and went on to complete a Foundation Diploma in

and hopes to open a campus in Dubai Design District as

Art and Design specialising in Fine Art at De Montfort

early as 2018.

University (DMU) in Leicester, England.”

Says Helen Bührs, MD of Inscape, “With the ever-

She returned to Bahrain after graduating from

growing need for design professionals in the region, and

DMU, but within a year started exploring her options.

Inscape’s impeccable track record in the design educa-

On the advice of a friend who had enrolled at Inscape

tion sector, it makes sense to expand our reach.”

in Cape Town, Elara once again packed her bags and

A number of Inscape Alumni are already operating and working in the region, and we believe with the right approach, Inscape can contribute greatly in the fields of fashion, graphic, interior and ideation design.

headed to South African shores to pursue a degree in graphic design.

After graduating as top student of her year in 2015, the Cape Town chapter of her life came to an end, and

Elara Aitken, Inscape Cape Town’s Valedictorian

she returned to Bahrain where she began freelancing

2015 is one such alumnus currently living and working

and gaining experience around the island. In the early

as a graphic designer on the island Kingdom of Bahrain.

days, she had a hand in everything from graphics to

“My family relocated from Zimbabwe to the King-

photography and event planning.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

59

Elara Aitken

As for the future, she says she would love to work in publications to create beautiful content for print and digital platforms using her skills in layout and typography.

Elara goes on to say that the Graphic Design industry in Bahrain is not as high a priority as it in Dubai or the UAE in general. Architecture is a big player in the Middle East, and a majority of the focus is on the next extravagant building design. She believes the shift will come and Graphic Design will one day hold a prominent position on the island. “More and more students are returning from their studies after graduation and entering into the workforce here to change the way creative businesses are seen and help the community develop their approach to design and art.”

On reflection, she says, “We learnt in college and during our internships that there would be amazing clients and nightmare clients; what you have to be prepared for when working in the Middle East is that things don’t always happen on time. You could receive a brief with a two-week deadline, but you could also be following up with the client months later because they put things on the back burner. Having lived here for almost 11 years, I have learnt to accept it. I work with the same clients consistently, and so we are accustomed to how each of us Says Elara: “Bahrain is a very small island filled with many nationalities and talents; the majority of compa-

works and understand the importance of getting things done efficiently and effectively.

nies here are construction and finance based. As a result,

“The culture itself lends a huge hand to the way design

graphic design hasn’t traditionally been considered a val-

is approached concerning architecture and graphic design.

uable trade. However, with the growing demand, I have

I use a variety of architectural patterns in my work when

found ways to influence my clients and open their eyes

it comes to promoting local businesses, and try to infuse

to how their brands, marketing material and approach to

these elements wherever possible as it has a beautiful el-

advertising can be different to the norm.”

egance to it but can also be edgy and a powerful statement.”

“I work with a variety of clients from real estate,

In closing she feels: “If someone were to ask me if

haute couture, hair salons, fashion boutiques, restaurants

they should move to the Middle East I wouldn’t hesitate

and small business owners. The great aspect of working

to tell them “yes”! You only get one chance at life and if

as an independent designer is that I can choose what I

the opportunity is afforded to you to live in the desert

would like to venture into next, whether it be a photo-

then go ahead and jump in with both feet! It takes a bit

shoot for an haute couture company or content creation

of adjusting, especially if you have not travelled or been

for social media. The most consistent thing I am working

exposed to the middle eastern culture; or any other

on to date is social media content for the majority of my

culture for that matter – but it adds to your experience

clients and food packaging for a start-up company.”

and life’s adventures.”

60

TRIBE MAGAZINE / ISSUE NO. 2 / 2016

Inscape at

Dubai Design

Week 2017

E

stablished in 2015 in partnership

a hugely diverse range of content, enabling

with Dubai Design District (d3),

local and international visitors to explore

Dubai Design Week was conceived

the latest design trends and the ever-devel-

to shine a spotlight on Dubai as the

oping design scene within one of the most

region’s leading design city, and to provide

creatively ambitious cities in the world.”

a platform for the UAE’s thriving design community.

Dubai Design Week is a key driver for the growth of the regional design scene.

In Dubai’s collaborative spirit, and as

Bridging together local and international

a reflection of the city’s global outlook,

design communities, the annual event is

Dubai Design Week is both regional and

a platform for designers and creatives to

international in scope and ambition,

revel in the latest design trends as well as

encompassing public and private sectors,

be inspired by emerging talents coming

culture, education and entertainment, and

out of the region. The annual event brings

spans multiple disciplines, ranging from

various stakeholders in the industry to-

graphic and product design to architecture

gether to collectively stage a fantastic pro-

and industrial design.

gramme of events from exhibitions and

In 2017 Dubai Design Week included

installations to talks and workshops.

over 200 events staged across the city.

Rawan Kashkoush, Head of Pro-

Inscape’s Helen Bührs (Inscape MD) and

gramming at Dubai Design Week said:

Janet De Jager (Academic Director) went

“This year’s programme was as rich and

to see what this year’s event had to offer.

diverse as the city that hosts it. With a

William Knight, Dubai Design Week’s

spirit of collaboration and innovation re-

Head of design, said: “This year’s Dubai

gional and international creatives came

Design Week programme truly reflected

together to present a brilliant showcase

the innovative and collaborative spirit of

of Design. Dubai is an anchor point for

Dubai. We’re delighted to have collabo-

so many regions, I am very excited to see

rated with so many people and companies

design take flight across such diverse dis-

to present the largest programme of design

ciplines to share one sky. Dubai Design

staged in the region. The line-up contained

Week belongs to so many.”

Photos: Courtesy of Janet De Jager

62

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

THE CHANGING FACE OF

EDUCATION Contributor: Gail Henning

Tribe speaks to Gail Henning, Inscape Online Academic Manager Manager about the launch of the new OffSite online distance learning programme set to be launched at the end of 2017. But why the need for the platform, and what makes Inscape’s approach different.

I think there is more to learning than getting a degree.

I also believe that everyone learns differently. Inscape set up the OffSite portal to grow its reach and speak directly to the student’s needs.

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

“T

63

he world is changing

recognised or accredited, so don’t

know if ‘academia’ as we know it has

so quickly, and just

count towards building a qualifica-

a place in the world forever,” she adds.

about every part of

tion. Now, however, the industry

Explains Henning: “I think there

the world around responds. Think

worldwide is starting to question the

is more to learning than getting a

about online banking and the last

GenX obsession with ‘real’ qualifica-

degree. I also believe that everyone

time you had to go to a bank to pick

tions and the real value in taking 3 to

learns differently and a classroom

up a cheque-book. Ours lives today

5 years of your life to study your cho-

does not necessarily cater to each stu-

are vastly different from our par-

sen career path full-time and qualify

dent’s individual needs. Inscape set

ents’ lives 20 or 30 years ago, not just

for a certificate, then still starting at

up the OffSite portal to grow its reach

technologically but also concerning

the bottom of a career totem pole.”

and speak directly to the student’s

how we emotionally and socially navigate the world”, says Henning.

She goes on to explain: teaching and learning, however, is pretty

Unlike Gen X*, most Millennials**

needs. OffSite provides a flexible

will change their careers about seven

learning platform for students wish-

times in their lives and have multiple

ing to up-skill through curated short

professions running concurrently.

courses, and also providing contact

much the same ball game it has

Auditing giants PWC conducted

students and lecturers with opportu-

always been. Your parents’ experi-

a fantastic study on Millennials in

nities to flip the classroom through a

ence at school, your experience at

the workplace. “Based on that and

blended learning approach in some

school and the current school-going

the current situation in the educa-

subjects so that students can cover

child’s experience of school; unless

tion industry, I would hazard a guess

the theory on their own and apply it

one generation is attending a game-

that within the next 10 years taking

in class with lecturer guidance.”

changing school at great expense the

time out of your life studying full-

Marketing for the courses on the

chances are so high that all three ex-

time, funded by someone else, will

Inscape website began in November

periences are similar if not identical

no longer be a luxury reserved for

2017. There has already been a great

on many levels. As innovative and

an 18 year old. I think that the age

deal of interest generated since pub-

cutting-edge as private schools can

equation is going to be turned on its

lishing the courses. Courses on offer

be, the same is true in reverse for

head based on supply and demand. I

currently include short courses in

traditional universities. The chances

imagine that once you finish school,

interior decorating, product design,

are high that the curriculum in some

you will enter the working world and

alternative building materials and

courses hasn’t changed in decades,

start your life journey. This journey

methods,

never mind teaching and learning

is powered by a commitment to life-

and CAD for fashion designers, and

approaches. In 2012 we saw the rise

long learning, and as you grow in a

new courses are published monthly.

of the MOOCs (Massive Open Online

career, you will need to learn and

Courses can be anything from 6 to

Courses), which in itself rocked the

know more, which you can do online

8 weeks long and are aimed at up-

very idea of how we learn because

or off-line in a short course until you

skilling rather than theory focused

learning online means that you can

need to know more again, at which

learning

choose what to study, how to study,

point you learn more. Perhaps by the

and when to study.

time we are in our 60s and ready to

.* Generation X, or Gen X is a label attributed to people born during the 1960s and 1970s.

Members of Generation X are often described as cynical or disaffected.

Henning explains: “The marked

validate our knowledge we can work

contrast is that most of these online

towards postgraduate qualifications,

courses that offer this kind of learn-

which become more of an honour

ing independence are not officially

and less of a badge. Honestly, I do not

visual

merchandising,

** Millennials (also known as Generation Y) are the demographic group following Generation X.

64

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

Another 48-hours with Standard Bank The Standard Bank 48hr Challenge Brief initiated a pass-on brief between the 2nd year Ideation and Graphic Design students. Eleven Ideation students and 62 Graphic Design students from across the country took part in the challenge.

The Ideation students researched

Graphic Design students, who in

presented to Graphic Design students

creative solutions to better under-

turn, visualised and created the

to complete their part of the brief:

stand Standard Bank and their cus-

design and look and feel of possible

tomer’s needs and pains. Interviews

prototypes for Standard Bank to use

Inscape PTA Campus - Team 2:

with graduate professionals and

48-hours after that.

Milana van Zyl Zamantungwa Khumalo

small businesses (entrepreneurs) re-

The students were commended

vealed the need for a way to teach

on their strong ability to concep-

Micaela Coelho

people (customers and non-custom-

tualise, work under pressure and

Nkosiyapha Biyela

ers) about credit, money manage-

practice solid creative thinking skills

Inscape PTA Campus - Qnci Solutions:

ment and good financial behaviour.

in their design research and design

Quentin Levy Strauss

thinking capacities.

Nikita Blaauw

These students then developed workable solutions within a 48-

The following Ideation student

hour period, before briefing the

teams’ solutions were selected to be

Ilzebeth Langemaat Christi Auret

Graphic Design winning team

Finalists

Pretoria/Melinda Smit, Liliza Kinnear and Chante Pretorius: App

Durban/Hendrick Schalk Theron: App

Finalists

Finalists

Pretoria/Ruska Limper, Cameron Williams and Amica Da Silva: App

Cape Town/Rodwin Proctor, Tammy-Lee Rinkwes and Storm Thomas: App

TRIBE MAGAZINE / ISSUE NO. 3 / 2017

A

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TRIBE MAGAZINE / ISSUE NO. 3 / 2017

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