Professional Documents
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CONTENTS
THOUGHT LEADERS
26 > D
esign, a viable tool for social innovation? An
interview with William Drenttel
34 > S
umien Brink: A lifetime of creative multitasking
by a master of her craft
COMMUNICATION DESIGN
62 > Anton Sassenberg: The original design guerrilla
84 > D
esign currency: Icograda Design Week 2010,
Vancouver
94 > W
ho is Sean Metelerkamp? A guy with two
smooth ballas
BUILT ENVIRONMENT
104 > Decorex Joburg 2010: A five-day extravaganza
112 > Conversations on architecture
140 > D
HK Architects: One architectural firm, three
architectural designs
156 > M
oses Mabhida Stadium: Iconography through
architectural design
7>
255 > C
oral International Cape Town Hotel: Cape
Town, beaches and sand a perfect combination
DESIGN PROMOTION
262 > Social conscious design for a sustainable future
266 > Making sense of strategy and policy
INTELLECTUAL PROPERTY
270 > Rebranding: A few legal considerations
290 > K
udzanai Chuirai: A picture is worth a thousand
words
296 > B
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PASSIONATE & RO
MANTIC
CREDITS
PUBLISHER > CREATIVE DIRECTOR >
Cameron Bramley Jacques Lange
cameron@designmagazine.co.za
DESIGN & LAYOUT >
GROUP EDITOR > Bluprint Design
Jacques Lange
jacquesL@iafrica.com COVER ILLUSTRATION >
Sean Metelerkamp
CONTRIBUTORS >
Nina Briggs, Eben de Waal, Reggie Dlamini, PUBLISHED BY >
Jennie Fourie, Zelda Harrison, Bev Hermanson, DESIGN>MAGAZINE
Stacey Rowan, Leonard Shapiro, Suné Stassen, T: +27(0) 82 882 8124
Sasha Strauss, Anri Theron, Geoff Vreeken F: +27 (0) 86 678 8448
DISCLAIMER: No material may be reproduced in part or whole without the express permission of the
publisher. No responsibility will be accepted for unsolicited material. The publisher accepts no liability
of whatsoever nature arising out of or in connection with the contents of this publication. The pub-
lisher does not give any warranty as to the completeness or accuracy of its contents. The views and
opinions expressed in DESIGN>MAGAZINE are not necessarily those of the publisher, its endorsers,
sponsors or contributors.
quest for creative solutions
ABANA
development planning needs in an environmentally sensitive and
PREFACE
When I think of the word ‘current’, I also think of Some of you may remember the Decency edition
words like ‘flow’, ‘motion’, ‘lines’ and ‘between’. I am of DESIGN>MAGAZINE. That edition is as current
overwhelmed with pride that DESIGN>MAGAZINE then as it is now. I look forward to the new challenge
encapsulates the very movement with which life of DESIGN> presenting a new currency. I look forward
grows. Here at DESIGN> it’s about pioneering, be- to driving thought leadership with articles that never
ing innovative, flexible, everlasting and so much more. die and design that brings motion to our futures.
‘Current’ is the sum of our history, a history which
needs no library and no institution. It exists in our This preface is as current as your attempt to read
everyday lives and minds, continuing to push and it. Your desire to be current relies on whether you
grow our perceptions of a better life, a better design. are fascinated with change or not. Your current–cy
Our historical and current design inputs determine [sic] is, simply put, driven by design and your every
the future currencies and trends. As our current– day influences and choices are managed by your
cy [sic] grows into the future, our care for the planet consumerism. As consumers, we need to make the
and our children’s lives have become an emergent–cy right choices on what to accept. If our future is not
[sic]. As much as we grow in our creativities, we considered in our consumption, whether it be beau-
deplete our own existence; paradoxically we are tiful award-winning design or not, we are cutting
forcing ourselves to be better with less. off our own hands and those of our children’s. I am
certain that our need to preserve our planet and
Now it’s about going back to zero, going back to futures by consuming less, has now sparked a new
the basics of pioneering, innovation, flexibility, future currency. It’s exciting stuff.
ever-not-lasting and so much less. Our fight for ef-
ficiency has made us deficient, which will lead to Enjoy our 17th edition. <
new efficiency.
Cameron Bramley, Publisher
www.bowman.co.za
15 >
EDITOR’S
FOREWORD
This edition of DESIGN>MAGAZINE focuses on the clearer vision and facilitating social change. William
theme: Current. The term obviously has multiple Drettel expands on this and directs the focus to
meanings and our contributors explore a diversity the importance of developing the design discourse
of its interpretations. through journalism. Michael Bierut shares insights
into valuable lessons learnt while working on The
‘Current’ can mean: belonging to the present time; L!brary Initiative while Sasha Strauss examines our
being in progress; circulating; prevalent; flowing, relationships with brands and how they determine
steady, smooth onward movement; ebb and flow; our commercial choices. Sumien Brink talks about
a general tendency, movement, or course; a flow her life as one of Africa’s leading magazine editors
of electric charge, amongst others. and we also look at Anton Sassenberg’s colourful
career as a seminal publications designer. Archi-
We believe that our cover design illustrates these tect Mokena Makeka shares his ideas on humility
diverse issues most eloquently. The design is based design, while Strijdom van der Merwe explores
on a stick man drawing by Sean Metelerkamp, one mirrors of the human condition and delves into the
of the most innovative creatives of the current gen- complex world of entropy and landscape art.
eration who questions, pokes and provokes whilst
also being a master storyteller and provocateur. We also feature project reviews on three of the sports
stadiums that were custom built for the 2010 FIFA
In most of the articles featured in DESIGN> 17, con- World Cup as well as reviews on two refurbished
tributors focus on the interpretation of ‘ebb and stadia. Our Built Environment section also investi-
flow’ rather than what is currently ‘stylish and hip’. gates South Africa’s first building to receive Green
They address topics related to professional develop- Star accreditation – Nedbank Phase 2.
ment and the broad scope of social, environmental
and economic sustainability. Key concepts include These are just a few highlights from the 35 articles
design and humanism, design citizenship, designers featured in DESIGN>MAGAZINE 17.
as creators of beauty, humility design and thinking
through design. We wish you a great read! <
HARRY PEARCE’S
SCHIZOPHRENIC ROAD
By Zelda Harrison. Harry Pearce is a
man that prompts, pokes and pro-
vokes. His work touches many disci-
plines, from spatial design and identity
to print and packaging. In 1990 he co-
founded Lippa Pearce Design and in
2006 he joined Pentagram London as
a partner. He has designed for a broad
range of clients including Phaidon
Publishing, Williams F1, Kangol, Shake-
speare’s Globe, Saks Fifth Avenue, the
Science Museum and Boots, to name
just a few. To each he brought his own
brand of intelligence, elegance and
wit.
Conundrums.
Throughout his career Pearce has
been concerned with using design to
connect minds, enabling them to share
a different, clearer vision. Most nota-
bly is his work for Witness, the human
rights charity founded by musician
Peter Gabriel for which Pearce has
been the lead designer for many years RIGHT: Typographic Xmas cards. FAR RIGHT: Decipher Xmas card.
and also serves as a member of its
advisory board.
CONUNDRUMS
more than one thought at a time.” scientific subjects are debated, and
list of places within the building – able to decipher them you have to
it’s a written instruction on how to move inside and out.”
find where you want to go.”
“Again you can visit this place and
“This is a place of science. There is a never see or hear it all. It’s just a ghost
reception area where if you’ve come of conversations gone before…if
for a meeting you can wait. I wanted these walls could talk and I hope
this to be full of questions, questions they do!”
you could never answer. In a complete-
ly irreverent gesture I filled the seat-
ing area with rhetorical questions,
SYNCHRONICITY
hundreds of them. Yet, this is a place
where you are supposed to get the Synchronicity is another golden
answers. So no matter how any times thread that runs through Pierce’s work.
you visit this place you will never be Similar to the processes that the Sur-
able to find the answer.” realists and Dadaists followed, one
often finds that in Pierce’s work, seem-
D&AD poster.
LTR: Burma poster for Witness, Infantry poster for Witness and Making truth visible poster.
action. The Hub provides the oppor- In conclusion, we asked: How would
tunity for individuals, organisations, you define the essence of your work
networks and groups around the or even yourself? “Peter Gabriel did
world to bring their human rights it for me: ‘Working with Harry is a mix-
stories and campaigns to global atten- ture of great design and good Karma’,
tion – rather like a YouTube for human humanity and emotional truth.”
rights. To my mind it is one of the most
important human rights initiatives “Art, music and even buildings fre-
in recent history.” quently move their audiences but an
emotional reaction is rare in graphic
design. My hope is to create pieces
SELF-DEFINITION
of graphic design that have integrity
AND STYLE
and emotional clout.”
Much of Pierce’s work is powerful and
arresting. We asked: How you do “I also seek balance both between my
consistently realise such visceral, outer daily life and my inner world of
emotive communication? His re- the subconscious and between my
sponse: “I have spent my career on commercial and humanitarian work.
a relentless hunt to find the truth and For me, Witness is my balance, and my
to create as emotional an expression career has become a personal journey
of that truth as I can. For me the poster of self-discovery as I manage to fuse
I have recently designed for the Haiti my inner world, my interest in Jung
poster project in aid of Doctors With- and dreams with my work.” <
out Boarders comes as close to reach-
ing that point as I have ever been – it
is like a silent tear.”
26 >
DESIGN,
A VIABLE
TOOL FOR
SOCIAL
INNOVATION?
William Drenttel is a communication designer, Apart from practicing design as a primary day job,
publisher and industry leader who works from the Drenttel also actively engages in the fields of
picturesque mountains to the north of New York profession development and education. He is
City, USA. As a co-founder of Winterhouse, a niche president emeritus of AIGA, a senior faculty fellow
design studio that focuses on social innovation, at the Yale School of Management, and the editorial
director of the much-acclaimed Design Observer
online publishing and educational and cultural
and Change Observer, a leading Internet platform
institutions, Drenttel, with his wife and co-found-
focusing on design commentary and cultural obser-
er, Jessica Helfand, have opted to remain a small
vation.
operation and to collaborate with a select group
of clients and partners. For the past decade they
“Design Observer was started in 2002 and was a
have worked almost exclusively with universi-
personal passion and a hobby for a long time. With
ties, NGOs and non-profits. Even though their my partners Michael Bierut and Jessica Helfand,
operation might be small, their footprint is large we just kept on slogging away at publishing what
and Winterhouse now encompasses a studio, in- we considered to be great writing about design.
stitute, virtual publishing platform and citizen A few years later we woke up to the reality that
journalism initiatives, amongst others. we had managed to gather a huge audience, and
27 >
AN
INTERVIEW
WITH
WILLIAM
DRENTTEL By Zelda Harrison
suddenly we were being nominated for Webby design is simply that we do not have [enough]
Awards for best writing online with The New York real design journalism and criticism. Architecture
Times, The Guardian, The New Yorker and Wired has a history of theory and criticism – design does
recognising our work. Our success is simply that not. Design is talked about as a means to business
we stayed focused on the quality of the writing,” success, but there are few design case studies
says Drenttel. being taught in business schools. And now design
and design thinking are supposed to be the Holy
By staying true to the trio’s original focus, Design Grail for anything and everything. How often do
Observer has grown exponentially and has sub- you read about design failing, or design as an
sequently made a massive contribution to the devel- integrative part of larger processes – especially
opment of the design discourse. Today, Design as we realise the importance of sustainability and
Observer offers experienced and budding writers, possibilities for social innovation? Fundamentally
thinkers and theorists a vast virtual platform design is still in its childhood.”
where they can publish critical writing on design
and culture. Yet, Drenttel believes that it is only To further simulate the development of the design
the beginning: “A large issue facing both the de- discourse, Helfand and Drenttel initiated The
sign profession and the users and proponents of Winterhouse Writing Awards in 2006, under the
28 >
CONCLUDING THOUGHTS
A LIFETIME OF CREATIVE
MULTITASKING BY A
MASTER OF HER CRAFT
By Suné Stassen
UMIEN BRIN 35 >
36 >
37 >
At the tender age of 12 Sumien Brink fell in the production design of many world famous
love with the world of magazines while visiting ballets and operas, and Le Roux is an award-
Cosmopolitan’s Fashion
her then best friend, Andrea Bosch, who winning film and theatre designer who has
Directory March 1990.
showed her a copy of British Vogue. This was been responsible for the production design
a defining moment that led to Sumien pursuing of films like Fiela se Kind, Paljas, Soweto’s
a career in publishing, which took her on many Burning and Story of an African Farm, among
side roads before becoming one of the most others. One can only imagine what this trio
respected, innovative and multiple award win- got up to during those carefree student years.
ning editors in South Africa. As the current Sumien says that: “We did a couple of very
editorial director at New Media Publishing, wild and experimental productions and I must
VISI Spring 2001 & VISI Spring
editor-in-chief of VISI, Plascon COLOUR and say I’d love to collaborate with them again in
founding editor of South Africa’s leading food the future. Today we are still very good friends
magazine Woolworths TASTE, Sumien exem- but don’t see each other often enough.”
plifies the concept of inspiring leadership and
is known as a master of managing teamwork. After her studies Sumien gained extensive
experience as stylist at Fairlady and Sarie,
2002.
Like many other creatives, her road to success fashion editor at Huisgenoot, fashion director
was certainly the result of a colourful array of Cosmopolitan and editor of the bi-annual
of unique creative outlooks and approaches, Cosmopolitan Fashion Directory.
multi-fuel injected and applied during a life-
time of experiences and overwhelming pas- 1965 was the year when Jane Raphaely found-
sion for the creative industry in whatever ed Fairlady and in 1984 Jane Raphaely and
form, shape or palette. Associates, that published Cosmopolitan in
partnership with Nasionale Pers, were found-
Staring out in the 1970s, she had her heart set ed. Sumien continues, “Although I never
on a career in fashion, but due to the distance worked on the editorial team of Fairlady, I
VISI Spring 2002.
between Cape Town (then the epicenter of did some collaborative styling for their fashion
fashion design in South Africa) and her home- shoots with photographer Mike Donnelly.
town, White River in the then Eastern Transvaal, When Jane started Cosmopolitan she offered
her parents felt it would be more convenient me the position of fashion editor. To me she
for her to study at the University of Pretoria was a great inspiration and mentor.”
where she completed a BA Drama degree,
LTR: VISI Autumn 2004, Taste
specialising in costume and prop design. The Cosmopolitan Fashion Directory was a
brand extension of Cosmo. “We did some
Magazine, VISI 35.
It was during these years in Pretoria when really beautiful and different fashion shoots
classmates Sumien, Birrie le Roux and Johan for it. At the time it had to compete with the
Engels struck up a strong bond and lasting very fabulous Red magazine, which wasn’t
friendship. Engels, today is an internationally easy. But it was a lot of fun working on it”
acclaimed theatre designer responsible for says Sumien.
38 >
The playing field of the South Africa maga- is a project in Venda where local woman make
zine industry is very small in comparison to beautiful clay pots that are now sold in
its European, American or even Australian Woolworths stores. I believe that if the design
counterparts, yet, Sumien believes that “some is honest and pure it will certainly take flight
of our titles compare well if you consider and be able to travel,” says Sumien.
how much of our material gets syndicated
to magazines all over the world but some are When asked what parts of her working day
really below par. Still we all feed off global at New Media Publishers continue to put a
trends and adapt them to serve our local smile on her face she is quick to respond:
needs. That’s why we are forever attending “Working with such a creative team of course!
trend shows and seminars all over the It is for me an absolute pleasure and a huge
world. And of course… speaking of trends, if bonus. Oh and what an inspirational space!
there is one person in the business that I I just love New Media’s new building at 19
hugely respect then it is Li Edelkoort. I love Bree Street, Cape Town.”
her aesthetic and the fact that she keeps on
re-inventing herself.” Besides being admired by most as a very
successful pioneer in the publishing arena,
When discussing with Sumien the importance Sumien seems to have also succeeded in
of a country’s design identity she explains finding a balance between her career and
that in her opinion it is vital to develop such family life. “I’ve been very lucky to work on
an identity and that South Africa still has magnificent titles that I adore. Work for me
some way to go. “We must develop what is is an absolute pleasure but I do make a point
unique to us and not copy. We have been a of making time for family. It is a balancing act
nation of copiers for far too long. Events like really, but luckily that is a typical Libran trait,”
Design Indaba has shown us that design says Sumien.
can truly make a difference to many lives.
We need more of this in our country”. And just like some actors identify more with
one role than another, we were curious which
It is the norm for first world countries to feel magazine best aligns with her attributes as
responsible for the development of second and a person. “Lately it’s been food magazines,”
third world countries and almost becoming explains Sumien. “I enjoy Jamie Oliver’s
the provider in many fields of expertise, but magazine – Jamie for its tone of voice and
lately we are seeing more and more examples ‘realness’. And Fire & Knives, a magazine
of third world countries designing for the about food writing where all the contribu-
first world. “It is very exciting if first world tors do it for free”.
countries start embracing designs from its
third world counterparts. There are so many And her dream project? “I’d love to do a series
examples of products locally sourced that are of books on beautiful things – either design
marketed overseas. My favourite right now or food,” she concludes. <
42 >
JUXTAPOSING CULTU
IDENTITY WITH PROG
MOKENA MAKEKA SH
IDEAS ON HUMILITY
Mokena Makeka is one of the most colourful person-
alities to enter the South African architectural scene
in the past few years. At first glance, his various perso-
nas might seem to be contradictory but it all gells
perfectly when one unpacks the various dimensions
that this talented young enigma brings to the table.
URAL
GRESS:
HARES HIS
Y DESIGN
aesthetic that serves the public and his clients, bring- personal and professional philosophies. He explains:
ing dignity and grace to the built environment. “I did my elementary schooling in New Rochelle, New
York, and returned to Lesotho after starting junior
Mokena shared some insights into his personal back- high where I completed my high school education,
ground, work philosophy and views on architectural acquiring an international baccalaureate degree and
practice in an interview with DESIGN>MAGAZINE’s then went on to study at University of Cape Town
US-based contributing editor, Zelda Harrison. (UCT).” Only months after graduating, he established
his own architectural practice, Makeka Design Lab.
Like many visionary architects, Makeka has a unique Ordos 100 project.
personal take on the concept of ‘reading the terrain.’ He Images courtesy of Makeka Design Lab.
says: “Every place has a story that needs to be told.
Architecture is about how well you read the text of site,
client, society, climate, etc. Subtext is often where
the real discovery occurs. I am a scholar of exploration
and understanding. This allows me to design any-
where and for anyone, because I don’t bring aesthetic
preconceptions or a visual template to the exercise.
Design is about understanding what needs to be, asking
what’s possible and lastly, striving to surprise oneself
and the audience.”
Makeka has very clear views on the interface of archi- different approaches, and does not have the his-
tecture and urban design, a topic which is often heav- torical pedagogy and rigor of other disciplines that
ily contested and heavily debate. He says: There are a would allow it to be universally understood and
number of schools of thought relating to the role of accredited as a distinct profession. People often
the urban designer and the desired extent of their forget that historically, urban design is an offshoot
influence over the creative process. Some have ar- and specialisation of interest of architects.”
gued that urban design must lead the design process,
although this is not often the most appropriate so- Reflecting on the South African context, Makeka says:
lution. Others suggest that urban design should be “The adversarial culture of commanding the intel-
principal-based and act as an assessment and guiding lectual space of the built environment in this country
tool for the design process. Historical contestation is counterproductive to the broader objective of
by urban designers entering into the built environ- creating sustainable, liveable and inspiring cities.”
ment industry and hence contesting the leadership
role of the architect has often been the focus and sub- He continues: “South African’s have been denied
text of certain processes.” a culture of public space for historical reasons. Previ-
ously advantaged people created enclaves for them
“Often the issue should have been design-based and and developed a ‘securitised’ mentality which meant
resolved on the basis of talent and skill, and their that public space was heavily controlled and restrict-
associated outputs. For many, urban design is an ed. We are still reaping the fruit of this exercise as
attitude which creates responsive and vibrant urban people on the whole struggle to engage with public
environments, and the assumption that architects space, and seek gated suburbs as an excuse for
are disinterested in urban issues is often false. Urban urbane living. Crime, poverty and a poor sense of
design has been taught in a number of ways with community and commons across race and income
48 >
groups are particularly powerful and prevalent. There Consistency of approach is key to providing a de-
are pockets of joy, of course, but successes are few pendable service. Designs will differ according to the
in the face of the past. Ninety percent of my work is context and client, but creativity is non-negotiable.”
public and I believe every project has had a positive
impact on place and setting.”
In recent years, Makeka has become actively in-
volved in advocating the role of architecture in urban
COMMITMENT TO EDUCATION rejuvination and social development in the City of
AND ADVOCACY Cape Town, and as an advisor to the Cape Town
Partnership initiative, he has contributed to various
Makeka has always had a passion for education, be initiatives. When asked how he would define a ‘world-
it educating clients about the importance of creative class city’, he responds: “I’ve written pretty exten-
originality, local identity and sustainability; informing sively about this lately. The Cape Town of ‘sand, sea
politicians and governmental officials about the and sun’ is seen by some as a sanitised version of
role that architecture and urban design plays in Africa, or even as un-African. The Cape Town that is
transforming and responding to societal needs home to Robben Island is politically different from
and cultural tourism; and architecture education the rest of the country and is trying to come to terms
at formal institutions of learning. with that. The Cape Town that nestles up against Table
Mountain, a World Heritage site, tries to preserve
He says: “I educate through my work, and directly biodiversity in the face of development pressures.”
at the University of Cape Town. There is always an
underestimation of what an architect can offer.” “The brand is deliberately segmented to attract
different markets, and considerable effort goes
“People believe that an architect merely draws and is into achieving this, but branding needs to be based on
only there to do what you tell them to do. Archi- substance if it is to be durable: the City’s character
tects are professionals and artists of the highest needs to be consistent with the brand. We also
order and lead the process of development for the need to be clear on whether the City responds to
greater good of society and the interests of the client. the brand, or vice versa.”
49 >
“In the townships, the quest for tourist dollars must Khayelitsha Multi-purpose Centre.
consider an area’s appeal. Do people visit townships Images courtesy of Makeka Design Lab.
as voyeurs wanting to see the face of poverty, do
they want to experience music venues with a unique
character; do they want to see other forms of cul-
tural expression; or are they international volunteers
coming to build houses? Which of these types of
visits do we want to encourage and what does this
mean for how we plan these areas?”
for the 2010 FIFA World Cup responded to needs And we can, but we need more focus. If we can build
that were identified long ago. We should be look- stadiums, then we can build houses, install toilets
ing for metamorphosis; the emergence of some- and plan streets to serve people first. What’s good
thing new and exciting from the soul of our cities. This for tourists should be good for us too.”
requires a new game plan, not business as usual. And
certainly not decisions based on maximising inter- “Imagine trains that run on time, bus stops that
national boasting rights.” show schedules and locations, parks that are child
friendly, streets where parents can safely push a
“The notion of a world-class city were seen by some pram and car guards that are friendly and helpful.
as the epitome of bland conformity, turning Cape Imagine information kiosks distributed through-
Town into the Starbucks of urban Africa. Indeed, out the city offering tourism advice, a help desk for
importing ideas and projects without adapting emergencies, and a friendly face in time of need.
them to our context provided an excuse to compro- Imagine a city that is as safe and universally ac-
mise our own needs to serve an external audience.” cessible for the youth and the elderly as it is for
citizens in their prime.”
Considering the pre-2010 FIFA World Cup eupho-
ria, Makeka says: “It could be argued, however, Concluding with the question: Would you care to
that world-class means excelling at the ordinary as share any words of encouragement and Lessons
well as the extraordinary. And it is only by adopt- Learned to aspiring African architects?, Makeka re-
ing this definition that we can create a World Cup sponds: “Persevere. We were the first architects.
experience that is uniquely African while giving We shall be the last.” <
birth to a more human city.”
tw 0 a co
or rc un
Find out who’s
k hi tr
w te ie
been shortlisted
ith ct s
for our prestigious
awards online
r
owear.
World
s
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ci ye
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Architecture rate €200 by
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3-5 November
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Attend WAF 2010 to:
1. Hear directly from all shortlisted WAF awards entrants,
who represent the most exciting architectural cultures in the
world across all continents with record entry numbers from
Australasia, Singapore, India and Brazil
2. Exchange ideas with over 2000 architects from more than
80 countries from practices large and small, including
GAPP Architects from South Africa, WOHA from Singapore,
Turenscape from China, REMISTUDIO from Russia, Sanjay
Puri Architects from India, Battle & Roig Architects from Spain
Architectural excellence – LIVE! and HASSELL from Australia as well as household names
including Foster + Partners, Zaha Hadid Architects, Tabanlioglu
Architects and Isay Weinfeld
“WAF is a unique congress that gathers the most 3. Mix with the pace setters in architectural thinking on this
important architects in the world, we’re very year’s Super Jury including Arata Isozaki, Barry Bergdoll,
excited to be a part of it.” Enrique Norten, Hanif Kara and find out their thoughts on the
most up-to-the-minute projects today
Alex Kerboobie, Turenscape, China, Winner WAF 2009,
The Adaptation Palettes: Regenerative Landscape Design 4. Be inspired by some of the most crucial projects this year
with David Chipperfield’s seminal Neues Museum and the
groundbreaking landscape scheme Gardens by the Bay in
Super-jury confirmed Singapore included in the projects uncovered in our multimedia
thematic exhibition, Transformations
Arata Isozaki, Barry Bergdoll, Hanif Kara, 5. Keep up to date with the most innovative and exciting
Benedetta Tagliabue and Enrique Norten architecture from across the globe with insightful keynote
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WORLD BUILDING
OF THE YEAR
It’s been very
Arata Isozaki Wang Lu Michael Heenan successful. It’s
Super Jury Chair China Australia given me a chance
Japan to make contacts
from abroad, but it’s not just that, I’ve met
incredible people. It’s been a very happy
event, very congenial, It’s Barcelona, it’s the
weather, it’s been very relaxed, I’ve found it
really great.
Sir Peter Cooke Mark Fenwick Maria Solé
Peter Rich, Peter Rich Architects, South Africa
UK Spain Bravo, Spain
FUTURE PROJECT
OF THE YEAR
WAF is a great
Enrique Norten Nabil Gholam Ken Tadashi idea, it’s a great
Mexico Lebanon Oshima, USA/ organisation that’s
Japan putting together
people from all over the world. I was really
impressed to be here, to be in touch with
people from the same profession from
every part of the world. The projects are
fantastic.
Peter Kudryavtsev Sanjay Puri Chris Bosse,
Russia India Germany Benedetta Tagliabue, Miralles Tagliabue Embt,
Spain
INTERIOR / FIT-OUT
OF THE YEAR
The sheer
Charles Jencks William Menking Kjetil Thorsen number of
UK USA Norway countries that are
represented is a draw, to compete against
the world, to see what other countries and
what other firms are doing. Highlight of
being here is the student work, it’s very
Jo Noero Richard Hassell Dogan Hasol interesting, my colleagues and I are very
South Africa Singapore Turkey happy that there was a component geared
toward students.
Bruce Davison, Architect, Amanda Levete
Architects, UK
ability to survive decreases. Consequently, all things by chance. In a world of totally unrelated items, which
rely on a state of equilibrium for continued existence. has the throwing of dice as its paradigm, art and artist
This is the fundamental duality with which the uni- finds its purpose by exploration of intangible possi-
verse functions as an isolated system. bilities, with its rich variety of choices as well as op-
portunities by utilising entropy. One such entity
All creative entities rely upon consciousness: the fresh which has mastered the framework of conscious-
fruit of evolution. Consciousness presumes upon an ness: comprising of thought and the method of
entity that is aware of its environment as well as trail, error and accidental success exits by the title
itself within a cosmic transpersonal mode. The aware- of Strijdom van der Merwe.
ness of a universal mind and one’s unity with its
primary characteristic: the comprehension of con- Strijdom’s approach within his chosen setting –
sciousness as well as life order, namely entropy. A nature – relies on the concept of entropy as a par-
conscious mind at a higher level has the ability to adox of creative thought: the attempt to discover
free itself from order and predictability, a sequence something that thought cannot perceive; which
of events or arrangements of items unlikely to occur does not constitute to reality. The recognition of
56 >
the fact that we refer to reality is only a consensus that in truth, defy rational explanation. He had the
to what we presume defines reality, or is it what following to say in relation to this: “What most of my
we as humanity have agreed upon to call reality work consist of and I would say land art in general
simply because of constraints of cultural confine- is to place objects in an orderly manner that is
ment. A clear deduction to this recognition: is that pleasing to the eye and, therefore, familiar to look
we only perceive what we can conceive. at. Such a sculpture is done in a disorderly land-
scape and the photo is taken in such a way that it
“Man’s mind mirror’s a universe that mirrors man’s incorporates the wider landscape within the com-
mind.” – Joseph Pearce. position. The sculpture gives a sense of order to
that specific place giving it identity.”
When we conceive or imagine something unreal,
even our furthest imagination cannot transcend Whenever design or artwork, regardless of its ini-
known symbolism. The harnessing of this cosmic tial purpose, attains this state the artist ascends
gift is the symbiotic reason to Strijdom’s success to a higher level within the complex hierarchy of
when defining occurrences within entropic land art humanities evolution: formally described and often
This degradation by society occurs when constraints Strijdom’s manner of creation is a reminder of the
are imposed upon art: the expectation induced capacity a singular entity obtains when overstep-
upon creative entities to fit into moulds of fraudu- ping the boundaries of cultural confinement. The
lent categories resulting in an extensively limited production of tension within equilibriums in a non-
output. When artwork is confined within the neu- isolated system such as nature, imposing change
trality of a gallery where it reflects human nature upon the ceaseless regression to homogeneity in
and existence at its highest spontaneous demand entropy also present in oppressive view points of
of idealised plenitude, it fragments. Essentially its the establishment defines our universal existence
as a race. Strijdom noted that: “The essence of my the subsequent display of corrosion, extreme op-
work strives to bring the message of our role in posites, are in fact symptoms of similar precarious
nature across. We are apart of the cycles of nature, abandonment. It is the balance between above
creation, destruction, life and death. The connec- and below, light and darkness, eternity and tran-
tions that human beings have with enduring ele- sistoriness. Thus Strijdom’s articulate means of
mental processes that will always continue regard- sculptural depiction derives its structural value
less of our human influence. First was the land, from the day-to-day human condition whose par-
therefore, always the land”. ticular format of order makes itself visible or audi-
ble. Effectively, as a result of the structural theme
Isn’t this in fact the essence of being human? The a purpose driven message is born: a social com-
fragile temporary essence of such artwork were ment upon humanity and the world. This is the vital
the contextual complexity is concealed by an over- link in the emphasising of any given concept un-
all symmetry at first glance truly speaks of con- dertaken in Strijdom’s methodology. Although one
trasting spectrums of entropy. In an instance of should not presume that structural order is a suf-
minimal shapes of utmost orderly precision and ficient prerequisite of art or design simply because
it is not a measurable condition of aesthetic excel- encompasses: subjective, objective, realistic as well
lence. Contextually the effect of entropy upon Land as the abstract effects of entropy, without allowing
art in a formal discipline such as sculpture is of elements to become objects of formal delectation.
such nature it establishes a return to an essential Strijdom’s evocative designs as Land art or any other
order. It’s a harmonious equilibrium inhibiting the form thereof is not meant to capture or seize the
world from falling into boundless confusion in re- stream of life. For it finds its functioning purpose
lation to our self-centred, anti-metaphysical na- as a communicative tool within a narrow duration
ture. Even in the final moments of artwork created of time and space were the work concentrates a
in this manner the finite is as infinite, the individ- view upon human existence. A minimalists indica-
ual the whole, nothing less than an epitome of tion, that marks the complex steps of progression
cosmic consciousness. by means of alteration within the constant order of
disorder. <
Conclusively, Strijdom van der Merwe’s dialectical
reflection within his medium has proven to be a
genuine, true and profound view of life and all it Images courtesy of Strijdom van der Merwe.
Field’s of Flowering hands, Giloolys interchange, Johannesburg, South Africa, June 2010.
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62 >
ANTON
SASSENBERG:
“THE ORIGINAL
DESIGN
GUERRILLA”
By Suné Stassen
63 >
Anton Sassenberg is often referred to as “Paddy needed assistance with the design
being the most influential and ground- of the new edition of The Story of an Afri-
breaking South African magazine designer can Farm for the Frankfurt Book Fair. And
of the past two decades. Looking at his that’s how I became a publications design-
life’s work that represents an impressive er,” explains Anton.
and colourful diversity of publications,
we can’t help but to note his seminal con- “After working with Paddy on books and
tributions to the brand repositioning and magazines for a while, I started my own
design of publications such as the then company, Press Books. A highlight was
anti-apartheid weekly newspaper Vrye designing Mandela: Echoes of an Era for
Weekblad, Afrikaans lifestyle magazines Penguin in 1990.”
DeKat and Insig, and mainstream English
titles such as Citylife, Style and True Love. During this time he also became acquaint-
ed with Elize Viljoen who motivated for
But, Anton has also been a prolific de- Anton to redesign the Vrye Weekblad,
signer outside the magazine arena, pro- where he stayed until the publication
ducing many theatre posters, CD covers closed down in 1994. Anton’s work on
(notably Bloudruk and Getransformeer this vocal anti-apartheid weekly newspa-
for the late Johannes Kerkorrel) and per, published in Afrikaans, was as liberal
books that include Penguin editions of in its design as it was with its editorial
Ancestral Voices by Etienne van Heerden, content. Its editor, Max du Preez, in Pale
Soul of the White Ant by Eugene Marias, native: Memories of a renegade reporter,
The Owl House by Anne Emslie, The Story wrote: “In our second year, Vrye Weekblad
of an African Farm by Olive Schreiner, Alan underwent a metamorphosis. The reason?
Paton by Peter Alexander and Mandela: A man called Anton Sassenberg. He turned
Echoes of an Era by Alf Khumalo and Es’kia every rule in the newspaper design hand-
Mphalele. book on its head and made every page
a work of modern art. And the next week
Anton studied Information Design at the he would do it completely differently.
University of Pretoria before he decided to He even changed the masthead while I
be a full-time painter for a couple of years. was away for a week.” Du Preez continues:
“I wanted to be an artist but my father “After 1992/93, one could see Anton’s
wanted me to have a ‘real’ job. Studying revolutionary ideas creeping into most
Information Design meant that I was at magazine designs in South Africa. He
least close to the Art Department where was the original design guerrilla.”
I spent most of my time,” explains Anton.
“Next I worked at DeKat and became cre-
His first experience as a publications de- ative director of Penta Publications until
signer came about when he met with Paddy 2000 when I also joined New Media Pub-
Hardegan who, at the time, was producing lishing, who happened to be the publish-
books for different publishing companies. ers of Insig at the time,” says Anton. “It
64 >
lot of perceptions and fixed ideas about as the art director of Insig magazine, to
magazines and advertising and we really redesigning very prominent publications
took the concept of interactivity to its like the Style magazine for Caxton and
limits. For example, we had a song com- True Love, Fairlady and Sarie for Media24.
posed about Heineken and ran the story
as sheet music. We built headlines out Based on his diverse experiences in the
of the Tommy Hilfiger logo; we wrote an magazine industry, Anton says that:
entire story using only advertising slo- ”Making a magazine is a team sport: you
gans and we made paper dolls of Janet can’t do it on your own. The history of
Jackson and Justin Timberlake and dressed magazines shows that the best maga-
them in branded merchandise. The cover zines are created when art directors and
was a join-the-dots image of Britney editors work together as a team: Anna
Spears, and we designed the whole maga- Wintour and Alexander Lieberman at
zine back to front, which made paginating Vogue, Brodovich and Carmel Snow at
it a real puzzle. We really appreciated Harper’s Bazaar and later on Liz Tilberis
Media24 Magazines’ CEO Patricia Scholte- and Fabien Baron.” These are all known
meyer’s enthusiasm for some of these wild to be formidable personalities in their own
ideas, but in the end no one really got it right and it is expected that differences
and the industry more or less ignored it.” of opinions will surface from time to time.
“Conflict is healthy but there also has to be
“A few years later when Media24 launched respect. I did my best work with strong
True Love Babe I became consulting editors such as Max du Preez at Vrye Week-
creative director. This was one of my most blad, Joan van Zyl at DeKat, Annelize
satisfying experiences as a publications Visser at Citylife and OFC. And in 2009,
designer. What made Babe so special is I really enjoyed working with Stefania
that Annelize and I worked with a team Johnson, then editorial director at New
of first-time magazine practitioners who Media Publishing, during a brief spell as
instantly took control of the brand they’d design director,” explains Anton.
created. Our job was to encourage them
to become better and better at what they
did. There were lots of cultural differences HIS CURRENT WORK
and subtle things we didn’t understand
so we had to listen more than talk. What Anton is currently consulting as creative
was remarkable was the team’s patience director of Avusa magazines. “I’ve only
in showing us how to translate our mag- been here a few months,” says Anton.
azine experience into a product that was He was brought in to look at the standard
relevant to their market. This was a great of design on all the consumer magazines
learning curve.” in the group. “I have just redesigned
Elle magazine and I am currently busy
Over the years, Anton has played different with Elle Decoration. A few other titles
roles within the publishing design arena: will follow shortly.” He explains that his
from 1998–1999 as art director of DeKat role and responsibilities are now a bit
magazine and between 2004 and 2005 greater than before. A creative director
68 >
School of Arts
Our programmes prepare you for a multiplicity of careers in the contemporary art world: professional
artist, corporate art advisor, community art specialist, arts and culture journalist, animator, art educator,
art historian, art critic, multimedia designer, music video producer and video director.
THINKING THROUGH D
MICHAEL BIERUT’S CAUTI
TALE ON LESSONS LE
71 >
DESIGN:
Michael Bierut is surely a designer that needs little introduction. Prior
to joining Pentagram as a partner, Bierut worked at Vignelli Associates,
ultimately as graphic design vice president. He is the winner of countless
IONARY awards and a member of the Alliance Graphique Internationale and Art
Directors Club Hall of Fame. Awarded the AIGA Medal in 2006 and
named winner in the Design Mind category of the Cooper-Hewitt National
EARNED Design Awards in 2008, he’s a senior critic in graphic design at the Yale
School of Art and co-founder of www.DesignObserver.com
LTR: Michael Bierut’s identity for The L!brary Initiative. The library at P.S.
184 in East New York, Brooklyn, features portraits by Dorothy Kresz.
Michael shared some of lessons that he least in the short term. You work fast and effi-
has learnt over the past 30 years and spe- ciently, and your client is satisfied. But the
cifically those gained while working on The client is usually different than the audience.
L!brary Initiative. And the audience – the end user, whoever
it is – requires time and attention to be truly
engaged. So that requires attention to the
DESIGN THINKING second set of questions. You can call this
‘design thinking’, or you can call this just plain
You are described as an advocate of ‘design thinking. The worst kind of design is thought-
thinking’. How do you apply this approach less design. The best kind is thoughtful.
and how does it benefit your clients? It’s
become a fairly trendy term and in that respect
I am somewhat suspicious of it. THE L!BRARY INITIATIVE
How did The L!brary Initiative come about?
Basically, what I learned during The L!brary Nearly nine years ago, Pentagram was asked
Initiative was that we should never forget to contribute to a visionary effort by the
about the larger context for our work, espe- wonderful – and design-conscious – Robin
cially the people who will be exposed to it. Hood Foundation: an initiative to build new
It’s very easy to be distracted by other school libraries in elementary schools
things when you’re working on a project. What throughout the five boroughs of New York
am I good at doing? What do I like to do? How City. A range of talented architects would
do I usually solve this kind of problem? What design the libraries; private companies would
The library at P.S. 196 in Soundview, the Bronx, designed by Rafael Esquer.
usually works? What do I think the client will donate books and funds; and Pentagram
accept? And so forth. These are all good would provide the graphic design, including
questions, but they’re not the most important signage, wayfinding and a masterbrand that
there was nothing more to be learned from agency with numerous decision-makers and
the situation at hand. I love that idea. several collaborators? What worked well
was to give everyone very specific param-
In the case of The L!brary Initiative project, eters and then allow them a great deal of
I learnt that I didn’t spend enough time at freedom within those parameters. I find it
the outset understanding the audience. I frustrating as a designer when it works the
just tried to solve everything with a clever other way. You often have clients who say
logo. “the sky’s the limit,” but that’s only because
they haven’t properly thought through the
The second lesson is that you get power by limits first. The organisers of The L!brary
giving away power. The more people I in- Initiative were really smart about defining
volved in the project, and the more freedom the project clearly for all the participants.
we gave them to do their work, the more As we started bringing in collaborators, we
effective the result was. tried to give them the same combination of
rules and license.
done may be two radically different things, Concerned with Moves from identity to
and that difference is what changes the branding the experience
How successful have you been in tempering results of the 50 libraries covered under
Bronx, designed by Stefan Sagmeister and Yuko Shimizu. Shimizu’s illustration incorporates Sagmeister’s quote ‘Everybody who is honest is interesting.’
TOP: The murals at P.S. 186 in Morrisania, the Bronx, designed Charles Wilkin of Automatic Art and Design. BOTTOM: The murals at P.S. 96, Bedford Park, the the audience’s needs for the visceral and this initiative, Siddiqi concludes that good
emotional with your own need to bring your library design can actually inspire learning,
extensive experience and skill to play? and the use of (artistic) talent, culture and
Sometimes I think that the audience’s emo- a pleasing environment adds value to the
tional needs are so titanic and my own skills building’s and community’s sense of worth.
are so limited that it’s not really a fair fight. “Art does matter”, she said, as she attempts
All I can hope is to choose the right tools to to demonstrate how widely varied fields and
even the playing field a little bit. communities – corporate underwriters, chil-
dren’s book publishers, architects, graphic
designers, product manufacturers, library
THE ‘POST-DESIGN’ FACTOR
associations, teachers and students – can
Have you felt the need to develop a feedback join forces to make a difference in the lives
loop with the audience after your project? of children.
Is audience response necessary to consider
a project successful? Of course it’s nice While design and safety standards are nat-
when the audience loves what you do, but urally subject to their environmental, cultural
I would say this is secondary to the sense and legal context, Siddiqi concludes that
that they’ve come to take on the work as replicating and scaling up the L!brary project
their own, and that it’s acquired some kind is feasible. “(Aesthetic) Standardisation kills
of life beyond what we gave them. Some- the spirit though,” she cautions attributing
times this happens because they really like the success of the project to the unique,
it; sometimes it happens when they’re customised space of each targeted library,
challenged by it. Just the other day, I visited
and the fact that the audience and library
a client’s website and they had done this
users had some input in designing the space
terrific animation of the identity we designed.
allowed them to ‘own it’.
It was done in a way I never would have im-
agined, and it was just great. I was just so
happy to see the seed we had planted turn To this effect, Siddiqi dedicates the last sec-
into this surprising blossom. tion of her book to “How to Make a L!brary”,
hoping to inspire other community organisers
and architects to pursue similar initiatives
HOW TO MAKE YOUR OWN in their own communities. <
L!BRARY PROJECT
Michael referred DESIGN> to Annoradha
Iyer Siddiqi, an architect, writer and former
L!brary Initiative director, whose latest
book L!brary attempts to document the
project as a case study and explore the po-
tential for scalability outside the New York
Public Library system. After reviewing the
78 >
WHAT
IS A
BRAND’S
WORTH?
Innovation Protocol’s Sasha
Strauss discusses seven of the
many critical aspects that he
considers when reviewing the role
of branding in the marketplace.
flour items. You could decide if Does branding rob us go back to Subway Sandwich
you want flour that is organically stores, Starbucks Coffee, etc.,
of our individuality
or locally-grown, whichever one brands that help us make those
makes you feel better. It might
or does it make us
decisions. Ultimately, in this re-
cost a little bit more to make you more efficient? spect, brands bring simplicity
feel better, but only you can put and efficiency to our lives. They
a value to that sensation. Of course, there is a community of do not get us to buy things we
people that is sceptical about the don’t need.
Whole Foods are not the only ones dominance of logos and branding,
who sell quality natural products maintaining that the world would
– there are many alternatives – but be a healthier place if we didn’t So what makes for
the difference is that Whole Foods have these highly seductive brands.
successful branding?
is an integrated brand experience.
Every single thing that Whole Foods This is only natural. Since our first
An organisation has to figure out
does, from the moment you walk inclination, especially as sort-of exactly what it is that their audi-
into their stores to the time you liberal thinking individuals in a ence desires, whether it be socially,
pay for your purchases at check- free society, we have always liked economically or emotionally, etc.
out, is designed to reinforce the to make all of our own choices and Rather than hoping that the audi-
emotional connection you have don’t like to be ‘sold’ on those ence will figure it out, the corpo-
with buying groceries. The inter- decisions. We like to make deci- rate personality hands it to them
esting fact is that while organic sions base – we have too many – in every commercial and social
foods are supposed to be healthier, things to worry about. For instance, interaction, and every time they
no government in the world – at we hand over our trust when we walk into the store.
least not the US Food and Drug
ask a friend, “Hey, what dentist do
Agency – is willing to confirm this.
you use?” We like to turn to a mag-
This means that we are willing to This is what you are handed when
azine editor for a recommendation
spend our ‘whole paycheck’ at you walk into an Apple store. It’s an
on a new computer we should buy.
Whole Foods because, in the end, all-encompassing environment,
we bring products home that make with the employees in their t-shirts
So, as we build those relationships with fun little nametags. All the
us feel like a better parent, a better
with extended trust, we hope that products are easily touchable,
spouse, or a better human being.
Successful branding is designed a brand, like an individual, can visually appealing and connected
to make us feel like our choices make a promise that they can to the Internet. The children’s sec-
are better than average. keep. For example, Listerine kills tion, featuring bean bags and a
bacteria in your mouth and has fun atmosphere basically as-
done so consistently for years, so sures you: “Fear not, your child
you can buy the Listerine brand can poke around on this device
without having to vet it. When a and there is nothing to be con-
brand keeps a promise that it cerned about.” This all-encom-
makes, you basically buy the brand passing brand experience is
because the trust is innate. Since what creates that permanent
we don’t want to make a thousand connection which makes people
decisions every day, we always wait in line for a day, to pay $800
81 >
for a device they don’t necessar- who works hard and is accom- Brands are ‘people’
ily need. plished, but also has somewhat
too…
of a rugged outdoor lifestyle.
These brands are exemplary of
It’s a very storytelling product. Sometimes, brands lose their
really good integrated brand
Some of the first vehicles seen way – there isn’t an organisation
creation. It doesn’t matter
whether it is a global corpora- by native tribes in Africa were in history that has lived a flaw-
tion that sells software to other Land Rovers. The first-aid re- less life. Be it churches, coun-
global corporations or a non- sources brought to remote coun- tries, governments or brands;
profit organisation with three tries were initially delivered in everyone is going to be troubled
environmentalists at the helm. It Land Rovers, making it a historical at one point or another. If a brand
is imperative that we all do rec- icon of transport. Even though is going to make a mistake, it
ognise that a brand has to es- people like to say these vehicles needs to build enough positive
tablish some type of intangible are overpriced or that they might brand equity so that when it
connection with its audience. I have had electrical issues in the does happen, so many people
mention consumer brands like past, I have not met anyone who love and trust the brand that
Nike, Apple and Whole Foods, doesn’t know what a Land Rover they won’t abandon ship. Even
because we are all consumers. It is – which is astonishing. It just Apple has had its fair share of
doesn’t make a difference shows you how powerful a con- mistakes – their batteries have
whether you are the president of sistent story can be. blown up on airplanes. Every
the United States or a homeless brand is going to make a mis-
person, you choose to consume To cite a simple example: One of take but the more the brand is
things regularly and you want to the best billboards Land Rover loved, the more likely the com-
feel better about what you are has ever produced was simply a munity will forgive those mis-
consuming. photo of a desert with tire-tracks takes. ”It’s okay Apple, because
and the message said, ‘Before we know and trust that you
Some brands have been extraor- you can help people, you have wouldn’t do something to per-
dinarily successful at capturing to get to them…’ – with the Land manently damage our affinity.”
this type of sensation. An exam- Rover logo in the upper right-
ple of a strong brand that has hand corner. This presents just Organisations love to focus on
totally ‘got it’ is Land Rover. Land an epic description of the func- their features and functions, but
Rover essentially invented the tionality of these devices. The sometimes even the most ad-
Sport Utility Vehicle, or SUV, as brand is easy to recognise, with vanced multi-featured products
we know it. All SUV owners com- a green oval that is highly distin- fail. When most engineers and
pare their SUV to a Range Rover. guished from its competition. product developers create a
I have owned four Land Rovers It’s called exactly what it is func- brand, their focal points are fea-
in my life and everyone of them tionally, i.e. a land-roving de- ture and function – the speed of
have been recognised by the vice; hence, Land Rover. In that the processor or the size of the
brand, appreciated for its func- respect, I believe Land Rover is screen. Does an iPhone owner
tionality, and recognised that it as high-quality as a brand like have any idea how fast the proc-
was a reflection of me, someone Apple. essor is in their iPhone? Or how
82 >
large the screen is by any dimen- and you are watching an Apple him or her feel happy, creative,
sion? They probably don’t. The commercial – though this com- self-expressive and complete.
Motorola Droid product was mercial they are showing you That’s the beauty of great brand
launched with features and func- one of the most technically ca- development.
tions as its primary brand-voice, pable devices in history whilst
and that’s the reason why no making it look so simple and
About Sasha
one is paying attention. We are such a reflection of you, the user,
way too overwhelmed. Think about that you can’t do anything but Sasha Strauss is managing direc-
every single item in your life like want it. tor at Innovation Protocol and ad-
your car, your clothes, your phone junct professor at the University of
and your computer – the poorly Every brand has its own corporate Southern California. Corporates,
executed brands are just berat- personality. Apple, for one, plays advertising and brand agencies,
ing you with technical features. it quite close to the edge. Custom- media and academic institutions
Technical features you may not ers have complained about their from around the world have called
even understand. low degree of customer care, high upon Strauss to share his knowl-
prices, and cost of use, and some edge and intimate insights into the
What Apple does so cleverly is view this as a complacence they world of branding. NPR, ABC Radio
anthropomorphise the product. can afford. and The Wall Street Journal con-
Despite its complex functions and tinue to seek his expertise on
features, one is not just interacting But do you, as a consumer, care? branding everything from presi-
with a machine. No. When you go to a work or so- dential candidates to innovative
cial meeting, especially in creative start-ups and Fortune 500s. Inno-
I liken this to an extension of you forums, everyone expects you to vation Protocol is a brand strategy-
as an individual. That is what the have an iPhone, and therefore consulting firm that exclusively
iPhone feels like. That’s the way it you feel complete because you serves innovators, and their clients
has been positioned. That’s why have it in your life. include global market leaders such
the commercials have always had as Johnson&Johnson, Korn/Ferry
simple white backgrounds and One doesn’t need to interpret International and PayPal. <
really gentles folky children’s music. this mockingly; I think that it is
Just think about when you are beautiful. I wish that everybody
sitting in front of the television could find a brand that makes
Turbo-charge your career
Jozi: Durbs: iKapa:
following that … she lets her mind has been scuttled. Later on in the
drift into the unknown. What comes day I posed this question to Grais:
out is a finished product that can be “Being that this was, for all intents
beautiful, unexpected, and some- and purposes, a spec project, does
times dangerous. In Bantjes’ case it make it okay that it was for a good
though, each iteration has proved cause?” “Yes, absolutely,” he re-
effective for clients. So much so, that plied “we don’t see it as spec at all.
she’s become a relative celebrity in This is us (Rethink) giving back to a
our industry worldwide. cause we believe in.” I agreed with
Grais wholeheartedly, but couldn’t
After another heady dose of coffee help thinking in the back of mind, “Yep,
that was beginning to taste suspi- it also likely won you a few awards
ciously like asphalt, local boy won- and a ton of PR.” But, it’s a double-
der and creative director at Rethink, edged sword that did well for every-
Ian Grais, took the stage to chat about one involved, so, kudos to Rethink.
what’s propelled his agency to such
success. One campaign he discussed One of my favourite speakers was
was the Tankers are Loonie project, up next: Frank Chimero – a designer,
an environment initiative to drum writer, and gingham-clad metahipster
up public outcry against the use of hailing from the creative incubator
western Canada’s Northern Gateway that is Portland, Oregon, USA. Chimero
as an oil tanker route. This would spoke about ‘delight’. He explained
cause a huge risk for the destruction that it occurred at the intersection
of countless native species of wild- of surprise and clarity — simple things
life should even a minor spill occur. that are serendipitous. As an exam-
Using a miniscule budget, Rethink ple, he pointed to the chain of Ace
created tiny decals that were affixed Hotels across the US. They had wall-
to Canada’s national $1 coin. The coin papered the door of one room with
already featured a Loon, (a national pages from a book. Legally, they had
bird) and the decal simply made it to place a neon exit sign above the
appear soaked in oil with the URL door. It ruined the look. But, the de-
“notankers.ca” underneath. The page signer took the obstacle, and created
led to a petition. Since the submis- something delightful. Using large type,
sion of said petition, the tanker route they used ‘EXIT’ as part of a larger
TOP LTR: Frank Chimero, designer and writer and wallpaper for Ace Hotels
by Chimero © GDC/BC. Ali Gardiner and Ben Huise presenting the
branding programme for the Vancouver 2010 Olympic and Paralympic
Winter Games. © Oliver Oike. THIRD ROW: Ian Grais, creative director
at Rethink Communications and Tankers are Loonie project by Rethink.
BOTTOM LTR: David Berman, designer and author of Do Good Design
(© Adrian J.K. Shum) and Dave Mason. © GDC/BC.
89 >
was always one willing to shill it is man’s desire to innovate and McDonald’s, Geoff knows more
themselves a little harder – and evolve. Design shapes each and about mass-produced cheese-
deliver free creative. And one was every experience humans have. burgers than any one man should.
enough to make two do it, and It is something to be cherished,
so on, and so on. respected, and furthered togeth- Geoff has parachuted in as a
er. As someone who can’t draw freelancer for all sorts of agencies
In the end, Millman offered the to save his life, or even really deci- including Industrial Brand, Smak,
most realistic call to arms for de- pher red from orange, I felt more Mercer and Wax Partnership, work-
signers. If you’re young and strug- like a designer than ever. ing on brands including Nike, Shaw
gling, maybe spec is the short Cable, Amacon, Visa, Kiwi Collec-
initial sprint you need to get in To cap off the event, we all headed tion and Vancouver Olympic Leg-
the game. But over the long run over for the Graphex 2010 awards. acies. In 2009, Geoff founded
– the marathon – integrity and Of course, the only thing design- www.homelesscopywriter.com
valuing your work was the key to ers like to do better than learn… a one-man campaign fighting to
true success and fulfillment. is to give each other awards. The bring awareness to Vancouver’s
These are words that have me party was loud, sexy, boisterous homeless street youth, and ben-
nodding my head again as I write and well put together. Shiny efiting the Covenant House. <
this. baubles were handed around
and a blur of backslapping and
The last speaker I’ll cover from laughter ensued. For all the talk
the conference is David Berman, of change and moving forward
a communication designer of 25 that had gone on the last couple
years, and fervent champion of of days, I had to admit, there was
sustainable design practices. He one thing about the advertising
talked about sustainability in de- and design industry I hoped would
sign and how it needed to be omni- never change: The sweet parties.
present. Not a separate bolt-on to
every project, but baked in to its
very DNA. In his book, Do Good ABOUT GEOFF
Design, Berman talks about how
we’re all the designers of the future Geoff Vreeken is a copywriter with
of civilisation – an interesting dual Dutch/Canadian citizenship.
concept indeed. That means he writes stuff that
sells stuff in Vancouver, but would
Following the conference, the be open to writing stuff that sells
theme What is the value of design stuff in Europe. Beginning his ca-
had been answered every which reer at Brandspank and Cossette
way. Design’s value is incalculable; working for clients including Fat-
burger, Ricky’s Restaurants and
Media partners
We’ve built the airports. We’ve cleaned the roads. We’ve trained the police. And finally the time has come, to welcome the wo
Be a part of history and enter your work at www.theloerieawards.co.za
EXTENDED ENTRY DEADLINE 14 JUNE. BUT ONLY OPEN TO AFRICA, THE MIDDLE EAST AND ISLAND STATES OFF THE AFRICAN
E TOWN
READY
LCOME
WORLD!
DLE EAST AND ISLANDS OFF THE AFRICAN COAST.
world to the biggest event of the year: The 2010 Loerie Awards.
N COAST.
94 >
LEFT: Haezer
BELOW CLOCKWISE: Van Coke Kartel,
Suitcase vol geld, Van Coke Kartel and
Wynand Myburgh & Van Coke Kartel,
Skelms.
98 >
RIGHT: Fokofpolisiekar
BELOW LTR: Priest
Grandma and Priest
Professor.
99 >
DECOREX
JOBURG 2010:
A FIVE-DAY
EXTRAVAGANZA
Having brought fresh perspectives and a new era
of enlightenment to design fundi’s and home décor
enthusiasts, Decorex Joburg, Southern Africa’s larg-
est decor and interior design event, was the ultimate
roundup of what’s new and now. With five halls boast-
ing seminars, free ‘how-to’ theatres, trendy food
demonstrations, exclusively designed restaurants,
new reveals, fresh initiatives, themed pavilions, DIY
dream stuff, great bargains and 650 exhibitors,
Decorex was the extravaganza of the year.
CONVERSATIONS
ARCHITECTURE:
SPOTLIGHT ON TH
REVOLUTION OF L
DIGITAL DESIGN
By Stacey Rowan. From designing the perfect lighting his associate Anthony Tischhauser, and Peter Rich,
for a specific space to using digital technology to shared their vast experiences in lighting design –
design complex architectural forms – speakers at highlighting the immense technological advances,
Conversations on Architecture (COA) once again innovation and challenges within this field.
brought riveting insights to the seminar, hosted on
5 August at the Gallagher Convention Centre, Gauteng.
LIGHT + ARCHITECTURE: THE
RADIANT REVOLUTION
The seminar – themed Lighting and Digital Design:
the new revolution – featured a diverse line-up of Bradshaw’s presentation revolved around the con-
international and local industry players who pre- cept: ‘Without light one cannot see materials or com-
sented their design approaches on the cutting prehend space properly: an architectural space re-
edge of architecture and the built environment. mains a human experience, not just a visual snapshot.’
Taking part in the session Paradigm shift: digital His wish was, and still is, that more designers who
design and fabrication in architecture, was the key work with light will remember the core principal that
international speakers Kristof Crolla, Jeroen van lighting should be “built into the scene”, following
Ameijde and Sean Mahoney. the example of theatrical lighting.
In the session Light + Architecture: The Radiant According to Bradshaw, this means that light should
Revolution, Keith Bradshaw, Paul Pamboukian and be used correctly in a particular space to enhance the
113 >
S ON
HE NEW
LIGHTING AND
way the space is experienced. “Designing with light that without light you cannot see materials or com-
in architectural space is often misconceived and prehend a space properly,” says Bradshaw.
misrepresented by flashy and attention grabbing
setups. This is completely incorrect.” Bradshaw also addressed the issue of designers
who forget all about the need for design longevity in
He continued to speak about how light can enhance the rush to get new technology to the market and
or even define an architectural space. He also fo- used cited the use of white LED light as an example.
This technology is seen as more environmentally
cused on topics like: light as a narrative, light as a
friendly than more traditional technology. But, in
brand, light as an art, LED as light and light, not
trying to keep up with the rapid advancements in
lighting. He showed examples such as the Armani
the technology, the aesthetic appeal and longevity
offices in Tokyo, the BBC building in Scotland, a
of the design is often overlooked.
public square in Dublin, a bridge in North England
and the Copenhagen Opera House which illustrated
Paul Pamboukian and Anthony Tischhauser also
how lighting can be used to illuminate structures,
spoke about the impacts of ever-changing technol-
bringing them to life by their three-dimensionality. ogy on lighting design. With the emphasis on cutting
down on energy consumption, designers are increas-
“Lighting design is usually seen as a luxury or spe- ingly looking at smaller sources which are more
cialist item. This is ridiculous when one considers potent while at the same time using less energy.
114 >
Keith Bradshaw, director at Speirs and Major Anthony Tischhauser of Paul Pamboukian &
Associates, Edinburgh. Associates Lighting Design, Johannesburg.
In their presentation, Lighting Design: Effect or neces- next season. Lasting design needs to see further than
sity? they asked the question: Is lighting design mere- the trend,” says Pamboukian and Tischhauser.
ly a yearning for effect spurned on by the influence
of a purely superficial visual titillation of the glossy Peter Rich’s presentation centred on the concept of
printed and electronic media – is it all effect with ‘Architecture to be experienced or photographed
no function? needs light. The changing light of day and the sea-
sons, should through the architecture, giWve a height-
Pamboukian and Tischhauser also looked at how ened sense of awareness of the space, the place,
lighting design contributes to the vision and design the climate. At night, we have to use artificial means
of the built environment. They also explored the to embrace the sensibility of space.’ This takes the
different uses of light, for example task light as view that much of contemporary architecture has
opposed to ambience-creating illumination and too much light. Rich however believes that: “You can-
artificial light as an extension of our experience of not have architecture without light. Without light
daylight which leads to new ways of experiencing the you have no space. There are illusionary qualities
night hours. Other types of lighting that they focused of light that creates shadows.”
on were focal glow and ‘play of brilliance’ lighting.
According to Rich, less is more when it comes to
Lighting design is often characterised by designs lighting. “It’s about simple lighting, natural lighting.
which have a limited life-span due to its being overly It is good to work with minimal means in terms of
trendy. “Trends are part and parcel of any design lighting – we need to make do with what we have.
discipline. It is all about fashion. However, there is Learn and listen from nature, work with the laws of
a difference between trends and zeitgeist. Zeitgeist nature and day light and night light. Play with the
suggests something that marks an era, a decade, shadows of light and let it happen normally.”
the 50s, 60s, etc. Trends are here today and gone
115 >
Paul Pamboukian, founder of Paul Pamboukian & Peter Rich, of Peter Rich Architects.
Associates Lighting Design, Johannesburg.
PARADIGM SHIFT: DIGITAL DESIGN controlled design and fabrication processes is essen-
AND FABRICATION IN tial for contemporary architects.
ARCHITECTURE
“One of the biggest challenges design practices face
Kristof Crolla, lead architect at Zaha Hadid Architects today is to re-invent both design and building meth-
is right at the front of the technical revolution, leading odologies deeply embedded in the profession in
the way with advanced digital and algorithm-based order to incorporate this digital revolution and benefit
design techniques. His presentation, Digital design from its potential when dealing with our rapidly chang-
and fabrication in architecture, addressed current ing environment,” says Crolla.
developments and challenges in digital design and
fabrication in architecture and the paradigm shift But, as cautioned by Crolla, the industry is faced with
that it is triggering today. the challenge to be vigilant against the rapid spread
of an image-based design culture that focuses on
Crolla shared his views on the way these techniques the production of photo-realistic renderings that
allow the design of innovative complex forms, pro- are void of consequent building systems to mate-
viding complete control over all building aspects and rialise them.
enabling architects to deal with the vast amounts
of information they face today. “People are constantly surrounded by designed
architectural spaces. As an architect you have the
As advanced digital and information-based design unique opportunity to directly act upon and interfere
methods and production techniques are explored and with this space we live in. By exploring design alterna-
applied increasingly in contemporary architectural tives and researching contemporary design tech-
design procedures, an understanding of computer- niques, new architectures will be found that fit better
116 >
LTR: Kristof Crolla, lead architect at Zaha Hadid Architects. Jeroen van Ameijde, head of Digital Prototyping and
DRL at Architectural Association School of Architecture, London. Sean Mahoney, director at StudioMAS
Architecture and Urban Design, Cape Town.
to our rapidly changing society than most other communication technologies, is not to be able to build
widely spread and often out dated paradigms applied exciting new shapes and forms, but the possibility to
today.” reinvent the nature of design processes itself. There
is a challenge to change traditional top-down linear
Jeroen van Ameijde, head of the Digital Fabrication processes of development into collaborative and
Lab of the Architectural Association, also spoke about dynamic, open processes of design conception and
the joys and challenges of working in a rapidly chang- generation,” says van Ameijde.
ing sphere where the emphasis is increasingly on
digital design. Sean Mohaney, in his presentation Common Sense
and Poetry, focused on how we use technology as
In his presentation titled Machine worlds – Research a tool. For him, it opens up opportunities, but at the
and design using digital fabrication in architecture, same time it is dangerous. One must not fall into the
van Ameijde gave an overview of some the latest trap of using technology as a crutch for design, it
research and design projects that have been de- must be used to explore and create. He used exam-
veloped at the Architectural Association in London. ples from architects such as Herzog and De Meu-
He also looked at how architects and academics ron, as wells as his own to illustrate this principle.
try to adapt conceptual design processes so that
they can incorporate new technologies for the When it comes to architecture, and consistently
processing of information and for fabrication and changing global architectural trends, there is much
construction in a meaningful way. to talk about. With this year’s Conversations on
Architecture (COA) conference, giving the load-down
“The main opportunities emerging from the current on all things lighting and all things design, one
‘invisible’ revolution, caused by new information and wonder’s what next year’s COA will have in store. <
… w h E R E t h E s t y l i s h , i N N O vAt 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
Glass
wonders
from
Preciosa
120 >
The Czech Republic, a small nation located lightings on a wide scale, consisting largely
in the very heart of Europe, has always been of decorative lighting fixtures of various
particularly famous for a unique handcraft styles and sizes, wall lamps, table and floor
– handworked glass. The origins of this craft, lamps, delivered as complete lighting pro-
which ranks among the oldest in human his- jects or as a catalogue assortment. Besides
tory, date back to 3000 B.C. Here in Bohemia, lighting fixtures, lighting sculptures and
glassmaking has been a major industry decorative artistic objects form another part
since the 13th Century, and in 1724 the first of their production.
chandelier workshop was established in the
region of Kamenický Šenov. Kamenický The main activity of PRECIOSA is the creation
Šenov has acquired its world-wide fame of the so-called lighting projects. These are
as a glass producer, thanks to the delicacy individual solutions, composed on the basis
of its forms and the purity of its hand cut of specific requirements of the client. It com-
crystal. Magnificent chandeliers have be- prises a comprehensive service, ranging
come an inseparable fixture of royal palaces, from design, production and installation
noble manor houses and other splendid to the subsequent maintenance and repair.
buildings. Extensive projects usually represent luxu-
rious interior decorations for various spaces
The tradition of this renowned craft of glass- of a prestigious nature, such as luxurious
making continues in the production of hotels, palaces, religious and governmental
PRECIOSA – LUSTRY, a.s. (joint-stock com- buildings, restaurants and theatres.
pany), which is a fixed star in the field of glass
light fixtures. The company, based in north- These unique concepts originate in PRE-
ern Bohemia, in the region of Kamenický CIOSA’s own studio on the basis of a close
Šenov, has been operating in the market for collaboration with top architects and design-
decades and, therefore, it can boast of a ers from all over the world. In the design
great deal of experience, acquired thanks to phase, traditional methods of hand sketch-
the long-term history of its activity. Today, ing are used side by side with up-to-date
it is spread across the world with offices in software, which presents a faithful simula-
Dubai, Hong Kong, Singapore, Moscow, tion of the light fixture in its future environ-
Madrid and New York. ment. The designers draw their inspiration
for the shaping of glass objects from various
Nowadays, PRECIOSA’s core activity lies sources: nature provides a permanent
in the design and production of decorative and almost endless source of inspiration;
122 >
TALES FROM
THE AFRICAN
DIASPORA
FEATURING
NINA BRIGGS
Nina Briggs is a Pasadena-based, Californian
interior architect with a special passion for the
sensory effects of space on its inhabitants. She
shares some insights into her background, work
processes and design philosophy.
125 >
Queens residence.
Heritage
food.
128 >
ELPH
PROO
ARCHITEC
21 YEAR
THE MAK
131 >
HICK
By Stacey Rowan. From a small office practice. The practice was established
space that comprised of a bedroom to create appropriate architecture that
in a house in Morningside, to a small responds to function, context, region
office in Berea, and then a self-built and climate and endeavours to create
OME
large office building, Elphick Proome design solutions which rise to the chal-
Architects (EPA) has seen itself grow lenges of our social and economic
within the marketplace over the years. context and that make a significant
Established in 1989, the practice is in contribution to the South African re-
CTS:
its 21st year now with the two found- ality,” says Proome.
ing directors, Nick Proome and George
Elphick, still in partnership. After ex-
panding to a 60-persons practice in Defining moments
the last five years, the practice has
S IN
developed another award winning Within the 21 years in practice, EPA
studio in Westville, where it is cur- has seen defining moments that have
rently located. made the years that much more worth-
while. “I remember the moment Nick
KING
“George and I studied together at and I agreed to start a practice to-
the University of Natal in the late 70s gether and the day we moved into our
and early 80s and some years after first office building in Tollgate. The
qualifying we decided to go into day we won an Award of Excellence,
was also another defining moment nationalities. “We also have projects in
for the practice. I can’t also forget cel- ten countries across three continents.
ebrating our 20th birthday bash,” Our work is distinctive and well recog-
says Proome. nised both provincially and nationally,”
adds Proome.
BELOW, LTR: ABSA Regional Head Office, Durban, KZN. One The Boulevard, Westville, KZN. Deneys Reitz,
La Lucia, KZN. BOTTOM: Village Bharoochi, Westville, KZN.
We are proud to be associated with the development of the
Investec Regional Offices – Durban
The Investec HVAC installation was designed originally to comply with the requirements of a 4 Star
GBCSA (Green Building Council of South Africa) rating. This was the original design intent and most of the
options and alternatives were incorporated in the final installation. Below are the major design concepts
implemented to achieve GBCSA Credits.
The air distribution to all offices is via a Displacement System which is based on low velocity higher
temperature air being supplied at floor level via the floor void. This provides the ultimate indoor air
quality as air is not mixed but flows up via convection to the ceiling return air path, thereby satisfying the
IEQ Green Star Credit.
In addition, all areas are provided with individual control with variable speed drive motors where required.
A central computerized Building Managements System monitors and controls, HVAC, Electrical and other
building essential services. This is an essential energy management system required to satisfy the
Management Green Star Credit.
Heat Reclaim Energy Wheels are used to provide free cooling of Outside Air. This is achieved using free
heat transfer between outside air and building exhaust air through the Energy Wheels contributing to the
Energy Green Star Credit.
High efficiency Screw Chillers using Non Ozone Depleting refrigerants and Variable Primary Pumping
further contribute to the Energy and Emissions Green Star Credits.
Side Stream Water filtration has been installed to reduce the amount of waste water through bleed off
from the Cooling Towers, contributing to the Water Usage Green Star Credit.
by Noel Smith – Director and Senior Design Engineer of RPP Consulting Engineers (Pty) Ltd
Plascon South Africa strives to inspire more ecological considerate decisions throughout
our business. We have responded to the challenge by innovating unparalleled sustainable
solutions based on the 3 fundamental pillars of compliance, sustainability and products.
• Plascon Premium Brands – Double Velvet (white and pastel tint base),
Cashmere (white and pastel tint base) and several of our Plascon
Professional products all have VOC levels lower than 16g/ℓ when tinted with
Plascon Inspired Colour colourants
• Plascon Cashmere was voted No.1 in the Product of the Year 2010 Paint
Category for its Triple Action Bead™ technology. Cashmere diffuses light
and hides imperfections, it’s washable and stain resistant and retains its
stylish, plush matt finish over time.
2010
coppercoast 262786
EPA is also recognised for its service. 30 projects. Days are full of meetings,
In maintaining a positive and close design sessions and presentations for
client relationship from inception to our architects and our interior design-
completion of all projects, EPA is com- ers,” says Elphick.
mitted to providing a comprehensive
and effective professional service The work process at EPA, on a daily
which facilitates quality on time and
basis, places a strong emphasis on
within budget constraints.
collaboration. The design of each
project concept is initiated by a di-
A normal day at EPA rector and developed within a team
structure led by a project architect.
“Depending on who you are at EPA, Design review sessions are under-
or what position you hold, the day taken in all design phases, ensuring
might seem long or short! Our studio both an innovative and responsible
is a busy place with a real buzz at times approach to the design development
as we simultaneously tackle up to process.
ABOVE LEFT: Standad Bank, Kingsmead, KZN. ABOVE RIGHT: Investec Regional Offices, Umhlanga, KZN.
BELOW: Gottlieb Group of Companies, KZN.
With private houses in Cape Town, both small and large. We intend de-
the Southern Cape and KwaZulu- veloping our design approach to
Natal and many office buildings in embrace sustainability as a key as-
the works for the near future, what pect of all projects. This is a moral
is the distant future looking like for decision and demands clear vision
EPA? “We now have five directors in and a practical approach to built
EPA and the future augers well as outcomes in this South African con-
we tackle more challenging projects text,” concludes Elphick. <
BELOW LTR: Quayside Point Waterfront, KZN. Spinnaker Point Waterfront, KZN. Protea Hotel Umhlanga Ridge, KZN.
BOTTOM: Studio Elphick, Westville, KZN.
PALACE
SHOPFITTERS
Palace was registered in 1992
ONE
ARCHITECTURAL
FIRM
THREE
ARCHITECTURAL
DESIGNS
141 >
142 >
With hotels and universities being on opposite ends high rise city building with two gorgeous heritage
of the architectural spectrum, it required dhk Archi- buildings that had to be restored and refurbished
tects to approach the Taj Palace, 15 on Orange and and converted into a luxury grand hotel. The owners
the Life Sciences Building with very different archi- of 15 on Orange Hotel wanted to make an ‘off the
tectural designs. Being active across the full range of wall’ hotel statement, differentiating the establish-
architecture, this practice has experience in the ment from all other hotels in Cape Town and even
creation of new buildings as well as the refurbish- throughout South Africa. This hotel is a huge design
ment and restoration of existing structures. It has statement. Finally, the Life Sciences Building at the
undertaken projects such as hotels, public and insti- University of Western Cape is an educational building
tutional buildings, eco-sensitive and sustainable and has its own challenges. It has been designed
buildings and educational developments, among and built to inspire individuals, student communi-
others, making this practice the perfect choice for ties and researchers. We are told that it has been
these different projects. enthusiastically received by all. The university
wanted this building to place them on the map and
“The three projects are so vastly different from each herald a new international acceptance, symbolising
another. They posed different challenges. The Taj excellence in education and research,” says Derick
Palace is a seamless marriage of a new contemporary Henstra, founder, dhk Architects.
143 > 143 >
www.kenzantiles.co.za
144 >
145 >
Guests can enjoy drinks or dinner at the trendy and stylish A view of the interior structure which is transformed by a
bars and restaurants available at the hotel. light-filled and contemporary multi-volume atrium.
SERVICE EXCELLENCE
SERVICE EXCELLENCE
Western Province Tileworks cc (Formaly known as Model Tilers )
has been in the wall & floor, granite, marble and porcelain tiling in
the building industry for the last 36 years and is known for their
SERVICE EXCELLENCE
commitment and expertise on the tiling side of the contract and
with the Architect & professional teams.
We have over the years been committed to deliver a quality
Western
product to theProvince
satisfaction Tileworks cc, formally
of the main contractor known
and their clients.as
Western Province
Model Tileworks
Tilers, has been cc (Formaly known industry
in the building as Modelfor Tilers )
has been in the wall & floor, granite, marble and porcelain tiling in
36 years, providing clients with wall & floor, granite,
the building industry for the last 36 years and is known for their
ENS HOUSE – CAPE TOWN marbleand andexpertise
porcelain
commitment ontiling solutions.
the tiling side of Known for and
the contract
CENTRAL Western Province withTileworks
thetheir cc (Formaly
commitment
Architect known as ModelWestern
and expertise,
& professional teams. Tilers ) Province
has been in theWe wall & floor,
have over granite,
theccyears marble and porcelain
been committed to tiling
deliverin a quality
Tileworks is committed to delivering a quality
the building industry
product for the last 36 years
to the satisfaction and
of theis known for their
main contractor’s
contractor and their clients.
Western Province Tileworks cc covers a large sectionand
commitment of the product
tiling
expertise onthat
industry holds
and has
the been
tiling up to the
main
involved
side of in contract
some of theand and
major fast
track, Residential, Offices Blocks, Shopping Malls and Hotels inclient’s
the Western Cape.
standards.
with the Architect & professional teams.
We have over the
Members of Western Province Tileworks CC will ensure that goods years been committed to deliver a quality
and services are supplied to meet their product
intendedto the satisfaction
purposes and inWestern of the main contractor
Province Tileworks andcctheir
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on time all the time.
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on time all the time.
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Breakwater ParkingMutual- V&A Waterfront
Heights Apartments – Cape Town
Sun International Hotel – The Table Bay
Newlands Rugby Railway Stand - Newlands V&A WATERFRONT
Protea Hotel The President - Seapoint
BOE Offices /Clocktower Mall – V&A Waterfront
Canalwalk Shopping Centre – Century City
Arabella Sheraton Grand Hotel – Cape Town
Breakwater Parking - V&A Waterfront
Old Mutual Offices / Business School - Pinelands
Newlands Rugby Railway Stand - Newlands
Sable Square Shopping Centre – Century City
BOE Offices /Clocktower Mall – V&A Waterfront
UWC Lab Block / Learning Centre - Bellville
Arabella Sheraton Grand Hotel – Cape Town
Standard Bank Head Office - Cape Town
Old Mutual Offices / Business School - Pinelands
Cape Quarters Shopping Centre - Greenpoint
Sable Square Shopping Centre – Century City
Claremont Central Offices - Claremont
UWC Lab Block / Learning Centre - Bellville
CTICC – Cape Town
Standard Bank Head Office - Cape Town
ENS Offices – Cape Town
Cape Quarters Shopping Centre - Greenpoint
Pick n’ Pay – Kenilworth
Claremont Central Offices - Claremont
Pick n’ Pay – Gardens
CTICC – Cape Town
Villa Italia – Century City
.
ENS Offices – Cape Town
Mutual Heights Apartments – Cape Town
Pick n’ Pay – Kenilworth
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Villa Italia – Century City
.
Mutual Heights Apartments – Cape Town
148 >
of the country’s cultural heritage. Major efforts were take hotel guests to the surrounding access walk-
dedicated to the architectural retention of the most ways and rooms at the upper levels of the atrium.
dominant façade on Grays Pass. From an historic and The hotel rooms, outfitted to the highest quality
urban impact point of view, great effort went into lim- and standards and of varying types and suite sizes,
iting the revised profile of the extended building en- are arranged in single and double banked configu-
velope and its impact on the view of Table Mountain ration around the atrium.
from the top of Long Street, whilst still maintaining
the memory of the old building. The hotel offers a spa, gym, wellness centre and pool
deck. Also available are sectional title apartments.
The original entrance portico with its stained glass The apartments range in size, in simplex and duplex
windows, being an iconic element and secretive configuration, and are all finished to exacting stand-
barrier to a solemn hall at the centre of the old ards of luxury. These apartments inhabit the light-
building, was demolished. This opened the way to weight upper two floors which are set back to provide
exposing the building to the street and the memo- ample sun terraces with spectacular views, whilst
ry of the internalised hall being re-interpreted in reducing the mass of the upper levels, in accordance
the form of a light-filled atrium. with heritage indicators that govern the hotel de-
velopment.
The closed street edges along Orange Street and
Grays Pass have been reactivated with the addition of The glass and aluminum hotel additions respond
retail shopping and restaurant opportunities. These in a contemporary manner to the retained histori-
new active edges are softened and animated with the cal elements, specific orientation, views, room pri-
insertion of landscaping in the form of plants and trees. vacy and the requirements of greater transparency
for all public areas within the hotel.
The discreet original entrance at lower ground level on
Grays Pass is maintained for the Porte Cochere Whilst keeping important elements of the existing
drop-off and hotel security area. From this point, historic building, the whole hotel is transformed by
two refurbished lifts take guests to the reception the imposition of the vast, light-filled atrium and
area on the first floor. the addition of contemporary architectural elements.
The hotel makes for a new and transparent Cape Town
At the reception area, guests enter into the spirit focal point, breathing life into this key junction.
of the hotel’s structure, which is transformed by
the imposition of a vast, light filled and contemporary
multi-volume atrium, surrounded at its foot by The first of many – Taj Palace
tiered restaurants bars and lounges. The immense
atrium’s glazed height opens out towards the out- The Taj Palace Hotel, located in the historic core of
side terrace from where guests can enjoy views of Cape Town at the entrance to the St George’s Mall, is
the Cape Town city, Lions Head and Signal Hill. the first of many luxury hotels to be opened by the
Whilst responding to the original axis of the hotel Taj Group in South Africa. The client, Good Hope
building, it also affords passersby dramatic views Palace Hotels (Pty) Ltd, wanted a 175 key luxury
into the interior area. hotel for the Taj Group, valued at R450-million.
The strong sense of opulence and verticality can The recently completed development entailed a par-
be experienced in the three panoramic lifts, which tial demolition, a refurbishment, the construction
149 >
The new Life Sciences Building located on the Uni- The Life Sciences Building has been securely inte-
versity of Western Cape’s West Campus adjacent grated into the existing campus framework from
to Ring Road and flanked by Modderdam Road, is in- all aspects. Six different departments are housed
tended to place the university on the global map as a within the macro zoning of the building. Two major
centre for teaching excellence and a research entity. components of the building are placed on either
By integrating six departments into a single devel- side of a social nucleus, comprising the entry lob-
opment, this in turn allows for the facilitation of col- by and gathering space, oversailed by a vast can-
laboration, promoting inter-departmental and opy which is supported by tree-like columns. This
153 >
gathering space forms the main focus and the link glass boxes that house the hot water plant which
between the major components of the university, is linked to the solar water system.
namely the laboratory building, the interactive learn-
ing centre, cafeteria and auditorium. In addition to being the centre for academic teaching,
the learning centre is available for conferences as well
The general layout of the rectilinear and orthogo- as being a venue for various gatherings, presentations
nal laboratory building is designed around a zone and functions. The centre houses a state-of-the-art
that stretches along the length of the site that fronts auditorium, a collaborative computer lab and resource
directly onto Modderdam Road. The intention was centre, seminar and tutorial rooms and a cafeteria
to create direct relationships between the support opening onto the gathering space. The development
spaces on the south side, research and laboratory incorporates both instruction and research facilities
spaces in the centre and write-up spaces and cel- with shared classrooms, laboratories, faculty facilities
lular offices situated on the north side. Two serv- and amenities to accommodate an estimated 800
ice cores form the fulcrum for breakout areas. students and researchers.
These are interaction spaces that act as vertical
transportation for both people and services while This six storey laboratory block is split vertically
forming easily interchangeable laboratories and into instruction facilities on the lower two levels,
service spaces, permitting adaptability and flexi- with research and development (R&D) labs housed
bility throughout the general plan. The cores inter- on the upper levels. The block is divided into three
act with tea kitchens and extend out to balconies modules which are linked by service cores, provid-
that are intended to facilitate informal meetings. The ing public and service access and security filters for
cores are the vertical elements that break the longitu- the various R&D labs. The laboratories themselves
dinal façade, with vertical accents culminating in are designed to assimilate the users’ requirements
154 >
into predominantly generic flexible and adaptable The orientation of the building reduces solar gain
solutions that ensure short, medium & long term sus- within the building and encourages natural ventila-
tainability for the client where different departments tion throughout the building.
can wax and wane as the needs arise. The laboratories
are planned along a horizontal stratification which The use of grey water for the landscaping has been
facilitates a direct relationship and interface between fully implemented and coordinated in the design.
the cellular senior researcher’s offices with open- The green areas and gardens are landscaped with
plan write-up areas to the north, with research taking indigenous vegetation and trees and the landscap-
place in laboratories and their support spaces to ing has been taken onto the roof of the Learning
the south. This horizontal stratification is created Centre as a scaling strategy and as an environmental
through virtual corridors traversing the length of thermal consideration.
the building, providing orientation and external ex-
pression through the bay windows at the ends. The gardens are integrated into a landscaping plan
that responds directly to the local environmental con-
Entry to the Life Sciences building is from the east- ditions by encouraging bio-diversity, protecting bio-
ern forecourt via the entrance lobby. This gasket- mass nutrients, using permeable surfaces to minimise
like glazed entrance lobby joins the laboratory and run-off, increasing retention of groundwater levels and
learning centre, providing orientation and access to adopting indigenous water-wise plants. Through
the various facilities and leads into the gathering life cycle costing, resource and environmental man-
space. agement and the adoption of cost effective strate-
gies, namely optimisation of the thermal envelope,
The design philosophy of this building focuses on en- waste heat reclamation, harvesting of rainwater
ergy efficiency, environmental responsibility, resource and grey water recycling, this building strives to
efficient design and a commitment to sustainability. limit its carbon footprint. <
155 >
156 >
ICONOGRAPHY THROUGH
ARCHITECTURAL DESIGN
Named after a hero of the working class, Durban’s
By Stacey Rowan
Moses Mabhida Stadium is an iconic symbol of
where the city has come from and the future that
it is striving towards. Just as Moses Mbheki Mncane
Mabhida helped to forge the united front that
eventually saw the creation of a democratic and non-
racial South Africa, so the stadium brought together
countries at the 2010 FIFA Soccer World Cup.
157 >
An exterior view of the lit up stadium, which acts as a bright beacon for the city of Durban.
158 >
Iconography
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163 >
A 3D dissection of the
green mix sprinkled again with light greys and whites.
Drivers of design
stadium.
Although stadiums are mostly venues of sheer scale,
they are considered singular purpose structures. Due to
the stadium’s sheer size, there was a need to ‘humanise’
the stadium in terms of scale, to allow for its integration
arched roof structure of the stadium.
An artist impression illustrating the
into the city fabric and landscape.
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165 >
A ‘world-first’ achievement
The façade of the stadium bowl is a layered inte- The main structural unit of the roof consists of the
grated series of components. Over one hundred 104m high arch spanning 380m onto the founda-
leaning pre-cast concrete columns sweep around tions. The roof, which defines the stadium as an icon-
the circumference of the stadium bowl forming the ic edifice, also consists of other structural elements
skeleton of the façade, creating the impression of a namely supporting cables, a membrane roof, and a
sculptural element in the landscape. Adding to the steel compression ring resting on steel columns.
sculptural quality of the building, aluminium fins sit
vertically between each of the concrete columns A total of 50 main ridge cables are supported from
and, finally, a woven mesh ties the façade together. the arch which defines the shape for the 46 000m2
The expanded metal mesh covering the brightly col- roof coverage. These ridge cables as well as the valley
oured façade and the filling to the railings in the cables are connected to the compression ring that
stadium take their inspiration from the structure of in turn, is supported on steel façade columns.
basketweave.
SME are still the only company in this field to have successfully held the coveted SABS/ISO 9001-
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As a result of this listing, as well as CIDB accreditation, and our BEE status, we have been successful
in undertaking contracts throughout Southern Africa, and as far as Tanzania. and Madagascar, with
extensive contracts in Mozambique, Zambia, Botswana, and more recently, Namibia. We are eager to
extend our customer base further in Zambia, and hope to become active in Zimbabwe and Angola.
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government contracts such as 2010 Stadia, and the new King Shaka Airport in Durban, due to our
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169 >
A view of the interior façade, with its concrete finishes and structures.
SME Lightning Protection and Earthing was proud
to be associated with the celebrated Moses Mabhida
Soccer Stadium, in that they were contracted to in-
stall the Lightning Protection to the Stadium Struc-
ture as well as the earthing for the sub station
feed. Overall, it was imperative to ensure that the
installation, from the metal of the seating through
to the arch over the stadium, was earthed to the
exacting standards demanded by the SABS/IEC
codes of practice.
By Bev Hermanson
THE PRIDE OF
THE CAPE
173 >
Of all the stadiums that were prepared for One of the largest construction projects that had
been tackled by the City of Cape Town, the Cape Town
the 2010 FIFA Soccer World Cup, only three
Stadium and the surrounding parkland had been com-
were entirely new constructions. One of pleted at a cost of R4,5-billion. Along with its park-
these was the Cape Town Stadium situated ing area and a retail plaza, the stadium covers an area
close to the popular V&A Waterfront along of 18 hectares, equivalent to six city blocks. Built
to be more than merely a soccer stadium, this de-
the shoreline of Table Bay, within full view
velopment has been designed as a multi-purpose
of Cape Town’s most famous landmark, venue that is equipped to host rugby matches, mu-
Table Mountain. sic concerts and many other major events as well.
174 >
Its successful completion involved a large task- The Green Point Stadium, built on the Common in
force of professionals comprising 15 different dis- the 1940s, was rather controversial, as, with a ca-
ciplines and 51 firms and a joint venture of 2 of the pacity of only 18 000 seats, many saw it as a ‘white
largest contracting firms in the country. elephant’ that was under-utilised. Over the years, it
was used for various events, including small scale
Green Point as a sports precinct concerts and sports events. It was additionally home
to the Santos and Hellenic Soccer Clubs and later the
Since before the Anglo Boer War in the late 1800s, Ajax Football Club.
the Green Point Common has been home to a vari-
ety of sports clubs, including Hamiltons, South Afri- At the time that the 2010 FIFA Soccer World Cup
ca’s oldest rugby club that was founded in 1875, was awarded to South Africa, the planning committee
and the Green Point Cricket Club that started in 1897. determined that the stadium in Cape Town was go-
Declared a public open space for recreation and sport ing to need close to 70 000 seats to qualify to host
by Britain’s King George V in 1923, this valuable at least one of the semi-final matches there. Under
piece of ground has been staunchly protected from the circumstances, they decided it would be easier
the threat of over commercialisation and expansion to build an entirely new stadium close to the old
around the Mother City. stadium, rather than try to upgrade the old fossil fa-
cilities. The old Green Point Stadium has since been
175 >
partially demolished and has been converted into lighthouse with Somerset Road on the outskirts of
a dedicated stadium for athletics. the city. In total, this encompasses an area of
some 65 hectares of parkland and sports facilities.
To refer to Cape Town’s stadium as the Green Point
Stadium is, therefore, a complete misnomer, as the Within a stone’s throw of the new stadium, the 123
land allocated for the construction of the new stadium hectare V&A Waterfront offers visitors a wealth of
was land that had been used by the Metropolitan Golf pleasure pursuits – from a ferry trip to the histori-
Club for its nine hole golf course. To compensate cal Robben Eiland, where the well known freedom
the Mets and other sporting disciplines using the fighter and past president of the country, Nelson
Common, the entire area has been reorganised. A new Mandela, was incarcerated, to a sumptuous array of
nine hole golf course has been built and 12,5 hec- restaurants, luxury hotels, stores and other leisure
tares have been converted into an urban park that pursuits.
boasts walking, cycling and jogging tracks, that weave
around beautiful water features and landscaped The new stadium
gardens. Other facilities in the precinct include a
Health & Fitness Club, tennis courts, hockey and The state-of-the-art Cape Town Stadium hosted five of
rugby fields and a cricket oval. A tree-lined pedes- the first round matches, one second round match, one
trian walkway further connects the Mouille Point quarter final and one semi-final of the 2010 FIFA World
176
176> >
CAPE TOWN
Tel: (021) 462-4960
E-Mail: bramley@iafrica.com
Often copied but Never Surpassed
177 >
MediaClubSouthAfrica.com.
Photos by Rodger Bosch,
Cup soccer matches. Designed by concept architects, not relish hearing the vuvuzelas at full blast through-
gmp Architects of Germany, in conjunction with lo- out the matches.
cal firms, Louis Karol Architects and Point Architects,
the stadium covers an area of 290m x 260m and Commanding a significant chunk of the construction
stands 50m at its highest point. budget, the roof has been designed as a saddleback
curve with a double membrane. Its smooth flowing
The most amazing aspect of the stadium is the appearance from all angles contributes to making this
high-tech roof that covers 38 000 square metres, stadium one of the most distinctive in the country.
protecting the bulk of the spectators from the often Weighing in the region of 3 735 tons, the roof struc-
inclement Cape weather. Knowing the ‘Cape Doctor’, ture, that rests on a total of 72 columns, comprises an
the harsh south-easter wind that occasionally thrash- outer ‘compression ring’ which is linked to an inner
es the Foreshore and the Green Point Common at ‘tension ring’ by a system of trusses and cables. The
gale force, a substantial roof was definitely on the inner tension ring houses the lights and acoustic
city’s wish list. The double whammy of this design equipment. The top layer of the roof is made of around
is that it not only protects the spectators from harsh 9 000 panels of laminated safety glass to allow in
weather conditions, it reduces the noise emanating plenty of natural light, while the bottom layer is made
from the stadium – which will be most welcome to up of woven PVC ceiling panels that absorbs sound,
the Green Point and Sea Point residents that do while protecting the equipment from below.
178 >
Photo by BKS.
Photos by Bev Mitchell (left) and
MediaClubSouthAfrica.com.
Rodger Bosch (right),
179 >
teams to ensure that everything would be com- The first costings came out 20 – 30 % over the budget,
pleted on time. requiring significant design refinements in order
to shrink the costs. “Trying to adjust the costs was a
“During the tender process, MDA put two teams to- nightmare as the World was going through a reces-
gether and entered two different tenders, which sion and our local construction industry was flying, so
came in first and second. After lengthy delibera- the labour rates and materials costs were a lot high-
tions, it was decided that both teams should be er,” Mitchell elaborates. “Fortunately, we managed
appointed. MDA was the common denominator, so to negotiate a slightly higher budget as a compro-
the two teams were co-ordinated from the MDA of- mise and we were able to come in below that, in
fices. We put together a joint venture of four project the end.”
management firms – ourselves, BKS, Ariya Project
Managers and Ngonyama Okpanum Associates. With the help of gmp, the German architects, the de-
Overall, we ended up with over 51 firms involved on sign team managed to conceptualise a structure
the professional team, representing 15 disciplines. that adds to the beauty of Cape Town. Standing
That was the only way we could see ourselves being proudly within the parklike surroundings, its form
able to hand the stadium over by the end of 2009, is certainly distinctive and somewhat sculptural.
the specified deadline.”
180 >
GAUTENG: CAPE:
Postnet Suite 162 P.O. Box 50490
Private Bag X15 Colleen Glen
Menlo Park 0102 6018
www.hunterlp.co.za
182 >
water supply for drinking water. This is sourced from construction period, which will equipped them to
the Oranjezicht Natural Springs located a mere four find further employment in the future.
kilometres away.
The stadium is managed by a consortium consisting
Sustainability, of course, does not only extend to of the South African sports marketing company,
natural resources. At peaks times, there were up SAIL, and Stade de France, operators of a major multi-
to 2 500 people employed on site. Amongst these, purpose venue in Paris. <
around 1 200 artisans received training during the
183 > 183 >
MBOMBELA STADIUM
184 >
Nelspruit
www.clotansteel.co.za
185 >
STADIUM:
FOR THE
LOVE
OF THE
‘GAME’
Known as Africa’s wildest stadium,
with 18 structural giraffe elements and
seats patterned with zebra stripes, the
Mbombela Stadium was the ultimate
sports venue for the 2010 FIFA World
CUp, where the ‘game’ of soccer met
the ‘game’ of Africa.
186 >
As one of the stadiums used in the FIFA 2010 World The 30 metre high giraffe motifs, each with an abstract
Cup, the Mbombela Stadium in Nelspruit illustrat- head large enough for a person to stand inside,
ed the love of the soccer game that was played have been placed around the outside edge of the
within it. The stadium also showcased the love of stadium, facing outwards. The bodies and legs of
Africa’s big game through its animalistic architec- the giraffes have been built into the concrete struc-
tural design. ture of the building, while the necks form an impor-
tant part of the steel supporting structure for the
Situated close to the world renowned Kruger Park, roof, making the concept not only eye-catching,
surrounded by numerous game lodges, it was impera- but also practical.
tive for the stadium to have some reference to the big
“The stadium is at the doorstep of the Kruger Park
game of Africa. As wildlife murals are not convinc-
game reserve, perfectly positioned so that attendance
ing, and following the belief that form follows of one of the many 2010 World Cup matches was
function, the long roof cantilever design lent itself to be combined with a visit to view the magnificence
a cable stayed roof design, which in turn required a of Africa’s wildest animals. This was not lost on the
tower, creating the giraffe icon. The giraffe towers, a stadium designers and the signature feature of the
key design element, provided the stadium with an stadium is the abstract 18 structural giraffes, making
African motif. this South Africa’s wildest football and rugby stadium.
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187 >
Construction
The client, Mbombela Municipality, wanted a stadi-
um design that could fit approximately 45 000 seats
and one that was suitable to host preliminary 2010
World Cup Group stage matches. The stadium had to
be FIFA compliant in terms of safety and designed
according to the British Published Green Guide. It
had to be constructed within the budgets provided
as, unlike larger municipalities elsewhere in South
Africa, this municipality did not have funds to cover
extra costs over and above the initial budget.
An architectural giraffe stares into the South African Each giraffe motif has a head large enough for a
sunset. person to stand inside.
A fisheye view of the entire stadium, showcasing its zebra-striped seats and eight giraffes.
193 >
Out of all the stadiums used for the FIFA 2010 The Rye grass pitch, which is 693m above sea level,
World Cup, the Mbombela Stadium had the lowest has a grass surface suitable for international rugby
per seat cost. The stadium can seat up to 43 500 and soccer.
spectators, of which 40 000 tickets were sold for
the World Cup and 3 500 were for media and VIP Difficulties faced & challenges
seats. The seats were not removable, thus the ca- overcome
pacity remained unchanged after the World Cup.
For the spectators with wheelchairs, 196 wheel- With a restricted budget it was imperative to stay with-
chair spaces are available. in the limits, therefore the construction, including
most components, were locally procured, manufac-
The seating in the stadium was the closest to the pitch tured and assembled. The distance from the main
of all the World Cup Stadiums in South Africa. In addi- commercial and industrial centres required a consid-
tion, 94% of the seating was under roofing, making erable amount of transportation of prefabricated
Mbombela Stadium, along with the Cape Town Stadi- goods which was a challenge. Other challenges
um, the stadiums with the most seats under roofing. faced included the difficult ground conditions and
the relatively small capacity of local contractors and
subcontractors that were included in the project.
194 >
Facilities available
Every new stadium including Mbombela was built
to FIFA’s specifications. The main players’ change
rooms, located in the basement, can each accom-
modate 50 people. The facilities include netted warm
up areas, a fully equipped gymnasium, ample lockers,
196 >
The 30 metre high giraffe motifs have been placed around the outside edge of the stadium, facing outwards.
197 >
The long roof cantilever design lent itself to a cable stayed roof design, which
in turn required a tower, creating the giraffe icon.
198 >
A SLICE OF
HISTORY
GETS A
FACELIFT By Bev Hermanson
The Ellis Park Stadium will always have its place in One of the most memorable moments was when
the history of South African rugby. Few will forget Joel Stransky booted a drop goal in extra time on that
the spirit of unity that soared high above the na- fateful day back in June 1995, when the Springboks
tion as Nelson Mandela held up the Rugby World wrenched the Rugby World Cup title and trophy
Cup Trophy that was won by the Springboks back from the All Blacks with a 15:12 final score.
in 1995. It was a poignant moment in the country’s
history that will live forever in the hearts of our re- Ten years later, history was again made when 51%
cently liberated rainbow people. ownership was passed to the Orlando Pirates Football
Club, establishing Ellis Park as the first black-owned
Few can likewise forget the tragic loss of life as too stadium in South Africa and home to both soccer
many fans, crammed into Ellis Park, panicked and and rugby – still in the main, male dominated sports.
ran amok at an Orlando Pirates vs Kaiser Chiefs
clash in 2003. Thus the stadium’s halls resonate The brief
with glory, yet are shrouded in sorrow.
When plans were put in place to prepare the various
The first Ellis Park stadium was built on the site back cities for the staging of the 2010 FIFA World Cup,
in 1928 on 13 acres that were earmarked for the pur- Ellis Park again came into the limelight. Where
pose by the Johannesburg Councillor, JD Ellis. After nearly a century ago, 13 acres had easily been set
just over half a century of rugby triumphs and de- aside for enjoyment of the sport of rugby, the pre-
feats, the stadium was demolished to make way cinct had now become largely built-up. This was
for a more modern facility. The new stadium was indeed challenging for the team at DBM Architects,
completed in 1982, but it remained very much a who were part of the consortium tasked with up-
male dominated domain. grading the conveniently situated stadium to a
seating capacity of 62 000 spectators.
From being the base for the Transvaal Rugby Union in
the early 1900s, the new stadium was established “The stadium forms part of the Ellis Park World of
as the home of the Cats and the Lions Rugby Union. It Sport Campus. Now known as Coca Cola Park, the
was also a popular venue for test matches where his- stadium rubs shoulders with the Johannesburg
tory was made in the titanic struggles between rug- Stadium, the home of athletics, the Standard Bank
by nations. This was the place where legends were Arena, a popular venue for concerts, tennis tourna-
born. ments, boxing and squash championships and the
The stadium precinct. Photo by Emily Visser. Aerial view of Ellis Park, now renamed the Coca Cola Stadium.
203 > 203 >
CELEBRATE
THE POWER
OF COLOUR
TM
204 >
Olympic sized swimming pool. Although around 1 100 vehicles for VIP parking, with plans in
R2-billion was set aside by the Johannesburg De- place for further expansion in the future. This build-
velopment Agency (JDA) for a major upgrade and ing now includes provision for storage space, a
regeneration of the suburbs of Doornfontein, Ber- public medical centre, a police station with holding
trams, Bezuidenhout Valley, Troyeville, Judith’s cells and retail trading space.
Paarl and Lorentzville, only R230-million was allo-
cated to the upgrading of the Coca Cola Park Stadi- “In order for a stadium to qualify to host some of
um,” says Wynand du Plessis of DBM Architects. the matches up to quarter final level, the seating ca-
“This was less than a tenth of the budgets for some pacity had to accommodate more than 60 000
of the new stadiums.” spectators. This was tricky as, due to the big press
contingent, we ‘lost’ a lot of seats,” du Plessis ex-
When one looked at the aerial view of the precinct, plains. “As a result of the restricted budget, we had
the tightness of the urban fabric was apparent. As to be very disciplined in terms of what should be
there was not much in the way of parking, hence upgraded and how. One of the areas that we de-
the Park ‘n Ride scheme that was put in place some cided to focus on was the public area between what
years back, to cope with the influx of fans. was the Ellis Park Stadium and the Standard Bank
Arena. We knew that most of the public approached
The upgrade was divided into four categories: the stadium from the north, so we decided to make
> The entire main western grandstand was upgrad- this aspect the face of the new Coca Cola Park, with
ed, including all of the competitors’, hospitality the new Parkade located on the eastern side.”
and media areas.
Execution of the design concepts
> The existing toilets and concession facilities around
the stadium were completely overhauled and addi- The aesthetic style of the new northern elevation
tional toilet facilities were added for women. can be described as modern functionalism. Elements
were developed to ‘work with’ the existing struc-
> A new upper seating tier that would accommo-
ture. These included a new structural skin of care-
date an additional 5 000 seats was added to the
fully designed steel supports that carry the new
northern pavilion. This had to include a roof.
roof and seating, along with huge uprights made
> A parkade was added, enough to accommodate of off-shutter concrete dissected by an enormous
The stadium precinct. Photo by Emily Visser. The Ellis Park precinct has been extensively upgraded as part
of the Johannesburg urban regeneration initiative.
205 >
red arch that hints at the rainbow of the new de- appearance. For this, we used carpet tiles, instead
mocracy. Further, the steel grille screening the of broadloom carpeting,” Scholtz explains.
glassed area is suggestive of the South African
flag.
Public safety
Over and above the architectural requirements, Spectator safety is an essential consideration
every other aspect of the stadium had to be when planning a public facility such as a stadium.
brought into line with FIFA’s requirements. This in- Crowd control and the dynamics of emergency
cluded the upgrading of the floodlighting, which situations have distinctive patterns and since the
had to be doubled in intensity. There are temporary 2003 tragedy, the management of the Coca-Cola
structures that have been placed as overlays, to be Stadium at the Ellis Park campus is emphatic that
used only during the Soccer World Cup – these will this kind of incident should not be allowed to hap-
be dismantled and removed after the champion- pen again. Likely evacuation patterns were exam-
ships are concluded. This includes a bridge be-
ined and escape routes identified.
tween the university and the stadium for use by the
press. Then, for future sustainability, a legacy element The main escape route provided is a 4m-wide tun-
has been integral to the overall design. This includes nel at the north-eastern end of the stadium. This is
a conference centre, that will accommodate between wide enough for emergency and service vehicles
800 and 1 000 delegates, that has been created out to use to get onto the pitch in order to evacuate
of what was a parking level behind the grandstand.
anyone that has been injured. The exit of the tun-
nel is close to the new, state-of-the-art medical
For the conference venue, the presidential suite
centre located in the new parkade.
and the sports centre, an affordable tufted carpet tile
from Nexus’s Matrix range was used. This provides
Disabled and paraplegic spectators have also
insulation, warmth and the absorption of ambient sta-
been considered. There are 200 spectator seating
dium noise.
positions allocated at ground level with ramps for
“With the carpeting at the Ellis Park Stadium, budg- easy access by wheel chairs and in the cloak-
et and durability were major considerations. Nexus rooms, emergency alerts have taken sight and
was awarded the contract as our products are manu- hearing impaired individuals into account, too. So,
factured locally but to the best international stand- for example, a flashing light will indicate a need for
ards. If any problems arise with the flooring, it is evacuation, to alert hearing impaired spectators to
easier to obtain supplies and materials from a lo- an emergency.
cal manufacturer and our carpets are backed with
a 15 year wear warranty,” says Adrian Scholtz, a The upgrade started in August 2007 and ended in
Nexus representative. March 2009, in time for the successful staging of the
Confederations Cup in June 2009.
Nexus is the commercial division of leading carpet
manufacturer, Belgotex Floorcoverings (Pty) Ltd. “It was indeed a privilege for DBM Architects to
With its wide range of products, Nexus assisted have been involved in this project. It has enhanced
DBM Architects by providing a durable tile to cope our understanding of stadia as a built form and
with the expected heavy traffic flow. “The objective while challenging on many levels, it was a pleas-
was to steer away from an ‘office look’ and to cre- ure to be part of the very special team that accom-
ate an aesthetically pleasing interior, with a linear plished this upgrade,” says du Plessis. <
207 >
Two concrete columns support a red flash that is reminiscent of The extensive use of steel supports adds a slightly more
the country’s rainbow. contemporary appearance to the renovated stadium.
208 >
LOFTUS
SPECTATORS
WITNESSED
ANOTHER BAFANA
BAFANA GAME By Stacey Rowan
It was in 1999 that spectators at the Loftus ONE OF THE OLDEST STADIUMS
Versfeld Stadium witnessed Bafana Banfana,
South Africa’s national team, play a soccer Loftus Versfeld Stadium is one of the oldest stadi-
ums in South Africa. This all-seater stadium has
game against Sweden. As one of the venues
been used for major sporting events since 1903, in-
that hosted matches of the 2010 FIFA World
cluding significant matches which were part of the
Cup, Loftus Versveld gave its spectators the 1995 Rugby World Cup and the 1996 CAF African
opportunity once again to witness Bafana Cup of Nations. Hosting countless rugby and soccer
Bafana play another game of soccer when matches, this stadium is no stranger to these
sports. Loftus Versfeld Stadium is the home ground
they played against Uruguay at the stadium.
of the Mamelodi Sundowns Football Club, one of
South Africa’s premiere professional clubs, and Super-
The Loftus Versfeld Stadium has a lot of character,
sport United. It is also home to one of the country’s
it has history and it has a sense of place. Situated
top rugby teams, the Blue Bulls.
in Tshwane, Pretoria, the stadium is located within
a very dense and urban fabric, making it part of
The stadium’s first concrete structure, built by the
the city. It is not isolated from the city as some of
City Council of Pretoria in 1923, could only accom-
the other stadiums are, which makes it unique. “It
modate two thousand spectators. Since 1948, Loftus
is not just a stadium, but it is a buzz of activities.
Versfeld has undergone constant upgrades and
It has a vibe,” says Bhavik Ranchod, architect and
renovations and its four main stands have been
project manager, The Creative Axis Architects.
completely rebuilt.
209 >
50% of the stadiums’ spectators to come through Keeping within the stadium’s surroundings was
the east side. This entrance was also designed to also a challenge that was faced, yet accomplished.
double up as an essential access for emergency ve- “We had to tie the stadium into what was already
hicles. The walkway was, and still is, seen as a there, keep within the heritage of the stadium and
means of knitting the precinct together with both not allow our construction activities to disturb the
the transport and bus routes, as well as the jam- outside area.” The stadium maintained interaction
packed social area of Hatfield. With the walkway with the city, which was vital.
being designed around a classic park-like approach,
it made the stadium upgrade, as a whole, serve as During the upgrade, the project team maintained
a dynamic rendition to the list of landmarks already eco-friendliness. Some of the eco-friendly methods
defining the city. used included the use of energy efficient products
for lighting and placement of eco-friendly flooring
Other upgrades included the refurbishment of the like bamboo finished floors and certain eco-friendly
board hall area, new toilet blocks were introduced carpets. “We tried to make the stadium eco-friendly
and the VIP areas on the main pavilion were up- where we could.”
graded. The key entrances as well as ablution fa-
cilities situated around the stadium were renovat-
ed, which gave the stadium a fresh new look.
A MIXED-USE DEVELOPMENT
GREEN
PARK:
‘WORK,
LIVE &
PLAY’
By Stacey Rowan.
ARCHITECTURAL DESIGN
The architectural design of Green Park is
environmentally responsive. The develop-
ment has to be carefully orientated north-
wards to allow for natural sunlight and sum-
mer shading.
CHALLENGES FACED
With the development offering apartments,
hotel rooms and office spaces, among
others, this required a substantially large
amount of parking that needed to be built.
“There is a huge amount of parking accom-
modated over four basements.” Not only
did these facilities create a need for mass
parking, but the mixed-use of the devel-
opment also created challenges. “The com-
plexities of mixed-use are naturally chal-
lenging. The residential apartments on
top of retail had to be carefully planned, as
well as the office space themselves. The
use of deep green garden decks and ar-
cades that separate these various zones
provided a solution for this,” says Horsman.
yemension
E T
218 >
T
A
P OR
ynamix
R
CO
S
C
E
A L
R I
P E T T
We SALUTE , NEDBANK’S EARTHLY “GREEN” SOUTH AFRI- This “keep it – Green and South African” vision is appre-
CAN VISION for commitment to a healthy work environ- ciated and seen as a genuine display of Nedbank’s
ment, and their insistence that all Carpet Tiles installed Corporate Responsibility in creating opportunities and
at their Sandton “Phase 2” premises are manufactured jobs, by ensuring local products enjoy all the benefits
IN South Africa and are “Greenstar IEQ-13” compliant. of, and are equivalent to, internationally available “state
This “Green – Keep it South African” vision was directly of the art” products worldwide.
responsible for Dyemension Dynamix Corporate Carpets
For more information please visit us at
(Pty) Ltd urgently researching and acquiring the neces-
www.dyemensiondynamix.co.za
sary knowledge, technology, skills and equipment for
Email us: dyedynamix@mweb.co.za
production and the resultant “Greenstar IEQ-13”
Tel no: +27 (31) 464 2627
accreditation on all of our products including the
Fax no: +27 (31) 464 9450
Nedbank carpet tiles used in “Phase 2”.
In addition to creating a healthier, sustainable environ-
ment the opening of export opportunities with compli-
GREEN BUILDINGCOUNCIL SA
ant South African products is an important added
MEMBER ORGANISATION
benefit.
219 >
BUILDING EVOLUTION
By Stacey Rowan
score is calculated. This determines the rating of toxic materials used, tenants are becoming more
the given building. aware of these ‘green’ benefits. Alongside this in-
creased awareness, the demand for green build-
The GBCSA develops these Green Star SA rating ings is growing at a rapid pace, with tenants even
tools to provide the property industry with an ob- being prepared to pay higher rentals.
jective measurement for green buildings and to
recognise and reward environmental leadership in Due to the substantial savings in utility services,
the property industry. Each Green Star SA rating particularly when viewed on a lifecycle basis, ten-
tool reflects a different market sector, for example: ants in green buildings are finding that operating
office, retail and residential, among others. costs are lessened considerably. A green building
does not necessarily need to cost more than a con-
The Green Star objectives create a common lan- ventional building. Through intelligent design and
guage and standard of measurement for green the use of fundamental energy efficient materials,
buildings, together with promoting integrated, much can be achieved.
whole-building design. Raising awareness of
green building benefits, recognising environmen- The green building movement is a more efficient
tal leadership and reducing the environmental im- way of developing and operating buildings and it
pact of developments are other criteria of the is hoped that, over time, it will lead to the obsoles-
Green Star system. cence of conventional buildings. The movement is
now being seen as ‘future proofing’ buildings and
Green buildings versus conventional is being regarded as a risk management issue.
buildings
Operators of green buildings can reduce their con-
Aside from the reduced carbon footprint, there is a sumption of energy to less than half of what a conven-
convincing business case in favour of green build- tional building consumes, with similar reductions
ings. With studies showing dramatic increases in in potable water usage, runoff to sewer and solid
productivity among users and employees, due to waste. By promoting green building practices, the
increased fresh air, more natural light and less GBCSA can have a really significant impact on the
222 >
223 >
224 >
reduction of resource consumption and on combat- property finance, investment banking, private
ing global warming. banking, foreign exchange and securities trading.
It also generates income from private equity, cred-
The name with the green logo it card issuing and processing services, custodial
services, unit trust administration, asset manage-
Would it not be considered coincidental that the ment services and bancassurance.
client of the first Green Star rated building sports
a green logo? Making things happen
Nedbank Group is South Africa’s fourth largest With Nedbank’s proud slogan ‘make things happen’,
banking group measured by assets, with a strong the question is posed: how did Nedbank make the
deposit franchise, the second largest retail depos- Phase 2 development green?
it base, a client-centric wholesale and retail fran-
chise and a substantial and growing assurance A sustainability review of the design took place in
and wealth management offering. This group pro- 2007 by a group consisting of WSP GREEN by DESIGN,
vides an ample range of wholesale and retail bank- PJC Carew Consulting and The Council for Scientific
ing services through five main business clusters, and Industrial Research (CSIR). The review panel
namely Nedbank Capital, Nedbank Corporate, evaluated the design and suggested initiatives to
Nedbank Business Banking, Nedbank Retail and improve the sustainable performance of the building.
Nedbank Bancassurance & Wealth. Nedbank The recommendations were categorised and pri-
Group focuses on Southern Africa, with the group oritised using the ‘shades of green’ approach,
positioned as a bank for all – from both a retail and which classified the initiatives into three levels of
a wholesale banking point of view. sustainability, including good practice, best prac-
tice and cutting edge. After the sustainability re-
Nedbank Group offers banking services which view, WSP GREEN by DESIGN was appointed to
comprise business, corporate and retail banking, assist in implementing environmental initiatives
Energy Efficient Building Management Solutions
Automated Control Solutions is the exclusive importer & distributor of Alerton Building
Management Systems throughout South Africa. Our selected Alerton installers are
committed to providing you with the best service and support along with easy to use
solutions to make your building as energy efficient a possible. You benefit from flexible local
experts, in tune to your business needs, backed by powerful and innovative resources.
and to guide the professional design team towards a paint and carpets have been reduced to a bare
4 Star level of Green Star SA – Office Design v1 rating minimum.
which was achieved on 15 October 2009. In addition,
the project team is currently pursuing registration The indoor environment quality also turned green, via
for a Green Star SA Offices As Built v1 rating. fresh air intake in the building being 100% greater
then required by SANS 10400-O. The inclusion of car-
A Greenfield site was not used as the building is bon dioxide sensors, integrated at the return points
located on previously developed land. Taking the on each floor, ensures continuous monitoring and
land use and ecology into consideration, the topsoil adjustment of the amount of fresh air entering the
on the site was taken away by the sub-contractor, building. The Mean Value levels were predicted to be
cleaned and reused on other development projects, between -0.5 and +0.5, calculated in accordance
while the ecological value of the Nedbank Phase 2 with ISO 7730 using standard clothing and metabolic
site was enhanced beyond its previously existing rate values during occupied hours during the year.
state. The building is predominantly framed in con-
crete with 95% recycled content for rebars and a Although 60% of the offices have direct line of sight
minimum fly-ash content of 30% on average. to the outdoors, noise from the outside has been
minimised, while the noise levels within the offices
“Nedbank had wanted the Phase 2 building to be have been reduced in accordance with in SANS 10103:
a green building long before the rule book came 2004. As with most buildings that comply with the
out,” says Xavier Huyberechts, senior executive smoking rules, the Nedbank Phase 2 Building is non-
partner, GLH & Associates Architects. smoking and has no designated smoking areas
internally.
To go green, Nedbank required that all emissions
from materials and processes possess refrigerant A conservative approach
and gaseous fire suppressants and that thermal
insulants have an Ozone Depleting Potential of zero. With regards to water, once municipality reticence
Volatile Organic Compounds of the office interior has been overcome, a Blackwater treatment system,
229 >
a project innovation, will be installed to provide recy- efficient fixtures and fittings. The Blackwater treat-
cled water for all non-potable water uses including ment system, once it is installed will further reduce
irrigation, toilets and cooling towers. Another project the outflow.
innovation is the implementation of a rain water har-
Energy saving entailed the implementation of effi-
vesting plant that will collect and treat rain water for
cient open circuit evaporative cooling towers for heat
use along with the recycled water.
rejection of the chillers. The partial economy cycle
To ensure significant savings in water consump- has been designed to provide 100% fresh air to 60%
tion, water meters for all major water uses have been of the floor plates when outside conditions allow it.
connected to a Building Management System, which Lighting power densities were put in place for 95%
supports proper facility management of water con- of the offices with an energy use of 2.25 W/m2 per
sumption. Pump testing requires no consumption 100 Lux. In addition, a programmable digital light-
of water, efficient water fixtures and fittings have been ing system has been provided for the offices. The
installed and isolation valves on each floor limit the lighting design achieves an average maintained il-
amount of water used for maintenance. The fire sys- lumination level of no more than 400 Lux for the
tem has been designed to direct sprinkler water from offices and high frequency ballasts have been in-
maintenance drain-downs to the Blackwater treatment stalled in all the fluorescent luminaries.
plant for on-site reuse and all landscaping has been
designed to include low water consumption plants. Quality management
Another green initiative is in the field of waste Commissioning had to be done in accordance with
management. This involves a dedicated storage CIBSE, The Chartered Institution of Building Serv-
area provided for the separation and collection of ices Engineers’ commissioning codes, at practical
paper, glass, plastics, metals, used compact fluo- completion. The design team and contractor had
rescent light bulbs and other materials. to transfer project knowledge to the building own-
er through documented design intent, as-built
All outflows to the sewerage system, due to occu- drawings, operations and maintenance manuals,
pant use, has been reduced by implementing highly commissioning reports and the actual training of
230 >
building management staff. To tune the building building is located within the centre of Sandton,
systems, monthly monitoring will need to be conduct- the use of public transportation is encouraged. In
ed for one year after practical completion. A Build- the future, this will include the Bus Rapid Transit
ing User’s Guide was compiled for staff in close system that will have a bus stop on Rivonia Road
cooperation with design professionals. The main and the Gautrain Sandton Station. Residential dwell-
contractor on the project, Group Five, developed ings in close proximity will further reduce the need
and implemented an on-site Environmental Manage- for long distance commuting for those who opt to
ment Plan that will require continuous monitoring. stay close to work.
During construction, the main contractor also tracked
all waste streams and completed quarterly reports The relative scores of the Nedbank Phase 2 building
on waste generation, recycling and reuse. for each Green Star category include: 75% for man-
agement; 52% for indoor environment quality;
As transport and motor vehicles are not regarded 30% for energy; 71% for transport; 86% for water;
as ‘green’, it was decided that the number of parking 36% for materials; 43% for land use and ecology
spaces would only be allocated according to the and lastly, 50% for emissions.
minimum local requirements. Five levels of under-
ground parking with 1 598 parking bays are avail- Painting a ‘green’ picture
able. Dedicated parking bays have been set aside to
provide for hybrid vehicles, motorbikes and bicycles, Along with the environmental initiatives that were
in order to promote fuel-efficient transport. Complete implemented in the Phase 2 development, the
bicycle facilities were constructed with change ‘greening’ of the wall covering was put in place
rooms, showers and space for bicycle storage, in through the use of Dulux Trade Ecosure paint. This
the form of racks, to encourage the use of bicycles as product forms part of the first ‘green’ range intro-
a means of transportation. As the Nedbank Phase 2 duced by Dulux. Used on most of the interior walls,
Consistant
Durable
Quality
+
Low
=
VOC
Paint f
or a
Greene
r
Future
Environmental benefits no longer have to be chosen at the expense of performance when specifying paints. The Ecosure range from Dulux Trade provides
high quality, long lasting finishes with excellent application characteristics and colour choice. Dulux Trade Ecosure can be tinted using the Dulux Trade
Colour System to allow flexibility in colourful decorating while taking the environment into account. Available in both Silk and Matt finishes in 5L and 20L.
Dulux Trade is a Silver founding member of the Green Building Council of South Africa and our
specifiers have been trained on the Green Star rating tool.
this low VOC paint creates a picture of eco-friend- chemicals business, the company aspires towards be-
liness, contributing to Nedbank’s green-star rating. ing an innovative, socially and environmentally re-
When the Nedbank Phase 2 project commenced, sponsible organisation with brands that provide
there was no ‘green’ paint available on the South value for money, good technical performance and
African market. Dulux was very accommodating in minimal impact on the environment and people’s
that they started to manufacture this ‘green’ paint health. Also belonging to SAPMA (South African
in order to meet the requirement that paint should Paint Manufacturers Association), Dulux’s product
be produced locally for the Nedbank project. stewardship policies are an integral part of its strat-
egies in Africa. Akzo-Nobel and Dulux are passionate
Dulux Trade SA, a professional provider of paint prod- about introducing new ideas and developing sustain-
ucts and services, prides itself in being one of the able answers for their customers, such as Nedbank.
leading authorities on products, colour and service,
undertaking research into local and international The Pluvia Syphonic roof drainage
trends to produce the most comprehensive range of system
products suited to the national South African market.
Geberit, the creator of the Pluvia Syphonic roof
Now as a subsidiary of the AkzoNobel group, the drainage system, is well known for its water-saving
leader in performance coating and the world’s largest plumbing and sanitary technology. Being named
decorative paints company and leading specialty one of the Top 10 of the World’s 100 Sustainable
ASTER
INTERNATIONAL (South Africa) (Pty) Ltd
Aster International is a leading contractor for medium to large projects in the Heating, Steam, Ventilation
and Air-Conditioning industry.
Aster specializes in the installation of plants for the climatisation and ventilation of buildings for corporate
offices, hotels, hospitals, shopping malls, pharmaceutical, clean rooms/sterile air and industrial plants.
Aster provides Engineering, Project Management, all aspects of Air-Conditioning contracting, Operating
and Maintenance Services and has more than 30 years of proven local experience.
Companies, Generit has been recognised for its The high-performance Geberit Pluvia roof outlets
commitment to sustainability. are linked together directly under the roof with a
non-sloping collector pipe. Large roof areas can
“The biggest role Geberit played in the Nedbank thus be drained through a single discharge stack.
Phase 2 project was the placement of the Pluvia This simplifies planning and reduces construction
Syphonic roof drainage system,” says Mark Schurr, time. Cost-intensive discharge stacks and drains
operations director, Geberit. Geberit used the are dispensed with, multiplying both the planning
more eco-friendly HDPE pipes, rather than the options available to the architect and the potential
conventional PVC Pipes. These were a requirement uses for the building. The technical principle and the
for the Nedbank project. high drainage rate of Geberit Pluvia ensure that the
system can be used in a wide range of applications.
Geberit Pluvia is a roof drainage system based on
an intelligent negative pressure suction system. This Some of the many advantages of using this system
system offers solutions for the architecture of today, include less planning effort, fewer discharge stacks
providing architects with considerably greater and roof outlets and the simplification of building
flexibility in the planning of buildings, in the utili- planning, permitting optimum space utilisation. A
sation of space and in the co-ordination of different diminished need for discharge stacks reduces the out-
building requirements. lay for underground drain connections and surface lines
as well as the costs for the property developer.
At the forefront of the move With years of construction experience, Group Five
has played a major role in the development of
Group Five Building, as the main contractor on the southern Africa’s infrastructure, achieving a repu-
Nedbank Phase 2 project, was at the forefront of tation both nationally and internationally for inno-
the move towards a cleaner environment. The vation and professionalism.
Group Five construction team put in a massive ef-
fort to achieve the standards set by the Green Star “We monitored the programme very closely and
SA– Office v1 rating tool. any deviations or activities slacking behind were
immediately addressed. Every person knew ex-
As one of the largest construction and materials actly what was going on and what was expected of
manufacturing companies in southern Africa, Group him. Each morning, the previous day would be dis-
Five is a broad-based infrastructure company with cussed in terms of work being done, together with
a balanced portfolio of businesses across selected how we were going to go forward. Group Five was
geographies in Africa, Europe and the Middle East. chosen for this project because of our previous
Offering multi-disciplinary construction and engi- track record, the dedicated team we have and the
neering skills and expertise, the company achieves spirit presented by our team,” says Johan Matthee,
delivery of all aspects of projects, including concept Senior Project Manager, Group Five.
development and design.
Derrington Floors – suppliers and installers of superior wooden flooring including the following:
Solid wood flooring, Super-Engineered wood flooring, Engineered wood flooring, Bamboo flooring, Laminate
flooring
Suntups Super-Engineered wood flooring was chosen for Nedbank's Phase II building – the flooring chosen
offering all the benefits of an engineered floor along with the useful life of a solid wood floor whilst using the
optimum quantity of valuable timber.
Tel: 082 900 3343
Fax: 086 666 1686
Email: info@derrington.co.za www.derrington.co.za
235 >
Not just a desk used, the interior design, the internal and external
lighting, among others, the imperative is to create
With eight levels of office space, Phase 2 of the Ned- the perfect work environment through correct struc-
bank Head Office will provide new accommodation tural and design implementation.
for 3,000 employees. With a team comprising GLH
“The aim of architecture is to create environments
Architects, Terra Ether Architects, Claassen Auret,
for people to work and live in that they are proud
Aurecon, Coffey Projects, Group 5 Building and WSP
of and that they are happy to associate them-
Structures, among others, the Nedbank Phase 2
selves with. Paying attention to a work environ-
building has become more than just an office with
ment does a lot in terms of increasing the employ-
a desk.
ees’ performance and in keeping staff. The quality
of the work environment is very important to us,”
We all know the term ‘sick-building syndrome.’ Al- says Huyberechts.
though this definition may refer to a human health
condition where infections are caused by exposure “The client wanted to create a large office, which
to contaminants within a building as a result of would bring departments together. By bringing
poor ventilation, this term also applies to the de- people together, it would in turn make communi-
sign and architecture of a specific building. When it cation stronger between departments. We pride
comes to the layout of a building, the colour palette ourselves in having created a work environment
237 >
that people like to work in and creating a building As nature, with its green elements, affects the work-
that works and does what it is intended do. Our ing environment, Nedbank Phase 2 was designed
primary aim was to create an office, but for us, it to surround two beautiful spaces of greenery in
was going beyond functionality. By achieving that, the form of two parks. The greenery has given the
we have reached where we want to be. If you employees of Nedbank an exceptional type of work
speak to people in Nedbank, they are positive and environment. With flora and fauna, large lawns of
happy people,” adds Huyberechts. grass, wild geese, birds, winding walking paths and
seating benches, this is truly an escape from the
The simple offices, canteens, amenities, little shops city hustle-and-bustle where employees can spend
and green openness of the parks, allow for the mixing their lunch breaks relaxing and decompressing.
of people, creating a relaxed way of working. “It is a “When you are in the park, you cannot hear the
building that people want to go to work in. Nedbank’s buzzing of the city. This, in itself, is an achievement,”
employees love going there. For them, work is more says Huyberechts.
than just a desk,” explains Huyberechts.
A timeless piece
Greenery within cement
Imperative to the design is the creation of a time-
In order to improve on the previous working environ- less building, one that shows the bank’s long-last-
ments of Nedbank’s employees, it was essential ing duration and stability within South Africa, whilst
for the architects to go back to the original design of differentiating its design and appearance from oth-
the past offices. Before the Nedbank Head Office was er banking developments. For the architects, it was
built in Sandton, the staff were housed in various of- important to design a building that ‘ages well’.
fice blocks across the Johanneburg CBD. Johannes-
burg’s inner city, often referred to as the ‘cement jun- “We used a slightly classical look for the building,
gle’, is crowded with developments, busy roads, avoiding falling into a neo-classical appearance.
traffic-jams and over-bearing office blocks. Essentially, People are not scared of this type of architecture. It
the offices were housed in dense office buildings has already been assimilated through the Nedbank
which were seen as alienating to the employees. Phase 1 building. As the architectural ‘handwriting’
238 >
had already been done in the first phase, we made It was important to the client that Phase 2 be kept
a strong reference to the past architectural styles in line with Phase 1 in terms of development, con-
and forms that are recognised by the general pub- struction and design. “This proves that we did not
lic.” A solid identity, from an architectural point of go wrong in the development of phase 1,” con-
view, was developed. “Each of our clients has an cludes Huyberechts.
architectural ‘handwriting’ which inevitably be-
comes their identity,” says Huyberechts. A landmark in Sandton
The architecture, with its modernity and palette of Nedbank Phase 2 is located on a prime site in the
light colours, is very striking, creating a distinct pres- heart of Sandton and although the building itself
ence within the Sandton area. It was about being is not tall enough to feature as part of the skyline,
strikingly different, yet easy recognisable. it however can be said that “anyone who knows
Sandton, knows the Nedbank Phase 2 building,”
The architecture, although not alien to global architec- says Huyberechts.
ture, does not fall into the pitfall of trends. “Following
popular trends in architecture can be dangerous, as The building seeks to benefit the whole of Sand-
one day a building is trendy, but then the next day it is ton by bettering and integrating city living. This is
dead. We did not want to fall into international trends, accomplished by opening the building up to the
where you take an international architectural extract street via an active face. “There are no other build-
and place it in South Africa,” adds Huyberechts. ings like this that are ‘open’ and active. This is an
239 >
TECHNAL MX
CURTAIN WALLING
PERFORMANCE GLAZING
FRAMELESS SYSTEMS
SHOPFRONTS
WINDOWS
DOORS
It’s not just fine four and five star hotels that feature in
the Legacy portfolio. There are a host of bush lodges
and lifestyle retreats such as Kwa Maritane, Bakubung
and Tshukudu in the Pilanesberg, the Kruger Park
LEGACY CORNER:
A winning formula
If you are fortunate enough to be invited to the tri-
ple storey penthouse of the Michelangelo Towers,
you will get a bird’s eye view of just how substan-
tial the Legacy foothold is in Nelson Mandela Square.
Once the Gautrain’s station has been completed,
adjacent to the square, the Legacy stable of the
Michelangelo Hotel, Da Vinci Hotel, Michelangelo
Towers, Raphael Penthouse Suites and the Da Vinci
Suites will come into their own as demand in this
vibrant business hub surges.
hospitality development and subsequently the Below the two shopping mall levels, is the glamor-
Michelangelo Towers broke the mould offering exclu- ous Marco Polo entertainment centre offers 300 state
sive apartments in a lavish style in the tallest building of the art interactive electronic bingo terminals as a
in Sandton. With the Legacy formula of elegance, cha- diversion. Themed as a Venetian venue, the Marco
risma and commitment to service firmly entrenched in Polo celebrates the life and times of the famed medi-
the area, Sandton’s latest offering has now arrived to eval Italian explorer that traversed the globe on nu-
complete the picture. merous journeys of discovery. Owned and operated
by Galaxy International, a UK company with over 15
Legacy Corner is 17 storeys of mixed-use facilities situ- years’ experience in Bingo development, the Marco
ated on the corner of 5th Avenue and Maude Polo has an intimate piano bar with a romantic
Streets in Sandton, directly opposite the stalwart dance floor as well as a show bar and a dedicated
Sandton City retail and office complex, the Sandton smoking room called The Crystal Room.
Sun Hotel, the Sandton Towers Intercontinental
Hotel and the Sandton Convention Centre. The Da Vinci Hotel has 166 en suite hotel rooms,
50 single, double and triple bedroomed apartment
The retail component of this new development is suites as well as two levels of four luxury duplex pent-
situated on three levels that are linked with the upper houses. A fitness gym, infinity pool and wellness
and lower retail levels of the existing Nelson Mandela spa are amongst the perks.
Square. BAI are renowned for their retail excel-
lence – and the new Legacy corner Mall is testament The architects who have helped with the success
to this excellence. Already open, the mall has met with of the Sandton Legacy portfolio are Bentel Associ-
great approval by shoppers and tenants alike. ates International (BAI) who designed the iconic
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V LATINUM
Anities CC 2009/047131/23
Address
21 Rosslee Street, Cruywagen Park, Elsburg Office 011 827 6750
Email J.B.R. 076 188 3832
platinum.jaco@hotmail.com Sandra 084 780 9435
245 >
The Crystal Room in Marco Polo. Marco Polo bingo machines. The bar at the Maximillien Restaurant.
248 >
THE JUXTAPOSITION OF
OLD AND NEW
AT MONTECASINO
By Bev Hermanson
Conceived as a walled Tuscan village, in line with the previous phases built at
Montecasino, The Pivot is a unique blend of office, retail and hospitality spac-
es that offers convenience and style to those looking for accommodation and
business facilities in the upmarket suburb of Fourways.
The Pivot courtyard showing part of the office complex, the conference block, the ‘Pivot’ sculpture designed by
renowned Johannesburg artist, Marco Cianfanelli, and the entrance to the hotel.
249 >
The open plan kitchen creates a ‘theatre of cooking’ interactive with the guests in the dining room.
Easily accessible from the N1 freeway, the Lanseria The latest offering at Montecasino, in the form of
and OR Tambo Airports and the business hubs of The Pivot, adds a great deal of value as an extra di-
Sandton and Midrand, the casino complex known mension to the already popular entertainment
as Montecasino offers an excellent blend of enter- node. A joint venture between Tsogo Sun, Abland
tainment to the residents of Johannesburg. The and ABSA, The Pivot fulfills a number of needs, one
first phase of Montecasino, comprising a gaming of which was the provision of extra parking. Further-
floor, various upmarket restaurants and boutique- more, for those living in the vicinity and for those
styled stores, along with a Pieter Toerien theatre, living north of Wit-koppen Road, The Pivot offers
NuMetro cinema complex, fast food court and kid- an excellent business premises alternative to the
dies entertainment zone, was opened in 2000. congestion experienced in Rivonia, Sunninghill and
Launched amidst much fanfare, Montecasino rap- Sandton. Over 16 000 m2 of rentable office space is
idly became one of the most popular gaming desti- available in blocks of between 50 m2 right up to
nations in Gauteng. 13000 m2. Each office block has its own core facili-
ties in the form of lifts, stairs and toilets, with access
Initially, the 5-star Palazzo Hotel built alongside to the open air communal square.
the casino, was the only hotel accommodation
nearby, but as subsequent phases came on stream, A dominant feature in the square is the huge sculpture
offices, an additional theatre – the 1 900 seater by renowned Johannesburg artist, Marco Cianfanelli.
Teatro – and another hotel ‘on the square’ added The brief to Cianfanelli was to create a tall sculpture
more spice. that would add a touch of modernity to the Tuscan
surroundings. “I tried to capture the idea of a pivot
250 >
Multiple volume reception area of the Southern Sun Montecasino Hotel and the sweeping staircase leading off the
reception area.
being both a point of origin and a source of energy,” “The addition of another hotel increases our total
explains Cianfanelli. The interpretation suggests that room stock to over 600 in the Montecasino node,”
the pivot represents centrifugal forces and Cianfanelli says Kevin Page, director of development for the Tsogo
decided to depict this by arranging multiple fins Sun Group. “This has been a welcome extension to the
around a single point, to create the effect of energy accommodation already available. The additional of-
radiating outwards. The result has been quite a fices have further added an exciting business oppor-
feat of engineering, at 18 metres tall, weighing six tunity, especially since we have included a 1 200m2
tons and wired to light up at night. conference centre as an extra attraction.”
The office facilities are complemented by a choice Modelled on the Palazzo Corsini, a fifteenth century
selection of retail outlets and restaurants. In fact, villa nestling on the slopes between Gianicolo and the
every convenience has been considered, from renta- Tiber River in Italy, the new Southern Sun Monteca-
ble meeting rooms and boardrooms, to hairdress- sino Hotel, with its distinctive pink and cream exterior,
ers, dry cleaners and even printers. In addition, ten- offers 194 rooms and boasts a theatre-style open
ants of the office accommodation have access to plan kitchen interactive with the restaurant, a high
the facilities in the new four star Southern Sun tech gym in the basement and a spacious lounge
Montecasino Hotel that is part of the new develop- and bar. An extensive wooden decked terrace out-
ment – in particular the 120 seater restaurant, the side overlooks the pool and wetland area on the
lounge area and the Venetian bar. northern side of the hotel, which, although it faces
"Design is a plan for arranging
elements in such a way as best to
accomplish a particular purpose."
- Charles Eames
SANDTON +27 11 555 4800 I CENTURION +27 12 663 2556 I www.offix.co.za I sales@offix.co.za
The Southern Sun Montecasino Hotel enjoys prime position as part of The Pivot development in Fourways.
one of the busy traffic circles, is effectively shielded “The Pivot project was a wonderful experience in
from public view. that it combined the talents of some of the top con-
sultants in all disciplines within South Africa, who
“What is special about this development is the unique were given the creative freedom by the client to create
fusion of old meeting new,” says Ryan Illgner, inte- a unique development where every detail has been
rior designer for the hotel and conference facilities carefully considered and tested,” Illgner adds.
and Director of Blacksmith Africa Interior Design “The future for The Pivot can only be successful. Its
Consultants. “The juxtaposition is evident throughout beautiful classic Venetian appeal is seamlessly in-
the development and especially in the hotel, which tegrated with contemporary design and all the
resembles an old Venetian building that has been convenience afforded by modern technology.” <
refurbished.”
Technical Specification
* Compressive Strength of 133 Mpa
Advantages
* Smooth finish, easy to paint to the colour of your choice
* High quality finish than conventional concrete, no plastering or finishing required
* Columns are hollow thus easy to transport and position
* Can be used hollow or filled with concrete
* No shuttering required
Contact details
Email: admin@ecc-m.co.za
255 >
A 5-star brand
Coral International, being the 5-star brand that it is,
has brought its blend of refinement, elegance and
luxury, topped by its state-of-the-art facilities, to
the South African shores in the form of this new
hotel. “It has the look and feel of a 5-star interna-
tional hotel,” says Clive Shepherd, managing direc-
An evening view of the Coral International Cape
tor, DSA Architects International. Featuring 137 spa-
Town Hotel.
cious rooms and suites – each equipped with the
Al Zaeem has the shisha for every occasion. finest amenities – Coral International Cape Town com-
bines world-class comfort with outstanding service. A
swimming pool with a pool deck, meeting rooms, a
business centre, two restaurants serving internation-
al cuisine, a lounge area, spa and gym facilities on
the mezzanine floor, are also available.
The Bo-Kaap
View of the spacious lobby.
The hotel, being located adjacent to the Bo-Kaap,
a Muslim community in Cape Town, created chal-
lenges for the team at DSA Architects Internation-
al, who, from a design point of view, had to mould the
hotel into the precinct and work within the Bo-Kaap
context.
Boasting 137 rooms and suites, Coral International Cape Town takes modern luxury to a higher level.
Each suite includes an elegant and relaxing living area with stunning views of Table Mountain.
260 >
The Mezbaan restaurant takes the best elements from India and Arabia and adds a
modern twist to create one of Cape Town’s most original restaurants.
261 >
Challenges faced
With the Coral International Cape Town hotel locat-
ed on a very prominent, but restricted, corner of the
precinct, at the base of Table Mountain, there were
a few design challenges that needed to be ad-
View of the steam room. dressed.
SOCIAL
The City of Cape Town has signaled its inten-
tion to bid for IDA World Design Capital™
(WDC) in 2014. The WDC project is a biennial
international designation created to identify
DESIGN
quality of life.
FOR A
Alliance (IDA), which consists of the Interna-
tional Council for Societies of Industrial Design
(Icsid), International Council of Graphic Design
Associations (Icograda) and the International
Federation of Interior Architects/Designers (IFI).
FUTURE:
sign by strengthening and empowering cities
to use design to position their competitive
advantages from social, cultural and econom-
WORLD
ic points of view.
DESIGN
ments through a year-long programme of
design-led events and activities similar to
what World Design Capital 2010 Seoul is cur-
rently doing and what Torino achieved in
CAPITAL
2008.
FOR 2014?
Town’s bid: design that seeks solutions to
the City’s challenges whilst creating an envi-
ronment that is sustainable and inclusive.
263 >
Cape Town is already home to numerous system. The Cape Town railway station and
cutting-edge designers and the breeding the airport terminal have also been completely
ground of award winning, groundbreaking transformed. All of these have a substantive
designs. Designers like Haldane Martin with impact on people’s connection with, and in,
his Zulu Mama chair which draws on indig- the city.
enous knowledge and craft techniques,
Heath Nash with his refashioning of used plas-
All these projects aim to give the poor greater
tic products, Luyanda Mpalhwa’s 10x10 Hous-
access to employment, give them parts of
ing Project submission, Tsai Design’s stacking
the city from which they were displaced and
beds and Mokena Makeka’s public buildings,
the relief from monotonous, bleak aesthetics.
are all examples of how designers are applying
a more holistic approach to design; seeing
it as part of a greater system instead of as a Socially conscious design acknowledges cur-
single item detached from social or environ- rent world dynamics and uses design in in-
mental context. novative ways that seek to weave solutions
into the way in which design is conceived,
But, the City’s urban landscape and lack of how its application is used, how its products
social cohesion reflect the planning archi- or services are consumed, and lastly how its
tecture of apartheid and latter day political waste products are absorbed back into the
economic policies which resulted in the ma- ecosystem. Socially conscious design em-
jority of citizens living on the urban fringes, ploys methodologies that make use of local
condemned to poverty, unemployment and techniques, are labour intensive and that
a lack of access to resources. create employment. It uses products that are
not harmful, scarce or non-renewable and
In 2014, when South Africa commemorates which can be reabsorbed into the ecosystem
20 years of democracy, Cape Town will hope- without obstructing the planet’s ability to
fully have a compelling story to tell of design- regulate itself.
led transformation. Socially conscious design
is already evident in a number of public sector
Cape Town’s WDC 2014 bid aims to catalyse
projects like the Violence Prevention through
a new way of thinking in which socially con-
Urban Upgrade project in Khayelitsha, the
scious design is integrated into the language
upgrading of public spaces in the broader
of design and embedded into a curriculum
Cape Town area through the Dignified Spaces
of all design-led thinking. <
programme and the legacy left by the 2010
Soccer World Cup. The latter has seen infra-
structure investment, which has emphasised For more information about the World Design
pedestrianisation and embedded ‘people- Capital or how to enter your project, visit
first’ design in its development of urban parks, http://www.capetown2014.co.za/
pedestrian and cycle routes and the begin-
nings of an Integrated Rapid Transport (IRT) Images courtesy of Design Indaba.
266 >
MAKING
SENSE OF
STRATEGY &
POLICY:
By Jennie Fourie
THE
CURRENT
STATE
OF DESIGN
PROMOTION
267 >
Most designers from disciplines across the board design promotion structures on the continent.
have little or no interest in design promotion strat- Africa is known for craft-based industries and it
egies and policies. Truth be told, they most prob- might well be that now is the time for new mod-
ably don’t spend a minute thinking about these els of related design promotion activities to be
issues while there are deadlines to meet, plans to developed.
be made and projects to present.
In a previous edition of DESIGN> (No.13, 2009),
In a study to support the activities of a South African thought leaders from different African countries
task team on design promotion, Jacques Lange, gave their opinions on what was needed to boost
past president of the International Council of design on the African continent. They unani-
Graphic Design Associations (Icograda), collated mously agreed that the design sector did not re-
information on design promotion strategies and ceive appropriate, if any, support from their gov-
policies globally. This study found that Finland ernments. As Lindi Ndebele Koka from South
and South Korea were the only countries in the African stated in the article: “Comparatively, de-
world that have a complete design system that sign does not receive enough governmental sup-
implements design support programmes target- port as opposed to the craft and film sectors that
ing business, the general public and design edu- were identified by government as potential sectors
cation with national design policies operating at for economic growth in South Africa, despite the
government level. fact that design is also part of the creative indus-
tries. Currently governmental stakeholders do
Asia and the Nordic countries, in which South Korea not seem to have adequate understanding of the
and Finland reside respectively, are the most vig- potential of the design sector. The support of the
orous regions when it comes to design promotion. sector requires political advocacy backed by
In fact, Asia stands out with different design pro- enough research that will motivate the contribu-
motion structures in China (including Hong Kong), tion of the sector to benefit and impact on major
Japan (with no less than four organisations), Ma- government imperatives like job creation, pov-
laysia, the Philippines, Singapore, Taiwan and erty alleviation and more.” She added: “Design is
Thailand. Over and above Finland, the Nordic still viewed as an ‘elite’ sector, so to speak, where
countries have organised design structures in there are serious barriers of entry for ordinary
Denmark, Norway and Sweden. The majority of people.”
European Union countries have active national
and regional design promotion agencies. Although no national design policy exist in South
Africa at present, the SABS Design Institute, es-
Traditionally, design promotion activities were estab- tablished in 1969 and funded by government,
lished to support and stimulate the manufacturing promotes design to support the economic and
industries of countries. A developed manufacturing technological development of South Africa. The
industry is regarded as a prerequisite for design Institute’s initiatives include a number of award
stimulus to be effective. This might explain one schemes and design publications, with a focus
of the reasons why Africa lags behind with South on education, industry and development.
Africa’s SABS Design Institute as one of the only
268 >
There is growing emphasis on the creation of de- In an essay titled Designing a Distinctive National
sign and innovation structures in South Africa Brand in the McKinsey publication, Christopher
through ad hoc initiatives such as a well-defined Graves, states that “South Korea’s investment in
craft strategy. design has been substantial, from the Korea In-
stitute of Design Promotion to its 230 design
schools to the design institutes at both LG and
Why should governments Samsung”.
care about design
Graves postulates that South Korea’s investment
promotion? in design is paying off. “South Korean designers
are driving the most innovative designs in the
The simple answer to the question why govern-
auto industry – the revival of the Camaro, the new
ments should care about design promotion is
concept crossover Cadillac Provoq, the electric
that it makes economic sense. Let’s take South
Chevy Volt, and the Lincoln MKT. In fashion, South
Korea as an example.
Korean designers have been sewing up excel-
lence as well. In 2008, according to the Financial
In a McKinsey quarterly publication, titled South Times, half of the most talented emerging design-
Korea: Finding its place on the world stage, five ers chosen to be honoured in Gen Art’s Fresh
essays explore the miracle of South Korea, Asia’s Faces fashion exhibition were from South Korea or
fastest growing economy. During the four dec- were Korean American, and at Parsons, The New
ades following the Korean War, this country School of Design in New York, nearly a third of all
evolved from one of the most wretched states in students are Korean. At Cannes last year, ten Korean
the region to one of the most vibrant. It has films were screened – a record – and one (Thirst)
turned into a manufacturing powerhouse that won the Jury Prize…Companies such as LG and Sam-
has virtually eradicated poverty, malnutrition sung have been sweeping international design
and illiteracy. awards. In the prestigious iF design rankings, award-
ed by International Forum Design in Hanover, Ger-
In a global economic climate that is struggling to many, Samsung is number one in the world –
recover from the ravages of last year’s recession, ahead of number-two Apple. LG is number eight,
South Korea is performing exceptionally well. ahead of German design legends BMW, Miele, and
This country’s economy accelerated in the first Gaggenau.”
quarter of 2010 as rising global demand boosted
sales at the nation’s carmakers and electronics
manufacturers. Exports surged to more than Korea Institute Design
30% from a year ago and the South Korean gov- Promotion
ernment forecasts that exports will rise 13% this
year to $410 billion, with the Hyundai Motor Cor-
Design became a national imperative in South
poration increasing sales and Samsung Electron-
Korea in 1970 with the establishment of the Korea
ics posting a seven-fold increase in profit. Finally,
Institute of Design Promotion, or KIDP. KIDP was
the central bank has raised its 2010 growth fore-
established by the Korean government to pro-
cast to 5.2%.
mote the design industry and expand exports. As
269 >
a national government design organisation, KIDP has been successful in its bid to become the IDA
promotes Korea’s mid to long-term design policies 2010 World Design Capital and has declared a strat-
and engages in various exchange programmes egy to be the Global Centre for Design by 2015.
with countries around the globe. To meet the de-
mands of the digital design era of the 21st cen-
tury, KIDP particularly focuses on leading Korea’s And the rest of the world?
economic development and enhancing quality of
life. KIDP intends to do this by promoting research
An economic case has been made for design pro-
and development activities pertaining to design
motion by taking South Korea as an example, but
and implementing projects to promote design in
this does not mean that the substantial efforts of
effective and systematic ways.
other countries should be ignored. The most promi-
nent is the well-known British Design Council in
With a full-time staff of more than 300, KIDP is based Britain which served as model for many design pro-
in the six-storey Korea Design Center in Seongnam motion programmes for many decades. In Europe,
City and is supported by 16 regional design inno- Belgium, the Czech Republic, France, Germany,
vation centres. the Netherlands, Spain and Portugal, to mention
just a few, have well-established design promo-
The design promotion policy that exists in South tion initiatives. The Americas and Oceania also
Korea is legally enforced through the Industrial have professional bodies, award schemes and
Design Promotion Act. the like to promote design. Although the primary
goal of design promotion is commercial, the cul-
Several award schemes forms part of KIDP’s initia- tural identity of a country or region plays a sig-
tives, including the Good Design Awards (product, nificant role in the nature of the promotional pro-
packaging, environmental, communication, materi- grammes.
als & surface, and processing design); the Young
Designers Competition (from elementary to high And the point of all of this? It is clear that designers
school level); and the Korea Industrial Design Exhibi- should start paying attention to regional, national
tion that showcases the President’s Award and and international design promotion activities if
Prime Minister’s Award. they would like to elevate the status of their profes-
sion on the global platform. By adding their voic-
The strength of Korean design can be ascribed to es to those of pressure groups that are lobbying
an embedded design culture and comprehensive governments to formalise design strategies and
government support programme that addresses policies, designers can be instrumental in secur-
all levels. A very clear example of this is that Seoul ing a prosperous future for themselves. <
REBRANDIN
A FEW LEGA
CONSIDERA
At some point during the life cycle of most organisa- There are a few basic intellectual property considera-
tions, there will come a time when it is considered tions which businesses would do well to keep in
appropriate to change the corporate identity or its mind in the rebranding process.
flagship brands. This happens for various reasons,
such as with mergers and acquisitions of two or Perhaps a good starting point is the recognition
more businesses or purely for the sake of rejuvina- that trade marks or brands are a valuable form of
tion or repositioning. Sometimes the reason for intellectual property. Their function is to indicate
rebranding may be connected to a desire to shed to the public that ‘these are the goods or services
a ‘tainted image’. For example, it has recently of me, the trade mark owner.’ Their role in attracting
been reported that the global oil and gas giant, custom should not be underestimated since con-
BP, may be considering a re-brand in light of the sumers generally stick to the brands that they know
negative publicity it has received as a result of the or hold in high esteem. That is the power of a good
oil spills in the Gulf of Mexico. Closer to home it brand. Nowadays the value of trade marks can be
has been reported that the South African Football reliably calculated and determined, and this is an
Association (SAFA) may be considering a change of everyday process accepted by none other than the
the popular national football team name BAFANA Receiver of Revenue, as well as financial institu-
BAFANA due to the fact that this mark has been tions and the business community. For example,
registered in the name of another party. Business Week has ranked COCA-COLA as the
most valuable brand in the world with its notional
271 >
NG:
AL
ATIONS
value exceeding US$65 billion. Obviously very few be a cost implication in maintaining and promoting
brands can be compared with COCA-COLA, but the brand, which would have to be considered, but
this brand illustrates well the point that trade in the vast majority of cases the benefit in main-
marks are valuable property. taining the trade mark registration will far outweigh
the related cost as this would provide a relatively
It stands to reason that a sizeable chunk of the val- easy and inexpensive way of preventing potential
ue of a trade mark can be attributed to the exclu- competitors from profiting from any goodwill in
sivity attached to it. It is therefore critical to ensure the brand. It will also always be possible for the
that this exclusivity is maintained at all costs, trade mark owner to sell the brand if it is consid-
which can normally be achieved through trade mark ered to be expendable, as opposed to merely
registrations, domain name registrations and pre- abandoning it.
venting others from diluting the mark.
An important consideration in relation to discon-
When rebranding, consideration should be given tinued brands is that in most jurisdictions trade
to the protection of the ‘old’ as well as the new brand marks which are not in use in the course of trade
in order to prevent potential losses as a result of will at some point become vulnerable to removal
diverted custom. If a registered trade mark is being from the Trade Marks Register. In South Africa reg-
discontinued, the registration should be main- istered trade marks become vulnerable to such an
tained for as long as possible. There will obviously attack after a period of five years of non-use. In
272 >
order to prevent this from happening, the mark will nies, was announced to the Stock Exchange of
have to be used in the course of trade at least peri- New Zealand on 22 October 1980. The next day the
odically. As some beer drinkers would be aware, news appeared in a number of newspapers and
for example, SAB MILLER has discontinued its financial journals. On the same day, B reserved the
LION LAGER brand, but in order to prevent the mark company name Fletcher Challenge. In Glaxo Plc v
from becoming vulnerable to an attack based on Glaxowellcome Limited, A issued a press release
non-use, LION LAGER beer is now available in South on 23 January 1995, announcing a takeover bid
Africa only during the festive season. which, if successful, would form a new entity
called Glaxo-Wellcome Plc. On 24 January 1995 B
When rebranding, protection for the new brand filed an application to register the company name
should definitely be secured prior to its launch or Glaxowellcome Limited. Both matters had to be
publication. Typically this would entail conducting resolved through litigation.
searches of the Registries in all the countries in
which one has or intends to have a viable business An often overlooked aspect of trade marks is that
undertaking, to ensure that the proposed trade some of them also enjoy copyright protection. If a
mark is available for use and registration. If the mark mark is in the form of logo or a combination of
is available it should be registered immediately in words and a design or device, such as the BP and
all the relevant classes. This applies equally to COCA-COLA trade marks, it will generally also enjoy
business names as well as domain names. In the copyright protection as an ‘artistic work.’ The term
case of Fletcher Challenge Ltd v Fletcher Challenge ‘artistic work’ as it is used in the Copyright Act No.
Pty Ltd news of the incorporation of A under the 98 of 1978 has no reference to artistic quality, and
name of Fletcher Challenge, which was formed should therefore not be misunderstood. Even
through the merger of three New Zealand compa- ‘plain looking’ logos or visual devices will in most
273 >
instances enjoy copyright protection. Another little Consequently, A’s rebranding exercise could be
known fact is that copyright generally belongs to stopped dead in its tracks. Depending on the extent
the author of the particular work and can only be of A’s outlay at that stage this could potentially
transferred in writing. It makes no difference that result in a substantial loss, or at least some embar-
the designer was remunerated for creating the rassment. It is also arguable that a trade mark
logo. Unless there is a written agreement in terms ‘owner’ who does not also own the copyright in the
of which ownership of the copyright in the logo or mark cannot be the bona fide owner of the mark. In
device is transferred to the trade mark owner, the terms of section 10(3) of the Act, a mark in relation
copyright subsisting therein belongs to the designer. to which the applicant for registration has no bona
So what happens if during the course of A’s re- fide claim to proprietorship shall not be regis-
branding exercise the designer of A’s new logo, as tered. All of this points to the importance of ensur-
the legitimate owner of the copyright, sells it to B, ing that the ownership of the copyright in logo and
a competitor of A? device marks is secured.
In terms of section 10(12) of the Trade Marks Act Rebranding signals change. A new image will cause
194 of 1993 (“the Act”) a trade mark shall not be consumers to take a fresh look at a business. It
registered, or if registered shall be removed from would be a pity if they find a business which has
the Register if its registration is contrary to any unwittingly opened itself up to litigation as a re-
law. In the circumstances mentioned above if A sult of failing to adequately secure its intellectual
tries to register the new mark he can be blocked in property. <
terms of section 10(12) of the Act. If he uses the
mark he will infringe B’s copyright and can there-
fore be stopped in terms of the Copyright Act.
274 >
TRANSFORMING
RURAL VILLAGES INTO
WEALTHY TOWNS
THROUGH THE
INDUSTRIALISATION
OF CRAFT
ENTERPRISES
By Leonard Shapiro
275 >
The production of craft products is a major con- systems are primary components in the continued
tributor to economies in countries the world supply of craft in large volumes to satisfy market
over. In some countries, functional craft products demand.
are produced in volumes large enough to be sup-
plied to major chain stores. Common stereotype: people who live in rural areas
in South Africa are typically poor and unemployed.
In South Africa, craft-making and the harnessing This blinds us to the fact that there are an abun-
of hand skills and creative talent into the design dance of sophisticated hand skills and design
and production of craft products for national and knowledge available in these areas, which re-
global distribution is key to a sector that can contrib- main untapped and undeveloped. These skills
ute significantly to our economy. To achieve this, the represent a valuable inherent asset that can
set up of purpose-built production line facilities form the basis of thriving and sustainable crafts
and appropriately mechanised manufacturing enterprises.
276 >
If more employment is created in rural areas, hand skills. This policy and process has been im-
these areas will become more wealthy and the plemented steadily and successfully since 1994.
more municipal services rural inhabitants will be Many crafters have benefited from product develop-
able to afford. In addition, individuals will be ment and business skills training interventions
able to afford better housing, private healthcare, provided by service providers contracted to various
university education, more nutritional foodstuffs government departments.
and luxury goods. It’s that simple.
Consequently, there are a growing number of craft
To this end, investment in the rural village becomes enterprises that have reached the point where their
attractive for certain retail outlets and banks as production rate cannot keep up with the demand
the demand for their goods and services become for their products. As such, the next logical step in
affordable. the development of the craft enterprise is the indus-
trialisation of the production system in order to
Poverty alleviation funding from the South African increase manufacturing efficiency and product
National Treasury is directed to a number of govern- output, whilst still maintaining product quality.
ment departments who are tasked with using these The industrialisation of crafts enterprises that are
funds to develop crafts enterprises. The main focus at the point where they can justify taking this de-
behind the use of poverty alleviation funds in the velopmental step, leads to a dramatic increase in
craft sector is to create sustainable crafts enterpris- jobs and wealth. Industrialisation needs to be in-
es and jobs based on the utilisation of existing troduced sensitively and the maintenance of the
remain a hand process. The reason for this is that South Africa is a relatively young democracy and
the decorative process gives the final product its although great strides have been achieved in the
real value, where the consumer is buying the crafts sector in the last 15 years, development of
plate primarily for its hand decoration. Mecha- the craft sector is embryonic when compared to
nising the process of shaping the plate means that craft development in other countries. However, im-
many more plates can be made and orders can portantly, indigenous knowledge skills that form
be taken from retail outlets and chain stores that the foundation for the manufacturing techniques in
require supply in large quantities. As orders in- the making of South African crafts are part of South
crease, more people will be required to decorate Africa’s knowledge bank of skills. These skills are
the plates and consequently more people will be home-grown.These techniques have been passed
trained and employed for this purpose. The more on from generation to generation and although
the merrier! they may employ low-technology in their mak-
ing, many of these techniques are in fact highly
By supporting the development of sustainable sophisticated.
enterprises in rural areas through the industrialisa-
tion process, will result in fewer people who live in After the industrialisation of a crafts enterprise
rural areas needing to seek work in urban areas. has been successfully piloted in one village, its
methodology for development can be applied in all purpose built factory space is what is needed. If
of the provinces, to craft enterprises that are ready you or your organisation would like to support the
for this next important step in their development. Raaswater Paper Craft and Design initiative,
please email me at leonard@craftsouthafrica.co.za
There is a craft enterprise in a small village in the
Northern Cape province of South Africa called, Raas-
water Paper Craft and Design. It was founded in 2002 ABOUT LEONARD
by paper mâché crafter and designer, Themba Masala.
At this time Leonard Shapiro mentored Masala for Leonard Shapiro is the director of CraftSouthAfrica,
a period of 18 months. Today, Masala’s craft enter- an organisation dedicated to the development of craft
prise now employs 20 people and supplies retail enterprises in South Africa. <
outlets in South Africa, Germany, Switzerland,
France and the United Kingdom. This enterprise is
now at the stage where the demand for products
exceeds the ability to supply timeously. As such,
this craft enterprise is a perfect candidate for
mechanisation/industrialisation. In essence, a
280 >
ALIVE
producing fashion-art collections of shoes,
bags and accessories based on designs
by creatives from across the world. The
project targets young students of art,
architecture, fashion and interior design
colleges as well as all those – regardless of
THAN YOU?
age – who have a penchant for fashion art
and want to see their ideas realised and
rewarded.
original patterns as the expression of a the globe, which brings to life the story
distinctive style for those who want to that lies behind each artwork.
stand out.
Designers of selected artworks receive a
There is a substantial difference between net 6% royalty fee calculated on the sales
standard competitions and WMATY’s crea- price of their artworks as long as they stay
tive calls. With WMATY, participants are in the WMATY collections. Selected design-
all on a par, provided that their ideas are ers and artists are also promoted through
new and original. There is no classification an international communication campaign.
with a 1st, 2nd or 3rd place, but a reward Their images and profiles accompany each
for those projects which are consistent of the artworks on sale. It is the designers
with the creative call theme, the organiser’s themselves who introduce and explain
corporate strategies and the nature of their artworks and tell buyers about their
their collections. WMATY aims to promote
cultural diversity and giving a platform to LTR: Floral Shoes designed by Victoria
everybody’s artistic and design skills. It is Geaney, United Kingdom. Pebble Bag
a thread of creativity spinning around designed by Tomás Trenchard, Ireland.
282 >
also rewards any technical ideas, inven- Shoes, Tomás Trenchard’s Pebble Bag
tions or innovations which may be selected and Victoria Geaney’s Floral Shoes. Other
from both short-listed and non-short- ranges will soon follow.
listed products. For example, if a shoes
project contains an interesting idea for a After a prototype is developed, WMATY’s
sole, an innovative material or a special design supervisors decide which collection
construction which can be submitted for is assigned to either the Permanent, Limit-
a patent application, WMATY will pay the ed or Private Collection. The Permanent
relevant designer a 3% to 10% royalty fee Collection is the core collection and gathers
in addition to a standard 6% if the project together the largest number of newly
has passed selection and thereby engages developed fashion artworks. Best-selling
to protect the designer’s intellectual prop- artworks are presented as part of this col-
erty rights, name and personal image at lection. Here, artworks could remain on
all times. sale for years. The Limited Collection con-
sists of the most precious, creative, com-
WMATY might also call previously short- plex, visionary and even crazy fashion
listed artists to complete further on- artworks. They are designed for short-run
commission projects for collections or co- production, individually numbered and
ordinates. In such cases, designers will be signed by designers. The Private Collection
rewarded with both a standard royalty is targeted at existing customers – those
fee and an additional recompense for who have already accessed WMATY’s
contributing to research on style. universe by purchasing an artwork to wear.
A copy of the catalogue of this collection
The first two creatives who’s products went and its updates are sent to customers
to market was Premrudee Leehacha- on a regular basis and as with the Per-
roenkul’s Sushi Cover shoes and Temporary manent Collection, some items may re-
Night clutch bag, and Akahito Shigemitsu’s main in this collection for years.
PostModernGeta mini-shoe range. Since
product development is a time-consuming “People and our collections are the real
process, collections are launched in phas- strength of our project, so we tell you who
es. To date, five more ranges have been they are, to give them a name and an
launched, including Akiko Tanakashi’s identity that are reflected in their crea-
Myjaba Money Bag, Claudia Civilleri’s Up tions as well,” concludes Giuseppe Reo,
Shoes, Liza Fredrica Åslund’s Recycled WMATY communications manager. <
286 >
PACE:
African handmade designs that based their
identity less on ethnicity and more on shape,
modernity, texture and individual creativity.
THE PAN
something that had not yet been done in terms
of art pieces and the exhibition as a whole, but it
was also a great joy. Logistically we had to work
with 20 countries in a short time frame at a time
EXHIBITION
settle on anything mediocre to fill up the space.
It worried me at times that we’d have nothing,
but in the end, the art and design pieces were
very fresh. All the pieces presented a great fu-
By Stacey Rowan. PACE 2010 presented a bold ture for arts and craft in our continent.”
new vision for a continent that is as contemporary
as it is African. This showcase of pieces from around Exhibitors at PACE 2010 included: Kente Digital,
the continent was a must-see for visitors who were, Tekura, Aboubaker Fofana, Okechuku, Cheick
and still are, interested in a vision of Africa that chal- Diallo, The Lover’s Drum, Kpando Pottery, Aida
lenges their preconceptions and hackneyed ‘curio’ Duplessis and Seringa, among others. When
stereotypes. Having highlighted exciting new direc- considering some of his favourite pieces in the
tions in hand-made African craft, the exhibition pre- exhibition, Levin said that he favoured the Ali
sented African crafts, with an edge. Lamu Canvas, Cheik Diallo’s Banana Rocker
and Tekura’s Walking Table.
Hosted at the Gauteng Craft and Design Centre,
Nelson Mandela Square, Sandton, from 17 June – Tekura, creators of the Stool and The Walking
31 July, PACE 2010 was supported by the South Table, amongst other pieces in the show, focus
African Department of Arts and Culture, the Gau- on converting the traditional and decorative
teng Provincial Government, the City of Johannes- into the functional for example, turning a mask
burg and the Gauteng Craft and Design Centre. into a table leg or a drum into a chair. For the
Tekura team, it’s about separating curios from
Curators Adam Levin and Andile Magengelele, design products, focusing more on design func-
commissioned by Create Africa Trading, scoured the tionality, yet continuing to keep the cultural
continent for unusual new pieces and contemporary aspect of a design.
287 >
Kind of Blue. The combination of whimsy and fine sculpting bears the
unmistakable signature of the House on Fire collective, Swaziland.
288 >
TOP: Calabashes. The application of rafia to the TOP: The Walking Table by Tekura placed on top
traditional Tuareg calabash adds an intriguing textural of The Hunted rug by South African artist Conrad
quality to a traditional design from Niger. ABOVE: Botes and Paco Rugs. ABOVE: Ndebele Chair.
Banana Rocker. The striking rocking chair by Cheik Diallo The new design by South Africa’s foremost
(Mali) is covered in tie-dyed Tuareg leather. textile artist, Ronel Jordaan.
289 >
A PICTURE
IS WORTH A
THOUSAND
WORDS
By Stacey Rowan. The adage ‘A picture is worth a
thousand words’ refers to the thought that multi-
faceted stories can be described with just a single
image, or that an image may be more influential
than a substantial amount of text. This may stand
true in some cases, but in the case of Greener on
the other side, an exhibition by Kudzanai Chuirai,
the words within the artworks spoke volumes over
the images.
BOOK REVIEWS
IMAGING OURSELVES:
VISUAL IDENTITIES
IN REPRESENTATION
AND ARCHITECTURE
OF THE THIRD LANDSCAPE:
AWARD WINNING BUILDINGS
OF THE FREE STATE
Imaging Ourselves: Visual Identities in Represen- course that focused on representation or identity.
tation, edited by Leora Farber and published by Being text heavy and image shy, this book would
the FADA Research Centre and the Visual Identities not be recommended for a leisurely light read.
in Art and Design, presents a collection of essays on With essays from numerous sources, it is easy to
how visual identities in South Africa are constructed see how much research, time and effort went into
and represented across a range of art and design the creation of this literature. What is another no-
disciplines. table characteristic is the diversity of approaches
that the essays encompass – it is interesting to see
The cover is cleverly designed to act like a mirror. different points of views and opinions.
Upon looking at the cover, the reader is able to see
a reflected image of him or her self on the cover. This With the literature being placed within the South
supports the title of the book, which speaks of im- African context, together with the use of South
aging ourselves and identities – we are able to see African imagery and information, this book is cer-
our image, and imagine our identity on the cover. tainly home-grown, and proudly South African.
The chapters within the book look at topics like The intention of the authors was to highlight the
advertising, creating mean in architectural and central role that art and design plays in the forma-
furniture design, ideologies in digital artist’s books, tion and expression of post–1994 South Africa
social identity, and the mutability of identification visual identities and, in doing so, to contribute to
in artworks, defiance and touristic representation, the broader redefinition of South Africa’s social
amongst others. and cultural identities, which is still ongoing on
multiple levels. After reading through the book, it
One could classify Imaging Ourselves: Visual Iden- is obvious that the intention has most certainly
tities in representation as the perfect vessel, or been achieved.
course material, for theoretical studies within a
297 >
Architecture of the Third Landscape: Award Architects. With a whole selection of develop-
Winning Buildings of the Free State, written by ments to choose from, the reader is bound to have
Pattabi G Raman and Jako Olivier, goes beyond a his or her favourites!
mere description of the architecture of the build-
ings and locates them in the specific physical and If you are looking for architectural images, this is
cultural landscape of the Free State. Focusing on the book for you. Sporting countless pages of im-
conservation, buildings in the city and the uni- ages and graphics of interior views, exterior views
versity, houses and house extensions, architec- and façades, this book does not fall short of visual
ture of the industrial town and the Free State land- appeal. Viewing these architectural buildings, it
scape, this book is your A-Z guide of all things Free is clear the that South Africa, particularly the Free
State and all things architecture. State, have come along way in terms of architec-
ture, and this in itself is an achievement that
In this book, each development is dissected into South Africans can hold proudly.
a description, floor plan, elevation, drawing, sketch
and locality map, together with providing the archi- With limited text and a casual tone to the writing
tect’s details and awards given for the develop- style, Architecture of the Third Landscape: Award
ment. Within this dissection, the developments Winning Buildings of the Free State is an easy
are looked at with a detailed eye, analysing the and enjoyable read. This book is an inspiration
pros and cons of the architecture. for the architect and the Free State lover alike. <