Tribe Issue. 4

MAGAZINE // ISSUE NO. 4 / 2018 / ISSN 2414-8202 //

OUR TRIBE Thru the Chair NQF Landscape Explained Inscape in Dubai

JEWELLERY DESIGN

ALUMNI IN THE WORLD

We speak to Philip van der Walt of Inscape’s Jewellery Design Programme.

Visit with Mpho Vackier, Inscape Alumnus and owner of TheUrbanative.

INSIDE:

>Intuition > & experience

>Fashion: > It’s all Haute Couture >Crime > Prevention through Environmental Design

GOING GLOBAL

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SEED PATTERN we used for the cover of last year’s Tribe Magazine!

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Taking part in the global community Globalisation is the process of interaction and integration between people, companies, and governments worldwide; a process which has grown due to advances in transportation and communication technology. With increased global interactions comes the growth of international trade, ideas, and culture.

And, wow, have we had a year of global interaction.

Since the start of 2018, Inscape and Tribe magazine have experienced a number of global

We traversed the globe and truly become part of the global design community.

But why is it so important for us as designers to be open to globalisation in our industry?

milestones, including opening it’s first campus in

According to the Interaction Design Foundation

Dubai (Inscape) and winning international awards

“We have no choice but to understand the economic,

(Tribe). Our lecturers have taught abroad, and we’ve

social, cultural and political implications of globalisation

had a host of international exchange students at

on society and on our individual professional situations.”

more than one of our campuses in South Africa.

In many instances (I’d like to think all instances) designers lead the way in terms of trends, and have a great responsibility to tell the stories of our time. Only by embracing our role as global storytellers can we understand the importance of protecting and cherishing our individual and cultural identities.

This

issue

of

Tribe

is

Editor: Gwynedd Peters

dedicated to our move towards globalisation,

all

the

while

maintaining our true South African identity. As we move through this world, we invite you to share our journey right here in these pages.

TRIBE MAGAZINE PUBLISHED ON BEHALF OF: INSCAPE EDUCATION GROUP UNIQUE THINKER: Helen Bührs EDITOR: Gwynedd Peters PHOTOGRAPHY: Maryke Terzi ADDITIONAL PHOTOGRAPHY: Inscape, Adobe Stock, Simon Metcalf, Mornay Schoeman. CONTRIBUTORS: Helen Bührs, Philip van der Walt, Gareth Smart, Rikke Dam, Gwynedd Peters, Mornay Schoeman. Globalisation: The future of design and Developing an EMPATHIC APPROACH TO DESIGN, published in Tribe with permission from The Interaction Design Foundation; Crime Prevention through Environmental Design adapted from Introduction to Crime Prevention through Environmental Design (CPTED), CSIR Building and Construction Technology. 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

8 28

ALL ABOUT JEWELLERY DESIGN

10

CHOOSING THE RIGHT INSTITUTION

20

INSCAPE GOES GLOBAL

THE ART OF AUDIO VISUAL DESIGN

42

ALUMNI REPORT: THE URBANATIVE

38

CONTENTS Tribe Magazine is printed on Sun Cartridge 90gsm and Carte Elega 350gsm sourced from sustainably managed forests available from Antalis South Africa (Pty) Ltd

4 BE LOCAL, GO GLOBAL We speak with Helen Bührs about Inscape’s global potential and the NEW Inscape brand.

8 THRU THE CHAIR A new initiative called Thru the Chair has been

24

launched in South Africa this year and Inscape is

IT’S ALL HAUTE COUTURE

proud to be parts of exciting and creative journey.

14 THE NQF LANDSCAPE What does NQF stand for and what is the whole point of these levels anyway?

46

32 GLOBALISATION IN DESIGN Designers, like it or not, are tied to globalisation. We have no choice but to understand the implications of globalisation on society and on our profession.

34 EMPATHIC DESIGN Empathy is an innate quality in all people, AND ESPECIALLY USEFUL TO DESIGNERS.

46 PREVENT CRIME WITH

ENVIRONMENTAL DESIGN The environment can play a significant role in influencing perceptions of safety.

50 YOUNG DESIGNER AWARDS Meet the winner’s of 2018 Young Designer Awards.

4

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

Be Local, Go Global Inscape Education Group turned 37 this year! Who would have thought, this close to 40 and still fit as a fiddle? On the contrary, Inscape is just getting its second wind.

Phillip Hodson* would say we are “young Unique Thinker: Helen Bührs

enough to not be disillusioned and yet old enough to have earned respect and appreciate our sense of achievement.”

This notion epitomises the sense of excitement amongst our directors and staff, as Inscape goes global in 2018. This bold move celebrates Inscape’s pedigree as being an acknowledged creative industry leader.

A brief reflection over the last five years has seen Inscape rebranding and embracing transformation to be culturally aligned with the demographic of our country. This has led to a more diverse student body and a better exposed and more creative design graduate.

International activities have resulted in an increase in foreign students enrolling at Inscape campuses. An established international student exchange program extending international opportunities to our own students and exposing European students to our beautiful country and way of life. Accolades received by the institution include an award for student mobility from the UAE and a DScoop award for our Tribe magazine in Austria.

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

5

Access to education is close to my heart and in

established base locally into a global market, has

2016 I established Inscape Exchange, a non-profit

created new challenges and opportunities that

company whose aim it is to provide access to good

are worth celebrating.

quality education for qualified economically disad-

With this aggressive move towards a global

vantaged individuals who have the potential and

presence, it was necessary to redefine our cor-

will to succeed in the creative industry. The schol-

porate identity, again. We aimed to ensure that

arship program has grown from 12 students in 2015

we remained true to our roots whilst addressing

to 92 students in 2018. Students in the program

an international market. At the research phase

have achieved a 94% success rate. The institution

of the project, it was simply astonishing to see

has graduated South Africa’s first cohort of Ideation

the vibrancy and excitement demonstrated by

students and industry cannot get enough of them.

South African brands when comparing them to

Having been the first creative multi-disciplinary tertiary private education institute in South

their international counterparts. We express this pride in our Be Local, Go Global campaign.�

Africa, Inscape retains its creative lead by becom-

The task required a refined look and feel, a sim-

ing the first African education group to enter the

plification of our systems, globalization of our

private sector in Dubai, United Arab Emirates.

product and a new mind-set from our staff. Many

This has allowed the brand to leverage new op-

of whom have been with the organisation for 10

portunities afforded students and staff alike. For

years or more. The global challenge required a

example, we will now be able to expose our stu-

fresh communication strategy that includes a cor-

dents to the forefront of global design thinking

porate identity good enough to wear, drive, share

as Dubai continues to flourish. Moving from an

and even eat. No kidding.

THE CHANGING FACE OF

6

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

Our new global website fea-

It was imperative to evaluate

tures our faculties, courses and

and ensure that the INSCAPE

locations in a user friendly, geo-

message continued to be main-

Hopkins felt that everything

sensitive and responsive man-

tained. The term, Inscape was

in the universe was character-

ner. The development of the

originally coined by poet Gerald

ised by what he called inscape,

new site required a thorough

Manley Hopkins.

the distinctive design that con-

picted in poetry or a work of art.”

understanding of who we, a

According to Gerald Manley

proudly South African brand

Hopkins, Inscape by definition

The Inscape brand which

are, and the potential impact

means “the unique essence or

includes our valued staff is

we might have on the rest of

inner nature of a person, place,

represented as a ‘way of think-

the world.

thing, or event, especially de-

ing’ promoting the concept of

stitutes individual identity.

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

According to Gerald Manley Hopkins, Inscape by definition means “the unique essence or inner nature of a person, place, thing, or event, especially depicted in poetry or a work of art.”

7

‘Design for Life’. Inscape remains

is not just an educational insti-

proud of instilling young design

tution that imparts knowledge

leaders with their own brand of

and sets you up for your next

unique thinking. Creative cam-

chapter.

pus events, a growing list of

INSCAPE is the uniqueness in

industry accolades, active blog-

each member of its community,

gers and our Tribe magazine

shared, to make a difference, as

showcase these unique stories

a whole.

and the inscape in our people.

INSCAPE is an anticipated

So, what does this reposi-

culture, lifestyle and eventual

tioning mean for our INSCAPE

universe where empathy and

community including current

design for life is key to shar-

students, alumni, staff and fu-

ing the message globally, whilst

ture candidates? A broader ex-

recognising and celebrating our

posure, a widening of access,

local roots.

the opening of doors and a plethora of opportunities seems an obvious answer.

BUT, it is more than each individual gain because, INSCAPE

*Phillip Hodson, fellow of the British Association for Counselling and Psychotherapy.

8

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

We have an opportunity every day

the first group of individuals to take part in

to make a difference. This is the Inscape

a Thru the Chair event. The students col-

way. A new initiative called Thru the

lected over 600 old broken chairs and then

Chair has been launched in South Africa

In March 2018 over a couple of days, the

this year and Inscape signed up immedi-

students engaged in storytelling workshops

ately to be part of this exciting and crea-

where they learnt how to craft a meaning-

tive journey.

ful story about themselves, shared this with

Thru the Chair hosts the annual Chair-

their peers and in the process learnt about

man’s Dinner where several unique re-

each other. The workshop provoked em-

invented chairs are auctioned. All funds

pathy for one another and a unifying of a

raised are allocated to sustainable projects

diverse student body. The developed stories

and initiatives aimed at impacting educa-

were then applied to the old broken chairs

tion in South Africa.

in a process of reinventing the good for

The aim is to expose 1000 unique in-

nothing chairs that had been collected.

dividuals by telling 1000 visual stories

The event was sponsored by Belgotex

through 1000 reinvented chairs to 1000

who provided the students with an

chairmen of boards resulting in 1000 op-

unforgettable experience. The students

portunities to make a difference

received Thru the Chair goodies, lunches and refreshments to see them through the

Thru the Chair does this by: »» Promoting

»»

»»

storytelling

and

design

long and intense sessions.

thinking as a means to constructively

The students produced 580 reinvented

communicating a message, uniting peo-

chairs within two and a half days. The

ple and bringing about change

renewed chairs were reviewed by Thru

Activating individuals and groups to

the Chair and selected chairs were

elicit empathy and action within our

exhibited at Decorex 2018, where Thru

communities

the Chair officially launched its initiative,

Providing a platform to raise funds to

showcasing the efforts of Inscape students.

solve the education needs in South Africa

These chairs will be auctioned in early 2019 in an attempt to raise as much funding as

Inscape students at the Cape Town, Durban, Midrand and Pretoria campuses were

possible for beneficiaries of Thru the Chair.

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

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10

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

11

CHOOSING

THE RIGHT INSTITUTION Contributor: Helen Bührs

Why is it that some people always land the ‘right’ relationship, find themselves in the ‘right’ situation with the ‘right’ opportunities and outcomes? And others, just don’t.

I think the difference is mostly that those

study is often a challenging task because there

who land the ‘right’ anything have understood

appear to be many excellent options available.

what is presented to them. They’ve made an

How do you pick the right one? You start by

intentional choice about who they want to in-

doing some investigation. The following is a

volve in their lives and what they are prepared

list of things you should consider compiled

to strive for and settle for. It’s about knowing

partly by Juliette Cezzar an Assistant Profes-

your values, understanding your own expecta-

sor and Associate Director of the BFA Commu-

tions and objectives and aligning them to that

nication Design program at Parsons/The New

of your relationship, situation or opportunity.

School and partly by me.

It’s about NOT just jumping in. It’s about

Note: For this article, we will assume that you

gathering the right information, judging the

have already disregarded institutions that are not

content and then committing.

Can this thinking be applied to choosing the

accredited and registered.

Start at the top

right institution for your studies? Absolutely.

For each institution you’re considering,

Enrolling at any institution is just like entering

read the mission statement and programme

a relationship. There is a commitment required

description. While these may be aspirational,

from you for the relationship to be successful.

they represent what success looks like in these

An extended commitment, often years. You

programmes. Does it describe an environment

may be fearful, excited and overwhelmed. You

and method of study that’s consistent with

need to understand your expectations of the

your personal aspirations? Does their defini-

institution. You need to ensure you align with

tion of design match yours? If there are claims

the values of the institution. You need to en-

about what you’ll learn or go on to do, are they

sure that your objective is that of the institu-

factual (look for examples or success stories),

tions. Similarly, the institution needs to deter-

or are they just feeding into what prospective

mine your suitability too. Choosing where to

students want to hear?

12

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

Be realistic about your finances. You should

structure. Is there an explicit core curriculum

know the actual cost of any institution includ-

of required courses that are geared towards

ing the required equipment for the duration

the discipline? How do subjects relate to the

of your studies. Consider the tuition fee per

core? Does the programme emphasise some-

year for the full programme (3-4 years). Some

thing in particular, such as systems, personal

institutions will become more expensive after

voice, social justice, business, process, or port-

the first year, while others maintain a flat fee

folio preparation? While it might sound ideal

year on year including inflation. Purchasing

to have a lot of course choices, you may not

equipment for design studies is costly and is

always get what you want, and too many op-

mandatory if you are serious about becoming a

tions could also mean not graduating with the

competitive designer. Most institutions will re-

professional competencies that were prom-

quire you to source equipment, textbooks and

ised.

software over and above the fee they present,

Read course titles, and descriptions

while other institutions will source them on

Do the courses sound current and relevant

your behalf, making them more affordable for

to the environment we live in today? Are

you. Finally, any money invested in your stud-

you required to take, or would you have ac-

ies should lead to an educational experience

cess to courses that cover design for a wide

that lasts, not just an immediate career out-

variety of media, including interactive me-

come. Your last job is as important as your first.

dia? Or will you be directed to specialise in a

“Enrolling at any institution is just like enter-

particular sub-domain? Courses should span

ing a relationship. There is a commitment re-

concept, methodology, and theory as well as

quired from you for the relationship to be suc-

technique, and beyond the first year, should

cessful” – Helen Bührs

provide opportunities to demonstrate inde-

Understand the Qualification

pendent thought and making that bring those

Know the difference between qualification

things together.

types; Degrees, Diploma’s and Higher Cer-

If all of the courses lean towards how-to

tificates are undergraduate programmes that

or are all described as if they’re introductory

lead to postgraduate studies typically at an

courses, you won’t attain the same depth or

Honours or Masters level. Within each quali-

mastery as your peers at other institutions.

fication type, you will be presented with, for

Look for opportunities to meaningfully apply

example, a Bachelor of Arts or a Bachelor of

learned technical skills by engaging critically

Design. There are significant differences be-

with the world. The ability to ask the right

tween these degree programmes. Your insti-

questions and make connections between

tution of choice should be able to explain the

unrelated things will outlive any technical

differences to you to ensure you are making

knowledge.

the right decision for your needs.

Visit the campus

Read the curriculum

If it’s an online environment, ask to ob-

A curriculum is a series of courses that

serve a class. Can you picture yourself there

build upon each other towards mastery in a

for the long term? Is the mission communi-

subject. While you may not understand all

cated by the staff the same as the one publicly

the terms, you should be able to infer the

posted?

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

13

If you can, talk to students. It’s important

institution present opportunities for students

to know what life is like for them outside of

through International Student Exchange Pro-

their studies. Do they work? Do they have in-

grams or engage and collaborate with indus-

ternships? How far do they live from campus?

try to offer industry relevant input. Does the

Do they spend time with other students? Do

institution require students to complete Work

lecturers spend time with students outside of

Integrated Learning?

class? How many students are in each class?

Size matters

Do they interact with students from other pro-

Smaller groups of students allow for per-

grammes? You can ask the staff many of the

sonalised interaction within the classroom.

same questions, but students are more likely to

However, class sizes that are too small limit a

respond with specifics and will know the ups

class dynamic and prevent spaces for healthy

and downs of their experience.

competition. A good balance is required, spe-

Who are the lecturers?

You will spend most of your time engag-

cifically in design education.

Graduate input

ing with lecturers and your peers. Since most

Institutions may seem constant, and have

classes are small and critique-based, students

a great impact, but are continually changing.

work very closely with lecturers in design in-

A successful graduate from a decade past is

stitutions. Are most of the courses taught by

not a predictor for the quality or outcome of

part-time faculty, full-time faculty, or graduate

a particular programme, especially given how

students? How many faculties have Masters

much the professional landscape has shifted.

degrees? How many are actively practising?

Additionally, staff and current students at any

Look for portfolios and profiles online. Is there

institution will always tell you that students

a specific school of thought or approach? How

do well after graduation because, for the most

current are they in their work and their think-

part, they only hear about the ones that do.

ing? Outdated critiques, even from great teach-

Contact recent alumni and ask what their

ers, lead to work that can be out of touch with

classmates are doing, what kind of person

current design practice, while faculty new to

would do well in the programme, or advice

teaching or the discipline may have difficulty

they would give to someone going through the

connecting. Working with a variety of faculty

same programme.

is often the best measure against both extremes.

Consider the location

Student work

A school in a city means access to lectures,

What kind of work are the students making?

internships, and cultural experiences, but will

Remember that what you’re seeing has been

also have less space to work, more sharing of

selected to promote the school. Does it demon-

resources, potentially long commutes, and

strate a high level of thinking? Current practice

other concerns and distractions. A school in

and theory? Impressive technique? A program’s

a rural or suburban area won’t be able to of-

values will be evident in the selection.

fer the same spontaneous experiences but will

Student opportunities

provide an abundance of time, space, and con-

What support systems are in place for stu-

centration, making it easier to focus on your

dents. Do the students have good relation-

work and connect with fellow students in a

ships with their lecturers and peers. Does the

less anxious environment.

TRIBE MAGAZINE / ISSUE NO. 1 / 2016

14

Understanding the NQF Landscape There is a lot of discussion in education about NQF

NQF qualifications. But what does it all mean? What is

levels, but what does NQF stand for, what do the differ-

the difference between a Diploma and a Degree? What

ent levels mean to you, and is it something you need to

does it qualify you for?

think about at all?

There you are, after 12 years of school. You’ve spent

About NQF

year after year battling with teachers, test, assign-

The abbreviation NQF stands for the National Quali-

ments and exams‌ and now what are you going to do

fications Framework. It is the framework used in South

with the rest of your life?

Africa to determine levels of learning achievements.

The decision of what to do directly after Matric is for the majority of people a life-altering decision.

There are some different options including going to col-

The South African Qualifications Authority (SAQA) has been using this structure since the establishment of the NQF Act of 2008.

lege or university. Others opt for diving into the work-

Basically, there are ten levels of learning achieve-

ing world, taking a year off to travel, or just simply taking

ment, and all the various registered South African

some time to decide what you want from your future.

qualification needs to stipulate its NQF level, what it

Many matriculants make a choice to go directly to option 1, and pursue tertiary education to advance their

GRADE 10 GRADE 10

NQF

01

will teach the student and what acquired skills the student may have upon completion.

NQF

matric

03 NQF

02

NQF

05 NQF

GRADE 11

04

HIGHER CERTIFICATE

TRIBE MAGAZINE / ISSUE NO. 1 / 2016

The NQF concentrates on a list of ‘applied com-

15

++ 5: Higher Certificate

petencies.’ In other words, each NQF level indicates

++ 6: Diploma & Advanced Certificate

a specific intellectual and academic skills level. As

++ 7: Bachelor’s Degree

such, this implies that the higher the NQF level of

++ 8: Honours Degree

your qualification, the more intellectually skilled you

++ 9: Master’s Degree

are.

++ 10: Doctoral Degree

So what are the different NQF qualification levels?

What does this qualify me for?

Qualification NQF Level:

SAQA considers ten main academic skill areas, and

++ 1: General Certificate

depending on your level of NQF qualification; it implies

++ 2: Elementary Certificate

that the higher your NQF level, the more skilled you

++ 3: Intermediate Certificate

are in these areas.

++ 4: National Certificate (Matric)

DIPLOMA NQF

HONOURS Degree

07 3RD Year Degree

PHD

09 NQF

NQF

NQF

06

NQF

08

MASTERS Degree

10

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

16

The ten skill areas the NQF focuses

++ Accessing,

processing

&

others where appropriate

on:

managing information – able to

++ Accountability – are you able to

++ Scope of knowledge – you can

demonstrate a basic ability in

take full responsibility for your

understand what you’re studying

gathering relevant information,

work, decision-making and use

analysis and evaluation skills

of resources.

++ Knowledge literacy – the ability to

apply

the

above-gained

++ Producing

&

communicating can

But what about the requirements?

++ Method & procedure – the ability

communicate information reliably,

To be able to study towards a spe-

to apply the theories, technique

accurately and coherently, both

cific NQF qualification, you need to

verbally and in writing

meet specific requirements, e.g., to

knowledge

and methods that you have been

information

–

you

++ Context & systems – ability to

qualify to study towards a Bach-

++ Problem-solving – you can think

demonstrate an understanding

elor’s degree, you will need to have

critically and solve problems in

of the organisation or operating

finished high school, or have com-

environment as a system

pleted an NQF 4 qualification and

taught

your area of study ++ Ethics & professional practice –

++ Management

of

learning

–

have met the minimum require-

you can follow and understand

the ability to evaluate your

ments for a bachelors degree. Pass-

the codes of conduct in your field

performance

ing matric means you unmistak-

of study

criteria and provide support to

against

given

ably have an NQF 4.

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

17

Inscape admission requirements SOUTH AFRICA BACHELOR OF DESIGN DEGREE NQF7 National Senior Certificate (NSC) stipulating entrance into Degree with appropriate subjects. English at NQF level 4.

Note: For the Higher Certificate in Architectural Technology: students should consult with the relevant tertiary institution for further requirements. Math’s is usually a prerequisite for entry into an Architectural Degree on completion of the Higher Certificate.

DIPLOMA (NQF6) National Senior Certificate (NSC) stipulating an entrance into Degree or Diploma with appropriate subjects. English at NQF level 4.

HIGHER CERTIFICATE (NQF5) National Senior Certificate (NSC) with admission to a Higher Certificate, with English as a subject.

SPECIAL ADMISSIONS: We offer mature age exemption to Degrees, Diplomas and Higher Certificates as per USAF requirements. Mature age exemption to Awards is considered on individual application.

Inscape Education Group will consider Recognition of Prior Learning (RPL) based on informal or non-formal learning for admission to this course.

So you finished High School...

ADDITIONAL FOR INTERNATIONAL STUDENTS: Universities South Africa (USAF) conditional exemption certificate (when applying for a degree).

Throughout South Africa, there is a multitude of options available to you. If you are looking to increase your NQF level, Inscape offers accredited higher certificate, degree and diploma programmes through full-time as well as distance learning programmes.

But what about if your matric results aren’t good enough to apply for the course you want to pursue?

At Inscape we offer a host of higher certificate options, and have career advisors at all our campuses to help you to make decisions in this regard.

For admission to Higher Certificate: South African Qualifications Authority (SAQA) evaluation of National Senior Certificate NQF4 equivalence.

UNITED ARAB EMIRATES/DUBAI A study permit in the name of Inscape Education Group is valid for the duration of the chosen course.

Indicative cut-off scores in High School: ++ GCE A-Levels: 5 points (best of 3 subjects) ++ IB: 24 points ++ India/Pakistan: 65% ENGLISH LANGUAGE REQUIREMENTS: IELTS overall band score of 6.5 with a minimum of 6.0 in each band, or equivalent.

M

Y

Y

Y

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TRIBE MAGAZINE / ISSUE NO. 4 / 2018

CAMPUSES

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

C

M

Y

CM

MY

CY

CMY

K

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TRIBE MAGAZINE / ISSUE NO. 4 / 2018

INSCAPE GOES GLOBAL Always at the forefront of progressive education programmes and outlooks, Inscape expanded its footprint into Dubai this year.

Mornay Schoeman, Inscape Dubai Campus Director, sits down with Tribe magazine to talk about this massive step.

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

The question on everyone’s lips is why Inscape would take such a large-scale risk as expanding into

industries. We fondly refer to these

amount of ‘Ubuntu’ as well.

people as our TRIBE.

combination makes for a rich, eager,

When

asked

about

the

design landscape in Dubai and its

unknown territory.

21

This

and engaging business, design, and creative expression platform.”

According to Schoeman, Inscape

differences or similarities to that of

Additionally, she adds, “I have

currently has over a dozen alumni

South Africa, Schoeman says: “Most

learned that the Inscape values

that we know of working in the UAE*,

projects in Dubai are on a large,

hold true no matter where we find

MENA**, and GCC** region.

ostentatious scale.

As a designer,

ourselves in the world, our Inscape

Dubai design market draws business

it is hard to turn a corner and not

South African legacy can transcend

and interest from all these regions

see something breathtaking. Be it

an African continent. As an institu-

and is growing rapidly as the region is

the huge gravity-defying buildings,

tion, we are so busy doing the things

evolving. Dubai also imports a large

glorious

culturally

that matter, and being engaged with

percentage of its design expertise,

emerged

glamorous

our Tribe, that we forget to tell/show

as is evident in the number of our

visual communication, it’s been

the world how relevant we are to a

alumni already working in the area,

done in Dubai. Bigger, better, more,

global market. Inscape Quality is as

and the large number of Expats****

is definitely a thing here. In that

relevant and applicable in Dubai, as it

working in Dubai. This is the perfect

regard, it is different to South Africa

is in South Africa. Our exceptionally

time for an education institution

in that the projects are perhaps large

high pass rate and close to 100% em-

to tap into a fresh and emerging

and

that

ployability rate are very impressive,

market. It is also the perfect time for

there are so many opportunities and

and pertinent in any field looking

Inscape to enter this market as our

options for a designer to do what

for employability in graduates. I’ve

core values; Quality, Authenticity,

they love. On the other hand, for

learned that Authentic communica-

and Relationships, speak to those

me the similarity is the use of a rich

tion is key, people respond to honest

sentiments and resonate with the

cultural and historic heritage of the

and realistic expectations. We may

leaders and people of the UAE. We

local Emirati people, incorporating

be new to the Dubai design educa-

felt that we embodied the same

an ancient way of life into design,

tion market, but we are an institu-

values and ‘heart’ of the UAE. A

and respect for the desert and its

tion that has been around for almost

quote by Sheikh Zayed Bin Sultan

unique beauty. As in South Africa,

four (4) decades, and that ensures a

Al Nahyan - “No matter how many

the cultural heritage, landscape,

reliable and tested legacy in design

buildings,

and people are very visible and

education. Inscape can show proven

and hospitals we build, or how

integrated

expression

and tested results, not only within

many bridges we raise, all these

and application of their design

our academic development, integra-

are material entities. The real spirit

approaches too. Dubai’s community

tion and industry relevance, but also

behind progress is the human spirit,

also comprises a wealth of different

the ability to measure four decades

the able man with his intellect and

cultures and nationalities, as in

of graduate success, and we have the

capabilities”, illustrates this. Inscape

South Africa.

There is a unique

data to back that up. Connecting, a

is

foundations,

The

schools

interiors, fashion,

or

all-encompassing,

into

the

and

tolerance of different cultures and

key factor in building Relationships,

sustainability, and collaboration, in

heritage

Inscape’s third value. I’ve learned

not only design, but in the people, we

Ubuntu***** is a South African word

that

call colleagues and those we assist

that comes to mind; perhaps it is

engaging, and introspection; all play

to enter the creative and design

safe to say that Dubai has a certain

a vital part in starting to build new

about

making

a

difference,

backgrounds

in

Dubai.

understanding,

networking,

22

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

relationships and bring value to any

Digital Design & Technology, and

Decorating course, or a one year

connection we are going to make

Business & Communication. Offer-

Higher Certificate in Architectural

in our new home, Dubai. Relation-

ing access into the Architecture, In-

Technology, someone could change

ship with industry for both us and

terior, Graphic, and Fashion Design

their career path. Not only change

our students is as vital in Dubai as

corporate sectors. (Our future plans

that path but be relevant and readily

it is in South Africa, and preparing

are to include the Bachelor of Design

employable in a global city that needs

our graduates for a real world, with

in our offering.) Inscape Dubai Cam-

the skills they now possess. I love

real limitations, challenges, and op-

pus also offers short courses, and

the fact that Inscape not only offers

portunities are key, and a priority for

software training to individuals and

these opportunities for study but re-

Inscape.”

corporates, ranging from beginner to

ally does change lives. Inscape Dubai

And while the values that In-

advanced levels. As thought leaders

can contribute by not only offering

scape has brought to Dubai are the

in the creative sector and built envi-

young and new creative talent into

same, the offering does differ slight-

ronment, we have developed pockets

the design industry but also offer

ly. Schoeman explains this: “The In-

of knowledge relevant to enhancing

professional integration of seasoned

scape Dubai Campus’ current focus is

business and creative development

creatives at various levels of work

very much vocational in its offering.

within every individual. The flex-

integration. In other words, not only

This is a niche focus in the design and

ibility of these courses allows profes-

having the place for a new employee

corporate industry. It addresses the

sionals to navigate their career path

in the business sector but also having

need in the Dubai business and crea-

at their pace, at a level that suits their

the opportunity to integrate a more

tive sector, as well as focus on future

current knowledge and skill.”

mature business minded employee

preparation for a changing market.

Tribe Magazine spoke of the

as well. Inscape has the track record

The Inscape curriculum challenges

“MENA Design Education Outlook”

for understanding and meeting in-

inherent behaviours, enhances and

study. This study was a ground-break-

dustry needs and is assured that our

hones new integrations toward ap-

ing report which gave insight into the

graduates can “hit the ground run-

plied design thinking, complex prob-

design education landscape across the

ning” when they join the industry.

lem solving, critical thinking, crea-

MENA (Middle East North Africa).

As I have mentioned previously, we

tivity, emotional intelligence, and

This highlighted the need for at least

are passionate about our Tribe, and

cognitive flexibility. All skills perti-

30 000 design graduates by 2019. How

we are passionate about their suc-

nent to the employability of a future

is Inscape contributing to this need?

cesses.”

workforce, and that of future lead-

“The focus of the various Inscape

ers. To this end we currently focus

offerings, allowing for various exit

“We

on one year Higher Certificate and

levels of both knowledge and skill,

support from the industry and

three-year Diploma courses, both

into a creative sector with a high de-

individuals alike. As a new educator

these avenues offer work integration

mand for these skills, is what makes

in the creative sector of Dubai, we

and employability exit levels. Thanks

Inscape Dubai very enthusiastic

have been told that our vocational

to incorporated applied knowledge,

about the Dubai 2020 initiative. We

approach to design, and the related

industry involvement, and personal

can offer opportunities to an individ-

fields in the creative industry, is “just

marketing to empower effective em-

ual who might never have thought

what the UAE needs”. The fact that

ployable graduates. This focus cov-

that changing career direction could

our approach to multi-exit and skill

ers all the Inscape Faculty’s; Built

be an option for them. It’s exciting

levels makes our courses relevant to

Environment, Creativity & Design,

to think that through a 16-week

not only young designers looking to

“As a response”, says Schoeman, have

had

overwhelming

23

Scenes from Dubai Design Week 2017

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

enter the creative industry but makes

and her family at a very young age,

Inscape Tribe and that the Inscape

it accessible to a mature student as

only three months after graduation,

Dubai Campus is merely an extension

a career opportunity is also very

it was now eight years later.

of the collective.”

engaging.

As one of only a few

responded that a person would be

multi-disciplinary institutions which

astonished at the ability one has to just

* (UAE) United Arab Emirates

focus on the design and creative

cope with a situation and forge ahead,

**(MENA) The Middle East and North Africa

sector within the industry, Inscape

and of course the love and support

***(GCC) Gulf Cooperation Council is made up of

is already standing out in Dubai as

of her family.

This immediately

the following countries: Bahrain - or Kingdom of

niche and focus-driven education.

made me think of the wider Inscape

Bahrain, Kuwait, Oman - or Sultanate of Oman,

Vying for a closer look from those

community, and that although our

Qatar, Saudi Arabia - or Kingdom of Saudi

working in recruitment, through to

office in Dubai is relativity small

Arabia (KSA), UAE - United Arab Emirates.

career counsellors, and other creative

for now, we had the support of

**** Expats – An Expatriate is a person

players in the education industry.”

She

over 140 Inscape employees, and

temporarily or permanently residing in a

In closing, Schoeman had the

the encouragement of over 10,000

country other than their native country

following to offer: “I recently chatted

Inscape students, past students, and

*****Ubuntu – A quality that includes the

to one of our alumni in Dubai and

alumni scattered all over the globe.

essential human virtues; compassion and

noted that she had left South Africa

It is comforting to think of this large

humanity

24

CREATIVITY / DESIGN

Fashion Design at Inscape

It’s all Haute Couture Some people just have that natural knack for style. This flair can of course even lead to pursuing a career in fashion. Inscape’s Fashion Design graduate Michelle chats to Robyn about her studies for this feverish industry.

Let’s face it – people like to look

also active-wear fashion or formal

good. Always have and always will.

clothing for events and other snazzy

According to Scratch Hard, the fashion

occasions. Pretty much every situation

industry makes $20 billion every

and occasion calls for a particular dress

single year – that’s about R320 billion!

code, and there are usually plenty of

Which means dipping your finger into

options for each one.

that pool will never be a bad idea.

People

use

fashion

for

many

Fashion ain’t a New Trend

different reasons. It’s a way to show off

The concept of “fashion” has been

their style. Some styles are for business

around for thousands of years and

people, which is easily recognisable

has had an impact on social class and

(suit, tie, you know the drill). There’s

trends from the get-go. The Ancient

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

Greeks, for example, wore togas, and different colours to signify different social stations. In historical Western society, peasants wore brown and grey clothes, bankers and other medium class society wore green while the nobility and upper class frequented colours like purple and red to show off their social standing. Here’s another interesting fact: the first fashion ‘magazine’ was published in France in the mid-1500s, furthering the fashion craze.

Hard Work Pays Off Tribe chats to Michelle Dindi, a fashion graduate from Inscape. She had a passion for creating beautiful garments and decided to join this vast world of fashion and add her mark to it – perhaps even be the next Coco Chanel or Christian Dior.

25

The fashion industry makes $20 billion every single year .

When Michelle had first applied for the fashion degree at Inscape, she expected to spend the next few years learning the art of sewing.

Thankfully she was pleasantly surprised at the layout and courses offered in her degree. She acquired a wide variety of skills and obtained knowledge that is now invaluable to her.

When asked about her degree, Michelle says: “A fashion degree is an intense course of study with a heavy workload, thus meaning extra hours put in. The degree involves a lot more than merely sewing. Therefore a lot of time is spent on conceptualisation and the development before you physically create the collection.

A vast majority of the work is practical except for methodology, writing and business subjects, as it prepares you for the industry. The intricacy of the designs also affects the hours put in and the expense of materials. Fabrics are generally expensive. However, this depends on the garment. I do therefore suggest that you explore your area to find alternatives to traditional mass fabric stores.”

Regarding the workload, Michelle explains, “Although it is a lot of hard work, like all degrees, if the passion is alive, a fashion degree can be highly rewarding… You will continually be challenged, and as a result, you will grow personally.”

The Currency of Time As you may have noticed from Michelle’s feedback, time is definitely of the essence in the fashion world. During your course, you will be faced with deadlines to meet and customers

CREATIVITY / DESIGN

26

to keep happy. This prepares you

a fashion degree. Just like any other

merchandiser, pattern maker, cad

for the real world where deadlines

field, most jobs require a few years

designer, trend forecaster or stylist.

become ever-present. Inscape may

of experience before you can apply

This is a pretty wide range of

have the luxury of extending your

for a position somewhere, which is

things to go into, and there are

deadline, but probably won’t, since

frustrating at the best of times. How

bound to be some positions available

the institution aims to prepare you

can a graduate fresh out of school

for you. As Raymond Taylor from

for life post-studies. So enjoy the

have any experience?

Inscape told me, clothing production an

is coming back to South African

A problem that may arise when

internship at a fashion company. You

shores. This means that there will be

you face a looming deadline is the

probably won’t be paid, and if you do,

an increase in fashion jobs in South

arrival of self-doubt. As anxiety and

it won’t be much. But the knowledge

Africa in the next few years.

stress kick in, you may start doubting

and experience you’ll garner while

Michelle’s last words of advice

yourself and your capabilities to

interning will be invaluable and

are, “If someone is passionate about

handle the project or even your

could guarantee a fantastic job. The

fashion, I would highly recommend

degree. This is normal, and it can

jobs that are available to graduates

studying it. It is creatively stimulating

only help you grow. Michelle faced

are usually trainee and assistant

and constantly evolving. But it’s not

this, and she came out stronger for it.

buyer positions. But this may not be

a career path you should choose

“Inscape continually encouraged

your passion or desired field, hence

lightly, as it’s a serious, fast-paced

why Michelle suggests taking on an

industry.”

challenges.

me,

which

important,

Michelle

was because

tremendously self-doubt,

suggests

doing

internship.

So if you find yourself sitting in

particularly in fashion, can be

Just as in every other field in

high school thinking of a fashion

debilitating. This field is highly

the world, the fashion field is ever-

career, take a moment to consider

subjective. Inscape showed me my

evolving. Michelle says that the

your goals and dreams for life

strengths and pushed me to better

fashion world is becoming more

seriously. Fashion isn’t a light-

my weaknesses.”

e-commerce (online means of doing

hearted field where people dilly-

Make use of the support and

business) and online shopping will be

dally around. It comes with severe

people you have around you. The

a lot more prominent in the future, as

stress and challenges, which can

problem with students is that they

it’s easier and quicker than searching

be rewarding. But you don’t want

tend to think that they are just a

store after store for the specific

to be halfway through your degree

number in a tertiary institution and

garment that you want. The need

and unable to handle an unexpected

that the lecturers and staff can’t

for people in the fashion industry

curve ball life could throw at you.

be bothered with their problems.

will never drop, only the methods of

If Fashion Design is your heart’s

This isn’t true – take advantage of

trade. So jobs in this industry should

calling and passion, then take a

institutions like Inscape. Make use

never run dry.

look at the course Inscape offers.

of their support and knowledge and

There are a variety of different

Michelle is delighted with her degree

allow them to guide you on your

fields into which a fashion degree

and thoroughly enjoyed her time at

journey continually.

can take you. The broad scope of

Inscape. With a specialised field like

job opportunities lends itself to be a

fashion, lecturers who notice and

very marketable degree. Some of the

care for you, help make your life

I’m sure you’re wondering about

areas you could branch into with a

easier. So go for it. Check it out and

the availability of jobs after studying

fashion degree are designer, buyer,

start working towards your goals.

And the Craze Goes on…

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

27

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

28

CREATIVITY / DESIGN

JEWELLERY DESIGN Launched in 2018, Inscape’s new Jewellery Design degree qualification has been met with much favour and is fast becoming a popular choice amongst design students. Tribe editor, Gwynedd Peters, had the opportunity to sit down for a chat with Philip van Der Walt from Inscape Pretoria.

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

According to Philip...

The second type of brief is dictated

Jewellery Design means to design

by the Designer and would follow

a product that will most likely be

specifications that the designer

manufactured out of precious or

desires regarding theme, materials

semi-precious materials to be worn

and manufacturing methods, this

by the client as decoration/expres-

would be done in the designer’s

sion or a symbol indicating a status

style and usually end up being part

such as engagement, marriage or

of their brand, whether it is a one-

as part of a religious group or club.

off piece or part of a range.

The first type the brief is dictated

Why is Jewellery Design important today, and what is its place in the design industry

by a client/s and could be for bespoke

With the internet and social media

or mass production purposes. The

becoming a part of our daily lives,

client would specify style, theme and

the importance of well-designed

technical specifications like sizes,

products have become clear in

weights and materials. The design

recent years, consumers are better

would be done according to those

informed, not just about what is out

specifications with little to medium,

there, but also what is possible and

artistic license for the designer to

they have become better equipped

make the design their own.

to identify good design. Design based

up in the design brief.

++

++

++

There are two types of design, both are determined by specifications set

Jewellery Designers...

Translate cultural meaning and individual values into beautiful tangible objects.

Interpret trends and style by tapping into creative culture, art and fashion.

Have a broad understanding of the tension between aesthetics, market needs, social dynamics and business success.

29

CREATIVITY / DESIGN

30

products like jewellery have also been one of the first adopters of new manufacturing technologies driving the development of design software and

different

manufacturing

processes like 3D printing. Design in itself has been moving towards a fusion between art and technology making it more possible for various design fields to influence each other more closely and allow designers to collaborate and migrate to other design fields. Other industries like the dental/medical design industries, for instance, use similar techniques and materials as jewellery, sharing software and production methods to an extent, each pushing to advance the capabilities of these technologies, driven by design.

Why the resurgence in the bespoke jewellery market?

Jewellery used to be a complete bespoke industry, and when mass production started being applied by big retailers, they could offer the average consumer mass-produced

With technology like the internet and

hand manufacturing, and although

jewellery pieces in larger volumes

social media platforms growing in

hand drawn design is considered,

at much cheaper rates. Combined

recent years, consumer markets have

most competing courses focus on

with payment plans and store credit

become more aware of globalisation,

Computer

this type of manufacturing and

and how much more similar styles

and

availability allowed customers to be

have become. With a result, the need

manufacturing techniques.

able to buy jewellery they would not

for individuality has evolved creating

necessarily have been able to afford.

more of a need for bespoke design.

Aided

learning

Design

new

(CAD)

technology

Inscape’s jewellery design course focuses primarily on actual design; students still practice basic hand

This had a significant impact on

manufacturing to establish a solid

affordable option even though the

What makes Inscape’s jewellery design qualification different?

pieces they would buy was not

Traditional

techniques

your traditional jewellers as a lot of customers went for the more

Jewellery

Design

&

background in material properties and

various

manufacturing

like

casting.

This,

with

advanced

CAD

unique and lots of people would end

Manufacturing courses currently

combined

up wearing the same or similar pieces.

available still primarily focus on

training and in-depth knowledge

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

31

What should prospective designers know about the industry before making the leap in this direction?

other, and a good reputation will

design boundaries to challenge the

There are a lot of misconceptions

designer is not a job but a lifestyle

industry norm.

on

using

methods,

new

manufacturing

enables

students

to

design for a multitude of processes while

pushing

the

traditional

take you far so make sure you stay honest.

Finally, says Philip: “Being a

regarding the jewellery industry;

that includes working long hours

The hands-on nature of the

the learning curve is steep as

and

course further gives graduates the

there are a lot of things to learn

with the latest in technology will

ability to enter the industry on an

and even if you only plan to be a

keep you busy. It’s important to

international level as these methods

designer your knowledge on the

always be a step or two ahead of

have no boundaries, making it

manufacturing processes

needs

your competition. Passion for what

possible for them to compete in the

to be in-depth to do it properly.

you do is important! The skills

international markets.

Being a jeweller is not a glamorous

you will learn will give you the

job. Yes, you can make a good

ability to design and manufacture

living, but it takes many years to

various things, not just jewellery.

master the art and to build a good

These skills can be applied to other

brand and business to get to that

industries as well and can be a solid

level. Although focusing on design

basis to become something that we

and using new manufacturing

have not seen yet. Remember, some

methods could mean less physical

of the most popular jobs today

work for your hands you still will

didn’t exist 10 years ago, prepare

work long hours. The industry

yourself with as many skills as you

is small, most people know each

can and be open to evolving”.

The use of 3D Printing is now widely integrated into the jewellery industry but has barely scratched the surface of the possibilities the new technology allows. We want to empower students with all the possible skills and tools they might need

to

become

the

designers of the future.

jewellery

keeping

yourself

updated

At Inscape... ++

Jewellery Designers learn about traditional visualisation techniques fused with new technologies, materials and production methods.

++

They become competent in operating professional hardware and software tools, while experimenting with new innovations in the jewellery design field.

++

Graduates enter their profession as Studio Jewellery designers, where they have expertise in concept, prototyping, manufacturing and production, as well as all the skills required to technically specify and visually present, project manage and market a design.

++

Jewellery Designers can take up a role in buying, distribution, visual merchandising, establish a design studio or become freelance consultants and designers.

The Future of Design

Globalisation:

32 DIGITAL DESIGN / TECHNOLOGY

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

33

Designers, like it or not, are tied to globalisation. We have no choice but to understand the economic, social, cultural and political implications of globalisation on society and on our individual professional situations. As Inscape stretches its wings into new territory, namely Dubai, Tribe looks at the impact of globalisation and the designer’s role in making it sustainable. Despite what anyone might say or do, globalisation is here to stay.

L

ike electricity, flight and the internet,

threatened with erasure. So while globalisation

globalisation will not be stopped. As 18th-

is an unstoppable force, it can be shaped, made

century

profoundly

more equitable and in fact it can be a force

and relentlessly restructured economic, social,

that contributes to cultural diversity and the

cultural and political orders, so is globalisation

celebration of cultural heritage.

impacting the 21st-century, disrupting trade

Design can play an important role in this.

and

industrialisation

employment,

generating

economic

The influence of designers has grown

expectations and frustrations and scrambling

dramatically. That influence is today at its

cultural traditions.

peak and carries with it the capacity to do

Today’s globalisation is an extrapolation of

much good, and just as much damage. As with

the Industrial Revolution. Our profession of

any profession, the ethical responsibilities of

Design was forged by that Industrial Revolution,

every individual practitioner are challenged

responding to emerging technologies and the

on a daily basis. Other professionals—doctors,

new forces of mass production, international

lawyers, journalists—inscribe their professional

trade and middle-class consumption. Two

responsibilities on flags held high. (And most of

centuries later, these changes are finally

them, we hope and expect, act accordingly.)

reaching all parts of the planet.

Designers, are often poor communicators

Accompanying this tidal wave of change is

when it comes to explaining what it is they

our profession of design, for the first time, truly

do. It is indeed strange that designers – those

worldwide and, more than ever before, able to

professionals often given the responsibility

fundamentally influence the future on a larger

for creating and communicating the critically

scale—positively and/or negatively.

important and valuable “brands” of entities

Despite constant alarming headlines of

large and small – are so irresponsible and

tragedy, conflict and suffering—another result

ineffective when it comes to communicating

of modern technology making “news” instantly

their own value, their own “brand”.

available to (almost) all— academics tell us

I think that this professional flaw is rooted

that the world has never been more peaceful,

in the typical image of the designer, which at

never have so many risen above poverty and

times shapes and promotes the designer as

never have so many had access to clean water,

an artistic, individualistic creative as opposed

education and better health.

to a highly-trained professional with ethical

But all is not rosy. The environmental impact

responsibilities to society.

of industrialisation on our planet is significant—

Being part of a global community however

amplified by population growth, urbanisation

means that correcting this situation requires

and consumption.

collective action by the professional design

Despite the claims of some special interests our climate IS changing. Cultural heritages seem

community and cannot be accomplished by individuals alone, but it is a good place to start.

34

BUSINESS / COMMUNICATIONS

TRIBE MAGAZINE / ISSUE 1 / 2016 35 35 TRIBE MAGAZINE / ISSUE NO. 4NO. / 2018

Developing an

EMPATHIC APPROACH

TO DESIGN

Contributor: Rikke Dam

Empathy requires us to put aside our learning, culture, knowledge, opinions, and world view purposefully in order to understand other peoples’ experiences of things deeply and meaningfully. It requires a strong sense of imagination for us to be able to see through another person’s eyes. It requires humility so we can seek to abandon our preconceived ideas and biases. It requires that we have a heightened awareness of other peoples’ needs, wants, motivations and goals.

Empathy is an innate quality in all

with others. Keeping these qualities and

people. Still, sometimes, being an empath-

traits in mind, and learning to develop

ic listener in a Design Thinking project is

them, are key to forming a deep and gen-

not as simple as it seems, because we are

uine understanding of your users.

trained — whether consciously in our

Empathy is especially important in

schools or workplaces, or subconsciously

the first stage of any Design Thinking

from our prior experiences — to form

process. The first stage in Design Think-

judgements and opinions about others

ing is often named the “empathise” stage

rather than absorbing and understanding

– the following four stages are: Define,

the raw data.

Ideate, Prototype and Test. In the Em-

There are many interrelated qualities

pathise stage, it’s your goal as a designer

and characteristics that combine to devel-

to gain an empathic understanding of

op a more empathic approach to engaging

the people you’re designing for and the

36

BUSINESS / COMMUNICATIONS

problem you are trying to solve. This

ideas for the good of the overall vi-

us to overcome our own needs and

involves empathising with, engaging

sion and goals.

wants and seek to understand oth-

and observing the people—your target audience—you intend to help.

ers. We must build a sense of care,

3. Be a Good Listener

a deep concern and desire to want

So as to empathise, we need to

to help, nurture, and provide assis-

How to be an Empathic Observer 1. Abandon Your Ego

listen and listen attentively. We

tance. This requires a level of emo-

need to choose actively to block out

tional insight.

Most of us have a tendency to as-

low the other’s voice to resonate. We

6. Be Curious

sert ourselves, which results in an

need to train ourselves to control our

Being genuinely curious makes

imposition upon others, as well as

natural tendency to formulate our

engaging

having more concern about our

own opinions and voice them before

not only easier but also extremely

own situation rather than the needs

the other person has

rewarding as we learn to understand

our inner conflicting voices, and al-

in

empathy

research

and concerns of others. As humans

finished talking. Doing so would

what motivates people. By being

and individuals it is natural for us

enable us to have a deeper kind of

curious, we are naturally inclined to

to want to defend our opinions and

listening, which uncovers deeper

dig into unexpected areas, uncover

thoughts. However, in order to em-

meaning and experience.

new insights, and explore all aspects

pathise deeply, we need to tame and

of people’s lives. At a glance, these

put aside our egos. We need to be-

4. Hone Your Observation skills

details might seem unimportant,

come aware of the primary goal of

In order to develop empathy towards

but they will expose the most

empathy in Design Thinking, which

our users, we need to do more than

important information we need for

is to understand and experience the

listen. We need to observe others,

problem solving.

feelings of others.

and have a close reading of their behaviours, subtle indications, their

2. Adopt Humility

7. Be Sincere

non-verbal expressions, body lan-

Nothing kills empathy more than

When we adopt humility, we natu-

guage, and environments. Only once

a lack of sincerity. When we ap-

rally improve our ability to empa-

we are able to experience the full

proach people with a superficial

thise, because through humility we

range of sensations of others within

agenda, superiority complex, or

elevate the value of others above

context can we have a deeper and

any mind-set that may undermine

ourselves. This is underscored in

more meaningful empathic experi-

our sincere intention to understand

Rise of the DEO, a book by Maria

ence. Many times, what our users

their experience deeply, we are plac-

Guidice, innovator and VP of Experi-

articulate is only be a fraction of the

ing a barrier between us and those

ence Design in Autodesk, and Chris-

full story. By honing our observation

we seek to understand. Rather than

topher Ireland, ethnographer and

skills, we can fill many of the gaps,

approaching people with the mind-

CEO of design research firm Che-

leading to a deeper understanding of

set that they are in need of our help,

skin. In Rise of the DEO, Guidice and

someone else’s experience.

we should realise that we stand to benefit more out of deeply under-

Ireland discuss the emerging role of design leadership and point out

5. Care

standing them. After all, the solu-

that humility is a characteristic of

A genuine concern about the state

tion exists to serve their needs, and

design-focused leaders who are will-

of others, leading to the desire to act

your work will not be complete un-

ing to admit their own shortcomings

and assist, is required. This is one

less you properly understand their

as well as to abandon preconceived

of the important drivers that allow

needs.

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

37

Learn to Understand Body Language We should have a keen awareness of how our body language sets the scene for trust and engagement between ourselves and the people we are observing or interviewing. On top of that, we need to read and interpret the signals that our users give off via their body language. This is a skill that comes with practice, and thus practice we must. At times, body language might be so subtle that the messages made by our very forms (eyebrows, shoulders, hands, and virtually any other part) as well as how we sound and behave are visible only to practiced readers of body language. If we want to connect with and engage our users on a deeper level, we need to study their body language, body signals, facial expressions, voice intonations, and the positive and negative signs that come from these. Here are some of the little things that you should pay attention to: ++

Learn to read the subtle nuances in communication, change of tone, pauses and skipping back over points.

++

Listen to what is not being said, to what’s being avoided or covered up.

++

Subtly know when to encourage more expression or to lead the conversation or story in a beneficial direction.

++

Know what to ask and how to ask it—and when the person might be ready to be asked.

++

Our body language often says much more about ourselves than what we say verbally. It’s a great ‘lie detector’ in many respect.

How to Gain an Empathic Understanding of People

municate in analogies as they allow

find other experiences that contain

us to express our ideas or to explain

some of these aspects — it will help

The most effective way you can gain

complex matters in an understand-

you gain a better understanding of

empathy comes in the form of im-

able and motivating way. Analogies

your users’ problems, and it will

mersion: direct experience of the

are a great way for us to build em-

also spark new ideas to improve

lives, contexts, environments, and

pathy towards users and for gener-

their experiences.

activities of the people you would

ating new ideas around a problem.

like to understand better. On top of

Use analogies to gain a fresh way of

The Take Away

immersing yourself in the environ-

looking at an environment, and in

Empathy is innate in everyone,

ment to experience first-hand what

instances where direct observation

and focusing on some key traits of

it feels like to be your user, there are

is hard to achieve.

an empathic observer can help you

also a couple of methods you can

When using analogies, you

unlock and augment your empathic

engage in so as to gain a deeper un-

should start by identifying the as-

skills so you can gain a greater un-

derstanding of people’s needs and

pects of a situation that are most

derstanding of the latent needs of

emotions. Here, we will highlight

important, interesting, or problem-

users. At the same time, learning

three methods, and provide a tem-

atic. For instance, if you are work-

about what people’s body language

plate for each that you can down-

ing on improving a supermarket

tells us (above and beyond what

load and use.

experience, some of the key aspects

they say verbally) is a skill that we

might be containing and separat-

can hone with practice. Immersing

Building Empathy with Analogies

ing different goods in the shop-

yourself in your users’ shoes is the

An analogy is a comparison between

ping cart, making a decision when

best way to learn about them so as

two things—for example, a compari-

presented with many options, and

to gain a deep and holistic under-

son of a heart to a pump. We com-

handling long waiting lines. Then,

standing of your users.

38

DIGITAL DESIGN / TECHNOLOGY

The art of

Design According to Gareth Smart, Programme Coordinator (Graphic Design and Audio Visual) at Inscape, “Audio Visual Design as the name suggests is the combination of audio, including; recorded voice, music, sound effects, ambiance as well as foley audio effects and the visual element which includes the layout and transition between text, filmed, animated and still graphic images, all set to and combined over a time-line of duration”.

Put simply, Audio Visual Design is visual communication and narrative storytelling using emotive elements such as moving image and audio in combination to add meaning to the narrative and drive the intended audience to action.

“Of course” he adds, “This is an

mantra stands true and even more so

over simplification of the technical

in an era where human consumption

process Audio Visual Designers need

of media, predominantly video has

to understand and be well versed in.

exploded.”

It seemingly discounts the planning,

He explains further that video on-

narrative implementation, storytelling,

demand has changed broadcast models

design

pre-production,

from, ‘you pay x monthly for these

production, post production process

300 channels and that’s it’ to ‘you pay

as well as the psychology and societal

a far lower amount and you can watch

based uses of colour, light and sound

whatever you want where ever you

to attach depth and meaning to story,

want’. Looking beyond the block buster

served in this format.”

movie releases there is a vacuum –

process,

With quite a number of Audio

This massive space for content that

Visual programmes already offered

needs to be filled between block

throughout South Africa, why has

buster releases is filled by social media

Inscape added this course to its roster?

posts, YouTube content, explainer

Says Smart: “Bill Gates is often

videos, short form adverts, long-form

singled out as the originator of the

adverts, fan made fiction, recorded

term “Content is king.” Regardless the

gaming play-throughs, music videos,

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

39

tutorials, vlogs and on-demand video platforms such as Netflix and Amazon Prime with highend sophisticated technical requirements and audiences.

Video is our chosen format. We as people prefer it for learning and from an entertainment perspective. It has changed how the average person’s attention span works and what we place value on. Our need to stay engaged with content is ravenous with people binge watching a series of 17 episodes on a weekend and then feeling down because there is nothing to follow it up with.

AV (audio-visual) is important because it is ensuring there is a constant line of quality media content that engages on every level being produced to suit viewers, marketers, educators and content platforms. It keeps everyone happy,

makes everyone a potential employer and is an industry that is going to keep expanding with a need for quality content and thus jobs.

What sets the Inscape programme apart from that of its competitors, Smart says, is that all Inscape Students share a common first year of design prior to specialising in a direction such as AV and I have found this to be a massive benefit to all students. During this time there are elective subjects which allow interested first year students to try specialised fields such as AV before committing to it as a specialisation.

In the case of Audio Visual, we delve into narrative storytelling, lighting, camera angles, capturing the audience’s attention through the reinforcing of messages via audio and visual design cues, framing of content on screen and ensuring message relevance.

Students are taught to work across a wide spectrum of audio visual hardware and software for capturing and editing footage. Beyond the direct techniques taught, students are encouraged to practice creative problem solving and how to look for opportunity in every production process and potentially try alternative routes to get to the outcome. This is reflective of the industry that will absorb them, and they will add value to.

Students are taught in well-situated classes focusing on the pre-production, production and post production processes of media deliverables. Often the hardest part is sparking the idea and then following

40

DIGITAL DESIGN / TECHNOLOGY

through on the concept, at every level

Rand to Dollar exchange being in

definitions are fading away fast,

finding ways to layer meaning to re-

favour of our offshore Clients. This

instead we are left with audiences who

inforce the original idea.

is the case for both long format film,

are media hungry, consuming more

Students are tasked with working

series and short format commercials,

and more content on demand. Smart

both as individuals and as a team,

with Johannesburg and Cape Town

devices, TVs and Phones have blurred

knowing how these processes all

being centres favoured for world

the lines of video media on demand and

fit together. There is also a strong

class staging, film and post production

more content is being delivered directly

fostering of the entrepreneurial spirit

facilities.

to the users, often multiple users in one

With the advent of prosumer DSLR

household at the same time. No longer

cameras, an increasing mobilisation

is the media industry trying to serve

of audio recording equipment and

content to a broad demographic, rather

the market is based on quality of what

greater

infrastructure

opting to serving what the individual

they have to offer on any given project.

there have been massive shifts in

wants when the individual wants

We always strive to ensure they are

the local and international markets

it. It has given rise to niche content

well prepared with understanding

opening greater opportunities for

markets as evidenced by YouTube

and the design thinking tools they

well-trained AV specialists. Smaller

with channels dedicated to make up

would need to make short work of

content

are

tips, unboxing videos, tutorials, daily

any challenge that may present itself

popping up all over as the analogue

vlogging super star celebrities and so,

in the industry.

workflow limitations of a by gone

so, so many cat videos!

and focus on the business side of the industry.

The value that our alumni take to

internet

creating

agencies

At Inscape we are not training

era have evaporated into the ether,

These niche content markets have

student to be able to fulfil only one job

replaced with light digital workflows.

ridiculous amounts of subscribers

in an industry that is ever changing,

International collaboration is at an

that no traditional broadcast model

rather we train students to understand

all time high with brands looking to

could ever predict nor serve. These

the whole production process and

find the next influencer to support

are all opportunities for the new wave

how best to add value to it holistically.

their offering, the biggest influencers

of trained Audio-Visual Designers

He does have a little advice for

today are YouTube channel owners,

heading into a work place can exploit,

prospective students hoping to enter

and self-created celebrities. This

even for themselves. Audiences for

the field: “First and foremost, passion is

brings me to creator owned media

this media type are not bound by

key! Second to that you’ll have to learn

as just mentioned. If you create

borders but rather consumption tastes.

patience and self-discipline. You must

media, that is clever, engaging and

Finally, Smart wraps up by saying:

be prepared to think ahead, project

entertaining… and have access to

“Brands and indeed marketers are

manage and make deadlines, which

the internet you have the chance

going to need well trained audio

are usually pretty tight. The industry

of gaining a following, building an

and visual storytellers to reinforce

is tough, and you must be ready to

audience, monetising your content

brands in the attention economy,

accept that challenges are inevitable

and becoming an influencer. Or you

finding ways to pique the interests

but you will only fail by giving up.”

could be helping someone else to do

of their audiences and have the

that.

same content work over several

South Africa is a prime production destination for international broadcast

The industry is very competitive,

screens and continually striving to

related companies as it has the

and deadline driven but man alive

move an audience to action through

infrastructure support of well-trained

it can be such a rush! And there is

brand placement and finding ways to

local pre-production, production and

room for everyone to succeed – just

endear products and brands to these

post-production

broaden your horizons.

audiences. There is so much potential

professionals

and

can deliver high quality work on all

The world is changing rapidly, and

fronts with the added benefit of the

change is good. Traditional audience

and opportunity for anyone who cares to take up the challenge.”

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

41

42

BUILT ENVIRONMENT

The UrbanNative TheUrbanative is a contemporary South African furniture and product design company in Pretoria. Tribe editor, Gwynedd Peters, had the opportunity to sit down for a chat with this intrepid designer.

TheUrbanative was started by Mpho Vackier

She explains: “I always knew I wanted to do design

who has always been inspired by the clean

and when the opportunity came, I went back to school

functionality of mid-century European furniture

and studied interior design and a few years after I

and the design philosophies of the Bauhaus

graduated I started TheUrbanative.”

movement juxtaposed with the vibrant geometric

On describing TheUrbanative’s design aesthetic,

style of African cultural artwork and graphics.

Mpho explains, “I have always been in love with

Despite previously working as a process engineer

the clean functionality of mid-century European

in the mining industry, Mpho now finds fulfilment

furniture design and the philosophies of the Bauhaus.

as a culturally inspired furniture/product and

As such our products are defined and differentiated

interior designer.

by the visual tension of juxtaposing abstracted ethnic,

Mpho originally qualified as a metallurgical

cultural graphics and motifs with the functionality

engineer but admits that she always felt like a

and look and feel of classical European mid-century

designer at heart and eight years ago took a leap

and Bauhaus furniture silhouettes.”

of faith to quit her job as a metallurgist to study Interior Design at Inscape Pretoria .

“I love to think of the products and furniture I design as a celebration of culture and classic

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

43

44

BUILT ENVIRONMENT

functional design; our Afrocentric

small village in Rustenburg; I have

philosophies and aesthetics of the

Ndebele range SS17 was/is inspired

proven again and again to myself

Bauhaus

by Ndebele cultural artwork.

that your beginnings do not dictate

with the vibrant geometric style

movement

African

cultural

juxtaposed

Being an Urbanative to me

your future, your work ethic and

of

means being grounded and inspired

your attitude do. I am very driven;

and graphics. I think the way

artworks

by

while

my motto has always been go big

we approach design is two-fold.

participating and being involved in

or go home if you are going to do

Firstly what problem does it solve

the modern world, this is translated

something, do it exceptionally well,

- functionality, and secondly, what

through my designs through the

give it all you can, separate yourself

story does it tell?

constant exploration of how graphic

from the sea of sameness by striving

cultural signifiers can be applied and

for the exceptional.”

my

African

culture

“Who inspires me: I love Kelly Wearstler’s aesthetic, the bold and

reinterpreted to inspire new and

The company prides itself on

fearless way she approaches design,

contemporary product designs that

the fact that all of its products are

there is a freedom in her work that

are relatable and relevant to modern

designed

I would love. I also love how multi-

society.”

South Africa.

Describing herself, Mpho says: “I am a mom, wife, #girlboss, mentor,

When

and

manufactured

speaking

in

faceted she is as a designer, and she about

her

influences, Mpho defines it as such:

is a girl boss! Another strong design mentor is Jonathan Adler, how he

sister and a work in progress. I

“What inspires me: I have

grew his brand from ceramics to

am constantly evolving, knowing

always been inspired by the clean

furniture, wallpapers and interior

that I don’t know anything at all.

functionality of European mid-

design, I am always learning from

Most of all I am just a girl from a

century design and the design

him. Locally I love Atang Tshikare,

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

45

his pieces have a story and are so much fun, and more importantly, I find that the stories that he is telling through his product design resonate with most people which is the important bit, that connection is why most of us do what we do.”

And of her team, she says: “Our team is made up of amazing individuals who are insanely creative, obsessed with providing fantastic and innovative design solutions and is addicted to great design and coffee.”

So

finally,

what’s

coming

up

at

THEURBANATIVE - what is the future of the brand? Mpho says proudly, “We have a couple of exciting collaborations coming up in and around Africa and are going to be exhibiting at Design Joburg. But we’re most excited about the launch of our capsule homeware designs and new pieces in our Afrocentric range. We are planning for 2018 to be a year of continued brand building as well as relationship building with our clients and prospects.”

In addition to heading up TheUrbanative, Mpho also owns DesignPeo (Peo: seed in Setswana), an interior design company established in 2015, with a firm belief in the idea and the benefits of collaborative working relationships.

“We work with a range of talented multidisciplinary professionals to offer you inspired and imaginative design solutions. We create extraordinary spaces suited to different workspaces, brands and increased human comfort and strive to create residential/corporate/retail/health and wellness environments that are an organic extension of the client’s needs, company’s culture, goals and aspirations,” she adds.

46

BUILT ENVIRONMENT

CRIME PREVENTION THROUGH

ENVIRONMENTAL DESIGN The environment can play a significant role in influencing perceptions of safety. Certain environments can impart a feeling of safety, while others can induce fear, even in areas where levels of crime are not high. In this regard, planning and design measures can be utilised very successfully to enhance feelings of safety in areas where people feel vulnerable.

The environment can play a significant role in influencing perceptions of safety. Planning and design measures can be utilised very successfully to enhance feelings of safety in areas where people feel vulnerable.

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

47

Within the South African context, it incorporates the following:

understanding

based on research conducted by CSIR Building and Construction

++ physical

crime that are being addressed.

This introduction to CPTED is

Technology into the link between crime

and

spatial

and

the

the

possible

planning approaches used at

planning,

urban and architectural design,

planning

of

causes of the different types of

the strategic level; ++ the detailed design of the

Some examples of CPTED initiatives

and the use and management of

different

the physical environment. The

example, the movement system

crime

research

and

pedestrian routes, appropriately

involved

international

elements

the

roads,

-

the

for public

++ Reducing the opportunities for through

well-planned

studies as well as primary research

open space system, individual

designed

within the South African context,

buildings

areas, mixed-use and extended

and as such the findings represent

sites, etc., and

an

interpretation

particularly

++ the

on

their

separate

informal

hours of use of facilities.

management

of

either

++ Limiting the potential danger

relevant to South Africa as well as

the entire urban system or

posed

developing countries in general.

the

managing

The study of the relationship

various and

a

has

resulted

theoretical

schools

reducing open

and

spaces

and

vacant land. ++ Providing appropriate lighting

urban area.

in

in parks, along streets and

approaches

of

and

by

Changes made to the built

pedestrian routes etc.

of

environment to reduce crime often

++ Providing adequate infrastruc-

thought have emerged since the

elicit a response from offenders.

ture and facilities such as roads

early 1960’s. Some of the more

People change their behaviour,

and telecommunication so as to

familiar Crime

number

elements

precincts that make up the

between crime and the physical environment

different

trading

approaches Prevention

Environmental

Design

include

crime shifts its locale, or the type

improve interaction between

through

of crime changes. Environmental

communities and the police.

(CPTED,

design can therefore not always

pronounced sep-ted), situational

be totally preventive and for

environment

crime

this

prevention

and

place-

++ Managing

the

built

efficiently,

eg.

prevention

replacing light bulbs timeously,

specific crime prevention. The CSIR

measures require constant review

trimming trees and vegetation

CPTED team bases its work on a

to

when

South African interpretation of

effectiveness.

reason continue

crime to

ensure

their

international approaches as well as

It must also be remembered

research conducted locally, and has

that what works in one situation

defined CPTED as follows:

might

Crime Prevention through Environmental

Design

and

where

required,

collecting refuse regularly etc.

THE PRINCIPLES OF CPTED

in

Based on international studies

another. Because numerous factors

and guided by the local context,

not

be

appropriate

aims

influence the type of crime that

five principles have been identified

to reduce the causes of, and

occurs, as well as where and

which are crucial to establishing

opportunities for, criminal events

when it occurs, it is necessary that

how the physical environment

and address the fear of crime by

planning and design principles

either reduces or increases the

applying sound planning, design

work together with other crime

opportunities

and management principles to the

preventive

is

principles are not in conflict with

built environment.

also essential to have a clear

other sound planning and design

approaches.

It

for

crime.

These

BUILT ENVIRONMENT

48

principles.

Although

they

are

function is to ‘police’ an area

++ Access

and

Escape

Routes:

aimed at creating a safer physical

Visibility is the degree to which

Certain types of criminal events

environment, they also support the

an environment is made visible

and sites are often deliberately

creation of well performing living

by elements such as lighting

chosen for their ease of access

environments in general.

and

to escape routes by the offender

uninterrupted

lines

of

sight.

These are:

prior to perpetrating the crime.

Similarly, the availability of

++ Surveillance

and

Visibility:

++ Territoriality: This is a sense

access and escape routes also

the

of ownership of one’s living or

add to the safety of potential

casual observance of public

working environments. Ter-

victims.

and private areas by users or

ritoriality and people’s sense

residents during the course

of ownership are encouraged

of

Passive

surveillance

is

++ Image and Aesthetics:

The

when residents identify with

image projected by a building

refers

the spaces and where the space

or a public area in the city has

to surveillance by police or

and its configuration are legible

been clearly linked to levels

other agents whose express

to them.

of crime and particularly to

their

Active

normal

activities.

surveillance

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

isolation and the context within

require

emphasising

often referred to as ‘crime and

which it is to be applied should be

aspects

of

grime’.

taken into account. When applying

functions

the fear of crime. This link is

the of

49

particular

conventional officials

and

any one of the principles the

professionals such as architects,

Target

implications it has on any of the

urban planners and designers.

hardening reduces the attrac-

others must always be considered.

tiveness or vulnerability of

For instance, when building a high

about more than the physical

potential targets by, for in-

wall around a property (target

spaces – at its core lies community

stance, the physical strength-

hardening),

consequences

development

principle

++ Target

Hardening:

the

Environmental

in

design

the

is

broadest

ening of building facades or

of

of

sense. The key to the success of

boundary walls.

surveillance and visibility must be

any intervention that involves the

considered.

planning and design of the physical

violating

the

principles

in

and

environment lies in the extent

increase

the

managing safer environments need

to which the people using these

possibility of reducing crime. Each

not necessitate additional activities,

environments are involved in the

principle should not be viewed in

effort or resources. It may merely

process.

Employing combination

these can

Planning,

designing

50

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

YOUNG designers award As a private higher education institution, Inscape is

Inscape Young Designers Award in an attempt to educate

interested in the development and progression of our

schools and their learners on the extent of design and

primary and secondary learning environments. We

design education as a solution to careers of the future. The

acknowledge that the foundational learning of our

competition was opened to all learners including those not

applicants is paramount to ensure success at a tertiary level.

typically aware of design as a solution to make change and

In 2006, we established our Teachers Conference to

improve life.

support teachers in the creative sector. These relatively

The competition sought to find an insanely imaginative,

small and exclusive gatherings yielded a positive response

infectiously awesome and intentionally expressive unique

but made us realise that access to additional support and

thinker? The Award was open to Grade 8-12 learners and

learning is reserved for those teachers who are able to

included a grand prize of R50 000 cash prize (R25 000 for

physically attend the functions due to access to transport

the winner and R25 000 for their respective school). In

and proximity factors.

addition an Inscape online OFFSITE courses for the winner,

In 2016, we were able to launch an Online Teachers Conference, a first for the sector. A new and improved

five friends and their teacher was on offer.

The brief required the entries to:

approach to ensure that the invaluable information we

The team at Inscape was excited at the vast number of

collect from relevant experts in various fields was made

entries received for the Young Designers Award and have

available through an online platform, custom designed to

worked hard since the closing of the competition on the

serve a much wider teachers market. Attendance improved

31st July, evaluating each and every one of the potential

significantly, improving our reach.

young designers of 2018.

The Conference focussed on Design Thinking and

We were right! We knew there were amazing young

Creativity as a Classroom Management Style. Inscape

designers in hiding, waiting to be found. And, found them

invited TSSA (Thinking Schools South Africa) to collaborate

we have.

in the delivery of the conference. The inclusion of TSSA

WINNERS

as an organisation was an obvious choice because TSSA

++

promotes similar pedagogical approaches to that of Inscape and it was a natural continuation of the relationship already

Award Winner: St Cyprians School for Girls GR.11 ++

developed through previous support of the organisation by Inscape.

++

level, passionate about ensuring learning by harnessing the

Thavia Cebekhulu - Faculty: Creativity and Design: Lebone II College of Bafokeng GR. 12

++

directly involved in the arts and design subjects, this is not the case. This conference was suited to any teacher at any

Robyn Burger - Faculty: Built Environment: St Cyprians School for Girls GR. 11

Whilst at first impression, it could be assumed that the conference theme should be reserved for those teachers

Lucy Chesterton - 2018 Inscape Young Designers

Kira Gossow - Faculty: Business and Communication: St Cyprians School for Girls GR.8

++

Lisa Strauss - Faculty: Digital Design and Technology: Brackenfell High School GR. 10

natural creative and thinking abilities of young people.

This year, 2018 has seen the launch of and extension

Look out for the 2019 INSCAPE – YOUNG DESIGNERS AWARD that

of this outreach to include whole schools and specifically

will feature new features including younger age groups, Young Designer

high school learners. The Inscape team developed the

Awards workshops for teachers and extended prize offerings.

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

51

Lucy Chesterton/2018 Inscape Young Designers Awards Winner

THE WINNERS

Thavia Cebekhulu/Faculty Winner: Faculty Creativity & Design Robyn Burger/Faculty Winner: Built Environment*

Kyra Gossow/Faculty Winner: Business & Communications

Lisa Strauss/Faculty Winner: Digital Design & Technology

++

Kaitlyn Shepherd - St Cyprians School for Girls GR. 9

++

Emily Raine - St Cyprians School for Girls GR.9

++

Michael Booysen - Penryn GR. 9

++

Bongumenzi Siluma - Krugersdorp High School GR. 10

Jean Du Preez/System Design*

Kaitlyn Shepherd/Product Design*

Emily Raine/Architectural Design*

Jean Du Preez - Hoerskool Ben Viljoen GR. 12

Michael Booysen/Product Design*

TOP 10 ++

Bongumenzi Siluma/Stop Motion*

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

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TRIBE MAGAZINE / ISSUE NO. 4 / 2018

53

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54

TRIBE MAGAZINE / ISSUE NO. 4 / 2018

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