Ministry of Design Colloquium Abstracts

T H E UN I VE R S I TY OF THE W EST INDIES

Department of Creative and Festival Arts

VISUAL ARTS UNIT

from cottage industry to state enterprise

May 28-29, 2015 | Open Campus Auditorium, Gordon Street, St Augustine

Colloquium

ABSTRACTS

Lesley-Ann Noel

CHAIR

Product designer, Lesley-Ann Noel has done extensive work in product design, export product development, and entrepreneurship training and strategy for development agencies such as the Export Promotion Council of Kenya, Caribbean Export, The International Trade Centre, and the Commonwealth Secretariat. On these projects she has worked with rural and semi-rural entrepreneurs and manufacturers in Africa, South America, and the Caribbean.

Ms. Noel is currently the Coordinator of the Visual Arts programme of the Department of Creative and Festival Arts at The University of the West Indies. She is also an adjunct faculty member at the Arthur Lok Jack Graduate School of Business. Her primary research interests are: the impact of art and design education at primary school level, and the importance of design for developing countries.

As a designer, she has exhibited work at design exhibitions in Trinidad & Tobago, Jamaica, Brazil, Germany and

France and the USA, and has presented papers at international design conferences in the USA, the UK and India.

Ms. Noel has a BA in Industrial Design and a Master’s in Business Administration. She is a Fulbright Scholar and will commence a PhD in Design at North Carolina State University in August 2015.

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Michael Lee Poy

CHAIR 4

Michael Lee Poy earned a Bachelor’s Degree in Architecture from Pratt Institute of Technology in 1995 and a Master’s in Environmental Design (M.E.D.) from Yale School of Architecture in 2004. While in New York, he established himself as an emerging installation artist in several group shows and designed/fabricated masquerade costumes for Peter Minshall in Trinidad’s Carnival.

During that time, he earned a living as a sub-contractor in high end interior renovations in Manhattan and designed and made furniture in Brooklyn. Born and raised in Montreal Canada, Michael is now a registered architect in Trinidad and Tobago and was on the executive board of the Trinidad and Tobago Institute of Architects (TTIA) as Honorary Secretary and Chair of Education. Before founding Atelier

Lee Poy Ltd. in 2007, he worked in Trinidad as a junior architect at ACLA: works, established the interiors department for MacFarlane’s Design Studio and made and designed masquerade (mas) for Carnival. He is currently a part-time lecturer at the UWI Department of Creative and Festival Arts.

Anna Whicher and Piotr Swiatek awhicher@cardiffmet.ac.uk

Design, Innovation & Policy 2020 – anticipating trends for design-driven innovation Bio: Anna Whicher is Head of Design Policy at PDR at Cardiff Metropolitan University. Anna is responsible for developing new research, liaising with government and leading international projects on design and innovation policies and programmes. Since 2009, Anna has coordinated the SEE network of 11 European partners sharing international best practice to accelerate the up-take of design in innovation policies and programmes (www.seeplatform.eu). As part of SEE, Anna has delivered design policy workshops to over 150 policy-makers across Europe. She is also an elected board member of the Bureau of European Design Associations (www.beda.org), a network of 46 design centres and associations.

Piotr Swiatek works as a Research Assistant in Design and Innovation Policy Team at PDR, Cardiff Metropolitan University. He was involved in the delivery of the SEE project – conducted research, developed case studies and wrote articles for Policy Booklets and Bulletins. Back in Poland, where Piotr is from, he wrote Polish Design Manifesto and worked together with a design centre Castle Cieszyn (www.zamekcieszyn.pl) to promote the creation of design policy.

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Abstract: European Union’s policy ‘Innovation Union’ from

and programmes. Between 2012 and 2015, SEE

the year 2010 was the first on European level to

has run 102 interactive workshops involving over

recognise design as a factor of innovation. Since

800 policy-makers in using design methods, what

then the landscape for design in Europe has

has directly influenced 17 policies and 40 design

changed dramatically. Design is progressively

support programmes. Through new research,

moving up the policy agenda at multiple levels of

case-studies and policy recommendations SEE has

governance across Europe. Not only is there an

built a bank of evidence to support governments

Action Plan for Design-driven Innovation

to integrate design into policy, programmes and

launched by European Commission in 2013 but a

their mainstream practice. This article draws on

growing number of countries in Europe, including

the experiences of SEE to present emerging

Denmark, Estonia, Finland, France and Latvia have

trends in design-driven innovation that could

developed national design action plans. Also at

develop in coming years.

regional and local levels the awareness of design is increasing with a number of regions integrating design in their innovation policies and smart specialization strategies, and more and more design managers innovating public services within local public authorities.

The SEE Platform project, led by PDR at Cardiff Metropolitan University and funded by the European Commission, has significantly contributed to these changes. SEE Platform is a network of 11 European partners engaging with government to build capacity for design-driven innovation and integrate design into innovation policies

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Maria Mater O'Neill mmo@rubberbandpr.com

Four areas for scaffolding a design mindset towards a national design policy Bio: Dr. María de Mater O’Neill is a partner, head researcher and creative director of Rubberband Design Studio, LLP. Lives and works in San Juan de Puerto Rico. She focused on the role of the designer as a social agent in building both economic and social capital. She has done design led research on areas as health care, cultural approach to technology and education. All these themes relate to democracy and social inclusion through a trans-cultural and design mindset.

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Abstract: Four areas to scaffolding a design mindset towards a design policy We work for business with ill-defined problems in the context of Puerto Rico, a Caribbean island under current economic depression. Our context also has a lack of design discourse and limited design culture. These have brought in my design firm opportunities to develop a contextual set of strategic resilience thinking operations and new design led approaches skills. The four areas that we as designers facilitators and producers focused in order to tackle these issues were: inquiry of history of local design (recent case study of success and failures); collective inquiry about current local teachers’ educational design approaches (how they are teaching 21 century skill needed for collaboration in distributed cross cultural teams in real life projects); inquiry about how the people relate and experience culturally with their mobile technology (informed partly on our client projects) and the use of research of local cultural industry economic statistics in order to understand the current financial issues in the design practitioners and the impact in the Gross

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Domestic Product. User centered, participatory and reflective methodologies, Agile and Lean, transparency and transdisciplinary approaches, and evidence based, all have informed under a resilience strategic thinking model ways to see the potential use of design as transformation tool, a tool to explore, problematize and to change the rules. We will present briefly the case studies findings, results and impact on the four areas.

Overall results have been: an atmosphere of openness and transparency with clients, designers comfortable with public error and wanderings, and more engagement among stakeholder.

Although we have identified new challenges: a lack of Systems Thinking and disregard of people’s tacit knowledge.

Jalaludin Khan jkhantt@gmail.com

From a state of “old talk” to a National Integrated Design Policy and Action Plan for a “Ministry of Design – from Cottage Industry to State Enterprise” Bio: Jalaludin A. Khan is a professional designer and principle sustainable development consultant with the design centered consultancy INDIVERSITY GROUP based in the Republic of Trinidad and Tobago. He has academic certificates from Diploma J.D.T.I.; Graphic Design, B.Sc. Honours U.W.I. St. Augustine.; Environmental & Natural Resources Management and International Relations Science & Agriculture and is a M.Sc. U.W.I. St. Augustine.; Engineering Urban Planning Candidate. He has worked as a design consultant for local, regional and international public, private and civic sector agencies such as the National Museum & Art Gallery Trinidad and Tobago, McCann Erickson Advertising Trinidad and Tobago, Caribbean Epidemiology Centre (CAREC) European Commission. Mr. Khan has awards in Art and Design, Community service and Environmental Conservation & Management. He is a board member of the Trinidad and Tobago Art Society and a number art, environment, heritage and community organisations. He has traveled extensively reviewing Art and Design through the Caribbean, North America, Northern South America, Western Europe and China.

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Abstract: Design is an integral aspect of today’s 21st

and an implementation Design Council for the

century economy and key to our quality of life.

Republic if Trinidad and Tobago that balances the

Good design is aesthetically pleasing, functional

transformation of the economic growth model

and is a viable strategic tool for innovation,

with the application of “sustainable design’’

productivity, competitiveness for economic

thought with economic, social and environmental

development, cultural identity and environmental

needs for The Republic of Trinidad and Tobago as

stewardship. Good design means competitive

a small island developing state.

business advantage and is a powerful catalysis of sustainable growth. It is the foundation for the private sector to be competitive and is a critical tool for the public sector to develop a clear set of public design thinking and policies if Trinidad and Tobago to position itself to be innovation and competitive for further strategic growth. The application of design can address socioeconomic and social public needs to addresses development sustainability.

This paper discusses a proposal for the development of a National Integrated Design Policy and action plan within the context of North American, Asian and European examples of national design policies which are mainly about developing national economic competitiveness.

The paper proposes an Integrated Design Policy

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Cilla Benjamin Cilla.benjamin@sta.uwi.edu

Healthcare Facilities - Inefficient by Design Bio: Cilla Benjamin is presently an Instructor in Industrial Engineering of the Faculty of Engineering at the University of the West Indies (UWI), St. Augustine Campus. She has extensive experience in the productive sector and is professionally certified as a Lean Enterprise Master Practitioner. Her qualifications include MSc Industrial Innovation Entrepreneurship and Management from The University of Trinidad and Tobago and MSc Production Engineering and Management and BSc Industrial Engineering from the UWI.

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Abstract: Healthcare services are often a sensitive topic

Motor Corporation, and adopted by diverse

among populations. In countries such as Trinidad

industries, globally.

and Tobago (T&T), where the majority of healthcare service provision continues to reside within the public sector, it is an issue for the governments that fund the services at great cost, and the citizenry, whose experiences dealing with the services may inform their opinion of the

This paper assesses the potential for linked cell design within primary and secondary healthcare facilities in T&T as a means of reducing patient stress and discomfort while increasing throughput by more than 50% and enhancing aesthetic

administration’s performance.

appeal. It references a standard primary care

A review of systematic approaches dealing with

tion as cases. The study may be useful for public

the costs of providing healthcare and level of

and private sector health care providers in the

services provided has led to the conclusion that

design of infrastructure and related processes that

traditional hospital design may have led to

enhance performance rather than retard it.

facility and a major secondary healthcare institu-

built-in inefficiencies. These are somewhat difficult to overcome based on the fact that buildings are generally difficult to re-purpose without extensive changes to the infrastructure, which literally require breaking down certain walls and building others. However, where information regarding the most frequently treated illnesses is available, providers should consider arranging health care facilities in linked cells, where linked cells are a key characteristic of the production system made famous by the Toyota

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Keywords: Healthcare Institution, Toyota Production System, Linked Cells, Performance

Daren Maynard darenkmaynard@gmail.com

A conceptual design for efficient government ministerial allocation in Trinidad and Tobago Bio: Daren Maynard is the Shared Services Manager at Novus Tech Limited and F1RST.com, respectively. He functions as the Group Head for Shared Services on the Group Board of Directors. He earned a BSc. (First Class) in Industrial Engineering from The University of the West Indies, St. Augustine; a MSc. (Distinction) in Programme and Project Management from the University of Warwick; and the Project Management Professional® certification. He is an Adjunct Lecturer at The UWI teaching in the Faculty of Engineering and in the Arthur Lok Jack Graduate School of Business in the areas of Research Methodology and Project Management.

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Abstract: The government of the day has to execute its

ministries with the aim of the consolidating the

political mandates. This is done via ministries -

myriad of ministries that have been propagated in

organisations headed by a politically appointed /

the past and current administrations in Trinidad

publicly elected leader and staffed by a cadre of

and Tobago. This design uses the concept of

civil servants. The allocation of a ministry's

superministries to consolidate like areas with the

portfolio of responsibilities is often a guessing

use of supporting sub-ministries to drive organi-

game in the Westminster-Whitehall style of

sational efďŹ ciencies in these state-sanctioned

parliamentary democracies like Trinidad and

organisations.

Tobago. The decision rests with the whims and fancies of the Prime Minister of the day. This paper looks at designing a model for the efďŹ cient allocation of ministerial portfolios based on complementary areas in the core portfolios; the ability to share services, and the potential collaboration among the various ministries. This paper looks at the establishment of 14 permanent

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Keywords: political, design, portfolio, allocation

Angelica Rodrigues Bencosme rodriguezbencosme@gmail.com

Furniture Design as a tool of social inclusion Bio: Angelica Rodrigues Bencosme achieved her B.A in Interior Design with a thesis about furniture but went on to the national Dominican polytechnic institute to become a furniture designer. Afterwards she completed interdisciplinary studies of furniture at the Universidad Politécnica de Cataluña (Diploma) and the Universidad de Nebrija (Masters). Once back home, she lectured at Dominican universities and attained a Master’s in Education from the Tecnológico de Monterrey. She’s published the book “El Mueble de Madera Dominicano” (2013) to rediscover design as a tool for social inclusion. Currently lecturing at Instituto Tecnológico de Santo Domingo, Angélica is pursuing a Ph.D. at the UWI’s Institute for Gender and Development Studies.

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Abstract: Furniture design can be defined as the mental

If governments would direct resources “towards

processes that take place before, during and after

design initiatives on a national level”, furniture

its manufacturing. It is part of a broader field,

design as a tool of social inclusion should be

industrial design, which has inadvertently

considered for being easy to approach and

permeated practically every aspect of our lives (i.e.

implement; perhaps being easier to comprehend

cell phones, tablets, smart watches, etc.); hence

than other branches of design whose products are

brought attention to its significance and

intangible. This paper would include recommen-

transcendence. What homes look like, what they

dations for implementation. Furthermore, it

contain, how they are inhabited, and how they are

encompasses several aspects of interest in this

represented are always functions of the totality of

colloquium: design for the home, for social good,

social practices that constitute culture at particu-

for development… urban and sustainable design.

lar times and places.

More than serving for physical comfort or decorating our homes, furniture design can also serve as a tool for social inclusion. Unlike other industrial products, furniture can be created using local materials and doesn’t require state of the art automatized processes or expensive machinery, which would allow deprived social sectors to have access to this trade and benefit from it. It can also serve to promote local culture and traditions; hence it can be a tool for social inclusion. That is, furniture design and manufacturing can foster social capital.

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Debbie-Ann Estwick Small Business Development by Design

Bio: Specialties Design Strategy | Design Thinking | Graphic Design Experience 2013 - Present: Director, Integrated Marketing Communications, University of the Southern Caribbean, Trinidad 2006 - Present: Design, Marketing & Brand Strategist, Freelance Designer 2011 - 2012: Senior Brand & Innovation Strategist, Ethnic Vision Inc., Barbados Education 2009 - 2010: Master of Arts, Design and Branding Strategy, with Distinction, Brunel University, UK 2005 - 2008: Bachelor of Fine Arts, Graphic Design, First Class Honours, Barbados Community College (BCC), Barbados 2003 - 2005: Associate Degree, Visual Arts, BCC, Barbados

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Abstract: This conceptual paper, “Small Business

Upon these premises are built a discourse on the

Development by Design” hypothesizes the role of

proposed value and responsibilities of an

a proposed Ministry of Design to wield design as a

organised body that actively forms co-operatives

strategic tool for innovation and economic

with the intent of connecting craftsmen, artisans,

development in and through small businesses in

engineers and manufacturers with a design-led

Trinidad and Tobago.

development system that acts as consultancy, idea

The study explores thought concepts regarding

incubator and, in some cases, grant provider.

design as both a product and process, seeking to develop and apply these to a “Trinbagonian” context.

The value of further study on such a hypothesis

The study, which borrows from varied case studies

contribute to the development of said industries

and literature, is based on the following premises

in Trinidad and Tobago and in making the republic

That designers are natural innovators with the ability to creatively problem-solve (The Design

may bring to light methods in which design can

a design hub of the Caribbean, further diversifying and strengthening the local economy.

Experience; Cooper & Press, 2003, p.195), That design thinkers are the new leaders of the future (Rise of the DEO: Leadership by Design; New Riders, 2014, p. 16) That improved competitiveness and viability of small businesses and engineering and manufacturing industries can be achieved through collaboration, by way of design

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Keywords: Design, SME, collaboration, economy.

Sharon Wilson Designing Strategies For Economic Development Bio: Sharon Wilson is a mother of two girls who has always had a passion for scents. Thus, it comes as no surprise that when Sharon decided to leave her Management job and own a business she choose to open a Bath and Body shop.

Before that move, Sharon started making soaps as a hobby, because of her preference for natural products. Therefore, when her daughters and friends persuaded her to take her hobby and turn it into a reality. With further training abroad in soap making and lots of research that Sharon truly began to transform her kitchen.

Sharon was able to use the seed money from NEDCO and make her dream a reality. She opened her first scented shop opposite Batimamzelle Restaurant in Cascade. Within a year, Sharon was able to achieve the Apex Award in 2006 for the Most Indigenous Product and the Most Innovative Idea. She also received an award from Nedco/AFETT’s for Best Female Entrepreneur at International Women’s Day 2009 celebrations. Sharon’s other achievement was copping “THE Most Outstanding Micro Business 2010”.

Today, Sharon is still operating a small studio teaching soap and candle-making as well as doing small orders.

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Abstract: In order for SMEs to survive in today’s economy. It

Design and designers can play a role in helping us

is important that we remain strong and relevant

acquire these skills, but the cost can be

as well as continue to produce quality product

prohibitive for small entrepreneurs. Government

and services at competitive prices. Entrepreneurs

can provide financial or non-financial support in

need to acquire new skills and technologies to

helping entrepreneurs work with designers.

improve our businesses. Not all SME’s have the capacity, resources to fund the high cost of these new ventures.

Some areas SME’s needs intervention 1.

Marketing and promotion

2.

Training/HR development

3.

Consulting/Advising

4.

Entrepreneur Development/Matchmaking

5.

Product Development

6.

Awareness

These areas are imperative for SME’s to grow and remain strong.

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Nigel Thomas DRAWING TOGETHER – Reshaping our world through Design in the 21st century Bio: Nigel Thomas is an extremely versatile Architect with a wealth of global experience in Architecture, Interior Design and Urban Planning having practiced as an Architect in the Caribbean, Europe, Australasia, The United States and Latin America on a multiplicity of projects. He is currently working on sustainable communities and humanitarian projects in the Caribbean, Namibia and Angola, including Housing, Educational and Health Facilities, Commercial/OfďŹ ce, Infrastructure and Waste to Energy Projects.

Responsibilities include Project Design, establishing programs and Master Planning.

He particularly relishes the challenges of collaborating with global Architects, Planners, Project Managers and Engineers with the attendant possibilities of technological transfer. He is involved with many World Class Designers; ARUP, LAS (Atlanta), Halcrow Fox (UK), Turner Construction, HOK, Outinord, amongst others.

Specialties: Architecture, Urban Planning, Interior Design, Space Planning , Landscape Design.

Website: http://www.nigelthomasarchitecture.com

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Abstract: Design as a manifestation of human expression is in the process of expansion as a global construct. Continually being reinterpreted and reinterpreting, reshaping, its environment whilst interacting with philosophy, culture, politics, technology, human sciences and a complex socio-economic nexus of forces. In its state of continual becoming, design thinking could indeed become a major force of societal transformation and economic diversification. However, in order to achieve such an objective a design based culture is needed, capable of transvaluation on a global scale; cities, nations, macro-systems (infrastructure, health care, education, housing as a strategy for urban acceleration, including crime prevention). Such an expanded notion of design beyond the fashionable antidote to hubris, would truly encompass our emergent, enactive-cognitive era.

In this paper I will explore the Genealogy of design from its origins (Herkunft) in primitive necessity, culminating in the early profound cosmological experiments of the Pre-Socratics as exemplified by the Greek Stoa. The humility of "drawing things together", gathering, in order to know ourselves is superimposed by the active-reactive synthesis of 19th and 20th century liberal modernism's"gesamtkunstwerk" (total art work) and "gestalt" (design as "unified whole", pan psychic perception, "collective unconscious" and "archetypal myth" (Jung-Nietzsche). The paradigm for design synthesis in the 20th century is the Bauhaus which unites Industrial and Furniture design, Art and Architecture. The curricula though broad is still based on rather strict idealistic modernist principles of aesthetics

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and ethics. Beyond the monolithic modernist tabula rasa of "form follows function", or the veneer and bricolage of the post-modernist emphasis on objects and forms without content, lies a potential cognitive and ethical revolution that seeks a balance between innovative creation, composition and careful planning. A new world of necessity requiring real design. The new principles of design must now find expression in defiant sustainable action to combat dysfunctional policies and methodologies that have led to ecological crises (the greenhouse effect/Biological destruction), dystopian economics, ascetic terrorism and the will to nothingness ("suicidal nihilism") ,abject poverty (lack of water, food, and infrastructure). Such a dynamic and complex reality requires a new global commitment and largesse. Design as thinking, feeling, connecting directly with the earth, our people, emotions, passions of a developing 21st century zeitgeist for meanings and prototypes that can truly make a difference to life. The impact of complex assemblages such as the information age, globalization and the digital era exemplified by codes, genes, software, nano-technology and bio-mimesis-requires new design paradigms and exegesis. Drawing together real world concepts and prototypes will allow interactive communication between the public and private realms in order to enhance life and in the process begin to truly know ourselves. For we must first know ourselves in order to become fully aware of the importance of design which would allow us to make the necessary changes for survival and the future advancement of life on earth.

Cosimo Di Maggio DDD – DESIGN DIGNITY DESTINY Bio: Cosimo Di Maggio is an Italian national living and working also in Trinidad & Tobago, with over 32 years work experience. He is an Architectural Design Consultant in the different design disciplines and has been design numerous public and private commercial, institutional, sports and residential projects worldwide, including some Award winning and recognized projects in Italy, Poland and Trinidad & Tobago. Designer of Furniture and Accessories, Image & Cultural Consultant of Foundations and Lecturer at workshop and event in Europe, Caribbean and South America. disseminating the importance of design in everyday life. His pluralism’s spare time flirts with art and travel and is determined to creatively touch every aspect of physical and virtual landscape.

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Member and Vice President of EUROCHAMTT for 2014-2015.

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European Business Chamber in Trinidad and Tobago

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Co-Founder, Professional Member and presently Board Chair of SIADIF TT

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Society of Interior Architect Interior Designers Interior Decorators

Industrial Designers Furniture Designers of Trinidad and Tobago •

Association of Sustainability Environmental Landscape Design Trinidad

Tobago •

Member of AOD Association of Designers Trinidad & Tobago

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Member of PMI Project Management Institute USA

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Member of AHF Architecture for Humanity Foundation USA

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Abstract: Design is an international language of freedom

The primary benefactor of design is humanity,

that speaks in all forms, to no speciďŹ c period, or

design is about people the relationship between

place and the concept of design cannot be

design and dignity is the genesis of human

enclosed. There is an essential and indissoluble

destiny. The philosophy behind the design is to

relationship between design and dignity in our

achieve the human dignity.

life.

Humans were born with a natural knowledge and

The source of design is a divinely inspired gift of

we have extreme potentiality to increase it

freedom that dignities the human being and

developing the senses and the emotions, and

connect one to the essence as God intended. In its

develop one of the most powerful gifts we receive

application design is a transformational force it

from God‌, which is curiosity, which is the base of

seeks to improve and enhance human endeavour.

the creativity.

It has the ability to transform the things we do every day into things that we love the ability to make something simple into something elegant, it becomes a reason to transform a normal day into a special day, creating spaces and objects of which we fall in love with. We are all designers because we modify our surroundings and environment continuously. Our surroundings’ are directly impact how we feel, aspire and engage. Space of hope, dignity and comfort are foundations for nurturing the growth and success of every human being.

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Robert Young robert@thecloth.net

The cooperative as a solution to manufacturing, production and isolation for fashion designers in Trinidad and Tobago and the Caribbean Bio: Robert Young is the founder and principal designer of the fashion house "The Cloth Caribbean", which has been a staple of the Trinidadian fashion scene since 1986. Robert’s work embodies elements of Caribbean folk traditions, the spirit of revolution existing in the region and an interest in restoration of the social ecology and integration of community for public change.

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Abstract: There is the idea that manufacturing of design,

worker has about you – in their heads, about how

especially fashion, is impossible in Trinidad and

they will be treated at work affects the

Tobago and the Caribbean. The solution proposed

relationship that the worker has with the

by people in influence and control and with the

designer-employer.

money to spend, is often to produce in China or Colombia or to import labour for production. The position of the current government of Trinidad and Tobago is that the fashion designer needs to design and get it produced elsewhere – story done.

The ‘stitchers’ or the producers of clothing are over 45, and are in a different part of their work cycle, wanting to work at home, their own factories, or to stop work completely. The pool of small factories, from which a small atelier would have been able to get expertise from, no longer exists, because of the presence of China since 1997. So the trained ‘stitcher’ who would have done high volume work or piece work, no longer exists to pull from to work in a small atelier in prduction. So it seems that …

Another challenge is our relationship as designers with people who work for us. The ‘story’ that the

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These are some of the challenges that affect production of Trinidad and Tobago and the Caribbean. In this paper, the author proposes to discuss the solutions …

One of the key solutions to the problem of production in the Caribbean is adjusting the relationship between the producer and the person who wants the items made. How does the designer address the skilled person with the technology of manufacturing in a different way – where they become the owner of production – as unsexy as it may seem. This paper proposes a corporative where the skilled person owns the production floor and the person who requires the skill is a member of the same cooperative or buys the service. This cooperative would be responsible for patterns, prototypes and production.

Alethea McIntyre carlenealethea@gmail.com

Trinidad & Tobago Urban Design Vernacular Bio: My name is Alethea Carlene McIntyre, child of a man from Moruga and a woman from Tunapuna. Realized in Florida, USA, formalized in T&T. I am an Architect to be, dreamer at best, lover of curry and going to the beach. My reality consists of conceptualising and implementing design possibilities for the campus of the University of the Southern Caribbean, my parent’s house, and the development of my Church. The rest of the time, there are dossiers to be done for Citizen’s For Conservation, ideas for small projects to be shared with relatives, the honing of my craft as a future Architect and things to be dreamt about then subsequently done. The culture of design I intend to emulate is that of the Bible; God’s method of designing: Service to humanity, spoken in a language that all speak based on the Spirit of that place, functioning economically as a steward.

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Abstract: Urban Design has a language that is being lost. It

society. Speak it again. Learn of it and speak it

is no longer spoken or taught, hence it is not

again. Awaken the ears and minds that have fallen

known. Rather, it isn’t fully loved therefore it isn’t

deaf. Make it be seen. Make it be heard. See it

fully known. And what of this lost Urban Design

again. Let it speak with all its complexity – its

language? It was part of the everyday experience.

forms, structures, Social context, dialects and

It was part of all that this civilization was

diversity. It will teach. It will respond.

surrounded by. Everyone and everything spoke it.

Fortunately, Some traces of it remain; beautiful decay, lovely ruins, items of days past linger on unnoticed. Or so it would seem. Look. Do you see them? Listen. They speak; some whisper, some shout. People hear it. Some look and wonder. What if they were really seen, understood? What if they became part of the everyday experience again?

Urban Design that speaks, a tapestry that is intrinsically human and “Trinbagonian”.

Urban Design that illustrates the fabric of this nation, realizes its tensions, and thriving on its propensity to be interwoven. Urban Design that is accurate. Time Tested Urban Design that is an expression of this cultural experience with all its chaos. Urban Design that is observant, full of integrity, an able to grow in quality – Urban Design that knits the framework for a dignified

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Kriston Chen carlenealethea@gmail.com

Rebuilding a Nation with Design Standards Bio: Kriston Chen is a graphic designer who makes books and websites with an emphasis on strong typography, unique concepts and healthy communities.

A graduate of Parsons The New School for Design in New York, Kriston has worked at Macmillan Publishing (Henry Holt & Square Fish) and Random House (KnopfDoubleday). He is currently a design freelancer in Trinidad

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Abstract: Standards are the tools from which all of us can

support thesespecifications—you have to support

design and build sophisticated, beautiful [web]sites

HTML you have to support CSS—so we came along

that will work as well tomorrow as they do today.

and did that.

— Jeffrey Zeldman

— Jeffrey Zeldman

If Trinidad and Tobago (T&T) was an app, with 1.3

Popular events like TED and SXSW provide

million users, it would have web standards from

contexts for mainstream audiences to discover

which to function, perform and scale globally.

design. They offer a stage to recognize and

Currently, there is no such thing.

nurture design talk in culture. Those presenting

This paper advocates for a clear and focused look at design standards through community building.

It initiates a conversation about design standards, through education and outreach at a community level—with designers, engineers and business leaders tackling and presenting bold, creative ‘problem solving’ around essential needs of people in Trinidad and Tobago.

The web is supposed to be an open platform for all and here we were making these sites that were incompatible...these two browser makers [Internet Explorer and Netscape]...were competing the way software manufacturers always compete—competing on features—and nobody was saying first you have to

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are leaders in their communities (locally and globally), passionate about culture and creative problem solving around people. Trinidad and Tobago has strayed from being an open platform for its citizens due historically, to the non-existence of design communities that advocate and promote good design. This can be initiated through the use of a good design mark or symbol.

Keywords: design standards, web, community, design mark

Michele Leacock mango.designs1@gmail.com

Design in Education as a Sustainable Source in Trinidad and Tobago.

Bio: My name is Michele Leacock, I am a creative Professional specializing in Graphic Design, as well as Illustration. I also have an interest in Character Design and Animation as well as writing.

I have extensive experience in Business, Human Resources, and Customer Service. I run my own freelance business, and I am a part-time Teacher of Graphic Arts at Trinity College East.

I am very passionate about Art and Design, and how the creative arts are a positive way to encourage the youth and children to discover their potential.

My goal is to develop Educational programs for children and youth that incorporate Art and Design as a sustainable source that creates social change.

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Abstract: Most people in Trinidad and Tobago do not see Art

is more to Design than using programs such as

and Design in Education as a sustainable way of

Adobe Illustrator and Photoshop. They are now

making money and affecting change in our

willing to challenge their perception of the

society. It is still mostly thought of as a “nice

industry and what it offers.

hobby,” or something a Graphic Designer does like design a poster.

This resulted in a vast improvement of the

My motivation for this paper stems from my

class of 22 students, 18 of them came to class

observation within the current system I find

more motivated, excited, ready to work, and

myself in. I teach Graphic Arts to form 4’s and 5’s

considered changing their career choice to

secondary school students. This subject is not

Graphic Design.

considered as a first choice option for many of these students. It is mostly chosen because it is seen as a way of escaping from the “harder subjects,” but not really seen as an important or sound alternative.

As a result, I chose to reform the students thinking, to redefine what it means to be educated in design, and to challenge our present form of educating children and young people in Art and Design.

To date, this approach has been positive. The students are responding to the way the syllabus is being taught. They seem to understand that there

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students overall approach to the subject. Out of a

In conclusion, having a Ministry of Design, will not only aid with funding similar programs in schools, but will truly change the educational landscape, giving students more options, choices and greater accessibility.

Keywords: Michele Leacock, Design, Education, Trinidad and Tobago

Robert Pulley Theatre of the Imagination速: Blueprint Exchange Bio: Robert Pulley has enjoyed an extensive academic career in higher education as subject leader for 3D Design at Ravensbourne College, Dean of Art and Design at Falmouth College of Arts, Principal of West Dean College at the University of Sussex and Head of School at UCA.He was awarded a Master of Design by the RCA and his MBA was awarded by the Open University.

Robert is an advisory board member of Craft Research, a Fellow of the Chartered Society of Designers, a Fellow of the Royal Society of Arts, a Fellow of the Higher Education Academy, and a research student at the RCA. His portfolio is online at: www.bobpulley.co.uk

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Abstract: This paper addresses priorities raised in the Crafts Council’s manifesto, ‘Our Future is in the Making’ (2014) by placing enterprise and education at its heart and by setting out to promote research into learning through making. Participants across continents, using analogue and digital tools, are invited to take part in creative workshops aimed at designing artefacts that promote kinaesthetic learning as a driver for social and economic transformation.

Theatre of the Imagination® (http://vimeo.com/88650092) builds upon the practice of designer-makers by facilitating participatory art and design projects. The research intention is to determine how participation may nurture kinaesthetic learning and enterprise across regional and geographical boundaries.

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Dr. Stuart Medley and Dr. Christopher Kueh s.medley@ecu.edu.au

Beyond problem solving: A framework to teach design as an experiment in the university environment

Bios: Christopher Kueh is a Senior Lecturer at Edith Cowan University (ECU), Western Australia, as well as a design strategist/consultant who focuses on service design for social needs. His core career aim is to apply design as an agent to improve human interactivity, communication, and quality of life Stuart Medley coordinates the Graphic Design course at ECU. He is the author of the book, The Picture in Design, which seeks to provide guidance to graphic designers regarding communicating with pictures. Stuart has been a professional communication designer in Australia for 20 years with clients in Europe, Japan and the US. He has been a comic artist in residence in France. He is the art director for, Hidden Shoal Recordings, a critically acclaimed record label with a stable of international artists

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Abstract: The common norm of teaching design as a problem-solving agent is causing design to be perceived as linear production of artefacts that aims to solve identiďŹ ed problems. This design approach, while having its own merit in the commercial world, is limiting design from contributing to the larger communities that are currently becoming complex.

This paper presents the on-going exploration of teaching design as experimentation agent at Edith Cowan University’s School of Communication and Arts. Discussing examples of student works that surround real life social and health care issues, this paper suggests a framework that is embedded with observations, uncertainty, and imagination as the foundation to design education.

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Shweta Nanekar Design: For the Children, By the Children Bio: Specialties Shweta Nanekar is a landscape designer with over seven years of experience in designing children and family friendly outdoor environments. Her areas of emphasis include parks and formal and non-formal education institutions including several Montessori Schools, childcare centres, museums, and botanical gardens. Apart from her expertise in outdoor design for children, Shweta has extensive experience in developing design programs through participatory design process.

Currently Shweta is involved in planning of three public parks projects at a private ďŹ rm including one for special needs children.

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Abstract: With more and more evidence showing direct

Thirdly, we will take a look at public parks where

relationship between children’s health and

often times design elements are a mere response

wellness and their immediate outdoor

to satisfying the requirements of American

environments, there is a growing global

Disabilities Act. We will review design elements

awareness in the design field to create spaces

that make Public Park a truly inclusive space for

that address these issues. The rising awareness is

all.

result of research efforts in the field of health, education as well as top down initiatives like “Let’s Move!” campaign by first lady Michelle Obama.

Spaces designed for children are designed for all.

In this article, we will take a look at three project typologies where children spend majority of their time- homes, schools and parks. We will review examples of child friendly neighborhoods to summarise design elements that work in urban housing.

Secondly, we will review the design process involved in creating child-friendly outdoor learning environments through participatory design. We will briefly go over the methodologies used by the designers to gather input from children for a school project.

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Lastly, we will discuss some of the current work going on in the United States at policy level and review its relevance in the context of Trinidad and Tobago.

Christy Maingot christy@cmidinteriordesign.com

The Concrete Jungle: Urban Stormwater Design in Port of Spain Bio: Christy Maingot is a professional Interior Designer based Trinidad. In July 2007, she attended the School of Business And Computer Science, where she attained Autodesk CertiďŹ cation For AutoCAD. She also attended the Academy of Designing That November Where she took part In an Interior Design Basic Course and received awards for the Most Outstanding Studentâ€?. Christy graduated cum laude with a Bachelor of Fine Arts, major in Interior Design From the International Academy of Design and Technology, Orlando In October 2010. In May 2012, She became A LEED AP with specialty; ID+C. In January 2014, she graduated from the Boston Architectural College with a Masters of Design Studies In Sustainable Design. She Is also a member Of the Trinidad and Tobago Green Building Council (TTGBC), and an associate member of the International Interior Design Association (IIDA).

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Abstract: Port of Spain, a coastal city located in the

poor stormwater management. The

north-western region of Trinidad, is situated in the

environmental, social, and economic benefits

foothills of the Northern Range with most of the

associated with low impact development and

land gently sloping toward the sea. Over recent

proper urban stormwater designs are immense.

years, flooding is emerging as a major issue in the

Urban stormwater design and low impact

city. There have been instances where the East Dry

development also provides the opportunity to

River has burst its banks and caused widespread

become a model for other island nations in the

flooding in the city. The capacity of the river is

region, creating a path for a sustainable future. :

adequate for the water it carries, but sediment, garbage and debris in the river reduces its ability to accommodate large volumes of water and hence flooding occurs. As a result, citizens are increasingly experiencing many negative effects,

Keywords:

which are difficult to put a value to. Hours spent in traffic or awaiting public transportation, health implications and lost workdays all hold a significant threat to citizens on the island.

Amongst the many logistical problems faced by the city, there are also environmental problems associated with the floods. Ecosystems are destroyed, therefore leading to loss of habitat. To mitigate these negative effects associated with increased stormwater runoff in the city, both practical and strategic planning must be done. It is vital for Port of Spain to mitigate the impacts of

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flood; mitigation; stormwater; sustainability

John Stollmeyer john.stollmeyer@gmail.com

An Ecological Approach to Design

Bio: Born in 1952, John Stollmeyer graduated from the University of Western Ontario in 1974 with a BA in Visual Arts. His first one-man show in 1982, inspired by his involvement with Rastafari, was called “The Counterfeit”.

From 1983 to 1993 he returned to Ontario and pursued a woodworking apprenticeship. Moved by the bioregional vision he returned to Trinidad in 1994 and established an ecological business designing fashion accessories from calabash and coconut shell. John’s Midnight Robber character “King Kobo” was inducted into the Rapso fraternities Oral Tradition in 1996. Since 2007 John has been teaching and designing Permaculture

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Abstract: The Anglo/American empire, aka industrial civilization has been termed the culture of maximum harm. The discovery of the energy potential of the finite (when they done they done) fossil fuels, coal, oil and gas, led to an explosion of productive forces generating a plethora of consumer “goods” and an exponential growth in Homo sapiens protoplasm at the expense of other life forms. All empires have a lifecycle and their peak is always recognized by its baroque extravagance.

In the wake of the energy crisis of the early 70s leveraged by by the arrival of peak oil for the continental USA and the dawning of the consciousness of resource limits, a concerted effort was made by many to reduce their environmental impact.

The word ecology coined in the 19th, only became familiar to the global elite concerned with the overshoot of the carrying capacity of the planet in the late 20th century. Etymologically it comes from eco- from the Greek oikos, meaning home or habitation and -logy from -logia, meaning the study of. So eco-logical is “home sensibility”, the knowledge and awareness of our home place on planet earth.

Permaculture is an ethically centred design process that takes ecological laws and uses them

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as principles or directives to create productive ecosystems that supply humans’ material and spiritual needs on the surplus without undermining ecosystem services.

By imitating the biodiversity of nature we evolve dynamic resilient cultures that are attuned to their local natural history, climate and geography.

Neisha Manickchand neisha.manickchand@yahoo.com

Sustainable Design Catalysing the Transition to a Green Economy Bio: Neisha Manickchand is a Biophiliac and Sustainability Analyst who seeks opportunities to inspire people to live in harmony with our natural environment. She pursued an Erasmus Mundus Masters in EnvironmentalSciences, Policy and Management where she observed sustainable practices throughout Europe. Ms. Manickchand has worked in the ďŹ eld of renewable energy, energy efďŹ ciency and environmental management over the years and is adamant to adopt creative approaches to implement practical and sustainable solutions locally and regionally. She believes that Sustainable Design can be a catalyst to stimulate ecological consciousness and encourage action-oriented habits.

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Abstract: Design can be used as a tool for promoting sustainable development in Trinidad and Tobago as the design process has the power to critically engage decision makers by motivating them to creatively develop solutions to existing environmental challenges. Sustainable Design has a unique ability to alter habits and lifestyles that are becoming increasingly unsustainable. A Ministry of Design with a Sustainable Design Department can support other existing Ministries and organisations with environmental portfolios to promote sustainable development in the country. In order to facilitate agreen economy, there needs to be a synergy between technical and creative approaches for individuals to coexist with our natural environment. There are many aspects of sustainable design but this paper provides insight into howdesign can contribute to sustainable power production and consumption, transport, and product use and disposal, thereby catalysing a green economy

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Dean Arlen dean_arlen@yahoo.com

The Tacarigua Sculptural PlaySpace Project: An analysis of the evolution of design implementation

Bio: Dean Arlen’s multi-disciplinary education has shaped his innovative approach to art-making and design. At John Donaldson Technical Institute, he completed a Craftsman Diploma in Jewellery making and at The University of the West Indies, St. Augustine Campus he pursued Visual Arts.

He proceeded to the Ontario College of Art and Design, Toronto, Canada, on a Commonwealth Fellowship where he pursued studies in installation art, which included foundry, plastics, wood making, welding and moulding.

Collectively these experiences contributed to his passion for installation art and transforming public and private spaces.

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Abstract: This paper will present how a “Ministry of Design”

ing downstream potential, from a cooperative

and other organizations would be able to assist

business model, to the possibility of a research

design projects negotiate space, from conceptual-

and development space or portal.

ization to installation by referring to the continuing evolution of the Tacarigua Sculptural Play-

I will present how the designs evolved once again

Space Project (TSPSP).

in the secondary market, as it negotiated political

It will be an analytical overview of my design

bodies all bringing certain concerns from safety,

process; I will begin with its philosophy, how it

branding, designing in community participation

affected the conceptualization process; from

and concerns. I will expand on how design

interacting with students in the community,

projects get bogged down in “The Politics of

relationships developed with colleagues, peers

Design” itself, and the “‘Political’ of Design

and partner, all shaping and affecting how the

Projects:” the ways in which community projects

designs evolve and the objects final relational

become embroiled in the local political context

value. I will include the social design components

which communities must confront.

of this project, including the use of ‘memory design’- which is the recognition of the historical realities of space, people, architecture and the object desirability in achieving harmony in communal spaces. It will also contribute to the conversation on design futures, urban design and most importantly design for social good, pinpoint-

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offices, community consultations and corporate

Harry Hunt and Cosimo Di Maggio harry_h2@hotmail.com

Trinidad & Tobago Urban Design Vernacular Bio: Harry Hunt is British with permanent residency in Trinidad, where he has worked in Architectural practice since 2003. He holds a Diploma in Architecture from Thames Polytechnic, London.

In Trinidad he has designed and delivered many projects in the healthcare sector, along with residential and leisure projects and interior design works. He has also collaborated on several Urban Design projects in Trinidad, including the Regional Corporations Development Plans.

Prior to Trinidad he worked extensively in all the major project sectors both in the UK and around the world. He is uent in French, gets by in Spanish and cares greatly about the quality of the built environment.

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Abstract: A simple statement……………………design

thrive. Establishing a Design District in Downtown

improves the quality of life for everyone

Port of Spain is one very positive step that can be

Design affects lives on a daily basis and has positive economic effects.

How can design be assisted to impact and stimulate the wider economy in positive ways?

Vision and political will, not qualities that can be said to characterise the general governance of Trinidad, are key factors.

If Trinidad is to embrace the concept that design is important to the life and culture of the island, and thereby seize the opportunity to become the design capital of the Caribbean, Government MUST LEAD by legislation and example and ENABLE with support systems, structures and funding but strong leadership by Government does not mean ownership The window of opportunity for Trinidad to become the design capital of the Caribbean is short. As in Cuba, Government here must play a strong role in the creation of “places” where good design can

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taken to promote and disseminate design.

Linked together with other Urban Design initiatives a Design District could spark the wholesale regeneration of Downtown and - provide a home and a showcase for local designers - revitalise and renovate Downtown - enhance national identity and pride - derive economic benefits Government MUST recognise the benefits for ALL citizens to be derived by supporting and promoting DESIGN in Trinidad and Tobago.

THE DEPARTMENT OF CREATIVE & FESTIVAL ARTS 1-868-663-2222 | 1-868-645-1955

dcfa@sta.uwi.edu | facebook.com/UWI.DCFA | twitter.com/DcfaUWI