EDUCATION

NO. 2
2010
www.bowman.co.za
 5>

CONTENTS
TRAILBLAZERS

14 > Marianne Fassler: Being true to her muse

24 > C
 hris Saunders & Brett Rubin: Photography
inspired by personal passions

34 > The Lionheart

40 > J oule: Africa’s first truly sustainable electric-

powered vehicle

BUILT ENVIRONMENT
50 > Design for the people

58 > Raw Studios make wood work

64 > Alternative architecture

EDUCATION
6>

70 > Ethical architecture and the case of the everyday

78 > Old Mac Daddy

84 > U
 ncovering the mysteries of the magic mirror
tents

COMMUNICATION DESIGN
90 > Un-packed: A story about boxes and bags

98 > Stefan G Bucher: The monsters made me do it!

108 > T INGA TINGA TALES: Reawakening folktales

from Africa

114 > Welcome to the 3rd Dimension

POPULAR CULTURE
120 > Avant graffiti
 7>

128 > The hottest act in Video DJ-ing

134 > SA’s zef trio thrash music scene

FASHION
140 > Inspired jewellery

146 > An EcoBride?

DESIGN THINKING
152 > Design challenge of this century is education for all

156 > Designomics: Design driven economics

160 > T he Ghana Think Tank: Developing the First

World

CREAM OF THE CROP

166 > Cannes Lion Young Creative Competition

EDUCATION
8>

170 > D
 esign Achievers: A leadership launch pad for
young creatives

174 > A
 frican students join the crème of South African
Design Achievers

182 > Young creatives keep emerging

188 > A road trip to Neighbour stardom

TERTIARY RESOURCES
194 > Kate Moross’ guide to freelancing

202 > Can arty-farty drive a Maserati?

208 > Are you competent? Ask Dr Truth

HIGH SCHOOL RESOURCES

212 > Designing the future

216 > P
 ics made from basic tools: Photograms and
pinhole photography

220 > A
 nimation Academy opens new doors for young
creatives

222 > Want to study Design?

EDUCATION
 College of Human Sciences

School of Arts

Artwork: Ronit Judelman, UNISA student

Nurture your creativity in the visual arts

We offer a wide variety of learning programmes in the disciplines of Art History, Visual Arts and Multimedia
Studies.

Our programmes prepare you for a multiplicity of careers in the contemporary art world: professional
artist, corporate art advisor, community art specialist, arts and culture journalist, animator, art educator,
art historian, art critic, multimedia designer, music video producer and video director.

Undergraduate Studies: Postgraduate studies:

• BA degree in Art History • Honours, Masters and DLitt et Phil degrees in
• Bachelor of Visual Arts (BVA) Art History
• BA (Culture and Arts) with specialisation in • Advanced University Diploma in Visual Arts
Multimedia Studies • Masters degree in Visual Arts (MVA)

For more information:

Tel: (+27) 12 429-6459 / (+27) 12 429-6798
Fax: (+27) 12 429-3556
E-mail: mabitl@unisa.ac.za / ndalafs@unisa.ac.za
Website: www.unisa.ac.za/dept/arts
10 >
10 >

ENDORSERS > MEDIA PARTNERSHIPS >

EDUCATION
 11 >

CREDITS
PUBLISHER > PRODUCTION >
Cameron Bramley Charl Lamprecht and Stacey Rowan
cameron@designmagazine.co.za
ADMINISTRATION & ACCOUNTS >
GROUP EDITOR > Claudia Madurai & Michelle Swart
Jacques Lange
jacquesL@iafrica.com CREATIVE DIRECTOR >
Jacques Lange
EDITOR >
Suné Stassen DESIGN & LAYOUT >
sune2000@mweb.co.za Bluprint Design

CONTRIBUTORS > COVER PHOTOGRAPHY >

Marieke Adams, Jason Aldridge, Lorraine Amollo, Simon Denier + SDR
Chevawn Blum, Andrea Bokelmann, Fatima
Cassim, Maran Coates, Inga Forde, Jennie Fourie, PUBLISHED BY >
Zelda Harrison, Mohammed Jogie, Joe Krenzer,
DESIGN >MAGAZINE
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Miranda Messaris, Roberto Millan, Lilac Osanjo,
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SALES TEAM > © 2010 DESIGN >MAGAZINE

François Fassler, Geri Adolphe, Rachel Harper, ISSN 1814-7240
Chene Madzvamuse, Jeff Malan Edition 2, August 2010

DESIGN>EDUCATION is produced by DESIGN>MAGAZINE. No material may be reproduced in part or

whole without the express permission of the publisher. No responsibility will be accepted for unsolic-
ited material. The publisher accepts no liability of whatsoever nature arising out of or in connection
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sarily those of the publisher, its endorsers, sponsors or contributors.
So now that South Africa (and Africa) has
pulled off the biggest sporting event in its
history I think it’s fair to say that the Soccer
World Cup 2010 was probably the best ex-
ample of a grand-scale project, incorporating
just about all aspects of business, market-
ing, brand and nation building, merchandis-
ing and retailing, entertainment and events
management, visual communication in all
its forms, digital media and high-end tech-
nology, the built environment, engineering
and urban development, to mention just a
few. This was THE grand stage that show-
cased the creative industries at the top of
their game working in perfect harmony with
business towards economic, social and cul-
tural development. It was a good example
of creative and analytical thinking resulting
in successful strategies and the design and
execution of systems and processes that
created environments and experiences that
overwhelmed visitors and added critical
dimensions to this monumental achievement.

The impact and the role of the creative indus-

tries should never be underestimated. Ac-
cording to IDEO partner Diego Rodriquez
 13 >

EDITOR’S FOREWORD

“good business arises from a design-centric process diverse angles and disciplines. Because of creativity,
that incorporates marketing, research and ideas” powerful brands are built and improved upon, result-
and design is acknowledged as the “bottom line”. ing in new markets and targets. We visit a true South
African icon Marianne Fassler, learn more about the
Knowing that design is not a luxury nor an elitist making of the Tinga Tinga Tales and find out about the
activity but rather a necessity that responds and soon-to-be-released first batch of animated feature
serves basic human needs, it is difficult to under- films produced in South Africa. En route to ethical
stand how any culture or country can exist without architecture via Noero Wolff Architects is a case of
even the very basics that creativity, innovation and the everyday and architects Alejandro Aravena and
imagination can provide. We have always – ever Marcelo Rosenbaum use their design skills to im-
since the Stone Age – expressed certain basic needs prove and empower the lives of many people, while,
in order to survive, communicate, travel and feed at the same time, alleviating poverty.
ourselves and others – not to mention our basic
needs for medical care and protection against the ED> will continue to scout for these balancing acts
elements and much more. between the needs and the wants that equally and
successfully address so many human conditions
As a biannual publication, DESIGN>EDUCATION through the application of creative thinking in an
(or just call her ED>) continues to focus on trendy and innovative and problem-solving way. The ultimate aim
valuable morsels, delving deeper than the usual is to produce something that can be of relevence to
show-and-tell and sharing valuable insights into the market and its users.
worldclass productions and designs done by extraor-
dinary teams of talented and skilled individuals. Have a great and inspiring read!

In this second edition of ED> we look at the power- Suné Stassen

ful role of creativity within the world of business
and society covering 37 articles which highlight

EDUCATION
14 >

BEING
TRUE
TO HER
MUSE By Jacques Lange
 15 >

When we think of contemporary African fashion, Marianne Fassler’s

name immediately comes to mind. It is out of her studio, Leopard Frock,

that some of the most ingenious fashion creations emerge. Inspired by

the continent’s cultures and traditions, her garments exude Africanism

combined with urban subculture and possess a wow-factor that often

shock the stereotypical fashionista.

Marianne shares some insights regarding her illustrious career, personal

passions, the fashion industry, entrepreneurship and much more with ED>

What are the origins of Leopard Frock? Leop- The name was a tongue in cheek play around
ard Frock was established in the early 90s the Leopard Rock generic place name for an
after I moved from my shop in Hyde Park Corner. African game park. Of course it also describes
I needed more space and thought it made what I do…make frocks, often in leopard print.
sense to have my workshop and retail space
in one integrated unit. Since then I have been You are one of the very few designers in the
trading from a typical Saxonwold double storey world that have managed to keep leopard
in Johannesburg. I have never regretted the print en vogue. Why do you have a passion
move out of the shopping mall, although I some- for this and what is your secret for reinvent-
times miss my shop window which I just loved ing new interpretations? Contrary to popular
dressing up. Now of course the Internet is my belief, I don’t always use leopard print in my
shop window and I can trade 24hrs a day. collections. I do however use it as a leitmotif

EDUCATION
16 >

Viva the evolution collection, 2010. Photos by Simon Denier + SDR.

 17 >

when I have a show. Leopard print is one of those

strange constants in fashion all over the world. It is
regal and exotic and very much loved. Dolce&Gabbana,
wouldn’t dream of having a show without it and there
is almost never a moment when one cannot buy a
leopard print shoe, bag or scarf in the great depart-
ment stores of the world. Right now it is however
especially fashionable, as is ‘generic Africa’ with its
mélange of prints and colours.

My secret is to make it desirable. I transfer the print

on to tulle, soft silk chiffons and stretch gauzes. I
combine it with other prints, dye it in many hues and
sometimes just give a hint…like a slip showing seduc-
tively. I actually hate it when leopard print is fashion-
able. Just like camouflage – the urban leopard print –
people who love it should wear it all the time. I wear
Camo and have dreads. I feel comfortable in my own
skin. It is not a fashion statement. In the same way,
wearing leopard print should never be a fashion
statement. It should be a love affair.

You are often described as the doyenne of African

fashion design. Does it put undue pressure on you to
keep upping your game? The word ‘doyenne’ freaks
me out! It is very old-fashioned…sounds a bit Cape
Town or Pretoria. Last night I saw Evita Bezuidenhout
and she reminds me of a doyenne. Nobody other than
myself puts pressure on me to up my game. I am still
very much a player in this industry and I will continue
to do what I do until it no longer excites me.

You were one of the first mainstream South African

designers to embrace your African heritage. Did the
politics of the 70s-90s influence your work in any way?
Fashion reflects life, history, social conditions, weather,
location…etc. It is not created in a vacuum. Real
fashion is created on the street, in subcultures all over
the world. It is to the Left Bank of Paris that Yves St
Laurent turned when he looked for inspiration. I tune

EDUCATION
 18 >

Viva the evolution, 2010. Photo by Simon Denier + SDR.

 19 >

into my place, my time and my muse. It never fails vibrant clothing manufacturing industry in South Africa.
to inspire me. If I had to look at fashion magazines, Companies like Transvaal Clothing and Rex Truform
retail chains or the Internet for inspiration I would be manufactured garments of a very high standard for
a bad dressmaker. I live in South Africa, I consider export all over the world. We even had a Fashion
myself an African. As such, what I do and how I live will Fortnight twice a year where buyers came not only
be unique. I am interested in politics, music, history, from all over the country and outside its borders to
art and theatre – all places where one has the oppor- purchase for boutiques but also from Europe. But
tunity to reflect on heritage, politics and the human then came the dreaded sanctions and by the time we
condition. One can be both African and universal became players again the Asian Tiger had destroyed
especially when one is creative. Perhaps growing up manufacturing in the USA and Europe. We were no
in the 70s to 90s was unique because of the shift of longer competitive. That is how markets work.
power, but it was also a very unsettled time all over
the world. I also try to keep focus on what is happening As an industry we cannot remain stagnant. We have
in politics right now. Alluta coninua! a lot of skilled people who are now unemployed. The
industry is still hemorrhaging jobs and the govern-
It was only in the early 90s that South Africans started ment has no real vision for the industry. This is the
being exposed to the flowing robes and national cos- problem. The government is so busy politicing, it
tume from all over Africa. I started being inspired by has lost focus….the clothing industry is just one of the
those clothes after I received a copy of Africa Adorned, neglected areas. South Africa has become a dumping
by Angela Fischer in 1983. Angela Fisher and Carol ground for cheap Chinese imports and 2nd hand
Beckwith have been documenting African ceremonies clothing. The best we can do as consumers is to buy
and dress for the past two decades and their work only South African products and to demand com-
has been the most influential in shaping my love for petitive prices.
the continent. Carol and Angela brought Africa to my
living room and they were more inspiring than any I believe the long-term is a series of short-terms and
specific designer…but then, how can one not give cred- as a manufacturing industry we have not moved for-
it to those magnificent Ashanti Kings, those exquisite ward, but the Internet has made a huge difference in
Himba women, those noble Massaai? I also collect that we can show on a ramp in Sandton and instantly
Barbara Tyrrell who was one of the first iconic histo- be in the homes of people all over the world. The
rians to document the way tribal people of South- designer-focused Fashion Weeks have given us a
ern Africa dress. Her sketches are iconic. platform to perform and then it is up to us what we
do with that material.
In your opinion, what are the roles responsibilities
and challenges of the fashion industry in the context You have always been very experimental in your
of the creative economy? Dressmaking is a huge selection of textiles, prints and colour. Are these some
business all over the streets of Africa (as it is in India of your signatures and how do you maintain your re-
and China). Tailors can operate anywhere anytime as inventive qualities? I love colour. I was lucky enough
long as they have a machine and some basic tools. to grow up in a home where my mother, the painter
When one talks about the much bigger picture, the Hannatjie van der Wat, constructed huge colourful
challenges are numerous. We used to have a very canvasses and where we were surrounded by colour

EDUCATION
20 >

all the time. Hannatjie is a colourist of note! I also

think that colour combines well with colour. I will nev-
er put colour with black or with white…but then
one must never say never!

I believe one has to deliver a product that is well-

constructed, comfortable to wear and useful in ones
lifestyle and in one’s wardrobe. I don’t linger too
long on the ball gown or the wedding dress…those
are just occasional treats for me as a designer. My
clients come over and they literally collect bits and
pieces to give them an exciting, wearable working
wardrobe.

The question of re-inventing is probably true but in

my case I never look back. I try to remain fresh and
interesting for the consumer and for my regular
clients. As Giusseppe Lampedusa wrote in The
Leopard “For things to remain the same, everything
must change.” I would be a rather sad designer if I
just turned out the same thing year after year yet; the
constants in my work remain the same. My clothes are
very interesting, crafted, colourful and very wear-
able. They are also timeless yet very contemporary.

How important is narrative in your work? Narrative

is very important because it is ongoing. I called my
latest show [AFI in July] Viva the evolution and backed
it up with a quote from Ben Okri which said “Art is
finding a new homeland, yet always setting sail.”
The collection was inspired by Karabo, the short
name for the recently discovered Australopithecus
sediba fossil.

I saw an exhibition in Paris in March called Vanites.

It showed how skulls have featured in art through
the ages right up to Damien Hurst. Skulls fascinate
me. I have a large collection of skull memorabilia
and Karabo was actually such an obvious choice
for me. It talks about the origins of Man, yet also
Fashion Week 2005.
 21 >

represents subversion, longevity, ancestors and

magic.

You say that travelling fuels your creativity. How do

you capture these inspirations? Yes, undoubtedly I
am inspired by travel. I am so lucky to have the ulti-
mate travel companion in Charles, my husband. To-
gether we explore the known and the unknown, al-
ways in search of the essence of a place or revisiting
old favorites. We are passionate about contempo-
rary art, but also love the history, culture and food
of different places. Everywhere I go is an inspiration.
Even downtown Joburg is an inspiration. A few weeks
ago I went to Mai-Mai market again and came back very
inspired. One doesn’t need to travel to be inspired.
Most people don’t even notice their own surround-
ings…or vice-versa, are always looking to foreign
destinations to inspire them. Having said that, how
can one visit Mexico, India, New York, St Petersburg,
Cambodia, Bali and Brazil and not be inspired. I take
pictures, make sketches, drink in.

What critical skills do the contemporary fashion

industry require from new entrants? They have to get
over the ‘fame’ thing. We herald people as designers
before they can even sew a garment. The expectations
are too high so the disillusionment is also very high.
You cannot survive in this industry unless you make
your market (client) at the top of the pyramid. It is not
only about you as a designer. It is about the client
who buys your product and the people who help you
produce that product, and without those funda-
mentals, one cannot operate or exist as a designer.

We also of course need more critical, educated, skilled

fashion journalists. So often we lack that nuance, the
depth of knowledge about the history (recent and
past) of fashion as well as the vocabulary of fashion.
So often I have to literally write copy for the captions
to my work because the fashion editor or copywriter

EDUCATION

Audi Fashion Week 2008. Photos by Nicolene Olckers and Paballo Thekiso.
23 >
does not know simple terms like ‘tulle’, when I really need the money to meet my
‘godet’, ‘rouche’, ‘bustier’ etc. This means that wage bill. Seriously, it is a real motivation
they are therefore also not capable of attend- to make something really new and original
ing a fashion show and writing a critical to entice your consumer. I always think it is
evaluation. They cannot describe the gar- so stupid of the retailers to fall back on basics
ment and certainly cannot gauge if is de- when times are tough. What they really
rivative or not. It is mostly about hype in need to do is to tempt, to seduce, to lure the
this world of fashion in South Africa. consumer back for something really special
to spice up their depressed lives!
You have also been reinventing your per-
sonal image over the years. The flaming red What are the most important lessons that
hair has been a constant. Is this part of you have learnt as a fashion entrepreneur
your business strategy? My dreads have over the years? I am not the most impor-
been around for about 9 years now. They tant element in my business. I am only
are a real labour of love and they are un- important in that I inspire the product and
likely to change into something else. My facilitate the process. My clients are at the
personal image has evolved over the top of the pyramid and my skilled staff man-
years because I have grown up, matured, ufactures my product. Without them I
got more comfortable in my own skin. I would not have a business.
don’t change myself to attract attention
from anybody else. I just do it for me. There is an enduring quality to your work.
To what would you ascribe your longevity
You are described as an artist, designer in the fashion industry? Being true to my
and entrepreneur. What came first? That muse and ‘living my art’, as Adam Levin
is how I am described, so I guess I am that. said.
I guess designing is a practical outlet for
me. I never wanted to put paint to canvass What do you still aim to achieve in future?
or to express myself in any other way than Hopefully more of the same. Nadine
through fashion, but, in my case it had to be Gordimer was such an inspiration at 89.
so much more than just fashion. Or perhaps Vivienne Westwood and Rei Kawakubo of
I should rephrase it. I wanted to create Comme des Garçons are both still very ac-
fashion, not copy or follow it! I hate shop- tive in the industry and continue to inspire
ping. I don’t buy magazines. I hate new clothes generations of young designers. When I am
and have to really bond with something no longer inspired by what I do every day,
before I own it. I never attend fashion shows I can do something else. I am privileged to
and I shy away from the fashion crowd. spend every day doing what I love. <
The entrepreneur comes in when you need
to earn a living and pay the wages at the
end of the day. My creativity reaches a peak
EDUCATION
24 >

CHR
SAUNDER
& BRET
RUBIN
PHOTOGRAPHY INSPIR
PERSONAL PAS
By Suné Stassen

IS
Chris Saunders is a young British
photographer based in Sheffield who
humbly describes himself as resident
snapper of much of that fine city’s
outstanding music scene. During the
past decade he has managed to blend
two of his passions to shape an illus-
RS
trious career of shooting famous, in-
famous and not so famous actors,
comedians, authors and film directors.
“At first I was a really keen musician
in my teens and wanted to be a rock
star before I got into photography in
TT
my early 20s. Before I stumbled across
it, photography was not my first
choice for a career. It actually started
when I borrowed a friend’s SLR [single-
lens reflex camera] to take some photo-
graphs of this really cool pet cat I had
and I took to photography straight
away”. As he is still playing in a band
N:
it is pretty normal for Chris to move
between his passion for music and
his passion for photography.
After buying his first SLR he initially
went on a two-year college course in
Sheffield and then to University in
Manchester. According to Chris, the
college course was really worthwhile as
it taught him the traditional practical
RED BY and technical skills that were needed
back then during the film and dark-
room days. “Learning this on my own
SSIONS would have been really daunting and
would have taken so much longer.”
25 >
“I hated the University course though.
After the college I applied for a docu-
mentary/portraiture course and just as
I was accepted, much to my annoyance,
they changed the curriculum to a fine
art photography course. Not exactly
what I have signed up for! This is prob-
ably another reason why I like the fol-
lowing quote from Elliot Erwitt: ‘My
theory is that photography is so simple
that people feel the need to invent all
sorts of bullshit in order to justify it.”
One day, purely by chance, Chris saw
the comedian Bill Hicks on TV and
loved his performance. He decided
then and there that he had to meet
Hicks and that photography might be
the ideal means to achieve this. Luck
was on his side since Hicks’ next per-
formance was pretty close to where
Chris stayed and so he went down to
the venue. “On his arrival I explained
to him that I was a photography stu-
dent, just getting a portfolio together
and if he would mind being photo-
graphed? He was very willing and the
photograph I took of him is still one of
my favourites.” Hicks died 18 months
later and he has subsequently devel-
oped a huge following that keeps on
growing to this day.
The area in Manchester where Chris
stayed was also home to a huge book-
store where lots of well-known authors,
actors and comedians would do book
EDUCATION
26 >

signings and readings. Chris be- where there is a sofa, in the form shooting and the owner of the
came friendly with the manager of a huge pair of bright red lips house came out with the inten-
and he agreed to let him set up a which would be great to position tion of taking them for a walk. I
little studio in his office so that Lynch on. So I planned out how immediately roped the dogs
these famous people could be long I’d take photographing him into the shoot. I think it works
photographed before their pub- in each spot, how I’d light each though and adds to the strange
lic appearances. “I got to photo- shot etc. When I arrived at the feel of the shot.”
graph quite a few famous names hotel I was told that because
this way. Not that a lot of these Lynch was behind schedule I’d Comparing the differences be-
photographs are any of my fa- only have 5-10 minutes at the tween doing portraiture and
vourites, but at the time this was most and that because the hotel shots of a live performance is
a great opportunity to build my was so busy that day I’d have like day and night. Obviously the
portfolio”. Today, Chris has been to photograph him in his hotel photographer has a lot more
a pro for ten years. room.” This is the nature of the control when shooting a por-
game. You need to be adjustable trait, while with a live perform-
He says that each commission at a second’s notice and still pro- ance you have to anticipate and
brings its own challenges and you duce top quality work. “The room wait for the perfect moment,
should always have a number was small and due to a number whether it’s in the emotion of the
of approaches in mind for a job of people hanging about for in- performance, something hap-
so that you have options to fall terviews his surroundings made pening with the lighting, or a
back onto when things suddenly it nearly impossible to shoot combination of both which is
take a different turn. Chris ex- what I originally planned. I had when Chris believes he usually
plains the process of one of his to resort to a close-up shot gets the best shots. “Great exam-
most memorable shoots when outside on the balcony – still ples of some of my work, that I
he had the opportunity to cap- one of my favourite shots to date. am extremely pleased with, are
ture the world famous film direc- I just love it!” shots of Amy Winehouse, Tom
tor David Lynch in 2001 while Morello, Pearl Jam and Peaches
he was promoting Mulholland Sometimes it is to your advan- which I think display the latter
Drive. “I was told I’d have half an tage not to plan too much and best. I can’t stand photographs
hour (a luxury!) to photograph allow for other elements to of vocalists just singing blankly
Lynch at his hotel so I looked naturally find its way into the into the microphone. As far as
on the hotel’s website just to composition, like the shot he did the settings on the camera go,
note that there were a lot of of the band, I Monster. Chris use a wide open lens on aper-
furniture pieces designed by explains: “I had the location set ture priority, +1 exposure com-
Phillipe Starck which sparked up beforehand but the idea to pensation, high iso and take it
off numerous ideas. These ideas have dogs in the shot didn’t come from there. It depends on the
including a shot in the lobby about until we had started setup of the lighting.”
 27 >

TOP LTR: Bill Hicks and I Monster. ABOVE LTR: David Lynch and Amy Winehouse. © Chris Saunders.

EDUCATION
28 >

TOP LTR: Tom Morello and Peaches. ABOVE LTR: Pearl Jam and Harold Pinter. © Chris Saunders.
 29 >

Chris says that people are com-

plicated beings and he does not FLIP SIDE At first he decided to gain valu-
able experience as an assistant
believe that a photographer
has the power to capture some-
OF THE COIN photographer before he was
ready to embark on his profes-
one’s personality or complete sional career about five years
character but rather has the South African Brett Rubin is a ago.
ability to capture an emotion photographer that speaks a dif-
of that particular moment or ferent visual language than that For Brett, being a good photog-
time. of Chris Saunders. Brett is a com- rapher is about having a sharp
mercial storyteller with a differ- eye for composition, line, colour
ence, who is known for shooting and the ability to visualise the
With the pictures of Lynch, peo-
his subjects in dramatic back- complete shoot in the finest
ple believe that Chris captured
drops with theatrical ambiances. details even though things might
his ‘cool character’ and his shot
of Harold Pinter, done after he change in the last minute. “You
recovered “steely resolve in his Born in Johannesburg in 1982, basically illustrate and tell a
expression.” According to Chris, he left school to pursue film and story using your lens instead of
Pinter did not enjoy being in media studies at the University a drawing tool and paper.” He
front of the camera so “maybe of Cape Town. Similar to Chris, further explains that his inter-
he just looks annoyed.” Brett is also a music man and est in literature, art history and
was in a band throughout his computer technology also con-
school years, so music has always tributes a lot to his individual
When asked about what hap-
been his inspiration. However he approach to photography.
pens to his shots, Chris explained
also had a very strong connection
that occasionally it’s commis-
with photography, especially Brett has recently completed an
sioned, but more often he sub-
music videos. His studies were exciting shoot commissioned
mits his photographs to agen-
completely theory based, study- by Wanted magazine and shared
cies that syndicate the results
ing the history of film and the some details about the Cutting
to various publications on a
history of photography but in Room project. “The client wanted
commission basis.
hindsight, he says that “I am very us to create a very quirky and
grateful for being exposed to surreal shoot that incorporates
films and images that I would the conceptual tables designed
probably never have encoun- by Gregor Jenkin. I immediately
tered otherwise.” During his knew that I wanted to create a
studies he decided to do a black surrealist office environment
and white darkroom course in the where the two models conduct-
evenings and after two months ed their business meetings in
he was hooked on photography. the most unusual setting.”

EDUCATION
30 >

He explains that before he could behind the shoot was creating

do the shoot that he had in mind outdoor living environments.
he needed to consider the best The transportation of the furniture
location, find the right models from location to location around
and clothing and hire the best Cape Town was a big challenge,
lighting that the project’s budget and I was very lucky to work with
could accommodate. an outstanding team on the
shoot.” Photographing Desmond
He continues: “Then the creative Tutu and working with an amazing
process kicked in. The stylist graffiti artist to create a torch-
sourced the wardrobe while painting campaign for Groltsch
the tables were delivered and Beer, and collaborating with
assembled in the studio. The some inspirational fashion de-
magazine editor, Gary Cotterell, signers to bring their visions to
and the stylists also sourced life also rank as highlights.
props that would bring extra
character to Jenkin’s unique ta- “I think photography has a power-
bles. Each shot was carefully ful way of capturing ideas and
composed considering the lay- stories and putting them into a
out of the publication before single image. I always try to
the models were added to the create work that is not too literal
composition.” and doesn’t dictate an idea or
agenda to a viewer, but rather
The final result of the shoot was leaves a platform that is open
very dramatic and Brett says to interpretation and imagina-
that the editor of the Wanted tion. I also believe that photog-
magazine was a happy man. raphy is a reflection of a photog-
rapher’s personality and world
Brett mentions that other high- view.”
lights from his fairly short career
as a professional photographer Brett says that although he gets
include the commission for the a lot of inspiration from music,
Design Indaba magazine in 2009. film, literature and art, “I think
“It was the first shoot I did com- it is possible to find inspiration in
bining fashion and décor. The idea the most unexpected places.”
 31 >

RIGHT: Cutting Room. ABOVE: Design Indaba magazine 2009. © Brett Rubin.

EDUCATION
32 >

TOP LTR: Grolsch Green Light District campaign and shoot for Margot Molyneux. CENTRE LFT: Suzaan Heyns’
Spring/Summer ‘10 Collection and Stiaan Louw’s Next Generation campaign. ABOVE LTR: Collaboration with
menswear designer Cameron Foden for an exhibition, Tomorrow’s Society. © Brett Rubin.
 33 >

When asked what he would Brett concludes: “I think the

consider to be his dream project, scale that these photographers’
Brett responds: “I would love to work on is unbelievable. Nothing
work on all aspects of photog- is out of reach and they are ca-
raphy for someone in film or TV pable of bringing their visions
who is doing work that I gener- to life in the most grandest ways
ally admire. Considering this, possible.”
David Simon, who created The
Wire, springs to mind immedi- Maybe Chris Saunders and Brett
ately and I would love to photo- Rubin should consider a jamming
graph Keith Richards as well.” session? <

After much contemplation, Chris

and Brett (who have never met,
nor collaborated) independ-
ently compiled lists of the greats
in photography whose work
they admire. Surprisingly, there
were many overlaps and it’s
worthwhile to check these out.
In music, Chris and Brett selected
Steve Gullick, Kevin Westen-
berg, Anton Corbijn, Perou, Gre-
gory Crewdson, Richard Avedon;
and David Bailey’s work in the
60’s, Bill Brandt, Annie Leibowitz,
Jim Marshall, Horst, Irvin Penn,
Arnold Newman and Rankin for
his portraits. In addition, they
mentioned commercial photog-
rapher Nadav Kander, Stephen
Meisel, Craig McDean, Ryan Mc-
Ginley, Inez Van Lamsweerde,
Vinoosh Matadin and Tim Walker.

EDUCATION
 LION
34 >

THE By Jason Aldridge

HEAR
Scenes from The Lion of Judah. Images courtesy of Character Matters.
> View the trailer here.
N-
35 >

Bravery, or fearlessness, in the face of great adver-

sity needs to be put into the right context for it to be
seen as particularly brave. For example, ‘People
made a movie’ sounds very run of the mill and un-
extraordinary. But ‘Making the first 3D animation fea-
ture length movie in South Africa, in little time and
with a small team, that can stand next to productions
of major studios sounds like something entirely dif-

RT
ferent. Character Matters of Westlake in Cape Town
have done just that, turning Deryck Broom’s direction
into animated beauty and they aren’t the only ones...

The fledgling local animation industry had no feature

length productions, never mind 3D projects in the
works three years ago. Yet, in the next six months
three full-length animation features will be released
by studios, which are miniscule in comparison to any
Hollywood animation powerhouse in terms of crew

EDUCATION
36 >

and resources. Character Matters will release The animals. The film is commissioned by Animated
Lion of Judah, director Duncan Macneillie is produc- Family Films in the USA and is marketed toward the
ing Jock of the Bushveld and Triggerfish are in pro- US Christian market. This family film centres around
duction with Wayne Thornley’s Zambezia. the group of animals (a pig, a horse, a rat, a rooster,
a cow and a donkey) who look for their friend Judah
The passion, creativity and determination of these (the lamb), whom they try to save, as he will be sac-
designers, animators and filmmakers exceed any rificed by the townspeople. The impending doom
thoughts of the challenges they may face, boldly car- for the brave little lamb spurs his furry friends onto
rying on South Africa’s boom in home-grown produc- some hilarious adventures culminating in their
tions, ensuring the country and continent’s impact search for the ‘King’ who was born in their stable
on the mainstream film industry for years to come. years earlier. The King however, is Jesus, weaving
the story into a time in history, and many other oc-
The Lion of Judah will be the first to be released on casions setting the characters into humourous situ-
the international film circuit during the final quarter ations and historical events. Actors such as Michael
of 2010, after a year and a half of production – and Madsen and Ernest Borgnine, as well as Grammy
then some for conversion into 3D. The story is Award winner Sandi Patty, provide the animated
adapted from biblical themes, positioned as an voices.
Easter-like story from the eyes of a gang of barnyard

Scenes from Jock of the Bushveld. Images courtesy of Jock Animation (Pty) Ltd.
> View the trailer here.
 37 >

Even on www.thelionofjudahthemovie.com the well as abroad. Such niche markets are still un-
back-stories on the characters are extensive and tapped, for example: the Afrikaans-speaking mar-
the artwork and animation has high production ket. The dubbed Heidi from South African TV was
value, giving the audience or viewer a sense of a a hit in the 90s and there is no reason why there
rich, well-rounded product. The more thought won’t be an animation in the future sporting ‘Die
there is in the details, the better the audience can Taal’. This is how the industry can choose it’s bat-
relate and emotionally invest in an on-screen en- tles, still providing quality on par with the interna-
tity or situation as character is definitely king at tional production houses but competing within a
Character Matters. The fact that the target audi- certain market – how many other Christian 3D an-
ence is Christian Americans, and the movie has a imations will there be showing at the same time?
biblical theme, doesn’t pigeonhole the distribu-
tion of the film nor would it make any less money. The Lion of Judah looks to be hitting all the right
As many will know, the market and success of the notes, but all this didn’t come without hard work.
Christian sector, as well as the need for more According to Character Matters, during the peak
‘wholesome’ content, is large. Hillsong in Australia production 36 people would be working on the
and many other churches/organisations in Ameri- movie at the busiest times. Finding Nemo or Shrek
ca have huge followings and generate large reve- have teams of 300-400, and so the scale of the
nue and interest in their respective countries as, accomplishment and grand scale of a +-90 minute

EDUCATION
38 >

production is seen in perspective. The making of Character Matters’ entire studio was committed to
the film required many roles, such as concept art- the production of The Lion of Judah as the project
was large, with a tight deadline. What this means
ists, illustrators, 3D modellers, 3D texturing, light-
ing, visual effects people, compositors and ren- for the newbie animator, is that, showing a good
dering artists. The animating was done using the work ethic and not being shy to do many freebies
program PMG Messiah and textured and rendered and internships during your early years in the in-
using the Lightwave 3D program. dustry will pay off and people will notice. That’s
why people will notice The Lion of Judah. The ani-
The nature of the film industry in general is char- mation studio’s in South Africa will be essentially
acterised by people who have a hunger to work ‘punching above their weight’ and with the audac-
(usually long and hard), a passion and love for per- ity of 36 vs 400, we will be able to compete with
fection, as well as a certain investment ownership the internationals.
of the responsibility for the final outcome of the
job/production – which means the bottom line as- The news gets better: Character Matters also has
sistant illustrator would want the project to do a TV series called Zoovolution for the international
well, just as much as the director wants it to. market as well as pending negotiations for a The
Lion of Judah sequel. Away from Character Matters,
the director of the 3D animated feature Jock of the

Scenes from Zambezia. Images courtesy of Triggerfish.

> View the trailer here.
 39 >

Bushveld, Duncan Macneillie, has grown his team of Zambezia. The story is one of self-discovery and
to around 25 and should wrap production in De- how Khaya learns to fight for his community in-
cember. The film follows Jock, our fearless runt of stead of being so self-orientated. The city itself is
the litter, who with his master Fitz, the prospector, built in a huge baobab tree, with one open side
encounters adventures, builds ‘crazy’ friendships revealing a cross section of the levels and stages
and defies death. The story is set in the 1880s Gold teaming with birds everywhere – this setting is a
Rush South Africa with an array of African animals visual assault in itself. Lets hope we don’t have to
(e.g. baboons and monkeys to name a few) not to wait too long for this one!
mention the sprawling veld and James the powerful
Zulu warrior. The animation quality of what has Just as the characters overcome obstacles when
been released is also looking great and the film will the odds are stacked against them, the animation
definitely do justice to the animal classic. industry also soldiers on and achieves. And you
cannot help but draw parallels with the industry
Triggerfish Animation also has Zambezia coming and the very stories they tell, when ‘small lambs’,
in 2011, the story of a falcon, Khaya, who once such as these animation studios, fight with the
breaking the shackles of living under his over-pro- hearts of lions. <
tective father, discovers a life full of excitement
and opportunity in the intricate and grand bird-city

EDUCATION
40 >

JOULE
AFRICA’S FIRST
TRULY SUSTAINABLE
ELECTRIC-POWERED

VEHICLE

What do a project manager of the
SALT telescope, an automotive
designer born in Calvinia, CO2
emissions and a spunky electric
car have in common? Well they’re
all part of the magic of the South
African-born electric car called
Joule.
Cars are the biggest single contrib-
utors to greenhouse gasses and
specifically CO2 emissions in urban
areas, not to mention noise pol-
lution and other waste due to the
inherent inefficiencies of internal
combustion engine vehicles.
Now enter the first players in the
Joule story: Kobus Meiring found-
ed Optimal Energy in 2005, to-
gether with Mike Lomberg, Jian
Swiegers and Gerhard Swart.
Kobus, who was instrumental in
the success of the Rooivalk heli-
copter project which entered
service in the late 90s and regard-
ed as one of the world’s bench-
marks in its class, was also project
manager of the Southern African
Large Telescope project (SALT)
since 2000. He had recently com-
pleted his work on the interna-
tionally applauded SALT project
and had always been interested
in sustainable solutions to the
draining of earth’s natural re-
sources. Kobus believed that
South Africa could play an instru-
mental role in being part of the
solution.
With the support of government
and a grant from the Innovation
Fund, a function of the Depart-
ment of Science and Technology,
Optimal Energy started a feasi-
bility study on possible mobility
solutions, including hybrid vehi-
cles and hydrogen-powered so-
lutions. The company found that
electric vehicles were the most
efficient solution that could be
produced on a mass scale in the
near future.
This was the birth of Joule, the
first zero-emission electric vehicle
for South Africa with a minimal
environmental footprint. Present-
ing a radical reduction in noise
pollution, Joule is approximately
five times more energy efficient
than petrol or diesel vehicles. The
vehicle’s lithium-ion batteries can
be recharged from any electricity
source, and when obtained from
clean sources such as hydro or
solar, this multi-source energy
carrier can lead to a 100% reduc-
tion in pollution.
Enter Keith Helfet…
Keith Helfet is one of the few
South African designers to have
gained an international reputa-
tion in both automotive and prod-
uct design. Born in the small town
of Calvinia, Keith’s passion for
cars was evident from a young age.
His dream became a reality after
41 >
Automotive designer Keith Helfet.
graduating from the prestigious
Royal College of Art in the UK when
he began working with Jaguar.
It was during this time that he
learnt the trade from his mentor,
Sir William Lyons. The originality
and beauty of his style dovetailed
perfectly with the iconic vision of
Jaguar. In his 25-year career at
Jaguar, Keith designed a number
of high performance sports cars
including the XK8, the XK180 and
the XJ220, as well as the F-Type
concept cars. Keith has worked
with Optimal Energy as their de-
sign director since 2005.
Through a chance meeting with
Kobus Meiring, Keith became in-
volved in the Joule project and
first started conducting volume
studies to determine the outlines
of the proportions of the MPV the
Optimal team planned to develop.
EDUCATION
42 >

Joule went through various itera- With this important milestone, shape, which required the exper-
tions until a refined concept stage Helfet shifted his focus to the tise of Keith Bright. Under Helfet’s
was reached. design of Joule’s interior. guidance, Bright shaped the inte-
rior in a similar process to that of
Keith’s immense experience in the the exterior, to be installed into the
automotive design industry came
Paris show car existing body shell. With an exte-
to the fore when shaping the rior and interior design in place,
As an MPV, the interior design
serviceable vision of the found- the prototype was ready for its
requirement stated that Joule
ers into an elegant form. Keith debut at the 2008 Paris motor
had to accommodate six passen-
was instrumental in creating the show.
gers. This required a three-seat
understanding that Joule had to
configuration in the front, offer-
portray aesthetic appeal and avoid In a world of compact and oddly
ing space and functionality, and
the Tonka-toy impression created shaped concepts of electric vehi-
made possible due to the unique
by some earlier electric vehicle cles, Joule offered a refreshing
advantages offered by electric
concepts. At this stage all the de- and attractive alternative to an
vehicles such as fewer compo-
signs existed only in the form of internal combustion-engined
nents required and no need for a
electronic data and the next step competitor, and it did not go un-
gearbox and transmission. But
was to turn the concepts into a noticed. The international media
this design also posed some
physical mock-up. launch immediately put Optimal
unique design challenges such
Energy on the map and Joule was
as the elimination of the centre
In order to make this possible, applauded for its stylish design
console to create space in the
Keith Bright of Brightglass was foot-well for all front occupants, and unique flowing lines that
commissioned to shape the ‘plug’ thus limiting the space available give it such broad appeal.
from an egg-crate design created for the packaging of wiring and
by Helfet. An egg-crate structure components. When six became five
formed the base of the ‘plug’, and
comprised of sections and cross Helfet managed to use the avail- While the six-seater configuration
sections made of wood, filled with able space in the best possible garnered plenty of praise, Optimal
foam and shaped to create a basic way by creating an interior theme Energy research indicated that a
representation of the electronic that featured a floating instru- 6-seater configuration might limit
model. To ensure an accurate ment panel and optimised seat- the marketability of Joule by posi-
portrayal of the Helfet’s design, ing position for all passengers tioning it in a niche segment of the
Bright meticulously shaped the through which the interior space market. A decision was taken to
foam model by hand and coated of Joule could be highlighted. The introduce a five-seater configura-
it with layers of fibreglass to cre- interior theme echoed some of tion, better suited to the needs of
ate a usable surface from which the flowing exterior feature lines, the target market, and this creat-
a mould could be created. visible in areas such as the dash- ed an opportunity for the growing
board profile and the door-panel design team to renew the interior
A body-shell was pulled from the trim lines. of Joule.
moulds to create the first physi-
cal representation of the exterior, Once again, the design needed With a revised interior design
and Joule started to come to life. to be converted into a physical brief in hand, Helfet and his team
 43 >

Egg-crate design. Shaping of the prototype.

Keith Bright shaping the prototype.

EDUCATION
44 >

Initial interior concept (top left). Other revisions of the interior concept (top right and below).

Keith Helfet’s design of the interior.

EDUCATION
 45 >

took to the drawing board and start- 3D scanning in progress.

ed to pen the next phase of interior
concept revisions, which would ulti-
mately lead to the unique and styl-
ish interior that Joule boasts today.

The Zagato factor

To effectively market Joule on a global

scale, a fleet of pre-production proto-
types would be required and these
vehicles would have to be produced
using low-volume production tech-
niques while still retaining the ap-
pearance of a full production vehicle.

Producing vehicles in low volume

requires the use of moulds, and to
create these, Class-A surface data is
required. This data represents the
smooth surfaces of the vehicle, and to
obtain these, Joule needed to be
scanned using specialised equip-
ment. The expert services of Zagato,
the famous Italian styling house,
were enlisted to assist with this proc-
ess. Zagato converted the scan data
into Class-A surfacing, and together
with the Optimal design team, made
further exterior improvements.

Helfet worked closely with Zagato,

a company who have designed and
built iconic coaches for the likes of
Bentley, Ferrari and Aston Martin.
The collaboration delivered a remark-
able design which demonstrated
the most important distinction of

Renderings by Zagato.
46 >

Joule over competitors: the fact had an electric vehicle concept on

that Joule was born electric. display, but even amidst this stiff
competition, Joule was described
Most electric vehicles developed by by many as being the best-looking
competitors are based on existing EV. The feedback received in Geneva
internal combustion engine vehicle is a testament to the fact that South
platforms, and thus have to make Africans can compete with the best
sacrifices in design to accommo- in the world in automotive design
date requirements which are redun- and manufacturing.
dant in electric vehicles. Joule was
designed as an electric vehicle from Optimal Energy has come up with
the start, and the design that Za- a shape that is a breakthrough in
gato and Helfet delivered echoed design and practicality yet has a
this. Joule offers significant interior drag coefficient that puts it at the
space for a semi-compact vehicle, forefront of aerodynamic efficiency.
and boasts the biggest amount of Joule also boasts a list of features
boot space in its class. that make it exceptionally user-
friendly, including clever packaging,
an infotainment system, connectivity
Geneva Show car
and navigation. All of these design
features make Joule the most prac-
The Geneva International Motor
tical and intelligent car that an urban
Show is widely regarded as the
motorist can own.
best motor show in Europe. This
judgement is not about size, Frank-
Based on the final design, mass-
furt is the largest show, but about
production of Joule will start in
raw prestige: manufacturers love
2013. It will be built in South Africa
to show off their best new models
and will be sold both domestically
in Geneva.
and in the UK and Europe. <

The show-car design delivered by

Helfet and Zagato, and hand-built by The Geneva Show car and its interior.
Hi-tech Automotive in Port Elizabeth,
was first shown to the world at the
80th anniversary of the show, held > View a video of Joule here.
in March this year. The show attract-
ed over 690 000 visitors and more
than 11 000 media and placed a lot of
emphasis on alternative automotive
technologies. Most manufacturers

EDUCATION
47 >
50 >

DESIGN FOR
THE PEOPLE
Economic recession, global warming,
the explosion of social media cultures,
civil unrest, emerging third world pow-
ers and terrorism are just a few of the
ever changing aspects and issues that
confront us on a daily basis.

We are living in an age where need seems to be bur-

geoning. And yet, it is the wants of a consumer society
that command the attention of the designer. Designers,
by definition, are creative problem solvers. Yet, aren’t
there some problems that are far more urgent to
solve than others? Some designers are acutely aware
of this, managing to balance both the needs and the
wants while equally addressing many of the issues at
hand in a creative, socially relevant way.

Alejandro Aravena and Marcelo Rosenbaum are two

designers who have established themselves as prob-
lem solvers. A great deal of their time is spent using
architecture and design to improve lives, empower
people and alleviate social problems. With their vastly
different approaches, philosophies and design meth-
odologies, they yield highly contrasting solutions, yet
both address very relevant challenges.

Chilean architect Alejandro Aravena is pragmatic

when it comes to creativity. He sees creativity as a
means of solving problems – creativity that is bred
and nurtured in the context of a lack of knowledge
and understanding. For him, creativity itself is not a
goal, but rather a consequence.

By Marieke Adams & Sarah Stewart

 51 >

After graduating with a Bachelor of Architecture The general attitude often seems to be that low-
degree from the Universidad Católica de Chile in 1992, cost social housing with its limited budget simply
he won a commission to design the Mathematics has to mean downgrading of standards, size and
Faculty building at this university. The success of quality. Yet Aravena’s approach is just the opposite.
this building, among others, resulted in further For him there should be no compromise on the
work on a number of university-related projects. In level of design excellence, irrespective of the limited
1994, Aravena established Alejandro Aravena Archi- finances available. He would rather design and
tects, of which he is the principal. In a professional build what he can with the money at hand, even if
career spanning more than 15 years, Aravena has this means building half of a good house when
engaged in an array of high-profile projects, both presented with limited financial resources.
within his native Chile, as well as internationally.
His work has included a global range of private, This attitude is exemplified in Quinta Monroy in
public, educational and institutional projects. the northern Chilean coastal town of Iquique. This
housing project, completed in 2004, epitomises this
Despite these high-profile projects and increasing pragmatic, problem-solving approach that both he
international acclaim, Aravena also makes an exten- and Elemental have adopted. In this instance, the
sive contribution in the area of low-income housing. Chilean government requested their creative problem-
In 2001 he founded Elemental S.A., along with archi- solving in housing 100 families on the same 5 000m2
tect Pablo Allard and engineer Andrés Iacobelli. Ele- plot of land that they had illegally inhabited for 30
mental, which is affiliated to the Universidad Católica years. Working with the current US$7 500 housing
de Chile and the Chilean oil company, COPEC, deals policy subsidy per family unit, which was expected
with pioneering architecture, infrastructure and to cover all elements such as land, infrastructure
transportation that are socially and developmentally and architecture, the challenge was to find a way
oriented. of aligning their design ideology with the contex-
tual reality. This posed a whole array of restric-
While Aravena’s work straddles two contrasting tions and constraints. In fact, simply taking into
design markets it is interesting to see that he makes consideration the site price and local building in-
no distinction in his approach to low-income social dustry prices, the housing subsidy would not
design and to upmarket commercial design. Instead, amount to much.
he opts for no compromise when it comes to design,
irrespective of the nature or financial significance of How is it possible to maintain design standards in
the project. It is the low-cost end of the design spec- such a context? Normally one would expect houses
trum with all of its constraints and restrictions that often gradually to gain in value. Yet, in the case of low-
proves more challenging. This is precisely where truly cost social housing, the finances deployed are simply
good design needs to be effectively implemented. regarded as a social expense. Part of Aravena’s

EDUCATION
52 >

contribution has been to change this perception Their solution was the design and implementation
so that effectively designed low-income housing of half a good middle-income house. Duplexes were
would increase in value and hence be viewed as designed that would offer enough density to cover
an investment and not just an expense. the site expense, while simultaneously avoiding
overcrowding. These two-floor dwellings would be
In this particular project in Iquique efficient land able to provide room for expansion within the sup-
use was also of fundamental importance. Both the porting, yet not constraining structural frameworks.
number of families and the land available were a In this way each family would have a fully functional
constant. Yet, it was a far more complex equation dwelling with basic services already installed, but
than simply dividing available land by the number with a frame that would easily allow for expansion.
of family units. For Aravena and Elemental factors Elemental focused on providing that half of the
such as decent living conditions, the possibility for house that required special expertise, while leaving
expansion and ensuring sufficient natural light the more easily constructed second half to be
and space were also significant variables which filled in by each family. This idea of a neutral frame
needed to be factored into the equation. would also allow for customisation that could add
 53 >

The Quinta Monroy low-cost housing project

epitomises the pragmatic approach that
Alejandro Aravena and Elemental have adopted
in the northern Chilean town of Iquique.

personality and individuality to each home, and Today Quinta Monroy remains a thriving residential
thus, a sense of ownership that is often lacking in community, owing much to the well-thought through
generic and bland low-cost housing. design approach of Aravena and Elemental. One
can often overlook seemingly insignificant elements
Allowing residents to make choices as to exactly in the design process. And yet, when Aravena spells
what they wanted within their homes was another out each part of this process in his pragmatic, real-
way of involving residents in the Quinta Monroy istic and sensible approach, it all seems so obvious.
project. Such choices were obviously constrained Design has a real part to play in addressing social
by the available funds. But, for example, residents needs and inequalities around the world. And it is
were integrally involved in making decisions about encouraging that people like Aravena are actively
fixtures such as water heaters and bathtubs, in- engaging in this task by employing their creativity.
stead of the architects dictating what they pre-
sumed the families would want. This cultivated a far Marcelo Rosenbaum is a Brazilian interior designer
greater sense of ownership and inclusion among who gives equal attention and priority to design-
residents. ing both high-end and low-end design projects.

EDUCATION
54 >

Rosenbaum set up a design office in São Paulo in 99.5% of the Brazilian population and documents
1992 and has since then been affirming the identity how Rosenbaum and his multidisciplinary team
of the Brazilian people through his use and inclusion improve lives by restoring homes in the Brazilian
of local cultural heritage, traditional techniques favelas. Home owners contact the television pro-
and the employment of craftsmen and artisans to gramme and explain who they are and what their
aid him in his design projects. needs are. Once a home owner is selected, this
information forms the brief for Rosenbaum and his
Rosenbaum was hired to design the VIP bar at Rio team. The physical renovation process takes 12
Carnival. His visual interpretation of Brazilian culture days to complete.
– complete with doily carpets, colourful embroideries
and local artisans’ work – was a surprise to the client It is the behaviour of people that define their spaces.
but a delight to all visiting dignitaries who felt that Rosenbaum addresses the owner’s needs by con-
the design embodied a spirit and flavour of Brazil. sidering the individual’s family, their relationships,
He has since consecutively won the annual commis- roots, memories, habits and needs. These factors
sion year after year. inform the design and decorative trends. Rosen-
baum sees the home as a mirror reflecting our per-
Rosenbaum shot to fame with his home makeover sonalities and not vice versa. It is the team’s aim
television programme Home Sweet Home. The show to create solutions that improve living conditions,
is flighted on the Rede Globo station and reaches minimise day-to-day costs, save resources, reduce
 55 >

One of the renovation projects by Marcelo Rosenbaum which

formed part of the Home Sweet Home television series.
Before (left) and after (below).

monthly expenses and in some cases, even provide manicurist’s home and added a home salon to her
a source of income. house. Another example is a home that was reno-
vated for a single father raising two children. The
The favelas are informal settlements or areas where father would have to leave his young children
the majority of the residents are low-income earners. alone at home when he was at work, so the team
A large part of what Rosenbaum and his team do is built a cinema and small shop on the ground floor
not to reject the home of a resident but affirm the to provide the father with a source of income to
resident’s identity by working within tight financial enable him to be at home with his children.
constraints and using existing objects of the resi-
dent in conjunction with structural reinforcement Rosenbaum discusses how one can learn to be rele-
and interior interventions to create something vant in one’s community. The strength of Brazilian
beautiful. culture lies in its ability to blend diverse cultures.
This cacophony of cultural elements has created a
Rosenbaum’s philosophy is centred on the belief need to improvise and deliberately create simplicity.
that good design can be a transformative tool for It is important to play to your strengths. Look at the
building self-esteem and encouraging education. predominant characteristics of an individual, a cul-
Two excellent examples of how Rosenbaum lives out tural group or nation and consider how these can be
this philosophy would be two recent Home Sweet used to best advantage. Many developing countries
Home projects. The team renovated a hairdresser/ share common values. It is the outstanding ability

EDUCATION
56 >

Public Transport Shared Services Centre by

Makeka Design Lab (right). Re-imagining Cape
Town station designed as a joint venture with
Makeka Design Lab, Comrie Wilkinson, DHK
and Jakupa (centre). The Ordos 100 project, by
Makeka Designs Lab, is a ground-breaking
experiment in urban development and the
arts situated in Mongolia (far right).

of poor people to develop skills needed in order to are used by Rosenbaum to bless and give back to
survive in crisis. There is a great deal of talent and underprivileged communities. He highlights the im-
genius that can be explored amongst people who portance of giving back and supporting communities.
have been in critical situations.
Just like Chile and Brazil, South Africa has many
Rosenbaum also highlights an emerging global socially relevant issues and needs that cry out to
trend of empowerment that is seen in public plat- be addressed and resolved.
forms that allow individuals to be the masters of
their own content. Examples of social platforms Mokena Makeka is a South African architect who
would be YouTube, MySpace, blogs, Etsy, eBay, provides a different approach to addressing these
Craigslist, Flickr, LinkedIn, Bebo and Orkut. This needs – by advocating the benefits and necessity
empowerment trend is an important social tool of public space design. He actively seeks to leave
that can provide platforms for collaboration, this world in a better state than he found it, serv-
awareness and ultimately, change. ing his community and country by devoting 90% of
his time to the design of public spaces.
Brazil is a country with a significant gap between
the haves and have-nots. Interior design skills that Makeka stresses that democratic practice and public
are usually only associated with a high-end market space depend on and reinforce each other. Throughout
 57 >

The Caruaru
Collection of
furniture by
Marcelo
Rosenbaum.

history every regime that has violated human within South Africa where the majority of the pop-
rights has used architectural elements and deliberate ulation live in informal settlements with open toilets
town planning to intentionally segregate and strip and un-insulated shelters, Makeka’s call for a radical
away human identity. Makeka sites diabolical design improvement of basic standards for human living
decisions made during the apartheid regime to delib- need to be heard and met.
erately segregate and divide communities and people.
Over and above violating human rights, this under- In every country there are communities that need
mined public space as people retreated into gated help and social issues that must be addressed,
communities and withdrew from contributing to both on macro and micro levels. Designers can use
society. While apartheid is gone, the consequences creativity to actively solve problems. Be aware of
of those design decisions remain. situations and individuals around you. You have
the potential to be relevant. While there are many
Current and future design decisions will physically problems and issues that need to be addressed,
realise South Africa’s framework of democracy. there are just as many solutions. The trick is to recog-
Makeka is investing his skills into more humanised nise how you can use your gift to bless others. <
South African communities. At the core of his design
philosophy lays the opinion that it is a human right to
live in a designed environment. Living and working

EDUCATION
58 >

WOOD
RAW STUDIO MAKES

WORK By Maran Coates

Raw Studio collaborates with different artists and designers on the prints for their projects.
 59 >

Like his work, Raw Studio’s Peet van Straaten has amazing work in churches all over the country. My
evolved, each step bringing with it an essential father and brother were interested in woodwork
integrity that has culminated in his current studio, and we had quite a bit of woodworking machinery
which he established in Tshwane in 2005. in our workshop at home,” he said.

A large part of Peet’s thinking at Raw Studio is His integrity and love of wood has translated into
taken up by developing flexible, adaptable systems working with eco plywood in a way that venerates
of furniture that are driven by innovation, but also all the positive aspects of this product.
by necessity. The modular systems are designed to
be easy to install, customisable and expandable Previous adventures have informed Peet’s current
with machining and simple assembly in mind. thinking and approach which include cutting-edge
technology, functional design and environmental
Coming from a family of cabinetmakers, Peet consciousness. Peet’s clear determination to design
has this timeless craft etched into his DNA. “My and create products that focus on consuming less
grandfather was a fine cabinetmaker and did energy – not only in production but also during their
lifespan – is achieved by using sustainable materials
and manufacturing as efficiently as possible. His
diploma in architecture, focussing on advanced en-
vironmental and energy studies, which he did in
Wales, has helped him to make this an achievable
goal.

Peet’s design approach has undergone several

shifts over the last 13 years. His apprenticeship with
cabinetmaker Nic Godaurd of Swiss Joinery, gave
the then wow-factor junkie the opportunity to play,
creating various pretty weird art furniture pieces
that pushed the boundaries of design and joinery.

Living and working in Rotterdam ushered in a new

perspective, characterised by simplicity, elegance,
functionality and thriftiness – all elements if good
Dutch design. Business sense required that Peet
begin to design with users, modular expandability
and production in mind. His attitude for making
joinery work for him and not the other way round
has resulted in developing glue-less jointing sys-
tems. The wonders of CNC machine processes

EDUCATION
60 >

ushered in the use of flat board eco plywood, designed for TriBeCa Coffee Company. It
which he has employed successfully ever works seamlessly with this company’s brand
since. and is expandable and user-friendly. The office
system will become a product that can be sold
A quick look at the endangered species list to more users without having to reinvent it
would convince most people that it’s just all over again.
not okay to use exotic solid woods any more.
In South Africa the market still uses mostly The notion of modular design, which on the
solid wood that cannot be traced back to a one hand is about units working together
sustainable source, so Peet steers clear of but on the other hand offer individuals the
these. To overcome this, Raw Studio imports opportunity to make up their own, culminates
Koskisen birch plywood (98% real wood) with Raw Studio’s widely featured Ikonik
directly from the mill in Finland, which is modular locker system. Even though steel
lockers are “sort of the epitome of industrial
certified for sustainable forest manage-
design”, Peet has always found them both
ment. The eco plywood is ideal because of
“beautiful and intriguing”. “A locker is a little
its excellent quality and wide variety. Suited
bit of personal space on a grid of other peo-
to a clean, simple and modular design ethos,
ples’ personal spaces.” The beauty lies in how
plywood’s cost-effectiveness allows Raw
people interact with their personal space in
Studio’s small outfit to produce numerous
relation to a social context through custom-
prototypes, which Peet and his team of five
isation. Raw Studio’s idea was to use the
manufacture for testing and aesthetic evalu-
locker design as we know it and build it
ation. Unfortunately the quality of local ply-
completely from plywood and present it as
wood leaves much to be desired, says Peet.
an empty canvas to graphic designers and
artists.
Raw Studio’s projects include office systems,
shopfittings, point-of-sale units, branded
Peet has had the opportunity to brainstorm
products, mass seating and acoustic panel- and bounce off ideas of various artists, design-
ling for universities and private clients. ers and architects. He views collaboration
as a “very valuable process – from time to
The studio’s retailed modular ranges require time it’s not a good idea to be left to your
extensive research and are designed to inter- own devices”.
act easily with customers, to enrich their envi-
ronments and make their life easier, even For Raw Studio the potential of collabora-
though Peet may never meet the customer tion has been really successful in teaming
face-to-face. up with freelance illustrator and surface de-
signer Ymke Hemminga who illustrated one of
One modular system that has been really their Ikonik lockers. A year ago she started
successful is the office system originally her company Scratch the Surface, illustrating
 Enthusiastic hair (left) and Wings (centre), Peet van Straaten in his studio. Ikonik, a completely plywood version of the steel
illustrated by Ymke Hemminga. Ymke created the locker, is modular and can be stacked, hung and
61 >

EDUCATION
illustration for one of Raw Studio’s Ikonik lockers. customised with prints and colour.
62 >

Soul table (right). Tressel (far right)

is a modular interpretation of the
traditional a-frame trestle. Klik
(below) affords users the opportunity
to fit offices or homes in a unique
yet modular way which the user
can modify as requirements change.
 63 >

Haarlem (far left) is a room-divider that is

designed for use between a kitchen and
dinning room. Sim 3 (centre) is a bathroom
cabinet, part laminated, part joined from
beech plywood. Open spaces between
cabinets are used to store rolled up towels.
Slim Shady (left) is a room divider/vanity
panel designed to be used as a dressing area
in the closed position or a filtered sunlight
screen in open position.

surfaces mostly on paper, crockery, furniture Peet’s creative adventure has had many
and fabric. Her style worked well with the faces and lived in many places. There are some
aesthetics of the personalised wooden lockers. things that he thinks are vitally important to
She is definitely someone to watch – super remember when starting your own business:
talented,” says Peet of their partnership. “Get your hands dirty; theory and formal
She has been exhibiting with Raw Studio on education is just a start, making it work is a
a regular basis. matter of trial and error; don’t be afraid to make
mistakes; in the beginning you have to satisfy
“I draw, I write, I parent, I teach, in no specific clients, but make sure you relay something
order,” says Ymke Hemminga. Born in what of yourself in the design and stick to your
she calls a “little slow-motion village of guns; try to be innovative in all your work,
Benoni-esque boredom” in the Netherlands innovation is what spurs progress; work in
she spent years thinking and travelling and collaboration with others, don’t isolate
then landed up in South Africa. She has both yourself, but don’t prostitute your ideas (if
fine art and creative writing/playwright they are good).”
qualifications and has worked as a freelance
illustrator and writer. Inspired by all the “ab- Peet’s intuitive ability to live out his passion
surd and beautiful aspects of being human”, for good design – which he says is more a
Ymke reflects the humour she sees in mundane feeling of things being in their rightful place,
daily acts, like doing dishes and groceries. the right solutions for the specific problem
“It’s all we’ve got to rise above ourselves, to and beauty – has created a perfect perspec-
connect and evolve”. Her hope is that her tive in which Raw Studio can thrive and
illustrations create a moment, evoke a grin prosper. <
or a giggle amidst our “mind-numbing” daily
domesticity.

EDUCATION
64 >

ALTERNATIVE
assist them to turn their knowledge, intellect
and visual skills into virtues outside the
traditional context of the profession.
ARCHITECTURE
With creativity being at the core of architec-
By Liani van der Westhuizen
tural thinking, interdisciplinary practice,
collaboration, technological advancement
Architecture is a rapidly changing and sustainable development affirm the
profession. ED> explores the blurring advantages generated from a greater dis-
of the boundaries of architecture as a tribution of professionals working in ‘alter-
native’ architectural jobs.
discipline and showcases three individ-
uals who have redeployed their skills,
knowledge and experience outside the KARIN HARCUS-HARRISON
traditional context of architectural
Most of us will have difficulty in identifying
practice. the relationship between mortar and thread,
but for Karin Harcus-Harrison the similarity
In the first ever book entirely devoted to between constructing buildings and making
architecture, the Roman architect and writer garments is obvious. After completing her
Vitruvius stated that Roman architects MProf in Architecture at the University of Pre-
practised a wide variety of disciplines, toria in 2005, she embarked on a bachelor’s
which, in modern terms, could be described degree in fashion design at the London Inter-
as engineers, architects, landscape archi- national School of Fashion (LISOF) in Johan-
tects, artists and craftsmen. Vitruvius called nesburg.
for architects to be ‘skilful in many arts,
equipped with knowledge of many branches Karin considers her career in fashion as a
of study and varied kinds of learning’. natural progression of her architectural career.
She sees the design processes involved in
Described as a social art and also an artful fashion and architecture “in constant conver-
science, architects design, invent, explore, sation with each other” and inevitably draws
write, sketch, teach, speculate, theorise, film, inspiration from both mediums.
map, critique, analyse and imagine; all in
an attempt to positively shape the environ- Karin considers the theoretical basis of her
ment in which we live. Architectural training architectural studies to be an invaluable
and experience in the profession provide resource in the conception of her garments.
designers not only with the specialist exper- Influenced in particular by the theory of Decon-
tise to flourish in the construction industry, structivism, she questions the traditional
but also with a wealth of generalist skills to method of patternmaking and disregards
 65 >

Karin Harcus-
Harrison’s final
range at the
LISOF Degree
Fashion Show in
2009. Photo:
Ivan Naude/
LISOF.

Karin Harcus-
Harrison’s
fashion
sketches in
preparation of
her final range
at LISOF in
2009.

One of Karin
Harcus-
Harrison’s
garments at the
2008 Sanlam SA
Fashion Week.
Photo: Ivan
Naude.

Karin Harcus-
Harrison
modelling one
of her own
creations for a
fashion shoot in
2009.

EDUCATION
66 >

Melissa Kinnear during a

discussion with a focus group
meeting in the community in
Salvador da Bahia, Brazil as
part of the ASF-UK Building
Communities workshop in
March 2009. Photo: Christina
Eddings.

Participants on a design and

build workshop at Oxford
Brookes University as part of
the ASF-UK/OxArch
workshop in March 2009
(centre left). An international
team of participants during
the ASF-UK Vulnerability and
Risk workshop in June 2008.
The team designed, procured
and constructed a
transitional structure in an
earthquake prone area in
India (centre right). Photos:
Melissa Kinnear.

Participants discussing
housing typologies with local
children in Salvador da
Bahia, Brazil as part of the
ASF-UK Building
Communities workshop in
March 2009. Photo: Liani van
der Westhuizen.
 67 >

the Modernist approach of ‘form follows experience in a variety of architectural of-

function’ and substitutes it with ‘form follows fices, but soon became frustrated with the
fantasy’. Structural garment elements, such lack of engagement of the profession in larger
as seam allowances and linings which are developmental issues such as increased
usually concealed, are promoted to become urbanisation, unplanned cities and post-
exposed as functional elements including disaster reconstruction.
pockets, lapels and cuffs. The garment’s
construction, therefore, provides the embel- With a sincere interest in participation, sus-
lishment and graphic quality, reducing the tainability and ethics, Melissa swapped the
need for applied decoration. interior of an architect’s office for an oppor-
tunity to be more relevant to the world’s poor.
Although well-versed in both disciplines, As design tutor at Oxford Brookes Univer-
Karin unavoidably thinks of herself as an sity in the Development and Emergency
architect because she regards architect as Practice design studio for undergraduates
a more inclusive term than fashion designer. and general manager for Architecture Sans
Nevertheless, her multidisciplinary ap- Frontières-UK, she is making waves in the
proach to design allows her to deem that all world of international development.
designers are part of a “collective under-
standing” where their design education
Through a programme of workshops and
enables them to participate and contribute
talks, this UK-based charity is committed
to each other’s professions.
to providing architectural students and
professionals with opportunities to equip
Although the boundaries between fashion
themselves with the necessary skills to
and the built environment have blurred for
contribute more effectively in the interna-
Karin, she ultimately relies on the energy
tional development sector. Melissa stresses
she invests within the design process to
the need for professionals to acknowledge
deliver an innovative product, irrespective
their responsibility towards the impoverished
of its being constructed with concrete or
95% of the population and urges architects
with fabric.
to become more involved in improving the
living conditions of the urban poor. She be-
MELISSA KINNEAR lieves that architects’ ability to have an over-
view of a project – from detail through to the
When faced with making a career choice macro-scale coordination – is really useful
after school, a combination of apathy to in- when working in the development sector,
vestigate possible career options and having as they “are able to engage with communi-
two architects as parents, a degree in archi- ties at grassroots level as well as negotiate
tecture was the most obvious choice for with parliamentarians at the macro scale”.
Melissa Kinnear. After completing her BArch Working in the development sector offers
studies at the University of the Witwaters- participants the opportunity to fully engage
rand in 1999, she gained valuable practical with the communities in which they work

EDUCATION
68 >

and to place them at the centre of decisions Energy is harvested from the wind and sun,
that affect their lives. Architecture Sans Fron- a nearby river is the source of running water
tières-UK does just that. and irrigation and his bakkie, tractor, and
water pump and even the generator rely on
With an increased interest by fellow built used sunflower oil to operate.
environment professionals and students,
and the successful delivery of workshops Jaco considers architecture as a series of care-
ful considerations between a self-sustainable
in Brazil, India, Japan, UK and South Africa,
Melissa is an example of how architects’ use of energy, the efficient functioning of
creativity and design skills could be har- the natural systems of energy supply and
the implications of low-impact technology
vested to improve life-standards and address
social and environmental injustices. With a on the environment where he employs low-
new set of values and a sense of purpose tech solutions rather than high-tech ones
she is well on her way to empower others to ease maintenance and repair work,
to become equally relevant. which he does himself. “Communication
methods are inescapably tangled in every-
For more on Melissa’s work at Architecture day technology,” he jokingly admits. “But
Sans Frontières-UK, visit www.asf-uk.org. once the farm is fully operational, I would
like to wean myself and rather use Skype
and Linux than Telkom and Windows.”
JACO BOOYENS
The remaining element in this balancing
When driving through the Overberg in the act to become self-sufficient is food pro-
Western Cape, you might pass a farm where duction. Jaco’s current livestock count in-
you’ll come across architect Jaco Booyens’s cludes a few sheep, goats (for milk), poultry
project for self-sufficiency. In this ambitious and tilapia fish. The vegetable garden and
project, which he modestly calls “work in fruit orchard supply fresh produce for con-
progress”, Jaco investigates the meaningful sumption and enough organic waste to
connections between architecture, ecological sustain the methane gas digester and com-
systems and technology in an attempt to offer post system.
a solution to a more sustainable future.
With future plans that include cultivating
The first two components of his three-fold oil-rich plants for bio-fuel, implementing
investigation relates to the built environment permaculture principles and even convert-
and technology where the rammed earth ing his paraffin refrigerator to run on plant
buildings on the farm are constructed with oil, Jaco effectively employs his insights of
clay and stone extracted within a one kilo- architecture as a synergy between place,
metre radius from site, thus substantially building and habitation to fulfil his vision
reducing transportation and material cost. for a self-sustainable existence. <
 69 >

Self constructed clay

and stone building
with Jaco Booyens’s
tractor that runs on
vegetable oil.

Jaco Booyens at
work, during the
final stages of roof
construction for his
clay and stone farm
dwelling.

All the energy used

on the farm is
harvested from
natural sources – the
bakkie runs on
vegetable oil, and
water is pumped
from a nearby river.
Images: Jaco
Booyens.

EDUCATION
70 >

ETHIC
ARCHITEC

Delft Childcare Centres, Delft South, Cape Town, 2004. A set of spaces mediate
between the street and the more private spaces of the Centres. Lined with seats and
partially roofed, they form part of the public spaces of the community. Anyone from
the neighbourhood can utilise these spaces, although they belong to the Centre.
 71 >

CAL
& THE CASE OF
Noero Wolff Architects is an enigma. Like

THE EVERYDAY
all true anomalies, the firm refuses to be
stereotyped into a neatly labelled box
(starchitect, image-maker, style-breaker),
preferring instead to remain unclassifiable
while negotiating the path seldom explored.
To use the firm simply as an example of

CTURE
ethical and everyday architecture (although
these terms are hardly simple) seems a
limitation of what they stand for as a whole.
What becomes obvious after meeting
partners Jo Noero and Heinrich Wolff is that
By Anastasia Miranda Messaris
all they really want to do is to create dignified,
beautiful, positive spaces for people.

It was exploring and lamenting the terms

‘ethical’ and ‘everyday’ within the practice of
local architecture – so thoughtfully discussed
and built upon within our architecture
school (and seemingly so easily disregarded
within the profession) – that drove me to the
doors of Noero Wolff Architects. To me, they
are one example, within a small group of
firms, who aims to make these concepts a
built reality; concepts I believe form the basis
of a sustainable and necessary architecture
and, consequently, society.

What exactly is meant by the term ‘ethical’

and why, when moving from theory to practice,
is it so difficult to exercise? Is ethical archi-
tecture ‘green’ architecture? Is it architecture
of public participation? Presumably the term
raises more questions than it illuminates,
however, one can deduce from the concepts’
many built manifestations that it is often
an introspective architecture where, when
asked, the designer can respond: “I reflected
upon that”. It is a way of designing where
the architects’ considerable knowledge of
theory and practice is used in a responsible,

EDUCATION
72 >

considered way. Generally speaking, ethical thoughtfully considered projects of a very

architecture is formed from the designer’s high quality, integrity and responsibility.
genuine concerns with and responses to And, as manifested in the Red Location Mu-
environmental responsibility, contextual seum of Struggle, while they aim to create
significance, cultural and social intimations buildings that stem from genuine human
and his own personal values. In this way, need and desire, they also endeavour to
ethical architecture is profoundly influ- create a space that is special. Generally ob-
enced by the everyday, by the meandering served architectural lessons that this firm
human condition of what surrounds it. can impart are as follows:

> rojects are accepted due to their social

P
Why then is it so difficult for most practicing
relevance and their opportunity to create
architects to incorporate this key value? As
meaningful and optimistic space. Looking
Jo Noero states in his article ‘The Expedient
at the broad range of designs that the firm
and the Ethical, The Everyday and the Extraor-
is involved with, such as housing, muse-
dinary’:
ums, schools, sports halls, private resi-
dences, churches, hospitals and commer-
“How often has one heard the lament of the cial buildings, it becomes apparent that
architect about the uncaring, unforgiving making exciting and pertinent space is
client who forced him or her into making not confined to a specific genre, only to
decisions … This tension [between the ethical one’s way of perceiving it.
and the expedient] has exercised me much
> imple architectural lessons are more
S
of the time and confounded me all of the
time because there is no easy way to answer important than ever. Basic first-year prin-
these dilemmas.” (Jo Noero. The Expedient ciples, such as taking into account build-
and the Ethical, the Everyday and the Extraor- ing use and climate are far from being age-
dinary, Architecture South Africa. Novem- ing architectural generators; they are still
ber/December 2007; p.8) initiators of imagination and opportunity.
Most importantly, a general cognisance
of social and urban context is imperative
Perhaps it is a case of think-time versus
to the project. As seen in both typologi-
output-time, where client and developer
cally opposing projects such as the Delft
necessitate a quick response. Perhaps it is
Daycare Centres (Delft South, Western
because of a global tendency toward form-
Cape) and Velocity Film Studios (Rivonia,
and style-based architecture. Perhaps it is
Gauteng), context can lead to form by
simply ignorance or indifference. Regard-
contributing to the formal street edge, as
less, Noero Wolff has so far managed to
in the former, and by manipulation of
avoid becoming any of these.
the section, as in the latter.

Looking at the list of projects that this firm > T echnology plays a pivotal role in transform-
has been charged with creates is the impres- ing the sketch design into the built object.
sion that Noero Wolff is a practice based Through technology a sincere attempt at
largely on modest, socially generative, creating an ethical building can fail due
 73 >

Usasazo Secondary School,

Khayelitsha, Cape Town, 2000.
This secondary school was
commissioned by the Provincial
Government and consists of 37
classrooms, a library, computer
room, hall and an administration
section. The brief was expanded
by the architects to allow the
school to be adapted to new
Further Education and Training
(FET) legislation which calls for
more entrepreneurial training.

Soweto Careers Centre, Soweto,

1990.

Velocity Films Studios, Rivonia,

Johannesburg, 1995. The building
was designed as ‘a work in
progress’ that represents the
framework within which all film
production companies operate
and allows the company the
flexibility to reinvent itself both
spatially and culturally over time.

EDUCATION
74 >

to unresolved and misunderstood building ma- > raw! They both still prefer hand drawing to the
D
terials and their limitations and capabilities computer.
and, significantly, the skills within the company
who is tasked with the building’s construction. The concept of ethical architecture is too vast and
Once again, for technology the importance of multi-faceted to simply describe. Furthermore, at-
context is imperative. Noero Wolff is known for tributing all of its nuances to one firm appears to
their resourceful and uncomplicated detailing be a single-minded attempt at understanding the
of simple local materials such as sheet metal practice in question. What one can, however, take
and steel. from this discussion is that a sincere attempt at
understanding ethical practices in architecture –an
> lways be interested, always be involved and
A
architecture that is designed for the purpose of im-
always be assiduous. Both Heinrich Wolff and
proving the lives of those who encounter it – is an
Jo Noero are still actively involved in the educa-
admirable first attempt at broaching this subject.
tion of young architects at the University of Cape
Noero Wolff stands as testimony to a belief system
Town and mercilessly pursue knowledge that
instilled in most architects at tertiary level that a
may contribute to their general understanding
practice could design striking and necessary archi-
of architecture and who it is built for.
tecture, both inspired by and for the everyday. <
> n optimistic stance toward the future of South
A
Africa and the architectural profession never All images courtesy of Noero Wolff Architects.
hurt anyone. And lastly,

The Red Location Museum of Struggle, Red Location, Port Elizabeth, 2006. It is designed to challenge
conventional views of museum design. The conventions of representing history as a single story are
challenged through the design of the museum spaces as well as its geographic positioning.

EDUCATION
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World Building of the Year
“WAF is amazing! At a critical time Mapungubwe Interpretation Centre,
for architecture, this event is Peter Rich Architects, South Africa
essential in promoting new and well
Future Project of the Year
established firms who set the benchmark Spanish Pavilion, Shanghai
for innovation around the world.” Miralles Tagliabue EMBT, Spain
Rafael Viñoly, World-renowned architect &
2009 Super-Jury Chair Interiors and Fit Out of the Year
Corian Super-Surfaces Showroom, Italy
Amanda Levete Architects, United Kingdom
Structural Design of the Year
Arena Zagreb, Croatia
Upi-2m, Croatia

Judges this year include:

Arata Isozaki
Barry Bergdoll
Stefan Benisch
Richard Hassell
Sophia van Ellrichshausen

To book your place, and for information on planning your whole

journey visit www.worldarchitecturefestival.com Quote BLUPAF
78 >

OLD
By Suné Stassen. Visionary. Legendary. Perhaps
even a little bit wacky? These are the words that
spring to mind when talking to Jody Aufrichtig –
the brain behind the Daddy brand – about his
latest project, the brand new Old Mac Daddy farm.

MAC
Daddy Long Legs Art Hotel is the boutique hotel;
another one is called the Grand Daddy; the pres-
idential suite is called Sugar Daddy; the bar is
Daddy Cool; the cinema on the rooftop in the
middle of the penthouse trailer park which is
also open to the public is called Ag Please Daddy.
Now the latest hotel project, Old Mac Daddy, has
been added to the Daddy collection.

DADDY For the last couple of years the design studio,

Room 13, has been taking care of the graphics
and brand identity of the Daddy collection. From
 79 >

Brightly polished Airstream trailers.

the start Jody wanted something funky, fun, func- unique. The history of the Voortrekkers, trekking
tional and energetic, but above all, he wanted people through unknown and rough terrain with their ox
to smile when they interacted with their brands. wagons made this concept even less far fetched.
“It’s all about the feel good feeling,” says Jody. Adding the mystery and intrigue of nomads and
gypsies and remembering the song Caravans that
It was a troublesome birth. The Airstream project fuelled our imagination for far away places, mys-
was born five years ago when Jody was travelling terious and romantic, made Jody think that he had
through Zimbabwe. He found a beautiful location, definitely hit the jackpot.
ideal for another boutique hotel. But due to the
political risk in Zimbabwe coupled with the inabil- Uninspired by modern South African caravans,
ity to get finance, he thought of a different solu- Jody was looking for something unique when he sud-
tion. What if your valuable investment actually has denly remembered the stunning shining silver Air-
the ability to pack up and move to another loca- stream trailers of the 50s and 60s that grabbed his
tion at a day’s notice? At 2 AM in the morning the attention when he saw the movie What’s eating
thought of caravans immediately sprang to mind. Gilbert Grape when he was only 13 years old. These
The idea of a convoy of Land Rovers, each hooking shining beauties would be the ultimate must-
a caravan and trekking to the next location excited haves to complete this unique concept. But he didn’t
him and Jody knew he had stumbled on something realise that they were sought-after collectors’

EDUCATION
80 >

items, manufactured and found mostly across the search for a family somewhere in northern Ohio.
Atlantic. Jody and his business partner Stefan Botha even-
tually found ten original Airstream trailers which
When Jody bought the former Metropole Hotel in had been in the family of a local fire chief for three
Long Street – now the newly transformed Grand decades.
Daddy – he was relieved to find that the rooftop was
constructed with solid concrete slab, perfect to set Importing second-hand vehicles are taboo in South
up his first trailer park. This unique project, com- Africa and getting these beauties to Cape Town be-
bining seven of Cape Town’s top creative talents, each came a nightmare in itself. Getting customs to under-
commissioned to decorate a trailer with a unique stand that you want to import a few vintage trailers,
theme and bold details, made this first project the put it on your hotel’s roof and turn it into accom-
phenomenon that it is today. A four-star rooftop modation just did not cut it. Negotiations with the
trailer park! head of customs and 16 rejections and an affidavit
later eventually resulted in an import permit. Get-
The first trailer park was not without its challenges ting the trailers to South Africa was another hel-
but at the end it was Jody’s passion that prevailed. luva business since the trailers did not fit into
The team faced their first major obstacle when they standard shipping containers. Finally in Cape Town
arrived in the USA and realised that authentic Air- it was a huge and costly operation to lift each trail-
stream trailers were not readily waiting at a depot. er on to the roof of The Grand Daddy Hotel,
These collectors’ items are scarce and with only “weighing between 1.5 and 3.5 tons per trailer,”
two days to go they were eventually tipped off to Jody explains.

Storyboard and interior views of the Give bees a chance Airstream designed by Tamara Joubert.
Storyboard and interior views of the The private life of plants Airstream designed by Pelican & Peony.
 81 >

After the steep learning curve of this first project, The trailers arrived in March this year and after a
the latest addition to the Daddy collection, Old Mac few months of preparation the artists and designers
Daddy, seemed to be a breeze. were handed their new canvases and given six weeks
to complete their projects.
Still, a project of this nature is never without chal-
lenges. Careful planning, coordination and detailed “Before we could hand the trailers to their creators,
project management skills are of the utmost im- a lot of work needed to be done like polishing,
portance for achieving success. It has been curated adding a protective sealant for the exterior and in-
and project-managed by Jody and Deirdre Aufrichtig, terior, stabilising the chassis, putting in new floor-
Nick King and décor stylist Tracy Lynch. ing and adding extractor fans to suck out hot air.
We added heat resistant laminates to all the glass
windows; every trailer had to be rewired to 240
KEY LESSONS IN PREPARATION volts to ensure sufficient power supply for the
Although these vintage ladies are made of alumin- four-star rated trailers that are kitted out with air-
ium and don’t rust, Jody explains that: “they are cons. Finally, all the surfaces needed to be prop-
over 50 years old so they looked atrocious when erly prepped before the artists and designers
they arrived. The surfaces on the outside were could apply any paint or wallpaper.”
heavily oxidised so we become experts in polish-
ing them to the shiny madams you see today. It “We learned the hard way,” says Jody, “so all small
took us about a month and a half to polish 10 or 11 appliances are stuck down and all surfaces and
trailers.” upholstery are stain-proof ”.

Storyboard and interior views of the Life Before Colour Airstream designed by Leasa Mensing.

EDUCATION
82 >

THE SETTING THE PROCESS AND EXTRAS

Part wholesome caravan park, part designer farm “A trailer is a difficult space to work in. Everything
lodge, Old Mac Daddy Trailer Hotel is a new chap- is rounded, nothing is really square inside which
ter in adventure, escapism and pure relaxation. in itself is quiet a challenge,” Jody explains.
Set on the pine-whispering slopes of a beautiful
corner of the Elgin Valley, in Western Cape Province, Décor styling genius Tracy Lynch, who was respon-
Old Mac Daddy is a collection of vintage Airstream sible for the decoration of one of the rooms at
Trailer Suites, each designed by a different Cape Daddy Long Legs, and who decorated one of the
Town-based artist or designer. first trailers, was the project manager and worked
closely with the artists and designers on the Old
For some this will be a nostalgic camping holiday Mac Daddy project. They received an open brief,
filled with fond childhood memories. With most of but as Jody explains that “there were certain re-
the trailers situated on the hillside, adding luxuri- quirements they had to comply with like having an
ous touches, placed amongst whispering pines eco-friendly project that will be hardwearing with
and a beautiful lake, Jody can only describe it as a a fun and funky edge”. The project was put out to
place of magic. tender and they received over 50 proposals.
“When we could not decide on the final concepts
we invited the public to vote for their favourites.

Storyboard and interior views of the For better or for boerewors Airstream designed by Julie Kenney.
Storyboard and interior views of the Mills & Boon Airstream designed by Kirsten Townsend & Jeannie Sherwood.
 83 >

We had an overwhelming response with just under Detox. It is very soft with gentle washes of sub-
1 300 people who participated in the voting process.” dued colour palettes like hues of grey.” All trailers
are kitted out with mini-bars, cotton linen, and
One trailer was sizeable enough to include a bath- central heating for those cold winter’s days and
room, complete with a Victorian bath. Interesting most have SMEG fridges to add that extra cool.”
to note that this beauty was an original US com-
mand centre until the team managed to buy it. Old Mac Daddy is a family destination, priced for the
South African market. A kiddie’s area will receive
The rest of the trailers only have a bedroom from soon receive a creative touch from artist Sacha Oliver.
where you step out into a wooden cabin with a Where possible only organic and free-range prod-
62m2 lounge and an en suite bathroom. A big deck ucts will be on offer and Mac Daddy does have its
in front allows guests to enjoy beautiful views, own vegetable garden.
with two of the units overlooking the lake and a
family farmhouse called Daddy’s Villa. Here the This seems to be another success story in the
aesthetic continuity of the project was pulled to- making for the Daddy collection – a powerful com-
gether with design elements by Pedersen+Lennard. bination of business and creativity and bound to
set the stage for a magical experience. <
“Because the trailers are bold and quite intense in
detail we decided to call the style of the lounges Photographs courtesy of Old Mac Daddy.

Storyboard and interior views of the Yellow Submarine Airstream designed by Cecile van Loggerenberg.
Storyboard and interior views of the Dirkie Sanches Suite Airstream designed by Joe and Mark Stead.

EDUCATION
84 >
 85 >

UNCOVERING
THE MYSTERIES
OF THE MAGIC
MIRROR TENTS
Imagine the movie Moulin Rouge come to Zingara brings her magic to her local
life. And what you get is The Spiegeltents. audiences, one can’t help but to be re-
Seen as the domain of heart breakers minded of the Klessens family “and their
and dream chasers and a symbol of the amazing love affair with these remark-
fin-de-siecle nightlife, these mirror tents able palaces of glass and light that has
were used throughout Europe as travel- enthralled audiences for over four gen-
ling dance halls and entertainment ven- erations.”
ues. Originally from Belgium and built in
the late 19th century, the Spiegeltents were
When carpenter Willem Klessens went
filled with mirrors which allowed discreet searching for a organ for his newly built
eye contact with other visitors, a mere ves-dance hall in 1920, the only dance organ
sel for art of seduction and flirtation. The
he could find was part of a dance tent. The
Klessens, a Belgian family were respon- purchasing of this dance tent saw the
sible for these magnificent creations. creation of the Spiegeltent. The opening
of the dance tent the following weekend
South African audiences can now experi- brought with it a leap of success. Kless-
ence a sense of the Moulin Rouge for ens then realised that he could be more
themselves, with the opportunity to see successful at this in one weekend than
one of these legendary Spiegeltents up doing carpentry for three months
close, whilst enjoying its warm hospi-
tality, when Madame Zingara’s Theatre Success is when opportunity meets prep-
of Dreams reopens. The 2010 Love Magic aration. Willem saw an opportunity and
Tour kicked off in Cape Town on 1 June started using his carpentry skills in the
and will be heading to Johannesburg in preparation and construction of his
October, with shows planned for Durban new dance hall, a Spiegeltent he named
early in 2011. These magic performances The Classique. His plan was to take his
will take place in the 80-year-old Spiegel- new creation and travel the village fairs
tent called Victoria, one of the most lux- in Belgium’s northern parts, setting up
urious tents in the world. While Madame in a different village every week. The

EDUCATION
86 >

village’s would never be the same This beautifully restored 90 year

again. old tent is now the setting of the
Teatro ZinZanni in San Fransisco.
August Klessens, Willem’s son, took She is the most senior of the Kless-
over the family business in 1935 and ens’ Spiegeltent family.
travelled for over 50 years to village
fairs all across Belgium. Working Gust Klessens, who’s passion and
with his two tents – Le Moulin Rouge love for these masterpieces, never
and La Gaiete – it was no surprise fully retired from the family busi-
that August, ‘The King of the Danc- ness of Spiegeltents, that his father
ing Tents’, became known through- Willem had started in 1920. His
out Belgium. great love for these big old oak-
panelled tented ladies,, especially
Being past down from generation the beautiful old Classique, was
to generation, Willy Klessens was broken when vandals, one night
next in line to continue this tradi- in a small village, set alight to his
tion. But with the rise of the disco favourite, rendering the tent com-
and dance halls that sprout up pletely destroyed.
like mushrooms across Europe at
the time, Willy realised that he would But out of despair comes oppor-
have to brave a huge financial risk tunity and so, at 70 years of age,
in competing with these disco halls. Gust began construction on a new
Having already successfully rented Spiegeltent. For the next seven
out his tents in the Netherlands years, every piece of this new tent
and Denmark, it was time for the – from the wooden floors, leaded
rest of the world to see and expe- glass windows and oak interior –
rience the beauty and magic of were put together by Gust and his
these remarkable venues. By wife. Considering that everything
1992, Le Moulin Rouge, at 18m in was made by hand in a very small
diameter, became too small for workshop, this accomplishment is
the ever-growing crowds at local staggering.
festivals and Willy headed back to
his workshop to produce an even They finally took ownership of the
bigger masterpiece, an enchant- new tent on their golden wedding
ing Art Nouveau 22m in diameter, anniversary, naming the new tent
the Palais des Glaces. the Classic – after the sorely
missed Classique.
To grow his collection, Willy then, in
1995, purchased a 1920 Spiegeltent The Laurijssen brothers, consisting
from a bank in Switzerland and re- of four carpenters and an engineer,
named it as the Palais Nostalgique. and also the official competition
 87 >

of the Klessens, built a beautiful The installation of the mirror tent is

Art Nouveau Spiegeltent which pure manual labour and no electric-
was eventually sold to the Klessens ity is needed. It is strictly forbidden
in 2001. to nail, screw or drill inside the
mirror tent. In case something
In 2004, another authentic Spiegel- needs to be attached this should
tent joined the Klessen family when be done by means of plastic adhe-
Jean-Pierre Toury entrusted his sive strips.
family’s heritage – the Toury Spiegel-
tent – to the Klessens. In 2006, the The trucks that transport the pieces
fourth generation of Klessens con- needs to be 16m in length, 2,55m
structed the youngest member of in width and 4m in height, taking
the family business, the 22m in a total weight of 32 ton each. With
diameter Salon Revue. The Spiehel- a foyer of 15m, 12 stakes have to
tent will continue to amaze and wow be driven into the ground at the
audiences, as the Klessons family front extension of the tent to guar-
continue constructing these master- antee the tent’s stability, while the
pieces, with each new tent getting flooring always consist of wood.
bigger and better.
The interior alcoves must encom-
pass permanent seats. With 16
VICTORIA’S TECHNICAL alcoves, each accommodating
REQUIREMENTS & seven people, allow for 112 people
INSTALLATION seating capacity. By adding extra
chairs and tables, the number of
It is difficult to imagine the sheer
seats can be increased up to 450.
labour that goes into building one
A seating and standing room is
of these magnificent creations. In
possible for up to 600 people, and
order to illustrate how much con-
with the extended version of the
struction is required to build one of
15m foyer, the standing and seat-
these tents, we have provided an
ing room can be increased up to
explanation of the technical require-
800 people. <
ments and installation involved in
constructing the Victoria.
Story and photos ©Madame
The building site must be level, so Zingara Enterprises
a reasonable flat surface with a
maximum slope of 40cm over 30m
on either grass, concrete, paving
or tiles is required.

EDUCATION
Inspirational Innovation
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www.graphica.co.za
 UN-
90 >

PACKED
A STORY ABOUT
BOXES AND BAGS
By Andrea Bokelmann

From our toothpaste boxes to our designer shoeboxes, package

design – the force of the irresistible power – sucks us in. But
have you ever considered why you select a particular brand of
the same product like a specific washing powder, shampoo or
toothpaste as opposed to the dozen other options on the super-
market shelf? Does the product define the package, or is the
product defined by its package? And, at the end of the day, what
difference does it actually make?
 91 >

HUMBLE BEGINNINGS: Believe it or not, the manufacturer. This marked the beginnings
once upon a time, the package was as simple and of a movement towards using the package as
nondescript as its definition implies: “1: pack- a means of establishing that special relation-
age noun 2: a box or other container in which ship with the consumer through visual means.
goods are stored.”

It all started with the basic human need: Food. NOT JUST A BOX: Enter the full-blown age
As people began collecting food, storing and of consumerism at the beginning of the 1950s,
transporting it, they saw a need to develop and the addition of a new criterion defining the
ways of containing and protecting their find. humble package – a new role that catapulted
These very first primitive – but no less innova- the art of packaging to the forefront of visual
tive – packaging solutions were created from communication: The brand.
natural materials such as woven grass, cured
animal skins and hardened clay. No longer was the humble package simply a
means of facilitating the transportation of the
The development of new technologies over product or enhancing the image of the manu-
the centuries was reflected in the evolving inno- facturer, it now had a life and purpose of its
vations in package materials and production. own: To communicate a brand, to adopt a per-
Grass, clay and skins were replaced with paper, sonality of its own, to speak to the consumer and
glass and metal – all significantly more durable say: “You like me. You want to take me home,
and better suited for the purpose of protection because I have something unique that you’re
and containment. As the trade market grew, so not going to get anywhere else!”
too did the need for packaging solutions that
were best suited to the needs of a product. This Packaging has long since moved past just being
inspired the continued exploration and develop- a physical object that holds some form of visual
ment of a variety of packaging materials, such appeal. It has become the embodiment of an
as the plastic packets, cardboard boxes, glass experience; a tool to engage the senses and stim-
bottles and metal cans widely used today. ulate a desired emotional and subconscious
response in the consumer. The theory of sensation
Up until about the end of the 19th century the transference states that whatever people see
package merely served as a facilitator of the and experience on the package, they subcon-
handing over of the product from the retailer to sciously attribute to the product itself. Essen-
the consumer. Its main goal was to serve the tially, the package has become the product.
purpose of protection and transportation and
nothing else. This was proven by a study conducted by mar-
keting innovator Louis Cheskin, whereby the soft
In the first half of the 20th century imagery and drink, 7-Up, was filled into cans that had 15%
words were introduced in order to communi- more yellow in the green of the design, than what
cate basic details about the manufacturer of the consumers were used to. This minor change
the product, with simple elements such as in the brand aesthetic had such a significant
pictures of the factory or a brief description of psychological effect on the consumers that

EDUCATION
92 >
they were absolutely convinced that the drink in
these modified cans definitively had more of a
lemon flavour than the 7-Up in the other cans.
The package no longer serves to simply sell the
product, but to sell itself and it does this by cre-
ating a brand experience for the consumer; a
unique personality that they will come to know
and love, and even form a personal bond with.
People, by nature, crave personal interaction and
relational bonds. Package design, through the
communication of the brand, taps into this basic
human need in order to establish a sense of loy-
alty and commitment in the consumer, ensuring
that they come back for more.
THE ART OF THE PACKAGE: So how
exactly does a simple package achieve this sense
of personal interaction? A package is a visual and
tangible piece of design. It gleams at you from
the shelf begging to be looked at and touched,
and, if all goes well, taken home. It’s all about
the sensory stimuli. The three things our eyes
most readily recognise are colour, shape and
size. The initial response to these visual stimuli
will set the stage for the consumer experience.
We know it’s all about first impressions – it’s that
split second encounter between the product and
the consumer.
7-Up cans showing how colour can influence
consumer perceptions.
P&G’s Herbal Essences packaging uses bright
colours to communicate a brand that is
luscious and comforting, but playful at the
same time, resonating with a young, but
classy, target audience. Note the subtle
curves to the shapes that enhance the
products elegant appeal.
THE POWER OF COLOUR: In the human
brain colour registers the quickest compared to an
image or typography and is, therefore, the most
powerful visual tool that be the difference between
a successful package design and a failure. Colours
also convey different emotional states to each
consumer, which need to correspond to the mood
and feel of the brand that is being communicated.
As a designer it is essential to have an intimate
understanding of the psychology and emotional
powers of colour. It has the potential to transcend
every other design element in the process while
creating a brand. But you can also offend a consumer
if you are not sensitive to the symbolic understanding
of colours that differ amongst cultures.
Not only should the designer consider what col-
ours are most appropriate for the brand, but also
what colours will resonate the strongest with the
desired target audience, and most importantly,
what colours are going to create the desired vis-
ual and psychological brand experience for this
audience.

The Acne Jeans rebrand proposal (top) by Kevin
Cantrell, demonstrates how a lack of colour
can communicate a sense of simple, clean
elegance. And, if used correctly, can create a
visual just as bold as the use of a bright colour.
Mentos product range (centre). Take note of
the difference between the use of cool and
warm shades in package design. Warm
shades are generally considered more
cheerful, comforting and sometimes playful,
whereas cooler colours create an impression
of calm, cleanliness and freshness.
Mousegraphics design solution for Mez Pastilles
(above). Combining black and white with
subtle touches of colour create a feeling of
elegant nostalgia.
93 >
Doritos chip package designed by Peter Parlov.
SHAPE: Another visual element of package
design is the shape of the package. Subtle and
sometimes not so subtle variations in the shape of
standard packaging serve as subliminal reminders
and reinforces of the brand message that is being
conveyed. For example, a slimmer box design can
subtly communicate the benefits of a health-
conscious cereal that promises a slimmer figure.
Designers are becoming more experimental with
the shapes of package solutions, not only experiment-
ing with subtle variations, but also bold, some-
times outrageous forms that immediately make
daring, exciting statements about the brand they
are portraying. An example of this is the Doritos
chip package redesign by Peter Parlov. Moving away
from the traditional chip packet, Peter has cre-
ated a cardboard box incorporating the geomet-
ric triangular shape, as well as the texture, of the
chips itself. Not only is this a visually appealing,
eye-catching design, but the structured geomet-
ric shape also helps keep the container closed
when it’s not in use, making it more functional
and practical than the conventional packet.
EDUCATION
94 >

There has been advances in the tactile element

of package design, creating a complete sensory
brand experience. When texture and interesting
shapes are incorporated into the design of a
package, it encourages the consumer to reach
out and touch, feel and engage with the product.
Once the product is touched, the chance of a pur-
chase is significantly higher.

This concept of a multi-sensory package is fast be-

coming the most effective means to make a product
stand out from the rest. Engaging all the sensory
stimuli available to the consumer triggers emotions
and responses in the brain. Adopting this approach
to package design introduces a new league of
packaging that has the potential to become one
with the product, allowing the consumer to expe-
rience the product through the package.
Woolworths’ To go range of sandwich packages,
uses cardboard, rather than plastic. The
cardboard used is certified as coming from a
sustainable and well-managed forest, and the
transparent window is made from corn, not
plastic.

The concept The Yay! juice boxes designed by Naoto

Fukasawa, combines colour, shape and texture to
THE GREEN BOX: The 1980s marked the
beginning of a move to both consumers, and
create a fruit juice carton that imitates the nature
designers, becoming more environmentally aware.
of the product itself. By taking on the nature of the
As consumers’ awareness around ‘green’ issues
fruit, this novelty design transports the consumer
increased, so did the focus on ‘green design’, with
right to the heart of the product, without the need
package design being at the forefront. From the
for logos and catchy marketing phrases.
conceptual phase, right through to production
and transportation, the green concept is increasingly
finding its way into the design consciousness.
The pivotal role that package plays in this
consumer-driven system, places it at the fore-
front of the green design movement.

Designers are increasingly adopting the mantras

‘reduce, reuse, recycle’ and ‘cradle-to-cradle’
when approaching package design. Not only are
they using environmentally friendly materials,
such as recycled paper, natural materials or soy
inks, but creating elements that the consumer
can use more than once – increasing the product
lifespan, and reducing waste.
The Yay! juice boxes.
 95 >

Dieter Zermatten adopted the reuse and reduce
approach when designing his Play bag, a design
that won the House and Leisure Green Designers
competition in 2010. This portable storage bag
transforms into a play mat, reducing two prod-
ucts into one practical design that is versatile
and durable, making the consumer’s life much
easier, as well as reducing the strain on the envi-
ronment.
M&A Designs is a South African package design
company that has, to a large degree, been lead-
ing the way in sustainable and environmental
packaging in the country. They are dedicated to
educating their clients, and guiding them in mak-
ing environmentally friendly design and produc-
tion choices. Not only do they always take the
greenest route in every design solution, but also
support sustainable and eco-friendly farming
practices at the supply level.
the overall aesthetic of the design and, by exten-
sion, the communication of the brand.
Designers and marketers are realising that it is not
enough just to adopt the green approach, but that
bigger changes need to be far-reaching: impacting
socially, as well as environmentally. Design can
only claim to be truly sustainable if it assumes the
responsibility of the environmental consequences
of the material used, as well as the social conse-
quences of the content. Package design no longer
aims just to sell a product, but to make a difference
in the environment, and to use its powers of com-
munication to its most meaningful potential.

One of M&A’s biggest clients is Woolworths, a

household name in South Africa that is well
known for its commitment to bringing consumers
the most environmentally friendly product ranges.

M&A Design’s revolutionary new Appletiser bottle

design has given new meaning to the concept of
functional design. The most groundbreaking ele-
ment of the design is the leaf shape that has been
raised out of the glass. While this might just seem
like a clever way of incorporating the logo into the
actual glass of the bottle, it is an element that also
takes on the functional role of the orientation
mark of the bottle. So the leaf shape is the device
used during the production process that ensures
the bottles are positioned correctly along the pro-
duction line for the placements of the labels. This
mark, usually situated nondescriptly along the The Play bag (top).
base of a bottle as a series of small lines, has been Appletiser bottle (above).
utilised as a quirky design element, enhancing
96 >
Sustainable philosophies lead to sustainable
brands, which become sustainable products and
packages.
The South African company Give It Bag uses recycling
to provide jobs in communities where it is much
needed and to generate money to help those in
need. Give It Bag makes use of old polypropylene
packaging sourced from all over the world, each
with a unique print or design. These are used to create
beautiful designer bags, using specially designed
patterns. All income received for the sale of these
bags goes to various charity initiatives. This innova-
tive design solution communicates the message
to the consumers that they have the ability to make
a difference in the world, by making small, but mean-
ingful decisions. By becoming more informed
about social and environmental issues, consumers
are realising that the power lies with them and in
the products they choose to purchase, and the
brands they choose to support. Read more about
Give It Bag here.
Give It Bag.
PUMA is an internationally recognised brand that
has fully adopted the practice of sustainability. Not
only have they been involved in numerous social and
environmental initiatives, but their strong stand
on sustainability and social upliftment influences
their approach to design.
Puma’s innovative new package is making waves in
the packaging industry. Yves Béhar, founder of the
industrial design and branding firm, Fuseproject,
developed the concept for Puma’s Clever Little Bag.
Moving away from the conventional shoebox, this
design consists of a sheet of cardboard that is held
in shape by ‘a clever little bag’. By completely doing
away with the box, this design uses 65% less card-
board, no tissue paper, weighs less and takes up
less space, which reduces resources required for
shipping and replaces the harmful plastic retail bag.
PUMA’S Clever Little Bag.
 97 >

The bag itself can be reused, and is non-woven,

which means less work, and less waste.

This innovative design solution will reduce the

consumption of water, diesel and energy by 60%
per year in manufacturing. It uses 8 500 tonnes
less paper, and the difference in weight will save
approximately 275 tons of plastic. If one good
design solution can make such an overwhelming
impact, imagine the possibilities of an entire de-
sign community adopting the same sustainable
approach. View a video here.

The Dreamball relief aid package designed by

Unplug Design, transforms design into an active
tool for upliftment in impoverished communities.
This design, intended for third world countries suf-
fering from poverty, war and natural disasters, can
be reassembled by following simple instructions,
to create a football for the children of these devas-
tated areas. Not only does the Dreamball physically
assist these communities, by providing relief aid,
but touches the hearts of these communities, by
facilitating personal and playful interaction be-
tween the aid workers and the children. Read
more about the Dreamball Project here.

People from all walks of life from all over the world
interact with some form of package design countless
times every day. The question is what we, as design-
ers, communicate to a world that is constantly inter-
Dreamball.
acting with our designs. Remembering the famous
last words of Spiderman’s uncle Ben, “With great
power comes great responsibility”, I ask what de-
signers intend on doing with the gift we have been
given? Will we remain set in the consumerist ways
of making a product sell, no matter what the cost,
or will we create boxes that lead the way in trans-
forming our world? <

EDUCATION
98 >

By Zelda Harrison

STEFAN G
BUCHER:
THE MONSTERS
MADE ME

DO
IT!
 99 >

Stefan G Bucher is the man behind 344 Design and the Daily Monster
– an online drawing and storytelling experiment. His monsters have
invaded computer screens across the world, and their savage ad-
olescence is chronicled in the book 100 Days of Monsters (2008).

He has created gratuitously ambitious designs for Sting, David Hock-

ney, director Tarsem and the New York Times, and works with a whole
roster of brilliant, driven clients. His time-lapse drawings currently
appear on the rebooted TV classic The Electric Company on PBS.

In 2009 he published The Graphic Eye: Photographs by International

Graphic Designers and a new Taiwanese edition of his first book,
All Access: The Making of Thirty Extraordinary Graphic Designers. Two
new books are in the pipeline for 2011.

Stefan shared some insights into his word in an interview with ED>

PHILOSOPHY, MOTIVATION AND INSPIRATION

Tell us about your art studies and your move to the USA: My whole
life seems to be an ongoing quest to make my circumstances match
with what’s in my head. I was born and raised in Germany, and while
I’m glad for my education and for a safe and, in some ways, down-
right idyllic childhood, I also didn’t fit in at all. This was frustrating and
depressing, and also made me deeply unpopular. Nobody likes a weirdo.

During my first visit to California I immediately noticed how much

better everything meshed together. I didn’t realise it until I made the
move, but I think my head had gone to California a few years before me
without bothering to let me know. I was just a little slow to catch up.
There wasn’t really a cultural shift for me. I just found a place where
things worked the way I’d always thought they should. This made
me happy. I work really well here.

Along those same lines, studying art wasn’t ever a choice, just an ac-
knowledgement of what was already bubbling in my head. There was
never even a thought that I’d do anything but art. It was a foregone
conclusion. Art Center College of Design [Pasadena] just gave me
some serious tools for getting ideas out of my brain in one piece.

EDUCATION
 New York Times Super Bowl logo (left) and The Electric The Graphic Eye: Photographs by International
Company ink sequence (right) designed by Stefan G. Bucher. Graphic Designers, UK edition (left) USA edition
100 >

(right) designed by Stefan G. Bucher.

 101 >

What was your first (or favourite) job? Well, my

first job was picking poorly done ads out of the local
paper back in Germany, remaking them from scratch
(all by hand with pen and ink and Letratone film), and
then walking into the unsuspecting client’s store to sell
them my version. It was the best! I got to draw, I got to
fiddle with typography, I got to be judgmental, and
tell people how I thought things should look – and
I managed to get my drawings printed. That was
the biggest thing about it – seeing my drawings in
the paper. I was 15 years old then, and to this day
nothing is real until it’s in the press.

How has your career has evolved? Drawing came

first. I became an illustrator, went to art school,
then tried my hand at advertising on the romantic
assumption that it would let me draw, design,
write, take pictures and make films. I started design-
ing CDs for record labels, which really was as fun
and excellent as I had dreamt it would be. When
the music industry took a turn, I discovered book
design, which – in a roundabout way – led to the
Monsters. Now I’m an illustrator-designer-writer
who aspires to be an entry-level animator.

Along the way I’ve been lucky to always have brilliant

people in my corner who gave me encouragement,
support and inspiration. For example, some of my
earliest jobs were overflow assignments I got from
a famous German cartoonist who liked my stuff,
and who took me under his wing. Later I was fortu-
nate to have great teachers and excellent creative
friends. And of course, I’ve found clients who love
and support what I do, but also push me forward.

EDUCATION
102 >

THE MONSTER PROJECT

How did Monsters develop? What kind of themes

do you explore through them? The first Monster
‘appeared’ on my arm as I was driving on the 10
freeway in Los Angeles. It was a sunny afternoon,
and the little guy seemed friendly. As soon as I got
home, I tried to draw him and had so much fun
making Monsters that I haven’t stopped since.

Which sounds a bit contrived, I know – a vision

made me do it – but that’s how it happened. I’m
usually much more methodical, but the Monsters
just showed up and took root in my brain.

Visually they definitely show my love for Ralph

Steadman, and if you trace them back through my
earlier work, they have some Hans-Georg Rauch
DNA, too. The only major themes that have devel-
oped are that the Monsters are neurotic, a little
shy and goofy, sometimes frustrated or even angry,
but never violent. I sometimes get requests to
make some truly evil, nasty Monsters, and I can’t
do it. It’s not in their nature. They do like pinstripe
pants and high heels, though. They’re very stylish
and have strong arches.

What has been your audience’s response to the

Monsters? The response the Monsters have re-
ceived is beyond anything I ever thought possible.
Hundreds of people started writing stories about
them on the site. Some sent their own drawings
and now teachers are telling me that they’re using
the Monsters to teach drawing and writing skills to
their kids. I had absolutely no idea that this would
happen, but now I’m curious to see how far I can
take it.
 103 >

EDUCATION
Tarsem’s The Fall designed by Stefan G Bucher. 100 Days of Monsters designed by Stefan G Bucher.
 The Echo Park Time Travel Mart (EPTTM) shop façade and news display Jona Frank Right (left) and All Access: The
sign. EPTTM Mammoth Chunks and Leeches designed by Stefan G Bucher. Making of Thirty Extraordinary Graphic
104 >

Designers (right) designed by Stefan G Bucher.

 105 >

The Monsters have already crossed the world, and

different media. What are the latest developments
for The Monster Project? There is a Monster mural
in Seward, Nebraska, a big new-framed Monster in
a law firm in New York, and a whole gaggle in an ad
agency in Brussels.

I’m working on a new portfolio of large format

Monsters, and on a few skunk works projects that
I can’t talk about yet. More Monsters are definitely
on the way.

DESIGN AS THE ULTIMATE CAREER

What have been some of the thoughts/experi-

ences that you’ve shared with your students and
vice versa? I actually don’t teach. I just visit a lot of
schools and say irresponsible things. I have the
highest respect for teachers, and when I did teach
a class at Art Centre [Pasadena] years back I loved
it. I hope to do it again soon, but right now I’m a better
uncle than a dad.

What have been some of the significant changes

in design education in the past decade? I think a
truly significant change in design education will
come when most of the teachers will have grown
up using computers. Right now there is still too
much of a love/hate thing going on that makes
some teachers ignore the computer, or place too
much emphasis on it. Once that becomes a non-
issue, and people who played Little Big Planet
when they were six teach classes, I think it’ll get
interesting.

Regardless of the tools and techniques, it all boils

down to discipline, anyway. Everybody have ideas.
Everybody have a way of seeing the world, and an

EDUCATION
106 >

opinion on how things should look. All you can teach

people is how to turn all of that into actual work.
And that comes down to discipline. How much time
and effort are you willing to invest in your craft?

Any advice for young designers with a great idea,

looking to strike out on their own? Again, disci-
pline is the answer. If there’s an idea that’s so un-
deniably brilliant that it’ll become real on its own…
I haven’t seen it. Even the best ideas require count-
less hours of work and dedication to get them out
into the world. You may need to spend years draw-
ing or writing. Maybe you have to develop a whole
new process for your idea. And if your idea is so
brilliant that you can doodle it on a napkin, you
may end up spending years finding the right per-
son to show that napkin to.

Right out of school I recommend that you take a

staff job for a while. There are a lot of day-to-day
things you just can’t learn in school. Things you
need to know. You can learn them on your own, of
course, but why not pick up some experience from
people who’ve been there?

How do you define yourself, American or German?

It’s probably more accurate to call me a Prusso-
Californian — Bauhaus with an ocean view. <

Find more Monsters here.

 Cover design for STEP Inside Design (left) ink & circumstance (right) designed by Stefan G. Bucher.
107 >

EDUCATION
108 >

Tinga Tinga Tales has taken the entertainment

TINGA
world by storm with stories and products inspired
by traditional African folktales. Much like The Lion
King of the 90s brought a breath of fresh air to chil-
dren’s entertainment based upon African folklore,

TINGA
Tinga Tinga Tales, targeted at preschoolers, has been
described as an ambitious project that showcases
indigenous knowledge, packaged and narrated
through modern technology.

TALES
Claudia Lloyd, head of animation at Tiger Aspect
Productions in the UK can take credit for this fresh
idea that has been packaged to appeal to young
children all over the world. Tiger Aspect set up a

REAWAKENING fully-equipped animation studio in Nairobi and

hired local designers, animators, musicians and
writers to work on producing the show. Claudia saw
FOLKTALES the opportunity to develop Tinga Tinga Tales and
inspired by her love for Africa, marshalled an impres-
FROM AFRICA sive pool of African and international talent to tell
the African stories to an international audience.

The production of Tinga Tinga Tales started in 2008

when Homeboyz Animation (Kenya), CBeebies
By Lorraine Amollo and Lilac Osanjo (the BBC Children’s channel in the UK) and Disney’s
 109 >

Scenes from Tinga Tinga Tales.

Playhouse channel (USA) teamed up to start pro- Tingatinga art form. Having dropped out of primary
duction under the direction of Claudia. The team school after completing only four years of educa-
has put together over 40 of the 52 part series and tion, Eduardo started producing art using enamel
is scheduled to complete production late 2010. paint (also known as bicycle paint in certain parts
The first 26 episodes of the series are already of Africa) on masonite. The wild animals that roamed
airing in the UK. The elaborate equipment and the African plains, which included the King of the
production crew is working at the Homeboyz Jungle, elephants and zebras, inspired his early
Animation studio in Nairobi. paintings. The use of enamel paint ensured very
bright and decorative colours, appealing to chil-
Tinga Tinga Tales has opened a wide range of op- dren of all ages. Over time, his relatives joined
portunities for talent in music, voice casting, art and brought various adaptations of Tingatinga
and design. The spin-offs include merchandise art. The birds and animals are exaggerated and
such as books, T-shirts, furnishing and cutlery. cheerful. The peacock is a common subject, ren-
The first series were released in February 2010 in dered with repetitious motifs on the wings, long
the UK on the Cbeebies channel and will soon be neck, sharp beak and long legs.
available in other countries.
The Tingatinga Arts Co-operative Society (TACS)
in Dar es Salaam was the visual inspiration for
TINGATINGA ROOTS Tinga Tinga Tales – a lively collective of more than
50 Tanzanian artists painting wonderful creatures
Tingatinga (or Tinga Tinga) is a term used to de- in bright colours with an intricate use of pattern
scribe a highly decorative folk art style that has its and design.
roots in the southern region of Tanzania, bordering
Mozambique. Eduardo Saidi Tingatinga (1960- The original Tingatinga family from south Tanza-
1972) is the man credited to be the creator of the nia sits at the organisation’s very heart. Members

EDUCATION
Scenes from Tinga Tinga Tales Images courtesy of BBC CBeebies. 110 >

of TACS have taught many artists who have gone large market especially amongst tourists visiting
on to become recognised masters of the genre. Africa. It can be said that Tinga Tinga has emerged
Some painters have moved to other parts of Tan- as part of the African experience.
zania and even abroad. No matter where these
artists reside, they remain linked to each other
and to their homeland by family, friendship and, ARTISTS AND DESIGNERS
of course, their beautiful artwork.
Illustrators and designers, including Celeste and
After more than 40 years a vibrant Tingatinga com- Melissa, both graduates of the University of Nairobi,
munity has emerged and established itself as an design most of the characters for Tinga Tinga Tales
original East African cultural tradition. which are then hand-painted in the original Tinga
Tinga style by local artists such as Mbwana Sudi,
In the early 70s a company developed which pro- Maulana Saidi, Hasani Kamale, Abasi Rafiki and
duced T-shirts especially for children under the Zachi Chimwanda. The hand-painted characters
name Tinga Tinga with animals depicted in bright are then scanned and rendered in appropriate
colours. Today these T-shirts still command a formats for animation by the design team.
 111 >

When it comes to the soundtrack, the Tinga Tinga The voices in Tinga Tinga Tales are impressive
sounds are also very much African. One can imme- with the likes of Edward Kwach, a famous radio
diately recognise the jingles associated with Eric personality, providing voice-overs. Children’s
Wainaina, a Kenyan singer-songwriter. He is famous voices are also included in songs and used for
for his Twende Twende song in which he collabo- characters.
rated with Oliver Mtukudzi of Todi fame. Eric is a
famous singer and songwriter specialising in Afro- Alfred, one of the main designers and a graduate
fusion; sometimes with a Kenya blend of Benga of the University of Nairobi says that the work is
rhythm and East African guitars. He has received intense but that he enjoys every minute of it. He
numerous international awards, including the has been working in the animation industry for
Best East African Artist at the pan-African 7th KORA more than ten years. After graduation, Alfred pur-
All-Africa Music Awards and was recently named sued a career in graphic design before succumb-
by the Guardian newspaper as a Kenyan cultural ing to the lure of animation. An opportunity came in
icon. In 2008 he was also named ‘Messenger for 2009 when he was selected to join other anima-
peace and non-violence’ by the United Nations’ tors from Africa at a UNESCO-sponsored work-
Office on Drugs and Crime. shop. At the workshop he got an opportunity to

EDUCATION
112 >

Paintings by Eduardo Saidi Tingatinga, the

father of the Tingatinga art form.
BELOW LTR: Brown lion; Flamingos, Leopard
and Untitled.

Images courtesy of Africa Art Online.

produce his first full animated work, entitled Olokut. CHARACTER DEVELOPMENT
His love for animation has seen Alfred giving talks
and workshops to university students. He is a African narrative is anchored in traditional skills
founding member of the Association of Animation passed on from generation to generation and Tinga
Artistes (A3, Kenya) that seeks to promote animators Tinga Tales is no different. The storylines are based
and consumers of animation. on animals and natural resources such as water,
drought, food and strength. Kenya has over 52
The smooth continuity of the series camouflages tribes, each with numerous untold folktales that
the many hours of concentration and hard work can all be developed into Tinga Tinga Tales. In
put in by the production team. Three animation traditional folklore, the rabbit has always been
teams of five animators each work on a 10-minute the cunning one, often pitting large animals such
episode for up to five weeks. This work is intense as the elephant and the rhino against each other
and requires expertise in CelAction and Pho- for his own selfish gains. The story of how the
toshop as the designers are tasked with creating tortoise got himself a broken shell or why he wears
backgrounds and props in digital format. The a coat has developed from local communities
animators then come in to bring the stories to life who encountered tortoises in their environment
and piece together each episode. on a daily basis. The peacock has always been
the epitome of beauty because of its colourful
 113 >

LTR: Hassani Kamale showing one of

his paintings. Maulana Saidi
showing one of his paintings. Zachi
Chimwanda showing one of his
paintings. A painting by Hassani
Kamale.

Images courtesy of Tingatinga Arts

Co-operative Society.

Paintings by Mbwana Sudi.

Images courtesy of www.afrum.com

feathers and this is certainly not lost in the Tinga cracked shell holds, for instance, an underlying
Tinga Tales. message to children that they should never be
selfish and should always be ready to help others.
Even cunning Hare and Rabbit are forced to turn
FORM AND MEANING from their wicked ways in order to survive. <

The strength of the Tinga Tinga Tales lies in the Images courtesy of Tiger Aspect Productions, BBC,
educational value that is added in a very childlike Disney, Homeboyz Animation and Tingatinga Arts
manner. The producers go to great lengths to Co-operative Society.
maintain the traditional authenticity of colour,
form and storyline. Each storyline has a learning > View clips from Tinga Tinga Tales here.
component that motivates positive behaviour
and attitudes amongst young viewers. The sto- > View a BBC video news story on Tinga Tinga
ries express the need to uphold moral values and Tales here.
be consistent in doing good, while always showing
gratitude to others. This again is consistent with
African folklore, in which good always triumphs
over evil. The one story of the tortoise and his

EDUCATION
114 >

WELCOME TO THE
3 DIMENSION
By Jason Aldridge. The very first time you go to
the cinema as a child a certain magic is created
and a familiar ritual ensues. The build-up of a long
ticket-line (where you urge the adult to choose the
seats right at the front), the sweets and other ac-
coutrements are collected for the journey, and af-
ter the tickets are checked, you meander down a
dark, burrow-like tunnel. Deep within, amongst
many others, you take your seat in a padded land-
scape surrounded by curtains and soft shuffling
popcorn boxes. Once settled, the whispers and
sounds of suckling straws are muffled and seem
crushed by the large dimly lit space above you.
Suddenly, the lights die a slow-motion death – the
darkness taking on the comforting warmth of your
duvet on a winter morning, whilst the rain tip-taps
outside. Turning out the lights like this when
you’re fully awake eliminates those around you
and the experience becomes all the more personal.
Finally, the light flickers on the white space ahead,
and through cinematic sound and filmic specks
RD

and scratches on the illumination of worlds far and

wide, you become addicted and entranced. The
home TV set is never again quite as awesome and
the feeling of this sensory overload lingers on, long
after the credits have rolled.
 115 >

We cannot deny that cinema is a unique experi- The first time I ever heard of 3D was when I was
ence in itself. If a movie is released on DVD and on about six or seven years old, squinting through
the big screen simultaneously, the consumers will some green and red cardboard glasses into a kid’s
still go to the movies because the outing is viewed dinosaur magazine and the image of an old black
as a special activity, a modern pastime. There is a and white movie model scared me half to death.
new version though, a way to ‘upsize’ the cinema
tradition through a pair of red and green filtered Films started off being just black and white images,
plastic glasses. The hero of the story is now elevated a selection of wide shots that really resembled
from the background and our perceptions of space theatre. Then these collections of imagery started
and perspective – and also reality – are integrated to benefit from improved film editing techniques
into the world of the characters we watch. and shot selection and the medium conjured up
more climactic and suspenseful stories. With time
The 3D movies offer enhanced viewing and al- came the addition of sound to the players’ voices
though animations, primarily aimed at a younger and music to the surrounding cacophony of the
audience, make wider use of this technology, live- film’s world and the live piano accompaniment
action movies like Transformers 2 (2009) and Avatar was forgotten. Improved film stocks elevated mov-
(2009) make the 3D experience the hot new medium ies from the default black and white to something
for cinema-goers. The specific visual attributes which could truly rival paintings for their ability to
and subject matter are amplified in these films evoke emotion through realistic and surrealistic
and the movie becomes more of an event when it’s shades, art closely imitating life in its real repre-
only in 3D for limited time. sentation of colour. This was a total game changer.
Even with innovations such as surround sound,
3D works by projecting two images of the same VHS, DVD, HD technology and the digital revolu-
frame/picture, and the glasses ensure that each tion, as well as continuously improving filmmaking
eye only receives one of the images via differing equipment and techniques, the 2D format has just
polarisation (darker and lighter tones) or colour/ been refined over the years. Movies, and they way
chroma (red and green) for each lens (right and we watch them, haven’t changed drastically since
left). So when your brain puts the two images to- the last major innovation – the change from black
gether, the 3D effect is created lifting the image and white to the first Technicolor film.
from the screen and hovering above and in front of
you. This simple explanation involves a more com- The commercialisation of 3D marks a huge turning
plicated filming and production process and with point in film history and it seems it will have lon-
a budget of $237 million, James Cameron (director gevity and staying power so that the 3D experi-
for Avatar (2009)) made the highest grossing movie ence can be improved and refined. Some films are
of all time. already dubbed by viewers as ‘...not worth it if you
don’t see it in 3D...’ and so when watching the 2D

EDUCATION
116 >

versions, the public’s opinion already suggests that While this seems elaborate or far-fetched, the de-
it’s a lesser or inferior experience. sign concept of storylines with multiple/alternate
endings already exists. From those teenage novels
Even sport has gone over to the 3rd dimension. A where you turn to a certain page, based on certain
game between Manchester United and Arsenal choices you make as the character, to role playing
was the first English Premiership game to be and computer games with different endings and
broadcast in 3D on 31 January this year – Arsenal stories, based on which side you choose to com-
being the first Premier League team to lose in 3D. pete on, the idea is already there. Now looking at
the way 3D visually invigorates the actual viewing,
The Masters has also enjoyed 3D coverage and the the audience’s choice or vote (calculated as a per-
2010 FIFA World Cup was also reportedly broad- centage) could affect the story much in the way a
cast in 3D by some networks. This technology may reality TV audience votes with a remote at their
be seen as a gimmick in some respects, but it cinema chair. The characters would complete the
brings with it huge profits and success. It’s not as movie based on how the audience voted and so
if every movie will now be in 3D, but it’s here to one could enjoy different outcomes of the same
stay in some way, shape or form as part on the movie based on where the film was shown and
cinema experience. with whom you were watching it.

The 2D experience is still valid, and 3D is used The purists would maybe brand the 3D movie as
when it is necessary to amplify the contents of a more biased toward eye candy, accusing filmmakers
narrative, the digital effects and other imagery in- of shying away from credible storylines and originality
volved. The same principle applies to films that are within the narrative. With Avatar, critics like Owen
shown in black and white as a creative choice and Gleiberman for Entertainment Weekly (www.ew.com)
using film or HD cameras are to the filmmaker as says: “Cameron is such a skilled nuts-and-bolts
using oils or acrylics are to a painter. filmmaker that the story he tells is never less than
serviceable; it has none of the nattering clutter of
So with the arrival of 3D, the future of how we ex- one of the latter-day Star Wars films. But it’s never
perience and consume media is bright with many more than serviceable either. What it’s in the service
possibilities to consider. Maybe one day 3D can of is the creation of a relentless ’Oh, wow!’ acid-trip
evolve to virtual reality, placing the viewer literally videogame joyride.” And “As spectacle, Avatar is
amongst the screen action and able to view the indelible – a true rush – but as a movie it all but
action from multiple angles. The experience would evaporates as you watch it.”
not be unlike the PC or console games available in
which one is able to choose multiple storylines When asked by Fred Topel (for Crave Online) how
and alternate endings, depending on choices you important the 3D exhibition of the story is to the
make. The viewer could travel and weave through movie, James Cameron said about Avatar: “I don’t
climaxes and cliff-hangers that the JJ Abrahms’s think the 2D, 3D, really affects the narrative power
(creator of the LOST TV series) of the world could of the story. That has to exist as its own thing. And
create. I think every film has to have a certain amount of
 117 >

© Twentieth Century Fox Film Corporation

and Dune Entertainment LLC.

EDUCATION
118 >

darkness to appreciate the light. But I think the

curious thing about this film especially, and one of
the reasons that I was attracted to it, is it has real
beauty in the film, by design. I mean, we wanted
to balance the intensity and the terror, and kind of
the darkness, with the moments of just transporting
beauty. And I think a lot of films, most films, I
would say, especially in the science fiction genre,
don’t try to do that. They should, and occasionally
they succeed. But to me, it was about doing both.”

The bottom line, though, is that the 3D is yet an-

other way to experience a certain type of movie.
The experience for the viewer is designed for a
certain target market, achieving that ‘wow-factor’
and much like a roller coaster or different rides
with in a theme park, another vehicle for entertain-
ment has emerged. James Cameron goes on to say:
“I think what I’ve found over the years is that I’m
enough of a fan that I share a certain base response
with people that like science fiction and fantasy
films the same way I liked them when I was a kid,
when it was The Seventh Voyage of Sinbad and
2001: A Space Odyssey. I want somebody in a the-
atre seat someplace to feel what I felt when I saw
that stuff for the first time and it blew my mind. If
I can do that then that’s the biggest thrill it is” (For
Crave Online).

Never before have there been so many outlets for

artists to express themselves, and the creative in-
dustry continues to innovate and understand the
public and the different types of viewers they
serve. 3D technology is exciting and a marker for
things to come, breathing life into the cinema
when it seemed to be in decline. <

© DreamWorks & Paramount Pictures. Scenes by

Industrial Light & Magic – © TM and 2009 Dreamworks
LLC. and Paramount Pictures.

EDUCATION
120 >

Sprayon by Falko One.

 121 >

AVANT
GRAFFITI
By Weyers Marais. I am sure you will agree that there
are enough articles, blog posts and interviews out
there that entertain the debate about graffiti; whether
it’s art or vandalism. This article won’t go that way, so
relax and enjoy a glimpse of what is happening at the
‘top of the food chain’ as Falko One, local writer and
pioneer from Cape Town puts it.

Since the age of 19 Falko knew that he didn’t like fit-

ting the mould. Studying graphic design emphasised
this fact and he has since spent his time and energy
looking for ways of doing things outside the main-
stream. He is not only known as one of the best
writers in South Africa, but also considered a graffiti
pioneer. In May this year Misael hosted True Voca-
tion, a Sportscene (Cape Town-based youth brand)
initiative featuring Falko’s new Splitpiece work.
ED> met him to find out more:

When asked what inspired this work, Falko elabo-

rated: “In 1992, when I was 19, I realised that I didn’t
like doing what everybody else was doing. If there
was new music I had been listening to and suddenly
everybody else started playing it as well. I would
stop listening to it that same day and find something
else. So eventually I got tired of doing everyday
graffiti, the same old, same old. I wanted to do some-
thing out-of-the-box that would change percep-
tions. For a long time I didn’t want to do any graffiti.
I was uninspired and became a bit of a ‘graffiti her-
mit’. I don’t do graffiti in public, it’s been overdone.
So whatever is mainstream, I always try to do the
opposite. I do my painting in secluded areas where
nobody will ever see it.”

EDUCATION
122 >

“The seed for Splitpieces was planted with an idea “When we started doing this, I was writing with
two years ago, but it took a year for me to understand Sethone. We just wanted to do this to see if it was
how it would work. What I wanted to show is that possible. Only once we were done with the first
everybody is fighting for the same thing at the bot- three we understood what was really involved to
tom, but there is something new going to happen make it work. In the beginning I did sketches and
at the top of the food chain. Splitpieces is basically tried to work out all the measurements exactly, but
one mural divided into pieces stretched over different then you always get a different wall than what was
walls in different places. Some pieces are done over originally promised so at the end the process was
three walls, others use eight walls. Although the walls not simple at all. Once we’d done the first piece we
are different sizes and dimensions, if you have to could at last show people what we had in mind
piece all the sections of the mural together it will fit and everyone automatically fed into what they
like puzzle to complete the bigger picture.” thought it all meant. A very similar process to any
other artwork, isn’t it? Once completed the aca-
Looking at the photographs of Splitpieces makes demics will come and interpret the art for you,
it look quite simple at first, but then I realised that never mind what the artist originally intended to do.”
all the walls had different dimensions and making
that work must have been a challenge. The maths So was Falko trying to tell a deep, meaningful story
must have been intense? with the Splitpieces? “When I first started I didn’t
 123 >

Character 3 piece by Falko One.

have an explanation. The meaning developed as “I’m keeping the content as simple as possible; I
the murals developed and as I continued to work, don’t want it to look like I tried too hard. A try-hard
other people started interpreting the murals and and a wannabe are the worst. Less is more. If you see
giving it meaning which is really great, if you think two girls in a club and the one on the right-hand
about it. Some say the murals are unifying be- side has her hair all done up, she’s got the makeup,
cause they are done in different areas. Now it has the blusher, the fake eyelashes and the bangles
become a unifying tool, because when you go ask and all while the other one is pretty plain with just
for permission in one area to paint someone’s the jeans and a T-shirt, you are going to be more
wall, you need to explain to people what you are attracted to the simpler one because she is real
busy with and that their wall is part of a bigger and you know what you are getting. It’s all about
goal. Then you show them the sketches to explain packaging. There are people in art who try too
what the bigger picture is.” hard; they use all the colours and the extras pre-
sented in a beautiful package. But if you are really
“People loved the idea, even though they knew good, you should be able to present your concept
they wouldn’t see the completed work. They just successfully even as a skeleton and people would
loved the idea that they were a part of something already be impressed. It’s the pretty girl theory!”
bigger. I think people like to belong.”

EDUCATION
124 >

Wondering how he planned his content without influenced by what was around me or what had
adding too many ‘bangles’ and still keeping it simple, happened on the day”.
Falko explained that the first three attempts did
involve detailed planning because he also used Falko explains that the only thing you have to keep
this as a way to understand the process and the track of is your measurements, because that
concept before he could really get into it. “I sketched
would be important for the other pieces to follow.
out and did a little preview drawing for each one. I
“We had to work out the ratios and percentages
would sit and draw it exactly how it would be. Once
for the scale of one wall to fit another, it was hectic.
on site you would have to measure it to get the
In Photoshop I only allowed myself to use three
sections right.”
tools: brightness, contrast and transform. No crop-
ping or cut and paste tools were used. The compu-
By the fourth one there was no planning and Falko
ter was just the tool used to bring all the pieces
would just start drawing. This freestyle way allows
together.”
for the visuals to naturally develop while continuing
with the creative process. The next piece in the puzzle
needs to be informed by the previous one and you This quality of Falko’s recent work is really what
always know in advance what needs to happen made the experience at the Splitpiece exhibition
next. “The planning of the first lot made it really so special. Knowing that the images and different
difficult, especially when we had to find a wall to pieces within one final work were not coordinated
fit a specific piece, whereas when we were free- and manipulated by computer and that all the
styling, we could just figure it out as we were go- pieces were done in a freestyle, highlights his in-
ing along. The content just developed; sometimes credible skill.
 125 >

Sportscene by Falko One.

“Well ja, just one Splitpiece can take up to a month. own the idea and turn it into an advertising campaign
It’s a mission, you fill your car with petrol, a boot full for their brand. I was prepared to be their corporate
of paint, you have a skeleton idea for the sketches slave as long as I could get funding to bring my
and off you go. Then you just mission until you concept to life. One Splitpiece is expensive if you
find a wall. Sometimes you find the perfect wall, take into account a tank of petrol, a month’s worth
but then the owners don’t want you to write on it of work, a lot of paint and an assistant to work
because they are selling the property or something. with me. The first corporate didn’t catch on to the
I was in Philippi yesterday, in the farm area and the vision, despite an initial positive response. So I
same thing happened; there was this really beau- went out and I did it on my own.”
tiful, perfect wall, but the farmer wouldn’t let me
paint it. You know, sometimes you just feel like “At the time I did a Sportscene campaign where I
giving up hope.” had to customise some shoes. This venture was
meant to be because I ended up sitting next to the
Splitpieces must be pretty expensive to do if you brand manager. Turns out she was leaving the
take into account that Falko needs to travel all company in two weeks, though she still organised
over the country to succeed with this concept and for Sportscene to give me x-amount of money to
the materials don’t come cheap either. do my Splitpiece. The beauty was that they want-
ed nothing in return which is more than what one
“When I first came up with the Splitpiece idea, all can be said about most corporates. They just wanted
I had was the theory behind it and a few sketches. to invest in me to do a Splitpiece. So they gave me
I took this idea to one big corporate, explained my the money and I went off and did one which I was
idea to them and I even told them that they could really stoked with it was awesome. I also made a

EDUCATION
126 >

Think chick by Falko One.

video of the process which is a really great add-on for Adidas. The idea is to eventually take each sec-
to the foundation of this concept. They also allowed tion and turn it into a toy. Eventually when you put
me to add the video to YouTube while they covered all the toys together it will create the original piece
all my costs.” again. He is also talking about a Splitpiece conun-
drum where he wants to do a Splitpiece of which the
A few months later the same company agreed to order of the pieces is not restricted. So no matter
pay Falko to travel throughout South Africa and do how you move the pieces around, you will always
a number of Splitpieces with the agreement that create a picture. “I’ve spent a week trying to figure
he would eventually have enough material for an this out, but it’s like a rubrics cube. It’s hectic. This
exhibition. It was not that easy for him to get the idea should be launched in September and it will
road trip funded but they also realised that with- be a worldwide campaign.”
out it an exhibition would not be possible. The ex-
hibition was very successful. “Today I am really Falko finds himself in a fortunate position as the
grateful to them for taking the leap of faith to invest content of this campaign will not be prescribed to
in my idea and enabling me to do this.!” him by someone else. “The grand finale Splitpiece
would consist of doing one section on each conti-
So what is next for Falko? He explains that he has nent to project the characteristics of the specific
a part II and a part III for Splitpieces but for now it continent. For instance, in Europe I would like to
is only an idea. He is first going to do a Splitpiece get the Paris skyline in the background.”
 127 >

As soon as these monstrous tasks have been com- which is great. But then you get the ones where
pleted it will be back to hermit-mode for a while. you get told ‘This is how it’s going to work,’ which
“I’ve got some other companies I would like to ap- is really not that great. Working for yourself is
proach for similar work but a lot of work still needs tough, even when people think it’s so nice, you’re
to happen before that and it’s really difficult to get so lucky you can do that… No, it’s tough! You get
a meeting with the right people at these compa- up the same time, you’re on the road, you have to
nies. Unfortunately, our world works on recom- fight with people to get paid. People think that be-
mendation. You only get the work if somebody else cause you are self-employed, life is easy, but it is
said, hey, this guy is good, ask him to do it for you.” everything but. You must remember when you
earn a salary there are many things that automati-
Finally Falko would like to incorporate all the Split- cally get sorted for you. When you work for your-
pieces into one book and travel the world talking self it is a very different ball game and you become
about his work. a Jack-of-many-trades. But in the end I would rath-
er work and enrich myself. So I’m happy, even if it
Like with most other artists, you sometimes have means to struggle from job to job because at the
to jump in and do other projects that will help to end of the day it’s for me.” <
pay the bills. “The corporate gig is ultimately what
pays the bills, doing a few covers, etc. Fortunately,
with most of the corporate gigs I get a lot of leeway, > See more of Falko One’s work here.

EDUCATION
128 >

THE
HOTTEST
ACT
IN
VIDEO
DJ-ING

By Azane Louwrens
 129 >

Craig Schackleton and Wayne Ellis-Lee from these are operated separately and therein
Afterlife are said to be the hottest VJ act in lays the newfound skill of Video DJ-ing. The
South Africa. Hailing from Durban, Craig is a audience however will experience this as if
self taught DJ who teamed up with Wayne, it is a single video.
a sound technician and DJ. After combining
their skills, they began what is today recog- Their skills as DJs are evident when one
nised as video DJ-ing. considers that they may produce creative
videos for a band they know little about. Their
So where does Video DJ-ing originate from? natural ability to translate music tempo
The term itself became popular in its associa- and rhythm into various video layers within
tion with MTV’s Video Jockey but its origins the creative video system is much like when
date back to the New York club scene of the normal DJs will simply; hence their name
70s. However, its antecedents date back as for this profession – Video DJ.
far as the late-1910s. Historically, VJ-ing gets
its references from art forms that deal with the If this is not cool enough, they recently
synesthetic experience of vision and sound. started playing with VMS (Video Moving
These historical references are shared with Systems) which takes projecting into a new
other live audiovisual art forms, such as dimension. Using movable mirrors in front
‘Live Cinema’, to include the ‘camera obscura’, of the projectors, the whole venue (from
the ‘panorama’ and ‘diorama’, the ‘magic roof to floor) now becomes a canvas to
lantern’, ‘color organ’, and ‘liquid light project on.
shows’.
In the music world, notably they have worked
In addition to this, Video DJ-ing also has a with the band, Goldfish. Their first project
number of applications. In the music world, was VJ-ing at a 12-week-long Goldfish gig in
instead of a band or DJ playing only music at Camps Bay, Cape Town. The theme for this
the venue, Video DJs, like Craig and Wayne, event was ‘Submerged’. Taking the passion
will add creative video mixing and trans- of the Goldfish musicians, they pre-produced
form the same old songs into new styles and video footage of them surfing and having
genres. Essentially, this is ‘music with mov- fun at the beach. This footage was projected
ies’. These ‘artists’ have also taken this con- onto two big screens as well as on the front
cept to the corporate world where they are of the DJ table. On the nights of the event,
able to transform a venue by bringing live Craig and Wayne overlaid live footage as
video footage and company logos into the well as various other video layers such as
branding of the event. the Goldfish logo, Goldfish animations and
typical aquatic colour layers. The latter,
Video DJs, will in most cases, (and depending combined with live footage of the crowds
on the theme and event), pre-produce video and footage of Goldfish on each night of
footage. At the actual event, they will over- the event, was mixed altogether into a ‘sin-
lay this with various other projected layers gle video experience’, in support of Gold-
ranging from simple colour overlays, to fish’s style of crazy visuals and animated
animations and live camera feeds. All of characters.

EDUCATION
130 >

They drew on the animation expertise of Mike

Scott, who created the very first animated
walking goldfish which was then adopted
by the Goldfish band. Mike very cleverly
creates storyboards of hand drawn charac-
ters and scenes. He then combines this
with photos of the artists and mixes it to
the beat of the selected music, whilst ani-
mating these layers into seamless Goldfish
music videos. Craig and Wayne then use
these videos during their VJ sets. As Gold-
fish improvises a lot during their live per-
formances, Craig and Wayne sometimes
have to improvise with them by creating
video loops of certain sections within the
song. They have to keep the timing and pro-
gression of the track together as seamlessly
as possible. Herein lies the art of VJ-ing in
the live music world.

With regards to the corporate world, Craig

and Wayne were involved in an event for a
major retailer in Hout Bay. This was an evening
function that was held in an outdoor venue.
The ‘canvas’ that they used was the actual
building where the event was being hosted.
The building itself was a corner structure
with recessed windows and cantilevered
balconies. Cleverly, Craig and Wayne photo-
graphed the building and utilised their tech-
nical skills, together with the animated key
parts of the architecture. For example, the
outline of the building was ‘drawn’ in colour.
They also emphasised balconies and recess-
es. This process is called video mapping. On
the night of the event, they set up their pro-
jectors strategically so as to project the Video
Map of the building onto the actual building.
In rhythm with music the effect experienced
by the guests was one of the actual building
being drawn in outline form. It was almost
as if the building was being sketched by an
invisible artist. The entire projection was
 131 >

Craig Schackleton in action. Afterlife performing with Goldfish.

Afterlife VJ-ing at Levi’s Young Guns (above left). VJ Software (above right). Afterlife performing with Goldfish (below).

EDUCATION
132 >

The Afterlife team incorporates animation and images created by Mike Scott when performing live with Goldfish.
 133 >

then rendered up with the company logo and

event branding.

These are just two examples of the work Craig

and Wayne have done, but just imagine the
endless possibilities of creatively applying VJ-
ing and video mapping. One is not limited to
VJ-ing in the music world or video mapping at
corporate events – these techniques can be
applied at any occasion by any industry.

There is so much more that Craig and Wayne

want to do. I was blown away with what they
are still planning. As technology evolves, they
want to use this to improve their delivery of
VJ-ing. For example, they want to bring the
control of what is on the screens to the crowd
through audience participation via technolo-
gies such as I-Touch phones, WII controllers
and the like.

What really impressed me about these VJs

was the fact that they want to share their skill
and knowledge. They are serious about social
development and education of the youth of
today so much so that they are offering an
eight-week short course at AVTI (a music pro-
duction school) in Cape Town. Next on their
list is to take this course to Johannesburg and
offer it through SCIM (Soul Candy Institute of
Music).

The next workshops will be hosted in August/

September and you can find more info at
www.avti.co.za for Cape Town and www.scim.
co.za for Johannesburg. <

> View videos of Afterlife’s performances

here.

EDUCATION
 134 >

SA’S ZEF TRIO THRA

By Nicky Rehbock With catchy and crude beats, pre-pubescent
bodies, gold teeth, tattoos and mean-
looking mullets, hilarious trio, Die Ant-
woord, have become one of South Africa’s
hottest – and most unlikely – exports,
landing a deal with a major US label that
represents superstars like Eminem and
Lady Gaga.
Scenes from Enter The Ninja, directed by Ninja and Rob Malpage.
 135 >

ASH MUSIC SCENE

And all this since February 2010, crashed the group’s server, forcing attests to Die Antwoord’s cult-
when the group emerged from them to switch their hosting to like global following. Their curi-
relative obscurity with a series of the major US-based blog site ous name is Afrikaans for ‘the
YouTube videos and their debut Boing Boing. answer’.
album, $O$, posted as a free down-
load on their official website. A quick look at YouTube today, four ‘Zef’ refers to the group’s X-factor,
months on, shows that their Enter which seems to simultaneously
Within days it went viral and the un- the Ninja video has amassed embody white Afrikaner working-
expected swarm of hits, amounting 5.1-million hits, while Zef Side has class trashiness and, according
to more than a terabyte of data, 2.2-million views, which clearly to them, “the ultimate style.”

EDUCATION
 136 >

South African newspaper Beeld high heels with a tracksuit. Being audience and earned instant
says the term comes from an old truly zef takes guts.” praise from well-known celebrities
make of car, the Ford Zephyr, which and respected publications.
small-town folk here would pimp INTERNATIONAL HIT
up with modified engines and Burlesque star Dita von Teese
And guts are certainly what Die wrote on Twitter that the South
bulging tyres, to rip through de-
Antwoord had in March and April, Africans were among “the best
serted streets during late-night
when they made their first two of Coachella”, and later the New
dicing sessions. Disapproving
overseas trips. They began with York Times commented that Die
neighbours called these rough
a mini tour of Europe and the Antwoord “fully lived up to its
types ‘real zefs’.
US, and then returned to North reputation”.
Koos Kombuis, one of the coun- America to perform at the pres-
try’s best-known alternative Afri- tigious Coachella music festival The LA Times was also taken by
kaans musicians and authors, in California, with a crowd ru- the “deliciously trashy” trio, re-
said earlier this year that ‘zef’ is moured to be as large as 85 000. porting that the “suspected nov-
a word from his childhood, and Joining a line-up that included elty act proved they had an over-
means ‘common’. But, “these days world-famous Jay-Z, Beyonce whelming magnetism and a
it’s not necessarily negative. I like and Gorillaz, the South Africans ferocious, deadly serious lyrical
being common. It’s like wearing sent shock-waves through the flow.”
Scenes from Zef side, directed by Sean Metelerkamp.
 137 >

LOOKING FOR maintain an air of bizarre intrigue. suggest,” reviewer Miles Key-
ANSWERS It’s never quite clear whether lock writes in the Mail & Guardian
they are indeed the portrayed Online.
But who exactly are Die Antwoord, bunch of poor, low-life pals from
and why has their particular brand run-down suburbia, or a slick as- US-based music guide Pitchfork
of music and brutal image created sembly of manufactured perso- goes a bit deeper in its offbeat
such a stir? The group call them- nas created to thrill and shock analysis Who the hell are Die
selves a “fresh, futuristik rap-rave audiences who’ve grown weary Antwoord? , calling the outfit
crew from the dark depths of Africa” of conventional music genres. “Jones’ latest identity-skewing
(sic). Its members are conceptual Either way, it works. art project, which, on the sur-
artist Watkin Tudor Jones, who face, is just the most recent in a
performs as the roughed-up gang- Writers following the craze have never-ending line of ‘did ya see
ster ‘Ninja’ alongside slinky blonde their own opinions about the that?!’ blog-hopping music me-
soprano Yolandi Visser, aka ‘Yo-Lan- group’s strategy: mes”.
di Vi$$er’, and a rather quiet, portly
chap known only as ‘DJ Hi-Tek’. “Well, let’s just say that there’s a But, “considering the mix of ab-
whole lot more method to their surdity, genuine talent and im-
By opting for cleverly crafted, darkly surreal live shows than pressive production values, you
cryptic media interviews, the trio such seeming slapstick might can’t help but think: are these

EDUCATION
138 >
guys for real?” Pitchfork’s Ryan
Dombal writes.
GANGLAND TIES
The group’s heavy use of slang and
irreverent lyrics emanate from
the culture of the Western Cape’s
coloured people, who were forced
to settle on the dusty plains out-
side Cape Town during the apart-
heid years, so authorities could
too make space for more white
families within the city.
Most communities on the so-
called Cape Flats are descended
from slaves brought to the coun-
try from east and central Africa,
the Khoisan who lived in the re-
gion at the time of colonisation
in the 1800s, and other indige-
nous African, and white people.
This complex racial mixing –
combined with a legacy of cross-
over culture, displacement and
oppression – still haunt the area
today, and crime, drug abuse
and gangsterism are rife.
But there are also likeable things
that stem from this notorious place,
like a highly expressive and often-
impersonated dialect – a mix of
mainly English and Afrikaans that’s
often very funny if you get the gist
– and a thriving hybrid of hip-hop
music from groups like Brasse
van die Kaap and Kallitz.
It’s this that Die Antwoord has
picked up on and, perhaps, par-
odied to blow the minds – and
ears – of fans.
EDUCATION
SO BAD, IT’S GOOD
For those who may not immedi-
ately appreciate or understand
the group’s skilful fusion, Richard
Poplak, of Canadian publication
The Walrus, offers an artful de-
scription of zef rap: “an ungodly
potpourri of top-40 hip-hop,
chintz house, rave music, DIY
beat-making and bad techno.”
In other words, a combination so
wacky and disturbing you can’t
help but be drawn in by it.
Jones’s bad-ass alter-ego, Ninja
– who has metallic incisors, heavy
gold neck chains and a patch-
work of prison-gang tattoos – is
also straight out of the Cape Flats.
In fact, “this is where Ninja spent
years, mining for meaning among
the violence, the misery, the
strong familial bonds – develop-
ing not just a style, but an entire
persona”, Poplak writes.
Jones has been compared to Em-
inem in this regard, posing as a
“white-boy rapper who success-
fully appropriated the energy
and anger of the black ghetto”,
editor Kevin Bloom comments in
The Daily Maverick.
But Die Antwoord themselves put
it best in their $O$ album intro,
implying they embrace even
more than just “zef-ness” and
Cape Flats street cred: “I repre-
sent South African culture. In this
place, you get a lot of different
things … Blacks. Whites. Coloureds.
English. Afrikaans. Xhosa. Zulu.
Watookal,” says Ninja. “I’m like
all these different people, f****d
into one person.” Yo-landi chips in,
in her little voice: “Whateva, man.”
Poplak believes this makes Ninja
“the ultimate South African”. The
idea is “thrillingly, gloriously
radical”, and an essential step
towards racial cohesion in South
Africa, he writes.
Well, we’ll never quite know
whether Die Antwoord are actu-
ally out to unite an entire nation
– or simply cause a bit of contro-
versy and entertaining hype
along the way – as they’ll prob-
ably never tell us, but that’s okay.
Their rise to fame has been a
gritty and fascinating study, and
has carved out new, brave arenas
of performance and expression.
Let’s hope there’s a lot more to
follow ... <
> View Die Antwoord’s website
here.
> View the Zef side video here.
> View The Ninja video here.
This article is republished courtesy
of www.mediaclubsouthafrica.com
And all this since February 2010, when the group mate style.”
emerged from relative obscurity with a series of
YouTube videos and their debut album, $O$, posted South African newspaper Beeld says the term
as a free download on their official website. comes from an old make of car, the Ford Zephyr,
which small-town folk here would pimp up with
Within days it went viral and the unexpected modified engines and bulging tyres, to rip through
swarm of hits, amounting to more than a terabyte deserted streets during late-night dicing sessions.
of data, crashed the group’s server, forcing them Disapproving neighbours called these rough types
to switch their hosting to the major US-based blog ‘real zefs’.
site Boing Boing.
Koos Kombuis, one of the country’s best-known
A quick look at YouTube today, four months on, alternative Afrikaans musicians and authors, said
shows that their Enter the Ninja video has amassed earlier this year that ‘zef’ is a word from his child-
5.1-million hits, while Zef Side has 2.2-million hood, and means ‘common’. But, “these days it’s
views, which clearly attests to Die Antwoord’s cult- not necessarily negative. I like being common. It’s
like global following. Their curious name is Afri- like wearing high heels with a tracksuit. Being
kaans for ‘the answer’. truly zef takes guts.”

‘Zef’ refers to the group’s X-factor, which seems to

simultaneously embody white Afrikaner working- INTERNATIONAL HIT
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Visit us on www.samro.org.za
140 >

Slick by Tiffany Marx. Photo courtesy of AngloGold Ashanti.

 141 >

INSPIRED JEWELLERY
Ensuring that her handmade pieces are high in exhibitions and design expos. “These are great
quality and integrity, Tiffany Marx produces and valuable platforms to meet potential clients
jewellery items that are both fresh and attrac- and to catch up with your peers in the industry,”
tive. There was no hesitation for Tiffany to open says Tiffany.
her own studio straight after graduating from
the Cape Peninsula University of Technology. This “Sometimes, when the opportunity presents
step, she knew, had to be taken with confi-itself, I loan all my jewellery out to friends and
dence if she wanted to become an independent associates when they have to attend business
designer. functions or weddings and I load them with
business cards and, voila! – an instant market-
As a start-up business, Tiffany had limited re- ing team. I have also established great relation-
sources for marketing and had to find innova- ships with the fashion editors of some top mag-
tive solutions to make her mark in a very com- azines and I send them jewellery on a monthly
petitive industry. She explains: “You have to get basis to use in their shoots. It’s tricky to get
creative, especially when there is no marketing your foot in the door, but once there, the impact
budget. I am very good at shamelessly advertis- is priceless, and although you do a bit of run-
ing by wearing my own jewellery and sharing ning around, it’s fabulous advertising.”
the details of the pieces with anyone who wants
to know more. People love to listen to design- As in any business, communication and people
ers who are passionate about their work. This skills cannot be emphasised enough. People
immediately creates an interest.” love personal attention and if there is a mutual
respect and a strong work ethic, it is a win-win
Her pieces are quite eye-catching so people ask situation to a potential client. “Making sure
her about them all the time, so she is her own that I always get the contact details of potential
walking talking billboard. Although she has clients does not only make for good business
produced brochures and other marketing tools, but also gives you the opportunity to build re-
the personal ‘showcase approach seems to lationships with potential clients. Of course it is
work best for her. The public just love speaking hard work not to lose touch with those who
to the actual designer and this is another rea- love your work, but people do appreciate that
son why it is vital to attend and participate in extra effort.”

EDUCATION
142 >

Tiffany describes her style as modern, clean and Besides being creative and a good designer,
definitely not commercial. “Some of my work is there are many other life skills that are vital if
very minimalist and other pieces are very feminine you want to be successful. In the field of jewel-
and pretty. It is important for me to keep producing lery design Tiffany feels that you first need to
fresh concepts. I also continue to try and reinvent establish which part of the jewellery industry
existing things. I think I have managed to find a you would like to specialise in. Ambition is vital
midway between way-out but practical and com- if you consider going solo like she did. To get
fortable pieces. This is why I believe so many your work noticed should be a major priority.
people appreciate my work. These pieces are also You need to be a risk taker and a hard worker
jewellery that I personally love to wear. It is very with strong work ethics and a game plan. Tiffany
seldom that I need to produce a piece that does explains, “I did a test run before I went solo and
not excite me. So far so good, and, it’s great fun!” started running my own shows and exhibitions,
just to see what the response would be, and if I
Tiffany explains that one of the most valuable could stand a chance to be a successful inde-
abilities of any well-trained designer is to find pendent designer. I never expected the amazing
inspiration in almost everything and anything response I received and if I did not take the risk,
around you. “I have always been inspired by I would never have known that I can make it on
nature – the shapes of pebbles, texture, line, my own”.
balance and rhythm in organic shapes and
landscapes. Japanese details and motifs also Her favourite two pieces are undoubtedly those
inspire me. The secret lies in the quality and the she designed for the AngloGold Ashanti Urban
uniqueness and the skill you use for interpreta- Tribes collection in 2009. “These two pieces were
tion. This will determine the level of the final the biggest technical challenges to date and
product.” working with so much gold on such a big scale
was pretty stressful and intimidating.” Together
Independent jewellery designers are often chal- with Brett Bouwer, who is also a goldsmith,
lenged with the struggle to strike a balance be- they tackled this exciting brief set by the spon-
tween what they like and what the mainstream sors, AngloGold Ashanti. The theme was Urban
public demand. Tiffany says that she has al- Tribes, and they had to choose a ‘tribe set’ consist-
ways made jewellery that she loves and she has ing of five pairs of fictitious characters that in-
been really lucky that her style is popular with cluded their two pieces called The Futurist and
the public. “I have not really paid much atten- Urban Street. “We even received personality pro-
tion to trends and fashion; just stayed true to files for these characters,” says Tiffany, “and they
my sense of aesthetics and produced jewellery had detailed breakdowns of their hobbies, life-
that I love to wear. Every now and then I get style, interests and more”. Eventually Tiffany and
private commissions that incorporate designs Brett set out to design pieces that would fit
that my clients are dead-set on. Although I try their personalities and lifestyle. “Once the con-
and guide them, one also needs to understand cepts were finalised, we manufactured mock-ups
and respect the fact that we all have a different from metal and paper and used these to deter-
sense of what is beautiful.” mine the amount of gold we needed to request
 143 >

Vision (above) by
Tiffany Marx. Photo
courtesy of AngloGold
Ashanti.
Cherry blossom brooch
(right). Photo by
Timothy Atkins.
Rock ring (below) by
Tiffany Marx. Photo by
Timothy Atkins.

EDUCATION
144 >

Satellite ring (above) and

Bangle (right) by Tiffany Marx.
Photos by Timothy Atkins.

LTR: Large pod ring, Curved flower ring and Volcanic ring by Tiffany Marx. Photos by Timothy Atkins.
 145 >

from AngloGold Ashanti. The final results were pieces already reflect the natural elements that
great and we were amongst the winners of the inspired them,” says Timothy. And that was
competition in 2009.” enough. Keeping with a simplistic styling and
showing the pieces in stark contrast with the
Besides having a whole lot of talent and a bril- black Perspex created the perfect setting to
liant marketing strategy one also needs a number truly reflect the elements and unique character-
of other creative tools to incorporate into your istics of each piece.
game plan if you want a striking presentation of
your final product. Creative applications like ex- Timothy continues: “When shooting jewellery
hibition displays and photography can give the you have to know the complexities of lighting
edge to your final display or marketing strategy, and explore it. Every photographer has his or
provided that the application of the one disci- her own way of doing things, but I believe that
pline strongly complements the other. by understanding the production process of
jewellery can be an incredible help for the pho-
Working with a photographer who understands tographic process. Due to the reflective nature
the subject matter is crucial so that the true char- of metals, I used a jewellery tent and constant
acter and quality of the product can be reflected. light, which is specifically designed to provide
Photographer, Timothy Atkins, who have been soft light. This process is very time-consuming
collaborating with Tiffany explains that: “it is quite as each piece and every detail reflects the light
crucial to first understand the jewellery, the differently. When shooting specific pieces, dif-
creator and the process of making the jewellery ferent parts of the jewellery reflect more than
before you can snap away.” others so you have to carefully take different
sections of the same piece at different expo-
Elaborating on their latest collaboration, Tiffany sures while positioning the camera on a tripod.
and Timothy explain that they have met several This process is call bracketing.”
times to discuss and study the characteristics
of the pieces and what it meant to her. Timothy And finally, after the shoot the best shots are
believes that experimenting with different op- chosen and postproduction kicks in when indi-
tions is always a good idea so that one can even- vidual stages of the shoot gets edited. Some
tually select the best option. In the case of Tif- photographs are combined through the use of
fany’s work the original styling that they planned software, while unwanted reflections and col-
for the shoot was overpowering and took away our are also taken care of,” explains Timothy.
the element of uniqueness.
It seems that the synergy that is created by Tif-
“I eventually decided to photograph her complex fany’s jewellery and Timothy’s photography
designs on clean black Perspex to enhance the makes this pair a winning combination. <
shapes, shadows, reflections and focus. The

EDUCATION
146 >

AN
ECO-
BRIDE?
Weddings are complex affairs. For Durban University of Technology “I have been designing and mak-
centuries soon-to-be-brides had Creative Fashion Design Develop- ing custom gowns for the last
a plethora of things to consider ment lecturer and owner of Dimity seven years. With each garment
when planning for their ‘special evening and bridal wear label, I become more and more aware
day’ and priorities shifted from Wendy Schultz, is now question- of the lack of concern for the en-
generation to generation to align ing the eco-friendliness of these vironment during the production
with the zeitgist of the time. Yet much-sought-after garments. She processes, like the manufacturing
one aspect remains the primary is currently completing a Masters of textiles and distribution. Today
priority: The wedding dress. In Degree at the Fashion & Textiles it is common to see a public figure
most instances the wedding dress Department. The focus of her study showing off her show-stopper gar-
is the first and often the most ex- is the development of an environ- ment on TV or viewing gowns in
pensive aspect to deplete the re- mentally friendly bridal gown the glossies emphasising the
sources in the wedding wallet. But, collection for the responsible sheer quantity of the fabric and
unbeknownst to most, wedding consumer. where it was imported from. By
desseses also deplete the earth’s now, we are all well aware of the
resources. Very few brides ever “I don’t want to just make wedding vast negative effects the global
question the impact that these of- dresses. I want to create emotion- textile industry has on the envi-
ten multi-layers of fabric and the ally durable gowns that a bride ronment. The saying ‘I’m only
abundance of jewels, lace and dec- will never want to get rid of, due to going to get married once so I want
orative accessories plastered on her emotional connection to the the best no matter what’ is no rea-
these dresses have on the Mother garment itself. Either the origin of son to be more wasteful and less
Earth’s resources…until now. the gown or the passion some- responsible towards the environ-
one else crafted into it, creates this ment on your wedding day.”
connection,” says Wendy.
 147 >

Reclaimed silk bourette and

organic cotton (Soil Association
certified) corsetted gown
featuring a reclaimed lace
peplum and self-fabric waist
belt (far left). Back and front
details showing reclaimed
buttons made from glass,
pearl and shell.

According to Wendy, her turning need to be created. I wanted to EcoBride gown, the fabric must
point occurred while doing re- design a collection of gowns made either be a new organic fabric,
search on this very topic for her entirely from environmentally- where the raw materials are farmed
MTech study, while trawling through friendly fabrics, whislt having so- and the fabric milled close to its
the Internet on the look out for any- cially and ethically sound proc- source of final use, or the gown
thing ‘eco and wedding’ related. esses in place,” says Wendy. must be a second-hand/vintage
Although, she discovered a wealth piece that would have otherwised
of ‘green’ wedding sites, they only Wendy’s first step was to uncover been discarded. Both types are
pertained to vintage wedding what exactly could be considered rarities in South Africa. Research
dresses or second hand gowns. eco-friendly when considering on obtaining organic fabrics, and
Although these may be more eco- the various processes required the EcoBride movement in general,
friendly inclined than the normal by bridal gown design and con- continues to evolve with and as
wedding dress, they are not prac- struction. Fabric sourcing, de- the textile industry develops.
tical for women who need custom sign models and theories and
fits, or for those wanting to sport technical sewing procedures all She says: “Thus far, I have put
the latest Spring/Summer 2011/ needed to comply with the vari- together a strong collection made
2012 collection with a ‘clear con- ous sustainability standards. from re-useable fabrics which I have
science’? sourced from local antique and
Wendy’s research indicates that second-hand shops. This will de-
“This insight presented a clear the sourcing of fabrics remains to termine the aesthetics of my pro-
gap in the local market and I real- be the biggest hurdle which holds totype collection and will dictate
ised that an alignment between back the development and growth everything to follow.”
trendy eco-weddings and the bridal of an eco-friendly bridal movement.
gowns worn to these functions For a gown to be considered as an

EDUCATION
148 >

The second step of development To ensure creative thinking, de- The EcoBride brand services that
requires the most creativity and sign models and theories were are offered also include the re-
technical knowledge, as each piece incorporated into her thinking working of existing gowns, even
of sourced textiles must be as- processes. Theories like emotional those ancient 1850 heirlooms
sessed according to meterage durable design, body dressing that have been in families for gen-
availability which is often very re- and the green fetish, cradle to erations. These transformations of
stricted especially with vintage cradle, consumer behaviour, and the old to the new, entail the crea-
materials. The condition of the ‘slow’ versus ‘instant’ fashion tion of completely new or adjusted
piece also needs to be determined systems, assisted in clarifying gowns created from the old and
and if and how a pattern could be what needed to be included in trousseau collections of lace and
cut from it. “A prototype example the design process and assessing textiles, She explains that “these
of this is a vintage silk bourette the development of the collection two propositions fit into the ‘emo-
safari suit which was cut up for a according to what should, or tionally durable design’ model,
corsetted gown with an old tray would, sell. since the resulting gowns carry
cloth reinvented as a peplum!” an inherent sentimental value to
explains Wendy. the owner. These gowns will never
end up in the bin!”
 149 >

Feather and organic cotton organdie hand-moulded

hairflower (far left).Oversized sinamay and lace
hairpiece made from lace off-cuts from the bridal
gowns are used to embellish petals (centre and left).

Another design ethos of EcoBride Woza Moya at HillAids and St bridal range produced in South
is the recycling and conservative Agnes Beader’s Association. The Africa. Now, soon-to-be-brides
use of raw materials. All off-cut beadwork and crochet are used can be well informed about what
fabrics are kept to be used in the for all the extra embellishments on they buy and where the gowns
creation of hairpieces, small purs- EcoBride gowns. “The emphasis come from. Enjoying their special
es or bunting used at the wedding on personal hand-crafted details day is now made easier, knowing
venue. In addition, EcoBride also and the use of sewing techniques that their wedding and their dresses
sources and uses old architectural which follow couture guidelines are eco-friendly. <
plans and recycles these to double means that EcoBride can be brand-
up as pattern paper, therefore ed as a ‘slow fashion’ brand,”
increasing the recyling footprint says Wendy.
in the production process.
With anticipation ED> will watch
Furthermore, EcoBride also com- the development of EcoBride and
missions crochet and beadwork hope that this new brand will set
from specialist crafters at local some valuable standards for a
unemployment associations like truly environmentally friendly

EDUCATION
120374
 Rich aroma.
Refined taste.

Find your inspiration

152 >

THE DESIGN Xo [sic], it’s pretty simple. We designers live in a

world that affords us tremendous privilege. From
top design schools to dozens of industry profession-

CHALLENGE als as mentors, even our standing in global com-

petition is something that Bafana Bafana can take
a lesson from if they have an ambition of being

OF THIS world champions. Include our Apples, Smart cars,

Photoshop and oodles of Internet used for the
critical research we require – we doing pretty OK.

DECADE IS Many of us are thinking of the next Loerie, how

much magenta to lay down for that fab corporate

EDUCATION identity we’re working on and how it might trans-

late on the web, and so on, and so on. I’m saying
that this is cool but, as educated South Africans,

FOR ALL let’s pause for a single moment...

Imagine not having access to electricity, quality

By Mohammed Jogie education, basic healthcare or running water. You
don’t even have to drive to Nongoma to witness this
phenomenon. Just pop into downtown Gugulethu,
Alex or KwaMashu. You know, quality education is
really the key to unlocking the potential of every
one of our citizens and overcoming these seem-
ingly insurmountable challenges.
 153 >

As a design industry we’ve made progress like get-

ting government to acknowledge design as a school
subject, albeit with no or very little teaching talent
to deliver it. Notwithstanding the fact that design
is still not seen as a worthy discipline for a univer-
sity entrance. But these are certainly challenges
we can triumph over. At least our kids have access
to design education from a young age, even if it’s
not altogether perfect.

I’d like to present a novel idea (that’s not mine at

all). What if we could equip the ‘other’ kids with
libraries in their homes, books and research,
games and musical tools, email and the all-wise
Internet. That one such tool is the XO Laptop from
One Laptop per Child (OLPC) – a project led by
none other than ex-MIT director Nicholas Negro-
ponte.

So why’s this so cool? It’s bloody well designed for

a start, Apple cool! Check out pics of the current
shipping XO here, and next generation concept de- The important space that is The Kliptown
signs by fuseproject here. It caters for the world’s Youth Program (top). Everything said (centre).
harshest conditions including being able to work “Check it out bru!” (above).
in direct sunlight. It can be charged with electricity

EDUCATION
154 >

or an A3 sized solar panel. And, for me, what is The kids take ownership of the devices and take
most compelling is the single-minded insistence them home. Because they have no electricity, the
on the part of Negroponte and crew to not allow XOs are brought back to the Centre each day for
selfish business interests to ‘poison’ this initiative. recharging. While the kids are at school, the team
Please don’t get me wrong, I respect business mo- clean the machines and host basic literacy classes
tives, but in some priority areas it needs to be care- for high-school dropouts. They also host after-
fully managed. This means we can throw on Ubuntu school classes for teenagers. Add to this the abil-
and write stuff in isiZulu if we needed to. Of course, ity for kids to use the devices for recording and
it ships with Sugar, a Linux-based OS that offers a photographing special occasions at home and
whole lot already. you’ll see that what Thulani and his team have
achieved is short of a miracle. Thrown into the mix
These babies cost in the region of $229 US. Yes, are sporting programmes, a feeding scheme for 350
it’s a little steep. OLPC want it to be sub-$100 and children, performing arts, a student exchange pro-
are working hard on making that a reality. I urge gramme and a community vegetable garden. On a
you to play their video (click here), which talks national scale, the team has helped deploy XOs in
about kids being their mission and not a market. Dlamini, Swaziland, Limpopo, KZN and Mpuma-
And that is the key. Its not about the tech at all, its langa.
about education.
The challenges are many. To date, government re-
Allow me to bring it back home and share an in- sponse has been unenthusiastic despite strong
credible story that is unfolding by an incredible support from the district education authorities.
team of social entrepreneurs led by Director Thu- Funding is an ever-present menace and real support
lani Madondo and his team at the Kliptown Youth from corporates are thin, but improving.
Program. The backdrop is the impoverished com-
munity of Kliptown, Soweto. Many will remember And our design challenge? Get involved. Support
it as the place where the historic Freedom Charter the effort through active participation so that we
was adopted so many years ago. Today, this com- can help to design a future for all children, one
munity continues to be dogged by almost any so- child at a time.
cial challenge one can fathom. Thulani, a 20-year
Kliptown Youth Program can be contacted at thu_
old dynamo has established a facility with around
im@hotmail.com
300 XOs catering for all who live there. On less
than a shoestring and a dime, with passion and
heart, they are transforming an entire community About the author: Artist, designer, writer and en-
and giving hope to generations. American families trepreneur Mohammed Jogie studied Fine Art and
and individuals, not from South Africa or the local Graphic Design. He is founder of Creative Week
corporations or governments, have donated every and principal of ‘my main mojo’, a specialist crea-
one of these computers. tive consultancy. <
 155 >

“Who you looking at?” (left). The Kliptown Youth Program Director and Programme lead, Thulani Madondo (right).

The Kliptown Youth Program veggie garden (left). Teens from the soccer programme join in (right).

Bunny ears up! (left). The charging station (centre). Charged and ready to go! (right).

EDUCATION
156 >

One of the key themes

which emerged at this
year’s Design Indaba in
Cape Town was the role
that design plays in
changing the world
DESIGNOMICS:
economy. In context of

By Fatima Cassim
this prevalent theme,
Bruce Nussbaum
narrated the story of
how he became a design
guru. Nussbaum’s
ECONOMICS interest in the link
between design and
business began at
Business Week, where
his articles about
DRIVING

incorporating elements
DESIGN

of design into business

methods generated
immense curiosity and
attention. The former
editor at Business Week
is now professor of
Innovation and Design at
the Parsons School for
Design in New York and
is regarded as a leading
advocate for design
thinking and innovation.
 157 >

Nussbaum, a self-proclaimed birdwatcher, the way design, and more specifically design
shared with his audience his experience of thinking, has been received over the years.
seeing a black swan while in Cape Town. To
him, a black swan represents a harbinger and The increasing acceptance and adoption of
signifies a shift in trends; it is a concept of ex- design thinking is also influencing the con-
pecting the unexpected in today’s world and temporary role of designers. Designers today
economy. are found upstream in the innovation process
and they’re playing a more strategic role. In an
In light of this, design can also be equated interesting article on design thinking in the
with the idea of being a black swan because Harvard Business Review, Tim Brown, the CEO
we are currently faced with an important and of IDEO (an influential innovation and design
interesting trend where design is becoming firm in California) highlights this strategic role
“more important to the bottom line than tech- of design: “Now, rather than asking designers
nology”. Nussbaum refers to this new trend of to make an already developed idea more at-
design driving economics as ‘designomics’. tractive to consumers, companies are asking
them to create ideas that better meet con-
Today, design has matured into an independent sumers’ needs and desires. The former role is
and intellectual discipline that is increasingly tactical, and results in limited value creation;
being sought after as a means of bringing the latter is strategic, and leads to dramatic
about unexpected and intentional change in new forms of value.”
the world. In the past there was a preference
for business leaders to employ left-brain or This changing role of designers within the
more analytical thinking as a problem-solving context of business and innovation is being
method. Owing to the complexity of the prob- influenced by a number of global forces. Nuss-
lems with which they are now faced, these baum identifies three such catalysts, namely
leaders have begun to realise the role that the rise and fall of nations, the rise and fall of
right-brain or design thinking can play in ad- generations and the rise of new digital cul-
dressing contemporary challenges such as tures. The rise and fall of nations refers to the
global warming and sustainability to name a transfer of world power “from the West to the
few. rest”. The acronym BASIC illustrates this point by
recognising emerging markets such as Brazil,
More than ever before, designers, in their pre- South Africa, India and China as leading play-
ferred black plumage, are being accepted into ers in the global economy.
business circles and are no longer disregarded
as ugly ducklings. The story of the ugly duckling With regard to the rise and fall of generations,
tells of a little bird that is disregarded by the Nussbaum discussed the nature of Genera-
other ducks and is teased for being different, tion Y. This generation differs from Generation
until he matures into a beautiful swan. The X in that there is a shift of focus from “materi-
moral of the original tale is about transforma- ality to shaping systems”. This implies that
tion and about acceptance. It ties in well with there is a changing concept of the nature of

EDUCATION
158 >

designed products and it also points to the South African economy. However, in order for
significance of the design process and no such a culture to flourish and to aid the econ-
longer only the end-product of that process. omy, it is going to be important for design
Within the design process, the value system is thinking to be widespread within business.
moving from one of owning to one of sharing
and hence there is a great emphasis on co- The advantage of design thinking is that it is not
creation and multidisciplinary teams. Nuss- only restricted to designers but can be nur-
baum’s informal presentation and his “inti- tured in areas or domains outside of profes-
mate dialogue with 1 000 people” at the sional design practice. Roger Martin, Dean of
Indaba were in keeping with this idea of a col- the Rotman School of Management in Toronto,
laborative approach. Canada, also affirms that “we are on the cusp
of a design revolution in business” and as a
The changing values of Generation Y cannot result, “today’s business people don’t need to
be separated from the influence of technology understand designers better, they need to be-
and the rise of new digital cultures. In particu- come designers”. The challenge, therefore,
lar, social media (such as MySpace, Facebook lies in education’s ability to incorporate design
and Twitter) are facilitating the rise of digital thinking in general education as well as busi-
cultures and allowing them to co-exist with ness education to produce “T-shape” thinkers
real-world cultures. More power is being – that is, thinkers who combine the vertical leg
placed in the hands of the people and, as a of analytical thinking with the horizontal leg of
result, a new challenge for designers is to de- lateral and creative thinking. Since design is
sign with these people and not for them. All swimming in previously unchartered waters,
this points towards dramatic cultural and so- there is no imminent end to this tale. This is
cial shifts which business needs to consider in only the beginning for design in business and
order for innovation to be relevant and sus- ultimately, the secret of success for design is
tainable. Consequently, design thinking, as a for it to continue to be like a swan: smooth
human-centered methodology, facilitates in- and unruffled on top, but paddling furiously
novation through a better understanding of underneath. <
what people want and need.

The current success of design in business in- USELFULL RESOURCES:

ternationally, with examples such as Apple,
IBM and Sony as forerunners in the consumer > View Bruce Nussbaum’s blog, Nussbaum
electronics market, indicates that business on Design, here.
today values a culture of design. Within a local
context too, Nussbaum reflected on South Af- > Tim Brown’s Design Thinking article in the
rica’s diverse and design-rich culture and Harvard Business Review here.
urged South African designers to consider the
ways in which a culture of design can drive the
159 >

EDUCATION
160 >

THE GHANA
THINK TANK:
DEVELOPING THE
FIRST WORLD By Christopher Robbins
 161 >

I am an American, paid by the Japanese, to developed world had a lot to learn from
tell how you think. At least I was. the developing world.

For much of my life I worked in foreign coun- New York could – and should – learn from
tries, problem-solving in places far from my Kokrobite (a small fishing village in Ghana).
hometown. I grew up in New York City, but
then worked in West Africa, former Yugoslavia
and the Fiji Islands. During this time I saw how The Ghana think tank begins
many international organisations hired
people to solve problems in places they In 2006 John Ewing, Matey Odonkor and I
didn’t even live. formed the Ghana Think Tank. Carmen Mon-
toya joined the project in 2009. In brief, the
These external solutions often didn’t work, Ghana Think Tank is a network of think tanks
or even hurt: replacing a well with a pump from the developing world, formed to solve
that then breaks, which forces people to go the problems of the First World. We started
back to the river for their water source; build- in 2006 with think tanks in Ghana, Cuba and
ing a chimney to help smoke escape from a El Salvador, and have since expanded to
Mapping out problems and solutions from the think tanks.

mud-hut kitchen, which causes an increase include Mexico, Serbia, Iran and Ethiopia.
in mosquitoes and malaria; designing tech-
nology to create local products that no-one To begin, we collect problems in a specific
will use… community of the developed world – so far
we have targeted the United States and the
The irony was that while I saw external solu- United Kingdom: Boston, New York, Provi-
tions fail, I was seeing tonnes of working dence, Westport, Cardiff, Penarth and Liver-
solutions coming from the communities pool. To get these problems, we use a number
themselves. I saw people make a forge for of different techniques. We interview people
melting metal out of mud and a goatskin. I on the street, build custom mailboxes, dis-
saw maps of ocean currents made from tribute postcards, and have even built a video
woven sticks, and stories memorised with booth that records people’s 30 second-
patterns made from string. problems for upload to the think tanks’
server.
Pretty quickly, I realised that it was ridiculous
to think that the ‘developed’ world could We send those problems to our think tanks in
have all of the answers for the ‘developing’ Ghana, Cuba, El Salvador, Mexico, Ethiopia,
world. I had seen the impact of external Iran and Serbia. The think tanks then propose
solutions, and knew that in many ways, the solutions, which we enact physically back

EDUCATION
162 >

in the community that proposed the prob- The El Salvador think tank (members of the
lems, whether they strike us as brilliant or rural radio station Radio Victoria) clearly
improbable. In the past, solutions have in- takes a critical stance as they create solu-
volved games of street chess initiated be- tions, using their think tank as a platform to
tween neighbouring but isolated cultures; interrogate American culture – a term they
renaming a dog ‘Love’, dog-tags and all; hir- rightfully take issue with: “We are at the
ing immigrants to attend social functions centre of America, so why would you be
in a wealthy Connecticut suburb; combat- called America?”
ing pesticide use through a dandelion pro-
motion campaign, including dandelion
It was El Salvador who proposed many of
recipe-books and replanting workshops;
the more socially awkward solutions, hav-
helping people replace the PowerPoint
ing us hire immigrant day labourers to at-
presentations in their lives with social the-
tend social functions, and replace Power-
atre, and projecting slides of local traffic
Point presentations with social theatre.
accidents caused by speeding onto public
structures.
Our Iran think tank (formerly the Sazmanab
Project) uses humour and heartfelt ges-
Actions have ranged from tough (building
tures. Their solution for the generation gap
cement bollards to prevent parking on side-
was to collect ‘funny, dirty memories’ from
walks) to fun (painting the undersides of um-
brellas with sunshine and then doing sunny- the elderly.
day things in the rain) to edgy (teaching drug
addicts to build African instruments out of In Wales, they solved the problem of mean
found materials, so they can play them to people on the street by designing T-shirts
earn money instead of robbing.) carrying the owners’ smiling portraits. “A
large number of people have no concept of
social interaction with other passing stran-
Cultural difference and gers. They look through you or worse, at
problem-solving you, like you’re something they’ve trodden
in, with disgust and bitter resentment.” So
The project is focused on the differences we stopped people who were walking down
between cultures, and how these affect the street with scowls on their faces, asked
problem-solving and assumptions. Over them to smile, took their photo, and made
the years we have found that our different them T-shirts with their smiling faces. They
think tanks do not form one solid front of were all invited to a T-shirt collection event,
the developing world, but each use their own so they could meet, have a drink on the
strategies to solve other people’s problems. beach, get their T-shirts, and smile.
 163 >

Funny, Dirty Memories (top left). Installing parking

blocks dressed as Liverpool City workers (centre left).
From the dandelion replanting workshop in Westport
(left). Ghana Think Tank installation in Penarth, Wales
(above).

EDUCATION
 164 >

In Wales, they solved the problem of mean people on the street by designing T-shirts carrying the owners’ smiling portraits.
 165 >

Ghana has a very people-focused practice. Not just problems and

Their solution for the generation gap was solutions
to take families on greeting walks in the
afternoon, knocking on the door of every It is important to point out that while the
house in their neighbourhood, whether Ghana Think Tank project uncovers many
they known them or not. They came up with problems and generates many solutions,
the ingenious ‘Love’ solution, in which a the goal is not simply to solve problems
woman with a dog who barked too much through a cross-cultural process. We de-
changed her dog’s name from Duke to Love. veloped this approach to explore the cul-
tural boundaries and blind spots that can
“Now,” she said, “when I yell at my dog, I call often wreck a design process.
him ‘Love,’ and it makes me love him more.”
As a result, she said she has been taking Most designers (and I use that word broadly,
him on more walks, making him less des- to encompass designers of ideas, solutions,
perate for attention, and barking less. and scenarios) work in cultures outside of
their own, even if they are working in their
Serbia’s approach has been very practical, own country. Every industry has its own
though interspersed with lots of jokes and culture – in fact, every company has its
laughter. The problem of people parking own culture – so every designer must con-
their cars on the sidewalk in front of a school tend with the fact that his or her client is
was solved by us dressing as official city working within a different culture.
construction workers and installing our own
parking blocks/bollards. By purposely seeking solutions from faraway
places, our goal is to amplify these cultural
On their suggestion, we fought speeding differences, to let a design process make
in Westport by projecting public slide shows cultural difference apparent. So, we look
of speeding accidents in the area at the for answers from outside the elite circles
sites where speeding is a problem, and by of stereotypical think tanks, because we
placing photos of local speeding accidents have realised that sometimes change
under the windshield-wipers of parked cars. does come from unexpected places. <

So, every think tank has a different approach > Learn more about the Ghana Think
to problem-solving, coming from very dif- Tank here.
ferent cultural backgrounds. Some solutions
have worked incredibly well, while others
have been embarrassing struggles with
unintended consequences.

EDUCATION
 CANNES LIO
Ad campaign for Jonga Trust, created by Greame Bettle and copywriter Robert Selmer-Olsen.

CREATIVE CO
By Joe Krenzer

Cannes, France. Home to many great artists

and where the cream of the world’s young
creative fraternity compete for the title of the
best Cannes Lion Young Creative.

Still in their early 20s, art director Greame

Bettle and copywriter Robert Selmer-Olsen,
from Jupiter Drawing Room (JHB), created an
ad campaign for Jonga Trust, an organisation
dedicated to restoring the quality of life lost
due to treatable visual impairment. This
brought them the honour to represent South
Africa as finalists in the competition.

Greame says: “A South African team has not

won the international leg to date and that
would be the ultimate result to do our country
proud.”

“Not everyone c
artist can come
 167 >

ON YOUNG
OMPETITION
ED> caught up with these two young creatives and exciting challenges and a chance to exercise
just before they jetted off to Cannes. the bit between my ears.”

Where did this venture begin and where did Robert explains that he always wanted to work in
you study? Greame says: “I started out doing a creative field. “I tried acting but thought that I’d
a diploma course in advertising at Varsity College move to advertising in the hope that it would be a
but that turned out to focus on account man- more financially stable career. After a short stint at
agement, so I enrolled at Vega Durban and Vega JHB I started work at Publicis. I then moved
studied under a great lecturer, Greg Tregoning, to Jupiter in November last year and things have
where I got my degree as an art director. I was been fantastic ever since. It’s amazing how fast
then offered a job at Jupiter Drawing Room in things move in this industry.”
Johannesburg and has stayed there ever
since.” Would you consider yourself to follow a specific
style or trend? “Each brief comes with its own
“We spend the majority of our lives at work challenges and visual language. But it does help
and wasting that in an uninspiring job seemed staying in the know of what’s hot and current – be
such a waste. So that’s why I decided on a ca- it the latest YouTube videos or new media available.
reer in advertising. Each day brings with it new Just when you think you have seen it all, there is

can be a great artist, but a great

e from anywhere.” Peter O’Toole
EDUCATION
168 >

someone in the agency who will find something very common, it can be cured and requested dona-
fresh. The Web has been great in that sense; your tions to help a good cause. We were primarily tar-
resources are vast and the users dictate trends. geting people with money to donate. The secondary
Not us,” says Greame. market would be the people with eye problems to
create awareness of available treatment.”
What inspired you to enter this particular cam-
paign? “We wanted to focus on the quality of life Should design have a conscience and reflect
you lose due to visual impairment. We were a bit something about our society? The response from
worried that the eye chart was clichéd, but at the both creatives was clear: “There is a big trend to-
same time we wanted to keep the message simple. wards doing design that actually has a purpose.
I suppose the final outcome was a happy medium Opposed to just doing ‘pretty’ work. The nature of
between of simplicity and creativity,” says Robert. our industry is persuasive and we try and get people
to buy, so we should at the same time give back to
Greame explains that the process for the Young the community. This is a good way to use creativity
Lions was pretty hectic. They had 48 hours to pro- to make a difference to people’s lives that very often
duce the entry from start to finish. Although that’s don’t have a voice of their own. We think that all
not much different from some creative briefs faced people who work with mass media should be
daily. The brief was released on the Friday morning aware that they have a huge responsibility towards
and they had the weekend to brainstorm and cre- large audiences.”
ate the ads. “You have to do two press ads which
are either two different ads or two ads that are part According to Cannes Lion CEO Phillip Thomas
of a campaign. It’s daunting not knowing whether “Winning the Young Lions Competition is a hugely
you’re going to land on something great or find rewarding experience that will change your career
yourself in the land of OK ads,” says Greame. “Then forever.”
comes the waiting and wondering if the ads will do
anything and trying to second guess what angles Greame says, “We would love to stand up on the
other people might have taken that could be better international stage and receive a medal. I think
than yours.” that would be a true career changer. In my opinion
the South African leg is just the beginning. It’s
“The medium was dictated to us in the brief. We the international win that would make all the dif-
used the eye chart in a visual which represent the ference”.
things you love that are gradually getting smaller
to the point that they can’t be enjoyed anymore. When asked if they had any advice to young crea-
All we had to figure out was what these things tives, they both replied that there are so many
would be.” South African designers that are well respected
and have received international acclaim. You can
What message are you conveying and who was also follow your dreams, remain inspired and at
your target market? “It’s frightening to know that the same time not forget to have lots of fun while
some people in our country have treatable visual doing so. “If you love your craft it’ll love you back.
impairment but don’t have access to basic medical
care and so believe they are permanently blind. At time of writing, results of the Cannes Lions Young
We tried to convey that this is a condition that is Creatives Competition was not yet released. <

EDUCATION
Turbo-charge your career
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HE07/002).
170 >

Michael Craig, a 22-year-old interior design

DESIGN ACHIEVERS
A LEADERSHIP LAUNCH PAD FOR YOUNG CREATIVES
student of the Design School of Southern Africa
won this year’s Design Achievers award. Michael
developed the Dry-Pod, a concept for a com-
pact shelter to protect homeless people from
adverse weather and other conditions. The
Design Achievers award ceremony was held at
Maropeng at the Cradle of Humankind on Africa
Day, 25 May.

A total of 18 students from various design dis-

ciplines took part in this year’s Design Achievers
Award scheme. The scheme aims to develop
design leadership amongst young designers
and has been presented by the SABS Design
Institute since 1987. This year eight design
students from other African countries were
also included in the preceding three-day-long
workshops.

CHANGING THE FUTURE

THROUGH DESIGN
In the late eighties the Design Achievers Award
was born of the belief that opportunities should
be created for young designers to define the
future and to prove that South Africa is a country
with great creative potential. This initiative is
based on the fact that design leadership will
grow the industry and that the design leaders
of tomorrow will be instrumental in promoting
and stimulating our country’s design, innova-
tion and technology industries.

For more than two decades young people from

a variety of design disciplines have come to-
gether to share their design talent, to learn more
about the world of business and to be nurtured
in a creative environment in order to bring out
the best in them.
 171 >

The theme of the Design Achievers award is

Hands-on, Minds-on, Hearts-on. Nominations
are invited from all tertiary design institutions
in South Africa. Students submit a design busi-
ness concept which could contribute towards
solving a social, environmental, industrial or
cultural problem currently experienced in
South Africa. The winner is selected on the
strength of his or her leadership potential, port-
folio work, as well as the viability of the design
business concept.

LEADERSHIP TO CHANGE THE

DESIGN LANDSCAPE
In her keynote address at the award ceremony,
Dr Bonakele Mehlomakulu, CEO of the SABS
said that the Design Achievers programme has
proved to be so much more than was initially
anticipated. She said that some of the past
Design Achievers winners and nominees have
made an indelible mark on the design land-
scape, both in South Africa and abroad.
“There are those Design Achievers who’ve be-
come outstanding leaders in their chosen fields;
others again have excelled in design output.
Others have achieved outstanding entrepre-
neurship and diversity in their careers and
then there are those Design Achievers who
have ploughed back their talents in the com-
munity through education and social entre-
preneurship,” Dr Mehlomakulu added.

Michael Craig (top), winner of the 2010 Design

Achievers Award. Runner-up, Chad Peterson
(left), presenting his work to Dr Bonakele
Mehlomakulu, CEO of the SABS.

EDUCATION
172 >

One of the features of Design Achievers is that A WORTHY WINNER AND

the adjudication panel mainly consist of past
RUNNER-UP
Design Achievers winners and participants who
are willing to give of their time and expertise The adjudicators said that Craig displayed a
to ensure that the winner and runner-up are thorough understanding of his social role as a
worthy recipients of the Design Achievers title. designer and that he was mature with clear and
focused goals. Michael will represent South
The adjudication process is multi-dimensional African young designers at an international
and aims to evaluate leadership skills, entre- design workshop in Zsennye, Hungary in August.
preneurial potential and design and innova-
tion talent. It consists of personal interviews, The runner-up was Chad Peterson (28), an indus-
curriculum vitae and portfolio evaluations, as trial design student from the Cape Peninsula
well as a review of group interaction as the University of Technology. Chad developed Raw
main foci. Creatives, a set of basic tools that will empower
people in informal settlements to make furniture
and other products. The adjudicators said that
The adjudicators also consider the design
Peterson was a determined student who was not
business concepts required by the initiative’s
afraid of hard work and that he approached real-
brief, as a means of measuring nominees’ in-
world problems with understanding and maturity.
novation and design skills and entrepreneuri-
al potential. For this adjudication component,
The other participants in the Design Achievers
nominees present design proposals which
programme were Nomhle Booi (Cape Peninsula
could contribute towards addressing aspects
University of Technology), Helene Botha (North
of social, economic, environmental or cultural
West University), Samantha Davis (Nelson Man-
challenges or opportunities. These are identi-
dela Metropolitan University), Claudia Groene-
fied by the students themselves and are cur-
wald (Inscape Design College, Pretoria), Helen
rently relevant in South Africa.
Haddad (Central University of Technology), Jana
Langenegger (University of Stellenbosch),
The panel in 2010 consisted of Jacques Lange, Sipiwe Majaja (Greenside Design Center), Zamo-
chairperson, who was the Design Achievers kuhle Mbuli (Lindiwe Kuzwayo Fashion Academy),
winner in 1987. Other past Design Achievers Lulama Ntentesa (Durban University of Technol-
on the panel were Donovan Goliath, Fatima ogy), James Rautenbach (Inscape Design College,
Cassim, Kwame Khuzwayo, Monica Di Ruvo Johannesburg), Micaela Reeves (University of
and Nick Hlozek. The panel also consisted of Pretoria), Wendy Schultz (Durban University of
academic and design industry leaders, Mu- Technology), Heidi Sparks (BHC School of Design),
gendi M’Rithaa, Sune Stassen and Tendai Magdaleen van Wyk and Anja Wilkens (Nelson
Mhiza, as well as socioligist , Mary Crewe and Mandela Metropolitan University) and Thulisile
industrial psychologist Michelle May. Zwane of the Durban University of Technology. <
 173 >

Nominees interacting
with exhibits at
Maropeng (far left).
Zamokuhle Mbuli
discussing her work
with Dr Bonakele
Mehlomakulu (left).

Nominees capturing
the spectacular views
of Pretoria during a
site visit to Freedom
Park (far left). Photo
by Jana Langenegger.
Nominees interacting
with exhibits at
Maropeng (left).

2010 Design
Achievers nominees
and visitors from
eight other African
countries.

EDUCATION
174 >

AFRICAN
STUDENTS
JOIN THE
CRÈME OF
SOUTH
AFRICAN
By Suné Stassen

DESIGN
ACHIEVERS

Over the past few years, students from other African
countries are invited to join their South African
counterparts during the three-day-long workshops
that form part of the annual SABS Design Achievers
award scheme. Even though they are not part of the
adjudication process, the visiting students make
presentations about their work and their education
institutions. Year after year, the organisers find it
overwhelming that the participating African coun-
tries that have the least resources for further edu-
cation develop young talent with an unbelievable
ability to be resourceful. Add this quality skill to a
melting pot of passion and determination and
what you get is a winning recipe for a talented future
workforce that is equipped to deal with any challenge.
This year was no different and the South African
students had a lot to learn from their African peers.
ED> caught up with two of the Design Achievers
delegates – Lynette Diergaardt from Namibia and
Collin Ngoni Meda from Zimbabwe – to find out
more about the status of design in their respective
countries.
Back home Lynette Diergaardt not only produces
her own fashion range but she is also responsible
for the creation of most of her own textiles, which
really differentiates the fashion work she does
from that of her peers. Continuously and tirelessly
experimenting, she creates textiles that truly add
to the unique look and feel of her garments, which
is really extraordinary for such a young talent. Na-
mibia still has a long way to go in terms of creativ-
ity, with this only being a motion inside the walls
of the university. Although there are few opportu-
nities to gain experience outside of their studies,
the students are very fortunate to be educated by
top quality lecturers and designers.
175 >
Design students from nine African countries
participated in the three-day-long workshops
which formed part of the 2010 SABS Design
Achievers scheme.
But, sometimes even the lecturers are limited in
what they can offer due to a lack of students or a
lack of interest in certain topics, which sometimes
results in them only covering certain aspects of a
module. Thus the students don’t always have the
opportunity to go through the whole process as
thoroughly as they would like to. Lynette says that
sometimes you would only learn a certain tech-
nique, which you can’t really explore further due
to limited resources. “Namibia doesn’t, for in-
stance, have an industrial scale textile factory so
it is really difficult to find employment, specifically
in this industry. I also believe that I have a lot to
learn from those who have been in their trade for
years. I would really like to go and work in a fac-
tory and work my way up the industry ladder, but
it is not possible for me to do this. So, now I am
designing my own textiles and creating my own
products because it is the only way I can actually
market my fabrics. In general, as an industry, we
are basically left to our own devices and you can
do whatever you want,” explains Lynette.
EDUCATION
176 >

Lynette says that because the University of Na- confidence in their local talent as they sourced
mibia doesn’t have big rooms where students can South African designers for this event, certainly a
learn how to weave their own fabrics, they can only less cost effective exercise. Local designers stood
learn the basics of surface decoration, together in disbelieve knowing that they would have also
with learning felting and weaving on a very small delivered a quality event.
scale. “I want to learn all the aspects and proc-
esses of the textile and fashion business so that I “As a designer it is really frustrating when there is
can be equipped and skilled no matter the direc- a lack of confidence, combined with a lack of sup-
tion my business will eventually take. It is impor- port, so for me, it was a wonderful opportunity to
tant for me to also understand all the processes so be invited to participate in the 2010 Design Achievers
that I can one day do quality control and know scheme. This was a chance for us to see that there
what is needed to produce top quality products. are people who really care and that want to sup-
We all depend on skilled people from a variety of port and help us in our careers, without hidden
sectors to ensure a successful production line.” agendas. I love learning and wanted to meet as
many people as possible in my field so that I can
As in a number of other African countries, many gain as much knowledge from them as I could. It
qualified people leave Namibia to pursue their career was an amazing experience especially because
somewhere else. According to Lynette, some of there were people from all over Africa. It really
them do return to Namibia but they keep a very low came as a surprise and I did not expect all of us to
profile. “The most important designer in Namibia, be on a similar wavelength especially because we
that I am aware of, is my lecturer, Melanie Harte- all came from different economies, social struc-
veld who studied in SA but came back to Namibia. tures and politics, but we all jelled extremely well
She is doing fantastic work with her students and and this was a very inspirational experience.”
she is truly supporting us. In recent years she
started the Pambili Association with the vision to When asking her what vital skills she has developed
have a strong impact on future design training, that will stand her in good stead in her private and
mentoring and research in Namibia through net- professional work ethics, Lynette responds: “I
working, exchange opportunities and much more. have wanted to be a fashion designer for a very
For her it is all about educating and empowering long time. I knew that I also had to take business
young designers, crafters and young professionals management and accounting. Even throughout my
to become aware, involved and active in social de- years at university and through my choice of work-
sign issues. I find this mentorship programme ex- shops, I made sure that I developed my knowledge
tremely valuable,” says Lynette. in marketing and business management, together
with my creative skills which I have always felt is my
So from a university angle, creativity seems to have strong suite. Some people have already comment-
a very strong grounding but for the rest of Namibia, ed positively on my business proposals, so I de-
well let’s just say they have a lot to wake up to! cided to set up my own business as I feel comfort-
Lynette explains that during the recent Miss Namibia able and confident that I can really give it a go.”
contest it was evident that Namibia does not have
 177 >

Lynette Diergaardt’s
collection of gowns
inspired by the
Renaissance era and
contemporary Namibian
wedding gowns.

EDUCATION
178 >

Zimbabwean Collin Ngoni

Meda with a few examples
of his work.

Collin Ngoni Meda is a second year student at
the Zimbabwe Institute of Vigital Arts (ZIVA),
established in 1999 by acclaimed designer Saki
Mafundikwa. Today, against all odds, ZIVA is
celebrating a decade of design excellence.
When speaking to Collin, it seemed that the
situation in Zimbabwe did not differ from many
other African countries. In his opinion, the cre-
ative industry in Zim is a bit ‘all over the place’.
Most people leave the country immediately af-
ter they graduate and the chances are slim that
they will ever return. When they do return after
many years it is evident that they are com-
pletely out of touch with their heritage and will
try and enforce a style that is not typically Zim-
babwean. “Which is why we don’t even have a
Zimbabwean ‘look or style’,” explains Collin.
“And even if graduates do want to stay after
graduation, the people in Zimbabwe have no
understanding about the importance of brand
development and the contribution that design
can make for a more prosperous country, hence
the reason that employers don’t see the use of
paying you for what you are worth. This in itself
forces young designers to pursue a career
elsewhere.”
To develop and grow a creative industry, Collin
feels that they do have some systems in place
but Zimbabwe seriously needs to upgrade.
“For instance, I don’t know from what century
our current printing methods are from. So we
tend to either do our printing in SA or out-
source it to other countries. People will take
advantage of our current situation and charge
us astronomic amounts in US$. So, when you
have a client that needs 1 000 letterheads we
are put into a really tight spot – not to out price
ourselves but still deliver top quality work at a
179 >
reasonable price. And, we know that we are not
going to earn much for our design because the
people have no insight into the need of a bal-
ancing act between our design costs and their
printing costs. There is also no appreciation for
the research and effort you put into a job and
therefore no need to add value in the eyes of the
client. They don’t think that have to pay for it.”
Now it’s a question of ‘how can this ambitious
young talent take on this enormous task to
grow an appreciation for the creative industry
and, at the same time, change a nation’s per-
ception?’ Through small baby steps. “I have
started a ‘freebranding’ project, through which
I hope will be able to educate the clients. As
the saying goes: Start in your own backyard
first and grow it from there. I intend to work
through the street of businesses where our de-
sign school is situated and offer the business-
es a free branding proposition. This initiative
could provide a vehicle to educate businesses
about the power of branding and I truly believe
that once they see the benefits we would have
planted a very powerful seed.”
But, as we all know, there is a very fine line
between throwing your weight behind a good
course and putting a value on the expertise
you bring and the time you spend bringing it.
Sometimes it has a lot to do with the ability to
survive with a very basic kit, “because every-
thing is sometimes so destitute that we are
almost forced to just jump in and think basics
before pay,” explains Collin.
This young man is seeing the ‘freebranding’
project as his CSI project and a way to give
back to his community. He already, long before
his studies, registered his own company which
EDUCATION
180 >

dealt with computers, until he wanted to focus on in double mediums adding English as their second
graphic design. Upon re-establishing his company medium. “If you work across borders and with forward
with a friend, he realised how little interest and knowl- thinking countries then you can take your skills
edge the Zimbabwean people had for design. “Be- there and create a winning team,” commented Bongani
cause of my own appreciation for design, this situ- Ntombela, a past Design Achiever.
ation motivated the ‘freebranding’ project, which
is really something I do outside the company. So yes, Allen Charlis Muziki from Uganda reminded us
we do have paying clients. As a branding company through his own work that the power of creativity
we want to show appreciation and development of is still used for social commentary and awareness
brands. I guess in my privileged position in com- campaigns and that illustrations and sketches can
parison to others – I get food, I have a place to become the voice of ordinary people, a mere pow-
sleep – this makes it a lot easier for me to do work erful vehicle to educate a nation.
for free. I sort of have more favours than the need
for money,” explains Collin. “Saki Mafundikwa has
In Kenya, Michael Kituto Muiya told us that it is
also taught us to look after ourselves, to become
custom to place a qualified designer in a leadership
a jack of all trades and to not be afraid to experi-
position like a project manager, which is pretty in-
ment and try out other design areas.”
teresting as most people consider designers to be
nothing else but ‘arty farty’. The latest craze in Kenya
OTHER AFRICAN PERSPECTIVES is the newly developed animation industry, which is
already experiencing a boom, especially after the
Emmanuel Twagirimana, from Rwanda, explains launch of Tinga Tinga Tales in the UK, soon to be
how the 1994 Genocide in his country negatively launched in Kenya. Produced on location in Kenya by
impacted and affected the existing manpower short- Tiger Aspect Productions in conjunction with Home-
age in all fields of expertise. Rwanda now has to boyz Entertainment, Tinga Tinga is a perfect example
rebuild a new workforce and is forced to call on of how creativity can be used to preserve cultural
other countries to supply experts, especially in the traditions and storytelling of real African stories.
fields of engineering and design sectors. They are
striving to develop a knowledge-based economy Zophia Kukua Palmer, a young student from Gha-
and have even sent students abroad to study na, told us that her country is working more and
fields like engineering and science so that they more towards applying art and design to effect
can bring the skills back to their country. change and will also be launching award schemes
to drive this. In conclusion she left us with her fa-
In the mean time, the Kigali Institute of Science and ther’s words of wisdom: “Thinking is your capital,
Technology (KIST) is also seriously addressing this innovation is your enterprise and hard work is
issue through offering a variety of engineering and your success.” This has been Zophia’s personal
industrial related courses like architectural and mission statement ever since.
civil engineering, as well as Art and Humanity studies
that include design, jewellery and more. With most of Other delegates included Raymond Akorah from
their lecturers coming from neigbouring countries, Nigeria and Segametsi Portia Kapele from Botswana. <
like Kenya and Uganda, they have decided to teach

EDUCATION
182 >
YOUNG
CREATIVES
KEEP
EMERGING
To recognise outstanding achievements in any area
of brand communication, advertising, communica-
tion design and experiential design, The Loeries
launched the Young Creatives Award initiative in
2007. To be considered a talented young individu-
al at the beginning of your career, you have to be
under the age of 27 and submit a portfolio of your
work. Two of the 2009 recipients awarded as the
best new emerging talents in SA, were announced
at the Loeries Awards in Cape Town. Both recipients
received a Gold Loerie plus an all expenses paid trip
to the international One Show in New York City.
Sanjiv Mistry, a copywriter from Ogilvy in Cape Town
and Jo van der Linde, art director from Net#work
BBDO, were the well deserving recipients. Shortly
after their return from NYC in May of this year, ED>
met up with these two jetsetters.
Not really knowing at the time that she could be
a future talent, Jo van der Linde only took Art as a
school subject because her teacher advised her
to. Needless to say, Jo received distinctions and
By Suné Stassen
eventually decided to study at the AAA School of
Advertising.
When asked what exactly an art director at Net#work
BBDO does and what the day to day schedule on a
new project is, Jo explains: “As soon as I receive a
new brief it is my responsibility to conceptualise
an original idea for the advert, whether it be for TV
or print media. This process should ideally develop
in collaboration with a copywriter, followed by a
creative director’s review, before it is approved and
the final concept presented to the client. At the
moment I don’t have a copywriter, which prevents
me from working on bigger projects where team-
work is required.”
But, working for such a well-respected agency
will definitely stand her in good stead and having
already worked on big accounts like Nedbank,
Chicken Licken and Mercedes Benz can only pre-
dict an even greater future for this young talent
(View Jo’s portfolio here). “The best piece of work
I had the most fun working on was the Chicken

Licken campaign for 2009,” says Jo. “Even though the
brief was quite open, we still needed to communicate
to the public, that when ordering any of Chicken Licken
meals you have a choice between ‘Hot or Not’” (View
the ad here).
Sanjiv Mistry started off by gaining a BA Degree
from the University of Natal before he completed his
LLB through UNISA, whilst also working towards a
Copywriting Diploma at the AAA School of Advertis-
ing in Cape Town. Straight after college he began
working at The Jupiter Drawing Room as a junior
copywriter.
“Currently, I’m a copywriter at Ogilvy (Cape Town).
Together with my art director, Prabashan, I concep-
tualise ads and other communication campaigns for
our clients, helping them to engage with their target
audiences in meaningful, memorable ways. Prabashan
and I are just one of about 12 creative teams in the
agency. Our responsibilities include selling the ideas
to clients, as well as seeing the ideas through the
various stages of production,” says Sanjiv.
Jo van der Linde (left) and Sanjiv Mistry (right).
He explains that one of the great things about work-
ing at Ogilvy is the stature and range of clients they
have. He has personally worked on projects for huge
international brands like Volkswagen, Castrol and
Coca-Cola, as well as well-known local brands like
Old Mutual and The Sunday Times. “Clients are, I
suppose, the biggest difference between the real
working world and the student world. Sometimes, no
matter how right, how perfect or how revolutionary
you feel an idea may be, when the client doesn’t agree
with you you’re forced to shelve that thought and
come up with something else. You really need to have
a thick skin and learn to not take the rejection of an
idea personally.”
Last year they shot a commercial for the Volkswagen
Golf 6. It told the story of a cheetah who had to have
its leg amputated, but who still got to feel the thrill-
ing rush of being a cheetah by riding in Volkswagen
Golf (View the ad here). “The entire experience of
making that ad, from the brainstorming process to
the pre-production and selection of a director, to the
post-production and reception that the commercial
EDUCATION
184 >

received, was something that I’ll always treasure.

Because everyone, at the agency and the client,
were all on the same page, everything seemed
to just fall in place with little fuss. I wish that
happened more often,” says Sanjiv.

THE ONE SHOW IN NYC

When asked what his expectations were for the

trip to New York, Sanjiv says: “I was extremely
excited about going to the One Show. Relatively
Jo says: “…it can become extremely over-
speaking, very few awards are actually handed
whelming with so much to see and do. New
out, so the standard is exceptionally high. I was
York works around the clock and truly never
looking forward to immersing myself in the
sleeps! Winning a money prize cannot
brilliant ideas that city had to offer, together
replace experiencing another country – it
with the anything-is-possible culture of New is priceless!”
York.” He continues, “…more than anything, I’ve
learned that digital communication is the epi- She says that apart from seeing great work
center of everything. Sure, you can still do the at the One Show, her favourite experiences
occasional amazing poster, billboard or radio had little to do with advertising – they were
advert, but the way things work overseas is to be found at the Museum of Modern Art
that digital media (whether online or mobile) (MOMA). “William Kentridge had an exhibi-
forms the heart of the campaign and every- tion MoMA. It was so amazing to see, that
thing else revolves around it.” I had goose bumps walking through. Also,
 185 >

Castrol Oil journey billboard (top row), copy by Sanjiv

Mistry. VW Golf 6 Cheetah ad (centre far left). Biker
Gang print ad for the new Golf 6 (centre), copy by
Sanjiv Mistry and Prabashan G. Pather. Musica Rock
R&B poster. (above), copy by Sanjiv Mistry. Design
Indaba Interactive Travel Brochure (left),copy by
Sanjiv Mistry and Livio Tronchin.

EDUCATION
186 >

MIGRATE Magazine (top). Chicken Licken Hot or Not campaign

(above). Art direction on both projects by Jo.

2008 Loerie Award Annual (centre top).
Art Direction by Jo. Lenticular poster for
Ghost Pops designed by Jo (left). Cell C
Eco Diary designed by Jo (above).
187 >
at MoMA was an exhibition by performance
artist Marina Abramović called The artist is
present (View the exhibition here). Before
this I never really knew what performance art
was about but Abramović made it quite clear
with her ‘oh so patient’ work.”
For Sanjiv this has been, without a doubt, one
of the most memorable experiences of his life
and career. “I would highly recommend enter-
ing The Young Creatives Awards. The prize of a
trip not only gives you the opportunity to see
and learn from incredible work, but affords
you the chance to explore the world as well. It
broadens your horizons and acts as motiva-
tion to strive for better and better ideas.”
When asked to comment on local advertising
schools, both Jo and Sanjiv agreed that insti-
tutions should prepare students better for the
workplace. They should be stricter and more
realistic with their deadlines. Giving far too
much time for one project is unrealistic be-
cause it creates unreal perceptions of what is
actually happening in the workplace. “The
graduates are not being prepared enough to
handle hectic deadlines and heavy work-
loads,” says Jo.
“Advertising schools need to be more strin-
gent in their assessment of ideas and their
students. Far to often, you see stale ideas lit-
tering student portfolios. Advertising stu-
dents also need to study advertising history,
because the only way to do something fresh
and new is to know what has already been
done,” concludes Sanjiv. <
EDUCATION
 188 >

Roberto Millan, Tuks Information Design

graduate and currently a master’s student
at the University of Stellenbosch, recently
won accolades for his series of autobio-

TO NEIGHBOUR graphical comic strips, Hello Neighbour.

A ROAD TRIP
Roberto shares his train of consciousness
when it comes to comics – from narration
to production and the theory that under-
scores this art form.

A road trip down to the East Coast from Pretoria

By Roberto Millan
never seemed half as bad as the commute wayward
to the Western Cape. Familiar long barren stretches
of earth extending from horizon to horizon. A nar-
row, grey-gravelled crux where nature meets the
road and animal meets its maker (more often than
not in stiffened repose and bloody profiles). “Thank
STARDOM
God I’ve got something to read,” I said to myself,
though reading would never be the same again. Not
with my dad. At least not in Afrikaans anyway. It
was only a week earlier that Suzette Snyman, an
illustration lecturer in my undergraduate studies at
Tuks, had lent me an unpublished manuscript of My
Ma was ‘n Mooi Vrou. The manuscript was an un-
edited version of previous master’s student, Karlien
de Villiers’s work. The book encompassed an auto-
biographical comic of her life growing up in white
apartheid South Africa, the emphasis being on her
life, and not apartheid.

My interest in graphic literature goes as far back as

Winnie the Pooh, Dr Seuss, Roald Dahl and Quentin
Blake. Not to mention those incredibly detailed
Marvel cards they used to sell in sexy, gold alumin-
ium packaging at CNA counters across the country.
I remember the biographies of characters on the
back of each card with detailed descriptions of the
character’s life history, method of incarnation and
power specs. One learnt more about the X-Men
through merchandising and the cartoon series than
through the comics from which they originated.
 189 >

Hello Neighbour by Roberto Millan.

EDUCATION
 190 >

Pencilled layouts of two frames from Hello Neighbour by Roberto Millan.

 191 >

More importantly, these products only perpetuated What makes the work even more interesting is the
the stereotype that comics were meant for kids and manner in which Spiegelman brings the narrative
that the adult market only consisted of ‘fan-boys’ full-circle by illustrating the conversations between
living vicariously through super-hero versions of him and his dad. It’s important to realise that
themselves. Spiegelman is telling his father’s story through his
own eyes. Maus uses autobiographical storytelling
One could argue that the graphic novel was eventu- by way of comics to tell what has been classified as
ally able to legitimise itself as a literary genre, one of the single most important graphic narratives
championed by seminal graphic novelists such as next to Joe Sacco’s Palestine. The Schindler’s List of
Will Eisner and Art Spiegelman throughout the 60s comics one could say.
and 70s. The question remains what exactly would
beget a more adult-orientated piece of work within My Hello Neighbour forms part of a series of auto-
the field of graphic novels? Could such a piece of biographical comic strips that reflect on my life as a
literature constitute a legitimate literary work? I child, the domestic issues that came with it and my
dare not mention detective comics, vomics (horror Mediterranean heritage (my name – Roberto Millan
comics) or images of half-clad Amazonians running – says it all). It was an ordinarily balmy summer af-
violently towards the reader with sharpened spears ternoon by many standards and we’d just arrived
and a temperament to match. Although these com- back from lunch out with the family. Rufus, the next-
ics can be considered more adult, they still fall una- door neighbour’s frisky dachshund, was caught red-
bashedly within the target market of the post-pu- handed doing the nasty with Honey, the family Lab-
bescent fan-boy. rador. It was through the same crack in the
neighbour’s wall that Irene (one of my sister’s clos-
My interest in comics certainly doesn’t use its dis- est friends at the time) would occasionally slip
position in the past to play on previously stereo- through, stop and ask for pasta.
typed conceptions of how comics are meant for
kids. Controversial comics artists such as Robert Hello Neighbour is made up of ten frames, each
Crumb and the Bitterkomix crew already made their carefully planned in three separate stages of pro-
point when toy-toying with shock-value stereotypes duction. I had documented the memory in my jour-
regarding sex and race in their run for the money. I nal years back, and finally found the opportunity to
believe the ascent of the graphic novel into the field start illustrating it near the beginning of 2009. The
of literary legitimacy lies firmly within the genre of frames had first been constructed as a written script
non-fiction and autobiography. where sequences were determined by a fixed dia-
logue and narrative.
It is through autobiographical representation that
Art Spiegelman won the exalted Pulitzer Prize in Once a script had been produced it was possible to
1992 for his Holocaust narrative Maus (Volume 1). move on to the second stage of the process where
Both volumes of Maus tell the remarkable story of basic layouts of each frame could be planned and
Spiegelman’s parents’ survival of the Nazi regime roughly illustrated from memory. I had a very clear
and became famous for its portrayal of Jews as mice sense of where, when and what was happening at
and Nazis as cats. The work is largely biographical the time of the experience and only needed to run
as the artist anchors the narrative through a series through two or three compositional pencil layouts
of one-on-one interviews with his father Vladek. before illustrating the final pencil rendering in detail.

EDUCATION
192 >

Reference images were used for certain objects dictionary. A cheeky play of “What does this
such as certain types of plants in our garden at the mean?” and “It means that”. I wasn’t used to read-
time, or the inside of my father’s car. ing in this way and neither was my dad. “Read the
sentence again,” he’d say. “I’m not sure Rob. Say it
The final stage involved the inking of the work. I was again?” Coincidentally, My ma was ‘n mooi vrou
fortunate enough to get my hands on some square- largely dealt with the estranged relationship be-
tipped calligraphic pens. What’s great about those tween the author and her father. I’d hoped my fa-
pens is that they provide for a dynamic brush stroke. ther wouldn’t pick up on it, but if my Afrikaans was
You can’t fake a good brush stroke by colouring it in, anything to go by, he’d figured out both the author’s
so it made sense to use a pen that would make ink- story and mine.
ing the work just as fun as pencilling it.

Pierre van den Heuves aligns his definition of the ABOUT ROBERTO MILLAN
reader-author contract with the notion that the au-
thor, through the creation of an autobiographical Roberto graduated with a BA Information Design
text, sets out to make himself the protagonist of a degree from the University of Pretoria and is cur-
narrative, if not combining his roles as a narrator rently completing his final year of MPhil in Visual Arts
and main character. Communication that usually (Illustration) at the University of Stellenbosch. He
occurs between characters in a narrative is ad- also works part-time for the CCIBA (Centre for Comic,
dressed directly to the reader as a result and it’s the Illustrative and Book Arts – www.cciba.sun.ac.za ) as
ambiguity between narrator and protagonist that project assistant and website manager.
encourages a dialogue between the reader and an
autobiographical text.
ABOUT CCIBA
Research also suggests that the reading of comics
requires active participation on the viewers’ part. Founded in 2009, the CCIBA is an interdisciplinary
Where animation and film only require a reader, research, teaching and service institute based in
comics demand a different sort of reader involve- the Department of Visual Arts at the University of
ment. This suggests that comics extends itself be- Stellenbosch. The Centre is involved in the develop-
yond the boundaries of viewing and marks an ac- ment, promotion and teaching of the various di-
tive shift towards reading and interpretation. The mensions of comic art, illustration and book art.
result is that the relationship between the audience
The Centre also aims to extend and consolidate the
and the creator is affected, as well as the rate at work undertaken by a number of parallel and re-
which information is acquired. Autobiographical lated initiatives that have taken place over the last
representation within comics holds a unique dispo- five years: The Comics Brew Festival of International
sition in terms of its potential as a democratic nar-
Comic Art; the TransAtlant-ink exhibition and the
rative art form where participation and viewer in- Young Cartoonist Project; the Stellenbosch University
volvement allow for a level of intimacy that isn’t Department of Visual Arts programme and MPhil in
present in alternate literary modes. Visual Arts (Illustration); the establishment at the
University of Stellenbosch Library of a Special Col-
I’d always struggled with the taal [language] and lection of Comic Art; the Durban Cartoon Project;
regretted not bringing along an English-Afrikaans and the Igubu Comics Project in Cape Town. <

EDUCATION
194 >
 195 >

KATE
MOROSS’
GUIDE TO
FREELANCING

By Sarah Stewart
Kate Moross is a designer and art director who Kate is involved in many multidisciplinary projects.
was initiated into the design world during her BA She is the owner and director of ISOMORPH Records
Graphic Design studies at Camberwell, University who sign bands and release limited edition vinyl
of the Arts in London. It was during her university records, she has a signature clothing range at Top-
shop, has a signature Kate Moross range of products,
years when she was designing band posters for
has opened a temporary pop-up shop with other
clubs that she landed her first major client – a
young designers, regularly designs music videos
Cadbury’s billboard campaign used across Britain.
for the musicians on her label and is now running
This was the start of great things for Kate. She was
her own design firm WE ARE ISO. And she is only
eager to finish her studies and have more time to 23 years old!
dedicate to the work that was flowing in. She has
since designed campaigns and advertorials for In an interview with ED>, wunderkind Kate shared
Nike, Vogue, Virgin Mobile, Pepsi and Diesel. some practical advice on work ethics, business

EDUCATION
196 >

practice and legal issues for students and Interning at a few companies will most
young designers who plan to work as free- likely tell you what you do not want to do
lancers. and this is good to know. Try everything you
think may fulfil you and do this while you
are young. Stay hungry to learn.
PHILOSOPHY
Once you have started freelancing, re-
Kate’s philosophy is centred on the idea search a project and be thoroughly pre-
that design should be inclusive, not ex- pared on every aspect of it. Actively search
clusive and she argues that as a consumer for experienced people in industry and ask
herself, she likes commercial products to their advice. Ask them specific questions
be well designed. When it comes to choos- as these are much easier to answer and
ing your clients, Kate’s advice is to not will be more beneficial to you.
impose your ideas onto a project but in-
stead select work that you believe in.
Be honest when informing a client of the
services you offer. Specify what you can
PRACTICAL ADVICE do and never say you can do something
if you are not confident about doing it.
Take responsibility for your education be-
fore and after your tertiary years. Univer- Be open-minded and read! Kate sites Keith
sity provides a platform for learning where Haring, Johannes Itten, Josef Albers, Sol
you will not be spoon-fed. Take every oppor- Lewitt, Steven Pinker, Malcolm Gladwell,
tunity to add to your body of knowledge Roland Barthes and Susan Sontag as
and develop your skills. Use your time at the scientists, thinkers and writers who
university to grow your portfolio and ex- inspire her the most.
periment with ideas, typefaces, colour
palettes and more.
WORK ETHICS
If you have already begun to take on free-
lance work while studying, continue after Being punctual and developing a good
you have finished your studies. However, work ethic are the two most important
it is wise to work for a corporate company characteristics a freelancer can develop.
for a period of time to learn how the busi- They do not come naturally and have to be
ness works. While working for a company, worked on. Be diligent and work hard.
pay close attention to how business is run
so that you can develop a sound under- Even though you may be a one-man show,
standing. Once you feel confident with your clients will expect you to have the
work operations, minimise your work hours necessary software, to answer the phone,
to a part-time basis and start taking on to have work done on time, to return emails
freelance work. and to always be able to make meetings.
 Kate Moross Foil Tee.(far left). TELEPATHE T-shirt (left). Comanechi Gossip Panthers ‘06 tour poster (far left). Cutting Pink with Knives poster (left).
197 >

EDUCATION
198 >

When accepting a project proposal, talk travel, flexible time and the luxury of be-
to the client, understand fully what his/her ing your own boss.
expectations are, probe them with ques-
tions, then talk to experts, think about Kate has found that the only difference
the proposal, write it down, understand it between working for a big or a small com-
fully and then begin to draw. pany is that their attitudes differ. The
process that she follows when tackling a
project does not differ.
BUSINESS PRACTICE

Having a Internet presence is necessary, COSTING

but seeing that everyone has a website
today, one has to work a lot harder to Ask clients what their budget is. There will
secure work. Kate says that the majority be occasions when they will not want to
of her work comes from meeting people disclose this information. If they do, how-
and word-of-mouth. One needs to become ever, you need to advise them whether the
aware of networking. Do not become a bra- amount is too high or too low. Be honest.
zen, overbearing promoter of yourself but
confidently share who you are and what When you start freelancing, charge a low
you do. The boundaries between friends price and in some cases, when the expe-
and clients can often become blurred. rience will be beneficial to you or your port-
folio or you are serving a philanthropic
Kate represents a new breed of profession- organisation, work for free. Slowly build
als whose life is work and whose work is up your fees as the demand for your work
life. Individuals like her share the philoso- increases. Increasing your rate should be
phy that life is too short to spend so much proportional to the demand for your work.
time working in a job you do not enjoy.
When working out your fee you need to
The negative aspects of working for consider all disbursement costs addi-
yourself are unreliable income, stress, tional to your labour cost. Disbursement
mania, pace and the fact that you do not is the expense of running your office and
have any guarantees or support struc- would include your materials, printing,
ture. Therefore, it is a good idea to cre- electricity, cleaning staff and more. Factor
ate a channel for accessing help and as- in the location where you work – whether
sistance when needed. Never be too it is part of your home or a separate office.
proud to ask for help.
There are various ways that you can charge
The positive aspects of working for yourself for a project. An hourly fee is when the
include the possibility of money, excitement, designer charges a set rate for the time
 23 Illustrations for the Nike Dunk – Be True exhibition (top left). Mural for D:U:M: LTR: Don’t Panic poster, Identity for Chromatics. Collaboration
199 >

EDUCATION
Radio (bottom left). T-POST, June 08, Issue 37 (left). with Alex Sushon and Sick of nature flyer series.
 200 >

Window doodle for Topshop (top left). The Teenagers T-shirt for Merok (top right). Testcard flyer (bottom left).
Polydron catch photograph (centre right). Sony Walkman advertorial for Vice UK. (bottom right).
 201 >

actually spent working on the project. A fixed send them a letter of appointment that will
flat or stipulated fee is when the designer and state who you are as the designer and who the
client agree on the designer doing work for a individual or company is that is employing you.
specified amount of money. Fixed fee is set to The letter is addressed to the individual who
fixed events and covers you for changes that will be responsible for paying your fee. The let-
might be made to the finished work. The de- ter will define what the scope of work, by what
signer must accurately estimate the necessary date it will be completed, how much the work
time and overheads expected for the project. will cost and how much and on what basis the
This can be difficult if the scope of work is not designer will be paid. The letter will be accom-
clearly defined. Define clearly what the project panied by a separate document that dictates
entails i.e. what you the designer is responsible the conditions of engagement or terms of
for. You will find that there will be some jobs agreement. Both parties and a witness must
that you work a lot harder on for the same sign these.
amount of money as an easier job. Kate advises
that graphic designers ask for 50% upfront and Conditions of engagement will include a clause
50% on delivery of work. Know what you need that refers to copyright and would state that all
to earn each month and work hard to double it. design work remains property of the designer
unless the client buys the copyright. The client
has the right to the use of and benefit from au-
LEGAL ISSUES thorised copies of the work. A secondary clause
will state that the payment of the fees must be
Register as self-employed and employ an ac- made 30 days on receipt of invoice. Prime inter-
countant to file your annual tax return. est rates will be charged for any overdue ac-
counts.
Kate began working without pre-agreed con-
tracts and says that while 90% of her clients Kate Moross finds fulfilment in creating visual
have been trustworthy, she did have a bad ex- design that has a conceptual foundation and a
perience, which left her to learn the hard way. considered aesthetic that together successfully
communicate a narrative. Do you love what you
A contract is a safety measure for both the de- do enough to wake up every morning and work
signer and the client, as neither party wants to for yourself? <
be taken advantage of. When an individual or
company accepts your proposal you need to All images courtesy of Kate Moross.

EDUCATION
202 >

CAN ARTY-FA
A MASERATI?
You are young, passionate
completed your studies and
famous designer. But nev
finding any job is hard eno
pressure from your family to
not help. So what about
creativity with sound busin
 203 >

RTY DRIVE
? By Weyers Marais.

and fearless. You have just

d you dream of being a world
ver mind your dream job,
ough as it is and the added
o start earning a living does
t the trend of combining
ness skills?
EDUCATION
204 >

According to Bruce Nussbaum, a former editor at become mainstream during the past decade or so).
Business Week and design thinking advocate, crea- After varsity life speeds up drastically so you have to
tivity is THE core competency today. He says that be open to learn and at the same time stay on track
design can be the bottom line for business. Nuss- with the demands of the industry. Next up is the
baum is not the only expert who holds the view that the design map. Nope, not the job market, the design map.
design skills you have learnt at varsity are in fact a
prime commodity today. Nussbaum also made the statement that “design is
all-encompassing”. This suggests that the design
While still in varsity I decided not to go and look for a industry is large and finding your ideal spot in it
job but rather to establish my own design business. could be a great challenge. I have found a great tool
I had to find a mentor who could help me develop to narrow this search.
different life skills from those I developed at varsity.
For the purpose of establishing design recognition,
During my first consultation with Murry Kilgour, my the European Design Training Incubator (edti) has
business coach, he asked me what my strengths drawn up a comprehensive map of the design in-
were. After extensive research on Marcus Buckingham dustry – all on a single A4. While originally designed
and Donald O. Clifton who wrote the book Now, Dis- to represent the full scope of design and its value to
cover Your Strengths, concluded that every person the business sector, this map can also be helpful to
possesses a collection of strengths strung together designers. Once we become more familiar with our
with unique nuances. Throughout the book they em- strengths we can use the map to find where we
phasise that the world’s paradigm of working with could possibly fit into and play a role in the design
strengths and weaknesses is back to front: The industry. The map is divided into three parts: do-
world says that you should recognise your weak- main, specialities and deliverables. Now it becomes
nesses and do your best to improve them. The authors clear why we have to know our strengths before we
say, though, that we should, in fact, rather focus 90% job hunt, because just as the map illustrates, you
of our time strengthening our strengths and as little don’t go straight from domain into deliverable un-
as possible time on our weaknesses. Just outsource less you know what your specialities are. New
them. They also say that your strengths are aligned knowledge about your strengths and passion can
with your passion and, therefore, working within help you navigate the map to a place where you
your strengths is where you will be happiest. You could be happiest and most productive. With this I
can just look at what you are passionate about to don’t suggest it is any easier to find your place, but
know what you should be focussing on. My first ses- the map from edti certainly eliminates a lot of
sion with the coach taught me that this is a funda- guessing and unnecessary branching out on the
mental point of entry that can make the difference way to doing what you are passionate about.
between chasing a salary and chasing a passion.
By now you are probably saying, “enough with all
Discovering your strengths is incredibly empower- the preparation, I thought it’s time to make some
ing and offers revelations about yourself and your money”! Well, the toughest lesson I learnt after
potential, but this is only the beginning if you want starting my business is that if you do not under-
to be a ‘lifelong learner’ (an industry term which has stand the value that you add you will sell your work
 205 >

and services at the wrong price. Such a venture can-

not be cost-effective or sustainable. When discuss-
ing the value of design, Nussbaum refers to it as “the
new bottom line of business”. In other words, where
the main focus of business has traditionally been
profit, Nussbaum suggests that design can be of so
much value to your business that it should be con-
sidered as your business’s bottom line.

In a special report regarding the value of design,

Helen Walters quotes a few prominent designers
and design business people on their views about
the value of design for business as they have expe-
rienced it. IDEO partner Diego Rodriquez’s view is
that “good business arises from a design-centric
process that incorporates marketing, research and
ideas”. This point supports what Nussbaum says
about design as a bottom line.

RKS Design’s Ravi Sawhney and Deepa Prahalad

mention four areas where design can create value for
business: “Understanding the consumer, mitigating
risk, boosting marketing and branding, as well as
driving sustainable business practices.” If you put
Sawhney and Prahalad’s words into design language
you might understand it better: In the design proc-
ess we consider the end user (marketing and under-
standing the consumer), we do research on materi-
als, processes, cost and the social and environmental

A selection of Weyers Marais’ Lamps which have

become the signature pieces for his design business.

EDUCATION
206 >

impact of our design (research and sustainable There are many design management blogs available
practice), and we generate a multitude of options on the Internet and they are all in agreement that
for design solutions through a creative process design has an incredibly valuable role to play in
(ideas and opportunities). business. If businesses perform because of value
added through design, then there is potential
The one area they mention and which is perhaps most growth for the economy at large. The edti was es-
familiar to communication designers, is branding. tablished as a platform for sharing resources and
Branding focuses on the corporate identity and a meeting place for partners in Europe to bench-
entrenchment of the value systems of a business mark learning in different areas of design. The edti
of which just one dimension is the organisation’s understands that design has the potential to boost
logo. Let’s take the brand value of a well-known SA the economy and is therefore investing in the de-
brand like Woolworths. velopment of design education that will produce
future designers who can add value to business.
Woolworths recently appointed Vince Frost, a world- They also understand that for this to happen, de-
renowned Australian designer as their new creative signers need to be able to communicate with the
director. Frost was appointed specifically with the business sector and understand business prac-
task of evolving and overseeing the implementa- tice.
tion of the new Woolworths brand. When comparing
the old and the new Woolworth’s logos, it is immedi- This brings me to my next and final point: How de-
ately evident that simple changes to a logo have the signers relate to business.
power to reposition a brand in the consumer market.
The potential value of design in business is usu-
It is fair to say that a seemingly simple creative appli- ally underestimated. It is time for us as designers
cation can have a disastrous or profitable effect on a to join the business world. I know that Business
business. Comparing the old and new Woolworths Studies is usually not our favourite subject, but it
logos we can recognise the old identity as sophis- is perhaps the most important than you think.
ticated and classic. In keeping with changing times Give it a chance, you might just find it fascinating!
it has evolved into a more modern brand that re-
mains sophisticated. Other well-known brands like Developing the skills to successfully read your tar-
Puma, Adidas and Levi’s can be recognised in an get market, producing top quality products and
instant. Removing their unique identity would be services and strategising your business accord-
a disaster to these brands and business would ingly should be an energetic and passionate ven-
certainly suffer. ture. Shortly after starting my own design busi-
ness just 11 months ago I learnt that I can’t just
Creativity and design are a lot more powerful than wing it with my creativity and people skills. “Crea-
usually recognised. We are talking about the bot- tive, technical and business skills are the vital in-
tom line of business; a successful logo and brand gredients we need for a successful studio. Yes, we
identity will increase the profit margins because do differ from other businesses because of our pri-
their connection with their target market is spot-on. mary skill; creativity. Talent is not always enough
 207 >

to ensure success. If you really don’t have an inter-

est in business then it would be very wise to make
sure that you surround yourself with people who
can add further value to the business. We need
technology to execute our creativity and we need
business skills to make a living and to help us
manage the creative/technical process,” says
Greg Branson, president of the Design Business
Council in Australia. This means that although it is
all good and well to know the design process and
be able to apply critical thinking, we will only ever
chase salaries or live from job to job unless we can
supplement these skills with basic business skills.

In a short article on a creative business Branson

elaborates on what he sees as the required basic
business skills for designers. He says that we need
to be able to distinguish between clients and find
those who are best suited to our creative and tech-
nical skills. We need to market ourselves to those
clients in a unique way to create a demand for our Woolworths recently appointed Vince Frost as their
services. Part of this is being able to communicate new creative director. Frost was appointed specifically
the value of our design to clients. As an extension with the task of evolving and overseeing the
to our communication skills, we need to learn to implementation of the new Woolworths brand.
establish a solid design brief with the client to en-
sure that the direction is clear – both to us and to
the client. Then we must have the skills to match
that brief with an estimate that values our creative
and technical skills, as well as ensuring a profit.

Whether we start our own business or go and work

for a design firm, our skill sets need to develop in
a business context. We, as young designers should
realise, as the people quoted in this article did,
that business is a part of design and design is a
vital part of business. < Well-known brands like Puma, Adidas and Levi’s can
be recognised in an instant. Removing their unique
identity would be a disaster to these brands and
business would certainly suffer.

EDUCATION
208 >

ARE YOU COMPETENT? Dear Confused Creative

ASK
I am writing this letter to you with my ruling
pen so please read carefully. In your first year
after graduating from the institution of your
choice, you need to have a New Year’s
resolution. For starters, I would suggest

‘DR
300dpi. Things will appear much clearer that
way.

Okay, on a more serious note, in order for

you to better prepare for an entry-level
position within the design industry,
irrespective of your design discipline, there

TRUTH’
are a number of skills and competencies
which you need to consider. According to
Joanina Pastoll, creative director at Cross
Colours, the entry-level expectations of
By Fatima Cassim design graduates in South Africa “is actually
quite high”...

Dear Dr Truth The following

Oh gouache. Being an entry-level design information, which is
graduate makes me feel like I’m in first
year all over again. The stress has set in compiled from responses
and I don’t know what to do. I have Hunt- by professionals in the
ed. I have forced myself to Net#work. I
design industry, provides
even went as far as visiting Jupiter and
other places that Mather. I haven’t had some insight and advice
any success in getting a job in the design to assist you in meeting
industry and all I want is for someone to
hire me. I am so confused. Please help.
the demands of the
highly competitive
industry.
 209 >

a more verbal form of communication and therefore

being articulate and having good interpersonal
skills is a key competency. If you can communicate
DESIGN SKILLS effectively, you are more likely to gain trust from the
other designers and clients. Ultimately, building
Entry-level design graduates need to possess tech- trust is important to gain support and to secure
nical and conceptual design skills relating to the more work.
design discipline which they have been trained in.
Technical design skills comprise of knowledge of
the basic elements and principles of design, under-
standing of media and materials, and a good grasp
of discipline-related terminology. Graduates also
need to be proficient in the relevant software.
PRESENTATION SKILLS
Like communication skills, presentation skills can
Equally important to having the necessary technical also be divided into two related categories, namely
skills, design graduates should have good problem personal presentation and portfolio presentation.
solving abilities. You should have the ability to think Personal presentation refers to the way you con-
critically and conceptually. Although design skills duct yourself when applying for a job and in par-
form the basis of building a career in design, most ticular, within an interview situation. During an in-
design professionals believe that success in this terview you will be asked questions by the
industry is not just about creative talent. prospective employer to determine whether you are
a suitable candidate for the job. You will also be
expected to discuss and demonstrate your level of
Entry-level graduates in particular need to be proac-
conceptual and technical design skills. These skills
tive and show some initiative, and in the end, suc-
are generally assessed through a portfolio of your
cess depends largely on your attitude and willing-
work. Johan van Wyk, Creative Director at HKLM,
ness to work hard.
maintains that a “Portfolio should be able to be
consumed in ten minutes by a prospective employ-
er and it must speak for itself, as often it is viewed
prior to an interview. Actually, the digital portfolio
COMMUNICATION SKILLS often secures an interview.”
The ability to communicate effectively, both visually
and verbally, is an extremely valuable skill for grad- Your portfolio therefore acts as your personal
uates. In the industry, designers do not work alone branding and promotional tool and hence, the pres-
and you are required to communicate your ideas entation of your portfolio is extremely important.
with the rest of their creative team, and most impor- Think of your portfolio as a personal narrative that
tantly, with clients. shows your skills that you have acquired as part of
your education, as well as your personal style and
In context of the creative team, there is a strong em- approach. In light of this, there are a number of
phasis on visual communication. For example, draw- practical considerations.
ing, sketching, modelling and making are some of
the tools which designers use to externalise and Firstly, be selective in your choice of work that you
share their ideas. In contrast, clients tend to favour include in your portfolio. The work selected must be

EDUCATION
210 >

fairly recent and should demonstrate your expertise are numerous. In keeping with the general view in
in your specific design discipline. It is also advisa- favour of internships, Johan van Wyk reiterates that
ble to choose one or two projects that show versa- doing an “internship is super valuable. Not so much
tility and provide a broader view of your abilities as in a CV requirement, but in the way it impacts on
and interest. Secondly, it is essential for you to the production standard of your portfolio and the
know your strengths and to be able to discuss the contacts you make while doing your internship.”
projects in your portfolio. According to Joanina Pas- Making contacts and networking are valuable in
toll, you must be able to discuss your concepts in a that they can help you with referrals and recom-
clear and succinct manner. Johan van Wyk shares mendations when you are looking for a job.
this sentiment when he says that “someone who is
bright, keen with diverse interests, and who can
communicate who they are in ten minutes, stands
the best chance.” This view clearly substantiates
the emphasis on both presentation skills and com- PROFESSIONAL CONDUCT
munication skills.
Professional conduct is a broad area that comprises
a number of key skills including teamwork, organi-
sation and time management. Working in the indus-
try is different to being a student because gradu-
WORK EXPERIENCE ates will be expected to work in creative teams
rather than by themselves. The professional envi-
Although most graduates would have little, if not
ronment dictates that you put yourself aside and
any, formal work experience, internships are invalu-
adopt a collaborative mentality. A good starting
able as a means of gaining some hands-on experi-
point is to understand the vision and mission of the
ence in an actual work environment. Where possi-
company in a mature and meaningful way.
ble, you should try and secure an internship in an
established design company while you are study-
ing. The choice of company where you intern is im- Good organisation and time management are other
portant and should be selected based upon your competencies that will stand you in good stead as
goals and personal interest in terms of design. The an entry level designer. As previously mentioned,
amount of responsibility and work that an intern is creative skills are not the only requirements needed
assigned depends largely on the individual com- in order to be successful in the design industry. You
pany. In addition, although most companies hire also need to exercise your left brain thinking skills
interns, the companies are busy and can’t give you as well. You will be required to organise and man-
a huge amount of mentoring time. Therefore Joani- age your workload, liaise with clients and meet
na recommends that you should rather spend a deadlines, to name but a few. It’s all about being
relatively long time at a company (like a few weeks professional and having a good work ethic.
during the holidays). This way, students can build a
good relationship with the employees at the com- Good luck, and always remember: designing great
pany and also prove themselves in the work which means being true to your abilities and always push-
they have been tasked with. ing boundaries. <

Being an intern is not necessarily an easy job and

although you may not be remunerated, the benefits

EDUCATION
 EURO RSCG 4847/E
Dear Dr Truth Entry-level design graduates need to possess
technical and conceptual design skills relating to
Oh gouache. Being an entry-level design the design discipline which they have been trained
graduate makes me feel like I’m in first in. Technical design skills comprise of knowledge
year all over again. The stress has set in of the basic elements and principles of design, un-
and I don’t know what to do. I have Hunt- derstanding of media and materials, and a good
ed. I have forced myself to Net#work. I grasp of discipline-related terminology. Graduates
even went as far as visiting Jupiter and also need to be proficient in the relevant software.
other places that Mather. I haven’t had any
success in getting a job in the design in- Equally important to having the necessary techni-
dustry and all I want is for someone to hire cal skills, design graduates should have good
me. I am so confused. Please help. problem solving abilities. You should have the
ability to think critically and conceptually. Al-
Dear Confused Creative though design skills form the basis of building a
career in design, most design professionals be-
lieve that success in this industry is not just about
I am writing this letter to you with my rul-
creative talent.
ing pen so please read carefully. In your
first year after graduating from the institu-
tion of your choice, you need to have a Entry-level graduates in particular need to be
New Year’s resolution. For starters, I would proactive and show some initiative, and in the
suggest 300dpi. Things will appear much end, success depends largely on your attitude and
clearer that way. willingness to work hard.

Okay, on a more serious note, in order for

Communication skills
you to better prepare for an entry-level po-
sition within the design industry, irrespec-
The ability to communicate effectively, both visu-
tive of your design discipline, there are a
ally and verbally, is an extremely valuable skill for
number of skills and competencies which
graduates. In the industry, designers do not work
you need to consider. According to Joanina
alone and you are required to communicate your
Pastoll, creative director at Cross Colours,
ideas with the rest of their creative team, and most
the entry-level expectations of design
importantly, with clients.
graduates in South Africa “is actually quite
high.” The following information, which is
compiled from responses by professionals In context of the creative team, there is a strong
in the design industry, provides some in- emphasis on visual communication. For example,
sight and advice to assist you in meeting drawing, sketching, modelling and making are
the demands of the highly competitive in- some of the tools which designers use to external-
dustry. ise and share their ideas. In contrast, clients tend
to favour a more verbal form of communication
There’s a new place for creative minds.
and therefore being articulate and having good
Design skills interpersonal skills is a key competency. If you can
With our database of thousands of professionals and positions from architecture to web design, you’ll discover
just the job to inspire you or the ideal bright spark for your company. Upload yourcommunicate effectively, you are more likely to
CV or search today and find
all your creative resources in one place. How’s that for an idea? Visit pnet.co.za
 212 >

DESIGNING
THE FUTURE
Can design contribute to social development and
create awareness amongst communities around
social issues? Presently, this is a question of great
concern in South Africa because of the imbalances
brought about by the apartheid system, which
weakened our society for decades.

After South Africa’s first democratic elections in

1994, the nation has seen many progressive changes
as it slowly overcomes social issues such as over-
crowded informal settlements, high unemploy-
ment rates, a lack of education and high crime
rates. These issues – amongst others – often fuel
designers’ and artists’ interpretations of the world
around them.

Many South African designers use their creative

skills to communicate such social issues, as well
as promoting design in local communities, whilst
simultaneously addressing the issue of unemployment.
 213 >

promote the artists behind the work. Unfortunately

Beadwork by Monkeybiz.
it often happens that high-end designers exploit
these same communities and craftswomen by using
their skills and talent and ‘proudly’ taking all the
credit for the hard work done. This scenario leaves
very little room for the promotion of the people
behind each work of art. If people are promoted, as
in the case with Monkeybiz, social development will
happen more effortlessly and others will inspire
others to replicate their success in their own com-
munities and lives.

A young designer tackling the issue of unemploy-

ment in South Africa is Chad Petersen, a student
currently studying industrial design at the Cape
Peninsula University of Technology. Petersen has
developed RawCreative; a business concept that
promotes a sustainable way of empowering and
employing people through design. What is unique
Statistics show that over 25% of South African’s about this project is that the workshops are based
are unemployed, more so in the informal settlements. in the community, thus eliminating the expense of
By integrating these communities into the econo- travelling by its employees. Each employee is taught
my, people can support themselves and promote valuable skills and given the opportunity to be
their own socio-economic development. part of other training workshops to develop their own
business skills and acumen. By educating people,
A project addressing this issue directly through one allows communities to grow in a sustainable
design is Monkeybiz. Martine Jackson explains that way. Most people do not know what they are capable
the women who work for MonkeyBiz focus on their of achieving because they are unaware of the op-
economic development and empowerment through portunities available to them simply because of the
the creation of beadwork derived from African tradi- nature of their upbringing. Designers and design
tions passed down to them over generations. These skills have much to offer underprivileged commu-
women have established a community of over 450 nities but before any action can be taken extensive
bead artists who conceptualise, design and produce research needs to be done in the area in which
their beadwork products, which are sold locally and projects are intended to thrive. As an example, Pe-
abroad. Their employment model works; something tersen spent time in Hangberg, an informal settle-
others could definitely learn from. The craftswomen ment in Hout Bay. Spending time with the locals
working for Monkeybiz are given artistic freedom to taught him how to understand their specific social
produce work by using their own designs and creat- and geographic issues, which gave him valuable
ing a notion of collaboration, which in turn directly first-hand knowledge, which he could later use in

EDUCATION
214 >

creating a sustainable design solution that could he wishes to tackle, overcome or portray and inte-
be beneficial to all parties involved. grates this consideration into his design. This allows
that important social message to have a voice – so
“The revolution that is needed involves the con- to speak – bringing its message across in an inspir-
sumer, client and government realising that sus- ing manner. “This affects the commercial market,
which in turn influences the bigger manufacturers
tainable development is not only viable but neces-
to become more sustainable,” adds Martin. In so
sary for the future of South Africa,” comments
doing, a small niche product can have a great in-
Mokena Makeka, architect and principal and founder
fluence on the commercial market and the fact that
of Makeka Design Lab. Sustainability in design
it carries a message of a social nature helps a great
plays a major role in contributing to social develop-
deal in creating an awareness of social issues. “I
ment through the implementation of three princi-
started my career at the same time as the birth of our
ples: The economic, the social and the ecological
new democracy. Much of my design work has been
dimensions of design. For a design to be successful
an exploration and expression of our new emerging
all three aspects have to be considered; some in
cultural identity. For example, the Zulu Mama café
more detail than others depending on the relevance chair, which was woven in Khayelitsha as part of my
to the designer’s agenda. However, all three prin- job creation project, the Riempie couch, the Fiela
ciples are completely interrelated and can often feather lights and Songololo sofa were all designed
create problems where there are seemingly none. and created as a direct response to our society’s need
What is evident is that the responsibility of a design- to find a new identity for itself at this pivotal moment
er to be aware of all these principles and their re- in history.” Martin has also launched the New Slant
sulting relationships is of paramount importance. shelving system, which was designed by disabled
craftsmen for NPO Carecraft, “There is a great need
One such designer who is tackling the complexi- to employ the disabled in this country, which is
ties of design principles head on is Cape Town- usually overlooked by most,” concludes Martin.
based Haldane Martin, one of South Africa’s most
successful furniture designers. When Martin works It is evident that design contributes in a substan-
on a new design, he first considers a social issue tial way to social development through the efforts
 215 >

LTR: Zulu Mama café chair, New

Slant shelving system and Fiela
feather light by Haldane Martin.

of willing individuals, organisations and retailers and 12 high school learners who attend schools that
that have the passion, determination and courage participate in the MTDTD programme, as well as
needed to promote the awareness of social issues exposure and opportunities for participating learners
through the medium of design. in the professional and corporate arenas. Adjudi-
cators of the annual national design competition
Another such initiative is the Making the Difference have noted that year on year competition submissions
Through Design (MTDTD) education programme – one have become a mirror of the social issues South Afri-
of the ways in which Woolworths contributes to up- cans are faced with on a daily basis a desire to rectify
lifting education in South Africa. The programme’s the imbalances the country faces.
goal is to enrich the educational experience and
bring the visual art and design curriculums to life The MTDTD education programme sits firmly as a
for Grades 10, 11 and 12 learners and teachers. pillar within Woolworths’ Good business journey, a
comprehensive five-year plan (launched in 2007).
MTDTD, a corporate social investment initiative, was The plan incorporates a series of challenging tar-
launched in 2006, in association with the Western gets and commitments centred on four key priori-
Cape Education Department, Design Indaba and Sappi. ties: accelerating transformation, driving social
The initiative comprises a 600-page design resource development, enhancing Woolworths’ environ-
manual which serves as a valuable and much needed mental focus and addressing climate change.
teaching tool to support educators to teach design
on a daily basis. The manual is made up of 23 modules There is no doubt that the efforts of all these ded-
divided into four broad categories namely: Com- icated role players in the design arena greatly in-
munication Design, Surface Design, Product Design fluence society as a whole as well as various cul-
and Environmental Design. These categories cover tural spheres. Through perseverance and hard
subjects as diverse as advertising, textiles, industrial work they create a more informed, inspired and
design, animation, jewellery and ceramics, architec- innovative country, allowing for positive growth
ture and theatrical design. Other aspects include an and a sustainable future through design. <
annual competition, which is open to Grade 10, 11

EDUCATION
216 >

PICS MADE FROM BASIC T

PHOTOGRAMS
By Inga Forde

PINHOLE PHOTOGRA
 217 >

Photograms and pinhole photography developer for one minute, then one minute

TOOLS: are two ways of producing a photographic

image without the use of a camera. Al-
in the stop and four minutes in the fixa-
tive. Once the print has been fixed, it must

AND
though both methods do require a dark- be rinsed for ten minutes in running water
room, photographic chemicals, photo- and then hung up with a plastic peg until
graphic paper and an enlarger, the methods dry.
are easy to execute and one can expect

APHY beautiful results.

A photogram is a negative image made

Objects that can be used include old
photographs or images copied onto
transparency paper in the negative
by placing objects onto light sensitive (black & white reverse); old x-rays; food
photographic paper and then exposing items such as, rice, pasta shapes, hun-
the paper to the light from the enlarger. dreds and thousands; jewellery, glass
Depending on the transparency of the beads, silver chains, silver stars; glass
objects used, one can achieve different bottles; string, thread, ribbons, lace...
results. Essentially where the paper is basically anything that has an interesting
exposed to full light it turns black once shape and is either opaque or slightly
developed; where the light is held back transparent.
completely the paper remains white
once developed and where objects of Pinhole photography follows similar
variable transparency have been used, principles to regular photography; the
various tones of grey are seen. only difference is that your camera is a
tin with a tiny pin hole for the lens and a
These tonal variations are achieved by blob of Prestik® (Blu-Tack®) as your shut-
turning the aperture of the enlarger to ter. Any size tin can be used to construct
the smallest f stop, f 5.6 or f 4.5 and ex- a pinhole camera – pinhole cameras have
posing the paper for approximately two even been made out of shipping contain-
to six seconds. Mix photographic chemi- ers! You need the following to make your
cals according to the instructions on the pinhole camera: A tin with a metal lid
bottles. When developing your print in (plastic lids are no good), matte black
the chemical baths, it is important to fol- spray paint, a hammer, a nail, silver tape,
low the correct development times: The a pin and Prestik®.
exposed print must be developed in the

Once you have sourced a good tin, spray

the interior of the tin and lid with the
Top left: Photogram by Ceil Reyneke. black spray paint, allow to dry. Hammer
Top right: Photogram by Gina vd Ploeg. a small hole into the side of the tin using a
Bottom left: Photogram by Kelly
nail, cut a strip of silver tape and cover
Mouton. Bottom right: Photogram by
the hole carefully. As you smooth the tape
Lara French.
in position you will see an indentation

EDUCATION
218 >

where the hammer hole is positioned, good quality. Once you have developed
pierce a tiny pin hole in the middle of your image in the photographic chem-
the indentation. Cover the hole with a icals (same as discussed for photo-
blob of Prestik® – now you have your grams), your image should appear
‘lens’ and ‘shutter’. crisp, you should achieve white, black
and grey areas and the grey areas
Once your pinhole camera is complete should show a good tonal variety. If the
you are ready to start taking photo- image is too light you need to expose
graphs. You need to load your camera for a longer period of time, if the image
(tin) in the darkroom. This means cut- is too dark you need to expose for less
ting a piece of light sensitive photo- time. Remember that your pinhole
graphic paper slightly smaller than photograph is a negative, so your
half the circumference of the tin and light areas will appear dark and your
placing the paper opposite the pin dark areas will appear light on the
hole on the inside of the tin. Make print. This negative can be turned
sure that the shiny side of the paper into a positive using the contact print
faces the pin hole. You are then ready process.
to start. Remember when choosing
your subject matter get close to your Photograms and pinhole photography
subject as the pin hole usually creates are fabulous teaching tools to demon-
a wide angle. Remove the Prestik® strate basic photographic principles,
that was covering the pinhole and try such as, available light and shutter
and ‘shoot’ with the sun behind you speed (or exposure times), as well as
and position the ‘camera’ on a very demonstrating how a camera works –
stable surface. Depending on the light albeit at a very basic level. These
your exposure times will vary consid- methods can be used to introduce
erably. Be prepared to first test for the photography to learners from Grade
best time for your camera. Generally 7 to Grade 10, as a further more tech-
speaking with a small to medium sized nical study of photography is suitable
tin, in bright sunlight, your exposure to learners in Grades 11 and 12. <
time should be between 10 – 30 sec-
onds. On an overcast day or in a very Inga Forde teaches Visual Art and
shady area your exposure time could Photography for Grades 10-12 at the
vary from 1 minute to 5 minutes. You Frank Joubert Art Centre in Newlands,
could also shoot indoors, but be pre- Cape Town.
pared for longer exposure times.

If you have tested for the correct time

and kept your tin completely still, you
should expect a negative image of
 219 >

Top: Pinhole photograph (negative and negative) by Catherine Muller.

Centre: Pinhole photograph (negative and positive) by Kelly Mouton.
Above: Pinhole photograph (negative and positive) by Kelly Mouton.

EDUCATION
220 >

ANIMATIO
OPENS N
YOUNG C
Only ten years ago, the idea of ning formula is that South Africa to sometimes 400 animators per
animation as a career path for a produces generalists – animators project is hard to achieve, simply
young South African was about who have a broad understanding because there are not enough
as fantastical as this imaginative of the technical and creative re- skilled animators out there. Linton
visual art form is in itself. But, quirements within this new and Rensburg, media officer of the Cape
with a boom in animation block- exciting visual environment. Local Film Commission reiterates that:
busters from companies such as animation studios of approximate- “We need to grow our human and
Pixar and Dreamworks, and the ly 30 to 50 people are producing skills capacity to be able to take
likes of Aardman Animations’ work of the same quality as studios on the work that we are being
Oscar winning Wallace and Gromit, of 1 500 people in Los Angeles. The awarded.”
the popularity of animation in all local industry is also effective and
it’s forms has grown considerably, highly productive. Already, this It was for this very reason that
with a great demand for skilled home-grown industry has a number the Cape Film Commission, in
animators to enter the workplace. of feature length, uniquely South public-private partnership with
And with South Africa gaining African, projects set to hit both the Service SETA and the False Bay
ground as a top film destination, local and international circuits College, launched the Animation
it has now also starting gaining within the next year or two, some Academy at the Good Hope
ground as a competitive anima- already having been planned for Campus in Khayelitsha.
tion industry that is looking to stereoscopic (or 3D) theatrical
tackle big international projects. release. Officially launched in March 2010,
the Animation Academy grew out
The Western Cape has developed One of the biggest challenges of the Animation Industry Devel-
a world-class animation industry facing the industry, however, is opment Initiative (AIDI) which was
over the past decade and local capacity. Capacity to contend launched in 2009. The first phase
studios and animators are sought with the international projects of recruitment started with a
after across the world. The win- that employ anything from 100 number of workshops introducing
 221 >

ON ACADEMY
NEW DOORS FOR
CREATIVES
potential candidates to career paths animation studios in the world, to young people wanting to work
in animation, as well as allowing receiving eight Oscar® nomina- in the animation industry. He says:
students to submit their personal tions and winning four. “When I was briefed about the Cape
work for assessment. The Acad- Film Commission’s plans for an Ani-
emy is the first institution of its For over 30 years, Sproxton has mation Academy in Khayelitsha,
kind specifically located to allow overseen the development of the it interested me enormously. I’m
access to previously disadvantaged company from a two-man part- very keen to see where we can
communities in South Africa. All nership to one of the pre-eminent help and hopefully this is the be-
course work and learning out- animation houses in the industry. ginning of a long term relationship
comes have been developed in Sproxton and fellow founder Peter with South Africa and the Cape
collaboration with leading edu- Lord were awarded CBE’s (Com- Film Commission.”
cation and animation experts in mander of the British Empire, a
accordance with world-class title ranking higher than knight- The Academy currently accepts
standards. hood!) in 2006 in the Queen Eliz- 80 learners per year. Anyone in-
abeth’s Birthday Honours. terested in enrolling can contact
The Academy has already caught the Animation Academy’s Head,
the attention of international As well as feature films and TV Gary Kaggelhoffer, at the False
players. David Sproxton, CEO of productions, Aardman produces Bay College’s Good Hope Campus
Aardman Animations in the UK, approximately 75 television directly, for enrollment criteria
officially opened the Academy in commercials each year, using a on 021 361 3430. <
Kayelitsha, being humbled by the wide variety of animation styles,
high standard of work already from stop frame, productions in
shown by some of the candidates CGI, Flash and mixed media.
and of the local industry in gen- Image from Wallace & Gromit
eral. Aardman Animations is rec- Aardman has always been keen Grand Adventures. © Aardman
ognised as one of the leading to provide support and training Animations Ltd.

EDUCATION
 222 >

WANT TO STUDY
DESIGN?
If it’s medicine, it’s science. If it’s business, then it’s
accounting. And what if it’s design?

Jumping from high school to any first year study is

tough, especially when you are doing a course that,
until now, has never been a complete focus – in
matric you are taking six other subjects, excluding
design. Studying a design-related discipline at tertiary
level opens doors to careers such as interior, commu-
nication, fashion, textile, jewellery, theatre, indus-
trial design and even engineering and architecture.
It is a growing career choice and, as such, has meant
changes and enhancements in the South African
curriculum.

The question of whether or not what you learnt at

school and what is expected from you at first year
tertiary design level is on par, still stands. Design
means a new set of skills and different dimensions
of study that you may not have experienced before
or learnt at school.

High schools that do offer design as a subject choice

are doing what they can to prepare you for future
studies in the design field. Although curriculum ap-
provals and methods of teaching may be different
depending on for instance whether you are based
in Gauteng or the Western Cape, what is expected
of first year students in various design fields is pret-
ty straightforward. Group work, even though it may
feel like the bane of your existence, is considered a
vital part of design education. A student studying at
the Open Window described it as ‘the buddy sys-
tem’ and without it a student will really struggle.
Critical thinking, you may think, means to think out-
side the box but what happens when tertiary de-
sign institutions want to see no box at all? Taking
on a heavy workload should be pretty average for
any art and design high school student. This helps
prepare students to handle the huge expectations,
hectic workload and time management required of
By Chevawn Blum
them at tertiary level. Being able to communicate
 223 >

with people, not only verbally but visually as well, It is also advised that any student does their own
is a common expectation at tertiary level and there research into a possible career choices before mak-
is no high school subject that focuses predominantly ing any decisions. Not only is there is a variety of
on this skill alone. However, unbeknownst to the information available but students can also visit
student, he or she gains many varied skills from be- many of the open days at tertiary design institution
ing at high school even if, at the time, it feels like a
to find out more about the different design disci-
waste of time. plines. Open days are the best times to ask ques-
tions to the relevant lecturers as well as the stu-
Not only do the design curriculum and the expecta- dents, who will give you the best perspective on the
tions set at school need to be standardised across current course they are studying.
the country, but teaching basic design principles
also needs to be compulsory. A solid set of skills All the skills and practices you learn in high school
like technical and observational drawing skills, an will be refined and nurtured in your first year, where
understanding and ability to work comfortably with you will gain thinking and coping tools that will cer-
a variety of media in a 2D and 3D format, a solid tainly benefit you in the long run.
understanding of colour, texture, shape and line
and the ability to strategise, solve problems and Acceptance into most tertiary design institutions is
develop conceptual skills are just a few necessities based on a section of student’s portfolio admis-
that should automatically develop while taking de- sions and their ability to display creative problem
sign as a school subject. However, at the moment, solving skills, among others, that can be honed and
it all depends on the varying expertise that a teach- harnessed into strengths within a design career.
er provides and the resources available at schools. Some institutions will even require an entrance test
Tertiary institutions do not expect an advanced or and an interview to make sure a candidate is able
specialised design student to walk through their to meet certain skill levels.
doors but they do expect a student to have mas-
tered the basics, so that he or she may proceed to Good general knowledge is a quality that will stand
a higher level of education with confidence. in your favour, along with perseverance, dedication,
and of course the critical ‘P’ word – passion.
Design basics are a part of the foundation year in
any design course and the understanding and exe- If it’s medicine, it’s science. If it’s business, then it’s
cution thereof cannot be emphasised enough. Al- accounting. If it’s design, then it skills – and there’s
though tertiary still has the enormous task of lev- no limit to what can be learnt and what skills can be
eling the playing fields amongst first year students, gained. <
the basics of design education have not yet been
standardised at schools and the student’s level of
For more information on design careers and institu-
knowledge largely depends on the expertise,
tions that offer design courses visit:
knowledge and the teacher’s ability to interpret the
design curriculum. This reflects a great deal on how > www.designmagazine.co.za
a student approaches design skills. For that rea-
son, high schools and some tertiary institutions > SABS Design Institute
work very closely together to know what they ex-
pect from each other. >Making the Difference Through Design

EDUCATION