Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
1 6
quest for creative solutions
ABANA
development planning needs in an environmentally sensitive and
CONTENTS
11 > PREFACE
N O . 1 6
32 > C
arin Smuts: Sustainable architecture
should improve the lives of people and
communities
64 > The President says it all 84 > Michelle Son: An independent creative
72 > Jim Chuchu: Stories & music that combine 90 > Pixeluxe
ideas for Africa’s future
94 > African fabrics weave the continent’s HIV/
AIDS story
132 > Tales from the African Diaspora featuring 157 > “I am an archholic...”: The life and times of
Malene Barnett Andrew Maserow
152 > Illuminating the world 183 > King Shaka International Airport: KZN’s
economy set to take off
232 > Stiaan Louw: A narrative genius 242 > A perfect example of design thinking:
World Design Capital 2010
240 > Condoms on the catwalk
5>
210 > IMISO Ceramics: Setting high standards for 224 > The art of paintertainment
the day of tomorrow
226 > Mielie: A staple food for creativity
218 > Tempest van Schaik: Plush toys, a PhD,
bio-mimicry and the macabre
248 > A
void the red card: Legal do’s and don’s of 252 > C
henette Swanepoel: An artworker
the 2010 FIFA World Cup operating in a multidisciplinary world
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9>
CREDITS
INFORMATION
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express permission of the publisher. No responsibility will be accepted for unsolicited material. The publisher accepts no
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11 >
EDITOR’S
FOREWORD
This is the 16th edition of DESIGN> magazine. In many We also explore the often ostracised ‘cute’ movement
cultures, 16 marks the ‘coming of age’ and the rite of in design and art. In interviews with multi-talented Crystal
passage where a person moves from youth to adult- Campbell and Tempest van Schaik, we explore collabo-
hood. It is also associated with the arrival of maturity ration and the emergence of a new generation of meta-
and acceptance of responsibility. disciplinary design thinkers who exemplify the ‘edge’.
To celebrate our ‘coming of age’, DESIGN> 16 focuses Kelda van Heerden, an emerging creative, provides a
on the theme ‘EDGE’. Dictionaries offer many meanings hard-hitting commentary on the designer’s role in popu-
of this word. The ones that we liked and aimed to lar culture and The President shares their radical ideas
reflect in this edition include: “the degree of sharpness on design, and so too does the Kenyan designer/photog-
of a cutting blade; a penetrating and incisive quality; rapher/musician/cinematographer, Jim Chuchu.
keenness, zest and a desire for enjoyment; the point
at which something is likely to begin; an extremity; a In a new addition to the DESIGN> scope of editorial
margin of superiority; a provocative or discomforting coverage, Zelda Harrison introduces a series of articles
quality stemming from audacity or innovativeness; a focusing on the African design Diaspora in the USA,
margin of superiority; an advantage; and a state of in which we feature leading designers with African
keen excitement to face danger or risk”. heritage, starting off with Chaz Mayivane-Davies,
Malene B and Zelda herself.
We opted to interpret this ubiquitous theme from dif-
ferent angles and DESIGN> 16 features individuals Furthermore, we also feature exclusive interviews
and companies that exemplify these diverse qualities with the dynamic Dry team who founded egg Design,
in their many guises. Stiaan Louw, the leading light in South African mens-
wear design and a retrospective of AMA Architects’
The master raconteur of African communication design, work and that of DIAD. Yet, this is just a small snapshot
Garth Walker, shares insight into his new venture, of what this edition of DESIGN> covers.
Mr Walker, where he takes a 90 degree turn to not just
focus on developing the contemporary vernacular visual On behalf of the editorial team, I wish you an exciting
language, but also on sustainability. Carin Smuts ex- and informative reading experience.
plains why she has a passion for developmental archi-
tecture and heritage projects and how she goes about Jacques Lange
turning low-budget projects into memorable legacies
in townships and rural communities. DESIGN> Group editor
14 >
ByTravisLyle
16 >
On arrival you’re greeted by a sign that reads furniture and the other icons of conspicuous
‘Mister Walker Design Salon – Rise Up African consumption are entirely absent. In typical Walker
Spirit’. That alone should confirm that you’ve just style, the studio reflects the DIY ethic that made
walked into Garth Walker’s new design studio, i-Jusi such a standout from the crowd and a
but if that’s not enough, consider what comes vibrant reminder of African self-sufficiency.
next: an eight-foot semicircular pyramid of milk Everything from the studio desks to the library
crates that function as the library, a series of shelves and on to the kitchen counter have been
weed eaters strung from the ceiling that work created from reworked, second-hand and re-
surprisingly well as light fittings and a long claimed materials. In the process of moving
line of doors which zigzag across the industrial into the new premises, discarded materials
space doing duty as a screen between studio from the renovation of the building have been
space and the boardroom area. Welcome to snapped up and enlisted in the creation of this
Mister Walker. unique workspace.
In keeping with the unique design style his Mornings spent at the Sunday Morning Car Boot
name has become associated with over the past Market at Greyville have yielded gems that now
couple of decades, Walker’s new studio is any- perform necessary functions – three weed eaters
thing but ordinary. Never one to toe the line in have been repurposed as light fittings, a folding
design or, for that matter, in the interiors of his camp table with chairs (in itself a marvel of com-
workspace, Walker’s new company opened in pact design) becomes the coffee station and so
late 2008 and marks his departure from the Ogilvy on. Is this an indication that Walker’s new studio
stable of which his well-known Orange Juice is a 100% organic, free-range endeavour to toe
design agency was part for just over a decade. the sustainability line? By the sound of it, you’d
be forgiven for thinking so, but the truth is – as
Starting out again as an independent after ten always – more complex. Always having been at
years, Walker’s new venture isn’t about to stake the forefront of design, Walker has been known
a claim as a 100% recycled, methane-powered to be outspoken when it comes to trends. It’s
organic design hub. Well, not yet at least, but the this take on modern design which is fuelling
unique approach that produced i-Jusi magazine both his approach to shaping his working envi-
and a string of award-winning campaigns and ronment and some of the work undertaken by
design classics is alive and well at Mister Walker, the studio to date. Out on the edge would seem
and is manifested in Walker’s vision of his new to be where Walker is most comfortable.
studio as being ‘the world’s first totally recycled
office environment’. As Walker himself says Among the sustainability-minded projects in
‘We’re not about to start powering our Macs with which Mister Walker has been involved over the
methane from our toilets, but it’s high time the past year-and-a-half are some that may not
design industry pulled its head out its ass and immediately sound particularly juicy as far as
took stock of what’s going on the wider world.’ design goes, but therein lies the rub. To quote
the plaque which greeted visitors to Orange
As a starting point, the trappings of modern agen- Juice in the old days – and which still informs
cies such as ostentatious interiors, ultra-modern the Mister Walker work ethic today – ‘There’s
17 >
ABOVE: Second-hand and reclaimed materials were used for the interior of Mister Walker’s new studio.
BELOW: The Axum Stelae Field, Ethiopia. Working in conjunction with the World Bank and a team that
consists of distinguished architects and artists, Mister Walker is involved in developing marketing collateral to
promote the preservation of the built environment of a religious culture which stretches back 3 000 years.
18 >
19 >
no barrier to doing great work.’ With this in into place and viewed by countless visitors to
mind, Mister Walker has produced work for a Durban. Commissioned by the City Architects,
variety of clients which shows that projects that and taking a visual cue from the indigenous
are strong on sustainability don’t necessarily species of coastal vegetation used in dune
need to be dressed in hemp cloth or come loaded rehabilitation along the city’s coastline, a series
with a prerequisite to look and feel like they were of plants have been rendered in ceramic tiles cut
designed by Greenpeace. If anything, these with ultra-high-pressure water jet. The end re-
are the projects that require the eye of a sharp sult will grace the tunnel that links the Moses
designer in order to make them appealing. Mabhida Stadium to the new Marine Parade
Boulevard, and will serve to not only beautify
Take, for example, the recent work done by the an otherwise utilitarian element of the city’s
studio for the Environmental Management Depart- beachfront revamp but also inform visitors and
ment of the eThekwini Municipality. Drawing locals alike on the botanical heritage of the
from a huge technical document on the biodiver- coast. Measuring roughly seven square metres
sity of the region, prepared over a period of years each, the plants are rendered in perfect detail
by numerous scientists, the brief for Mister and, much like a botanical illustration, feature
Walker was to create a graphically-driven doc- their common names, botanical nomenclature
ument that would render the admittedly pithy and isiZulu names, ensuring their relevance is
and complicated source material accessible to a understood by both locals and visitors of all
wider audience. Through the use of eye-catching stripes and kinds.
images and snappy headlines, the subject matter
has been made interesting and thoroughly enjoy- Apart from graphically-driven projects, Mister
able, from intricately-illustrated cover to cover. Walker is also currently working on projects which
The result is Our BioDiverse City, which to the have a distinct sustainability bent: among these
untrained eye resembles a graphic novel more is a project to showcase the cultural and histori-
than a document that clearly outlines the im- cal value of the Inanda area of Durban. Framed
portance of biodiversity to the metro region’s by the heritage of the area – notably the settle-
citizens. The end result is a dense subject which ments established by Mahatma Gandhi, John
has been transformed into an easy-to-read and Dube (the founding president of the ANC, founder
engaging book that will undoubtedly open of the Zulu newspaper Ilanga and the Inanda
many eyes to the importance of sustainable Seminary Institute for Girls) and the Shembe
practices in Durban and surrounds, all accom- citadel of eBuhleni – the brief to Mister Walker is
plished through sharp design. to design the brand and collateral for use through-
out the envisaged Inanda Heritage Precinct. The
In the same vein Mister Walker are currently precinct project seeks to combine the various
putting the finishing touches to a project which heritage elements to form a coherent whole,
would see the studio’s work literally cemented which will function as a tourist attraction and
be instrumental in creating employment for the
Our BioDiverse City publication for the previously disadvantaged and transferring
Environmental Management Department of the skills in order to create a sustainable economic
eThekwini Municipality. hub in the area.
20 >
Not many designers leave their country of birth because Numerous international magazines and newspapers
they have no other choice. This has, however, been the have published Mayivane-Davies’s work and his name
case with Zimbabwe-born designer-in-exile, Chaz is found in the Who’s Who in Graphic Design, First
Mayivane-Davies. Choice: Leading International Designers, Rewriting
the Rules of Graphic Design, Graphic Agitation 1 & 2,
For more than three decades his work has taken on Graphic Design Timeline – A Century of Design Mile-
issues of consumerism, health, nutrition, social respon- stones, World Graphic Design, History of Graphic
sibility, the environment and human rights. Until Design, Anatomy of Design, Design of Dissent, Area:
2000 he was the principal of The Maviyane-Project, Showcasing 100 of the world’s most innovative emerg-
a design studio in Harare. A hostile political climate ing graphic designers. It was also included in the list ID
turned a temporary leave from Zimbabwe into a nine- Forty, ID magazine’s first annual honours list profiling
year sojourn in the United States. “I felt compelled leading-edge designers from around the world in 1998.
to leave because of the social, humane and confron-
tational nature of my work...” Mayivane-Davies has also worked in film. He wrote,
directed and produced the award-winning After the
Currently professor of Design at the Massachusetts Wax — personal view of nationality and identity (1991).
College of Art in Boston, Mayivane-Davies has been
widely acknowledged for his efforts against human Mayivane-Davies shares some thoughts with DESIGN >
rights abuses. In 2009 he was conferred an Honorary
Doctor of Humane Letters degree from the University D > How did you end up becoming a designer?
of Massachusetts Lowell. He also gave the prestigious
Dwiggins lecture in November 2003, sponsored by M-D > I had an unorthodox beginning in design in that
the Society of Printers and the Boston Public Library. He I first started out as a trainee draughtsman for the local
is also the first recipient of the Anthon Beeke Inter- telecommunications corporation in Harare. While I was
national design award, Amsterdam, and recognised by there I was asked to work on a few design projects
the Museum of Fine Arts, Boston, with an award for out- outside of the domain of my vocation, as they felt I
standing innovator in his commitment to the struggle to was the only one who could ‘draw’ the job. While I
transform society and create a just future. Simmons Col- knew I was more ‘artistic’ than technical, these experi-
lege, Boston gave him an award for courage and integ- ences made me aware that I was probably in the wrong
rity in using art to stimulate activism for social change. profession – even in pre-independent Zimbabwe,
24 >
where very few opportunities existed for me to pursue M-D > While I am an advocate for Zimbabwe, I am
anything outside the life that a racist government also an advocate for design. I have never seen myself
had planned for me. as a cultural ambassador. I do the best I can when I
get the chance and should people notice that and
In 1974 I fled Zimbabwe and went to study in neigh- associate it with the fact that I come from Zimbabwe,
bouring Zambia, where I did an art and design foun- then that is a good thing.
dation course before heading to London to study
graphic design. As you can see from my career profile above, the out-
side world has responded very favourably to my work.
I returned to a fledgling and upbeat Zimbabwe in 1982,
determined to participate in the growth of the region. My most fervent supporters are my fellow countrymen
After a short period of re-acclimatisation as a free citizen and women with whom I have managed to have a visual
on my home soil, I realised that there were no design con- dialogue ever since I returned to Zimbabwe after my
sultancies, so I established the Maviyane-Project in studies. They know my message is one of courage and
the midst of an advertising/design industry owned by
determination in the face of adversity.
whites and still dominated by pre-independent values
and imagery. In the beginning the studio’s pro bono
D > Do you think design is thriving in Africa, and in
and self-initiated projects were also supported by
Zimbabwe in particular? How would you advocate
commercial assignments.
promoting the role of design within Africa and inter-
nationally?
Our work became more visible because we observed
what was going on around us, as we used our work to
M-D > Ah! Africa, our huge continent, how can I speak
express what we felt about it. While many found what
for all of it, when I know so little about so much of it?
we did risky on several levels – most of all, going
I can talk about being an African in the world and
against the grain of much of the conventional adver-
some of our challenges but I cannot subscribe to all
tising/political wisdom of the day – it also stood out and
of us being lumped and generalised together as a
attracted organisations needing work of this nature,
homogenous mass. We are way too big and too diverse
who eventually became our mainstay clients.
for that.
D > Have you noticed a significant change in direction
in your work since you took up residence in the United In a modern sense, I don’t believe that design is ‘thriving’
States? on the continent and it is not the designer’s fault
alone. There are pockets where design is appreciated
M-D > I do not think I will ever have an American idiom and embraced more than others.
but in many instances I do what any designer should
do when they want to communicate and that is to Art and design can derive its energy and dynamism
‘employ the cultural shorthand’ (as Katherine McCoy from reflecting and commenting on our own predica-
would say) of that audience. ment, including resistance to consumerist culture
and the tyranny that abounds, thereby resonating it,
D > Your work would indicate that you are an advo- with an energised attitude and power. The imposing
cate for Zimbabwe, a cultural ambassador of sorts: nature of the systems we have to work with contrib-
Is this a fair notion? utes enormously to the breakdown of truths, integrity
DISSENT IS A RIGHT. Human rights poster. QUESTION MARK (Fuel). An environmental
Client: Bienal Internacional del Cartel en poster from a series of six asking us to
México. 2009. | CREATIVE DEFIANCE. Poster consider the things we take for granted.
for the Dwiggins lecture. Client: Society of Client: Self. 2004 – 2009. | CO2 (Consume).
Printers. 2003. From a series of two environmental posters
on carbon emissions and our lifestyle. Client:
University of Tennessee. 2007.
26 >
and spirit. No one can make truly creative decisions Being immersed in a globalised world and trying to
without understanding this, and without a real partici- establish any specific character in our work is easier
pation in the constructive spirit of his/her time. said than done, especially as we do not have the his-
torical precedence that gave birth to design as we
My destiny as African designer is bound up with the know it, like the industrial revolutions of the West.
necessity for profound social change. To explain/tell/
represent is to give of myself. So long as there is The culture of graphic design as we know it – the com-
misery, illiteracy and injustice through exploitation, mercial derivative of art for communication – is a newer
which fosters collective imbecility through the mass phenomenon that indigenous Africans were exclud-
media, graphic design must strive for full communi- ed from until recently. Sadly outside of imitation, we
cation first and not be part of the driving mechanics seem presently limited to appropriating and stylising
behind the greed, ignorance and selfishness that traditional iconography and ethnicity as a cosmetic
debase us. hard-sell without investing in the vibrancy and vitality
from whence it came, thereby subduing the cultural
In terms of Zimbabwe, in September 1994, a few of us and personal idiosyncrasies we are capable of con-
got together to form the first graphic designers’ asso- tributing.
ciation in Zimbabwe – GRAZI (which means ‘window’
in the Shona language). Our aims were similar to most While there are a few examples from people attempt-
professional design associations around the world, ing to break away from that tendency, very little of it
but specifically to address the above ills and hope- resonates and emerges into clear bodies of work
fully help in defining where we should be. By raising that I honestly admire.
the standard of design in Zimbabwe and confronting
and working with the establishment to recognise our D > In a few words, what thought or inspiration
efforts, GRAZI hoped to promote design in our culture would you share with members of the African design
for the betterment of all. community and its supporters?
Things have not been smooth due to the political M-D > I basically believe that in our quest for progress,
upheavals we have witnessed that affected much we have relegated huge chunks of our culture into
more important things than design along with many recesses of our subconscious as opposed to using it
professionals dissipating. Then again the struggle con- to define our role in the world we want to live in. This
tinues on all fronts, as design hopefully tries to find its is true of most developing countries.
place again in our development and for democracy
and progress. Hopefully more distinct design languages will begin
to emerge that explore any icons or visual manifes-
D > What, in your opinion, is the ultimate symbol and tations of our traditions and past which are waylaid
icon of Zimbabwe? Do you see a distinct character- and considered inferior and discarded as we readily
istic in Zimbabwean/southern African design? adopt the global (American) lifestyles and attitudes
that surround us.
M-D > The Zimbabwe bird based on ancient stone
carvings, which stood on top of Great Zimbabwe city I do not believe that we should live in the past, but we
– a national monument. It is on our flag and money. must adapt and develop our traditions and values to
27 >
M-D > Consumerism, entitlement and the irreparable GAZA. Poster on the violence afflicting the
harm we inflict on our planet and towards each other Palestinian people. Client: Self. 2006. | 2008?
Poster for 2008 USA elections. Client: 30
every day.
Reasons.org 2008.
Carin Smuts, architect extraordinaire and principal at and economical. These are interrelated to produce
CS Studio Architects, believes that sustainable archi- holistic solutions.”
tecture involves way more than just using environmen-
tally friendly materials and construction techniques Smuts has embraced this as a mantra throughout
and smart technology. For her, people are paramount her professional career and in 2008 won the Global
when it comes to sustainable architecture. She believes Award for Sustainable Architecture. In the same
that sustainability is an integrative and engaging proc- year she was invited to lecture at the Harvard Uni-
ess that focuses on a simple concept: Local – local versity Graduate School of Design on Systems for
material, local details, local people and local labour. inclusion, as well as at the Venice Biennale. In 2009
she was invited to be keynote speaker at the 11th
Commenting on the state of sustainable architecture Alvar Aalto Symposium themed Edge – Paracentric
in South Africa, Smuts says, “It is sadly linked to five- Architecture, as well as to present at the Conference
star ratings, which is a code developed in Australia. Expo Habiter Ecoloqique – Cite de l’architecture et
We have totally different conditions. We believe sustain- du patrimoine. Yet, these are just a handful of her
ability includes three aspects; environmental, social recent accolades and since the early 90s, her practice’s
33 >
SUSTAINABLE ARCHITECTURE
SHOULD IMPROVE THE LIVES
OF PEOPLE AND COMMUNITIES
By Jacques Lange
work has been featured in more than 30 books and are located in places with minor prominence such as
professional journals. small towns or townships with no opportunity to design
traditional monumental structures. Yet, this is exactly
Professional acclaim and media exposure do, however, the domain where Carin Smuts thrives as a genius.
not drive Smuts’s career or that of her architecture Working with small budgets, she creates sustainable
practice, which she founded in 1982. Her focus remains architectural magic in unusual places.
on utilising architecture as a means of improving the
lives of people and communities and the portfolio of CS Studio Architects has a record of producing inno-
over 100 completed projects is testament to that: low vative, cost-effective design solutions with a reputation
cost housing, community centres, schools, prisons, of moving beyond conventional architectural prac-
restoration of historical buildings and other renewal tices because of its unique approach, which involves
projects, to mention just a few. These are surely not the all stakeholders in the creative processes of plan-
kind of projects that appeal to ambitious architects who ning, design and construction. The focus is on an
are intent on building grand names for themselves interactive participative process rather than solely
because such projects mostly have small budgets and on an end product.
34 >
Smuts mentions two quotes that summarise the es- lessons we have learnt through observing these ver-
sence of what CS Studio Architects explore as an archi- nacular solutions.” She highlights two of these that
tectural practice. Juhani Pallasmaa writes: “The grad- have particularly influenced the practice’s work:
ually growing hegemony of the eye seems to be parallel “Firstly, the placing of the buildings in relation to each
with the development of Western ego-consciousness other and the fact that the spaces in between build-
and increasing separation of the self from the world.” ings are the important social spaces and secondly, the
Secondly, Kenyan, Wa Thiong’o Ngugi, states that: sensitive manner of painting and decorating dwellings
“Culture is the product of a people’s history. But it also to express cultural identity.”
reflects that history, and embodies a whole set of values
by which a people view themselves and their place “We believe that listening provides freedom from
in time and space.” dominance and allows us to share our understanding
of the three-dimensional world. We have come to the
“I am intrigued by the African interpretation of space as conclusion that participation leads to empowerment,
opposed to the Western European one most archi- which results in more sustainable environments.
tects are taught.” Smuts explains: “People traditionally Furthermore, we believe that the implementation of
lived in settlements consisting of round huts, rondawels local knowledge, resources and skills also reinforces
or structures constructed of wattle and adobe. This sustainable solutions.”
lifestyle is in harmony with nature. There are many
35 >
Smuts talks about a few projects rich environment of the area, the devastating flood
of 25 January 1981, the windmill as a symbol of the
Dawid Klaaste Centre, Laingsburg, 2005 Karoo, the water scorpion and the train. Furthermore,
we had to incorporate locally trained people in met-
“The building of a multi-purpose centre was commis- alwork and electrical skills.
sioned by the Laingsburg Municipality. The brief was
to provide a space, which would stimulate economic A concrete ramp provides outdoor access to the first
opportunities and provide social services.
floor of the windmill structure. At the first floor of the
windmill, an old railway goods carriage has been placed
The site was chosen after a process of consultation with
on railway tracks. The train has been designed to be a
community, municipal and provincial representation. It
restaurant to serve visitors. The two shed-like buildings
was an old rugby field, which had two shed-like struc-
were taken apart. The roofs were extended to become
tures. We were tasked to transform these existing
structures into a dynamic environment, which will single, mono-pitched roofs with large overhangs that
attract travellers and local residence alike. create outdoor shaded areas at different times of the
day. The existing roofing material was re-used as vertical
The concept was developed over a series of design cladding to the spine of the building, as well as the
meetings and the following had to be considered: the newly created first floor office component.”
36 >
Due to the budget constraints, maxi brick – developed Wesbank Primary School, Kuilsriver, 2001
for low cost housing – was used with several positive
implications: it reduces maintenance in the long term; “Wesbank is a RDP housing area created to alleviate
it also allows for a larger cavity and as a result improves backyard shacks in communities all over Cape Town.
the thermal qualities of these walls; and the one-and- It is therefore a totally new community with people
a-half-brick scale also contributes in the building from all walks of life.
appearing larger.
The school, situated on a square piece of reclaimed dune,
There are decorative ceramic murals and some colour- has been designed in such a way that it provides public
ful walls that offset against the red face brick, which infrastructure as well as a learning environment. Fur-
give life to the street and reflect the cultural identity thermore, it is an environment which, from a scale point
of the local community.” of view, copes with over 1 200 learners at a time and
there is diversity in the spaces being provided.
38 >
38 >
The overall concept reminds one a bit of a medieval city
with a moat around it to keep out unfavourable elements
(the area is known for gangsterism). This was exactly
the idea, to pull the buildings away from the edges of
the site and to create a learning village with the double
storey classrooms for the higher primary learners and
for the smaller ones, single storey classrooms. These
classroom blocks are strung along a wavy walkway to
form an inner public play square with the horizontal
circulation and structure forming playful elements.
ByJennieFourie
As Hello Kitty’s bland little face stares at you from a pink backpack it’s difficult to imagine
that this Japanese icon could represent something more, something significant. But cute
is big and cute is most probably here to stay.
A group of five South African designers and fine artists, Could we conclude that there is more to cute than
all of them doing cute, are currently exhibiting at Salon meets the eye?
91 Contemporary Art Collection in Kloof Street, Cape
Town. The collaboration, titled The Cute Show, runs According to Fenn cute is generally seen as a kind of
until 26 March and represents the work of Francois creative approach that is all about surface and has no
van Reenen (fine artist), Tracy Lynch (artist and decor depth, and is therefore not taken very seriously. “I
stylist), Geraldine Fenn (jewellery designer), Jaco think it is a trend that’s growing – you can see it quite
Haasbroek (artist and graphic designer), and Eric clearly in graphic design and advertising, and it’s
Loubser (jewellery designer). strongly influenced by Japanese popular culture. Cute
is often just what it seems, but it can also have a very
Fenn explains that the work on exhibit is varied and dark edge, which can make it quite shocking. It is a
interesting, since each artist has a different style and good vehicle for communicating violence or irony, be-
a different approach to the theme of cute. The show cause it is so unexpected. We have all been condi-
represents a range of media: painting, sculpture, prints, tioned (through animated TV programmes and movies)
jewellery and installation. “We all work in a language to see cute characters simply as one-dimensional, col-
that is inherently cute, but we use it to say different ourful and harmless. The work on the show in Cape
things. I think the one thing we have in common, be- Town is distinctly cute, but also contains more com-
sides the cute aesthetic, is a love for characters – our plexity than people might be used to.”
work is very figurative and rich in personality; it’s at
the opposite end of the spectrum from abstract art.” But cute is not everybody’s cup of tea. In an article in
Vanity Fair (December 2009), Jim Windolf laments the
So what is cute all about? The best place to start is prob- fact that America has been flooded by a tsunami of
ably to look at the meaning of the word and see what cute. “We’re drowning in puppies and kittens and
the dictionary says. The Oxford Complete Wordfinder bunnies and cupcakes, transforming marketing, au-
defines ‘cute’ as attractive or quaint, but also clever, tomobiles and movies.” Windolf continues: “Popular
shrewd, crafty, ingenious or cunning. The word ‘cute’ culture never comes out of a vacuum. It reflects or
is short for ‘acute’ – defined as keen or penetrating. acts as a foil to the times. So why all the cuteness?
41 >
And why now? Everybody would probably agree that desks that read: ”Keep it cute!” Mickey Mouse, the
the aughts have been an ugly decade. But why should most adorably cute Disney character, wasn’t always
it give rise to ‘kittehs’ and ‘puppehs’?” the cutie pie he is today. The original Mickey had small-
er eyes, thinner arms and legs and a more pointed
snout – a mean little bugger if ever there was one.
The origins of cute Through the years Mickey became more child-like,
Cute started out as a Japanese phenomenon and has with larger eyes and softer features.
entrenched itself in Japanese culture to become a
national identity. Pikachu, a character from Pokémon, The transformation of Mickey from meanie to cutie
adorns the side of three All Nippon Airways passenger can be explained by what Austrian behavioural sci-
jets; the Asahi Bank uses Miffy, a character from a Dutch entist Konrad Lorenz, in his Kindchenschema in the
series of children’s picture books, on some of its ATM early 1940s, extrapolated as features that cause an
and credit cards; Japan Post uses cute mascot char- emotional reaction in people.
acters on stamps and, most revealingly, some police
forces in Japan have their own moe mascots, which According to Lorenz infantile features trigger nurturing
sometimes adorn the front of kōban (police boxes). responses in adults. This is an evolutionary adapta-
tion that helps ensure that adults care for their children,
The Japanese term ‘kawaii’ translates to ‘cute’ or ultimately securing the survival of the species. As
‘adorable’, but has become more than just a word. It evidence, Lorenz noted that humans react more
has become a sub-culture. In the Vanity Fair article positively to animals that resemble infants – with
Roland Kelts, author of the 2006 book Japanamerica: big eyes, big heads, shortened noses, and more –
How Japanese Pop Culture Has Invaded the US, is than to animals that do not.
quoted: “One theory, which has been proposed by a lot
of Japanese artists and academics, is that, after the Lorenz identified features such as a head that is too
humiliation and emasculation of Japan in the post- large for the body, huge eyes that are placed below
war [WW2] years, Japan developed a quasi-queer the midline of the face, short, stubby limbs with fat
position of ‘little brother’ or ‘little boy’. “ The comic little hands and feet, rounded cheeks and an inherent
character, Astro Boy, first appearing on the Japanese clumsiness. In other words: Cute.
manga (comic book) scene in 1952, bears out this
theory. Astro Boy, with his huge eyes and eager-to- Since Lorenz, other scientists – leaning more to-
please personality echoes Little Boy, the nuclear wards the natural than the behavioural sciences –
bomb that devastated Hiroshima in WW2. have picked up on this phenomenon. In an article
published in February in the New Scientist magazine,
It was only in the 70s that kawaii seeped into main- the hormone oxytocin and its effects are described:
stream Japanese culture. In 1974, the Sanrio Company, “Oxytocin is released from the pituitary gland in the
then a licensed distributor of Peanuts merchandise in brain, on the command of specialised nerve cells. It
Japan, came up with its own competition for Snoopy: has long been known to help trigger childbirth as
the blank-faced, dot-eyed character known as Hello well as the release of milk during breastfeeding. And
Kitty. Since then, Hello Kitty has, quite simply, and in the 1980s it transpired that, in American prairie
quite mysteriously, refused to die. voles (rodents) at least, the hormone promotes pair-
bonding between mates.” Researchers has since
But cute is also found in other parts of the world. It found that oxytocin plays a role in a range of human
is said that Walt Disney kept a sign on his animators’ social interactions, including strengthening the bond
44 >
between mother and child and fostering closeness as well as a studio in Brooklyn. “Murakami owes
after sex. In a 2005 article in the esteemed journal much of his success to the highly efficient Hiropon
of science, Nature, scien tists described the effect of Factory. Hardly a reclusive artist toiling in his garret
oxytocin. Through the intranasal administration of studio, he employs 25 assistants to perform special-
oxytocin, researchers saw a substantial increase in ised tasks, and he uses technology in pragmatic,
trust among humans, thereby greatly increasing the labour-saving ways. Because his work features a
benefits from social interactions. number of recurring motifs – eyeballs, mushrooms,
flowers – the factory maintains an immense electronic
So blame it all on our hormones. At a time when the archive of renderings that he can cut and paste into
world is beset by violence, terror, natural disasters the files he’s working on. Murakami may be the first
and our planet is threatened by global warming and artist to make paintings from his own portfolio of
horror, we would like to look at creatures and things digital clip art. “
that make us say – in true South African vernacular
– “Ag, shame.” “Each creation begins as a sketch in one of numerous
pocket-sized notebooks. Full-size drawings are then
scanned into the computer. From there, Murakami
Cute in design and art ‘paints’ his works in Adobe Illustrator, tweaking the
One of the foremost proponents of cute is certainly composition and cycling through thousands of
the 47-year-old Japanese artist/designer Takashi colors until at last he hands the finished versions off
Murakami whose work has become some of the to his assistants. His staff then prints out the work
most sought-after in the world (In May 2008 My on paper, silk-screens the outline onto canvas, and
Lonesome Cowboy, a sculpture of a masturbating boy, commences painting. Without this embrace of tech-
sold for US $15.2 million at a Sotheby’s auction). Often nology, Murakami says, “I could have never pro-
billed as the next Andy Warhol, Murakami has been duced this many works this efficiently, and the work
able to blur the boundaries between high and low art, wouldn’t be as intense’.”
creating anything from sculptures and paintings to
key rings and cell phone caddies. View his work at: http://www.takashimurakami.com
And finally …
The last words should perhaps go to Takashi Murakami,
who, in an interview in Flash Art magazine had the
following to say about the allure of cute: “How do
babies survive? How do they convince their tired
mothers to get out of bed at 3 in the morning and let
them pull at their nipples? It’s because babies are
cute. Scientific studies have pointed out that large
heads and eyes, along with small noses and mouths,
are a commonly found pattern of babies across sev-
eral different species. I’m just appealing to the
parenting instinct in my audience.” <
Bracelets Boney & Plastic buttons
by Geraldine Fenn.
Bokkie Shoes
Bokkie began a few years ago as a concept – essentially a challenge to myself to
find a definition for the ‘new’ South Africa. How were my peers defining themselves?
What cultural icons were they bringing with them into the future? Which were they
disregarding? What blends of cultural iconography were happening in place of what
had once been barriers? How was this rainbow nation growing up? This enquiring
narrative can be seen in the design, the shoes, the materials and the photography.
Designed in collaboration with Sarah Groves and Alistair Palmer.
47 >
D > Can you tell us more about where Crystal comes from?
D > Why did you choose to base yourself in Lisbon rather than in Africa?
CC > Easy answer: I fell in love. With a man, and then with his city. I like smaller
cities, with more trees, more birds, more time for conversation...One of the strongest
emotional links I carry with me are the Jacaranda-lined avenues of Harare. I
found them again in Durban where I settled for some time, intuitively searching
until I found them again in Lisbon.
48 >
D > Where and what did you study and why did you choose to do
your Masters at Central Saint Martins in London?
CC > I attended what was then the Cape Tech to pursue my Graphic
Design BA (Hons). My Masters came about after a two-week placement
at Fabrica [Italy], which was a creative-experience-adventure that
sparked a personal epiphany to consciously move beyond graphic
design and exploring areas of human interaction and spaces, using
(but not limited to) design. The head of the Environmental Studio
there suggested the Creative Practise for Narrative Environments
course at Central Saint Martins. I walked into the bathrooms on the
first day and saw the name of the school written across the mirror
and got shivers. I was so excited.
D > How have your African roots influenced your creative work?
CC > Wide open spaces, endless blue skies, sunny days, rivers to
swim in, outdoor kid games, campfires... There was this intense
interaction with nature that was part of the ordinary fabric of daily
life and helped form a great imaginative space for me. I can’t say
exactly how that translates into typeface decisions and Pantone
choices, but it does translate deep into the fabric of one’s judge-
ments. I like to think my design offers a less clichéd form of com-
munication. I call it poetic design, where the meaning of a product
or service is more open ended, the consumer being regarded as an
existential curator or co-producer or invited participant.
Our vision for Bokkie has several facets – from a conceptual fascina-
tion to define and capture what’s happening around us as we speak,
49 >
Masters Of Gesture, MA graduate project Tangible Connectivity by NearInteraction for Future Labs
for Central Saint Martins, London. Depic- Visual Experiences of the Future (Portuguese Communica-
tion of five visual scenarios of intuitive tions Foundation). Functioning as the initiatory point of the
gestural technology designed in collabo- Portuguese Lisbon based exhibition, Tangible Connectivity
ration with sleight of hand magicians and was a metaphorical team player game: Touch the wall and
set in the near future, using persona de- you become part of a with an interconnection of similar
velopment, with illustration and scenarios friends all jostling for attention. Exploring the multi-touch
written as journals for prototype testing. gestural concepts of touch to activate, pinch to enlarge and
Narratives designed in collaboration with scroll to select within a multi-user environment, combined
Matt Pike. with the interaction concepts of user identity, networks, and
behavioural lifespan.
50 >
Collateral material for ‘Eco Resorts of the Future’ Workshop 2008 for Arup London College Of Fashion Graduate
Foresight Innovation and Incubation (London/Tanzania). Exhibtion 2009 by NearInteraction.
Using persona development techniques from Narrative Ecology, a set of The 2009 Graduate Exhibition dis-
five characters was created living in a range of eco resort scenarios set played six centralised multi-touch
in the near future in Tanzania. The cards were designed to create inter- tables with integrated object recog-
nal narratives bringing coherence to the workshop research themes, nition to unveil the 570 student
making patterns and developing linkages. Written and designed in collabo- portfolios. Activating a portfolio once
ration with Nadia Troeman and Niharika Hariharan. The workshop was a card is placed on the table, visitors
headed by futurologist Chris Luebkeman. could use their hands to move, zoom
and rotate the portfolio work.
51 >
D > What is the magic element that makes these products unique?
D > Has there been international interest in the Bokkie Shoes range?
D > You have used social media such as Facebook, Twitter and Flickr
as the primary media channels for your marketing efforts. Why did
you choose these?
CC > Being part of the Flickr, Twitter, Facebook and Etsy communities
allows us to become our audience, to have conversations at the same
level, joining to share ideas if you will. As our level of consumer
understanding increases, so does the knowledge of how best to
reach them.
D > Can you tell us more about the new football-inspired range of
shoes, which is endorsed by several South African football clubs?
CC > This is our second range due to launch just before the World
Cup. South African football insignia and the colourful supporters’
52 >
gear inspire it. The range consists of four designs and a different local
football club involved for each. To have their support is fantastic; they
have been very receptive to our design ideas.
D > Can you tell us more about The Earth is Not Flat initiative.
CC > I don’t push myself. If I’m not in the mood I simply don’t do it.
However, if you have a deadline for a really boring logo, green tea and
cookies work magic. Archbishop Desmond Tutu is always an inspi-
ration: “Do your little bit of good where you are; it’s those little bits
of good put together that overwhelm the world.”
Let me start off by saying that I need) a cultural stimulus”. With its
don’t do TV. And by that I mean I planned cross-continental expan-
haven’t owned, watched or plugged sion, the cultural and technological
one in, of my own volition, for nearly (which these days can be freely inter-
four years. Our executive producer changed with social) potential of
has always found this somewhat at the channel was highly significant.
odds with our business practice,
given that the pitch which I created Design and technology, or rather
and of which I shared delivery nearly technology-based communication
16 months ago, secured the rights systems, are heavily inter-related.
to the holistic branding strategy and Design is now employed, perhaps
information design of an entirely new in its most important guise yet, by
cross-media broadcast channel in developers in the realm of personal
South Africa, now known as VUZU. digital communication. The success
of an idea is often solely deter-
TV is dead. It was a sentiment to mined by the degree of adoption,
which I subscribed because I felt and more importantly, its continued
that the non-linearity and modularity evolution by the users themselves.
of the Internet has fundamentally Forum discussions, opinion polls
altered the landscape of media con- and other open-source collaborative
sumption and distribution. It was processes are largely influencing
the sentiment I also happily shared the continual shaping of communi-
as part of my pitch to a boardroom cation platforms such as Facebook
of goggle-eyed channel representa- and the various Google offerings,
tives who somehow were still con- among others.
vinced to sign us up after I said it.
Here, open source design takes ef-
Our departure point with the channel fect in not only the structural archi-
design was to address a new genera- tecture of such online products, but
tion of culturally mobile and tech- also in terms of administrative or
engrossed Africans – the Stunner- legislative concerns – privacy rights
wearing, afro-bouffant sporting, and terms of use, more specifically.
popsicle-coloured street renegades The adoption of open-source Linux
– a movement which, as Bongani systems by certain local govern-
Madondo recently wrote, “is no mental entities seems to indicate, if
movement at all, unbound by group remotely, that traditional legisla-
dynamics and external pressure… ture might well, theoretically, go
[where] they don’t seem to share (or the same way. It fits with my similar
56 >
About Kelda
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www.graphica.co.za
64 >
65 >
He says: “I felt that art had became stale and you only reach a very
small group of people. The mass market was very attractive to me.
I also think that the design world is much more supportive and less
political than the art world. I really don’t see myself as a persona so
I don’t feel a need to cope with anything more than any other person.”
The President’s client list now includes Comme des Garcon (Japan), 1.
DStv (SA), Virgin Wines (UK), Tribeca Coffee (SA), Afro Coffee (Division
of Red Bull, Austria), Hands on Wine (SA) and Médecins Sans Fron-
tiéres, amongst others.
3.
4.
Cover for Joe Issue 1 Poster of the featured artists in Joe Issue 1
Cover for Coco Issue 1 Poster of the featured artists in Coco Issue 1
69 >
signed posters from top South Africa bands including Van Coke Kartel,
aKing and Jax Panik and postcards of South African music industry
heroes and fun stickers.
In May 2009 MK Bruce Lee scooped a silver CLIO statue at the 50th
Annual CLIO Awards in the Editorial Design category and it was also
nominated for a One Show Design Award in New York, where The President
received a Merit Award. Other accolades include a Gold Pendoring in
2008 for Best Communication Design. In addition, Pienaar also holds
the honour of being first South African to win a CLIO GRAND PRIX in
2006, awarded in the Editorial Design category for Afro Magazine and
in 2007 he won a GOLD Ozzie Award (New York) for the Best Magazine
cover design.
The President now also produces a quarterly magazine, Coco Joe, launched
in mid-2009 as a brand extension for Channel O, Africa’s premier music
channel on DStv. Similar to MK Bruce Lee, Coco Joe is segmented with
half the print run appealing to females (Coco) and the other half to
males (Joe) and packaged in a VIP ‘lucky packet-style’ format. The launch
issue featured posters of some of South Africa’s biggest names in the
entertainment industry including DJ Sbu, Pro, DJ Waxxy, Khanyi Mbau,
Lira and Kelly Khumalo.
70 >
Pienaar and Visser joined forces with Manuel Franzini, former market-
ing executive at MTV Latin America who is now managing director
of The President Latinámerica.
Six months after opening the office in Buenos Aires, they decided to
take their southern hemisphere collaboration to the next level by
hosting the first annual Toffie Popular Culture Festival in Cape
Town. The festival will be held in Cape Town at Rondebosch Boys
High School from 26 to 28 March 2010.
“The idea is to create a platform for skills exchange between two very
similar countries, both in the southern hemisphere, ex-colonial and
with developing economies. All of the speakers, exhibitors and
musicians will have very strong links with either Africa or South
America,” says Pienaar.
Trimarchi, the biggest design conference in the world, Kim Jones, Poster for an exhibition in Argentina.
Coco Issue 2 Shoe poster and shoe and watch made up.
Poster for a music festival in Argentina.
JIM CHUCHU>
STORIES & MUSIC THAT
COMBINE IDEAS FOR AFRICA’S FUTURE
By Jacques Lange
73 >
Never one to be pinned down to practicing in just one by movies, and I enjoyed taking things apart and putting
specialised creative field, Jim Chuchu’s oeuvre covers them back together but I only began to seriously con-
IT, music, graphic and web design, photography, digital sider dabbling in making these things when I was 14
art, art direction for commercials and music videos, and or so.
most recently, directing short films. He is also an accom-
plished musician and member of the popular Kenyan I got a BSc in IT and immediately went to work as a
band, Just A Band. Chuchu shares his multidiscipli- graphic designer at an ad agency called Red Sky – I’d
nary creative endeavours in an exclusive interview been dabbling with design since I first started working
with DESIGN>. with Photoshop in 2001, so I showed them my doodles
and they were impressed enough to employ me.
D > Tell us about your early years and how you ended
up working in so many creative domains. I worked there for all of six months. I hated it, the pay
sucked and the work sucked, so I left. I then decided
JC > I was born in Nairobi. I don’t think I was a creative to become a freelance designer and did all kinds of
child in the normal sense of the word. I spent a lot of time graphic design and web work (mostly for events and
reading books and listening to music. I was fascinated album covers).
74 >
I’ve always wanted to make films, so I thought photography Liz. (right) “The first person I ever shot profes-
sionally – Liz Ogumbo kick started my photo-
would be a step in that direction. I took a loan from my brother
graphic career by passing around the resulting
to buy a digital camera (I’ve never shot on film) and started photos to people who then hired me. I owe her
shooting friends. one.”
I first encountered Photoshop in a computer class. until we had the very pretentious ‘Shifta’ and
We had a web design project and I was grappling ‘Just A Band’. I later found out that the ‘Shifta’ were
with trying to make a good-looking website using a band of militia/bandits, so I’m glad we chose
only HTML elements. I first experimented with ‘Just A Band’.
Photoshop 5, and I really liked that it gave me the
D > I have listened to Just A Band’s music on
power to create images. I don’t draw very well,
YouTube and I was quite surprised about how
so Photoshop allowed me to do visual things
international the band’s approach is. I firstly just
without having to face the fearsome blank page.
listened to the music without watching the visu-
D > How and when did you become involved in als. My experience was that the music was truly
international. Yet, when I watched the videos
music?
with the music my perceptions changed. Just A
JC > I first studied classical piano when I was 10 Band crosses international styles and it has sur-
or so and after about two years I dropped it. Then prise moments that are uniquely linked to Ken-
I met Bill (who’s one of the members of Just A yan street culture. Can you comment on this?
Band) in high school, and we would fool around
JC > We’re always surprised when people tell us
with the piano in the school chapel. We then went
we’re blending international and local flavours,
to the same university where we met Daniel (the
because it’s not something we do consciously.
other member of the band), and we decided to
I’d thus be the last person on this earth to com-
form a band which would allow us to play around ment objectively on our music/visuals – since
with visuals and music. I’m up to my nose in it. I once told someone that
I would like to make something futuristic and
D > Can you tell me more about the link between
clean, but the dirt is always creeping in to make
the music and visuals that you and the band create?
the visuals much more organic – so sometimes
we can’t help it.
JC > When we started out, there was more of a
distribution of roles – with Daniel and I being Also, we have a DIY approach to creating every-
very involved in the visuals. These days, Bill has thing (we make EVERYTHING ourselves – I remem-
acquired a broader visual grammar (because of ber evenings trimming and folding the album
being suddenly surrounded by all the weird stuff packaging for our first album) and that means
we have in the house), so it’s much more collabo- our personalities (and failings) are tightly woven
rative at the pre-production level. We work con- with everything that comes out of that house (we
currently on visuals and music, so music video live together, you know).
ideas are jotted down on the same page with the
lyrics as we record the music. D > Far too often, people think that African music,
design, art, and more need to exude our traditional
D > How did the band’s name come about? heritage frameworks and they often forget that
Africa is developing rapidly and that young crea-
JC > When we decided to form the band we wrote tives are shaping a new vision for the continent in
down all the names that we could think of on a an new international context – which you and your
piece of paper – then argued about them for band do. What is your vision for the future of
about two days, cancelling them out one by one, Africa?
78 >
JC > I think there is a mild guilt that comes with being D > In recent editions of DESIGN> we featured de-
a middle-class African with access to electricity and signers who are also musicians or designers who
Internet, and so – as much as we’re very much a part are heavily involved in the music industry. Why do
of the global generation that grew up on Michael you think there is such a close link between the two
Jackson – we feel like we should pretend to have creative disciplines?
traditional roots and ooze local culture, even though
we’ve never really grown up like that. Traditional JC > I don’t know about the others, but I get most of my
heritage is great when it’s authentic, but most audi- visual ideas from listening to music, and sometimes
ences can tell fake traditionalism – and they disconnect a lyric from a song can spur a whole story. I finally caved
from it. in and bought an iPod the other day (I’m an Apple-
phobe), and I’ve been enjoying listening to music
As much as there are many things that are pretty bad while doing mundane things like shopping or taking
in Africa, there’s also a new generation and a new vein a walk, then everyone around me looks like they’re
of creative work coming from Africa: stories and music acting in a music video that only I can see. Music and
that combine our ideas of the future with that vague visuals go very well together, they complement one
sense of local heritage that you refer to. I find that vision another – so it’s only natural that one would want to
of the future to be more authentic than the sterile, fiddle around with both at the same time.
orderly one that the Western world reference in their
‘science fiction’. D > All of your video work seems to have a social or
political dimension. Where do you plan to take this in
It’s a vision that carries with it all the logical and actual future? Do you have political aspirations?
disorderliness that we’re so used to here. I think cultures
that have seen the worst sides of humanity always JC > I most certainly do not have political aspirations
have more interesting things to say about the future. – that’s almost an insult in these parts! Over the past
Just ask the Japanese. few months, I have become disillusioned with creat-
ing visuals that do not reference all the nasty things
D > Can you share some more of the band’s successes? that are going on in my country. Kenyans are experts
at pretending to be ‘OK’ despite the very real problems
JC > Our biggest accomplishment is that people have that are festering in and outside the cities.
allowed us to be difficult to classify – which means we’re
free to jump between genres and blur the line between Working on Kuweni Serious (which means ‘get serious’)
disciplines and not obey all the rules (like having to has allowed me to hear stories and meet people who
appear in our music videos – yuck!). We’re also very sur- are very much in touch with the realities of Kenyan/
prised that people have accepted us locally and outside, African politics, and it has made me wonder if it is even
and that they see something original in our work. ethical to call yourself a ‘creative photographer’ in
countries where people still die of cholera.
We were recently number 3 on the We Are Hunted chart
with one of our new songs Usinibore!, which was very This is not to say that there is no room for creativity, but
exciting for us – who’d have thought? I’m now gravitating towards stories that are more in
touch with the reality that things don’t always work
79 >
out fine, and that dreams don’t always come true. D > How important is your African identity and
Not for everyone, at least. what do you aspire to achieve in this context
internationally?
D > Do you have a specific creative philosophy?
JC > I don’t really see my work in the context of
JC > I don’t think I have a creative philosophy, I African identity – perhaps because this idea of an
see things in my head so I go out and shoot them, African identity is not something that’s easily
then sometimes I hear things in my head, so I record defined. I feel like we’re a lost people right now, in
them. I’m really surprised at how all this is turning between cultures, wondering what to keep and
out. what to discard. If that’s true, then I’d like to present
my own vision of what it is to be African. Fingers
D > What has been your proudest professional crossed.
moments?
D > How would you describe the mindspace where
JC > I remember getting teary when I saw my first you are now?
photograph on a billboard. The idea that people
were involved in printing, transporting and putting JC > I feel like I’m in a place where I can now begin
it up was overwhelming. I also got that feeling to create my own work. Up to now I’ve created
(and still do) when I first saw our music video on things for other people and kept my own pet projects
MTV, or seeing album covers that I designed simmering in my head. It takes a fair bit of self-
gleaming on the shelves of shops – such things confidence to execute personal projects, and I
always make me smile. didn’t really have that till now. This year is bite-
the-bullet year.
D > What does the future hold for you, other than
your film aspirations? Current projects are lots of music videos for Just
A Band and other artists like Dela, Muthoni – the
JC > Hopefully I’ll amount to something, otherwise Drummer Queen, and Ma3, some social activism
it’d be an awful waste of energy. with Kuweni Serious (http://www.kuweniserious.
org), a documentary for the Changamoto Arts Fund,
D > Who and what inspires you? several remixes (as my audio alter ego, Makmende).
JC > I like people who challenge themselves and There’s also a series of about seven short films (I’m
their audiences: people like Björk, Chris Cunning- biting the bullet this year) called In Praise of Broken
ham, David Lachapelle and Pedro Almodóvar. The Humans – a collection of somewhat dark stories
other day I stumbled upon Grace Jones’ Corporate about people wanting to commit suicide, argue
Cannibal – the most beautiful/scary thing I’ve with God and have affairs with angels. You know.
watched in a while – and Janelle Monáe. I also I’m hoping to shoot the first one soon – it’s called
like all of M Night Shyamalan’s work – I’m always What Time is it in Paradise?. Fingers crossed. <
defending him when people say Lady in the Water
was silly – I thought it was magical. Gustavo San-
taolalla calms me down, and District 9 – Whoa!
84 >
MICHELLE SON
AN INDEPENDENT
CREATIVE
85 >
Michelle Son is a refreshing emerg- philosophy is: Think before you Son had this to say in an interview
ing creative who exemplifies the con- design.” with DESIGN>:
cept of ‘working on the edge’. She
specialises in design and art direc- Putting emphasis on design-driven D > How did you become a designer?
tion, motion graphics, visual mer- creative storytelling, &Son aims to
chandising and installation projects. combine strong design with anima- MS > When I was little I made fridge
Son recently established a company magnets of my family’s heads out
tion and interactive experiences to
named &Son, based in Cape Town,
collaborate with clients, from con- of salted dough. I had to first bake
after spending some years at the
cept to delivery, to produce work that them, then paint them, and I used
leading production and motion
is diverse, innovative and have some lots of black wool for the hair for all
graphics studios, Terraplane, Eject
&Son quirks. five females in my family. Those were
Media and Tennant McKay.
the real beginnings of my design
Son says that she likes bold colours, Son selected the new company career.
things that make her smile and crea- name, &Son, because she liked the
tive projects that challenge her to idea of collaborating with other After high school I studied graphic
think in new ways. “For me, every- designers and clients. “You could design at Vega School of Brand
thing is in the details. My design be the next _ _ _&Son,” she says. Communication.
1. poster.
86 >
D > You are a very versatile de- MS > Having worked in motion in my sub-conscience. But the ex-
signer. How do you avoid having a graphics for so long, it feels good to ercise of creating these toys is what
distinguishable signature style? balance working in a digital realm sparked my love for sewing. And they
with working with my hands and are meant to be for anyone and every-
MS > I don’t avoid having a distin- on a tactile level. It’s important for one (who wants them, of course).
guishable style. My sensibility is me to be able to step away from my
what I think is the common thread to computer and engage with real and D > You won a Bronze Loerie for the
my design, regardless of the style. interesting materials and objects.
Nike installation at astore in 2009.
I’d like to think I can convey a slightly
What feedback did you receive from
‘quirky’ nature to my work (for lack D > How did the Mooncake Toy
the store and its customers?
of a better word!), whether it is an range come about and what do you
animation or installation. intend to communicate with them?
MS > I did indeed. People really re-
D > You work in diverse design dis- MS > Mooncake toys came about sponded well – many people want-
ciplines that require different skills with the conception of Sebasschin, ed to buy them afterwards. Nike, the
sets and approaches. Do you have the asschin, in my dreams. Let’s just agency and the astore guys were
a favourite discipline and how do say that I have issues that come in all very happy with the outcome and
you juggle the skills requirements? the form of characters like Sebbaschin the buzz that was created around
Ghost Whisperer promos for channel GO captures the channel’s
Nike & Astore window installation.
HTC Google Android animation.
it. It’s one of the best things I have book to be about the images and the they will be travelling around all
ever done. stories, which is why I kept the de- Vida stores nationwide.
sign very simple and clean.
D > Can you tell us more about the D > What about the Moxyland toy
Miss Beautiful book which also D > How did you approach the project?
won a Bronze Loerie in 2009? Why Adidas/VIDA Chairs project?
MS > Moxyland is a sci-fi novel
did you opt to keep it so simple?
written by Lauren Beukes. It is set
MS > I was given the task of creat-
in the year 2018 in Cape Town and
MS > Miss Beautiful is a cultural ing some sort of in-store presence
deals with the evils of technology
study of South Africans in the beauty for Adidas inside the Vida stores.
and the media. The final cover was
pageant world. It was a very special Vida had a bunch of discarded white
designed by Dale Halvorsen and
project that I felt very close to as I chairs that were replaced with new &Son created a plush toy that had
worked with the photographer, Stan red ones, and so I came up with the to be inspired by a computer game
Engelbrecht during its production. idea of getting surplus shoelaces character from the book. The char-
I got to go to some of the pageants from Adidas and weaving different acter had to appear cute and inno-
and meet some very interesting and designs into each of the chairs. The cent, but was actually quite men-
colourful people. We wanted the response has been fantastic and acing.
88 >
PIXELUXE
went in search of the most clichéd symbols graphic
designers use. His search resulted in a list which in-
cluded the heart, cross bones and skull, skyscrapers
and coats of arms and the dove as a peace symbol.
By Anri Theron Erasmus used three of these and named the Love,
Death and Peace instead of Light, Regular and Bold.
The soccer ball came further down the Google
When asked why he is so passionate about designing search result list but also because of the world cup
fonts, Jan Erasmus describes his life-long battle with in South Africa. He explains the addition of Eco be-
dyslexia and how this challenges him to find artistic cause he felt it had great significance in the times
expressions of the alphabet. His most recent crea- we live in whether there is global warming or not.
tion, Pixeluxe, is a testament to that. DESIGN > had Erasmus chose the water diagram as the Egyptians
the pleasure of learning more about the evolution of used as the meaning for the Nile, which became the
Pixeluxe from the designer himself. symbol for water and the Incas drew the water ser-
pent on the last page of their calendar, 21.12.2012.
Erasmus describes that the motivation behind Pixeluxe The current rising sea level fits the picture perfectly.
was to publish a family of pixel-like fonts that went
into Deluxe mode, “Each pixel contains a vector art Manufacturing, testing and marketing took about
symbol of between 36 – 87 nodes to replace the six weeks for this 6-font family, a short time in com-
square pixel in a glyph.” This, he says, gives you a parison to the font family, Chronicle Text from Hoefler
font with specific meaning imbedded which can either and Frere-Jone that took up to nine years to make.
be used for its obvious meaning or used in a decon- It, however, did not come without some difficulty.
structed context as he did in Pixeluxe’s campaign. Erasmus explains that the sheer amount of nodes in
the faces caused problems when it came to output
Erasmus explains that the concept for Pixeluxe has the family in OpenType and Open Type TTF which
been with him for quite some time now and once the doubled up all the nodes on curves. Take for example
decision was made to move forward with the project the drop cap A in the Death face which has 95 times
everything fell into place. The family consists of six more data, a total of 1,080 nodes, than Helvetica cap
parts, Binary, Death, Eco, Love, Peace and Soccer. A. To solve this problem Erasmus went old tech and
He explains that the Binary member of the family created Pixeluxe in a Legacy PS1 format instead. This
was designed first and served as the foundation worked perfectly with both Mac OS X and as a Win PS1.
block and template for the other family members.
Once the Binary member was developed to absolute The result is beautiful. Erasmus perceives the appli-
perfection the theme fun started. Erasmus changed cations of Pixeluxe within display work, a space that
each pixel with the chosen illustration thousands of designers use the most varied fonts in. He can see it
times over for the remaining five faces. being used as a drop cap or possibly for the numbering
of the Pirates soccer player jerseys, should they comply.
To decide on the remaining faces themes Erasmus A customer in Perth used Pixeluxe to do Valentines
conducted a bit of an experiment. By using Google he Day window dressing and show cards. Ultimately it
Introducing Pixeluxe, a brand new font family from CyberGraphics.
91 >
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To honour people who have been lost to the Even though there are many ways to tell a story,
HIV/AIDS pandemic and to create a memorial the CSA chose fabrics. “We like the idea of the
for them, the Centre for the Study of AIDS at word ‘fabric’ because it has symbolic value and
the University of Pretoria has produced a 2010 multiple meanings. For example, it is sometimes
calendar themed Fabrications. said that HIV/AIDS spreads because the ‘fab-
ric’ of society is disintegrating (for example,
The Centre for the Study of AIDS (CSA) was es- through the breakdown of families, the rise in
tablished in 1999 to understand the HIV/AIDS crime and a failure to adhere to shared norms
epidemic and to find new and creative ways to and values) and so we also wanted to use this
respond to it – going beyond tried-and-tested play on words.”
formulas and contributing to building a society
that is equal, fair and tolerant. “Fabrics were also used in the original AIDS
Quilt project many years ago to reflect on the
Every year the CSA produces a calendar that identities and stories of people who had died of
serves as an annual review for the centre, show- AIDS-related illnesses. Also, artists, designers
casing the work it does and reflecting its view and crafts people from around the world have
of the epidemic. Each calendar has a theme the used fabric to tell stories and many of these will
CSA believes is topical and interesting and will be reflections and musings on gender, sexuality,
provoke debate and discussion. Speaking about class, power, beliefs – all of which have a bearing
the theme, deputy director, Pierre Brouard, said on HIV and AIDS,” Brouard said.
Fabrications allowed the CSA not only to create
attractive designs based on fabrics from around For each month in the Fabrications calendar, a
the African continent, but also to reflect on mul- textile from a different country or region in Africa
tiple meanings of the word. is used for the quilt designs. These are inspired
by the textiles’ origins and history and matched
“A fabrication can be a story (whether true or with one of the CSA’s initiatives. Extensive re-
fictional), a myth, a social construction, a fantasy, search was done on where these textiles come
a hope, a dream. A fabrication is, in this sense, from, the cultures that conceive them and the
both a physical construction of fabrics, but also technologies that are involved in their creation,
a psychological and social construction; the many of which have been passed on from gen-
story of a life,” he said. eration to generation. For example, Akan Kente
is used for the month of June to represent the
“This calendar looks at different African fabrics, CSA’s ARV Treatment rollout. The cloth is intricate,
each telling a story about its creators and its luxurious and has a rich history that is interwoven
country. The calendar offers ways to take these with the history of the Ashanti Empire in West
designs to tell new stories and produce new ‘fab- Africa. It is also a complex cloth, using weaving
rications’,” said Brouard. techniques that require skill and knowledge of
the materials, mixing cotton and silk to form pat- > Imagined Futures (2007/2008), which
terns with layers of symbolic meaning. The asked us to imagine what the future of young
embroidered and appliqué Kuba cloths from people, their families and the country could
the Kasai River region in the Democratic Re- look like if we tackled HIV/AIDS imaginatively
public of Congo, with its layered style, repre- and without a ‘doom and gloom’ approach.
sents the month of May and the CSA’s AIDS & Could we emerge as a stronger and more com-
Human Rights Research Unit. Other fabrics in- passionate society?
clude Francophone textiles which originate from
the French-speaking countries of West Africa, > Paper Prayers (2005/2006), which showcased
Shwe-Shwe from South Africa, Bogolanfini mud paper prayers from a previous Johannesburg
cloth from the Bamana people in Mali and the Art Gallery exhibition. A paper prayer is a
colorful Chitenge, also know as kitenges and Japanese traditional offering of painted
kangas, which are worn in a variety of southern strips of paper to bring health to the sick
and central African countries. and the exhibition had asked young people
to create paper prayers about HIV and
The 2010 calendar refers to myths: of virgin pro- AIDS. With the calendar, we wished to in-
tection; HIV-infected blood injected into oranges; spire artists and others to be creative in
worms in condoms; deliberate infection using responding to the disease.”
syringes; and many other myths that are part
of the fabric of dealing with HIV/AIDS. “The CSA “We need to tell people’s stories but we also
strives to challenge many of these fabrications, need to acknowledge that we use stories to
to find ways to create new representations of make sense of HIV/AIDS, to cope with it, to
the epidemic, to tell new stories and, to decon- fashion it into something bearable, to give it
struct and reconstruct society,” Brouard said. meaning,” said Brouard.
The calendar is not a stand-alone project. The The CSA calendars stem from a long-standing
CSA also tells the HIV/AIDS story through face- creative partnership with Bluprint Design, a
to-face workshops, training and consultation to Pretoria-based communication design consul-
construct and deconstruct the disease’s effects. tancy. “The calendars are some of those rare
“There are many HIV/AIDS stories and ways of projects that allow designers the luxury of ex-
telling them: we hope to keep finding new and tended deadlines. We work closely with the CSA
innovative ways of doing this,” Brouard said. when conceptualising new themes and then
spend a lot of time – sometimes up to seven
“Previous calendar themes include: months – researching and crafting the original
imagery,” said creative director, Jacques Lange.
> Beyond Borders (2008/2009), which show- These efforts have paid off since the calendars
cased wallpaper designs – wallpaper can be have become sought after collectors’ pieces. <
within or beyond a border (a restriction if you
This article is republished with the kind
like), as can our work on HIV/AIDS. This also
permission of 46664.com (http://www.46664.
highlighted our interest in work and perspec- com/News/african-fabrics-weave-the-
tives in other countries. continents-hivaids-story-id=7968.aspx)
98 >
These documentaries range from the most banal aesthetic process, pushing to the fore the slightly
listing of easy-paced daily routines to the most ex- derisory and superfluous aspect of the numerous
travagant seasonal experiences, all translated into activity reports which abound at the end of the year.
statistics, diagrams, charts and other graphic schemas. Infographythm unveils the ‘small’ personal activities of
each participant: August under graphical constraints,
The organisers say that: “…information graphics (a task the creators showing their zeal at the height of the
which graphic designers practice rarely for anything dead season!”
other then earning a living) have been reassigned in a
playful manner, while paying attention to a resolutely
101 >
Of the around 40 projects received, 31 were selected Gestalten, will the second edition of Data Flow, a
by the jury made up of members of CarréRotondes, reference publication which gives an overview of re-
Design Friends and Gestalten. The selected works (15 cent developments in visual information processing
from Luxembourg, six from other European countries, in graphic design. <
eight from Asia, one from Chilli and one from New Zea-
land) is on show at the EXPO CarréRotondes, in Luxem-
burg. The catalogue will be published on 9 March, which
will coincide with the Simplexity – Start making sense
conference where Sven Ehmann, creative director of
103 >
AFRICAN DIASPORA
IN LALALAND
By Jacques Lange
Californian-based designer, Zelda starting with her own story, as wellher father studied architecture and
Harrison, one of DESIGN>’s newest as that of Chaz Maviyane-Davies urban planning and her mother spe-
contributors, thrives at what she and Malene Barnett featured in cialised in maternity nursing, Zelda
calls the epicentre of post-modern this edition. Harrison has focussed her career on
cross-culture: Los Angeles. In this developing a greater understanding
and future editions, she explores the Born in Los Angeles to UCLA’s first of and emphasis on cross-cultural is-
African design Diaspora in the USA, graduate students from Ghana where sues in professional design practice.
104 >
Zelda boarded a plane for the first management, earning her contracts career option mainly in the so-called
time at the age of six, bound for with public agencies, entertainment Western world, where black people
Ghana. She says that the flight at- networks, creative advertising agen- make up a rather small percentage
tendants made the experience cies, as well as real estate and legal of the professional class.
exceptionally pleasant and she firms. She also provides marketing
has loved travelling ever since. support to community groups in Los Other things I’ve come to appreciate
She has crisscrossed Asia, Africa, Angeles that serve disadvantaged is that design has its roots in the
the Americas and Europe and lived youth and under-funded commu- mediaeval ‘guild/apprentice’ sys-
on three continents. nities. tem, which implies career choices
are made via strong relationships
When asked what lessons she has Currently, Zelda is also devoting with mentors, family and a closed
leant from her extensive travels time to supporting the AIGA – the circle of friends. In the United States
abroad, she responded: “It would professional association for design there isn’t a strong tradition of men-
take a week to fully answer this in the USA – by exploring the impact toring between ‘ethnic minorities’
question, and that’s without tap- of culture in visual communication. (people of non-European descent)
ping into my subconscious. In a She has served as president of and white males, who are the pre-
nutshell, travelling outside my home the AIGA Centre for Cross-Cultural dominant group in the design com-
country and comfort zone, I have Design, an initiative designed as munity.
come to appreciate different per- a forum for US designers to reflect
spectives and points of view. I’ve upon design in a global economy As professional group that promotes
learnt to listen with my eyes, and and the sensitivities of a diverse and design, AIGA has tried to address
hear with my heart. I’ve developed a multi-cultural audience and land- this issue and a number of AIGA
taste for risk and the confidence scape. She also initiated Business chapters such as Boston (http://
to calculate the value of the risk.” Matters for AIGA-Los Angeles, a boston.aiga.org/initiatives_1/
best-practices workshop series youth_design_boston), New York,
Taking risks seems to be a re-occur- focussing on design management. Cincinnati have created outreach and
ring theme in Zelda’s career devel- mentoring programmes in lower
opment. She studied International DESIGN > asked Zelda, as a trail- income neighbourhoods and
Marketing at the Rouen Business blazer, to respond to a few ques- schools, where there is still a con-
School (ESCRouen), France, and then tions intended to address the centration of African Americans in
added a BFA in Visual Communica- coal-face of professional disparity the United States. The Organisation
tions from California State Univer- and future imperatives. of Black Designers (OBD) in Chicago
sity, Long Beach, culminating in a also initiated Project Osmosis
career exclusively focussed on D> Why do you think there are so (http://www.projectosmosis.org)
marketing at Con- Agra, Nestlé and few black designers in the world? targeting secondary school and
Neutrogena. university-bound youth.
ZH> Naturally, this is a question
She then opted to break the stereo- I’ve reflected upon quite a bit, and These are investments that I hope
typical options taken by many Afro- the response is evolving with my will bear fruit in the very near future.
Americans and repositioned her career – and sometimes my mood. Lately, many designers in the Unit-
career to focus on communication ed State are also subscribing to
design. Her expertise now includes The short, obvious answer is that projects promoting social justice in
visual communications and design design has evolved as a bona fide this area.
105 >
There is also the issue of aesthet- ZH > Perhaps it goes back to the housing for homeless families and
ics in design: Whose visual iconog- previous question “why are there so South Central Scholars, a mentor-
raphy do we use? Design found it few black designers in the world?” ship programme for college bound
strongest voice in the Bauhaus and At university, a career counsellor youth in South Central, an eco-
Swiss Schools of design, which casually suggested I take some nomically-depressed zone in Los
were temporarily trumped in the art classes. As a scholarship stu- Angeles.
1990s with the computer revolu- dent, the cost of art supplies felt
tion, but have always served as a prohibitive to me. Moreover, I didn’t D > Can you expand on your work
reference point. Does this mean tap- feel particularly ‘talented’. My love with the AIGA and Cross-Cultural
ping into your Zulu, Thai or Maori of travel and geopolitics naturally Design since many international
roots for your work excludes you made me gravitate to international readers are not be familiar with the
from communicating effectively? In relations, which morphed into inter- AIGA?
an international competition, will a national marketing in business
Nigerian designer’s work be evalu- school. After a few years of market- ZH > AIGA (originally known as the
ated in the same way as that of a ing research for multi-national American Institute of Graphic Art-
Dutch designer? These are some food brand companies, visual com- ists) is the largest professional
of questions that the AIGA Center munication as a vehicle for address- organisation for designers, specifi-
for Cross-Cultural Design (AIGA ing markets and audiences began cally visual communicators. In line
XCD) was formed to address. to make more sense than constant with the American tradition of de-
number crunching to me. centralisation, AIGA is a network
Perhaps the most visceral expla- of local-based chapters – mostly in
nation came to me a few years ago D > Can you tell us more about your large metropolitan areas – that
when I was leading a design work- work with community groups? function independently and serve
shop for high school students in a their design communities.
lower income neighbourhood in ZH > Giving effective communi-
Los Angeles. As an introduction, I cation tools to non-profits is of AIGA Center for Cross-Cultural De-
talked about my career as a design- great interest to me. My participa- sign (AIGA|XCD) is an AIGA National
er and how fulfilling it is for me. At tion has ranged from brand con- Chapter established to foster greater
the break session a student and her sulting, workshops on design and communication between design-
mother – who were black – came advertising, and career counselling ers across cultures and ethnicity,
up to me: ‘What I really want to to youth, art classes and fundraising. and explores the connection be-
know,” the mother said, “is whether The non-profits I’ve worked with tween design and culture. I was
design is going to make my child most frequently include the Skirball elected president of the executive
money.” “Well...” I started, “she Cultural Centre, which has its foun- board a couple of years ago, and it’s
may not become a millionaire, but...” dation in the Hebrew University and been an incredible commitment in
my voice trailed off as the mother promotes multi-cultural aware- organising and the administration
grabbed her child by the arm and ness in Los Angeles, the Coalition of travel tours, international com-
walked off. for Responsible Community Develop- petitions, exhibition and writing
ment which seeks to provide job about the intersection of design and
D > Why did you opt to first study training and shelter to youth aging culture.
international marketing and then out of foster care, Beyond Shelter,
move on to visual communication? dedicated to providing transitional Our website is www.xcd.aiga.org <
107 >
In Motion. The African-American Migration Experience. Community Redevelopment Agency of Los Angeles.
DEFINING THE
ULTIMATE HOSPITALITY
EXPERIENCE
By Bev Hermanson
Circulating in the rarefied atmosphere of Givenchy, Six Sense, Chi and Amarita,
as well as the developers of prestigious and exclusive international projects, the
divas of the newly-created Darley Interior Architectural Design (DIAD) are carving
a name for themselves in the high end hospitality, leisure and residential markets.
In an exclusive interview with DESIGN> magazine, they shared some insights into
their design philosophy and their vision for the future.
The DIAD design team: Shiree Darley – Managing Director, Amanda Elliott – Design Director,
Sarah Forman – Creative Designer, Caroline Dann – Operations Director and Design Architect.
111 >
112 >
Offshore restaurant – trendy cocktail destination set amidst the ocean with
undulating moods and sleek, contemporary finishes.
It was only last year that Shiree Darley, Caroline Dann, If you scan through the list of what they offer, you may
Amanda Elliott and Sarah-Jane Forman took the brave well ask what landscaping-, swimming pool- and special-
step-away from the world renowned, US-owned hospi- ist water feature design may have to do with interior
tality interiors giants, Wilson & Associates, to branch architecture? “When it comes to the hospitality industry,
out on their own and establish a wholly South African- the seamlessness of the guest experience is paramount,”
owned specialist interior architectural design service. answers DIAD Managing Director, Shiree Darley. “The
Given the world recession and ongoing economic tur- effectiveness of the space begins at the Porte Cochère,
moil, this took a leap of faith and an unshakable con- from where the arrival experience has to follow through
fidence in their abilities, but the partners are upbeat to the main reception lobby and the public spaces. For
and raring to go. resort and leisure properties, where people love to expe-
rience the outdoors, the terraces, gardens and pool
Proclaiming that they ‘don’t do mediocrity’, these de- surrounds become part of the guest experience, so we
sign divas consider pushing the boundaries to be have to extend our designs to encompass these areas,
their norm. Passionate about every aspect of their working hand-in-hand with the landscape architects.”
profession, they agree that starting DIAD has been the
ultimate high of all of their careers. It’s given them a While some local hospitality groups may still consider
sense of freedom and the support and encourage- that interior architecture is secondary to the general
ment that they have received from the industry has architecture of buildings, internationally, interior design
been exhilarating. is seen as crucial to the success of a project and the
113 >
interior design architects are brought into the loop the architects to do all the construction design and
from the concept stages. Considering the fact that documentation. In the early stages, many interior design
international groups are looking to expand further practices didn’t even use CAD. We were regarded by
into Africa via South Africa, this is especially exciting some as ‘pillow fluffers’ who added a few accessories
for the partners at DIAD. here and there. This has all changed. There are a lot
more layers to what we do, and from a technical and
“Interior design architects can make an enormous
architectural design standpoint, we provide valuable
difference to the guest experience,” continues Shiree.
input towards the end result - hence our need to be
“While the guests don’t have any say over the way
involved right from the beginning.”
the interiors have been designed, or over the choices of
colour schemes, fabrics and finishes that contribute
Design Director, Amanda Elliott’s penchant is for re-
to the ambience, they respond to how the experience
searching location specific cultures to establish a
feels. The décor and the functionality of the spaces,
just as much as the quality of service they receive, context and common thread for the individual proj-
determines whether a particular resort will be a ect. This leads the design. Drawing inspiration from
favoured destination in the future.” the traditions, topography, landscapes and views, the
identities and attitudes of the interior spaces are de-
Shiree adds: “The interior designer’s role has certainly vised and the ‘story’ is pieced together creating a
changed over the years. In the past, it was left up to script for the professional team.
114 >
“The story gives the building a sense of place. Once correct spatial volumes,” she elaborates. “The guest
we establish the vision, it’s easy to elaborate. The may not be able to pinpoint what it is that makes a
background research gives you so much to work with. particular space work, but we need to create the right
Then you start to add the ‘atmosphere’ and decide what ‘zone’ for them. We also have to ensure that the op-
aspects create an exciting guest journey throughout erations management relates to the spaces and that
the interiors,” Amanda explains. the design interpretation for the interiors will with-
stand management turnovers.
“We also try to design so that the spaces are not dif-
ficult to understand and are easy to maintain,” adds, An important aspect of space planning for hotel
Caroline Dann. Her skill is ensuring the functionality of guestrooms concerns the relationship between the
the spaces, which is critical when it comes to getting bedroom and the bathroom. “Bathrooms a few years
hospitality establishments to operate smoothly. back formed roughly a third of the en suite accom-
Sporting a Bachelor of Architecture Degree and hav- modation,” Caroline continues. “But these days it’s
ing had more than 10 years’ experience working in pretty much 50:50. The top end hotel groups aim at
Europe, Caroline understands that the correct juxta- creating distinguishing signature features, unique
position of spaces is vitally important to the success design elements including private view windows, out-
of the operation, “... this extends to determining the door bathrooms and integrated feature baths.”
… W H E R E T H E S T Y L I S H , I N N O V AT I V E D E S I G N
IS BORN OUT OF THE CRAFTSMANSHIP
O F W H O L E G E N E R AT I O N S O F G L A S S M A K E R S
OUR HIGHLIGHTS
◆ we are a steady partner on the world market in decorative lighting objects
◆ lighting projects tailor-made for each particular customer
◆ lighting objects created from suspended mouth-blown glass
components or machine-cut crystal stones
◆ alternative light sources (fiber optics, LED) enabling preset lighting
cycles, thus creating a subtle interplay of spectral colors
The saying ‘it’s all in the details’ is often bandied business travellers. These days, there are even plasma
about when it comes to hospitality and here, Creative TVs in the bathrooms, so that the business traveller
Designer, Sarah-Jane Forman, comes into her own. The can catch up on world news while bathing. Plasma
detailing starts in the conceptual stage and Sarah screens can be built into the mirrors, so that they are
works extensively with the suppliers to achieve the discreetly part of the décor,” says Shiree. “Hairdryers,
right moods, textures and finishes to suit each project. plug points for cell phone chargers, iPod plug-ins and
“It can be an interior designer’s downfall – not follow- wireless connectivity are also part of the offering of the
ing through with the detail,” she says. “The identity of hi-tech hotel. But it’s very important that all of these
the establishment does not only encompass logos on things are easy to understand and simple to operate
stationery and the personality of the wayfinding sig- – they must be user-friendly, otherwise they become a
nage, but extends as far as the nuances of tableware source of frustration to the guest.”
design, the sizes and shapes of the glassware, the co-
lours used for the accessories, even the bathroom fit- With the impending influx of more international resort
tings, the value-add brand name bathroom cosmetics operators, another aspect of hospitality that has to be
and the contents of the mini bar.” taken very much to heart is the environmental con-
sciousness of the operation. In South Africa you can
Some of the intangibles that reflect on the image of still find yourself on a construction site where you are
the establishment include the acoustics, the lighting almost overwhelmed by the fumes from solvents and
and the technology. “Hotels have to be very up-to-date paints that, clearly, are not eco-friendly. Overseas, CE
with technology, particularly if they are appealing to and other quality standards subscribed to do not allow
120 >
121 >
the use of any materials or substances that have detri- discerning guest is becoming more and more aware of
mental long term effects or could be harmful to the these issues and is definitely seeking out the estab-
people using or working with the facilities or materials. lishments with the correct eco-ratings,” Shiree states.
These requirements are second nature to the partners at “We are very conscious of these parameters and we
DIAD, as they have all worked extensively in the inter- do everything that we can to ensure, wherever we
national arena. can, that sustainable products are specified in our
designs. It is wonderful that we can make a difference
“In has become an international norm now that new at this level.”
developments have to achieve a certain number of
points to achieve compliance with sustainable standards, Part of the DIAD equation is that the partners, with
The use of grey water for irrigation, using heat from their combined 37 years’ experience working on over
air conditioners to heat water, the biodegradability of 50 projects worldwide, have the ability to understand
laundry detergents and energy efficiency are all aspects local conditions, yet they are raising the bar to satisfy
that have to be considered. It becomes part of the the demands of the global fast track in hospitality and
professional consultants’ responsibility to ensure that leisure. “South Africans are highly respected over-
there are no toxins in the paints, that the adhesives do seas,” concludes Shiree. “In Africa, we often have to find
not give off fumes and that the furniture and fabrics ten ways to do one thing, to circumvent the myriad of
are from environmentally compliant manufacturers. challenges that we face. This has given us a reputa-
It’s very rewarding that we, as designers, can make tion of being tenacious and for thinking ‘out of the
that difference and play a role towards assisting our box’. These are just a small part of the qualities, skills
clients achieve the suitable ‘green’ status grading. The and talents that we have to offer.”<
ABOVE: Leather Swing
RIGHT: Bug Side Table & Rosette Sideboard.
124 >
125 >
By Jacques Lange
Greg and Roché Dry, who chose the word ‘egg’ as their processes. “One of our great joys is imagineering a
company name because it represents simple form and thing that looks like another thing.” Selective examples
its symbolic reference to the new, founded egg Design include an aluminium and teak lamp that looks like
in 1996. The Dry’s fuel their creativity by working across the traditional African mortar and pestle, a stainless
design genres – traditional and modern, rustic and steel and leather swing that is reminiscent of a chil-
industrial, the sublime, the witty and serious. They say: dren’s swing made from a discarded car tyre, and a
“When taking on design projects, we apply a prag- slick daybed that looks like a sleigh made from steel
matic approach while still striving for excitement mesh usually used for shopping trolleys combined
and innovation as well as paying strict attention to with oiled African Rosewood. Surprise is always on the
detail, while in our furniture range, we take a more cards in egg Design’s product collection.
exploratory and provocative approach to hopefully
excite or agitate.” Not surprisingly, egg Design provides a holistic design
approach to their long list of corporate and private clients.
Two characteristics of their innovative work are their Apart from producing a highly original collection of
use of juxtapositioning and unique combinations of furniture, the company’s broad based services also
seemingly unrelated materials and manufacturing include interior design and product development.
127 >
The company has received much media exposure, our strong representation amongst value retail locally
locally and internationally, including features in Elle – The Mr Price Group and Game – and internationally
Décor (South Africa, UK, Italy, Russia and France), – B&Q (UK), The Warehouse (New Zealand) and recently
Metropolis, Surface, Interni, Ottagono, I.D, AD&D, Screwfix (UK). The challenge to design for value retail
Icon and World of Interiors to name a few. Their list of is much bigger than designing for high-end retail or
accolades includes receiving the Elle Décor (South luxury brands as the design constantly gets stripped
Africa) designer of the year award in 2004 and 2005, due to cost. The design work is more intense but
as well as best seating in 2008. A highlight was in incredibly satisfying.”
2007 when egg’s iconic Yellow Desert Rose Locker
was auctioned at Christies’s prestigious 20th Century “From the furniture side of our business, we would
Design Auction in New York. like to think that our work is very unique and our style
is not of a certain time, period or genre. We believe
Commenting on their impressive successes, Greg that in 20 years’ time, people won’t say that a piece
says: “We believe that our company, at the environ- was so 90s or 2000s. Our work is diverse and we use
mental level, delivers our clients with unique solu- a lot of different materials, always exploring new tech-
tions set by their briefs regardless of budgets, hence niques and finishes as we stumble upon them. As a
RIGHT: Industrial Light Fitting. RIGHT: Burlesque Table.
FAR RIGHT: Black Jozi Shelf. BELOW RIGHT: Mortar and Pestle Lamp.
128 >
studio we are very prolific and our furniture design In line with egg’s penchant for the unconventional,
extends past egg. We now also have egg Junior and we the company published a book instead of a product
hold shares in a company we formed with our Hong catalogue in late 2009. It is a stunningly designed
Kong partners doing another range of kids furniture,” publication that goes beyond traditional conven-
says Greg. tions in the furniture industry by not just showing off
products but, in typical African narrative style, tells
egg Junior is a range of kids furniture and accessories the stories behind the products. Greg explains: “We
with an educational and fun angle, inspired by many needed to show our products in a manner that was
of egg Design’s iconic furniture designed for adults, ‘lifestyle’ but not in the way that brands globally do
but with a twist of childlike quirks combined with it – which is far too often shot in minimalist homes
sophistication – yet another juxtaposition. Greg says and sleek environments. We have a wide range of works
that: “We are constantly inspired by our children for and we needed to convey how to use and live with
their never-ending energy and simplistic take on life’s our furniture.”
beauty.”
“The concept started with wanting a book that we
“The most recent work we have done is an industrial could send to top designers and specifiers around
light fitting for retail applications that saves up to the world that immediately made them understand
40% electrical consumption. This is highly industr- that they were dealing with luxury from the cover
ialised with aluminium extrusions and injection through to the end. Covered in cloth and embossed
moulded components.” in gold foil, one starts the journey there. As with our
furniture, we need the person receiving the book to
“We would like to believe that all of these diverse see value and keep the book safe, unlike catalogues
interests make us a unique company to deal with that end up on the shelf. The book is a journey and tells
and the same with our furniture and products. When the stories of the products, their reason to exist, and
clients engage with us we design almost everything why or where we got the idea from. There is a thread
for the project. We don’t believe in specifying.” in our work when viewed in the book as a collective
130 >
As part of the African Diaspora series, DESIGN > spoke the company’s very successful accent rug division.
to Malene Barnett about her design philosophy, her At Nourison I was given the opportunity to develop
work and her travels. fashion-forward designs that changed how accent
rugs were viewed.
D > Share with us your professional journey and
some of the highlights that inspired the creation of In about 2003 I began thinking of creating my own com-
malene b. pany. However, back then my focus was on creating
innovative bedding designs for the home furnishings
MB > I’m a carpet designer. I studied textile design at industry. In the summer of 2008 I decided to focus on
FIT in New York City. After graduation, I worked as the my passion, carpet design, and started formulating my
design director for Afritex, designing African print fab- company, malene b custom handmade carpets. My
rics. Later, I worked for Nourison Rugs, one of the largest goal, as the principal of malene b, is to create carpets
importers of handmade rugs in the world, as their first that merge my artistic background and passion for
in-house designer. Initially, I designed their area rug global travel. I wanted to create a company that not
collections, but soon became design manager for only produces great carpet designs, but also inspires
others to experience the world through a unique art became really curious and wanted to see more of the
form. world ... to learn how we’re all connected.
D > You describe your work as a “personal experience During my first backpacking trip to south-east Asia
of cultural icons, landscapes and rituals...”. Could you the pattern titled Bangkok was inspired from ob-
share in more detail how your experiences drive the serving Thailand’s floating markets. I was amazed
creative process? how people were doing business. I had experienced
typical street markets before, but in Thailand they
MB > It started because I was fortunate enough to had a different rhythm. They were cooking and sell-
have friends from many different places worldwide. ing things on the river. It was a necessary way of life
I was invited to visit their homes and participated in and I thought a cool way of doing business.
their celebrations and daily rituals. Experiencing
these things made the trips more endearing. I went My henna-painted hands are the model for the design
to the Gambia, Ghana and India in one summer and called Mehndi. While visiting Mumbai I participated
was living in rural to luxurious conditions; taking in a friend’s wedding ceremony. The experience was
bucket showers. The transition was life changing. I unique and intrigued me, because the art is created
studied my hosts’ connection with family, observing from memory. I interpreted this experience in a Tibetan
how everyone ate together, just certain cultural wool and silk carpet, so the details of the henna design
things, saying, “Oh wow, we do that!” That’s when I shimmers where light reflects the pattern. Each malene
Moroccan architecture
inspired the design of the
Marrakech carpet.
135 >
b design expresses a narrative of my world travel expe- study their art, seek out local restaurants, entertain-
riences and is reflected in patterns which are colourful, ment venues and most importantly, I travel my des-
textural and bold. tinations like a local – not a tourist.
D > Share some highlights of your travels. How did you D > What is your design philosophy? There is pattern
deal with situations where you were clearly the outsider? in everything. One should not live without colour.
MB > Some travel highlights include participating in MB > Design should speak to one’s soul. Design should
a three-week cultural exchange programme in Ghana, inspire you to think differently, feel good and be func-
where I lived with a family, worked alongside wood- tional.
carvers to create my own woodcarvings, learned kente
weaving and attended the historical 25th Jubilee Anni-
versary of the Ashantene (the crowning of an Ashanti Malene B at work
chief). I also met the world-renowned Senegalese singer,
Youssou N’dour, one of my favourite artists in Dakar, D > What are some of the projects that you are currently
who arranged for me to be seated front and centre at engaged in?
one of his concerts. It was an amazing experience. As
for me ever feeling like an outsider, I’ve never felt like MB > I am working on the office renovation for design
that. I’ve always blended comfortably into my new group Carl Ross, public space flooring for a hotel project
environment by immersing myself in native culture. I in the UAE along with Kobi Karp Architecture, another
136 >
public space for a hotel project in Panama with HVS to think outside of my available collections and allow
Compass, designing rugs for a private residence in me to create something expressly for them.
New York City and creating a new collection that will
debut this Spring. D > What is your creative process? What are some of
the challenges and breakthroughs you’ve experi-
D > Who are your clients? Any interesting stories about enced in the production process of your creations?
managing projects and client relations?
MB > I always start with a sketch. Since I have a fine
MB > My clients are interior designers and architects. arts/illustration background all of my motifs and
One of my biggest challenges has been getting clients layouts are created from inspiration and my formal
training. One of the biggest challenges in the pro- want each design to take you on a journey to a far-
duction of my carpets is that I’m clueless about how away place.
my designs are being interpreted.
For example, I love Senegal, Morocco and South African
Malene B on cultural identity cultures because they all reflect a different part of
my African heritage. The diversity within each coun-
D > Does your work affirm your cultural identity? try constantly keeps my creative juices flowing…
there is so much to be inspired by! The art and archi-
MB > My work is an extension of who I am. I’m crea- tecture of Morocco always amazes me. And the bold
tive, a world traveller and aim to inspire others. I designs, fashions and the cropped hairstyles of the
Ndebele women inspired my personal style. Since I MB > We all have a responsibility to be socially aware.
am influenced by global cultures, I want to design Before sourcing my manufacturers, I joined Goodweave.
carpets that reflect my modern design sensibilities, as org to ensure that my carpets are child-labour free.
well as my passion for world travel. In addition, I support Aid to Artisans in their quest to
preserve handmade crafts in Africa, Asia, and South
America. And, most recently in response to the devas-
Malene B on social engagement
tation in Haiti, I am creating a carpet that showcases
D > Would you consider yourself a cultural ambassador the country’s rich culture. I want people to know that
for peoples of African heritage? Haiti has a long and storied history which has influ-
enced art, sculpture and music worldwide. This carpet
MB > I like the term ‘cultural ambassador’. I use my will be included in my Signature Collection and the pro-
talents to show the world that as an African-American ceeds will be presented to grassroots organisations
designer, we all have a story to tell and I share my that have been working in Haiti long before the earth-
journey through my carpets. quake. As a member of the African Design Community,
I feel we need to continue to use the power of design
D > Do you believe that the designer has a role in to tell our story. Dare to inspire! <
social engagement? How has malene b addressed
social issues in the creative and production process? > To see more, visit http://www.maleneb.com
Coins and shells inspired the design of the Cowrie carpet.
We do all
Building alterations
Plumbing
Fire-claims
Replacement of ceilings
Painting
Burglary repairs
Visit our new showroom in Bryanston, c/o Main Road & Bryanston Drive, Bryanston, Tel: 011 875 7400, or Cape Town, M5 Business Park,
2A Camp Road, Maitland, Tel: 021 510 0970. For your nearest Cobra stockist call 0861 21 21 21 e-mail: marketing@cobrawatertech.co.za
COBRA WATERTECH
By Bev Hermanson
‘Innovative’, ‘design conscious’ and ‘exceptional quality’ are the words that make
Cobra Watertech the successful brand that it is. Manufacturing stylish, top quality
taps since 1951, Cobra produces one of the most comprehensive ranges of plumbing
fittings and sanitaryware in the world, ensuring that there is an attractive product
suitable for every purpose.
Cobra in the kitchen Damara’s taps and sink mixers allow users to regu-
late the amount of hot water dispensed (ideal for
Cobra’s ongoing and accelerated programme of product households with children, elderly or disabled occu-
development has resulted in trend setting designs of pants), while its single range mixer comes complete
kitchen taps and mixers. Amongst its kitchen ranges, you with a built-in water and energy-saving ceramic disc
will find Damara, Callisto, Taryn, Gala and Flex Supreme. cartridge.
Bringing style and creativity into the kitchen envi- The Cobra Bain d’Or product range will fulfill any design
ronment, the Taryn mixer, with a swivel outlet and a need, from Victorian style to the latest in modern
retractable handspray, offers both standard and bathroom designs. The product range consists of:
minimalist handle styles.
> Cobra Bain d’Or Mona Lisa Suite
The Cobra Gala mixer has a swivel outlet which uses > Cobra Bain d’Or Epernay Suite
the standard Cobra anti-splash, anti-lime aerator
> Cobra Bain d’Or Liege Suite
and a side mounted handle.
> Cobra Bain d’Or Marseille Suite
The Flex Supreme mixer has a standard swivel outlet
and a large decorative, chrome-plated, spring-mounted The Cobra Bain d’Or products have distinctive quality
handspray. This allows the user to pull the hand spray features and benefits including baths that are coated
145 >
Cobra Bain d’Or Mona Lisa Suite (above) and Liege Suite (below).
146 >
with Amazonite for added strength and rigidity, and The Taryn range features a 35mm temperature and
superior thermal insulation, which keeps water hotter flow control cartridge, an anti-lime aerator and is
for longer periods. This feature comes with an excep- available with a standard or minimalist handle. In-
tional 20 year warranty. A bath/shower combination cluded in the range are three basin mixer options,
an underwall bath/shower diverter mixer and a sink
is available for confined spaces.
mixer, with a unique flexible swivel outlet.
Physical Address:
Shop No 1, Menlyn Home Care
Centre, Corner Garsfontein Road
and Lois Avenue, Menlyn.
Postal Address:
P O Box 246, Menlyn 0063
Tel: (012) 348 2349
Fax: (012) 348 2276
E-mail: thinus@plumbsan.co.za or
arna@plumbsan.co.za
www.plumbsan.co.za
148 >
and light to restore energy to the body, be it physical, taps, which have been fitted in all the public bath-
emotional, spiritual or mental. The colours influence rooms.
the equilibrium of charkas, the centres of energy
streams related to the major glands. > The Chinese are so confident of Cobra’s quality
products that they have insisted on using only
Cobra products in at least 34 McDonald’s outlets
Cobra in public places throughout China, and several new hospitals.
Since the spread of the deadly Swine Flu virus > After supplying plumbing and sanitaryware for
across the world, Cobra Watertech has experienced the 2007 Cricket World Cup stadiums in the West
a growing demand for touch free sensor taps. Indies, Cobra received a further order to fit out
the Kensington Oval in Barbados.
Touch free electronic smart taps – in the latest Co-
bratron range – are being installed in areas where > Cobra has just completed a re-vamp of the luxurious
there is a particularly high volume of human traffic Sugar Beach Hotel in Mauritius and is currently
fitting out a five-star hotel on the Easter Islands in
such as schools, malls, airports, petrol station rest
the South Pacific, and has also dispatched a huge
rooms, hospitals and restaurants.
order for a grand casino/hotel in Santiago, Chile.
that has recently been completed and the R6.8 and officials’ change rooms, while standard Carina
billion King Shaka International Airport (north of showers will be fitted for all stadium support staff.
Durban), where contractors are working 24 hours
to complete work before the 2010 Soccer World Cobra wins an SABS Design
Cup.
Excellence award
> Also under construction, at Inanda, North of Durban, The SABS Design Institute award of excellence was
is the multi-billion rand Bridge City shopping Centre awarded to world renowned industrial designer,
linked to a 4000-home housing unit and an under- Brian Steinhobel, for his design of Cobra Watertech’s
ground railway station. The R750-million shopping three top products, the innovative Callisto, Tapno
complex chose Cobra plumbing and accessories and Leading Edge range of taps and mixers.
worth more than R1,5 million.
The Callisto, Leading Edge and Tapno ranges boast
> Cobra Watertech has also secured the contract to innovative features such as angle regulating valves with
supply R1-million worth of taps, flush valves, geysers exposed mixers; temperature and flow-controllable
and other bathroom accessories to the second cartridges for energy and water conservation. Tapno’s
phase of the multi-billion rand Arbour Town develop- stylish wedge design gracefully complements modern
ment, a mixed use project which consists of a mega architectural design trends. The mixers have a trendy
shopping centre in Amanzimtoti, just 15km South feature that shapes the flow from the taps into soft,
of Durban. It opens to the public later this year. non-splash aerated water.
> The contract to supply Blue Waters Hotel, Holiday The Callisto’s vertical architectonic style has crisp
Inn Garden Court, North Beach, and Holiday Inn edges and no-fuss lines combined with intelligent
Marine Parade is worth R1-million. The new Fairmont practicality and subtle sophistication. Steinhobel’s
Hotel in the prestigious Zimbali Estate on the North design concept has achieved a classical, geometric
Coast has also gone with Cobra, ordering an esti- form that, although modern, will have timeless ele-
mated R2-million of its products, which includes gance.
the exclusive Damara range, while the Oyster Box
Hotel at Umhlanga is using up to R700 000 worth The award was confirmation that Cobra has been accept-
of Cobra products in its refurbishment projects ed globally in the world of design and Cobra has
currently underway. initiated a South African design concept that can
stand up with the best in the world. The company
> As part of the Peter Mokaba Sports Complex refur- has continually kept abreast with market trends and
bishment, R1-million’s worth of Cobra products is at the forefront of cutting edge research and tech-
has been specified, including Cobra flush valves nology.
and urinals, metering taps in public areas and the
classic range of Taryn mixers in VIP areas. In addi- All Cobra products are supplied with SABS certifica-
tion, the Cobra Carina range of basin mixers and tion along with Cobra’s service back up and 10 year
thermostatic showers will be fitted in the players’ guarantee on taps and mixers. <
151 >
The Steinhobel range of taps and mixer which won an SABS Design Excellence Award in 2009.
152 >
Tradecorp lobby in Johannesburg, signage and counter From the iconic Kubik totems on the Plaza of the
both by Kubik™. Design: Paul Sayer. newly renovated Cape Town International Airport,
the entire roof is illuminated. Design: Urban Studio.
LEFT: The largest illuminated LED floor in the world Engineering: Kwezi V3.
was manufactured in Cape Town and installed in a Dubai
showroom in less than four days. The 45 000 computer
controlled LEDs use the same amount of power as one
medium-sized halogen spotlight. Architect: Darnton
EGS Ltd (UK).
Recycle
> Kubik extrusions contain 30% recycled material
and the acrylics contain 20% recycled material.
An entire Samsung shop was pre-manufactured in The new refurbished Eikestad Mall in Stellenbosch is
Cape Town, packed in 242 boxes, flown to Dar es entirely fitted out with Kubik ceilings. Architect: DHK.
Salaam and installed in less than two weeks by one
Kubik teamleader and five local workers. Design:
Samsung Korea.
The Green Home Exhibition, which was hosted by the This 60s roadhouse outside the Volkswagen factory
CTICC in February, showcased Eco Verdi, which is a evokes the good old days but is made in a 21st
infusion of Kubik solutions and living material. century methods. Design: Seipone Exhibits.
lines are refreshing and the shapes are structural within a space of four months, whereas a tree could take
and illuminated. The idea, which is referred to as ‘ver- years to grow back to its original size. These solutions
tical garden’, incorporates plants and light boxes to are also modular, customisable and pre-engineered. <
create a beautiful and revitalising ambiance. Still
staying true to their green roots, Eco Verdi uses
bamboo in their solutions as bamboo regenerates
38 Fifth Avenue, Boksburg North,1459
Tel & Fax: (011) 892 2939 or Fax 0866 983 906
Cell 082 460 8290 - Carina or 079 880 9478 - Pieter
www.versatileblinds.co.za
157 >
“I AM AN ARCHOHOLIC...”
LIFE AS AN ARCHITECT –
THE LIFE AND TIMES OF ADRIAN MASEROW
A review of AMA Architects over into an urban framework, much in the same way that
the now popular ‘New Urbanism’ has unfolded.
the decades
“My Masters thesis in architecture was an exploration
“At AMA Architects, we never take for granted the priv-
ilege of designing buildings. The diversity of our work into design processes that really interested me. I use
under one roof is a sign that with each opportunity, these processes today as I think in the abstract in
we gain new knowledge, always seeking refinement, order to embrace the holistic vision that holds function,
efficiency and presence.” humanity, art and poetry in all design. The most signifi-
cant mentors and academics that influenced my aca-
Adrian Maserow graduated from the University of demic life and later my ability to practice architecture,
the Witwatersrand in 1981 with a Bachelors Degree in were Pancho Guedes and Leon van Schaik.”
Architecture. He then went on to study for his Masters
under the guidance of Professor Guedes and Professor Pancho Guedes lives in Portugal and has been one of
Dennis Radford, completing it in 1985. the most passionate promoters of architecture as an art.
Leon van Schaik runs The Masters Programme at The
Maserow’s thesis towards his BA in Architecture that Royal Melbourne Institute of Technology in Australia.
was published in 1981 and was titled: A strategy for an
urban pensioner community. It considered the human After 9 years as a partner of Koseff Maserow van der
life cycle as critical to the designer’s field of interest Walt, he went on to form Adrian Maserow Architects
and integrated a pensioner community housing project when the former practice was disbanded in 1993. With
Sandton Towers.
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Croucamp
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Croucamp is proud to be associated with AMA Architects and their collaboration on the Safika House construction
a change of shareholdings and new partners on board Council for Architects since 1983. He is further a
in 1999, the practice was renamed AMA Architects. member of The Royal Institute of British Architects
In 2001, AMA Architects reinvented the firm’s mis- and The South African Property Owners Association.
sion and expand its opportunities. In 2002, the inte-
rior design firm, D12 Interiors was added to the
The practice is guided by a committed belief in the
group to complement the AMA service offering.
contribution that good architectural design has to-
wards the life of the community. Maserow, together
“I started AMA Architects a few short months before
South Africa’s first democratic elections,” says Maserow. with principals Gerald Pereira and Marco Fanucci,
“These were remarkable times. Parts of the nation are all deeply committed to an exuberant and evoc-
feared the worst. Some people were stockpiling ative contemporary architecture which is appropriate
tinned food to take them through an imagined period to the age in which we live.
of no basic services and food shortages.”
“One of the most stimulating aspects of architecture
Maserow’s keen timing was fortunate. His ‘positioning’
is that, in designing buildings for different functions,
equally so, as he joined forces with some of the
we become familiar with the workings of those busi-
country’s most vibrant and dynamic developers in
the metro area of Johannesburg’s northern suburbs, nesses and industries. I have designed motor show-
which in particular included Sandton. rooms, golf clubhouses and retirement villages. I
have spent valuable time with retailers anticipating
Adrian Maserow has been a member of The Institute how their centres will be supported. Hoteliers have
of South African Architects and the South African given me insight into their functionality. Through
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Much architecture has been a knee-jerk reaction to Our allies and friends are so important to our viability
the perceived market place conditions, resulting in a in this profession. But the danger that we sell out is
kind of prescription architecture seen as a universal always present. Our fragile egos could easily take us
pill that provides ‘cures’ for all situations. This is, of away from our centre, our inner strength.”
course, extremely limiting and disappointing and it
negates all that we are able to achieve.”
Sketching abstracts into reality
“But beyond that, the design responsibility of the archi-
tect is immense if we aim to leave a legacy of value. As a student of architecture, Maserow explored the
The poetic aspects of architecture inhabit the centre tools of architecture and the ability to compose
stage of society. We must design with inspiration buildings through drawing. The pen or pencil was
and it is our responsibility to shape our architectural his preferred medium for this exploration.
world with spaces and places of iconic merit. Life is
celebrated through architecture and the bringing of “Sketches have been a strong part of my life as an
inspired function and beauty to the physical world is architect. The BIC pen allows for the explorations and
the responsibility of the talented architect.” thinking processes that I use. Beauty is sought, ideas
are reconsidered and notions are revealed through
“Nevertheless, so many aspects of this demanding the workings and reworkings of lines on a page. This
profession can trip you in your attempts to run ahead. is where design starts and always tells its truth. I
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165 >
Presentations
Conceptual perspectives.
“Our clients are vital to our endeavour and the most
promising relationships evolve where the level of re-
spect and our joint mission is powerfully focused.”
We attempt to build environments that will exert a Sitting through the assessments of the chosen projects,
kind of ‘magic’ that lives well beyond the functional Maserow was reminded why he chose a career as a
experience and its obvious environment.” practising architect. From 730 entry submissions,
250 were singled out and presented to a esteemed
panel of adjudicators, representing the best of the
World Architectural Festival – best in the discipline.
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171 >
“It is often strangely exciting to travel. Away from your a simple question, but one that is problematic for
mother tongue, it is stimulating to be an alien in a foreign architects. Is the client the person who pays the fee, or
city, far from the routine of regular day-to-day life. Barce- is the client the end user (often someone entirely dif-
lona is a really exciting, passionate and promising city ferent)? Is the client, perhaps, society itself? Or, in
and it was a fantastic venue for this world forum. It is a respect of sustainability, is the client in fact the Earth?
magnet for people that enjoy its drive and humanity. Its The conclusion was that the ‘place’ was the client.
architecture has been recognised as a strong proponent
of the contemporary and the modern. This dizzy combi-
nation of the World Architectural Festival and the City The expression of identity and
of Barcelona was so outrageously appealing. I soaked the aspect of significance
up the architectural genius and excitement of our age,
much like a student would at the foot of his masters.” At this time in the planet’s history, it is the dominant
global economy that finds expression in the New
“As architects, we engage with each other with a know- Modernism. Westernisation has had a profound in-
ing recognition of our similar fates. Make friends fluence on the expression of the built form, and it inevi-
with an architect and you will likely meet someone who tably changes the nature of ‘the place’. The current
urges you to celebrate your day to day life. We also modernity is dominated by the Northern Atlantic
often share the view that our age is far too formulaic, cultures. It is symbolised in an outward looking,
too calculating, too careful and too inhibited perhaps modern ‘Coca Cola’ brand of architecture and much
to recognize the magnificence in which we live.” as it may be loathed by traditionalists, as Jencks
once noted: “The cultured Parisians loathed Eiffel’s
One of the most interesting discussions and debates grotesque iron tower, but it is now the emblem of
revolved around the question: Who is the client? It is France!”
Architects have a ‘duty of care’ to take issue with. The greatest purpose which gives us identity,” Maserow
matter of identity, although only partly to do with states.
architecture, is very personal. It has to do with who you
are, your sameness and your differences. Architects “For AMA Architects, architecture of merit is the phys-
all come from communities. They have a ‘collective ical expression of the dreams and ambitions of our
memory’. The world metropolis absorbs the mix of society. We design buildings to attract people to them
cultures. This is signified in the contemporary archi- – our cities must speak to us of community, technology,
tecture which we subscribe to.. materiality and the hope of its people and its spaces in
the African light. We design public spaces and private
People are alive to a popular admiration of modern spaces, some with largesse and some intimate. But
architecture. Interestingly, technology goes side by the ultimate responsibility of the architect is the Art of
side with capitalism. It homogenises function and, Architecture, which must function at an optimal level.
therefore, design. Architecture concentrates on what We attempt to build environments that will exert a
is important to people, and thereby finds its signifi- kind of ‘magic’ that lives well beyond the functional
cance. experience and its obvious environment. Through
this, we find meaning and memory in our architec-
“In the end, I identify with Ken Yang’s philosophy that ture. Our architecture talks to a greater purpose – it
states that ‘giving pleasure is one of the most impor- provides an uplifting and human framework for our
tant aspects of architecture’. For me, it’s the sensibility cities,” Maserow concludes.
of the contemporary mind that seeks clarity of purpose
through form and art that most attracts me. I admire “We have learnt that the four pillars of our design work
incisive resolution and uphold architecture worked are embedded in the concept of significance, pres-
from a continuous flow of refinement of the mo- ence, materiality and emptiness. Architecture has the
ment. Our greatest goal is a process that is simulta- capacity to be inspiring, engaging and life-enhancing.
neously exhilarating and elusive, that moment of It is through this process of architectural exploration
recognition that holds the meaning of creation as its that we find our purpose.” <
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in Gauteng, Rustenburg, Century City in the Western Bentel Associates International. This new addition con-
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176 >
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Shaka Airport contract in KwaZulu Natal
AT THE CORE OF THIS FINE PROJECT
YOU WILL FIND RENNIKS
We Stand Tall
King Shaka
International Airport
>> Control Tower
KZN’S ECONOMY
SET TO TAKE OFF
By Bev Hermanson
DUBE TRADEPORT the import and export of high value goods by air to
and from KwaZulu Natal. The Support Zone has been
The siting of the new airport complements the develop- designed to cater to the corporate sector as well as
ment of the Dube TradePort, which is situated on the suppliers of services and tourist accommodation
2060 ha of land that is perfectly accessible by the two through the provision of offices, buildings, conference
major ports of Durban and Richards Bay and the rail and entertainment facilities, while the Agri Zone will
and road links with Gauteng. Wholly funded by the involve the cultivation of high value farming products
Kzn Department of Economic Development, the Dube for export.
TradePort is intended to be a world class freight logis-
tics facility that will be geared to attract a wide range of Anyone travelling by road between Johannesburg and
activities that will stimulate economic advancement in Durban will testify to the enormous volume of road
the region. freight traffic that uses the route daily. When com-
pleted, the Dube TradePort and the King Shaka Inter-
The Dube TradePort platform is split into three sections national Airport will alleviate the pressure on this
namely: Trade Zone, Agri Zone and Support Zone (joint route by facilitating that the more than 50 000 tons of
venture with ACSA). The Trade Zone, which includes the manufactured goods produced in the region will be air
cargo handling terminal at the airport, will stimulate freighted directly from the local airport in the future,
BAMBANANI INTERIOR
PROJECTS
A DIVISION OF ABBEYCON (PTY) LTD & CENTURION CEILINGS (PTY) LTD
rather than having to undergo the arduous transporta- management construction consultants, Turner Townsend,
tion to Gauteng for airfreighting from the Highveld air- and Indiza, led by Grinaker and LTA. When the latter was
ports. The new cargo terminal at King Shaka, in fact, will disqualified for failing to meet certain tender require-
have the capacity to handle over 100 000 tons of cargo ments, an appeal was lodged at the Pietermaritzburg
per year, thereby allowing for considerable growth in High Court, but was subsequently dismissed, leaving
the future. the path clear for Ilembe to continue.
noise pollution and increased traffic were important the swallows rarely fly as high as the aircraft and
considerations. their main activities in the area are 30 minutes before
dusk and just before dawn. Two solutions were found
However, the assessments also revealed a possible to allow the birds and the airport to co-exist. Firstly,
threat to the bird population in the vicinity, in particular the flight schedulers will take these critical times into
the 3 million barn swallows that migrate every year account and plan around them, to avoid unnecessary
from Europe to roost in an area close to the airport. risk to the air carriers and secondly, a special bird
Known as the Mount Moreland Reedbed, this site is in detection radar system has been instituted by ACSA
the flight path of aircraft that will be using the airport. to monitor the movements of the birds. The added
Concerns raised not only included the possible dis- bonus is that this system is able to detect the pres-
turbance of the bird colony on the ground, but also ence of bats at night, as well. This will be the first
the possible hazard of birds in flight putting aircraft time in the world that a system of this kind, which will
safety at risk. be integrated into the operational procedures of the
airport, will be utilised in South Africa.
Whilst the idea of bird strikes is alarming, this is a hazard
that is regularly encountered by all airports worldwide. The noise pollution and fuel transportation to the
From the intensive research conducted by ACSA and new airport site were also issued with a positive re-
the Mt. Mooreland community, it was discovered that cord of decision.
DESIGN OF THE AIRPORT the co-ordination as well as the design of the passen-
ger terminal building and the retail facilities.
As with the building of the Gautrain and the 2010 stadia,
the architects and engineers travelled to many coun- “An airport in its entirety is a machine and all of the dif-
tries looking for lessons that needed to be learnt. For ferent parts are equally important to ensure that the
the King Shaka Airport, the opportunity to plan a airport functions efficiently,” says Utria of the split of
building that was to be built from scratch was most responsibilities. Certainly, as a mere passenger, it is dif-
welcome as the provision for expansion was an auto- ficult to understand everything that is involved in the
matic part of the initial plan. running of such a large facility. This is indeed why air-
ports take such a long time in the planning process.
“It’s in the expansion that most existing airports have “Durban Airport took 30 years to completion once the
suffered enormous growing pains,” comments Victor site was identified. Heathrow’s Terminal 5 took 40 years
Utria of Osmond Lange Architects. “No one predicted to completion. In that time, one hopes that air travel,
the extent of the future demand and how passenger as one knows it, hasn’t changed too dramatically.”
volumes would exert so much pressure on the facili-
ties. It was interesting to see that, although they all KING SHAKA INTERNATIONAL
have to perform exactly the same functions, no two
AIRPORT TIMELINES
airports are the same. With the planning of the King
Shaka International Airport, we had the luxury of be-
6 June 2007 R 7.2bn design & construc-
ing able to plan for expansion in an orderly fashion. tion contract awarded to
That being said, there is no way of knowing how the Ilembe Consortium
changes in technology will take airport design off
23 August 2007 Positive EIA (environmental
onto a different tangent in the future.” impact assessment) record
of decision (ROD) issued
Due to the sheer size of the project, the design respon-
30 September 2007 Ground breaking ceremony
sibilities were split amongst the five design firms in the
31 August 2007 Site work commenced
consortium. Durban-based NSM Designs were tasked
30 September 2008 Control Tower topped out
with the planning for the cargo terminal, while Ruben
Reddy Architects handled the passenger terminal airside 30 June 2009 Terminal Building topped
out
corridor, the cooling towers complex and the external
urban fabric that encompassed the roads, parking areas 30 October 2009 Runway will be completed
and pedestrian walkways. Mthulisi Msimang Architects First quarter 2010 Durban International
from Pietermaritzburg handled the multi-storey parkade Airport, will be decommis-
and office building, while Shabangu Architects from sioned. New International
Airport will be commis-
Johannesburg was responsible for the car rental facili-
sioned
ties, the control tower and most of the support build-
ings. Osmond Lange Architects & Planners handled 29 April 2010 Contractual completion
194 >
MATERIALS USED
Materials Quantity Equivalent to
Runway & taxiway pavements 400 000 m2 100 Soccer pitches
Terminal Building footprint 35 000 m 2
9 Soccer pitches
Terminal floor area 103 000 m2 27 Soccer pitches
Earth to be moved 5.8 Million m2 2,500 Olympic swimming pools
Concrete to be poured 100 000 m 2
50 Olympic swimming pools
Structural steel to be erected 4 700 tonnes ½ the Eiffel Tower
Asphalt 230 000 tonnes 35 km of 4 lane highway
Electrical cabling 700 km From Durban to East London
Tarice Trading (Pty) Ltd, trading as Vusi Afrika, is a 100% female-owned Construction
Company founded in 1999 by MS Nonceba Duma to provide a holistic approach to the
construction of projects. The company provides state-of-the-art project management,
quantity surveying, civil and electrical engineering services to both private and public
sector. Tarice Trading’s competitive advantage results from effective teamwork, which
significantly enhances its ability to deliver good quality projects timeously and within
budget. The company is located in the heartland of Durban but is well positioned nationally
through its allies should the need arises to form such partnerships.
Tarice Trading engages the services of the local communities in line with the Government’s
Broad-Based Economic Empowerment strategies.
The area is freely accessible to all users of the airport. Local access roads will allow for ingress and egress to
Pedestrian and vehicle movements are guided and man- the staff parking, open parking, multi-storey parkade,
aged by ACSA with the support of eThekweni Metro Police. car rental, and drop-off and pick-up areas.
198 >
Pick–up and Drop–off Areas A conscious effort has been made to minimise conflict
between pedestrians, buildings and vehicles through
The pick-up areas are situated at grade, alongside the the development of a ‘pedestrian sensitive’ traffic
piazza, with separate provision for private vehicles and routing plan. Where conflicts are large and unavoidable,
public transport. The drop-off area is situated on the grade separation of vehicle and pedestrian movements
elevated roadway, outside the Departures Hall at the has been provided.
terminal building.
Terminal
Public Transport Immediate focus at the new International Airport is
inevitably the terminal building, with its impressive
Public transport facilities have been provided within the
150-metre roof span. Considering that the new air-
precinct and cater for both bus and taxi demands.
port is almost triple the size of the old airport, it is here
that the majority of the airport staff will spend their
Pedestrian Circulation time, and it is where all passengers and the people
who transport, meet and greet them, congregate.
Pedestrian movement within the development area is
catered for through the provision of sidewalks where The building incorporates the very latest design concepts
significant numbers of pedestrians are anticipated. to make the working environment as effective as possible
200 >
and to make a passenger’s movement through the neces- This area includes the passenger holding lounges and
sary processes from arrival (either from land or air) to de- allows access to the apron area, where aircraft are parked
parture (air or land) as smooth and pleasant as possible. and serviced. Passengers with a valid boarding pass
are restricted to specific areas within the general ‘air-
The terminal is clearly demarcated between those ar- side’.
eas freely accessible to the general public, through to
security checkpoints. From there, either a boarding People with a valid security permit are only allowed
pass or security permit is required for access. access to those areas specified on their permit.
In mid-2008, there were 2 100 contractors and sub- The initial airport capacity will allow for 7.5 million
contractors on site along with 200 earth-moving ma- passengers a year with opportunities for significant
chines. In October 2009, 7 732 people worked on site. expansion, should it be required (figures are projected
at 45 million passengers by 2060).
Courier and parcel facility
Aircraft stands on the apron
There will be an international courier and parcel facility
designed to handle 1000 bags/parcels per hour in and The passenger terminal will initially have 18 Passenger
out, as well as a local parcel and courier facility designed aircraft stands and by 2060, there will be parking space
to handle 400 bags/parcels per hour in and out. on the apron for 96 aircraft.
Operating Nationally - Factories in:
Johannesburg; Cape Town; Port Elizabeth & Durban
International Airport
The runway is 3.7 km x 60 metres wide and will be This includes platforms for future development of
able to will accommodate the latest New Generation conference, hotel and entertainment facilities which
Large Aircraft (NGLA) including the Airbus A380, with will be a joint venture between ACSA and DTP.
space to expand to 4 km.
Fuel
The runway and 10 taxiways cover 400, 000² and re-
quired 230,000t of asphalt to complete (the equivalent
The fuel farm is equipped with four fuel tanks. The fuel
of 35km of a four-lane highway).
will be brought by truck from the refinery located near
the existing airport.
Cargo building
Suppliers of airconditioning to
King Shaka International Airport, La Mercy
Recent Projects
>> King Shaka International Airport
>> Nelson Mandela Stadium, Port Elizabeth
>> Ethekwini Hospital
>> Westville Prison Joint venture
>> Empangeni Hospital
>> Durban ICC
>> Pavilion Shopping Centre
>> Suncoast Casino Joint Venture
>> Pearls, Umhlanga
TEL: 27 31 569 2964 - FAX: 27 31 569 2966 - MOBILE: 083 775 8345
EMAIL: lionelr@tekweniair.co.za WEBSITE: www.tekweniair.co.za
209 >
ACSA. This programme involved testing the various com- what the Durban International Airport was able to cope
ponents of airport operations including flight data, with and the new facilities.
passenger handling, check-in and boarding processes,
baggage screening and the like. Comparisons of Durban International Airport to
King Shaka International Airport
The daunting but exciting task of relocating the airport
‘overnight’ to the new site will be the final phase of the
Areas Durban KingShaka
operation. Behind the scenes, a team headed by Bongiwe
Pityi (AGM Airport Operations) for ACSA, is working along Runway 2.4 kms 3.7 kms
with a team of local and international consultants, to Terminal Area 30 000 m2 103 000 m2
make this a reality. Air Bridges None 12
Public Parking 2490 6500
Pityi explained, “The plan is that on 30 April the last
aircraft will land at DIA and, after the passengers have Retail Space 2900 m2 6500 m2
left the airport, those aircraft will be relocated to the Aircraft Parking
24 34
new airport. The equipment and resources will be re- Bays
located for most of that previous week, with the balance Lifts 11 25
moved overnight on 30 April into the early hours of 1 May.
Escalators None 12
Fortunately, with 1 May being a Saturday, it is rela-
tively quieter from an operational perspective. On Passenger
4.4 million pa 7.5 million pa
this day, the new airport will commence operations.” numbers
Check in
52 75
counters
DECOMMISSIONING THE OLD
AIRPORT Retail outlets 14 50
Car rentals 8 10
Once the new airport is fully operational, the current
airport will be decommissioned as an airport and all “Although air travel has an element of fantasy sur-
aviation business will then be relocated and conduct- rounding it, flying is generally stressful,” says Utria.
ed at the new airport. This basically means that all “One of the ways of reducing the stress is through
scheduled aircraft; domestic and international, will facilitating ease of access and efficient processes. A
be operating from the new airport from 1 May 2010. world class facility of this quality has been long over-
due in the region and the opening of the new airport
The current airport, once decommissioned as an airport, will have great benefits for Durban and KwaZulu Natal.”
will be disposed of according to a decision that will be
made by a task team consisting of ACSA, Dti, National/ Considering the vastly improved facilities, compared with
Provincial Government and eThekwini Municipality. the old airport, this can only bode well for the future. <
SETTING
HIGH
STANDAR
FOR THE D
OF TOMOR
211 >
DS
DAY
RROW
BySunéStassen
212 >
D > Where do you find inspiration for the work you do?
D > Tell us more about the founding days of IMISO. What was
the original concept behind this business and where and how
did you find the rest of the team?
D > Over to you Zizipho – I know that you are first and foremost
a textile designer. How did you become part of the IMISO team?
D > Are you still producing any textiles or do you only focus on
ceramics today?
PLUSH
TOYS, A PHD,
BIO-MIMICRY
AND THE
MACABRE
By Anri Theron
TvS > It’s not so much the meaning but the type of
name that reflects my personality. Tempest is an
unusual name meaning people misspell it; think I’m
a man or that I’ve just made it up. I seem to have a
knack for picking ‘the road not taken’ in all aspects
of my life and making things difficult for myself.
219 >
Benign/Malignant (2009)
shows my love of craft
and reflects the theme of
my PhD research which
involves the spread of
cancer. This piece was a
finalist in Sasol New
Signatures 2009.
The Dirty Mind of Young Sally (2007) Cloud Factory (2008) is my entry for
was a winner of the Biblioteq Dotmatic the Mingo Lamberti t-shirt design
competition. The idea was to create a competition. As a winner my design
design using circular stickers of only five was made into limited edition t-shirts
different sizes and colours. for their Far Far Away range, inspired
by the places we visit in our
imagination.
221 >
D > What is your day job or are you a D > You are only 24 years old but you
full-time student at Imperial College have already achieved a lot in life. How
in London? do you see your future evolving?
TvS > Doing a PhD at Imperial College TvS > After my doctorate I’ll be in the
London is definitely a full-time job. In unique position of having three engi-
2007 I decided to commit to making neering degrees and a large art and
time for art and design by branding design portfolio. I’m sure I’ll be able to
my creative output ‘Ellomennopee’. put my distinctive skills to good use.
Since then I have steadily built up my Increasingly people are recognising
portfolio despite being a full-time the value of creativity in engineering
engineering student, which I will and fostering interesting collabora-
continue doing. tions, such as Fabric of Life, which
teams Nobel Prize-winning scientists
D > How do you marry the worlds of with top textile designers.
engineering with design and art? What
are the overlaps? D > Where is your range of Ellomen-
nopee plush toys sold and who is your
TvS > The two combine more subtly intended target audience? Where are
in that both require creative problem they manufactured and what vol-
solving, whether mathematical or umes are produced?
visual. Engineering is more creative
than people might think: especially TvS > The last of my plush toys is being
when faced with financial and environ- sold at +27 Design Café in Pretoria,
mental constraints. Because of the though I’m likely to start a new range to
incredible growth in technology, engi- sell in London. My target audience is
neering has entered the realm of imagi- people who want access to affordable
nation and science fiction, such as art and favour the handmade over the
research into tiny nano-robots that mass produced. When I buy handmade
swim in our veins or smart clothing I feel a certain connection to the artist
which makes us invisible. I think the because I own a product of their time
analytical engineering approach is and imagination. I make everything
also practical in art and design espe- myself and produce maximum five of
cially where a brief is involved. Be- each range, as that’s when I get bored.
fore I start an artwork I evaluate my Each toy has a piece of me in it, some-
constraints, such as the limits of the times quite literally with a stray hair or
material I’m going to use and more. perhaps a drop of blood from a sewing
accident!
222 >
™
PAINTERTAINMENT
THE ART OF
Artjammers are provided with a menu of 12 different Southern Ink Xposure International Tattoo Convention,
sized canvases, easels, a choice of non-toxic acrylic the biggest tattoo event held on African soil and in
paints on tap, brushes and tools to freely express the Southern Hemisphere. The AFE is a collaborative
themselves. art demonstration where some of the world’s most
accomplished tattoo artists, including Paul Booth,
Already a hugely successful worldwide phenomenon, worked together on three extra-large canvasses. The
Artjamming™ was launched at the end of July 2008 canvasses, donated by Artjamming™, was auctioned
in South Africa by local fashion and textile importers off at the convention and proceeds were donated to
and distributors, Ralph Israel and his daughter Leora MaAfrika Tikkun, a non-governmental non-profit organ-
Israel. This amazing concept was discovered on one isation that works toward the transformation of South
of Leora’s trips to the Far East and after extensive African communities by caring for vulnerable children
research she realised the need for this kind of activity, and orphans in townships.
amusement and distraction from everyday stress.
The Israels decided to bring Artjamming™ to Cape Another event they were involved with, in April 2009,
Town first and have also acquired the sole rights for was the Urban Art Write on Africa Mural Fund campaign.
South Africa. The first studio was opened at the Six of South Africa’s top local urban artists, including
trendy Wembley Square Shopping Mall in Gardens and internationally recognised Faith47, Mak1one and
since then it has become so popular that another Senyol, created rare works of art which were offered
studio opened in November 2009 at the unique life- for auction to raise funds for Write on Africa, an or-
style shopping centre, the Cape Quarter. The first ganisation that aims to create inspiration in the form
Gauteng studio opened on 1 February at the Bluebird of murals for the youth to encourage social uplift-
destination shopping centre in Birnam, Illovo. ment within underprivileged communities.
Artjammers are not given instructions or classes, and In July 2009 they facilitated a teambuilding session
no drawing or painting skills are required, but for those for the BestCities Client Imbizo, hosted by the Cape
who would like a helping hand or some inspiration, Town & Western Cape Convention Bureau (Cape Town
there are qualified artists at the studios to assist. Routes Unlimited), an important platform that con-
verged significant association meetings representa-
For young artists, art students and art enthusiasts tives, managers and sales officials from the BestCities
Artjamming™ is a great resource, not only for the Global Alliance of convention bureaux with repre-
various art materials available for sale, but also be- sentatives from cities including Copenhagen, Dubai,
cause for as little as R95.00 you can create your own Edinburgh, Melbourne, San Juan, Singapore and
art piece without having to carry the cost of buying Vancouver.
expensive materials needed for projects, exams or
portfolio examples. Artjamming™ also hosts birthday parties, team
building parties, corporate events, school holiday
Artjamming™ has been involved with many innovative programmes, tuition, exhibitions and more.
projects like hosting the first ArtFusion Experiment
(AFE) in South Africa in January 2009 as part of the For more information, visit www.artjamming.co.za <
226 >
A STAPLE
FOOD FOR
CREATIVITY
By Suné stassen
227 >
Nestled amongst beautiful oaks at the Montebello durable, functional goods that make the world
Design Centre in Newlands, Cape Town, you will a better place.”
find the attic that is home to one of the Mielie
workshops. An abundance of bold colours, tex- “As consumers we should also insist to know
tures, shapes and sizes greet the visitor – a positive, the story behind every product that we buy.
energetic and tactile environment that touches Sometimes the materials used to produce some
every sense. of these products are dangerous to people or the
environment. Most of the time a lot of labourers
This creative and sustainable enterprise has grown are slaving away in producing these products and
from a tiny idea in 2002 to a well-established and are most likely not compensated accordingly.
viable business that currently employs about As consumers we should try and be informed
50 people. It has always been Mielie’s mission to and make a definite stand against such products
produce innovative, export-quality handcrafted by not buying them.”
products made from reclaimed materials. It is not
only about job creation and beautifully crafted According to Shultz she is totally unqualified to
bold, tactile and fun products, but also about re- do her job as she has a BA in languages (German,
storing and sustaining the dignity and financial English and French) and honours in Journalism.
independence of others. She taught herself various graphic design pro-
grammes such as Illustrator, FreeHand and
Mielie is a good example of an enterprise that PhotoShop and freelanced as a graphic designer.
has its business sense and soul in the right place. “I had no prior experience in running a business.”
According to Adri Shultz, Mielie has three major
passions: “We are passionate about job creation, Suné Stassen, one of DESIGN>‘s contributing
our planet and about design. Our structure also editors, interviews Adri Shultz, founder of Mielie.
allows our crafters to work from home.”
D > Tell us about choosing ‘Mielie’ as your brand
In the current economic climate Shultz feels that name – an Afrikaans name for a global retail
“it is the challenge of the designer to harness his environment.
/her creativity to make the world a better place”.
“In South Africa, especially, we have our work AS > Well, I am Afrikaans, and my mission is to
cut out for us. We need to find innovative solu- help people to put food on the table. In most
tions to the housing crisis. We need to design South African households, that food is a mielie
228 >
in one form or another. Our woven products weavers. We have also done a couple of big
also have the texture of a mielie (corn), so the commissions for large corporates, including a
name just seemed right. wall hanging for BP’s headquarters at the Wa-
terfront in Cape Town. Yett, I get the biggest thrill
It hasn’t really been a problem having an Afri- from receiving emails from customers who
kaans name to sell the products internationally, love their Mielie bag, and also from watching
because it makes for an interesting story and our crafters grow and play a meaningful roll in
these days more people are drawn to products their own communities.
with an interesting background.
I heard last month that I have been selected
D > Explain the special weaving technique that as an “accelerator entrepreneur” by Endeavor,
signifies the Mielie products. an international organisation that “identifies
and supports high impact entrepreneurs in
AS > Even though Africa has a very strong weav- developing countries.” This is a great honour,
ing tradition the hooked rug weaving tech- and it’s going to be wonderful for us to benefit
nique does not originate in Africa. To be honest, from their support.
we taught each other and made up the visual
language as we went along. Often when we I measure Mielie’s success in the number of
came across challenges we had to do an attitude jobs created, and also growing each one of those
somersault and turn the challenge into some- people to their full potential. Several crafters
thing desirable. that first started as weavers now work in our
shop or in our office and as managers of other
To give you an example, working with recycled crafters.
materials means that we are not in charge of
the colours that the world throws away. For this D > Who is the ‘Mielie’ consumer?
reason we developed colour ways that give us
more flexibility. For instance a bag in “lagoon” AS > Our customers are mostly women. A confi-
could contain greens, limes, turquoises, blues, dent dresser and home decorator, she cares
and more. Also, we don’t use templates – every about the story behind the products she buys.
single crafter draws her own design – and every She is prepared to pay a premium for products
crafter’s weaving texture is different, much that have been produced according to envi-
like knitting or handwriting. This means that we ronmentally and socially sound principles.
can confidently say that every bag we make is She believes that it is possible for one person
unique. (We also need to be strict about the to change the world. She is well educated and
quality, though.) informed and knows how to use technology to
inform others.
D > Tell us about some ‘Mielie’ highlights and
how you measure the success of your business. D > How do you get in touch with the needs of
your consumers?
AS > We participated in an international textile
exhibition in Finland earlier this year. I was AS > Having a shop is great because we get
lucky enough to attend the exhibition with instant feedback. We also have a good relation-
Zanele Sinuka, one of Mielie’s most talented ship with our distributors and welcome ideas and
229 >
231 >
A NARRATIVE GENIUS
By Jacques Lange
he says: “I believe in forming col- models who I believed to epitomise have built up a strong email data-
laborative relationships with other my direction at that particular point base in the process.”
creatives. The people I work with in time. I like to work with a handful
from one collection to the next may of models – whether professional Louw launched his latest collection
often change, or stay the same or not – and develop each collection in February at the Design Indaba
depending on the direction of my around them. I have been fortunate 2010. He says: “I didn’t want to
work. I think this approach will to develop images for projects since work with a particular theme other
give me work longevity.” then. Some with more success than than focusing on the garment con-
others, but in the long run, I see it as struction and colour palette for this
The Stiaan Louw collections are an opportunity to explore the pos- collection. It is stripped down, clean
mainly sold at exclusive outlets in sibilities of the brand and shift and much ‘softer’ in approach to
Cape Town and Johannesburg but perception.”
my previous collections. Although
he also has a large client base with I still focus on a monochromatic
whom he communicates via email Louw also opts to use online social
design approach, I have started
and who visits his studio regularly. media such as Facebook, Twitter,
mixing more colours together and
He says: “I think my target audience Issuu and Flickr as the primary media
moved away from using the amount
has become quite diverse and I channels for marketing his label
of black I have in previous collec-
am interested to see how this will rather than traditional media chan-
tions.”
influence my design approach in nels. He says: “I find that my target
the future. All the clothes are pro- market is online daily, whether it
Stiaan Louw is a gentle character
duced in-house. I am still keeping is through their profession – as most
it quite contained and focused, as of them have careers in creative with a wildly curly hairstyle and
I believe in growing slowly and fields – and they use these social massive smile whose friends know
understanding the market you utilities for research or social pur- his boisterous peals of laughter,
are dealing with properly.” poses. It made sense for me to go yet in the fashion industry he is
to them directly and with instant often shy and somewhat reclusive.
Likewise, Louw personally over- effect as opposed to following tra- Yet, for those who know him, and
sees the creative direction of the ditional media, which takes longer those he trusts, he is an articulate
Stiaan Louw marketing campaigns. to reach a target audience.” Louw and intelligent thinker who believes
He says: “I did my first campaign also says that he uses online social that his work should speak for itself
early last year with photographer media to do research related to cus- and that the designer behind it is
Brett Rubin. It was titled ‘Next tomer profiling: ‘It definitely makes not the brand... What a refreshing
Generation’ and featured three the brand more accessible and we thought in an ego-driven industry. <
240 >
In the café, which is owned by free condoms has been mixed, with are empty. I don’t care if the con-
former Miss Ethiopia Hayat Ahmed, older patrons tending to disapprove, doms are used behind closed doors
each order of coffee comes with a and younger ones sometimes en- or in public – as long as many people
packet of Sensation condoms, thusiastically asking for a second use them.”
served in Sensation cups by staff packet.
wearing Sensation T-shirts. “I Ethiopia’s HIV prevalence is estimat-
wanted to link business with a mes- “We have had young people come ed at 2% among sexually active
sage for sexually active people,” in and ask if it’s true that we actu- people aged 15 to 49. According
said Ahmed. “I am the brand am- ally give free condoms,” said one to a report by the Federal HIV/AIDS
bassador for Sensation condoms waiter. “When we say, ‘Yes’, their Prevention and Control Office, be-
in Ethiopia, and I want to spread the faces brighten up and they quickly tween 2000 and 2005 condom use
message that condoms can pro- order. But we have also had people among males increased from 30.3%
tect you from HIV/AIDS.” Her face who are shocked when we bring to 51.9%, and among females
adorns billboards and she regu- the bill with a condom, some saying from 13.4% to 23.6%. According
larly promotes condom use on we are promoting immorality.” to Ethiopian government data,
Ethiopia’s only television station. 50% of public sector institutions
“When I walk down the road even Ahmed intends to open more cafés and 20% of private businesses
children recognise me,” she said. in the capital and other towns, have mainstreamed HIV/AIDS
“But they do not call me Hayat; and continue promoting various prevention in their operational
they call me Sensation.” anti-HIV strategies, including ab- policies. <
stinence and faithfulness. She
Coffee is widely thought to have plans expand the condom bars con-
originated in Ethiopia, where it is cept to other African countries. “A lot Republished courtesy of IrinPlus
extremely popular. Ahmed’s café, of people in Ethiopia are ashamed News & MediaClubSouthAfrica.com
modelled on condom bars in Asia, of talking about or using condoms,”
managed to hand out almost 900 she said. “Yet some companies put
condoms within two days of condoms in their toilets and when
opening its doors. Reaction to the you go to look, each day, the boxes
242 >
Seoul’s WDC 2010 programmes are geared to encourage citizen participation among all age groups.
A PERFECT EXAMPLE OF
DESIGN THINKING: WORLD
DESIGN CAPITAL 2010
243 >
“Seoul’s approach to design and their designation as Seoul was named World Design Capital 2010 two years
the World Design Capital 2010 constitutes a perfect ago. This biannual designation, run by Icsid on behalf
example of design thinking.” This was the impression of the International Design Alliance (IDA), started off
of Adrienne Viljoen, manager of the SABS Design with Torino, Italy being the WDC in 2008. Helsinki
Institute on her return Seoul, South Korea in February. has already won the bid for WDC in 2012. The aim is
to identify and recognise cities that have effectively
Viljoen visited the city in her capacity as member of the
used design to revive the city and improve the quality
International Advisory Committee of the 2010 Seoul
of life of its citizens. The WDC designation promotes
World Design Capital (WDC) of the International Council
the importance of good design in strengthening and
of Societies of Industrial Design (Icsid).
empowering cities to use the totality of design disci-
plines to position their competitive advantages from
According to Viljoen Seoul has been able to marry the a social, cultural and economic point of view.
old with the new and move it into the future when it
comes to design. “Nothing in Seoul’s approach to its Major projects currently in development for WDC Seoul
Design Capital status happens in isolation – it all 2010 include the Seoul World City Design Summit, de-
forms part of a greater whole,” says Viljoen. sign fairs; construction of the Dongdaemun Design
244 >
The official identity for the WDC 2010. Cover of the WDC 2010 Guide Book.
Plaza & Park, U-Design International Competition, the programme that Seoul plans to host in 2010. Visit the
city’s participation in the IDA World Design Report, a official website at http://wdc2010.seoul.go.kr/eng/
Youth Design Creative Camp, as well as initiatives
to encourage citizen participation in WDC projects. Seoul Mayor Oh Se-hoon, in his acceptance speech de-
Yet these are just a few examples of the jam-packed clared, “Design is a growth driver of the Seoul economy.
245 >
We have surprised the world with the ‘Miracle of the Design Capital 2010, the city will be able to breathe
Han River’ and advancements in the IT sector. Now we creative energy into the design industry and reinvent
would like to bring global attention to Seoul with itself into a globally recognised city of design. It will
strong design.” Oh expressed high hopes for the city’s also be able to collaborate with other cities in the
future and added: “With Seoul’s designation as World world to communicate through design. Seoul will send
246 >
Seoul has been able to marry the old with the new and move it into the future when it comes to design.
Children’s Day (May 5, 2010), the children’s design advanced cities. The WDC title will also strengthen
creativity camp will allow children to experience design the brand value of Seoul while further boosting the
and have fun, while, throughout 2010, competitions and Republic of Korea’s national standing.
events will be held via the Internet promoting the WDC.
Oh sees that the efficacy of design is not limited to
making a city pleasant, convenient and safe but is an
More than just a title essential tool to a city’s survival in the 21st century.
Throughout 2010, the Seoul Metropolitan Govern-
According to Mayor Oh, this city constitutes 40% of ment is planning to create jobs, cultivate the design
South Korea’s population and that there are definite industry, strengthen the competitiveness of the City
objectives involved with the WDC title in 2010 that of Seoul, and further improve the happiness index
would benefit the whole of South Korea. He envis- of people’s lives through design. <
ages that the various programmes and events will
improve the city’s image and will enable Seoul to All images courtesy of the Seoul Metropolitan
anchor its foundation to compete with internationally Government.
AN ARTWORKER
OPERATING IN A
MULTIDISCIPLINARY
Chenette Swanepoel is a multi-talented creative
professional who comfortably traverses the worlds of
fine art, design, education and business. A fine arts
WORLD
graduate from the University of Pretoria in 1992,
specialising in painting, Chenette has since immersed
herself in a multi-disciplinary world where she has
been working as an artist participating in group
exhibitions, contributing to private and corporate
collections and executing commissioned works, while
also pursuing a parallel career in design.
253 >
D > You studied fine arts. How did you end up practicing design
as your primary profession?
D > What unique skills have your fine arts training brought you
as a practicing designer?
D > Your work spans several design disciplines. Can you tell us more
about how you integrate your multidisciplinary practices?
CS > My core skill is a mode of thinking and not a craft. When I engage
with a problem, be it designing a chair, constructing spatial narratives
or producing corporate identities, the creative approach remains the
same. Although I consider my thinking as specialised, the application
is diverse.
D > How does your design career impact on your profile as a fine
artist and how do you juggle the roles? Are there ever conflicts?
CS > Yes. A lot of my work is the result of interrogating the brief and
redefining the problem which in turn increases opportunities for
my creative involvement.
D > You have been teaching design for many years. Do you have
a unique teaching methodology and what pedagogical focus areas
are most important to you?
Babette’s feast exhibition, 2009, Artspace, Johannesburg.
Paris, New York and London. Illustrations for Conde Nast travel supplement.
257 >
D > You are known to be quite a strict and demanding lecturer. Why
is discipline important to you?
CS > John Rohn said it best: “Affirmation without discipline is the be-
ginning of delusion.”
D > What areas are lacking in tertiary design training and what are
the future opportunities and challenges that we need to address?
CS > Yes, the academic realm imparts a certain critical sensibility but
it is constant exposure to new emerging trends and subcultures that
stimulates creativity.
CS > The near future involves going back in time since my next project
involves African dinosaurs from the Mesozoic era. I will be designing
all the visual material for an exhibition at Transvaal Museum titled
Mesozoic Monsters. <
259 >
Research & 01 > S IGRADI Conference 2010: Call for Abstracts (International)
Journalism 15 > IIDEX/NEOCON CANADA 2010 (International)
Architecture, Interior
03 > 2 010 Chicago Prize Competition: Mine the Gap (International)
Design & Built
12 > A IAS Livable Communities (International)
Environment
Fashion & Jewellery 01 > Fashion Illustration Contest by Marie Claire & IED Barcelona (International)
01 > E lectrolux Design Lab 2010: The Second Space Age (International)
07 > S ABS Design Institute Design Excellence Awards 2010 (South Africa)
Industrial Design 11 > M INI Product Design Competition for the Centre Rail in the New MINI Countryman
(International)
18 > N okia’s Calling All Innovators contest (International)
Multidisciplinary 01 > O
ne Good Chair 2010 Design Competition: Minimum/Maximum (International)
17 > O pen Source House: Hundreds of Young Architects Worldwide Join Forces
Sustainability (International)
25 > T he Living Climate Change Video Challenge (International)
JUNE 2010 JULY 2010
07 > K
aohsiung Maritime Cultural & Popular 01 > B ali 2010: Marine Research Center
Music Center International Competition (International)
(International) 15 > ICARCH: A House for Anton Chekhov (USA)
15 > B
ali 2010: Marine Research Center (Intl)
01 > W
interhouse Awards for Design Writing & 30 > C
all for papers & proposals: Impact 7
Criticism (Regional) Intersections & Counterpoints (International)
30 > C
aesarstone Design Award: Icon to Earth’s
Wellbeing (International)
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