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CONTENTS
THOUGHTLEADERS
16 > HarryPearce’sschizophrenicroad
26 > Design,aviabletoolforsocialinnovation?An
interviewwithWilliamDrenttel
34 > SumienBrink:Alifetimeofcreativemultitasking
byamasterofhercraft
42 > Juxtaposingculturalidentitywithprogress:
MokenaMakekashareshisideason‘humility
design’
54 > Entropy:Mirrorsofthehumancondition
COMMUNICATIONDESIGN
62 > AntonSassenberg:Theoriginaldesignguerrilla
70 > Thinkingthroughdesign:MichaelBierut’s
cautionarytaleonlessonslearned
5 >
84 > Designcurrency:IcogradaDesignWeek2010,
Vancouver
94 > WhoisSeanMetelerkamp?Aguywithtwo
smoothballas
BUILTENVIRONMENT
104 > DecorexJoburg2010:Afve-dayextravaganza
112 > Conversationsonarchitecture
119 > GlasswondersfromPreciosa
124 > TalesfromtheAfricanDiasporafeaturingNina
Briggs
130 > ElphickProomeArchitects:21yearsinthemaking
140 > DHKArchitects:Onearchitecturalfrm,three
architecturaldesigns
156 > MosesMabhidaStadium:Iconographythrough
architecturaldesign
6 >
172 > CapeTownStadium:TheprideoftheCape
185 > MbombelaStadium:Fortheloveofthe‘Game’
200 > EllisPark:Asliceofhistorygetsafacelift
208 > LoftusspectatorswitnessedanotherBafanaBafana
game
212 > GreenPark:Work,live&play
219 > ThefrststepintheSouthAfricangreenbuilding
evolution
241 > LegacyCorner:Joiningthestylehubof
Johannesburg
248 > ThejuxtapositionofoldandnewatMontecasino
7 >
255 > CoralInternationalCapeTownHotel:Cape
Town,beachesandsandaperfectcombination
DESIGNPROMOTION
262 > Socialconsciousdesignforasustainablefuture
266 > Makingsenseofstrategyandpolicy
INTELLECTUALPROPERTY
270 > Rebranding:Afewlegalconsiderations
ART&CRAFT
274 > Transformingruralvillagesintowealthytowns
throughtheindustrialisationofcraftenterprises
280 > Fashionart:What’sMoreAliveThanYou?
286 > PACE:ThePanAfricanCraftexhibition
290> KudzanaiChuirai:Apictureisworthathousand
words
296 > BOOKREVIEWS
8 >
PASSIONATE & ROMANTIC
MODERN, COOL & PRACTICAL
IN LOVE WITH SPRING
DELICATE & GENTLE
WARM & INVITING
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HIPPY, HA
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ENDORSERS> MEDIAPARTNERSHIPS>
10 >
PUBLISHER>
CameronBramley
cameron@designmagazine.co.za
GROUPEDITOR>
JacquesLange
jacquesL@iafrica.com
CONTRIBUTORS>
NinaBriggs,EbendeWaal,ReggieDlamini,
JennieFourie,ZeldaHarrison,BevHermanson,
StaceyRowan,LeonardShapiro,SunéStassen,
SashaStrauss,AnriTheron,GeoffVreeken
SALESTEAM>
GeriAdolphe,JasonBramley,FrançoisFassler,
RachelHarper,ChenesaiMadzvamuse,Jeff
Malan
PRODUCTION>
CharlLamprechtandStaceyRowan
ADMINISTRATION&ACCOUNTS>
ClaudiaMadurai&MichelleSwart
CREATIVEDIRECTOR>
JacquesLange
DESIGN&LAYOUT>
BluprintDesign
COVERILLUSTRATION>
SeanMetelerkamp
PUBLISHEDBY>
DESIGN>MAGAZINE
T:+27(0)828828124
F:+27(0)866788448
E:design.arrow.magazine@gmail.com
W:www.designmagazine.co.za
Blog:www.designmagazine.co.za/wordpress/
Twitter:http://twitter.com/DESIGNarrow
©2010DESIGN>MAGAZINE
ISSN1814-7240
Number17,August2010
DISCLAIMER:Nomaterialmaybereproducedinpartorwholewithouttheexpresspermissionofthe
publisher.Noresponsibilitywillbeacceptedforunsolicitedmaterial.Thepublisheracceptsnoliability
ofwhatsoevernaturearisingoutoforinconnectionwiththecontentsofthispublication.Thepub-
lisherdoesnotgiveanywarrantyastothecompletenessoraccuracyofitscontents.Theviewsand
opinionsexpressedinDESIGN>MAGAZINEarenotnecessarilythoseofthepublisher,itsendorsers,
sponsorsorcontributors.
CREDITS
11 >
Tel: 011 787 7301
Fax: 011 787 2575
www.rabanaarchitects.co.za
BANA
r c h i t e c t s A
ARCHI TECTS & PROJECT MANAGERS
q u e s t f o r s o l u t i o n s c r e a t i v e q u e s t f o r s o l u t i o n s c r e a t i v e
a c o mp l e t e r a n g e o f a r c h i t e c t u r a l c o n s u l t a n c y
w o r k f o c u s i n g o n h i g h e s t s t a n d a r d s o f d e s i g n
a n d s o l u t i o n s t h a t s e e k t o a d d r e s s a l l c l i e n t s
n e e d s i n a n e n v i r o n me n t a l l y s e n s i t i v e a n d
c o s t e f f e c t i v e a p p r o a c h . . . .
a r c h i t e c t u r e
u r b a n d e s i g n
p r o j e c t ma n a g e me n t
d e v e l o p me n t p l a n n i n g
c o mp u t e r a i d e d d e s i g n
WhenIthinkoftheword‘current’,Ialsothinkof
wordslike‘fow’,‘motion’,‘lines’and‘between’.Iam
overwhelmedwithpridethatDESIGN>MAGAZINE
encapsulatestheverymovementwithwhichlife
grows.HereatDESIGN>it’saboutpioneering,be-
inginnovative,fexible,everlastingandsomuchmore.
‘Current’isthesumofourhistory,ahistorywhich
needsnolibraryandnoinstitution.Itexistsinour
everydaylivesandminds,continuingtopushand
growourperceptionsofabetterlife,abetterdesign.
Ourhistoricalandcurrentdesigninputsdetermine
thefuturecurrenciesandtrends.Asourcurrent–
cy[sic]growsintothefuture,ourcarefortheplanet
andourchildren’sliveshavebecomeanemergent–cy
[sic].Asmuchaswegrowinourcreativities,we
depleteourownexistence;paradoxicallyweare
forcingourselvestobebetterwithless.
Nowit’saboutgoingbacktozero,goingbackto
the basics of pioneering, innovation, flexibility,
ever-not-lastingandsomuchless.Ourfghtforef-
fciencyhasmadeusdefcient,whichwillleadto
neweffciency.
SomeofyoumayremembertheDecencyedition
ofDESIGN>MAGAZINE.Thateditionisascurrent
thenasitisnow.Ilookforwardtothenewchallenge
ofDESIGN>presentinganewcurrency.Ilookforward
todrivingthoughtleadershipwitharticlesthatnever
dieanddesignthatbringsmotiontoourfutures.
Thisprefaceisascurrentasyourattempttoread
it.Yourdesiretobecurrentreliesonwhetheryou
arefascinatedwithchangeornot.Yourcurrent–cy
[sic]is,simplyput,drivenbydesignandyourevery
dayinfuencesandchoicesaremanagedbyyour
consumerism.Asconsumers,weneedtomakethe
rightchoicesonwhattoaccept.Ifourfutureisnot
consideredinourconsumption,whetheritbebeau-
tifulaward-winningdesignornot,wearecutting
offourownhandsandthoseofourchildren’s.Iam
certainthatourneedtopreserveourplanetand
futuresbyconsumingless,hasnowsparkedanew
futurecurrency.It’sexcitingstuff.
Enjoyour17thedition.<
CameronBramley,Publisher
PREFACE
13 >
w w w . b o w m a n . c o . z a
15 >
ThiseditionofDESIGN>MAGAZINEfocusesonthe
theme: Current. The term obviously has multiple
meaningsandourcontributorsexploreadiversity
ofitsinterpretations.
‘Current’canmean:belongingtothepresenttime;
beinginprogress;circulating;prevalent;fowing,
steady,smoothonwardmovement;ebbandfow;
ageneraltendency,movement,orcourse;afow
ofelectriccharge,amongstothers.
Webelievethatourcoverdesignillustratesthese
diverseissuesmosteloquently.Thedesignisbased
onastickmandrawingbySeanMetelerkamp,one
ofthemostinnovativecreativesofthecurrentgen-
erationwhoquestions,pokesandprovokeswhilst
alsobeingamasterstorytellerandprovocateur.
InmostofthearticlesfeaturedinDESIGN>17,con-
tributorsfocusontheinterpretationof‘ebband
fow’ratherthanwhatiscurrently‘stylishandhip’.
Theyaddresstopicsrelatedtoprofessionaldevelop-
mentandthebroadscopeofsocial,environmental
andeconomicsustainability.Keyconceptsinclude
designandhumanism,designcitizenship,designers
ascreatorsofbeauty,humilitydesignandthinking
throughdesign.
HarryPearceremindsusoftheimportanceofcon-
nectingminds,enablingustoshareadifferent,
clearervisionandfacilitatingsocialchange.William
Drettelexpandsonthisanddirectsthefocusto
theimportanceofdevelopingthedesigndiscourse
throughjournalism.MichaelBierutsharesinsights
intovaluablelessonslearntwhileworkingonThe
L!braryInitiativewhileSashaStraussexaminesour
relationshipswithbrandsandhowtheydetermine
ourcommercialchoices.SumienBrinktalksabout
herlifeasoneofAfrica’sleadingmagazineeditors
andwealsolookatAntonSassenberg’scolourful
careerasaseminalpublicationsdesigner.Archi-
tectMokenaMakekashareshisideasonhumility
design, while Strijdom van der Merwe explores
mirrorsofthehumanconditionanddelvesintothe
complexworldofentropyandlandscapeart.
Wealsofeatureprojectreviewsonthreeofthesports
stadiumsthatwerecustombuiltforthe2010FIFA
WorldCupaswellasreviewsontworefurbished
stadia.OurBuiltEnvironmentsectionalsoinvesti-
gatesSouthAfrica’sfrstbuildingtoreceiveGreen
Staraccreditation–NedbankPhase2.
Thesearejustafewhighlightsfromthe35articles
featuredinDESIGN>MAGAZINE17.
Wewishyouagreatread!<
JacquesLange,Editor
EDITOR’S
FOREWORD
H
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ByZeldaHarrison.HarryPearceisa
manthatprompts,pokesandpro-
vokes.Hisworktouchesmanydisci-
plines,fromspatialdesignandidentity
toprintandpackaging.In1990heco-
foundedLippaPearceDesignandin
2006hejoinedPentagramLondonas
apartner.Hehasdesignedforabroad
rangeofclientsincludingPhaidon
Publishing,WilliamsF1,Kangol,Shake-
speare’sGlobe,SaksFifthAvenue,the
ScienceMuseumandBoots,toname
justafew.Toeachhebroughthisown
brandofintelligence,eleganceand
wit.
Throughout his career Pearce has
beenconcernedwithusingdesignto
connectminds,enablingthemtoshare
adifferent,clearervision.Mostnota-
blyishisworkforWitness,thehuman
rightscharityfoundedbymusician
PeterGabrielforwhichPearcehas
beentheleaddesignerformanyyears
andalsoservesasamemberofits
advisoryboard.
CONUNDRUMS
Asdiverseashisclientbase,sotooare
hisinterestsandpassions.Sincehis
earlychildhood,Pearcehasbeenin-
triguedbytheplaybetweentypeand
words.InDecember2009,thispas-
sionculminatedwiththepublication
ofhisfrstbooktitledConundrums.
Pearceexplains:“Igrewuplovingthe
crazyworldofSpikeMilliganandPeter
Cook.Irememberwonderfullines
C
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suchas:‘Inlessenlightenedtimes,
suicidewaspunishablebyhanging’
–PeterCook.”
“Ialwayslovedplayinggameswith
type,languageandimage.Thesebe-
ganwithdoodlesyearsago–Imade
themintoaposterondelicatetissue.
Theythreadthethinnestlinebetween
stupidityandgrace.”In2009,Saks
FifthAvenueranPearce’sconundrums
throughtheirChristmascatalogue
andthisledtoHarperCollinspub-
lishingthebook.
Theinteractionbetweenwordsand
typehasbeenacommonthreadin
much,ifnotall,ofhiswork.Heshares
someofhismostsuccessfulinstances
ofresolvingtheconundrum:“When
mypartnersatPentagramgaveme
thejobofdesigningtheirholidaycard
Igavethewholethingatwistand
expanded them into typographic
codestobesolved.Thebookletitself
hashiddencodes.Thesegameshave
driftedontomanyotheritems.”
“Itookapackofplayingcardsand
decidedthatitwaslongoverduefor
establishinganewattitude.Iswapped
thesuitsfortype–fourfacesforthe
foursuits.Ontheback,aftercontact-
ingaleadingcardshark,Iplaced52
differentcheatsthatyouropponent
couldreadandeitheruseorwatch
out for and therefore neutralising
eachother.”
Pearcecontinues:“Inamorestraight-
forwardmanner,Iusetypetocapture
18 >
morethanonethoughtatatime.”
Hethenreferstohisposterdesigns
forMacbeth,Doll’sHouse,Eastof
thesunasexamplesthatillustrate
hispoint.
TYPEANDARCHITECTURE
Amongsthismanypassions,Pearce
alsohasaninterestinthewaythat
typographyandarchitectureinteract.
Hesays:“Thequestionofhowgraphic
communicationrelatestoarchitecture
isimportantbecausetheresultofa
seamless integration can be awe-
inspiring.Anexampleofwhereitgoes
wrong,takealookattheaveragehigh
street.They’reavisualaffront.And
thisisadirectresultofaclashbe-
tweenthetwodisciplines.Graphic
designcanactuallybecomepartof
thestructureofthebuilding–itsvery
surface. When this is achieved, it
canhavewonderfulimplicationsfor
thespaceinwhichpeoplelive,not
justsomeoftheobjectswithinit.”
Hehighlightstheworkthathehad
donefortheDanaCentreatLondon’s
ScienceMuseumasanexampleof
theeffectiveintegrationoftypeand
architecture:“TheDanaCentrewas
builtasaheadquartersfortheDana
Foundation, which researches the
humanbrain.Itisalsoabar,restau-
rantanddebatingcentre”heexplains
thathistaskontheprojectwasto
makesciencefunandengaging,whilst
makingitacoolfunkychallenging
arena where largely controversial
scientifcsubjectsaredebated,and
inthisinstanceperformed.
“I’vealwaysbelievedthattypography
and buildings have a very similar
nature.Anarchitectrecentlysaidto
me,thatwhatmattersmostandisof-
tenoverlooked,isthespacebetween
buildings…the space where most
peopleinhabit…Youcouldsaythe
samefortype;oftenit’sthespace
betweenformsthatholdthekeytoits
beauty.Sohereisaloveaffairbe-
tweenabuildingandsometypogra-
phy,theyfeedoffeachother.”
“Theactualdebatingcentreisencap-
sulatedwithintheframeofabigger
building,andIbasedthelogotype
onthisrelationship.Asthelogocame
fromthebuilding,Ifeltdutybound
togivesomethingback,soIcutup
thelogoandfeditintotheconcrete
ofthemainsectionsrunningright
throughthebuilding.Andsothemark
becameanactualpartofthestructure.
Thisthenleadtotheidea,thatthe
markcouldactuallybecomearchi-
tectural,soIpushedandpulleditin
differentdirections,itthenbecame
awallwhichyoucanseethroughand
walkaround.Andfnallyinit’scom-
pletedestruction.Imadeapatternby
cuttingthelogotypeintoamyriadof
slicesandthesebecamealiningfor
theinteriorwalls.”
“Sowhatgoesoninthisspaceiscon-
versation,debate.Andinthespiritof
that I made the wayfnding a con-
versationtoo.Insteadoftheusual
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21 >
listofplaceswithinthebuilding–
it’sawritteninstructiononhowto
fndwhereyouwanttogo.”
“Thisisaplaceofscience.Thereisa
receptionareawhereifyou’vecome
forameetingyoucanwait.Iwanted
thistobefullofquestions,questions
youcouldneveranswer.Inacomplete-
lyirreverentgestureIflledtheseat-
ingareawithrhetoricalquestions,
hundredsofthem.Yet,thisisaplace
whereyouaresupposedtogetthe
answers.Sonomatterhowanytimes
youvisitthisplaceyouwillneverbe
abletofndtheanswer.”
“Onthetablesintherestaurant/café
areaIplayedanothergame–thistime
slightlymoresurreal.Coveringthe
tablesurfaceswithinventedscientifc
thoughts and philosophies of the
future. And finally the great glass
wall.”
“Youknowwhenaconversationtakes
place,whenit’sdoneitsdone–you
havethememoriesandyouhavethe
effectofpeople’swordsonyou.”
“Iimaginethattheplace/spacewhere
thistakesplacehasamemoryofit
too.Ifthesewallscouldtalk…”
“AndinthespiritofthatideaImade
thisgreatwalloutofconversations
–thistime,realconversations.These
arehundredsofsnippetsofconver-
sationfromwebchatrooms,running
inside and out of the glass.To be
abletodecipherthemyouhaveto
moveinsideandout.”
“Againyoucanvisitthisplaceand
neverseeorhearitall.It’sjustaghost
of conversations gone before…if
these walls could talk and I hope
theydo!”
SYNCHRONICITY
Synchronicity is another golden
threadthatrunsthroughPierce’swork.
SimilartotheprocessesthattheSur-
realistsandDadaistsfollowed,one
oftenfndsthatinPierce’swork,seem-
inglyunrelatedexperiencescasually
coexistandcreateaconversationthat
leadstonewmeaning.Heexplains:
“Onecanturnintuitionintoknowl-
edge,butonecannotproduceintui-
tionoutofknowledge.Oftengreat
designisbornfrompureintuitionand
regardlessofhowmanyfactsyouare
givenandhowdeepyoudelveittakes
thatintuitivesparktomakeithappen.”
“Formethebestexampleofsynchro-
nicityoccurredwhenIhadadream
whichleftmewithabeautifullineof
poetry:‘untilthelastbutterfly’This
happenedatthesametimeasmy
friendSteveHackettwascomposing
apieceofclassicalmusicforguitar,
tryingtoemulatetherhythmofbutter-
fliesflight.Mydreamgave him the
titleforthepiece.”
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DESIGN IN SERVICE TO
HUMANITY
When asked if technological evolu-
tion is making people sceptical about
humanity and humanism, Pierce re-
sponds: “It all depends on how tech-
nology is used. It can help to reveal
humanity as well as exposing the more
inhuman elements of our society.
Technological advances have allowed
Witness to highlight human rights
atrocities – now that mobile phone
cameras are easily available every-
one can become a change-maker
giving the silent a voice. Eventually
there is a possibility of everyone be-
ing connected, an extraordinary mo-
ment for the human.”
Expanding on his work for Witness,
we asked Pierce how he achieves
equilibrium between commercial and
pro bono work and how he mitigates
potential confict of conscience. “In
the early days of my frst design part-
nership, Lippa Pearce, we made a com-
mitment to providing pro-bono work
for charities. While we had little mon-
ey, we hoped we could make a posi-
tive contribution to causes through
design. We saw a situation where
big money often got the best design
work, and causes without the same
kind of fnancial resources couldn’t
justify investing in the kind of design
that would really help raise their
profle. We used the money we made
from our commercial clients to support
worthy but impoverished projects.”
He emphatically states: “Designers
should have a place of leadership
and vision – it is not all about proft
and loss.”
In this regard, Pierce shares some
insights into his passionate and long-
standing involvement with Witness:
“I frst met Peter Gabriel in 1981 at
an African art exhibition in Bath. After
he founded Witness, I was inspired
by the powerful idea behind the or-
ganisation – ‘Little brother turning
the camera on Big Brother’ – and the
amateur footage of the Rodney King
beating in Los Angeles in 1992 proved
the point. I was determined that Wit-
ness’ graphic communications should
accurately capture the signifcance
of the organisation’s work. I am proud
to have been associated with such a
remarkable project for more than 15
years.”
“One of the most extraordinary mo-
ments of my career occurred when I
was watching news footage of the re-
cent protests in support of the Burma
uprising. Across the world I saw im-
ages of my Burma poster being taken
onto the streets as a symbol of this
human rights struggle. To have a
piece of graphic design spontaneously
used like this is the most meaningful
thing that has ever happened to a
piece of my work.”
“I would recommend anyone to visit
the Hub – a multilingual online portal
dedicated to human rights media and
LTR: Burma poster for Witness, Infantry poster for Witness and Making truth visible poster.
23 >
Poster for UNODC.
LTR: Burma poster for Witness, Infantry poster for Witness and Making truth visible poster.
24 >
LEFT: Packaging for Scotch whiskey.
RIGHT: Haiti poster for Doctors Without
Boarders.
FAR RIGHT: Anish Kapoor exhibition at The
Royal Academy of Arts.
BELOW: Lippa Pearce poster.
BELOW RIGHT: Russian mugs.
25 >
action. The Hub provides the oppor-
tunity for individuals, organisations,
networks and groups around the
world to bring their human rights
stories and campaigns to global atten-
tion – rather like a YouTube for human
rights. To my mind it is one of the most
important human rights initiatives
in recent history.”
SELF-DEFINITION
AND STYLE
Much of Pierce’s work is powerful and
arresting. We asked: How you do
consistently realise such visceral,
emotive communication? His re-
sponse: “I have spent my career on
a relentless hunt to fnd the truth and
to create as emotional an expression
of that truth as I can. For me the poster
I have recently designed for the Haiti
poster project in aid of Doctors With-
out Boarders comes as close to reach-
ing that point as I have ever been – it
is like a silent tear.”
In conclusion, we asked: How would
you defne the essence of your work
or even yourself? “Peter Gabriel did
it for me: ‘Working with Harry is a mix-
ture of great design and good Karma’,
humanity and emotional truth.”
“Art, music and even buildings fre-
quently move their audiences but an
emotional reaction is rare in graphic
design. My hope is to create pieces
of graphic design that have integrity
and emotional clout.”
“I also seek balance both between my
outer daily life and my inner world of
the subconscious and between my
commercial and humanitarian work.
For me, Witness is my balance, and my
career has become a personal journey
of self-discovery as I manage to fuse
my inner world, my interest in Jung
and dreams with my work.” <
26 >
DESIGN,
AVIABLE
TOOLFOR
SOCIAL
INNOVATION?
WilliamDrenttelisacommunicationdesigner,
publisherandindustryleaderwhoworksfromthe
picturesquemountainstothenorthofNewYork
City,USA.Asaco-founderofWinterhouse,aniche
designstudiothatfocusesonsocialinnovation,
onlinepublishingandeducationalandcultural
institutions,Drenttel,withhiswifeandco-found-
er,JessicaHelfand,haveoptedtoremainasmall
operationandtocollaboratewithaselectgroup
ofclientsandpartners.Forthepastdecadethey
have worked almost exclusively with universi-
ties, NGOs and non-profts. Even though their
operationmightbesmall,theirfootprintislarge
andWinterhousenowencompassesastudio,in-
stitute,virtualpublishingplatformandcitizen
journalisminitiatives,amongstothers.
Apartfrompracticingdesignasaprimarydayjob,
Drenttel also actively engages in the fields of
profession development and education. He is
presidentemeritusofAIGA,aseniorfacultyfellow
attheYaleSchoolofManagement,andtheeditorial
directorofthemuch-acclaimedDesignObserver
andChangeObserver,aleadingInternetplatform
focusingondesigncommentaryandculturalobser-
vation.
“DesignObserverwasstartedin2002andwasa
personalpassionandahobbyforalongtime.With
mypartnersMichaelBierutandJessicaHelfand,
wejustkeptonsloggingawayatpublishingwhat
weconsideredtobegreatwritingaboutdesign.
Afewyearslaterwewokeuptotherealitythat
wehadmanagedtogatherahugeaudience,and
27 >
suddenlywewerebeingnominatedforWebby
AwardsforbestwritingonlinewithTheNewYork
Times,TheGuardian,TheNewYorkerandWired
recognisingourwork.Oursuccessissimplythat
westayedfocusedonthequalityofthewriting,”
saysDrenttel.
Bystayingtruetothetrio’soriginalfocus,Design
Observerhasgrownexponentiallyandhassub-
sequentlymadeamassivecontributiontothedevel-
opmentofthedesigndiscourse.Today,Design
Observeroffersexperiencedandbuddingwriters,
thinkers and theorists a vast virtual platform
wheretheycanpublishcriticalwritingondesign
andculture.Yet,Drenttelbelievesthatitisonly
thebeginning:“Alargeissuefacingboththede-
signprofessionandtheusersandproponentsof
designissimplythatwedonothave[enough]
realdesignjournalismandcriticism.Architecture
hasahistoryoftheoryandcriticism–designdoes
not.Designistalkedaboutasameanstobusiness
success,buttherearefewdesigncasestudies
beingtaughtinbusinessschools.Andnowdesign
anddesignthinkingaresupposedtobetheHoly
Grailforanythingandeverything.Howoftendo
youreadaboutdesignfailing,ordesignasan
integrativepartoflargerprocesses–especially
aswerealisetheimportanceofsustainabilityand
possibilitiesforsocialinnovation?Fundamentally
designisstillinitschildhood.”
Tofurthersimulatethedevelopmentofthedesign
discourse, Helfand and Drenttel initiated The
WinterhouseWritingAwardsin2006,underthe
AN
INTERVIEW
WITH
WILLIAM
DRENTTEL ByZeldaHarrison
28 >
auspices of the Winterhouse Institute. A program
of AIGA, these annual awards were founded to
recognise excellence in writing about design,
and to encourage the development of new and
young voices in design writing, commentary and
criticism in the USA. Apart from being recognised
for their writing excellence, winners also receive a
monetary reward, which is intended to encourage
their further development.
Drenttel says: “The AIGA Winterhouse Writing
Awards for Design Writing and Criticism have a
simple purpose: To encourage and recognise
outstanding writing about design. I think we
need to grow writers who can serve as critics,
observers and journalists. It will happen one writer
at a time, just as one reader ultimately reads
every book at a time.” A proof of the Winterhouse
Writing Awards’ success, Drenttel says that:
“Every writer we have recognised is still writing,
many for broader audiences than before receiving
their award. This is slow, hard work. But we have
faith and patience.”
DESIGN IN SERVICE TO HUMANITY
In addition, Winterhouse is spearheading several
citizen journalism initiatives, one of which is the
Your Polling Place Photo Project, initiated in
2006, which is a wonderful – deceptively simple
portrayal of civic action. Drenttel explains: “I live
in America. Today, we have Sarah Palin in the
news and the new Tea Party seems emergent.
But Barrack Obama is still president. American
citizens elected someone who ran precisely on a
platform of civic-engagement, and his fercest
opponents will engage millions because they
disagree.”
BELOW: Design Observer and Teach for all
websites.
RIGHT: Poster for A better world by design
conference, an annual event promoting globally
conscious integrative design research at Brown
and RISD, 2009.
BELOW RIGHT: Kafka Goes To The Movies. Book
and cover design for the English edition of Hans
Zischler’s study of Kafka’s moviegoing life.
FAR RIGHT: Aspen Design Summit 2009 website,
poster and detail of Summit activities .
29 >
30 >
31 >
“Idon’tthinkcivic-engagementisindecline–ratherI
thinkonlyapercentageofourcitizensareengaged.Inmy
ownrural,small-towncommunity,citizensaregrappling
withissuesoflow-incomehousingandhowtosupport
localfarming.Theseissuesgeneratebroadsupportand
strongopposition.Whatwesawwhenwemountedthe
PollingPlacePhotoProjectisthatinall50states,people
wereproudtovoteandwerewillingtostandinlineto
vote–thatjustoveramajority(56.8%inlastpresidential
election)ofUScitizensvoteisofcourseatragedyanda
challenge.ButIknowsomanydesignerswhoaredeeply
engagedincreatingprocessesforgovernmenttranspar-
encyorgetoutthevotecampaigns–orencouragingthe
elderlytogetfushotsatpollingplaces.”
“ThereisamovieinwhichaPresidentsays,‘Democracy
isnoteasy.It’sadvancedcivics.’Isubscribetothisnotion
thatcivicengagementisrewarding,andhardwork,and
notforeveryone.”
InDrenttel’spresentationatthe2010DesignIndabaCon-
ferenceinCapeTown,heimpliedthatmanyeffortsat
socialinnovationarefailing.Heexplains:“IthinkIwas
tryingtosuggestthatmanysocialinnovationinitiatives,
despitetheirsincerityandgoodintentions,willnotbe
successfulorscalableincreatingtrueimpactsonpoverty
orhungerorhomelessness.Weshouldnotstopencour-
agingtheseinitiatives,buttoomanyoftheprojectswritten
about and celebrated are really what I call ‘weekend
projects’.Deep,systemicchangewillresultfromdeep,
systemicwork.“
“Oneexample:AttheMayoClinicCenterforInnovation,
whereIserveontheadvisoryboard,wehavelargeteams
(50+ people) across multiple platforms working on
healthcare and wellness issues. Trying to solve rural
healthcaredeliveryinvillageswheretherearelimitedor
nodoctorsissimplynotthesamescopeasdesigningan
identityormarketingprogramforalargecompany.”
FARLEFT:Poetrymagazinecovers.
LEFT:BelowtheFold:ispublishedasan
occasionaljournalbytheWinterhouse
Institute.BelowtheFold:explores
topicsthatfybeneaththeradaryet
persistnonetheless,shifting
perspectivesandsparkingdebate.
BOTTOMLEFT:WolfsonianThoughtsOn
Democracy.InspiredbyNorman
Rockwell’sFourFreedomsseries,1943.
CommissionedbytheWolfsonian
MuseumfortheirThoughtson
Democracyexhibition.
BELOW:TrophyfortheNationalDesign
Award,Cooper-HewittNationalDesign
Museum.
32 >
“The goal is not simply to sell someone some-
thing,butrathertochangewholesystems(fnan-
cial,governmental,technological)aspatternsof
behaviour(bydoctors,patients,healthcarepro-
viders,hospitals,insurancecompanies).Weneed
expertise and experience and time to engage
deeply.It’sthatsimple.Butit’sadauntingchal-
lenge for designers who want to think of them-
selvesasproblem-solverswhentheproblemsare
‘wickedlyhard’.”
CONCLUDINGTHOUGHTS
When asked what keeps him up at night, what
gets him through the day and what would he
needsfromusasindustrypeerstokeephisvision
going,Drenttelresponds:“IworryeverydaythatI
amnotdoingenough,andthatthechallengesare
sodaunting.DuringthepastfewyearsIhavemet
somanyotherpeopledoingsomuchmore–and
whoknowsomuchmore.”
Heconcludes:“It’ssoexcitingthat’sit’seasyto
getdazzled:Whatoneneedsinsteadisasteel-like
fortitude.Mytriparoundtheworldwithmyfamily
thisyearshowedussomuchneed,andsomany
avenues for exploration and work. South Africa
wasespeciallyexcitingbecauseofitsrichheritage
andstunninglycomplicatedproblemsandchal-
lenges. I retuned to the United States with this
deepsensethatbothglobalandlocalsolutions
willcomewithgreatdiffculty,andwitharenewed
commitment to learning and doing this work. It
wassuchahumblingexperience.”<
33 >
WinterhousePollingPlace
PhotoProjectposter,
websiteandexhibition.
ALIFETIMEOFCREATIVE
MULTITASKINGBYA
MASTEROFHERCRAFT
34 >
BySunéStassen
S
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S
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37 >
At the tender age of 12 Sumien Brink fell in
love with the world of magazines while visiting
her then best friend, Andrea Bosch, who
showed her a copy of British Vogue. This was
a defning moment that led to Sumien pursuing
a career in publishing, which took her on many
side roads before becoming one of the most
respected, innovative and multiple award win-
ning editors in South Africa. As the current
editorial director at New Media Publishing,
editor-in-chief of VISI, Plascon COLOUR and
founding editor of South Africa’s leading food
magazine Woolworths TASTE, Sumien exem-
plifes the concept of inspiring leadership and
is known as a master of managing teamwork.
Like many other creatives, her road to success
was certainly the result of a colourful array
of unique creative outlooks and approaches,
multi-fuel injected and applied during a life-
time of experiences and overwhelming pas-
sion for the creative industry in whatever
form, shape or palette.
Staring out in the 1970s, she had her heart set
on a career in fashion, but due to the distance
between Cape Town (then the epicenter of
fashion design in South Africa) and her home-
town, White River in the then Eastern Transvaal,
her parents felt it would be more convenient
for her to study at the University of Pretoria
where she completed a BA Drama degree,
specialising in costume and prop design.
It was during these years in Pretoria when
classmates Sumien, Birrie le Roux and Johan
Engels struck up a strong bond and lasting
friendship. Engels, today is an internationally
acclaimed theatre designer responsible for
the production design of many world famous
ballets and operas, and Le Roux is an award-
winning flm and theatre designer who has
been responsible for the production design
of flms like Fiela se Kind, Paljas, Soweto’s
Burning and Story of an African Farm, among
others. One can only imagine what this trio
got up to during those carefree student years.
Sumien says that: “We did a couple of very
wild and experimental productions and I must
say I’d love to collaborate with them again in
the future. Today we are still very good friends
but don’t see each other often enough.”
After her studies Sumien gained extensive
experience as stylist at Fairlady and Sarie,
fashion editor at Huisgenoot, fashion director
of Cosmopolitan and editor of the bi-annual
Cosmopolitan Fashion Directory.
1965 was the year when Jane Raphaely found-
ed Fairlady and in 1984 Jane Raphaely and
Associates, that published Cosmopolitan in
partnership with Nasionale Pers, were found-
ed. Sumien continues, “Although I never
worked on the editorial team of Fairlady, I
did some collaborative styling for their fashion
shoots with photographer Mike Donnelly.
When Jane started Cosmopolitan she offered
me the position of fashion editor. To me she
was a great inspiration and mentor.”
The Cosmopolitan Fashion Directory was a
brand extension of Cosmo. “We did some
really beautiful and different fashion shoots
for it. At the time it had to compete with the
very fabulous Red magazine, which wasn’t
easy. But it was a lot of fun working on it”
says Sumien.
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38 >
Sumien went on to be the founding editor of
House & Leisure magazine since its inception,
before taking the reigns at VISI for New Media
Publishing in 2001. “My initial vision for VISI
was to produce a quality publication that show-
cases 100% South African content that cel-
ebrates our unique local talent. It has changed
over the years and is about to change again
when we appoint a new editor in September.
But in this rapidly changing market we are
working in, I think change is always a good
thing, especially now that we have to consider
the future of magazines and the new digital
era we will have to embrace”.
There is also the most recent launch of Plascon
SPACES, which is really the re-launch of
Plascon COLOUR magazine that New Media
Publishing has been doing for Plascon for
some years. Especially in a tight economy it has
been determined that there is a great demand
for more practical and hands on information
about paint and colour as it is still cheaper to
paint your space rather than re-decorate. “All
the projects that we feature are real spaces
and at R14.95 very good value for money. You
can say it is the right product for the right
time. And it is beautiful!” explains Sumien.
“I have had the pleasure of working with
Peet Pienaar, one of many brilliant creative’s
in our country, on a special edition for VISI
and I like what he does. He always says that
his biggest challenge in life is to ‘Maak mooi’
and I can relate to that. Having had the oppor-
tunity to work on such a variety of publica-
tions it might be a given that each magazine
has it’s own personality and audience but
there is one aspect that is non-negotiable to
me in all the work that I do – it must always
be beautiful.”
L
E
F
T
:

V
I
S
I

4
6
.

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.
39 >
40 >
TheplayingfeldoftheSouthAfricamaga-
zineindustryisverysmallincomparisonto
itsEuropean,AmericanorevenAustralian
counterparts,yet,Sumienbelievesthat“some
of our titles compare well if you consider
howmuchofourmaterialgetssyndicated
tomagazinesallovertheworldbutsomeare
reallybelowpar.Stillweallfeedoffglobal
trends and adapt them to serve our local
needs.That’swhyweareforeverattending
trend shows and seminars all over the
world.Andofcourse…speakingoftrends,if
thereisonepersoninthebusinessthatI
hugelyrespectthenitisLiEdelkoort.Ilove
heraestheticandthefactthatshekeepson
re-inventingherself.”
WhendiscussingwithSumientheimportance
ofacountry’sdesignidentitysheexplains
thatinheropinionitisvitaltodevelopsuch
an identity and that South Africa still has
somewaytogo.“Wemustdevelopwhatis
uniquetousandnotcopy.Wehavebeena
nationofcopiersforfartoolong.Eventslike
Design Indaba has shown us that design
cantrulymakeadifferencetomanylives.
Weneedmoreofthisinourcountry”.
Itisthenormforfrstworldcountriestofeel
responsibleforthedevelopmentofsecondand
thirdworldcountriesandalmostbecoming
theproviderinmanyfeldsofexpertise,but
latelyweareseeingmoreandmoreexamples
of third world countries designing for the
frstworld.“Itisveryexcitingiffrstworld
countriesstartembracingdesignsfromits
thirdworldcounterparts.Therearesomany
examplesofproductslocallysourcedthatare
marketedoverseas.Myfavouriterightnow
isaprojectinVendawherelocalwomanmake
beautiful clay pots that are now sold in
Woolworthsstores.Ibelievethatifthedesign
ishonestandpureitwillcertainlytakefight
andbeabletotravel,”saysSumien.
Whenaskedwhatpartsofherworkingday
atNewMediaPublisherscontinuetoputa
smileonherfacesheisquicktorespond:
“Workingwithsuchacreativeteamofcourse!
Itisformeanabsolutepleasureandahuge
bonus.Ohandwhataninspirationalspace!
IjustloveNewMedia’snewbuildingat19
BreeStreet,CapeTown.”
Besides being admired by most as a very
successfulpioneerinthepublishingarena,
Sumien seems to have also succeeded in
fndingabalancebetweenhercareerand
familylife.“I’vebeenveryluckytoworkon
magnifcenttitlesthatIadore.Workforme
isanabsolutepleasurebutIdomakeapoint
ofmakingtimeforfamily.Itisabalancingact
really,butluckilythatisatypicalLibrantrait,”
saysSumien.
Andjustlikesomeactorsidentifymorewith
onerolethananother,wewerecuriouswhich
magazinebestalignswithherattributesas
aperson.“Latelyit’sbeenfoodmagazines,”
explains Sumien. “I enjoy Jamie Oliver’s
magazine–Jamieforitstoneofvoiceand
‘realness’. And Fire & Knives, a magazine
aboutfoodwritingwhereallthecontribu-
torsdoitforfree”.
Andherdreamproject?“I’dlovetodoaseries
ofbooksonbeautifulthings–eitherdesign
orfood,”sheconcludes.<
42 >
JUXTAPOSINGCULTURAL
IDENTITYWITHPROGRESS:
MOKENAMAKEKASHARES
IDEASONHUMILITY
MokenaMakeka.Imageby
AndrewBrauteseth.
MokenaMakekaisoneofthemostcolourfulperson-
alitiestoentertheSouthAfricanarchitecturalscene
inthepastfewyears.Atfrstglance,hisvariousperso-
nasmightseemtobecontradictorybutitallgells
perfectlywhenoneunpacksthevariousdimensions
thatthistalentedyoungenigmabringstothetable.
ApassionatefollowerofHip-Hopmusic,principaland
founderofMakekaDesignLab,Makekaisatwo-time
recipientoftheCIAAwardofMeritandDesignCat-
egorywinnerforthe2010JohnnieWalkerCelebrating
StridesAwards.Apartfrombeinganarchitect,he
alsohasapassionforsocialentrepreneurshipand
education.HecurrentlyservesontheWorldEconomic
Forum’sGlobalAgendaCouncilforDesign,isanex-
ternalexaminerattheColumbiaUniversitySchool
ofarchitectureandlecturesattheUniversityofCape
Town.Makeka’svisionistocreateasoundAfrican
43 >
CULTURAL
PROGRESS:
SHARESHIS
HUMILITYDESIGN
aestheticthatservesthepublicandhisclients,bring-
ingdignityandgracetothebuiltenvironment.
Mokenasharedsomeinsightsintohispersonalback-
ground,workphilosophyandviewsonarchitectural
practiceinaninterviewwithDESIGN>MAGAZINE’s
US-basedcontributingeditor,ZeldaHarrison.
INSPIRATIONANDPERSONAL
PHILOSOPHY
Makeka’slifejourneyhastakenhimtodiverseparts
oftheworld–bornintheEasternCape,spendinghis
earlyyearsinLesotho,movingontoliveintheUSA
wherehisfatherwasanambassadortotheUN,them
movingbacktoLesothobeforefnallysettlinginCape
Town.Alloftheseplacesbroughtuniqueexperiences
whichhavehadaprofoundimpactonshapinghis
personalandprofessionalphilosophies.Heexplains:
“IdidmyelementaryschoolinginNewRochelle,New
York,andreturnedtoLesothoafterstartingjunior
highwhereIcompletedmyhighschooleducation,
acquiringaninternationalbaccalaureatedegreeand
thenwentontostudyatUniversityofCapeTown
(UCT).”Onlymonthsaftergraduating,heestablished
hisownarchitecturalpractice,MakekaDesignLab.
Hesaysthathiscolourfulbackgroundisomnipresent
inhiscurrentprofessionalwork:“Ibringasenseof
cosmopolitancuriositytoallofmydesignprojects.
Myworkisdrivenbyaproposition-basedmethod
whichoftencritiquescontextfromasocio-spatialper-
spectiveasmuchastectonic,functionalconcerns.”
“The architectural strategies which derive from
suchaprocessdonotftintotheconventionsof
44 >
localpractice.Infact,itchallengescoreassump-
tionsthathavebecomenormative,unquestioning
andpassiveinculturaldebate.Asayoung,black
Africancreative,inthecontextofSouthAfrica’s
complexhistory,Ioccupyaspacethatishighlyun-
derdevelopedinthecountryandregion.”
Makekasaysthathisbiggestinspirationispeople.
“Myworksaremeanttoservesocietyandtoallow
ustodefeatourlesserselves.Architectureisano-
bleartthatcancapturethespiritofanation,its
pain,itstriumphsandpurpose.Buildingsmerely
serveatafunctionallevel,whereasarchitectureis
transcendentalandmakesusrevelinbiggeride-
as.”Hecontinues:“Thearticulationofmyideasis
constantlyevolving,butthecentralhumanistpur-
pose of excellence in the service of society is a
continuously maturing and consistent position.
Myethicsdonotchangefromprojecttoproject.
Designwithoutethicsistyranny.”
LATESTPROJECTS
OneofthemostrecenthighlightsofMakeka’sfairly
shortbutillustriouscareerisbeingselectedasone
ofonlytwoAfricanarchitectstoparticipateinthe
Ordos100project.TheprojectisbasedinOrdos,Inner
Mongolia,andentails100architectsselectedby
Hertzog&deMeurontodesign100,1000m
2
villas,
contributingtoamasterplanformulatedbyAiWeiwei
basedinChina.
Makekaexplainsthathebroughtauniversal,yet
Africanperspectivetotheprojectandintentionally
avoidedtheobvioususeofFengShuiprinciplestothe
projectproposal.“Ifanything,itwasimportantto
refectonthecontextthroughmyownlens.Mybuild-
ingisacritiqueofthenotionofthetraditionalWestern
villaandtheonslaughtonthepublicprivatecon-
tinuumasexpressedintheancienthutongs.My
buildingtransformstheinnercourtyardintoapublic
spaceandmakesthehomeastageforgreetingand
meeting.Idesignedthehousetosetupcoinciden-
talcollisionsbetweenpublicandprivateinorder
tofosterasenseofunpredictablecommunity.”
Likemanyvisionaryarchitects,Makekahasaunique
personaltakeontheconceptof‘readingtheterrain.’He
says:“Everyplacehasastorythatneedstobetold.
Architectureisabouthowwellyoureadthetextofsite,
client,society,climate,etc.Subtextisoftenwhere
therealdiscoveryoccurs.Iamascholarofexploration
and understanding.This allows me to design any-
whereandforanyone,becauseIdon’tbringaesthetic
preconceptionsoravisualtemplatetotheexercise.
Designisaboutunderstandingwhatneedstobe,asking
what’spossibleandlastly,strivingtosurpriseoneself
andtheaudience.”
Duetotheinternationalandgeographicnatureofthe
Ordos100project–whichisrolled-outinphasesbyits
developers–Makekaisworkingwithatrulymulticultural
teamandhedrawsuponhisdiverselifeexperiencesto
facilitatetheprocess.Hesays:“Ihavenoproblems
withmulticulturalsettings.Ithinkit’samorenaturaland
enrichinghumanstatewhendiversityisembeddedin
one’slifeandpractices...It’sfuntocreateone’sown
rulesinordertodesign.Withoutconstraintsdesign
ismeaningless,irresponsibleandinconsequential.
Onemustmakeconstraintsiftheyarenotgiven.”
Ordos100project.
ImagescourtesyofMakekaDesignLab.
45 >
46 >
URBANDESIGNANDARCHITECTURE
INSOUTHAFRICA
AnotherhighlightofMakekaDesignLab’sworkisthe
PublicTransportSharedServicesCentre(ajoint
venturewithJakupa),situatedinAthlone,CapeTown.
Makekaexplains:“TheProvincialTransportShared
ServicesCenterisessentiallythefrstsustainable
offceblockfortheprovincialgovernmentofthe
WesternCape.Itisdesignedtoservethetaxiindustry
byprovidingaplacewherelicensescanbeacquired,
disputesresolved,vehiclesinspectedandactashub
forcertaingovernmentservices.Thearchitectureand
thescaleofthebuildingisquiteurbanandsetsthe
tone on the surrounding area, and is a visible
expression of investment in the community.”
Regardingitsdesignsolution,Makekasays:“Its
urbanism and architectural response has been
wellreceived,andthefenestrationpatternandthe
strategyofhavingthetotalensembleofbuildings
readasonehashelpedhumanisethescaleand
bringintimacyanddetailtothedesign.”
PublicTransportSharedServices
Centre.ImagescourtesyofMakeka
DesignLab.
47 >
Makekahasveryclearviewsontheinterfaceofarchi-
tectureandurbandesign,atopicwhichisoftenheav-
ilycontestedandheavilydebate.Hesays:Therearea
numberofschoolsofthoughtrelatingtotheroleof
theurbandesignerandthedesiredextentoftheir
infuenceoverthecreativeprocess.Somehavear-
guedthaturbandesignmustleadthedesignprocess,
althoughthisisnotoftenthemostappropriateso-
lution.Otherssuggestthaturbandesignshouldbe
principal-basedandactasanassessmentandguiding
toolforthedesignprocess.Historicalcontestation
byurbandesignersenteringintothebuiltenviron-
mentindustryandhencecontestingtheleadership
roleofthearchitecthasoftenbeenthefocusandsub-
textofcertainprocesses.”
“Oftentheissueshouldhavebeendesign-basedand
resolvedonthebasisoftalentandskill,andtheir
associatedoutputs.Formany,urbandesignisan
attitudewhichcreatesresponsiveandvibranturban
environments,andtheassumptionthatarchitects
aredisinterestedinurbanissuesisoftenfalse.Urban
designhasbeentaughtinanumberofwayswith
differentapproaches,anddoesnothavethehis-
toricalpedagogyandrigorofotherdisciplinesthat
wouldallowittobeuniversallyunderstoodand
accreditedasadistinctprofession.Peopleoften
forgetthathistorically,urbandesignisanoffshoot
andspecialisationofinterestofarchitects.”
RefectingontheSouthAfricancontext,Makekasays:
“Theadversarialcultureofcommandingtheintel-
lectualspaceofthebuiltenvironmentinthiscountry
iscounterproductivetothebroaderobjectiveof
creatingsustainable,liveableandinspiringcities.”
Hecontinues:“SouthAfrican’shavebeendenied
acultureofpublicspaceforhistoricalreasons.Previ-
ouslyadvantagedpeoplecreatedenclavesforthem
anddevelopeda‘securitised’mentalitywhichmeant
thatpublicspacewasheavilycontrolledandrestrict-
ed.Wearestillreapingthefruitofthisexerciseas
peopleonthewholestruggletoengagewithpublic
space,andseekgatedsuburbsasanexcusefor
urbaneliving.Crime,povertyandapoorsenseof
communityandcommonsacrossraceandincome
48 >
groupsareparticularlypowerfulandprevalent.There
arepocketsofjoy,ofcourse,butsuccessesarefew
inthefaceofthepast.Ninetypercentofmyworkis
publicandIbelieveeveryprojecthashadapositive
impactonplaceandsetting.”
COMMITMENTTOEDUCATION
ANDADVOCACY
Makekahasalwayshadapassionforeducation,be
iteducatingclientsabouttheimportanceofcreative
originality,localidentityandsustainability;informing
politiciansandgovernmentaloffcialsaboutthe
rolethatarchitectureandurbandesignplaysin
transforming and responding to societal needs
andculturaltourism;andarchitectureeducation
atformalinstitutionsoflearning.
Hesays:“Ieducatethroughmywork,anddirectly
attheUniversityofCapeTown.Thereisalwaysan
underestimationofwhatanarchitectcanoffer.”
“Peoplebelievethatanarchitectmerelydrawsandis
onlytheretodowhatyoutellthemtodo.Archi-
tectsareprofessionalsandartistsofthehighest
orderandleadtheprocessofdevelopmentforthe
greatergoodofsocietyandtheinterestsoftheclient.
Consistencyofapproachiskeytoprovidingade-
pendableservice.Designswilldifferaccordingtothe
contextandclient,butcreativityisnon-negotiable.”
Inrecentyears,Makekahasbecomeactivelyin-
volvedinadvocatingtheroleofarchitectureinurban
rejuvinationandsocialdevelopmentintheCityof
CapeTown,andasanadvisortotheCapeTown
Partnershipinitiative,hehascontributedtovarious
initiatives.Whenaskedhowhewoulddefnea‘world-
classcity’,heresponds:“I’vewrittenprettyexten-
sivelyaboutthislately.TheCapeTownof‘sand,sea
andsun’isseenbysomeasasanitisedversionof
Africa,orevenasun-African.TheCapeTownthatis
hometoRobbenIslandispoliticallydifferentfrom
therestofthecountryandistryingtocometoterms
withthat.TheCapeTownthatnestlesupagainstTable
Mountain,aWorldHeritagesite,triestopreserve
biodiversityinthefaceofdevelopmentpressures.”
“Thebrandisdeliberatelysegmentedtoattract
different markets, and considerable effort goes
intoachievingthis,butbrandingneedstobebasedon
substanceifitistobedurable:theCity’scharacter
needs to be consistent with the brand.We also
needtobeclearonwhethertheCityrespondsto
thebrand,orviceversa.”
49 >
“Inthetownships,thequestfortouristdollarsmust
consideranarea’sappeal.Dopeoplevisittownships
asvoyeurswantingtoseethefaceofpoverty,do
theywanttoexperiencemusicvenueswithaunique
character;dotheywanttoseeotherformsofcul-
turalexpression;oraretheyinternationalvolunteers
comingtobuildhouses?Whichofthesetypesof
visitsdowewanttoencourageandwhatdoesthis
meanforhowweplantheseareas?”
“Culturaltourismisatrickybusiness.Andbrand-
ingisnotonlyfortargetingtourists.AsaCitywe
aspiretodevelopaknowledgeeconomyandtoat-
tractandkeepcreativepeople.Competitionisstiff,
andtheimageandrealityofurbanspatialquality
willinfuenceoursuccess,particularlyasbusiness
locationdecisionsconsiderqualityoflifeasmuchas
urbaneffciency.Ifweplayourcardsrightwecan
achievethisalongwithsocialandeconomicprogress.”
“CapeTown’sabilitytomeetthechallengeofbal-
ancingheritagewithdynamismwilldependtoa
largeextentonourwillingnesstoco-operateand
innovate;therichnessofwhatweofferentrepre-
neurs;oursenseofwhatispossible;andourabil-
itytograspwhatisimportanttothemarketswe
seektoattractandtheliveswewanttolive.”
KhayelitshaMulti-purposeCentre.
ImagescourtesyofMakekaDesignLab.
50 >
Re-imaginingCapeTownStation.Jointventurewith
ComrieWilkinson,DHKandJakupa.
ImagescourtesyofMakekaDesignLab.
UNDERSTANDINGCONTEXT
Makekahasamatureandbalancedunderstanding
oftherolethatarchitectureanddesigncanplayin
SouthAfricandevelopment.Heconsidersthemul-
tiple layers of challenges and the complexities
thatitentailsseesthegreaterpictureofpriorities
thatneedtoaddressedinthecountry,andbecause
ofthathebelievesthatprogressneedstohappen
withsteadypacesandoccasionalhops,insteadof
leapswhicharenotalwaysachievable.
Hesays:“ChangeisthebuzzwordinCapeTownright
now,andthemostvisibleprojectsaredrivenby
expectationsandrequirementsforasuccessful
WorldCupevent.Toutedasanopportunitytoin-
vestininfrastructureforanimprovedurbancondi-
tion,itisseenasanunprecedentedcatalyst.But
it’sinterestingtoconsiderwhethereachcitywill
ensuremaximumbeneftforitsresidents.Change
isnotalwaysgood.”
“Ifwearesimplyacceleratingwhatwouldhave
happenedanyway,thelegacywillhardlybetrans-
formative.Manyoftheprojectswhichwereexecuted
51 >
forthe2010FIFAWorldCuprespondedtoneeds
thatwereidentifedlongago.Weshouldbelook-
ingformetamorphosis;theemergenceofsome-
thingnewandexcitingfromthesoulofourcities.This
requiresanewgameplan,notbusinessasusual.And
certainlynotdecisionsbasedonmaximisinginter-
nationalboastingrights.”
“Thenotionofaworld-classcitywereseenbysome
astheepitomeofblandconformity,turningCape
TownintotheStarbucksofurbanAfrica.Indeed,
importing ideas and projects without adapting
themtoourcontextprovidedanexcusetocompro-
miseourownneedstoserveanexternalaudience.”
Consideringthepre-2010FIFAWorldCupeupho-
ria,Makekasays:“Itcouldbeargued,however,
thatworld-classmeansexcellingattheordinaryas
wellastheextraordinary.Anditisonlybyadopt-
ingthisdefnitionthatwecancreateaWorldCup
experiencethatisuniquelyAfricanwhilegiving
birthtoamorehumancity.”
“Weneedtodoordinarythingswithasmuchskill,
passionandfareasweapplytoshowcaseprojects.
Andwecan,butweneedmorefocus.Ifwecanbuild
stadiums,thenwecanbuildhouses,installtoilets
andplanstreetstoservepeoplefrst.What’sgood
fortouristsshouldbegoodforustoo.”
“Imaginetrainsthatrunontime,busstopsthat
showschedulesandlocations,parksthatarechild
friendly,streetswhereparentscansafelypusha
pramandcarguardsthatarefriendlyandhelpful.
Imagineinformationkiosksdistributedthrough-
outthecityofferingtourismadvice,ahelpdeskfor
emergencies,andafriendlyfaceintimeofneed.
Imagineacitythatisassafeanduniversallyac-
cessiblefortheyouthandtheelderlyasitisfor
citizensintheirprime.”
Concludingwiththequestion:Wouldyoucareto
shareanywordsofencouragementandLessons
LearnedtoaspiringAfricanarchitects?,Makekare-
sponds:“Persevere.Wewerethefrstarchitects.
Weshallbethelast.”<
World
Architecture
Festival
Barcelona
3-5 November
2010
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Find out who’s
been shortlisted
for our prestigious
awards online
236 shortlist presentations – 512 entries in the Festival Gallery – 3 days of interactive seminar content – 3 keynote
addresses – 60+ media partner magazine distribution – Transformations multimedia thematic exhibition –
AECOM global student competition – product showcases free networking events – and much more...
“WAF is a unique congress that gathers the most
important architects in the world, we’re very
excited to be a part of it.”
Alex Kerboobie, Turenscape, China, Winner WAF 2009,
The Adaptation Palettes: Regenerative Landscape Design
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
and HASSELL from Australia as well as household names
including Foster + Partners, Zaha Hadid Architects, Tabanlioglu
Architects and Isay Weinfeld
3. Mix with the pace setters in architectural thinking on this
year’s Super Jury including Arata Isozaki, Barry Bergdoll,
Enrique Norten, Hanif Kara and find out their thoughts on the
most up-to-the-minute projects today
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
Singapore included in the projects uncovered in our multimedia
thematic exhibition, Transformations
5. Keep up to date with the most innovative and exciting
architecture from across the globe with insightful keynote
and seminar presentations from Josep Acebillo on the
Transformation of Barcelona and Jo Noero on his restorative
Red Location project in South Africa
6. Make real connections with the people you want to meet
before, during and after the festival with Festival Connect, WAF’s
dedicated social networking site, focussed and comprehensive
networking events and online communities on Twitter, Linkedin
and Facebook
7. Meet the next generation of architectural talent at URBAN SOS,
WAF’s live, global student competition sponsored by AECOM
Follow us on twitter at www.twitter.com/worldarchfest,
join our Facebook group search World Architecture
Festival or get LinkedIn
Produced by: Official Communications Partner: Partner Sponsor: International media partners:
Architectural excellence – LIVE!
Super-jury confirmed
Arata Isozaki, Barry Bergdoll, Hanif Kara,
Benedetta Tagliabue and Enrique Norten
Arata
Isozaki
Barry
Bergdoll
Hanif
Kara
Benedetta
Tagliabue
Enrique
Norten
Insight. Inspiration. Exhilaration. Learn, network and share at WAF
Visit www.worldarchitecturefestival.com
Call +44(0) 20 7554 5800 / 0845 056 8339 E: info@worldarchitecturefestival.com
Insight. Inspiration. Exhilaration. Learn, network and share at WAF
Visit www.worldarchitecturefestival.com
Contact +44(0) 20 7554 5800 / 0845 056 8339 / info@worldarchitecturefestival.com
Arata Isozaki
Super Jury Chair
Japan
Sir Peter Cooke
UK
Enrique Norten
Mexico
Peter Kudryavtsev
Russia
Charles Jencks
UK
Jo Noero
South Africa
Barry Bergdoll
USA
Wang Lu
China
Mark Fenwick
Spain
Nabil Gholam
Lebanon
Sanjay Puri
India
William Menking
USA
Richard Hassell
Singapore
Kim Herforth
Nielsen,
Denmark
Michael Heenan
Australia
Maria Solé
Bravo, Spain
Ken Tadashi
Oshima, USA/
Japan
Chris Bosse,
Germany
Kjetil Thorsen
Norway
Dogan Hasol
Turkey
Akihiko Hamada
Japan
Expert judging
panel
New names announced! Feedback from the winners of WAF 2009
Seminar programme announced!
Visit www.worldarchitecturefestival.com
for more details
WORLD BUILDING
OF THE YEAR
It’s been very
successful. It’s
given me a chance
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.
Peter Rich, Peter Rich Architects, South Africa
FUTURE PROJECT
OF THE YEAR
WAF is a great
idea, it’s a great
organisation that’s
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.
Benedetta Tagliabue, Miralles Tagliabue Embt,
Spain
INTERIOR / FIT-OUT
OF THE YEAR
The sheer
number of
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
interesting, my colleagues and I are very
happy that there was a component geared
toward students.
Bruce Davison, Architect, Amanda Levete
Architects, UK
54 >
ByEbendeWaal.AccordingtotheSecondLawof
Thermodynamicseverythingintheuniverseisin
motiontowardsdecayandinevitablebreakdown
intoalesserformofdisorder.Change,asaprocess,
is an intrinsic universal property of all things,
whichisknownasthenotionofentropy.
LifeisacontradictionoftheSecondLawinrelation
toevolution:progressionfromcomplexitytoalevel
ofgreatercomplexity.Therefore,thepresenceof
lifereducestheentropyinanyorganism.Thehigher
thelevelthattheorganismachievesinanysingular
state of evolution, the closer the organism be-
comestoentropy:itseventualfalltoruin.Fragility
increasesintandemwithcomplexity;itsrobust
E
N
T
R
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P
Y
:

M
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R
O
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S

O
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T
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E

H
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A
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C
O
N
D
I
T
I
O
N
IntheBeginning,Tankwa,Karoo,SouthAfrica.
55 >
abilitytosurvivedecreases.Consequently,allthings
relyonastateofequilibriumforcontinuedexistence.
Thisisthefundamentaldualitywithwhichtheuni-
versefunctionsasanisolatedsystem.
Allcreativeentitiesrelyuponconsciousness:thefresh
fruitofevolution.Consciousnesspresumesuponan
entitythatisawareofitsenvironmentaswellas
itselfwithinacosmictranspersonalmode.Theaware-
nessofauniversalmindandone’sunitywithits
primarycharacteristic:thecomprehensionofcon-
sciousnessaswellaslifeorder,namelyentropy.A
consciousmindatahigherlevelhastheabilityto
freeitselffromorderandpredictability,asequence
ofeventsorarrangementsofitemsunlikelytooccur
bychance.Inaworldoftotallyunrelateditems,which
hasthethrowingofdiceasitsparadigm,artandartist
fndsitspurposebyexplorationofintangiblepossi-
bilities,withitsrichvarietyofchoicesaswellasop-
portunitiesbyutilisingentropy.Onesuchentity
whichhasmasteredtheframeworkofconscious-
ness:comprisingofthoughtandthemethodof
trail,errorandaccidentalsuccessexitsbythetitle
ofStrijdomvanderMerwe.
Strijdom’sapproachwithinhischosensetting–
nature–reliesontheconceptofentropyasapar-
adoxofcreativethought:theattempttodiscover
somethingthatthoughtcannotperceive;which
doesnotconstitutetoreality.Therecognitionof
TheEersteRiverproject.
56 >
thefactthatwerefertorealityisonlyaconsensus
towhatwepresumedefnesreality,orisitwhat
weashumanityhaveagreedupontocallreality
simplybecauseofconstraintsofculturalconfne-
ment.Acleardeductiontothisrecognition:isthat
weonlyperceivewhatwecanconceive.
“Man’smindmirror’sauniversethatmirrorsman’s
mind.”–JosephPearce.
Whenweconceiveorimaginesomethingunreal,
evenourfurthestimaginationcannottranscend
knownsymbolism.Theharnessingofthiscosmic
giftisthesymbioticreasontoStrijdom’ssuccess
whendefningoccurrenceswithinentropiclandart
TriangleontheIslandSylt,Germany2009.
Lines,Touwsriver,WesternCape,South
Africa2009.
thatintruth,defyrationalexplanation.Hehadthe
followingtosayinrelationtothis:“Whatmostofmy
workconsistofandIwouldsaylandartingeneral
is to place objects in an orderly manner that is
pleasingtotheeyeand,therefore,familiartolook
at.Suchasculptureisdoneinadisorderlyland-
scapeandthephotoistakeninsuchawaythatit
incorporatesthewiderlandscapewithinthecom-
position.Thesculpturegivesasenseoforderto
thatspecifcplacegivingitidentity.”
Wheneverdesignorartwork,regardlessofitsini-
tialpurpose,attainsthisstatetheartistascends
toahigherlevelwithinthecomplexhierarchyof
humanitiesevolution:formallydescribedandoften
57 >
TOP:Stretchingredcottonbetweentwotrees,
Kacerov,Praha,CzechRepublic,1996.BOTTOM:Red
steeltube.
approximate charge is lost existing merely as a
surfacedisengagedwithinphysicalspacealongthe
arrowofentropictimefromtheworldlycontext,which
itwasintentionallymeanttoexistwithin.Neutralised,
ineffective,abstracted,politicallylobotomisedand,
fnally,readytobeconsumedbysociety.
Strijdom’smannerofcreationisareminderofthe
capacityasingularentityobtainswhenoverstep-
pingtheboundariesofculturalconfnement.The
productionoftensionwithinequilibriumsinanon-
isolatedsystemsuchasnature,imposingchange
upontheceaselessregressiontohomogeneityin
entropyalsopresentinoppressiveviewpointsof
theestablishmentdefnesouruniversalexistence
condescendedbymodernsocietyasspiritualism.
“…thelandscapecanspeaktomeinaspecifcway,
revealingsecretstomebygeneratingworksthat
isclusteredwithmeaningandmythology.Mywork
andIbecomeonewithnature;itisaprocessofdual
creativity.”
Thisdegradationbysocietyoccurswhenconstraints
are imposed upon art: the expectation induced
uponcreativeentitiestoftintomouldsoffraudu-
lentcategoriesresultinginanextensivelylimited
output.Whenartworkisconfnedwithintheneu-
tralityofagallerywhereitrefectshumannature
andexistenceatitshighestspontaneousdemand
ofidealisedplenitude,itfragments.Essentiallyits
TheSimonsbergwardpuzzle.
58 >
asarace.Strijdomnotedthat:“Theessenceofmy
workstrivestobringthemessageofourrolein
natureacross.Weareapartofthecyclesofnature,
creation,destruction,lifeanddeath.Theconnec-
tionsthathumanbeingshavewithenduringele-
mentalprocessesthatwillalwayscontinueregard-
lessofourhumaninfuence.Firstwastheland,
therefore,alwaystheland”.
Isn’tthisinfacttheessenceofbeinghuman?The
fragiletemporaryessenceofsuchartworkwere
thecontextualcomplexityisconcealedbyanover-
allsymmetryatfrstglancetrulyspeaksofcon-
trastingspectrumsofentropy.Inaninstanceof
minimalshapesofutmostorderlyprecisionand
TOPTOBOTTOM:Semi-circleinthesand,
Untitled,Meyerton&Rockpillars.
thesubsequentdisplayofcorrosion,extremeop-
posites,areinfactsymptomsofsimilarprecarious
abandonment. It is the balance between above
andbelow,lightanddarkness,eternityandtran-
sistoriness.ThusStrijdom’sarticulatemeansof
sculptural depiction derives its structural value
fromtheday-to-dayhumanconditionwhosepar-
ticularformatofordermakesitselfvisibleoraudi-
ble.Effectively,asaresultofthestructuraltheme
apurposedrivenmessageisborn:asocialcom-
mentuponhumanityandtheworld.Thisisthevital
linkintheemphasisingofanygivenconceptun-
dertakeninStrijdom’smethodology.Althoughone
shouldnotpresumethatstructuralorderisasuf-
fcientprerequisiteofartordesignsimplybecause
TOP:Snowandcages.
BOTTOM:PlasconPaintbrushes.
59 >
itisnotameasurableconditionofaestheticexcel-
lence.ContextuallytheeffectofentropyuponLand
artinaformaldisciplinesuchassculptureisof
suchnatureitestablishesareturntoanessential
order.It’saharmoniousequilibriuminhibitingthe
worldfromfallingintoboundlessconfusioninre-
lationtoourself-centred,anti-metaphysicalna-
ture.Eveninthefnalmomentsofartworkcreated
inthismannerthefniteisasinfnite,theindivid-
ual the whole, nothing less than an epitome of
cosmicconsciousness.
Conclusively,StrijdomvanderMerwe’sdialectical
refectionwithinhismediumhasproventobea
genuine,trueandprofoundviewoflifeandallit
Field’sofFloweringhands,Giloolysinterchange,Johannesburg,SouthAfrica,June2010.
encompasses:subjective,objective,realisticaswell
astheabstracteffectsofentropy,withoutallowing
elementstobecomeobjectsofformaldelectation.
Strijdom’sevocativedesignsasLandartoranyother
formthereofisnotmeanttocaptureorseizethe
streamoflife.Foritfndsitsfunctioningpurpose
asacommunicativetoolwithinanarrowduration
oftimeandspaceweretheworkconcentratesa
viewuponhumanexistence.Aminimalistsindica-
tion,thatmarksthecomplexstepsofprogression
bymeansofalterationwithintheconstantorderof
disorder.<
ImagescourtesyofStrijdomvanderMerwe.
HEAD OFFICE:
Tel: +27 (0) 11 493 6833
Fax: +27 (0) 11 493 7760
JOHANNESBURG:
Tel: +27 (0) 11 493 6833
Fax: +27 (0) 11 493 7760
CAPE TOWN:
Tel: +27 (0) 21 510 8023
Fax: +27 (0) 21 510 8025
DURBAN:
Tel: +27 (0) 31 700 4881
Fax: +27 (0) 31 700 4811
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62 >
ANTON
SASSENBERG:
“THEORIGINAL
DESIGN
GUERRILLA”
BySunéStassen
63 >
AntonSassenbergisoftenreferredtoas
beingthemostinfuentialandground-
breakingSouthAfricanmagazinedesigner
ofthepasttwodecades.Lookingathis
life’sworkthatrepresentsanimpressive
andcolourfuldiversityofpublications,
wecan’thelpbuttonotehisseminalcon-
tributionstothebrandrepositioningand
designofpublicationssuchasthethen
anti-apartheidweeklynewspaperVrye
Weekblad,Afrikaanslifestylemagazines
DeKatandInsig,andmainstreamEnglish
titlessuchasCitylife,StyleandTrueLove.
But,Antonhasalsobeenaprolifcde-
signeroutsidethemagazinearena,pro-
ducingmanytheatreposters,CDcovers
(notablyBloudrukandGetransformeer
for the late Johannes Kerkorrel) and
booksthatincludePenguineditionsof
AncestralVoicesbyEtiennevanHeerden,
SouloftheWhiteAntbyEugeneMarias,
TheOwlHousebyAnneEmslie,TheStory
ofanAfricanFarmbyOliveSchreiner,Alan
PatonbyPeterAlexanderandMandela:
EchoesofanErabyAlfKhumaloandEs’kia
Mphalele.
AntonstudiedInformationDesignatthe
UniversityofPretoriabeforehedecidedto
beafull-timepainterforacoupleofyears.
“Iwantedtobeanartistbutmyfather
wantedmetohavea‘real’job.Studying
InformationDesignmeantthatIwasat
leastclosetotheArtDepartmentwhere
Ispentmostofmytime,”explainsAnton.
Hisfrstexperienceasapublicationsde-
signercameaboutwhenhemetwithPaddy
Hardeganwho,atthetime,wasproducing
booksfordifferentpublishingcompanies.
“Paddyneededassistancewiththedesign
oftheneweditionofTheStoryofanAfri-
canFarmfortheFrankfurtBookFair.And
that’showIbecameapublicationsdesign-
er,”explainsAnton.
“AfterworkingwithPaddyonbooksand
magazinesforawhile,Istartedmyown
company,PressBooks.Ahighlightwas
designingMandela:EchoesofanErafor
Penguinin1990.”
Duringthistimehealsobecameacquaint-
edwithElizeViljoenwhomotivatedfor
AntontoredesigntheVryeWeekblad,
wherehestayeduntilthepublication
closeddownin1994.Anton’sworkon
thisvocalanti-apartheidweeklynewspa-
per,publishedinAfrikaans,wasasliberal
initsdesignasitwaswithitseditorial
content.Itseditor,MaxduPreez,inPale
native:Memoriesofarenegadereporter,
wrote:“Inoursecondyear,VryeWeekblad
underwentametamorphosis.Thereason?
AmancalledAntonSassenberg.Heturned
everyruleinthenewspaperdesignhand-
bookonitsheadandmadeeverypage
aworkofmodernart.Andthenextweek
hewoulddoitcompletelydifferently.
HeevenchangedthemastheadwhileI
wasawayforaweek.”DuPreezcontinues:
“After1992/93,onecouldseeAnton’s
revolutionaryideascreepingintomost
magazinedesignsinSouthAfrica.He
wastheoriginaldesignguerrilla.”
“NextIworkedatDeKatandbecamecre-
ativedirectorofPentaPublicationsuntil
2000whenIalsojoinedNewMediaPub-
lishing,whohappenedtobethepublish-
ersofInsigatthetime,”saysAnton.“It
64 >
was defnitely these four years that greatly
infuenced my professional outlook on
publication design,” and the continua-
tion of a very successful career that was
to follow.
Anton considers himself more as a jour-
nalist, than a designer. “I basically create
platforms for different messages to be
communicated. This makes me part of
the editorial team and part of the story-
telling process. There is no real differ-
ence between designing a book and a
magazine, except for what Alexander
Brodovich, the legendary art director of
Harper’s Bazaar, called ‘perpetual opti-
mism’. Magazines aren’t permanent: you
can improve them, tweak things and learn
from your mistakes, every month. And
maybe magazine design is less lonely
because you’re working with a team. So
it is my responsibility to continuously
inspire the team to consider and look
for new and fresh ideas and angles.”
HIS CREATIVE PROCESS
“I always work on instinct which is greatly
infuenced by factors outside my job like
books, music, art and design. It is diffcult
to justify my work ethic and to explain to
others what I do. As an art director and
working in a team, I’m involved in the edi-
torial process from the very beginning. It
is important for me to understand the sto-
ryline, who and what are involved and how
everything unfolds, as well as the inten-
tion of the piece so that I am able to in-
stinctively proceed from there. It just
makes sense to understand the history
behind the piece before you can fnalise
the details. Then it is time for my in-
stincts to take control.”
HIS HIGHLIGHTS
“Citylife magazine was the frst project
where we really pushed that traditional
envelope. The magazine was already in
trouble when I got involved and we did
fve issues before the publishers threw in
the towel. The magazine was then moved
to New Media Publishers at the Johan-
nesburg offce and we basically put it
together in our spare time. My colleague
Annelize Visser became acting editor
and we had an amazing team: Lucinda
Hooley, Daisy Jones, Ami Kapilevich and
Kerry Shaw. We were basically given
carte blanche to reinvent the magazine
on a very small budget, which was part
of our strategy. We took a risk and went
against the whole celebrity thing and
created fake celebrities. We used models
that resembled Tom Cruise or Robbie
Williams, for example, and Photoshop
did the rest. A particular challenge was
the apprentice butcher from Alberton that
we cast as Eminem. For the last issue
we invented an entirely fctional celeb-
rity. We built him out of Johnny Depp’s
cheekbones and bits of Brad Pitt. We
named him Frank and we even ‘inter-
viewed’ him.”
“We were also very conscious of the in-
teractive nature of online publishing
and we tried to replicate that on paper
by layering our content. We also experi-
mented with the placements of prod-
ucts as part of a sort-of ‘underground
advertising’ strategy.”
“A few years later we had the opportunity
to take this even further by creating a mag-
azine about magazines for Media24, called
OFC. Our intention was to challenge a
65 >
66 >
67 >
lotofperceptionsandfxedideasabout
magazinesandadvertisingandwereally
tooktheconceptofinteractivitytoits
limits.Forexample,wehadasongcom-
posedaboutHeinekenandranthestory
assheetmusic.Webuiltheadlinesout
oftheTommyHilfgerlogo;wewrotean
entirestoryusingonlyadvertisingslo-
gansandwemadepaperdollsofJanet
JacksonandJustinTimberlakeanddressed
theminbrandedmerchandise.Thecover
was a join-the-dots image of Britney
Spears,andwedesignedthewholemaga-
zinebacktofront,whichmadepaginating
itarealpuzzle.Wereallyappreciated
Media24Magazines’CEOPatriciaScholte-
meyer’senthusiasmforsomeofthesewild
ideas,butintheendnoonereallygotit
andtheindustrymoreorlessignoredit.”
“AfewyearslaterwhenMedia24launched
True Love Babe I became consulting
creativedirector.Thiswasoneofmymost
satisfyingexperiencesasapublications
designer.WhatmadeBabesospecialis
thatAnnelizeandIworkedwithateam
offrst-timemagazinepractitionerswho
instantlytookcontrolofthebrandthey’d
created.Ourjobwastoencouragethem
tobecomebetterandbetteratwhatthey
did.Therewerelotsofculturaldifferences
andsubtlethingswedidn’tunderstand
sowehadtolistenmorethantalk.What
wasremarkablewastheteam’spatience
inshowingushowtotranslateourmag-
azineexperienceintoaproductthatwas
relevanttotheirmarket.Thiswasagreat
learningcurve.”
Overtheyears,Antonhasplayeddifferent
roleswithinthepublishingdesignarena:
from1998–1999asartdirectorofDeKat
magazineandbetween2004and2005
astheartdirectorofInsigmagazine,to
redesigningveryprominentpublications
liketheStylemagazineforCaxtonand
TrueLove,FairladyandSarieforMedia24.
Basedonhisdiverseexperiencesinthe
magazine industry, Anton says that:
”Makingamagazineisateamsport:you
can’tdoitonyourown.Thehistoryof
magazinesshowsthatthebestmaga-
zinesarecreatedwhenartdirectorsand
editorsworktogetherasateam:Anna
Wintour and Alexander Lieberman at
Vogue,BrodovichandCarmelSnowat
Harper’sBazaarandlateronLizTilberis
andFabienBaron.”Theseareallknown
tobeformidablepersonalitiesintheirown
rightanditisexpectedthatdifferences
ofopinionswillsurfacefromtimetotime.
“Confictishealthybuttherealsohastobe
respect.Ididmybestworkwithstrong
editorssuchasMaxduPreezatVryeWeek-
blad, Joan van Zyl at DeKat, Annelize
VisseratCitylifeandOFC.Andin2009,
IreallyenjoyedworkingwithStefania
Johnson,theneditorialdirectoratNew
MediaPublishing,duringabriefspellas
designdirector,”explainsAnton.
HISCURRENTWORK
Antoniscurrentlyconsultingascreative
directorofAvusamagazines.“I’veonly
beenhereafewmonths,”saysAnton.
Hewasbroughtintolookatthestandard
ofdesignonalltheconsumermagazines
in the group. “I have just redesigned
EllemagazineandIamcurrentlybusy
withElleDecoration.Afewothertitles
willfollowshortly.”Heexplainsthathis
roleandresponsibilitiesarenowabit
greaterthanbefore.Acreativedirector
68 >
is supposed to investigate the brand
identity and design to make sure it’s in
line with what the brand stands for, and
at the same time, successfully commu-
nicate this to the readers so that they can
also identify with the brand. “Because I
am a consultant on many of the different
publications within the Avusa Group, I
am a member of several teams and must
have the ability, at the fick of a fnger,
to jump between different publications
that each have their own strategies and
target markets. On some days I have to
make these leaps a few times a day and
sometimes even within the span of an
hour. Being in this position, I am also
learning that I am bound to step on some
toes and how to, from there, encourage
growth. I am also positioned to be the
bridge between art directors and editors
which in itself holds a lot of challenges.”
According to Anton the most important
ingredient for success in any career is
passion. “I was recently very impressed
when I met a young designer who wanted
to join Elle Decoration. I’ve never seen
his work but it was clear that working
for Elle Decoration has been his life’s
dream.” Due to the digital era it is under-
standably diffcult for young people to
break into this industry. “The youngsters
that really interest me are the ones that
are really still excited about working in
this industry. It’s a very fckle industry.
You need commitment and maybe a
second career... One day you might be a
hero and by the next issue sales go down
and you go down to zero with it. Twenty
years ago I fell into magazine design by
coincidence and I’m still here.” <
69 >
College of Human Sciences
School of Arts




















Artwork: Ronit Judelman, UNISA student

Nurture your creativity in the visual arts

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

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


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

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

70 >
THINKINGTHROUGHDESIGN:
MICHAELBIERUT’SCAUTIONARY
TALEONLESSONSLEARNED
DESIGN:
CAUTIONARY
LEARNED
MichaelBierutissurelyadesignerthatneedslittleintroduction.Prior
tojoiningPentagramasapartner,BierutworkedatVignelliAssociates,
ultimatelyasgraphicdesignvicepresident.Heisthewinnerofcountless
awardsandamemberoftheAllianceGraphiqueInternationaleandArt
Directors Club Hall of Fame. Awarded the AIGA Medal in 2006 and
namedwinnerintheDesignMindcategoryoftheCooper-HewittNational
DesignAwardsin2008,he’saseniorcriticingraphicdesignattheYale
SchoolofArtandco-founderofwww.DesignObserver.com
ChristophNiemann’smuralsatP.S.69inClasonPoint,theBronx.
71 >
72 >
InaninterviewwithDESIGN>MAGAZINE
Michael shared some of lessons that he
haslearntoverthepast30yearsandspe-
cifcallythosegainedwhileworkingonThe
L!braryInitiative.
DESIGNTHINKING
Youaredescribedasanadvocateof‘design
thinking’.Howdoyouapplythisapproach
andhowdoesitbeneftyourclients?It’s
becomeafairlytrendytermandinthatrespect
Iamsomewhatsuspiciousofit.
Basically,whatIlearnedduringTheL!brary
Initiativewasthatweshouldneverforget
aboutthelargercontextforourwork,espe-
ciallythepeoplewhowillbeexposedtoit.
It’s very easy to be distracted by other
thingswhenyou’reworkingonaproject.What
amIgoodatdoing?WhatdoIliketodo?How
doIusuallysolvethiskindofproblem?What
usuallyworks?WhatdoIthinktheclientwill
accept? And so forth.These are all good
questions,butthey’renotthemostimportant
questions.They’realljustaboutthepre-
requisitestodoingthework,thekindsof
thingsthatanyprofessionalhastoworry
about,nomatterwhattheproject.
Theimportantquestionsareharderbecause
theyrequireyoutopayattention.They’re
thingslike:Whatreallyneedstobedone
here?Who’s going to be affected by this
work? What would be the best possible
outcomeforthisaudience?And:HowcanI
makeauniquecontribution?
I’vebeenworkingasadesignerfornearly
thirty years and the longer I work, oddly
enough,theeasieritistofallintothetrap
represented by the first set of concerns.
You’re rewarded if you think that way, at
leastintheshortterm.Youworkfastandeff-
ciently,andyourclientissatisfed.Butthe
clientisusuallydifferentthantheaudience.
Andtheaudience–theenduser,whoever
itis–requirestimeandattentiontobetruly
engaged.Sothatrequiresattentiontothe
secondsetofquestions.Youcancallthis
‘designthinking’,oryoucancallthisjustplain
thinking.Theworstkindofdesignisthought-
lessdesign.Thebestkindisthoughtful.
THEL!BRARYINITIATIVE
HowdidTheL!braryInitiativecomeabout?
Nearlynineyearsago,Pentagramwasasked
to contribute to a visionary effort by the
wonderful–anddesign-conscious–Robin
HoodFoundation:aninitiativetobuildnew
school libraries in elementary schools
throughoutthefveboroughsofNewYork
City.Arangeoftalentedarchitectswould
designthelibraries;privatecompanieswould
donatebooksandfunds;andPentagram
wouldprovidethegraphicdesign,including
signage,wayfndingandamasterbrandthat
wouldtieallthesitestogether.
Alongtheway,wediscoveredsomething
interesting.Thelibrariesareusuallylocated
inolderbuildingswithhighceilings,butthe
shelvesinthelibrariescan’tbebuilthigher
thankidscanreach.Thismeansthereisa
spacebetweenthetopshelfandtheceiling,
an up-to-six-foot band around the room
justbeggingfor‘something’special.That
‘something’turnedouttobemurals.And
theresultscannowbeseeninschoolsall
overNewYorkCity,includingfvebrandnew
onesintheBronxwhichfeaturemuralsby
Rafael Esquer, Maira Kalman, Christoph
Niemann, Stefan Sagmeister and Yuko
Shimizu,andCharlesWilkin.
L
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Pentagram’sinvolvementwithTheL!brary
Initiativebeganbynamingitandcreatingits
logo.Atthefaceofit,there’snoreasonwhy
thisprojectneedsalogo.Ontheotherhand,
therethere’snoreasonforeachlibrarytolook
different.Afterall,noneofthekidsarelikely
toseeanylibrarybuttheirown.Butgiving
theeffortanoverallidentitymakesitmore
understandabletopotentialdonorsandto
thepublicandprivateorganisationsthatwork
withtheRobinHoodFoundation.Andmak-
ingeachlibrarydifferentmakeseachplace
memorableandspeciallysuitedtoitssite.
Dozensofarchitectshaveworkedonthe
projectsinceitbeganin2000,includingTod
WilliamsandBillieTsien,MarianWeissand
MichaelManfredi,JaredDellaValleandAn-
drewBernheimer,HenryMyerbergandDe-
borahBerke.Thefrstmural,aseriesofphoto-
graphic portraits by Dorothy Kresz, was
installedinalibraryinBrooklyn’sP.S.184
thatwasdesignedbyRichardLewis.Itwasan
immediatehitwithstudents,librariansand
teachers,andinthenextwaveofinstalla-
tions,muralswerecommissionedfromPeter
ArkleandLynnPauley,whodidfourinthree
weeks.
Whatlessonsdidyoulearnfromworkingon
TheL!braryInitiative?ThelessonsIlearned
were,frst,don’ttrytobesocleverallthe
time.Ithinkthatdesigners,myselfincluded,
startbytryingtoimpresseachotherwithour
ingenuity.InthisregardIrecallastatement
byChileanarchitect,AlejandroAravena,at
the2010DesignIndabainCapeTown.He
said that creativity was only necessary
whenyoudidn’thaveenoughinformation
tosolveaproblemusingothermeans.The
implicationwasthatweshould‘becreative’as
alastresort,onlywhenweweresurethat
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75 >
therewasnothingmoretobelearnedfrom
thesituationathand.Ilovethatidea.
InthecaseofTheL!braryInitiativeproject,
IlearntthatIdidn’tspendenoughtimeat
theoutsetunderstandingtheaudience.I
justtriedtosolveeverythingwithaclever
logo.
Thesecondlessonisthatyougetpowerby
givingawaypower.ThemorepeopleIin-
volvedintheproject,andthemorefreedom
wegavethemtodotheirwork,themore
effectivetheresultwas.
Thethirdlessonisthattherealopportunity
todosomethingamazingmaynotbeinthe
offcialscopeofwork.AsIwassayingbe-
fore,theeffcientandprofessionalapproach
istoexecutewhat’srequiredandnotdoa
single thing more. But what you’ve been
askedtodoandwhatactuallyneedtobe
donemaybetworadicallydifferentthings,
and that difference is what changes the
worldsometimes.
The fourth lesson is that sameness and
consistencyaretwodifferentthings.Thisis
hardfordesignerstoremember,andeven
harderforsomeclientstoremember.Ifyou’re
acontrolfreak,it’stemptingtooverestimate
theneedtocontroleverything:that’swhat
control freaks do, obviously, and that’s
whatalotofdesignersare.Butlettingdif-
ferencescomethroughisanacknowledge-
mentofwhatmakesushuman.Designatits
bestletsthosedifferencesbeexpressedat
ahighlevel.
Regardingyournotionof“Overestimating
theneedforcontrol”,howwereyouable
tostrikeabalanceindealingwithapublic
agencywithnumerousdecision-makersand
severalcollaborators?Whatworkedwell
wastogiveeveryoneveryspecifcparam-
etersandthenallowthemagreatdealof
freedomwithinthoseparameters.Ifndit
frustratingasadesignerwhenitworksthe
otherway.Youoftenhaveclientswhosay
“thesky’sthelimit,”butthat’sonlybecause
theyhaven’tproperlythoughtthroughthe
limitsfrst.TheorganisersofTheL!brary
Initiativewerereallysmartaboutdefning
theprojectclearlyforalltheparticipants.
Aswestartedbringingincollaborators,we
triedtogivethemthesamecombinationof
rulesandlicense.
Doesthiscomparativesummaryresonate
withyouorwouldyoucaretoelaboratewith
yourowndefnitions:
Traditionaldesigner Evolveddesign
thinking
Concernedwith
branding
Movesfromidentityto
theexperience
Clever Thoughtful
Exclusivedecision-
making,values/
prefersuniqueideas
Seeksideasthrough
collaboration,more
inclusive
Workswithinthe
scopeofwork
Identifesopportuni-
tiesbeyondthescope
ofwork
Valuesconsistency
tothepointof
‘sameness’
Valuesconsistencyof
message,buthas
fexibilitytoadjustto
anenvironmentand
audienceneeds
Preferstoworkalone
togeneratethesingle
BigIdea
Encouragesacontinu-
ousloopofaudience
feedbacktocorrect/
adaptinitialideas
Ithinkthechartisexactlyright.
76 >
77 >
Howsuccessfulhaveyoubeenintempering
theaudience’sneedsforthevisceraland
emotionalwithyourownneedtobringyour
extensive experience and skill to play?
SometimesIthinkthattheaudience’semo-
tionalneedsaresotitanicandmyownskills
aresolimitedthatit’snotreallyafairfght.
AllIcanhopeistochoosetherighttoolsto
eventheplayingfeldalittlebit.
THE‘POST-DESIGN’FACTOR
Haveyoufelttheneedtodevelopafeedback
loopwiththeaudienceafteryourproject?
Isaudienceresponsenecessarytoconsider
a project successful? Of course it’s nice
whentheaudienceloveswhatyoudo,but
Iwouldsaythisissecondarytothesense
thatthey’vecometotakeontheworkas
theirown,andthatit’sacquiredsomekind
oflifebeyondwhatwegavethem.Some-
timesthishappensbecausetheyreallylike
it; sometimes it happens when they’re
challengedbyit.Justtheotherday,Ivisited
aclient’swebsiteandtheyhaddonethis
terrifcanimationoftheidentitywedesigned.
ItwasdoneinawayIneverwouldhaveim-
agined,anditwasjustgreat.Iwasjustso
happytoseetheseedwehadplantedturn
intothissurprisingblossom.
HOWTOMAKEYOUROWN
L!BRARYPROJECT
MichaelreferredDESIGN>toAnnoradha
IyerSiddiqi,anarchitect,writerandformer
L!brary Initiative director, whose latest
book L!brary attempts to document the
projectasacasestudyandexplorethepo-
tentialforscalabilityoutsidetheNewYork
PublicLibrarysystem.Afterreviewingthe
results of the 50 libraries covered under
thisinitiative,Siddiqiconcludesthatgood
librarydesigncanactuallyinspirelearning,
andtheuseof(artistic)talent,cultureand
apleasingenvironmentaddsvaluetothe
building’sandcommunity’ssenseofworth.
“Artdoesmatter”,shesaid,assheattempts
todemonstratehowwidelyvariedfeldsand
communities–corporateunderwriters,chil-
dren’sbookpublishers,architects,graphic
designers,productmanufacturers,library
associations,teachersandstudents–can
joinforcestomakeadifferenceinthelives
ofchildren.
Whiledesignandsafetystandardsarenat-
urallysubjecttotheirenvironmental,cultural
andlegalcontext,Siddiqiconcludesthat
replicatingandscalinguptheL!braryproject
isfeasible.“(Aesthetic)Standardisationkills
thespiritthough,”shecautionsattributing
thesuccessoftheprojecttotheunique,
customisedspaceofeachtargetedlibrary,
andthefactthattheaudienceandlibrary
usershadsomeinputindesigningthespace
allowedthemto‘ownit’.
Tothiseffect,Siddiqidedicatesthelastsec-
tionofherbookto“HowtoMakeaL!brary”,
hopingtoinspireothercommunityorganisers
andarchitectstopursuesimilarinitiatives
intheirowncommunities.<
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78 >
WHAT
ISA
BRAND’S
WORTH?
InnovationProtocol’sSasha
Straussdiscussessevenofthe
manycriticalaspectsthathe
considerswhenreviewingtherole
ofbrandinginthemarketplace.
SashaStraussinaction.
Asaneducator,Iamoftenasked
whybrandingmatters.Asastrate-
gicbranddevelopmentprofession-
al,whosejobitistolookclinically
atbrands,Ioftenhavetodeter-
minehowandwhybrandsmove
ustopurchaseproductsthatare
non-essential or not even well
designed.
Brandingmatters
becauseweneedto
rationaliseour
decision-making
Theinterestingthingaboutbeing
humanisthatwearealwayslook-
ingforreasonsforthethingswe
do.Ratherthanjustbeinginlove,
weareinlovebecausewethinkwe
aresupposedtobe.It’saspiritual
connection–thereareallofthese
additionalrationalesthatweapply
todecisionsandactions,including
ourpurchasingbehavior,evenfor
themostfunctionalobjectsinour
liveslikepens,computers,cars,
clothesorshoes.Ratherthanjust
usingthemfortheirbasicfunction,
weliketousethemandfeelgood
aboutouruseofthem.
Brandingisa
refectionofour
desires,valuesand
aspirations
Thisisthecasewhentheproducts
reflect something about us or
somethingthatweaspiretobe.For
instance,Iaspiretobeself-expres-
siveandcreative–well,ifmycom-
puterisself-expressiveandcre-
ative,itimpliesthatIamaswell.
As a brand poster-child, Apple
hasdonesuchanexceptionaljob
ofcreatingan‘infnity’ofsortsthat
can’tbecompromised.Thisiswhy
Iamoneofthepeoplewaitingin
line,intheworsteconomyinhis-
tory,topayforapremiumdevice.I
amexcitedtoreplacemycurrent
laptop,whichcanbasicallydothe
samethingasfarasthefunctional-
ity,butnotasbeautifullyorele-
gantly.
Itshouldn’tbesurprisingthatpeo-
plearepreparedtobuysomething
theydon’tactuallyneedbecause
thedesiretrumpstheneed.We
buythingsthatwedon’tneedall
thetime,howeverwebuythembe-
causetheymakeusfeelwonder-
ful.Andfeelingwonderfulisanin-
nateneed.Notunderstandingthis
basichumanneediswherepeople
whodon’tlikebrandingrunamuck.
Theyputbrandingdowntoamere
reflection of consumerism and
marketerstryingtosellpeople
thingstheydon’trequire.
Successfulbranding
reachesbeyondour
physicalneedsto
ouremotionalones
Thinking about what I actually
need…IdoneedfoodbutIalso
needtofeelgoodaboutwhatIeat,
whichmeansmychoiceofapar-
ticularbrandoffoodmakesmenot
onlysatiatedbutalsomakesme
feelgoodabouttheactionofeat-
ing,whichisequallyimportant.
Everythingfromtheshoppingex-
periencetothepackagingofthe
productaddstothepleasureofthe
purchasingexperience.Afterall,
it’sacombinationofpleasures.
Evenwhenitcomestoeveryday
tasks,Ithinkmostpeopledoen-
joygoingtoagrocerystoreand
makingchoices.Brandsenableus
tohavemultiplechoices.Whole
Foods,whichisaUSandUK-based
grocerystorechainthatoffersthe
highest quality and least proc-
essed natural foods, is a great
exampleofthis.
Reallysuccessful
brandingmoves
beyondthephysical
producttocrafting
anexperience
Ratherthanjustabarreloffour,
WholeFoodsfeaturesanarrayof
79 >
fouritems.Youcoulddecideif
youwantfourthatisorganically
orlocally-grown,whicheverone
makesyoufeelbetter.Itmight
costalittlebitmoretomakeyou
feelbetter,butonlyyoucanput
avaluetothatsensation.
WholeFoodsarenottheonlyones
whosellqualitynaturalproducts
–therearemanyalternatives–but
thedifferenceisthatWholeFoods
isanintegratedbrandexperience.
EverysinglethingthatWholeFoods
does,fromthemomentyouwalk
intotheirstorestothetimeyou
payforyourpurchasesatcheck-
out,isdesignedtoreinforcethe
emotionalconnectionyouhave
withbuyinggroceries.Theinter-
estingfactisthatwhileorganic
foodsaresupposedtobehealthier,
nogovernmentintheworld–at
leastnottheUSFoodandDrug
Agency–iswillingtoconfrmthis.
Thismeansthatwearewillingto
spend our ‘whole paycheck’ at
WholeFoodsbecause,intheend,
webringproductshomethatmake
usfeellikeabetterparent,abetter
spouse,orabetterhumanbeing.
Successfulbrandingisdesigned
tomakeusfeellikeourchoices
arebetterthanaverage.
Doesbrandingrobus
ofourindividuality
ordoesitmakeus
moreeffcient?
Ofcourse,thereisacommunityof
peoplethatisscepticalaboutthe
dominanceoflogosandbranding,
maintainingthattheworldwould
beahealthierplaceifwedidn’t
havethesehighlyseductivebrands.
Thisisonlynatural.Sinceourfrst
inclination,especiallyassort-of
liberalthinkingindividualsina
freesociety,wehavealwaysliked
tomakeallofourownchoicesand
don’tliketobe‘sold’onthose
decisions.Weliketomakedeci-
sionsbase–wehavetoomany
thingstoworryabout.Forinstance,
wehandoverourtrustwhenwe
askafriend,“Hey,whatdentistdo
youuse?”Weliketoturntoamag-
azineeditorforarecommendation
onanewcomputerweshouldbuy.
So,aswebuildthoserelationships
withextendedtrust,wehopethat
abrand,likeanindividual,can
make a promise that they can
keep.Forexample,Listerinekills
bacteriainyourmouthandhas
donesoconsistentlyforyears,so
youcanbuytheListerinebrand
withouthavingtovetit.Whena
brand keeps a promise that it
makes,youbasicallybuythebrand
becausethetrustisinnate.Since
wedon’twanttomakeathousand
decisionseveryday,wealways
go back to Subway Sandwich
stores, Starbucks Coffee, etc.,
brandsthathelpusmakethose
decisions.Ultimately,inthisre-
spect, brands bring simplicity
andeffciencytoourlives.They
donotgetustobuythingswe
don’tneed.
Sowhatmakesfor
successfulbranding?
Anorganisationhastofgureout
exactlywhatitisthattheiraudi-
encedesires,whetheritbesocially,
economicallyoremotionally,etc.
Ratherthanhopingthattheaudi-
encewillfgureitout,thecorpo-
ratepersonalityhandsittothem
–ineverycommercialandsocial
interaction,andeverytimethey
walkintothestore.
Thisiswhatyouarehandedwhen
youwalkintoanApplestore.It’san
all-encompassingenvironment,
withtheemployeesintheirt-shirts
withfunlittlenametags.Allthe
products are easily touchable,
visuallyappealingandconnected
totheInternet.Thechildren’ssec-
tion,featuringbeanbagsanda
fun atmosphere basically as-
suresyou:“Fearnot,yourchild
canpokearoundonthisdevice
andthereisnothingtobecon-
cernedabout.”Thisall-encom-
passing brand experience is
what creates that permanent
connectionwhichmakespeople
waitinlineforaday,topay$800
80 >
foradevicetheydon’tnecessar-
ilyneed.
Thesebrandsareexemplaryof
really good integrated brand
creation. It doesn’t matter
whether it is a global corpora-
tionthatsellssoftwaretoother
global corporations or a non-
profit organisation with three
environmentalistsatthehelm.It
isimperativethatwealldorec-
ognise that a brand has to es-
tablishsometypeofintangible
connectionwithitsaudience.I
mention consumer brands like
Nike, Apple and Whole Foods,
becauseweareallconsumers.It
doesn’t make a di fference
whetheryouarethepresidentof
theUnitedStatesorahomeless
person,youchoosetoconsume
thingsregularlyandyouwantto
feel better about what you are
consuming.
Somebrandshavebeenextraor-
dinarilysuccessfulatcapturing
thistypeofsensation.Anexam-
ple of a strong brand that has
totally‘gotit’isLandRover.Land
Rover essentially invented the
SportUtilityVehicle,orSUV,as
weknowit.AllSUVownerscom-
paretheirSUVtoaRangeRover.
IhaveownedfourLandRovers
inmylifeandeveryoneofthem
have been recognised by the
brand,appreciatedforitsfunc-
tionality,andrecognisedthatit
wasarefectionofme,someone
who works hard and is accom-
plished,butalsohassomewhat
ofaruggedoutdoorlifestyle.
It’s a very storytelling product.
Someofthefrstvehiclesseen
by native tribes in Africa were
Land Rovers. The first-aid re-
sourcesbroughttoremotecoun-
tries were initially delivered in
LandRovers,makingitahistorical
icon of transport. Even though
peopleliketosaythesevehicles
areoverpricedorthattheymight
havehadelectricalissuesinthe
past,Ihavenotmetanyonewho
doesn’tknowwhataLandRover
is–whichisastonishing.Itjust
showsyouhowpowerfulacon-
sistentstorycanbe.
Tociteasimpleexample:Oneof
the best billboards Land Rover
haseverproducedwassimplya
photoofadesertwithtire-tracks
and the message said, ‘Before
youcanhelppeople,youhave
togettothem…’–withtheLand
Rover logo in the upper right-
handcorner.Thispresentsjust
anepicdescriptionofthefunc-
tionality of these devices. The
brandiseasytorecognise,with
agreenovalthatishighlydistin-
guished from its competition.
It’scalledexactlywhatitisfunc-
tionally, i.e. a land-roving de-
vice;hence,LandRover.Inthat
respect,IbelieveLandRoveris
as high-quality as a brand like
Apple.
Brandsare‘people’
too…
Sometimes, brands lose their
way–thereisn’tanorganisation
inhistorythathaslivedafaw-
less life. Be it churches, coun-
tries, governments or brands;
everyoneisgoingtobetroubled
atonepointoranother.Ifabrand
is going to make a mistake, it
needstobuildenoughpositive
brand equity so that when it
does happen, so many people
love and trust the brand that
theywon’tabandonship.Even
Apple has had its fair share of
mistakes–theirbatterieshave
blown up on airplanes. Every
brand is going to make a mis-
takebutthemorethebrandis
loved,themorelikelythecom-
munity will forgive those mis-
takes.”It’sokayApple,because
we know and trust that you
wouldn’t do something to per-
manentlydamageouraffnity.”
Organisations love to focus on
theirfeaturesandfunctions,but
sometimes even the most ad-
vancedmulti-featuredproducts
fail.When most engineers and
product developers create a
brand,theirfocalpointsarefea-
tureandfunction–thespeedof
theprocessororthesizeofthe
screen. Does an iPhone owner
haveanyideahowfasttheproc-
essorisintheiriPhone?Orhow
81 >
largethescreenisbyanydimen-
sion?Theyprobablydon’t.The
Motorola Droid product was
launchedwithfeaturesandfunc-
tionsasitsprimarybrand-voice,
and that’s the reason why no
oneispayingattention.Weare
waytoooverwhelmed.Thinkabout
everysingleiteminyourlifelike
yourcar,yourclothes,yourphone
andyourcomputer–thepoorly
executedbrandsarejustberat-
ingyouwithtechnicalfeatures.
Technicalfeaturesyoumaynot
evenunderstand.
WhatAppledoessocleverlyis
anthropomorphisetheproduct.
Despiteitscomplexfunctionsand
features,oneisnotjustinteracting
withamachine.
Ilikenthistoanextensionofyou
asanindividual.Thatiswhatthe
iPhonefeelslike.That’sthewayit
hasbeenpositioned.That’swhy
thecommercialshavealwayshad
simple white backgrounds and
reallygentlesfolkychildren’smusic.
Just think about when you are
sittinginfrontofthetelevision
andyouarewatchinganApple
commercial–thoughthiscom-
mercial they are showing you
oneofthemosttechnicallyca-
pable devices in history whilst
making it look so simple and
sucharefectionofyou,theuser,
that you can’t do anything but
wantit.
Everybrandhasitsowncorporate
personality.Apple,forone,plays
itquiteclosetotheedge.Custom-
ershavecomplainedabouttheir
lowdegreeofcustomercare,high
prices,andcostofuse,andsome
viewthisasacomplacencethey
canafford.
Butdoyou,asaconsumer,care?
No.Whenyougotoaworkorso-
cialmeeting,especiallyincreative
forums,everyoneexpectsyouto
have an iPhone, and therefore
youfeelcompletebecauseyou
haveitinyourlife.
One doesn’t need to interpret
thismockingly;Ithinkthatitis
beautiful.Iwishthateverybody
could find a brand that makes
himorherfeelhappy,creative,
self-expressive and complete.
That’sthebeautyofgreatbrand
development.
AboutSasha
SashaStraussismanagingdirec-
toratInnovationProtocolandad-
junctprofessorattheUniversityof
SouthernCalifornia.Corporates,
advertisingandbrandagencies,
mediaandacademicinstitutions
fromaroundtheworldhavecalled
uponStrausstosharehisknowl-
edgeandintimateinsightsintothe
worldofbranding.NPR,ABCRadio
andTheWallStreetJournalcon-
tinue to seek his expertise on
brandingeverythingfrompresi-
dentialcandidatestoinnovative
start-upsandFortune500s.Inno-
vationProtocolisabrandstrategy-
consultingfrmthatexclusively
servesinnovators,andtheirclients
includeglobalmarketleaderssuch
asJohnson&Johnson,Korn/Ferry
InternationalandPayPal.<
82 >
Vega The Brand Communications School, is an
educational brand of The Independent Institute
of Education (Pty) Ltd which is registered with
the Department of Higher Education and Training
as a private further and higher education and
training institution under the Further Education and Training Colleges Act, 2006 (reg. no.
2009/FE07/003, prov. to 31/12/2014) and the Higher Education Act, 1997 (reg. no. 2007/
HE07/002).
Turbo-charge your career
Jozi: Durbs: iKapa:
The A to Z of Branding 25 - 26 Aug
17 & 18 Nov
5 - 6 Aug
15 & 16 Sept
25 - 26 Oct
Creativity and Innovation 1 - 2 Nov 7 - 8 Oct 6 - 7 Sept
Strategic Marketing
for Thinkers
15 - 16 Sept 15 - 16 Sept 16 - 17 Aug
Principles of
Strategic Thinking
Jozi: 12 Aug – 9 Dec
Contact our Vega Navigators to learn more
about our career-enhancing progammes.
jhb 011 521 4600 • dbn 031 266 2595
ct 021 425 7591 • pta 012 342 4770
or visit www.vegaschool.com
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Jozi, Durbs & iKapa
Introduction to Conceptual
Writing for Brands
7 Sept – 11 Nov
Digital Branding in the
Innovation Economy
7 Sept – 11 Nov
Adobe Photoshop 25 Oct – 17 Nov
Adobe Illustrator 16 Aug – 8 Sept
Adobe Indesign 20 Sept – 13 Oct
Adobe Dreamweaver 17 Aug – 9 Sept
Adobe Flash 21 Sept – 14 Oct
Action Script for Flash 26 Oct – 18 Nov
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Iamaspy.Notsomuchawolfin
thehenhouse,butmoreofaduck.
Quack.Yousee,hereatIcograda
DesignWeek2010,Vancouver,I’m
likelytobetheonlycopywriterin
aroomofdesignheavyweights.
Everyoneelseherehaslittledoodles
andiconographyfllingtheirmole-
skins.Mine,ontheotherhand,is
fullofharriednotesandarrows…
obviouslynotthemarkofonethat
wieldspixelsandink.Yet,Iknow
I’mintherightspot.Thisiseventis
moreholistic—macroeven.Early
onintheday,weareallaskedto
groupupandconceptualiseone
ofthethemesoftheconference:
Whatisthevalueofdesign?An-
swerscomebothlongandshort:
someinanoh-sotrendyandtweet-
able140characters,othersfullof
jargon.Onegroupdefnedthevalue
ofdesignas“six.”Butthethingis,
(andthislinksbacktomyduck/
henanalogy)isthateverysingle
answer(barringthecheeky“six”)
wasaboutinnovation.It’swhatall
creativesdo.Regardlessifyoumill
furniture,designorwriteadcam-
paigns,brewbeer,workforNASA
orcreategarments,gooddesignis
allaboutinnovation.
Sotherewehaveit,myexcusefor
being.Oratleastforbeinghereat
IcogradaDesignWeek2010while
myartdirectorpartnersitsslaving
away at our coffin-sized studio.
Uscreatives,we’reallinnovators,
andthewellthatwedrawfromin
B
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85 >
order to innovate needs to be
flledconstantly.Whatbetterway
thanlockingourselvesinanice-
coldconferencehallfortwodays
whilejackedupongenericcoffee
andstalepastries?Okay,anopen
bareveningmightbebetter,but
I’llgettothatlater.
The frst speaker was Brainfood
CreativefounderMarkE.Sackett,
discussing,“Whysittingstillisnot
anoption.”Ironically,thiswasim-
mediatelyillustratedwhenhisco-
speaker, Mark Busse (GDC past
president and Industrial Brand
founder)triedtostandupandjoin
him,andpromptlyfellrightoffhis
chair—papersandcoffeefailing
roughly10feetinasoutherlytra-
jectory.Oncethecheershadsub-
sided,thetwobegananinspiring
back-and-forthdialoguethatset
thetonefortheweekendahead.
Theyspokeabouttakingrisksand
failing,andhowthatsimplyequaled
iteration—acrucialpartofdesign.
Theyalsotouchedonprocessand
technology,andhowtheirrepeti-
tivenaturescanalsocreatebland
andhomogenousthinking.Watch-
ingaseverycreativeintheroomcon-
stantlyfddledwiththeiriPhones,
I could clearly see how invasive
technologywasseparatingusfrom
thesurroundingworld,makingus
blindtoinspiration.
Thetwowrappedupwithabrief
commenton‘specwork’.Thiswould
turnouttobeaprefaceforaheated
topic that would come up time
andagainduringtheconference.
TheopinionbetweenthetwoMarks
wasthatspecinanyformdevalued
design.Nomatterwhatexcusea
designerhad,itwastheirstance
thatfreeworkhurtsallofus.
Switchinggearsratherabruptly,
thenextpanelwasatrioofarchi-
tectsspeakingonsustainablecities.
CameronSinclairspokepassion-
atelyabouthisorganisation,Archi-
tectureforHumanity,andhowcrea-
tivitycouldovercomesmalloreven
no budgets when approaching
housing,business,orenergychal-
lenges.Inoneexample,heillustrat-
edhowmedicalclinicsinthedevel-
opingworldsentmedicalsupplies
fromonelocationtothenextvia
camel.Bystrappingsolarpanels
onsaiddromedary,theywereable
tosendpoweralongwithmedicine.
Localarchitectandchampionof
Vancouver, Peter Busby, was up
second and spoke about the re-
zoning of this city to the effect
that each micro-community had
alltheamenitiesitneededwithin
10minuteswalkingdistance.Bruce
Haden spoke last on the panel,
showinganothersideofVancou-
ver.Hearguedthatourmoderncity
was“pretty…butplastic.”Hepro-
posedthatthechaosandadap-
tivenatureoforganiccommunities
such as the one that springs up
yearlyattheBurningManFestival
allowed for more joy and visual
Designerdoodles.©GDC/BC.
86 >
satisfaction.Toillustratehispoint,
hebroughtattentiontothefactthat
Vancouver’snewFalseCreekWater-
frontdidn’thaveasinglebaronit.Not
one.Thegreedthatdrovedevelop-
erstobuildwaterfronthomeshad
eliminatedthepossibilityforcom-
munitywateringholes.Sad,really.
Busbythenspokeagain,goingthrough
anumberoffascinatinggreenbuild-
ingtechniquesincludingstructures
thatfedoffthewastedenergyoftheir
neighbouringbuildings.Continuing
ontheinnovativedesignforthegood
ofmankind,OscarPenaofPhillips
LightingDesigndiscussedanumberof
productsthey’drecentlydeveloped,
including a solar-charged soccer
feldinNairobi–thefrstofitskind
to allow sports to be played after
sundown.
DuetoourfriendlyIcelandicvolcano,
thenextspeakerhadbeengrounded
inAfrica,unabletophysicallyattend.
Thatdidn’tstopMartinMirukafrom
deliveringathought-provokingtalk
liveviasatellitefromNairobi.Histopic
wasBrandAfricaandhowcomplex
itwas.Comprisedofamind-boggling
54countries,Africasufferedfromigno-
ranceonthepartofNorthAmerican
media–manyofwhomhadtrouble
tellingthedifferencebetweenSouth
Africa and Angola. Because of the
manycelebrity-endorsedcharityef-
forts,Africa’sbrand(theentirecon-
tinent)hasbecomeinherentlyabout
desperationandpoverty.Obviously,
thisisnowherenearreality,butitis
theoverallperception–whichcan
oftenovershadowreality.Mirukahy-
pothesised that the overall brand
couldonlybesavedbysmalldesign
andstrategyvictories.Everybrandthat
becamepositivelyworld-renowned
as ‘made in Africa’ had to be well
thought-out,andhadtobeofquality.
Onlythen,couldtheoverarchingbrand
moveforward.
CurrentAIGApresidentDebbieMill-
manpresenteda150-yearretrospec-
tive on branding and advertising,
coveringeverythingfromcave-painters
leavingtheirmarkonwalls,tomodern
brandingandcommunications.One
ofhermorepoignantmomentscame
whenshepointedoutthathumans
loveapuzzle;solvingariddlecreatesa
deeperoverallconnectiontothemes-
sage,hencethepopularityofabstract
adcampaigns.
Towrapupdayone,BrianCollinsof
NewYork’sCollinsDesign&Innovation
presentedanintriguinglookatthe
creativeprocess.Heofferedtheopin-
ionthattoday’subiquitouscreative
TOP:©AdrianJ.K.Shum.CENTRELTR:CameronSinclair,co-founderof
ArchitectureforHumanityandMarianBantjes,designerandtypographic
illustrator.©GDC/BC.BOTTOMLTR:DebbieMillman,branddesigner,
radiohostandpresidentofAIGA(©OliverOike)andHeatherFraseris
DirectorofDesignWorks™andRotman’sDesignInitiative©GDC/BC.
87 >
process that focused on target
marketsanduniquesellingprop-
ositions hadbeendemocratised,
andcouldbeusedasapredicable
toolforanyone–thusleavingthe
creativesomewhatuseless.Ifcli-
entsandcrowdsourcingcouldpro-
duce work for much less than a
traditional agency, then what is
theagency’svalue?Hissolution
hasbeentodevelopanewproc-
ess,onewhereintenseproduct/
serviceresearchsetsthetablefor
choosingahumanarchetypewith
whichtopairsaidproduct/serv-
ice.Perhapsthechosenarchetype
isthehero,therebel,thelover,sha-
man, etc. Once that persona is
selected, then a story is written
aroundit.Thatstoryisthenaligned
withthebrand,andacampaignis
born.
Ondaytwooneofthemostpolar-
isingspeakerscameearlyinthe
morning–MarianBantjes,oneof
theworld’smostsought-aftertypog-
raphers took the stage with the
opinionthatartandcommunication
designhavebecometwoverydif-
ferentthings.Communicationde-
sign, she says, has become so
paint-by-numbers,thatitislargely
strategicallydriven,robbingitof
itsartisticsoul.Art,ontheother
hand, springs from an unknown
partofone’sself.Itcannotbebro-
kendownintoaprocess,andit’s
notpilotedbystrategy.Sure,she
said,sheofcourselistenstoall
thedataaclienthastooffer,but
88 >
followingthat…sheletshermind
driftintotheunknown.Whatcomes
outisafnishedproductthatcanbe
beautiful, unexpected, and some-
times dangerous. In Bantjes’ case
though, each iteration has proved
effectiveforclients.Somuchso,that
she’sbecomearelativecelebrityin
ourindustryworldwide.
Afteranotherheadydoseofcoffee
thatwasbeginningtotastesuspi-
ciouslylikeasphalt,localboywon-
derandcreativedirectoratRethink,
IanGrais,tookthestagetochatabout
what’spropelledhisagencytosuch
success.Onecampaignhediscussed
wastheTankersareLoonieproject,
an environment initiative to drum
uppublicoutcryagainsttheuseof
westernCanada’sNorthernGateway
as an oil tanker route.This would
causeahugeriskforthedestruction
ofcountlessnativespeciesofwild-
lifeshouldevenaminorspilloccur.
Usingaminisculebudget,Rethink
createdtinydecalsthatwereaffxed
toCanada’snational$1coin.Thecoin
alreadyfeaturedaLoon,(anational
bird)andthedecalsimplymadeit
appear soaked in oil with the URL
“notankers.ca”underneath.Thepage
ledtoapetition.Sincethesubmis-
sionofsaidpetition,thetankerroute
has been scuttled. Later on in the
dayIposedthisquestiontoGrais:
“Beingthatthiswas,forallintents
andpurposes,aspecproject,does
itmakeitokaythatitwasforagood
cause?” “Yes, absolutely,” he re-
plied“wedon’tseeitasspecatall.
Thisisus(Rethink)givingbacktoa
causewebelievein.”Iagreedwith
Graiswholeheartedly,butcouldn’t
helpthinkinginthebackofmind,“Yep,
italsolikelywonyouafewawards
andatonofPR.”But,it’sadouble-
edgedswordthatdidwellforevery-
oneinvolved,so,kudostoRethink.
Oneofmyfavouritespeakerswas
upnext:FrankChimero–adesigner,
writer,andgingham-cladmetahipster
hailingfromthecreativeincubator
thatisPortland,Oregon,USA.Chimero
spokeabout‘delight’.Heexplained
thatitoccurredattheintersection
ofsurpriseandclarity—simplethings
thatareserendipitous.Asanexam-
ple,hepointedtothechainofAce
HotelsacrosstheUS.Theyhadwall-
paperedthedoorofoneroomwith
pagesfromabook.Legally,theyhad
toplaceaneonexitsignabovethe
door.Itruinedthelook.But,thede-
signertooktheobstacle,andcreated
somethingdelightful.Usinglargetype,
theyused‘EXIT’aspartofalarger
TOPLTR:FrankChimero,designerandwriterandwallpaperforAceHotels
byChimero©GDC/BC.AliGardinerandBenHuisepresentingthe
brandingprogrammefortheVancouver2010OlympicandParalympic
WinterGames.©OliverOike.THIRDROW:IanGrais,creativedirector
atRethinkCommunicationsandTankersareLoonieprojectbyRethink.
BOTTOMLTR:DavidBerman,designerandauthorofDoGoodDesign
(©AdrianJ.K.Shum)andDaveMason.©GDC/BC.
89 >
sentenceonthewall:“Everyexit
inanentrancesomewhereelse.”
Delightful.Inexpensive.Memorable.
Next,BenHulseandAliGardiner
arrivedtodiscussthecreationofthe
brand, graphics and advertising
forVancouver’s2010Olympics.This
massiveundertakingincluded20
full-sizestylemanualsforthetwo
logosalone.Oneofthemorein-
terestingsectionsofthebranding
they covered was the modular
andscalablegraphicssystemthat
coveredtheentirecityfromcoffee
cupsandtinypins,tothesidesof
entire arenas and massive out-
doorareas.Themacroimagewas
madeupofhundredsofelements,
allofwhichcouldbemovedand
scaledtocreatesemi-customex-
ecutions,whilestillconveyinga
consistentgraphicbrand.
Later,apassionatepanelagaintook
uptheconversationofspecwork,
specifcally in the new business
pitch scenario. AIGA president
DebbieMillmanwasagainonstage,
alongwithauthorBlaireEnns,and
P&GadbuyerJohnGleason.The
latterwasofcoursetheassumed
bad guy to begin with. A client
championingspecworkinacon-
ferencehallfullofdesignersand
artdirectors?Goodluck.But,the
tone quickly changed as it was
broughttolightthatitwasagencies
themselvesthatwereconstantly
offeringthefreework.Forthe100
shops withholding spec, there
90 >
was always one willing to shill
themselvesalittleharder–and
deliverfreecreative.Andonewas
enoughtomaketwodoit,and
soon,andsoon.
Intheend,Millmanofferedthe
mostrealisticcalltoarmsforde-
signers.Ifyou’reyoungandstrug-
gling, maybe spec is the short
initialsprintyouneedtogetin
thegame.Butoverthelongrun
– the marathon – integrity and
valuingyourworkwasthekeyto
true success and fulfillment.
These are words that have me
noddingmyheadagainasIwrite
this.
ThelastspeakerI’llcoverfrom
theconferenceisDavidBerman,
acommunicationdesignerof25
years,andferventchampionof
sustainabledesignpractices.He
talkedaboutsustainabilityinde-
signandhowitneededtobeomni-
present.Notaseparatebolt-onto
everyproject,butbakedintoits
veryDNA.Inhisbook,DoGood
Design,Bermantalksabouthow
we’reallthedesignersofthefuture
of civilisation – an interesting
conceptindeed.
Following the conference, the
themeWhatisthevalueofdesign
hadbeenansweredeverywhich
way.Design’svalueisincalculable;
itisman’sdesiretoinnovateand
evolve.Designshapeseachand
everyexperiencehumanshave.
Itissomethingtobecherished,
respected,andfurtheredtogeth-
er.Assomeonewhocan’tdraw
tosavehislife,orevenreallydeci-
pherredfromorange,Ifeltmore
likeadesignerthanever.
Tocapofftheevent,weallheaded
overfortheGraphex2010awards.
Ofcourse,theonlythingdesign-
ersliketodobetterthanlearn…
istogiveeachotherawards.The
partywasloud,sexy,boisterous
and well put together. Shiny
baubles were handed around
andablurofbackslappingand
laughterensued.Forallthetalk
of change and moving forward
thathadgoneonthelastcouple
ofdays,Ihadtoadmit,therewas
onethingabouttheadvertising
anddesignindustryIhopedwould
neverchange:Thesweetparties.
ABOUTGEOFF
GeoffVreekenisacopywriterwith
dualDutch/Canadiancitizenship.
Thatmeanshewritesstuffthat
sellsstuffinVancouver,butwould
beopentowritingstuffthatsells
stuffinEurope.Beginninghisca-
reeratBrandspankandCossette
workingforclientsincludingFat-
burger,Ricky’sRestaurantsand
McDonald’s,Geoffknowsmore
about mass-produced cheese-
burgersthananyonemanshould.
Geoff has parachuted in as a
freelancerforallsortsofagencies
includingIndustrialBrand,Smak,
MercerandWaxPartnership,work-
ingonbrandsincludingNike,Shaw
Cable,Amacon,Visa,KiwiCollec-
tionandVancouverOlympicLeg-
acies. In 2009, Geoff founded
www.homelesscopywriter.com
aone-mancampaignfghtingto
bringawarenesstoVancouver’s
homelessstreetyouth,andben-
eftingtheCovenantHouse.<
Media partners
AGDA11146 OPT_FP90+10Ad.indd 2 13/08/10 9:17 AM
EXTENDED ENTRY DEADLINE 14 JUNE.
We’ve built the airports. We’ve cleaned the roads. We’ve trained the police. And finally the time has come, to welcome the world to the biggest event of the year: The 2010 Loerie Awards.
Be a part of history and enter your work at www.theloerieawards.co.za
BUT ONLY OPEN TO AFRICA, THE MIDDLE EAST AND ISLAND STATES OFF THE AFRICAN COAST.
We’ve built the airports. We’ve cleaned the roads. We’ve trained the police. And finally the time has come, to welcome the world to the biggest event of the year: The 2010 Loerie Awards.
Be a part of history and enter your work at www.theloerieawards.co.za
BUT ONLY OPEN TO AFRICA, THE MIDDLE EAST AND ISLAND STATES OFF THE AFRICAN COAST.
94 > 94 >
Cue Marius Constant’s iconic
Twilight Zone theme song, now
mix it up with the Ride of the
Valkyries helicopter scene from
Apocalypse Now, Debussy’s Clair
de lune and Muse’s Stockholm
Syndrome – all at once it’s dis-
jointed, terrifying, uncomfort-
able and yet...magical...in a odd,
inconsistent, unfamiliar and
sinister way. You can’t seem to
get yourself to turn it off. You
need to know how it ends. You
keep listening and eventually
you can’t help but fall in love
with it all. Capture this experi-
ence in an image and you’d be
looking at the work of that
boy, Sean Metelerkamp.
‘It’s the guy that did the Zef
Side music video for Die Ant-
woord’ you may say and you’d
be right – it is that guy. After
the cyber explosion of Die Ant-
woord, the offers from inter-
national producers have been
pouring in, magazines are
scrambling to profle him and
the offcial uploads of Zef Side
hit 6 million views on YouTube
yesterday –possibly making
him the most watched South
African music video director
ever. When we asked Sean to
describe his experience working
with Die Antwoord he bluntly
answers, “I don’t want to talk
about this anymore. Sorry.”
Like a true artist he doesn’t
seem to linger too long in the
spotlight before escaping out
the nearest exit in search of
that forever elusive image that
will satisfy his imagination: “I
am happy, but I have never
and will never be satisfed with
anything I create. It is this tor-
turous cycle that keeps me
searching for something that I
see so clearly in my mind, only
it will never let me have what I
want or accept that I have suc-
ceeded.”
Well, we think he’s been pretty
successful thus far. At the age
of 26, Sean has photographed
some of the biggest names in
the SA music industry includ-
ing Van Coke Kartel, Etc Crew,
Zebra and Giraffe, Die Heuwels
Fantasties, Fokofpolisiekar,
WHO IS SEAN METELERKAMP?
A GUY WITH TWO
SMOOTH BALLAS*
By Anri Theron
95 > 95 >
TOPLEFT:NewHollandTeejay
TOPRIGHT:NewNation
LEFT:PriestBoy
ABOVE:DieAntwoord
96 > 96 >
JackParow,aKingandPlaydoe,
tonamebutafew.Addtothishis
venturesinvideowhichinclude
Fokofpolisiekar’s Antibiotika
andVanCokeKartel’sVerdoof
VergiftgVerskoon My music
videosandyoucan’thelpbut
beimpressed.
Sowhat’snext?DESIGN>heard
thatSean’sbackfromamonth-
longprojectinNoupoort,pho-
tographing and interviewing
peoplesufferingfromdifferent
forms of addiction. Curious
aboutthisdeparturefromhis
staplesubjectmatterweasked
Seantotellusabitmoreabout
where he’s been and where
he’sgoing.
Whatisthebestmomentinthe
dayforyou?WhentheBaker’s
Manwhistlesinmyear,thenI
know it is ‘tea and biscuits’
time.
What’ssittingonyourbedside
table?Dust.
Haveyoualwayswantedtobe
aphotographer?No.Myfrst
extremedesirewastobecome
amusicproducerlikeDr.Dre.
IusedtolistentorapwhenI
wasateenager.Ithinkitwas
throughsheerfrustrationthatI
startedtakingphotos.Ithought
I could make better imagery
ofmusiciansthanthosethat
wereoutthere.SoIsoldmycar
andboughtastillscamera.I
donotconsidermyselfapho-
tographer though, rather a
constructor.
Whatwasyour‘bigbreak’?I
would rather be known as
helpingotherpeopleachieve
theirbigbreakthroughwhatI
do.That,asamatteroffact,
givesmesatisfaction.
Is there a specific approach
whenfacedwithanewproject?
WhenIamfaced,Iapproachit
by taking catnaps and slam-
ming tea and biscotti down
mygullet.
Whattypeofequipmentdoyou
useforyourprojects?Depends
whetherit’saflmshoot,photo
shootorperhapswhenIdraw
stickmen.Stickmenentaila
whitepage,blackpen,nolonger
than15secondsandyouhave
alittlepersoninfrontofyou.
Otherwise,IhaveaCanon5D
mark1forstills.Film=rent.
We’veheardyourworkbeing
described as surreal, raw,
whimsical and quirky. How
wouldyoudescribeyourstyle
andhowhasitevolved?Show
the images to your young
onesforthequirkywhimsical
nature,butbecarefulastohow
therawsurrealenergywillaf-
fecttheminthelongterm.One
ofthesephotosorvideoscould
changetheirlivesforever.There
isafnelinebetweenpositive
97 > 97 >
LEFT:Haezer
BELOWCLOCKWISE:VanCokeKartel,
Suitcasevolgeld,VanCokeKarteland
WynandMyburgh&VanCokeKartel,
Skelms.
98 > 98 >
RIGHT:Fokofpolisiekar
BELOWLTR:Priest
GrandmaandPriest
Professor.
99 > 99 >
andnegative.Ithappenedto
me when I was 12 years old.
Mystyleisevolvinglikealiens
haveevolvedintotheformof
dolphins.Stealthvibes.
Whatweresomeofthechal-
lengesyoufacedwhendirect-
ing the music videos for Die
Antwoord, Van Coke Kartel
and Fokofpolisikar? On all
three videos my face went a
dark purple and swelled up
intotheshapeofamanatees
nose.Itwasahugechallenge
gettingitbacktonormal.
InoticedtheRoycoadvertin
your portfolio – is directing
for the advertising industry
something you want to pur-
sue?Itisafunnyworldthat.I
havemadetwoadvertssofar.
They are nice, but nothing
mindblowingandmindblow-
ingiswhatIamonaconstant
search for. I do find it fun
thoughbecauseIgettoprac-
tice my craft, but it is not
somethingIwillaggressively
pursueinthecomingyears.
Doyouconsideryourselftobe
astoryteller?I’mnottoosure.
Ihopethatpeoplecreatetheir
ownstorythroughwhatIpresent.
ActuallyIdon’tfeelasthough
Ireallycare,becauseIcertain-
lycan’tunderstanditsowhy
shouldIexpectthemto.Andif
peopleaskmeIjustmakeup
a new story every time. It’s
bad I know. I just get over
whatIdosofastthatIdon’t
wanttoseeitagainorhaveto
talkaboutit.
Tellusaboutyourlatestproject,
Noupoort?Igotboredofthis
‘style’Iwasorhavedeveloped.
Iwantedtodosomethingreal
(lessthoughtabout/concep-
tualisedabout)thatcouldaf-
fectthevieweronmorethanan
aesthetic level. So I decided
togotoNoupoortforamonth.
‘Thisisprettyreal’Ithoughtto
myself.Ihadaccessbecause
mybrotherhadbeentherefor
sevenmonthsandsoitwould
begreattospendtimewithhim
whilsthewasclean.WhilstI
wasthere,Iwasinterviewing
andphotographingotherpeo-
pleintherehabtotryandun-
derstandwhydrugsoralcohol
cancausepeopletodowhat
they do to themselves and
thosearoundthem.
The only highlight was con-
nectingwithmybrother.Ishared
acoldroomwithhim.
Challenges:WellIwastheonly
one there who has not been
addictedtodrugsoralcohol.I
amwaytooscaredastowhat
will happen to my mind. So
everybodythere islivingwith
100 > 100 >
ABOVELEFT:DieHeuwels
Fantasties,Handsout.
ABOVERIGHT:Vanfokkingtasties.
RIGHT:EtcCrew,BonsaiBush.
101 > 101 >
addiction. Even the owners/
leadershavetheirstory.Forme
toempathisewithindividuals
wasimpossibleandIdidnot
want to seem like some psy-
chologist. Coz they don’t dig
them.Ihadtohavethisangle
asbeingasmellykidhanging
with my brother. I think be-
cause I was there for a good
stretchoftimeandtheycould
seeIwasnotfrom3
rd
Degreeor
SpecialAssignmentIwascool
to chat to. Had to gain their
trustfrstthough.Thefrstthree
days were interesting, I can
tellyouthatmuch.
Addictionisacomplexissue.
Didyouapproachthisproject
withaspecifcgoalinmind?
Humansarecomplex.Addad-
diction to that. I did have a
specific goal. Everything’s
changed.
Diditchangeyouoryourviews
aboutaddiction?Iknewitwas
evil,butnotthisevil.
Whatdidyouordoyouintend
toachievewithNoupoort?My
intentionsaregood.Asforthe
opinions of others on what I
present–shouldbeinteresting.
Whenwecanexpecttheexhi-
bitionandbook?2011.
Things you have learned so
far?Doit.
Completethefollowing…
Life is… that old magazine
with good photos inside. I
thinktheystoppedmakingit
though.Mydadusedtosub-
scribe.
Deathis…justaroundthecor-
ner.
Loveis…somewhereoutthere.
Hurt is… truh [sic] spelled
backwards.
Waris…lame.
Religionis…control.
Music is… AphexTwin at the
moment
Iam…notaroundforlong.
Mywork…isirrelevant.
Words of Wisdom? JFK said
something about not asking
your country for something
andthengettingintoaspace-
ship.Idon’tknowhowitgoes
butthatsoundscool. <
*TheAfrikaanswordforballs.
Itcanbeusedtorefertoaper-
sonsballs,ortouseitasanick-
nameforaperson–eitherfriend
orfoe–dependsmostlyonthe
toneyouuseittoindicatewhich
oneyoumean.(TheUrbanDic-
tionary)
Allimages©SeanMetelerkamp.
SeanisrepresentedbyHarry&
Co.
www.seanmetelerkamp.com
www.harryandco.tv
DECOREX
JOBURG2010:
AFIVE-DAY
EXTRAVAGANZA
Havingbroughtfreshperspectivesandanewera
ofenlightenmenttodesignfundi’sandhomedécor
enthusiasts,DecorexJoburg,SouthernAfrica’slarg-
estdecorandinteriordesignevent,wastheultimate
roundupofwhat’snewandnow.Withfvehallsboast-
ingseminars,free‘how-to’theatres,trendyfood
demonstrations,exclusivelydesignedrestaurants,
newreveals,freshinitiatives,themedpavilions,DIY
dream stuff, great bargains and 650 exhibitors,
Decorexwastheextravaganzaoftheyear.
Theshow,hostedfrom5to9AugustinMidrand,
celebrated its 17
th
anniversary. Pondering why
Decorexhasremainedsuccessfulovertheyears,
CaireySlater,generalmanager,Exhibitions&Events,
suggestedthatitisimportanttostayontopoflocal
andinternationalindustrytrendsandinterpretthese
newdirectionsinanovel,yetaccessiblemanner
fortradeandconsumervisitorsalike.“Innovation
and new product lines are vital in keeping con-
sumersinterestedandsatisfytheirsearchforthe
novelandthefresh,”saysSlater.Buildingstrong
businesspartnershipswithsponsorsandexhibi-
torshavealsoprovedvitaltoensuringitssuccess.
AccordingtoMelanieRobinson,DecorexSAportfolio
director,thefresher-than-evershownotonlycon-
tinuestoremainsuccessful,butitalsocontinues
tosettheexamplewithgreenexhibitionpractices,
104 >
105 >
usingtheeventasarolemodeltowardsgreener
living.“Bybringingnew,sometimesradicalideas
totheshowwecansparkoffpositiveenergytotake
exhibitors,staffandsuppliersaswellasvisitorson
theexciting,lifesavingjourneyofgoinggreen.New
attractionssuchasthePlasconLivingGreenHouse
withwww.Greenstuff.co.zasetanewbenchmarkin
green-mindedproductdisplays.Itfocusesonsus-
tainability,mindfulgreenlivingandeco-solutions,
illustratingthatgreenlivingcanbebothbeautiful
andaffordable.”
Notonlydidvisitorsexplorethecountlessarraysof
stallsandexhibitorslocatedwithinDecorex,butthey
alsohadtheopportunitytoenjoythetwodesign-
mindedconferencesthatwereavailable.Conversa-
tionsonArchitecture,afulldayconferencehosted
on5August,featuredadiverseline-upofinternation-
alandlocalindustryplayerswhopresentedtheir
challenginginsightsonlightingandfutureforward
digitaldesign.TheInteriorDesignDialogue:theIFI
TrendConference,hostedon6August,presenteda
seriesoftrendtalks,connectingtheglobaldesign
community.Apanelofdesignglitterati–interior
designersandinteriorarchitectsfromaroundthe
world–gaveaninternationalperspectiveonkey
designdirections.
Apartfromtheconferences,guestsalsoexperienced
thebrandnewtradeattractionexclusivetoDecorex
Joburg–TheLightinginDesignPavilion.Thisshining
showcaseofthelatestinlightingdesignandtech-
nologyfeaturedawealthoflightingsolutionsfor
architects,lightingspecialists,interiordesigners,
interiorarchitectsandothertradebuyers.TheLighting
inDesignPavilionwasalaunchingpadfornewprod-
ucts,includingthelatestinenergy-effcientprod-
ucts.WithLED-lightingleadingtheradiantrevolution,
novelapplicationsofthiscuttingedgetechnology
wasaboundatthepavilion.
106 >
Fromthelightingsectionoftheshow,guestsmoved
ontotheSouthAfricanHandmadeCollection,adti-
initiative,co-locatedalongsideDecorex.Thiscollec-
tionmasteredtheshapingofhandmadecraftsinto
contemporary forms, representing the highest
quality,designled,environmentallyfriendlySouth
Africancraftproducts.
Ifvisitorsweremoreinterestedinmakingproducts
themselves,ratherthanpurchasingthem,aselection
ofDIYstallsandexhibitorsweretheretooffera
helpinghand…inDIYstyle.AtDecorex,DIYwasno
longerthepoorcousinofthedecorworld,having
elevateditsstatuswithinDecorex’sdesigncircles.
ExpertsattheMakeTheatre,accompaniedbyDIY
celebAidanBennettswhoenticedvisitorstotackle
homemakeoversanddo-it-yourself-decor,tackled
DIYtopicsthatrangedfrommodernmosaicworkto
contemporarypainttechniques,refectingtheup-
surgeinedgyDIY.AlsoenhancingtheDIYmovement
wasAlexRoyston,from‘InGoodCompany’,whogave
talksanddemonstrationsonstylishtabledécor
andtheartofhomeentertaining.LouiseBotha,from
FoilArt,whodemonstratedfoilingtechniques,also
motivatedthemovetowardsDIY.OtherDIYdivas,
includingCharlieVettoriofTheFauxFactory,and
MarianneHansen,sharedtheirDIYtipsandtech-
niques.
Withtheoverfowofdesignprojectsandhomedécor
productsavailableatDecorex,visitorsweresure
tofeeloverwhelmed.Whilstwindow-shoppingand
ideasourcinggavesomedirection,guestswerealso
provided with guidance and solutions by Aidan
BennettsDesignandFurnspace.One-on-oneslots
wereavailabletoassistdesignandDIYenthusiasts
insolvingtheirdilemmas.
Withkitchensbeingthefavouriteentertaininghaven
andhomerejuvenationasizzlingtopic,Decorex
wasameltingpotofleadingdesign,tastetrends
107 >
L
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F
T
:

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a
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108 >
andfashionablefavours.DistrictDelicious,afood
paviliondevotedtotheeating-intrend,sporteda
blendofgourmetfood,wine,kitchengadgetsand
homeentertaininghave-to-haves.Thehubofthis
newfoodiehaven,wastheSAChefAssociation’s
‘Delicious’Theatrewhichfeaturedtopchefs.Show-
casingthelatestfoodtrends,thedemonstrations
rangedfromhighend-cookingtosimpleelegant
dishesandplatingideasfordinnerparties.Visitors
alsoenjoyeddrinksandsnacks,whilstchatting
aboutdécoranddesign,atthemanycafé’sandea-
terieslocatedwithinthedifferentareasoftheven-
ue.DStvCafé,TheLovebirdandLatteLounge,Vil-
lieraWinesCapClassiqueBar,PlasconColourCafé
providedvisitorswithtrendyspotstotalkdesign.
OneofthetopicssuretobeonvisitorslipswasPlas-
con’scolourforecast2011.Plascon’s17-yearrelation-
shipwithDecorexSA,assponsor,resultedinthe
mostcolourfulcollaborationeverwiththelaunchand
revealingofthePlascon2011ColourForecast.Inspira-
tionfortheforecastcamefromtheconceptoflove.
AtPlascon,itislovethatwillmaketheworldgoround
in2011.UsingthePlascon2011ColourForecastas
theirdesigninspiration,fourtalentedJohannesburg-
basedinteriordesignersinterpretedPlascon’sfour
newcolourpaletteswithhighlycreativespaces,
wooingvisitorstofallinlovewithcolouralloveragain.
Expressingthe32newcoloursinfourdiversepalettes
throughdifferenttextures,moodsandhues,the
standalsorefectedPlascon’seco-consciousness
–encouragingrecyclingandre-using.Asanaddi-
tionalfeature,thelatestissueofPlasconSPACES
magazinewasalsolaunchedattheshow.
AtDecorex,thereweremanynotablehighlights.
ThedebutofDetail,anessentialnewannualsource-
bookforinteriors,designandstylishliving,was
oneofthem.Filledtothebrimwithcrediblefnds,
extensivelistings,decorinspiration,tradesecrets,
N
e
w

C
r
e
a
t
i
o
n

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t
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.
trends and practical tips, Detail is a 200-pager
sporting1200listings–makingitthefrstportofcall
foranyonesourcingproductsandservicesinthe
products and services in the décor and design
feld.Thisreliablego-toguide,fordiscerningtrade
professionals and design-minded individuals,
givesquickaccesstoacomprehensivepickofthe
fnestinteriordecoratorsanddesigners,specialist
suppliers,retailers,manufacturersandtruecrafts-
menwhohavemadetheirmarkontheindustry.
AnotherhighlightthattookcentrestageatDecorex
wasthedesignerbirdhomes.Imaginealovenest
inspired by Romeo and Juliet or a fairytale bird
home.Decorenthusiastswitnessedthisimagination
becomereality,astheyweretreatedtoHomeTweet
Home,ashow-stoppingcollectionofthirtydesigner
birdhousescreatedforcharitybyafockofinno-
vativethinkers.Thesebirdcribs,someplayfuland
othersavant-garde,weredisplayedtoraiseaware-
nessfortheJungleTotsMotherTouchAcademy.All
proceeds from the sale of these designer bird-
houses benefited this fundraising campaign.
“Through this campaign Decorex SA illustrates
thatgooddesigncanalsobe‘do-gooddesign’,using
thetalentsofthedesigncommunityforacharitable
cause,”saysMelanieRobinson.
WithDecorexJoburg2010provingtobeagreat
successanda‘breathoffreshair’,asitwassoap-
propriatelythemed,welookforwardtoaneven
biggerandbetterDecorexin2011.<
109 >
112 >
CONVERSATIONS
ARCHITECTURE:
SPOTLIGHTONTHE
REVOLUTIONOFLIGHTING
DIGITALDESIGN
ByStaceyRowan.Fromdesigningtheperfectlighting
foraspecifcspacetousingdigitaltechnologyto
designcomplexarchitecturalforms–speakersat
ConversationsonArchitecture(COA)onceagain
broughtrivetinginsightstotheseminar,hostedon
5AugustattheGallagherConventionCentre,Gauteng.
Theseminar–themedLightingandDigitalDesign:
thenewrevolution–featuredadiverseline-upof
internationalandlocalindustryplayerswhopre-
sented their design approaches on the cutting
edgeofarchitectureandthebuiltenvironment.
TakingpartinthesessionParadigmshift:digital
designandfabricationinarchitecture,wasthekey
internationalspeakersKristofCrolla,Jeroenvan
AmeijdeandSeanMahoney.
InthesessionLight+Architecture:TheRadiant
Revolution,KeithBradshaw,PaulPamboukianand
hisassociateAnthonyTischhauser,andPeterRich,
sharedtheirvastexperiencesinlightingdesign–
highlightingtheimmensetechnologicaladvances,
innovationandchallengeswithinthisfeld.
LIGHT+ARCHITECTURE:THE
RADIANTREVOLUTION
Bradshaw’spresentationrevolvedaroundthecon-
cept:‘Withoutlightonecannotseematerialsorcom-
prehendspaceproperly:anarchitecturalspacere-
mainsahumanexperience,notjustavisualsnapshot.’
Hiswishwas,andstillis,thatmoredesignerswho
workwithlightwillrememberthecoreprincipalthat
lightingshouldbe“builtintothescene”,following
theexampleoftheatricallighting.
AccordingtoBradshaw,thismeansthatlightshould
beusedcorrectlyinaparticularspacetoenhancethe
113 >
CONVERSATIONSON
THENEW
LIGHTINGAND
waythespaceisexperienced.“Designingwithlight
inarchitecturalspaceisoftenmisconceivedand
misrepresentedbyfashyandattentiongrabbing
setups.Thisiscompletelyincorrect.”
Hecontinuedtospeakabouthowlightcanenhance
orevendefneanarchitecturalspace.Healsofo-
cusedontopicslike:lightasanarrative,lightasa
brand,lightasanart,LEDaslightandlight,not
lighting.HeshowedexamplessuchastheArmani
offcesinTokyo,theBBCbuildinginScotland,a
publicsquareinDublin,abridgeinNorthEngland
andtheCopenhagenOperaHousewhichillustrated
howlightingcanbeusedtoilluminatestructures,
bringingthemtolifebytheirthree-dimensionality.
“Lightingdesignisusuallyseenasaluxuryorspe-
cialistitem.Thisisridiculouswhenoneconsiders
thatwithoutlightyoucannotseematerialsorcom-
prehendaspaceproperly,”saysBradshaw.
Bradshawalsoaddressedtheissueofdesigners
whoforgetallabouttheneedfordesignlongevityin
therushtogetnewtechnologytothemarketand
usedcitedtheuseofwhiteLEDlightasanexample.
Thistechnologyisseenasmoreenvironmentally
friendlythanmoretraditionaltechnology.But,in
tryingtokeepupwiththerapidadvancementsin
thetechnology,theaestheticappealandlongevity
ofthedesignisoftenoverlooked.
PaulPamboukianandAnthonyTischhauseralso
spokeabouttheimpactsofever-changingtechnol-
ogyonlightingdesign.Withtheemphasisoncutting
downonenergyconsumption,designersareincreas-
inglylookingatsmallersourceswhicharemore
potentwhileatthesametimeusinglessenergy.
114 >
Intheirpresentation,LightingDesign:Effectorneces-
sity?theyaskedthequestion:Islightingdesignmere-
lyayearningforeffectspurnedonbytheinfuence
ofapurelysuperfcialvisualtitillationoftheglossy
printedandelectronicmedia–isitalleffectwith
nofunction?
PamboukianandTischhauseralsolookedathow
lightingdesigncontributestothevisionanddesign
ofthebuiltenvironment.Theyalsoexploredthe
differentusesoflight,forexampletasklightas
opposedtoambience-creatingilluminationand
artifciallightasanextensionofourexperienceof
daylightwhichleadstonewwaysofexperiencingthe
nighthours.Othertypesoflightingthattheyfocused
onwerefocalglowand‘playofbrilliance’lighting.
Lightingdesignisoftencharacterisedbydesigns
whichhavealimitedlife-spanduetoitsbeingoverly
trendy.“Trendsarepartandparcelofanydesign
discipline.Itisallaboutfashion.However,thereis
adifferencebetweentrendsandzeitgeist.Zeitgeist
suggestssomethingthatmarksanera,adecade,
the50s,60s,etc.Trendsareheretodayandgone
nextseason.Lastingdesignneedstoseefurtherthan
thetrend,”saysPamboukianandTischhauser.
PeterRich’spresentationcentredontheconceptof
‘Architecturetobeexperiencedorphotographed
needslight.Thechanginglightofdayandthesea-
sons,shouldthroughthearchitecture,giWveaheight-
enedsenseofawarenessofthespace,theplace,
theclimate.Atnight,wehavetouseartifcialmeans
toembracethesensibilityofspace.’Thistakesthe
viewthatmuchofcontemporaryarchitecturehas
toomuchlight.Richhoweverbelievesthat:“Youcan-
nothavearchitecturewithoutlight.Withoutlight
youhavenospace.Thereareillusionaryqualities
oflightthatcreatesshadows.”
AccordingtoRich,lessismorewhenitcomesto
lighting.“It’saboutsimplelighting,naturallighting.
Itisgoodtoworkwithminimalmeansintermsof
lighting–weneedtomakedowithwhatwehave.
Learnandlistenfromnature,workwiththelawsof
natureanddaylightandnightlight.Playwiththe
shadowsoflightandletithappennormally.”
KeithBradshaw,directoratSpeirsandMajor
Associates,Edinburgh.
AnthonyTischhauserofPaulPamboukian&
AssociatesLightingDesign,Johannesburg.
115 >
PARADIGMSHIFT:DIGITALDESIGN
ANDFABRICATIONIN
ARCHITECTURE
KristofCrolla,leadarchitectatZahaHadidArchitects
isrightatthefrontofthetechnicalrevolution,leading
thewaywithadvanceddigitalandalgorithm-based
designtechniques.Hispresentation,Digitaldesign
andfabricationinarchitecture,addressedcurrent
developmentsandchallengesindigitaldesignand
fabricationinarchitectureandtheparadigmshift
thatitistriggeringtoday.
Crollasharedhisviewsonthewaythesetechniques
allowthedesignofinnovativecomplexforms,pro-
vidingcompletecontroloverallbuildingaspectsand
enablingarchitectstodealwiththevastamounts
ofinformationtheyfacetoday.
Asadvanceddigitalandinformation-baseddesign
methodsandproductiontechniquesareexploredand
appliedincreasinglyincontemporaryarchitectural
designprocedures,anunderstandingofcomputer-
controlleddesignandfabricationprocessesisessen-
tialforcontemporaryarchitects.
“Oneofthebiggestchallengesdesignpracticesface
todayistore-inventbothdesignandbuildingmeth-
odologiesdeeplyembeddedintheprofessionin
ordertoincorporatethisdigitalrevolutionandbeneft
fromitspotentialwhendealingwithourrapidlychang-
ingenvironment,”saysCrolla.
But,ascautionedbyCrolla,theindustryisfacedwith
thechallengetobevigilantagainsttherapidspread
ofanimage-baseddesignculturethatfocuseson
theproductionofphoto-realisticrenderingsthat
arevoidofconsequentbuildingsystemstomate-
rialisethem.
“Peopleareconstantlysurroundedbydesigned
architecturalspaces.Asanarchitectyouhavethe
uniqueopportunitytodirectlyactuponandinterfere
withthisspacewelivein.Byexploringdesignalterna-
tivesandresearchingcontemporarydesigntech-
niques,newarchitectureswillbefoundthatftbetter
PaulPamboukian,founderofPaulPamboukian&
AssociatesLightingDesign,Johannesburg.
PeterRich,ofPeterRichArchitects.
toourrapidlychangingsocietythanmostother
widelyspreadandoftenoutdatedparadigmsapplied
today.”
JeroenvanAmeijde,headoftheDigitalFabrication
LaboftheArchitecturalAssociation,alsospokeabout
thejoysandchallengesofworkinginarapidlychang-
ingspherewheretheemphasisisincreasinglyon
digitaldesign.
InhispresentationtitledMachineworlds–Research
anddesignusingdigitalfabricationinarchitecture,
vanAmeijdegaveanoverviewofsomethelatest
researchanddesignprojectsthathavebeende-
velopedattheArchitecturalAssociationinLondon.
Healsolookedathowarchitectsandacademics
trytoadaptconceptualdesignprocessessothat
they can incorporate new technologies for the
processingofinformationandforfabricationand
constructioninameaningfulway.
“Themainopportunitiesemergingfromthecurrent
‘invisible’revolution,causedbynewinformationand
communicationtechnologies,isnottobeabletobuild
excitingnewshapesandforms,butthepossibilityto
reinventthenatureofdesignprocessesitself.There
isachallengetochangetraditionaltop-downlinear
processesofdevelopmentintocollaborativeand
dynamic,openprocessesofdesignconceptionand
generation,”saysvanAmeijde.
SeanMohaney,inhispresentationCommonSense
andPoetry,focusedonhowweusetechnologyas
atool.Forhim,itopensupopportunities,butatthe
sametimeitisdangerous.Onemustnotfallintothe
trapofusingtechnologyasacrutchfordesign,it
mustbeusedtoexploreandcreate.Heusedexam-
plesfromarchitectssuchasHerzogandDeMeu-
ron,aswellsashisowntoillustratethisprinciple.
Whenitcomestoarchitecture,andconsistently
changingglobalarchitecturaltrends,thereismuch
totalkabout.Withthisyear’sConversationson
Architecture(COA)conference,givingtheload-down
on all things lighting and all things design, one
wonder’swhatnextyear’sCOAwillhaveinstore.<
LTR:KristofCrolla,leadarchitectatZahaHadidArchitects.JeroenvanAmeijde,headofDigitalPrototypingand
DRLatArchitecturalAssociationSchoolofArchitecture,London.SeanMahoney,directoratStudioMAS
ArchitectureandUrbanDesign,CapeTown.
116 >
PRECIOSA GULF, FZCO
Jebel Ali Free Zone
P. O. Box 18185 Dubai
United Arab Emirates
P + 971 – 4 – 883 8473
F + 971 – 4 – 883 7913
e sales@gulf.preciosa.com
PRECIOSA
CUstOmer Centre
Opletalova 3197
466 67 Jablonec nad Nisou
Czech Republic
P + 420 488 115 555
F + 420 488 115 665
e info@preciosa.com
www.preciosa.com
…whERE thE sty l i sh, i NNOvAti vE DEsi gN
i s BORN OUt OF thE CRAFtsmANshi P
OF whOl E gENERAti ONs OF gl AssmAkERs
Glass
wonders
from
Preciosa
Lightingfxturewithfbreoptics,
TheYasHotel,AbuDhabi,UAE.
119 >
Lightingfxtureofcontemporarydesign
madeofmouth-blownglass
components,TheYasHotel,YasIsland,
AbuDhabi,UAE.
120 >
121 >
TheCzechRepublic,asmallnationlocated
intheveryheartofEurope,hasalwaysbeen
particularlyfamousforauniquehandcraft
–handworkedglass.Theoriginsofthiscraft,
whichranksamongtheoldestinhumanhis-
tory,datebackto3000B.C.HereinBohemia,
glassmaking has been a major industry
sincethe13thCentury,andin1724thefrst
chandelierworkshopwasestablishedinthe
region of Kamenický Šenov. Kamenický
Šenovhasacquireditsworld-widefame
asaglassproducer,thankstothedelicacy
ofitsformsandthepurityofitshandcut
crystal.Magnifcentchandeliershavebe-
comeaninseparablefxtureofroyalpalaces,
noblemanorhousesandothersplendid
buildings.
Thetraditionofthisrenownedcraftofglass-
making continues in the production of
PRECIOSA–LUSTRY,a.s.(joint-stockcom-
pany),whichisafxedstarinthefeldofglass
lightfxtures.Thecompany,basedinnorth-
ernBohemia,intheregionofKamenický
Šenov,hasbeenoperatinginthemarketfor
decadesand,therefore,itcanboastofa
greatdealofexperience,acquiredthanksto
thelong-termhistoryofitsactivity.Today,
itisspreadacrosstheworldwithoffcesin
Dubai, Hong Kong, Singapore, Moscow,
MadridandNewYork.
Nowadays,PRECIOSA’scoreactivitylies
inthedesignandproductionofdecorative
lightingsonawidescale,consistinglargely
of decorative lighting fixtures of various
stylesandsizes,walllamps,tableandfoor
lamps,deliveredascompletelightingpro-
jectsorasacatalogueassortment.Besides
lightingfxtures,lighting sculptures and
decorativeartisticobjectsformanotherpart
oftheirproduction.
ThemainactivityofPRECIOSAisthecreation
oftheso-calledlightingprojects.Theseare
individualsolutions,composedonthebasis
ofspecifcrequirementsoftheclient.Itcom-
prisesacomprehensiveservice,ranging
fromdesign,productionandinstallation
tothesubsequentmaintenanceandrepair.
Extensiveprojectsusuallyrepresentluxu-
riousinteriordecorationsforvariousspaces
ofaprestigiousnature,suchasluxurious
hotels,palaces,religiousandgovernmental
buildings,restaurantsandtheatres.
TheseuniqueconceptsoriginateinPRE-
CIOSA’sownstudioonthebasisofaclose
collaborationwithtoparchitectsanddesign-
ersfromallovertheworld.Inthedesign
phase,traditionalmethodsofhandsketch-
ingareusedsidebysidewithup-to-date
software,whichpresentsafaithfulsimula-
tionofthelightfxtureinitsfutureenviron-
ment.Thedesignersdrawtheirinspiration
fortheshapingofglassobjectsfromvarious
sources: nature provides a permanent
andalmostendlesssourceofinspiration;
122 >
folklore and legend provides another. New
viewscanalsobeappliedtowellknownclas-
sicalworksofart.
As mentioned above, PRECIOSA’s product
portfolioisquiteextensive.Thefrstproduct
groupconsistsofluxuriousclassicallighting
fxtures,characterisedbytheclassicalshapes
oftheirarmsandtrimmings,oftendecorated
withrichetching.Theotherself-containedgroup
consistsoffashionablelightingobjectsmade
upofhand-blownglasscomponents.Overthe
lastfewyears,theso-calledfreesets,created
byhangingdifferentlyshapedobjectsinclusters
inanopenspace,havebeenpopular.Theyrange
fromminimalisticpureshapestocomplexorgan-
icmotifs.Glasssinteringandfusingtechnology
addsafurtherdimension,whereaglasspowder
ofvariouscoloursisfusedintoonepiece,which
canthenbebentandshapedinvariousways.
These objects are often foodlit by modern
lightsourcessuchasLEDsoropticalfbres.
Theuseoffbres,especially,canleadtothecrea-
tionofmagnifcentpieces.Theirlightsources
canbepr0gram-medtobeabletochangetheir
intensityorcolour.Asidefromanimpressive
decorative effect, the placement of the light
sourcegivesthemamajoradvantageinsimple
maintenance.<
Lightingfxturemadeof
glasscomponentsinspired
bynature,One&OnlyCape
Town,SouthAfrica.
123 >
124 >
NinaBriggsisaPasadena-based,Californian
interiorarchitectwithaspecialpassionforthe
sensoryeffectsofspaceonitsinhabitants.She
sharessomeinsightsintoherbackground,work
processesanddesignphilosophy.
TALESFROM
THEAFRICAN
DIASPORA
FEATURING
NINABRIGGS
125 >
Althoughmygoalsincechildhoodwas
tobeanarchitect,afterearningaBach-
elorofArchitecture,Iwasgivenun-
expectedopportunitiestoworkfor
interiordesignersandartists.Iwas
challengedtodesignnotonlythear-
chitecturalenvelope,butalso,thefur-
nishings,caseworkandlandscaping.
Iwasgiventhefreedomtoinventarchi-
tecturalsystemsandinnovatesurfaces
withatypicalmaterialsfnishes.For
me,thereisnoenvelopeseparating
interiorfromexterior,onlyaseriesof
spacesspilling,morphing,intersecting
intooneanother,astheirsurfacesei-
therbleedthroughorstopandchange
whenconfronted.
Ifoundthatanin-depthstudyofmy
clients,theirlifestyles,culturalinfu-
ences,privatewishes,travels,and
theirchildhooddreamsservedasrich
inspiration to design their homes
andworkplaces.Idiscoveredthatthe
variousaffectsofcertaincompositions
oflight,colour,textureandpattern,
juxtaposedagainstpreciousconstruc-
tionsofmemoryandtreasure,could
bestowspacesofcomfort,sanctuary,
glamour,celebration,healing…what-
everrequiredorsecretlydesired.
Materialsquilt.
126 >
Mygoalsshiftedfromglidingalongatypical
architecturalcareer,tocraftingamoreholistic
designmethodology.Ichosenottolimitmyself
onlytotheroleofarchitect,butrathertofunction
inanundefnedroleofplace-making.Assuch,
I’vebeenabletoexpandmyskillsbydesigning
everythingfromstructuretoshelf,rooftorug,
doortodrapery,allwithinacohesiveconcept
embracingindividualityandpersonalnarrative.
Withthisapproach,Itravelled,observedand
collaboratedindifferentbusinesses,withartists,
builders,craftsmenandeducators.Itravelled
toandlivedinFrance,Italy,Greece,Nigeria,Burki-
naFasoandMontrealandfocusedmyobserva-
tionalstudiesonhowpeoplelive.Domesticity,
inallitsvariedinterpretations,fascinatesme
–forinthehomewefndasurplusofculture
and persona, intersecting with shelter and
storage.
Irealisedthatmostofuswanttobringhome,
andsurroundourselveswithmorethanthe
souvenirsofourtravels,butalso,wewantto
embedtheexoticandfamiliarfeelingswe’ve
experiencedonourventures.Weallwantto
somehowsave,displayandhidemostofthe
memoriesandaspirationsofourlivesintoour
personalspaces,sowecanrememberwhowe
are,getinspiredwhenweforgetandaccept
ourcurrentconditionwithoutangst.
Mypersonalsourcesofinspirationalwaysrefer
backtomyheritage,myinherentmélangeof
ethnicitiesandthedomesticritualsofprepar-
ingfood.Cookingandeatingareafunctionof
the spirit and soul of cultural memory.This
127 >
Heritage
food.
Queensresidence.
128 >
palatablenarrativeiscomposedofthebasic
ingredientsassociatedwithmigratedidentity
whereindigenousbecomesbothdomesticand
exotic.Forme,theresourcesfordesignlieinthe
re-collectionofculturalingredients,yielding
anabundanceofcomplexityandrichness.
Mydesignprocessbeginswithavisualquiltof
myclient’snarrativeonwhata,ortheir,place
meanstothem.Whilethisquiltisnotliterally
interpreted,itservesmeasaninspirational
tooltocollagepastandpresentwiththereal
andimagined.Thisprocesshelpstoinform
colour,texture,pattern,light,temperature,pro-
portion,scaleandenvelope.<
ABOVE:Brentwoodresidence.
RIGHT:AvalonHotel.
130 >
ELPHICK
PROOME
ARCHITECTS:
21YEARS
THEMAKING
131 >
ByStaceyRowan.Fromasmalloffce
spacethatcomprisedofabedroom
inahouseinMorningside,toasmall
offceinBerea,andthenaself-built
largeoffcebuilding,ElphickProome
Architects(EPA)hasseenitselfgrow
withinthemarketplaceovertheyears.
Establishedin1989,thepracticeisin
its21
st
yearnowwiththetwofound-
ingdirectors,NickProomeandGeorge
Elphick,stillinpartnership.Afterex-
pandingtoa60-personspracticein
thelastfveyears,thepracticehas
developed another award winning
studioinWestville,whereitiscur-
rentlylocated.
“George and I studied together at
theUniversityofNatalinthelate70s
andearly80sandsomeyearsafter
qualifying we decided to go into
ELPHICK
PROOME
ARCHITECTS:
YEARSIN
MAKING
EPAStudio,Westville,KZN,2008.
practice.Thepracticewasestablished
tocreateappropriatearchitecturethat
respondstofunction,context,region
andclimateandendeavourstocreate
designsolutionswhichrisetothechal-
lengesofoursocialandeconomic
contextandthatmakeasignifcant
contributiontotheSouthAfricanre-
ality,”saysProome.
Defningmoments
Withinthe21yearsinpractice,EPA
hasseendefningmomentsthathave
madetheyearsthatmuchmoreworth-
while.“IrememberthemomentNick
andIagreedtostartapracticeto-
getherandthedaywemovedintoour
frstoffcebuildinginTollgate.The
daywewonanAwardofExcellence,
nationalities.“Wealsohaveprojectsin
tencountriesacrossthreecontinents.
Ourworkisdistinctiveandwellrecog-
nisedbothprovinciallyandnationally,”
addsProome.
In addition, EPA has also received
severalawardsincludinganAward
forExcellenceforEPAStudio,sixNa-
tionalAwardsofMeritforfourdiffer-
ent building types and four SAISC
Awards,oneNationalOverallWinner
AwardandoneSpecialCommenda-
tion.
wasalsoanotherdefningmoment
forthepractice.Ican’talsoforgetcel-
ebrating our 20
th
birthday bash,”
saysProome.
Achievements&
recognitions
ApartfromthefactthatEPAisthe
largestarchitecturalfrmwithinthe
KwaZulu-Natal region, which is an
achievementinitself,thepracticealso
enjoysarainbownationintheirstudio,
with a personnel of nine different
BELOW,LTR:ABSARegionalHeadOffce,Durban,KZN.OneTheBoulevard,Westville,KZN.DeneysReitz,
LaLucia,KZN.BOTTOM:VillageBharoochi,Westville,KZN.
132 >




rpp consulting engineers (pty) Itd
consulting mechanical engineers
richard pearce & partners (pty) ltd
|r assoc|al|or W|lr
spn corsu|l|rd eng|neers [pty} |td




Specialists in the design of Air Conditioning & VentiIation systems for Offices, Shopping Malls,
Hotels, Casinos, Conference Centres, Apartments and Leisure developments.

Offices in Johannesburg and Durban and Partners in Cape Town
Visit our website at www.rppinc.co.za

KZN office: po box 70232 overport 4067 durban telephone: 031 303 2602 fax: 031 303 6163 email: rppkwzn@rppkzn.co.za


We are proud to be associated with the development of the
Investec Regional Offices – Durban


The first real Green HVAC installation in 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

Compliance = Green Processes
Several Environmental Management Systems have been implemented in all
of Plascon’s South African Manufacturing Plants and in 2005, we attained
ISO 14001 certification at all of our plants.
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.
Sustainability = Green Practices
Pioneering ground-breaking processes have been implemented to ensure
that we are starting on ground level. Our processes focus strictly on
achieving complete sustainable progression.
For more information contact the
Plascon Advisory Service: 0860 2040 60
or visit our website www.plascon.co.za
or www.plascontrade.co.za
Products = Green Products
Plascon is dedicated to provide industry-first solutions, through quality,
environmentally-aware products, which do not compromise the finished
product performance or our world.
• 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.
c
o
p
p
e
r
c
o
a
s
t

2
6
2
7
8
6
2010
EPAisalsorecognisedforitsservice.
Inmaintainingapositiveandclose
clientrelationshipfrominceptionto
completionofallprojects,EPAiscom-
mittedtoprovidingacomprehensive
and effective professional service
whichfacilitatesqualityontimeand
withinbudgetconstraints.
AnormaldayatEPA
“DependingonwhoyouareatEPA,
orwhatpositionyouhold,theday
mightseemlongorshort!Ourstudio
isabusyplacewitharealbuzzattimes
aswesimultaneouslytackleupto
30projects.Daysarefullofmeetings,
designsessionsandpresentationsfor
ourarchitectsandourinteriordesign-
ers,”saysElphick.
TheworkprocessatEPA,onadaily
basis,placesastrongemphasison
collaboration. The design of each
projectconceptisinitiatedbyadi-
rectoranddevelopedwithinateam
structureledbyaprojectarchitect.
Designreviewsessionsareunder-
takeninalldesignphases,ensuring
bothaninnovativeandresponsible
approachtothedesigndevelopment
process.
VaalStudio,VallRiver,FreeState.
135 >
136 >
“AnormaldayasanarchitectIexpect
wouldvaryconsiderablyacrossthe
worlddependingoncircumstance,
location and client base.Typically
though,architectsworkhard,spend
longeveninghoursdesigning,day-
timehourschasingwork,interfacing
withclientsandconsultantsandman-
agingstaff.Itisarichandvariedcareer
experience,”saysElphick.
ThefutureofEPA
With corporate offces and private
residences,amongstothers,being
EPA’sspecialityandwhattheyare
best known for, there is no end to
their projects and new develop-
ments.“Wehaverecentlycomplet-
edthenewInvestecRegionalHead
OffceinUmhlanga,a6500m
2
land-
markcorporateoffcebuildingcon-
sideredtobethefnestoffcebuild-
ing Investec owns worldwide. In
designphaseisanewglobalshow-
piece facility for an international
corporateinRiverhorseValleyanda
number of new office buildings in
Durban and Johannesburg. Under
constructionareagroupofcutting-
edgeprivatehousesinCapeTown,
the Southern Cape and KwaZulu-
Natal,”saysElphick.
Alsoonthepractice’sarchitectural
plateis“…generatingourownde-
velopmentprojectswhichhavecar-
riedusthroughtoughtimes.Weare
alsobuildingaveryunusualvillaon
theislandofZanzibarandacorpo-
rateoffceinLusaka,Zambia,”adds
Proome.
IdwalaLodge,Elandslaaget,KZN.
137 >
Proudly associated with
Elphick Proome
Ridge63Goba,Umhlanga,KZN.
ABOVELEFT:StandadBank,Kingsmead,KZN.ABOVERIGHT:InvestecRegionalOffces,Umhlanga,KZN.
BELOW:GottliebGroupofCompanies,KZN.
WithprivatehousesinCapeTown,
the Southern Cape and KwaZulu-
Natalandmanyoffcebuildingsin
theworksforthenearfuture,what
isthedistantfuturelookinglikefor
EPA?“Wenowhavefvedirectorsin
EPA and the future augers well as
wetacklemorechallengingprojects
bothsmallandlarge.Weintendde-
veloping our design approach to
embracesustainabilityasakeyas-
pectofallprojects.Thisisamoral
decisionanddemandsclearvision
and a practical approach to built
outcomesinthisSouthAfricancon-
text,”concludesElphick.<
BELOWLTR:QuaysidePointWaterfront,KZN.SpinnakerPointWaterfront,KZN.ProteaHotelUmhlangaRidge,KZN.
BOTTOM:StudioElphick,Westville,KZN.
138 >
Palace was registered in 1992
Contact details: 031 464 6595
We have completed works such as Reserve Bank, Sugar Mill
Casino, Sibaya ,Suncoast Casino and currently involved in
Umfolozi Tusk Casino.
Investec new offices at Umhlanga, Durban and have worked on
all Netcare hospital in Natal.
We specialise in Suspended ceilings, partitioning and shopfitting
We do work ranging from small contracts to the larger ones.
We are BEE compliant with a level 2 contribution
PALACE
SHOPFITTERS
140 >
ONE
ARCHITECTURAL
FIRM
THREE
ARCHITECTURAL
DESIGNS
140 >
141 >
142 >
IdeallysituatedinCapeTown,the
15onOrangeHotelhassplendid
viewsofTableMountaininthe
background.
Withhotelsanduniversitiesbeingonoppositeends
ofthearchitecturalspectrum,itrequireddhkArchi-
tectstoapproachtheTajPalace,15onOrangeand
theLifeSciencesBuildingwithverydifferentarchi-
tecturaldesigns.Beingactiveacrossthefullrangeof
architecture,thispracticehasexperienceinthe
creationofnewbuildingsaswellastherefurbish-
ment and restoration ofexistingstructures.Ithas
undertakenprojectssuchashotels,publicandinsti-
tutionalbuildings,eco-sensitiveandsustainable
buildingsandeducationaldevelopments,among
others,makingthispracticetheperfectchoicefor
thesedifferentprojects.
“Thethreeprojectsaresovastlydifferentfromeach
another.Theyposeddifferentchallenges.TheTaj
Palaceisaseamlessmarriageofanewcontemporary
highrisecitybuildingwithtwogorgeousheritage
buildingsthathadtoberestoredandrefurbished
andconvertedintoaluxurygrandhotel.Theowners
of15onOrangeHotelwantedtomakean‘offthe
wall’hotelstatement,differentiatingtheestablish-
mentfromallotherhotelsinCapeTownandeven
throughoutSouthAfrica.Thishotelisahugedesign
statement.Finally,theLifeSciencesBuildingatthe
UniversityofWesternCapeisaneducationalbuilding
andhasitsownchallenges.Ithasbeendesigned
andbuilttoinspireindividuals,studentcommuni-
tiesandresearchers.Wearetoldthatithasbeen
enthusiastically received by all. The university
wantedthisbuildingtoplacethemonthemapand
heraldanewinternationalacceptance,symbolising
excellenceineducationandresearch,”saysDerick
Henstra,founder,dhkArchitects.
143 >
143 >
www.kenzantiles.co.za
144 >
145 >
Atnight,the15onOrangeHotelbecomesastriking
andcontemporaryarchitecturalstructurethroughthe
innovativeuseoflightingdesign.
146 >
Profleandphilosophy
Thisdynamiccompany,whichcompetessuccess-
fullyatthetopleveloftheprofession,providesthe
higheststandardsofdesignandprofessionalism
throughoutallphasesofitsservice,fromunder-
standingtheclient’sbriefthroughtodeliveringa
completedbuilding.ForthepartnersatdhkArchi-
tects,itinvolvesaddingvaluetotheirclients’de-
velopments.It’saboutcorrectlyinterpretingthe
clients’requirementsanddesigningsolutionsthat
integratetheserequirementswiththeappropriate
architecturalresponses.Inaddition,itentailsin-
corporatinginternationaldesigninfuences,techni-
caldevelopments,sustainability,economicrealities
andtheinterdependencebetweenarchitectureand
theurbandesignframeworkinwhichthebuildings
exist.
dhkArchitects’reputationforinnovative,yetcost
effcientdesign,hasgrownintoawardwinningand
internationalrecognition.“Architectureisamost
challengingprofession.Itissocomplexandsoincred-
iblyinteresting.Thereisneveradullmoment.Itismy
passionandIwouldn’tknowwhatotherprofes-
sionIcoulddo.Asmostoftheworld’sgreatarchi-
tectsareover70,itisaprofessionthatyougoon
practicingforever.IstartedinthisbusinessasI
washeadstronganddeterminedtodomyownthing,”
saysHenstra.
Theoldandthenew–
15onOrangeHotel
Thevisionoftheclient,NewCityDevelopment(pty)
Ltd,forthe15onOrange5starhotelwastocreatea
striking, iconic and contemporary architectural
building.Thebuildinghadtobecomeanurbanmark-
er,respondingsympatheticallytoitssurroundingen-
vironmentwhilstmaintainingdignityinasensitive
historiccontext.
This108keyAfricanPridefagshiphotel,valuedat
R250-million,isideallysituatedatOrangeStreet,
akeyandveryvisiblespotintheCapeTownCity.
WithallthemagnifcentviewsthatCapeTownhas
tooffer,thishotelhasviewsacrosstheMichaelis
gardens, TableMountain,LionsHead,SignalHill,
GraysPassandtheUpperCity.
BuiltontheformerNederduitsGereformeerdeKerk
SynardHallsite,thehotelmaintainskeyelements
ofthefaçadeofthepreviousapartheiderastruc-
ture,whilstgivingconsiderationtothemeritsofthe
existingbuilding.Thebuildingisanexpressionofits
eraandforsomepeopleitembodiescertainaspects
Aviewoftheinteriorstructurewhichistransformedbya
light-flledandcontemporarymulti-volumeatrium.
Guestscanenjoydrinksordinneratthetrendyandstylish
barsandrestaurantsavailableatthehotel.
147 >



Western Province Tileworks cc covers a large section of the tiling industry and has been involved in some of the major fast
track, Residential, Offices Blocks, Shopping Malls and Hotels in the Western Cape.

.



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
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
product to the satisfaction of the main contractor and their clients.
ENS HOUSE – CAPE TOWN
CENTRAL
Members of Western Province Tileworks CC will ensure that goods
and services are supplied to meet their intended purposes and in
accordance with the requirements of the various codes, standards
and practices to meet the requirements our of clients. We are
committed to service excellence and guarantee quality workmanship
on time all the time.

SOME OF OUR PROJECTS TO DATE :
Sun International Hotel – The Table Bay
Protea Hotel The President - Seapoint
Canalwalk Shopping Centre – Century City
Breakwater Parking - V&A Waterfront
Newlands Rugby Railway Stand - Newlands
BOE Offices /Clocktower Mall – V&A Waterfront
Arabella Sheraton Grand Hotel – Cape Town
Old Mutual Offices / Business School - Pinelands
Sable Square Shopping Centre – Century City
UWC Lab Block / Learning Centre - Bellville
Standard Bank Head Office - Cape Town
Cape Quarters Shopping Centre - Greenpoint
Claremont Central Offices - Claremont
CTICC – Cape Town
ENS Offices – Cape Town
Pick n’ Pay – Kenilworth
Pick n’ Pay – Gardens
Villa Italia – Century City
Mutual Heights Apartments – Cape Town

V&A WATERFRONT
SERVICE EXCELLENCE
Western Province Tileworks cc, formally known as
Model Tilers, has been in the building industry for
36 years, providing clients with wall & foor, granite,
marble and porcelain tiling solutions. Known for
their commitment and expertise, Western Province
Tileworks cc is committed to delivering a quality
product that holds up to main contractor’s and
client’s standards.
Western Province Tileworks cc covers a large
section of the tiling industry and has been involved
in developments in the Western Cape such as
residential projects, offces blocks, shopping Malls
and hotels, among others.
Members of Western Province Tileworks CC ensure
that goods and services are supplied to meet their
intended purposes. In addition, members ensure
that all services and goods are in accordance
with various codes, standards, requirements and
practices, in order to meet client’s requirements.
Members work on the tiling side of each contract,
together with working with the architect and
professional team that are present. Western Province
Tileworks CC is committed to service excellence and
guarantees quality workmanship on time, all the time.



Western Province Tileworks cc covers a large section of the tiling industry and has been involved in some of the major fast
track, Residential, Offices Blocks, Shopping Malls and Hotels in the Western Cape.

.



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
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
product to the satisfaction of the main contractor and their clients.
ENS HOUSE – CAPE TOWN
CENTRAL
Members of Western Province Tileworks CC will ensure that goods
and services are supplied to meet their intended purposes and in
accordance with the requirements of the various codes, standards
and practices to meet the requirements our of clients. We are
committed to service excellence and guarantee quality workmanship
on time all the time.
SOME OF OUR PROJECTS TO DATE :
Sun International Hotel – The Table Bay
Protea Hotel The President - Seapoint
Canalwalk Shopping Centre – Century City
Breakwater Parking - V&A Waterfront
Newlands Rugby Railway Stand - Newlands
BOE Offices /Clocktower Mall – V&A Waterfront
Arabella Sheraton Grand Hotel – Cape Town
Old Mutual Offices / Business School - Pinelands
Sable Square Shopping Centre – Century City
UWC Lab Block / Learning Centre - Bellville
Standard Bank Head Office - Cape Town
Cape Quarters Shopping Centre - Greenpoint
Claremont Central Offices - Claremont
CTICC – Cape Town
ENS Offices – Cape Town
Pick n’ Pay – Kenilworth
Pick n’ Pay – Gardens
Villa Italia – Century City
Mutual Heights Apartments – Cape Town

V&A WATERFRONT
SERVICE EXCELLENCE



Western Province Tileworks cc covers a large section of the tiling industry and has been involved in some of the major fast
track, Residential, Offices Blocks, Shopping Malls and Hotels in the Western Cape.

.



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
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
product to the satisfaction of the main contractor and their clients.
ENS HOUSE – CAPE TOWN
CENTRAL
Members of Western Province Tileworks CC will ensure that goods
and services are supplied to meet their intended purposes and in
accordance with the requirements of the various codes, standards
and practices to meet the requirements our of clients. We are
committed to service excellence and guarantee quality workmanship
on time all the time.

SOME OF OUR PROJECTS TO DATE :
Sun International Hotel – The Table Bay
Protea Hotel The President - Seapoint
Canalwalk Shopping Centre – Century City
Breakwater Parking - V&A Waterfront
Newlands Rugby Railway Stand - Newlands
BOE Offices /Clocktower Mall – V&A Waterfront
Arabella Sheraton Grand Hotel – Cape Town
Old Mutual Offices / Business School - Pinelands
Sable Square Shopping Centre – Century City
UWC Lab Block / Learning Centre - Bellville
Standard Bank Head Office - Cape Town
Cape Quarters Shopping Centre - Greenpoint
Claremont Central Offices - Claremont
CTICC – Cape Town
ENS Offices – Cape Town
Pick n’ Pay – Kenilworth
Pick n’ Pay – Gardens
Villa Italia – Century City
Mutual Heights Apartments – Cape Town

V&A WATERFRONT
SERVICE EXCELLENCE
ofthecountry’sculturalheritage.Majoreffortswere
dedicatedtothearchitecturalretentionofthemost
dominantfaçadeonGraysPass.Fromanhistoricand
urbanimpactpointofview,greateffortwentintolim-
itingtherevisedprofleoftheextendedbuildingen-
velopeanditsimpactontheviewofTableMountain
fromthetopofLongStreet,whilststillmaintaining
thememoryoftheoldbuilding.
Theoriginalentranceporticowithitsstainedglass
windows,beinganiconicelementandsecretive
barrier to a solemn hall at the centre of the old
building,wasdemolished.Thisopenedthewayto
exposingthebuildingtothestreetandthememo-
ryoftheinternalisedhallbeingre-interpretedin
theformofalight-flledatrium.
The closed street edges along Orange Street and
GraysPasshavebeenreactivatedwiththeadditionof
retailshoppingandrestaurantopportunities.These
newactiveedgesaresoftenedandanimatedwiththe
insertionoflandscapingintheformofplantsandtrees.
Thediscreetoriginalentranceatlowergroundlevelon
Grays Pass is maintained for the Porte Cochere
drop-offandhotelsecurityarea.Fromthispoint,
tworefurbishedliftstakegueststothereception
areaonthefrstfoor.
Atthereceptionarea,guestsenterintothespirit
ofthehotel’sstructure,whichistransformedby
theimpositionofavast,lightflledandcontemporary
multi-volume atrium, surrounded at its foot by
tieredrestaurantsbarsandlounges.Theimmense
atrium’sglazedheightopensouttowardstheout-
sideterracefromwhereguestscanenjoyviewsof
the Cape Town city, Lions Head and Signal Hill.
Whilstrespondingtotheoriginalaxisofthehotel
building,italsoaffordspassersbydramaticviews
intotheinteriorarea.
Thestrongsenseofopulenceandverticalitycan
beexperiencedinthethreepanoramiclifts,which
takehotelgueststothesurroundingaccesswalk-
waysandroomsattheupperlevelsoftheatrium.
Thehotelrooms,outfttedtothehighestquality
andstandardsandofvaryingtypesandsuitesizes,
arearrangedinsingleanddoublebankedconfgu-
rationaroundtheatrium.
Thehoteloffersaspa,gym,wellnesscentreandpool
deck.Alsoavailablearesectionaltitleapartments.
Theapartmentsrangeinsize,insimplexandduplex
confguration,andareallfnishedtoexactingstand-
ardsofluxury.Theseapartmentsinhabitthelight-
weightuppertwofoorswhicharesetbacktoprovide
amplesunterraceswithspectacularviews,whilst
reducingthemassoftheupperlevels,inaccordance
withheritageindicatorsthatgovernthehotelde-
velopment.
Theglassandaluminumhoteladditionsrespond
inacontemporarymannertotheretainedhistori-
calelements,specifcorientation,views,roompri-
vacyandtherequirementsofgreatertransparency
forallpublicareaswithinthehotel.
Whilstkeepingimportantelementsoftheexisting
historicbuilding,thewholehotelistransformedby
theimpositionofthevast,light-flledatriumand
theadditionofcontemporaryarchitecturalelements.
ThehotelmakesforanewandtransparentCapeTown
focalpoint,breathinglifeintothiskeyjunction.
Thefrstofmany–TajPalace
TheTajPalaceHotel,locatedinthehistoriccoreof
CapeTownattheentrancetotheStGeorge’sMall,is
thefrstofmanyluxuryhotelstobeopenedbythe
TajGroupinSouthAfrica.Theclient,GoodHope
PalaceHotels(Pty)Ltd,wanteda175keyluxury
hotelfortheTajGroup,valuedatR450-million.
Therecentlycompleteddevelopmententailedapar-
tialdemolition,arefurbishment,theconstruction
148 >
149 >
Aviewshowcasingthecelebration
ofthesynthesisbetweenthe
historicfabricofthesiteandthe
contemporaryinterventionsofthe
hotel.
150 >
151 >
ofinfllelements,theconstructionofacontempo-
rary tower to accommodate 175 rooms and the
preservationoftwoimportanthistoricbuildings,
namelytheOldReserveBankbuildingandtheTemple
Chambersbuilding.
Itwasimperativetoretainandcarefullyrestoreas
muchaspossibleofthetwohistoricbuildingsthat
hostthegrandpublicspacesofthenewhotel.The
contemporaryinterventionsonthesite,intheformof
aninfllbuildingonStGeorge’sMallandthenew
towerthatrisesoutofthecentreofthecityblock,
house the back of house spaces and the hotel
rooms.
Theequalintegrationoftheoldandthenewcreated
achallengefordhkArchitects.Itwasimperativeto
celebratethesynthesisbetweenthehistoricfabric
andthecontemporaryinterventionsonthehotel
site.Thiswasdonebycreatingabuildingthatmain-
tainsandechoesthearchitectureofeleganceand
thebeautifulcraftsmanshipembodiedinthehistoric
buildings,whilstengagingwiththepurposeofthe
buildingsasa‘place’forthepeople.
TheTajCapeTown,showcasingacombinationofrich
historyandstylishcontemporaryarchitecture,offers
adiversevarietyofcuisineandculinaryexperiences
includinganIndianspecialtyrestaurant,arelaxed
andcasualall-daydiningrestaurantandachampagne
andoysterbar.Themagnifcentbanquetingand
meetingroomscombinetheeleganceofahistorical
era with state-of-the-art technology. A full Jiva
GrandeSpaandaftnesscentrearealsoavailable
toguests.Inaddition,theTajPalaceisalsohome
toHeritageRoomsandSuites,TowerRoomsand
Suites,The Presidential Suite and theTaj Club.
Theseexquisiteroomsofferguestsoldworldqual-
itycomplementedbylavishamenitiesandcontem-
poraryfeatures.
AviewofthenewTajPalaceHotel
situatedinthehistoriccoreof
CapeTown.
152 >
Architectureisa‘science’–
UniversityofWesternCapeLife
Sciencesbuilding
Theterm‘science’refersto,initsbroadestsense,any
systematicknowledgebaseorprescriptiveprac-
ticethatiscapableofresultinginapredictionorpre-
dictabletypeofoutcome.Sciencealsoreferstoa
highlyskilledtechniqueorpractice.Architecture,a
highly-skilledpractice,isascienceinitself.Itisthe
artandscienceofdesigningbuildingsandother
physical structures, predicting the outcome, in
termsoffunctionandappearance,ofaparticular
structure.Manybelievethat,basically,architectureis
asciencefrstandthenanart.
ThenewLifeSciencesBuildinglocatedontheUni-
versityofWesternCape’sWestCampusadjacent
toRingRoadandfankedbyModderdamRoad,isin-
tendedtoplacetheuniversityontheglobalmapasa
centreforteachingexcellenceandaresearchentity.
Byintegratingsixdepartmentsintoasingledevel-
opment,thisinturnallowsforthefacilitationofcol-
laboration, promoting inter-departmental and
trans-disciplinaryresearch.Thebuildingispositioned
asapivotalandiconicelementoftheurbanplanning
oftheuniversity,asanembodimentofsocialanden-
vironmentalscientifcresearchinAfrica.Thiscutting-
edgeinstitutionalresearchlaboratoryisasymbol
oftheuniversity’scommitmenttoscience,technology,
innovation,developmentandresearch,withtheaim
ofreducingpovertyandpromotingsocialandenviron-
mentalresponsibility.
Themainobjectiveofthepositioningandthedesign
oftheLifeSciencesbuildingwastocreatealandmark
thatannouncestheUniversityoftheWesternCape’s
presence,formingthemostsignifcantelementof
thenewscienceprecinct.
TheLifeSciencesBuildinghasbeensecurelyinte-
gratedintotheexistingcampusframeworkfrom
allaspects.Sixdifferentdepartmentsarehoused
withinthemacrozoningofthebuilding.Twomajor
componentsofthebuildingareplacedoneither
sideofasocialnucleus,comprisingtheentrylob-
byandgatheringspace,oversailedbyavastcan-
opywhichissupportedbytree-likecolumns.This
153 >
gatheringspaceformsthemainfocusandthelink
between the majorcomponentsoftheuniversity,
namelythelaboratorybuilding,theinteractivelearn-
ingcentre,cafeteriaandauditorium.
Thegenerallayoutoftherectilinearandorthogo-
nallaboratorybuildingisdesignedaroundazone
thatstretchesalongthelengthofthesitethatfronts
directlyontoModderdamRoad.Theintentionwas
tocreatedirectrelationshipsbetweenthesupport
spacesonthesouthside,researchandlaboratory
spacesinthecentreandwrite-upspacesandcel-
lularoffcessituatedonthenorthside.Twoserv-
ice cores form the fulcrum for breakout areas.
Theseareinteractionspacesthatactasvertical
transportationforbothpeopleandserviceswhile
formingeasilyinterchangeablelaboratoriesand
servicespaces,permittingadaptabilityandfexi-
bilitythroughoutthegeneralplan.Thecoresinter-
actwithteakitchensandextendouttobalconies
thatareintendedtofacilitateinformalmeetings.The
coresaretheverticalelementsthatbreakthelongitu-
dinalfaçade,withverticalaccentsculminating in
glassboxesthathousethehotwaterplantwhich
islinkedtothesolarwatersystem.
Inadditiontobeingthecentreforacademicteaching,
thelearningcentreisavailableforconferencesaswell
asbeingavenueforvariousgatherings,presentations
andfunctions.Thecentrehousesastate-of-the-art
auditorium,acollaborativecomputerlabandresource
centre,seminarandtutorialroomsandacafeteria
openingontothegatheringspace.Thedevelopment
incorporatesbothinstructionandresearchfacilities
withsharedclassrooms,laboratories,facultyfacilities
andamenitiestoaccommodateanestimated800
studentsandresearchers.
Thissixstoreylaboratoryblockissplitvertically
intoinstructionfacilitiesonthelowertwolevels,
withresearchanddevelopment(R&D)labshoused
ontheupperlevels.Theblockisdividedintothree
moduleswhicharelinkedbyservicecores,provid-
ingpublicandserviceaccessandsecurityfltersfor
thevariousR&Dlabs.Thelaboratoriesthemselves
aredesignedtoassimilatetheusers’requirements
Thislandmarkhasgreatpresence
withinCapeTownandispositioned
wellasapivotalandiconiceducational
entity.
154 >
intopredominantlygenericfexibleandadaptable
solutionsthatensureshort,medium&longtermsus-
tainabilityfortheclientwheredifferentdepartments
canwaxandwaneastheneedsarise.Thelaboratories
areplannedalongahorizontalstratifcationwhich
facilitatesadirectrelationshipandinterfacebetween
thecellularseniorresearcher’soffceswithopen-
planwrite-upareastothenorth,withresearchtaking
placeinlaboratoriesandtheirsupportspacesto
thesouth.Thishorizontalstratifcationiscreated
throughvirtualcorridorstraversingthelengthof
thebuilding,providingorientationandexternalex-
pressionthroughthebaywindowsattheends.
EntrytotheLifeSciencesbuildingisfromtheeast-
ernforecourtviatheentrancelobby.Thisgasket-
likeglazedentrancelobbyjoinsthelaboratoryand
learningcentre,providingorientationandaccessto
thevariousfacilitiesandleadsintothegathering
space.
Thedesignphilosophyofthisbuildingfocusesonen-
ergyeffciency,environmentalresponsibility,resource
effcientdesignandacommitmenttosustainability.
Theorientationofthebuildingreducessolargain
withinthebuildingandencouragesnaturalventila-
tionthroughoutthebuilding.
Theuseofgreywaterforthelandscapinghasbeen
fullyimplementedandcoordinatedinthedesign.
Thegreenareasandgardensarelandscapedwith
indigenousvegetationandtreesandthelandscap-
inghasbeentakenontotheroofoftheLearning
Centreasascalingstrategyandasanenvironmental
thermalconsideration.
Thegardensareintegratedintoalandscapingplan
thatrespondsdirectlytothelocalenvironmentalcon-
ditionsbyencouragingbio-diversity,protectingbio-
massnutrients,usingpermeablesurfacestominimise
run-off,increasingretentionofgroundwaterlevelsand
adoptingindigenouswater-wiseplants.Through
lifecyclecosting,resourceandenvironmentalman-
agementandtheadoptionofcosteffectivestrate-
gies,namelyoptimisationofthethermalenvelope,
wasteheatreclamation,harvestingofrainwater
andgreywaterrecycling,thisbuildingstrivesto
limititscarbonfootprint.<
Viewoftheexteriorfaçade.
155 >
156 >
B
y

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t
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e
y

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o
w
a
n
Namedafteraherooftheworkingclass,Durban’s
MosesMabhidaStadiumisaniconicsymbolof
wherethecityhascomefromandthefuturethat
itisstrivingtowards.JustasMosesMbhekiMncane
Mabhida helped to forge the united front that
eventuallysawthecreationofademocraticandnon-
racialSouthAfrica,sothestadiumbroughttogether
countriesatthe2010FIFASoccerWorldCup.
I
C
O
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157 >
Anexteriorviewofthelitupstadium,whichactsasabrightbeaconforthecityofDurban.
158 >
Wetraditionallyrevereiconicbuildingsfortheirabil-
itytoinspireandimbuesymbolicassociationsand
meaningtoabroadaudiencebecausetheyrefect
uniquecultural,socialandenvironmentalcontexts
–beitthepast,currentorfuture.TheMosesMabhida
StadiuminDurbanrespectsthesequalitiesandit
references the past with dignity yet, it succeeds
bestinthewayitrefectstheaspirationsofthecur-
renttimeandthefuture.Itwasstrategicallyposi-
tionedtobecomeaniconicbeaconfortheCityof
Durbanaswellasbeingacentrepieceofthehuge
integrateddevelopmentplanwhichweavesitself
intothecity’slandscapeasasymbolofgrowthand
prosperity.Thisstadiumsuccessfullyachievedthis
throughtheinnovativeuseofspace,texture,colour
andartifacts,whilstalsohavingdrawnonitssur-
roundingsandphysicalfeatureswhichgaveita
vernacularidentityandcharacter.Itsarchitectural
andstructuralelementsallowedpeopleto‘feel
alive’withinitssurrounds,havinginvitedpeopleof
allwalksoflifeandbindingthemwithinaniconic
webofspaceandcommunity.
“Itisimportanttorecognisethatthisstadium,anarchi-
tecturaljointventure,wasagroupeffort.Therewere
fivelocalpractices:TheunissenJankowitzDurban,
Ambro-AfriqueConsultants,MthulusiMsimangAr-
chitects,NSMandOsmondLangeArchitects&Plan-
nersandoneinternationalpracticeinvolved,name-
lyGMP.Eachpracticefulflledadifferentrole.The
localeffortandlocalexpertise,mergedwiththe
internationalexperience,madeitallhappen.Theef-
fortisrefectedinwhatwasbuiltanddesigned.From
theurbandesignapproachtotheiconography,the
stadiumhasastronglocalrepresentation,”says
GerhardleRoux,director,TheunissenJankowitz.
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159 >
160 >
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Iconography
Fromadistance,thestadium’sarchisadefining
silhouette,afamiliarmarkeragainstthelandscape.
Fromwithin,thearchforksonbothsides,tocreate
aviewofDurban,awindowontothecity,symboli-
callylookingbackatwherethecityhascomefrom,
ontheoneside,andthefuture,ontheotherside.
“Wewantedtocreateatimelesslongarchwhich
represents the past and the walk into the future.
Onceyouareinthestadiumyouareawareofthesur-
roundingenvironmentwherethestadiumislocated,
bywayofthestadiumwindowonthesouthside.You
canseetheconnectionbetweenthesea,cityandthe
heartofDurban,”saysDeonvanOnselen,Director,
OsmondLangeArchitects&Planners(Pty)Ltd.
Thewhitetensileroofngisreminiscentoftheactivi-
tiesofthenearbyharbour.Theuseofnaturalindig-
enousplantsandtreeslinkstheprecinctonanurban
scaleandtheincorporationoftheAfricanlandscape
contextualises the building. The expanded steel
meshwrappingthefaçadeandtheinfllpanelsof
thebalustradesissymbolicofthebeautyofhand-
madebaskets.Thebaregreycoolnessoftheoff-shutter
concreteiscontrastedbythepaletteofwarmcolours
usedoninfllwallsandinteriors–anexpressionof
theAfricanclimateandspirit.
Tonesofthebeaches,thecoloursofclothingand
handcraftedjewellerywereusedtoexpressthevi-
brancy of the local surroundings in the building.
Brightly coloured seating, drawing its inspiration
frombeachsandmergingintotheocean,givesthe
stadiumbowlasensethatitisalandscape.Theupper
standseatingiswashedinyellowandwhitecolours,
themiddleseatingisgradedinayellowtogreen
161 >
162 >
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From their humble beginnings and over a decade of successful trading and solid
customer relationships, D & H Flooring have grown to be one of the leading
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PRESTIGE PROJECTS
Stadium - Presidential Suite Bamboo Flooring - Norament Rubber Matts
King Shaka International Airport - N2 Toll Plaza - Ceramic Tiles
St Lucy Hospital - Ceramic Tiles
Cecilia Makiwane Hospital - Ceramic Tiles
Hibiscus Hospital - Vinyl sheeting
Al Shifa Hospital - Vinyl Sheeting
Newcastle Private Hospital - Vinyl Sheeting
Pearls of Umhlanga - Wall to wall carpets Breeze Reef Dawn Tides A&B
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OUR SERVICES
Carpets
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Laminates
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163 >
colour mix with scattered light greys and whites,
andfnallythelowerstandseatingisgradedinablueto
greenmixsprinkledagainwithlightgreysandwhites.
Driversofdesign
Althoughstadiumsaremostlyvenuesofsheerscale,
theyareconsideredsingularpurposestructures.Dueto
thestadium’ssheersize,therewasaneedto‘humanise’
thestadiumintermsofscale,toallowforitsintegration
intothecityfabricandlandscape.
AdriverofdesignfortheMosesMabhidaStadium,
wastheneedtoencouragemixeduseinorderto
promoteongoingactivities.Fromanurbandesign
pointofview,itwasofprimaryimportancethatthe
stadium was located within an environment that
enablesthebroadercityandsurroundingareato
beneftfromit.Therefore,oneofthekeydriverswas
theneedtodesignbeyondthebuilding.Inorderto
bringextensiveinvestmentintotheprecinct,the
stadiumwasdesignedaccordinglyinordertoserve
asacatalystforcontinuinginvestment.
Heroeswalk–Theiconicjourney
Adominantpathleadingfromthecitycentretothe
stadium,knownasHeroeswalk,lendsitselftoavariety
ofprocessionsthatwillbeenjoyedbylargegroupsin
thefuture.Thewalkstartsinthesouthwithinafrag-
mented landscape of harsh walls and monochro-
matic tones, reflecting the fragmentation of past
Africa.Thisisthejourneydedicatedtotheiconsof
sportandpoliticalchange,forthosewhohavebeen
andfortheheroestobemadewithinthestadium.The
rigidstructureofthewalkbecomesmoreorganic,
softandcolourfullyadornedasoneapproachesthe
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165 >
stadium.TheHeroesWalkisdesignedtosymbolise
thejourneywalkedbythepeopleofAfrica.
A‘world-frst’achievement
TheMosesMabhidaStadiumhasplacedSouthAfrica
onthemap,havingobtaineda‘Worldfrst’inthedesign
ofroofarchfoundations,whichinvolvediaphragmwall-
ingtobedrock,massivecappingsandspringerplinths.
Inaddition,thestadiumhasachieveda‘South-African
frst’forpre-castdesignandinstallationinstadiumsand
alsoachievedthespecifedstrictrequirementsforcon-
cretequality,durabilityandaesthetics.
Themainconcretestructurecomprisesanovalbowl
oftieredseatingwithsixaccesslevels,sheercores
andstairwellsandapodium.Thelightweighttranslu-
centroofissupportedbyasteel-cablestructuresus-
pended from the arch.The remarkable 104m high
arch,spanning380m,issecuredonlargeconcrete
foundationswhichextenddowntothecretaceous
bedrock.Thesefoundationsareelongatedrectangu-
larboxeswith800mmthickreinforcedconcretewalls,
whichwereexcavatedandcastunderbentoniteslurry,
inpanellengthsofupto7mandtoadepthof20m.
Thestadiumbowlstructureisfoundedonatotalof
1901 CFA piles varying in diameter from 450 to
700mm,installedtodepthsof20m.“Thebowl-like
shapeofthestadiumallowsforallthespectatorsto
beabletoseetheactionandfeelthattheyarea
partofthewholeevent.Normalstadiumstendtobe
morerectangularinshape,withNorthern,Southern,
Eastern andWestern sides.The client wanted all
peoplefromdifferentwalksoflifetobecomeunifed,to
becomeoneformwithinthisdome-likestructure,”
saysvanOnselen. T
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166 >
Thefaçadeofthestadiumbowlisalayeredinte-
grated series of components. Over one hundred
leaningpre-castconcretecolumnssweeparound
thecircumferenceofthestadiumbowlformingthe
skeletonofthefaçade,creatingtheimpressionofa
sculpturalelementinthelandscape.Addingtothe
sculpturalqualityofthebuilding,aluminiumfnssit
verticallybetweeneachoftheconcretecolumns
and,fnally,awovenmeshtiesthefaçadetogether.
Theexpandedmetalmeshcoveringthebrightlycol-
ouredfaçadeandthefllingtotherailingsinthe
stadiumtaketheirinspirationfromthestructureof
basketweave.
“An important aspect of the stadium is that it is
basedontheageoldAfricantraditionofelevatinga
structureabovegroundlevel,wherebythestadium
isplacedonapodium.Byplacingitonthepodium,
thestadiumisgivengreaterstature.Theclientwant-
edthestadiumtoriseupfromtheenvironment,creat-
inganexperienceasvisitorsleaduptotheentrance
ofthestadium,”explainsvanOnselen.
Theroofng
Theroofcableswerepre-manufacturedtotheex-
actlengthsrequiredtoachievetheprecisegeom-
etryofthecablenetstructurethatspansbetween
thearchandthecompressionring.Itwasneces-
sarytohaveverystrictspecifcationsaccordingto
thetolerancesrequiredforallsupportpointsat
theinterfacebetweentheconcreteandroofstruc-
ture.Inaddition,thestiffnessoftheconcretesup-
portstructurehadtobeaccuratelydetermined.
Themainstructuralunitoftheroofconsistsofthe
104mhigharchspanning380montothefounda-
tions.Theroof,whichdefnesthestadiumasanicon-
icedifce,alsoconsistsofotherstructuralelements
namelysupportingcables,amembraneroof,anda
steelcompressionringrestingonsteelcolumns.
Atotalof50mainridgecablesaresupportedfrom
thearchwhichdefnestheshapeforthe46000m
2

roofcoverage.Theseridgecablesaswellasthevalley
cablesareconnectedtothecompressionringthat
inturn,issupportedonsteelfaçadecolumns.
Concrete–TheNo.1choice
Concretewasusedforthemajorityofthestructural
andarchitecturalelementsbecauseofitshighqual-
ity finish, its ease of construction into complex
shapesandforms,durabilitytoresistthemarineen-
vironmentofDurban,itsspeedinconstruction,its
lowmaintenanceandbecauseoftheeconomical
advantages.
Theconcretefaçadecolumnsarethemainfeature
ofthefaçade.VerticalinthevicinityoftheNorth-
Southspanningarch,theyrakeprogressivelyout-
wardtowardstheEastandWestofthestadium,
defningthedramaticbowlshape.Theyarepre-
castconcretefromlevel3tolevel6andsteelfrom
level6uptothecompressionring.Ofthe102col-
umns,42areverticaland60arerakedatvarying
inclinations.Thecolumnsarepaintedwhitetoftin
withtheoverallfaçadecolourconcept,withahigh
leveloffnish.
167 >
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168 >
SME ad
Lightning Protection
& Earthing cc
SME are still the only company in this field to have successfully held the coveted SABS/ISO 9001-
2000 listing in Southern Africa, since 1987.
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.
Our client base is largely made up of Corporate Clients in the private Sector, as well as large
government contracts such as 2010 Stadia, and the new King Shaka Airport in Durban, due to our
ability to deliver a quality product on time, and within budget.
Our core business of Lightning Protection and Electrical Earthing, supplemented by our large range of
surge protective devices (SPD’s) is crucial in our subtropical climate, which experiences some of the
highest lightning activity in the world, that can result in catastrophic losses in plant and equipment, not
to mention risk to personnel.
2010 marks our 25th anniversary as an independent company, and due to the growth in our client
base, we are constantly striving to improve quality of delivery, and adding skilled personnel to our
ever-growing operation.
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Phone: +27 31 701 7582 Fax: +27 31 702 5320 Email: sales@sme.co.za
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SANS 10313 2008
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SANS 10199 2004
SANS 10089-2
The Protection of Structures against
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169 >
LightningProtection&Earthing
SMELightningProtectionandEarthingwasproud
tobeassociatedwiththecelebratedMosesMabhida
SoccerStadium,inthattheywerecontractedtoin-
stalltheLightningProtectiontotheStadiumStruc-
ture as well as the earthing for the sub station
feed.Overall,itwasimperativetoensurethatthe
installation,fromthemetaloftheseatingthrough
tothearchoverthestadium,wasearthedtothe
exacting standards demanded by the SABS/IEC
codesofpractice.
Due to the commitment and dedication to the
projectdisplayedbyVusiShabane,theteamlead-
er,andhiscrew,nodelaysorproblemsoccurred
duringthecourseoftheproject.SMEiscurrently
innegotiationwiththeirclient,GLEvents,regard-
ingtheearthingrequirementsforthemediacentres
whicharebeingerectedateachstadium,inorder
formediavisitorstobekeptsafeshouldtheyhave
thepleasureofexperiencingarealSouthAfrican
lightningstorm.
SME,with25yearsinbusiness,isstilltheonlycom-
panyinitsfeldtohavesuccessfullyheldthecov-
etedSABS/ISO9001-2000listinginSouthernAf-
rica,since1987.Asaresultofthislisting,aswell
asCIDBaccreditation,andtheirBEEstatus,they
havesuccessfullyundertakencontractsthroughout
SouthernAfrica,andasfarasTanzaniaandMada-
gascar, with extensive contracts in Mozambique,
Zambia,BotswanaandNamibia.Theirclientbaseis
largelymadeupofcorporateclientsintheprivate
sector,aswellaslargegovernmentcontractssuch
as2010Stadia. A

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170 >
Theircorebusinessoflightningprotectionandelec-
tricalearthing,supplementedbytheirlargerangeof
surgeprotectivedevices,iscrucialinSouthAfrica’s
subtropicalclimate,whichexperiencessomeofthe
highestlightningactivityintheworld,resultingin
catastrophiclossesinplant,equipmentandpersonnel.
“Thisstadiumlooksbeyond2010.Itlooksatthe
wholeprecinctandhowthisdevelopmentwill‘sell’
Durban.Thisisoneofthefrstopportunitiesthat
SouthAfricanconsultantshavehadtoprovethat
we, as South Africans, can produce large scale
projects.TheMosesMabhidastadiumisworldclass,”
concludesvanOnselen.< B
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171 >
172 >
ByBevHermanson
THEPRIDEOF
THECAPE
173 >
Of all the stadiums that were prepared for
the 2010 FIFA Soccer World Cup, only three
were entirely new constructions. One of
these was the Cape Town Stadium situated
close to the popular V&A Waterfront along
the shoreline of Table Bay, within full view
of Cape Town’s most famous landmark,
Table Mountain.
Oneofthelargestconstructionprojectsthathad
beentackledbytheCityofCapeTown,theCapeTown
Stadiumandthesurroundingparklandhadbeencom-
pletedatacostofR4,5-billion.Alongwithitspark-
ingareaandaretailplaza,thestadiumcoversanarea
of18hectares,equivalenttosixcityblocks.Built
tobemorethanmerelyasoccerstadium,thisde-
velopmenthasbeendesignedasamulti-purpose
venuethatisequippedtohostrugbymatches,mu-
sicconcertsandmanyothermajoreventsaswell.
PhotobyBruceSutherland,CityofCapeTown.
174 >
Itssuccessfulcompletioninvolvedalargetask-
forceofprofessionalscomprising15differentdis-
ciplinesand51frmsandajointventureof2ofthe
largestcontractingfrmsinthecountry.
GreenPointasasportsprecinct
SincebeforetheAngloBoerWarinthelate1800s,
theGreenPointCommonhasbeenhometoavari-
etyofsportsclubs,includingHamiltons,SouthAfri-
ca’soldestrugbyclubthatwasfoundedin1875,
andtheGreenPointCricketClubthatstartedin1897.
Declaredapublicopenspaceforrecreationandsport
byBritain’s King GeorgeV in 1923, this valuable
pieceofgroundhasbeenstaunchlyprotectedfrom
thethreatofovercommercialisationandexpansion
aroundtheMotherCity.
TheGreenPointStadium,builtontheCommonin
the1940s,wasrathercontroversial,as,withaca-
pacityofonly18000seats,manysawitasa‘white
elephant’thatwasunder-utilised.Overtheyears,it
wasusedforvariousevents,includingsmallscale
concertsandsportsevents.Itwasadditionallyhome
totheSantosandHellenicSoccerClubsandlaterthe
AjaxFootballClub.
Atthetimethatthe2010FIFASoccerWorldCup
wasawardedtoSouthAfrica,theplanningcommittee
determinedthatthestadiuminCapeTownwasgo-
ingtoneedcloseto70000seatstoqualifytohost
atleastoneofthesemi-fnalmatchesthere.Under
thecircumstances,theydecideditwouldbeeasier
tobuildanentirelynewstadiumclosetotheold
stadium,ratherthantrytoupgradetheoldfossilfa-
cilities.TheoldGreenPointStadiumhassincebeen
175 >
partiallydemolishedandhasbeenconvertedinto
adedicatedstadiumforathletics.
TorefertoCapeTown’sstadiumastheGreenPoint
Stadiumis,therefore,acompletemisnomer,asthe
landallocatedfortheconstructionofthenewstadium
waslandthathadbeenusedbytheMetropolitanGolf
Clubforitsnineholegolfcourse.Tocompensate
theMetsandothersportingdisciplinesusingthe
Common,theentireareahasbeenreorganised.Anew
nineholegolfcoursehasbeenbuiltand12,5hec-
tareshavebeenconvertedintoanurbanparkthat
boastswalking,cyclingandjoggingtracks,thatweave
aroundbeautifulwaterfeaturesandlandscaped
gardens.Otherfacilitiesintheprecinctincludea
Health&FitnessClub,tenniscourts,hockeyand
rugbyfeldsandacricketoval.Atree-linedpedes-
trianwalkwayfurtherconnectstheMouillePoint
lighthousewithSomersetRoadontheoutskirtsof
the city. In total, this encompasses an area of
some65hectaresofparklandandsportsfacilities.
Withinastone’sthrowofthenewstadium,the123
hectareV&AWaterfrontoffersvisitorsawealthof
pleasurepursuits–fromaferrytriptothehistori-
calRobbenEiland,wherethewellknownfreedom
fghterandpastpresidentofthecountry,Nelson
Mandela,wasincarcerated,toasumptuousarrayof
restaurants,luxuryhotels,storesandotherleisure
pursuits.
Thenewstadium
Thestate-of-the-artCapeTownStadiumhostedfveof
thefrstroundmatches,onesecondroundmatch,one
quarterfnalandonesemi-fnalofthe2010FIFAWorld
T
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176 >
FIRE PROTECTION CONSULTANTS
Bramley and Associates cc
Specialists in the application of
The National Building Regulations,
Rational Designs and Fixed Fire
Protection Services
E-Mail: bramley@iafrica.com
Often copied but Never Surpassed
CAPE TOWN
Tel: (021) 462-4960
Bramley & Associates cc
Adding Value thr ough Expertise
176 >
Tel: 021 884 4568
Fax: 021 884 4537
Office Cell: 083 704 6881
Email: groenvleig@telkomsa.net
Website: www.groenvleigras.co.za
WE OFFER
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Construction and maintenance of the Cape Town Stadium Pitch
177 >
Cupsoccermatches.Designedbyconceptarchitects,
gmpArchitectsofGermany,inconjunctionwithlo-
calfrms,LouisKarolArchitectsandPointArchitects,
thestadiumcoversanareaof290mx260mand
stands50matitshighestpoint.
The most amazing aspect of the stadium is the
high-techroofthatcovers38000squaremetres,
protectingthebulkofthespectatorsfromtheoften
inclementCapeweather.Knowingthe‘CapeDoctor’,
theharshsouth-easterwindthatoccasionallythrash-
estheForeshoreandtheGreenPointCommonat
galeforce,asubstantialroofwasdefnitelyonthe
city’swishlist.Thedoublewhammyofthisdesign
isthatitnotonlyprotectsthespectatorsfromharsh
weatherconditions,itreducesthenoiseemanating
fromthestadium–whichwillbemostwelcometo
theGreenPointandSeaPointresidentsthatdo
notrelishhearingthevuvuzelasatfullblastthrough-
outthematches.
Commandingasignifcantchunkoftheconstruction
budget,theroofhasbeendesignedasasaddleback
curvewithadoublemembrane.Itssmoothfowing
appearancefromallanglescontributestomakingthis
stadiumoneofthemostdistinctiveinthecountry.
Weighingintheregionof3735tons,theroofstruc-
ture,thatrestsonatotalof72columns,comprisesan
outer‘compressionring’whichislinkedtoaninner
‘tensionring’byasystemoftrussesandcables.The
innertensionringhousesthelightsandacoustic
equipment.Thetoplayeroftheroofismadeofaround
9000panelsoflaminatedsafetyglasstoallowin
plentyofnaturallight,whilethebottomlayerismade
upofwovenPVCceilingpanelsthatabsorbssound,
whileprotectingtheequipmentfrombelow.
P
h
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178 >
Facilities
Althoughtheseatingcapacityforthedurationof
theWorldCupaccommodated68000spectators,
aftertheendofthetournament,13000seatswere
removed,whichleft55000permanentseats.To
channelthelargecrowds,59maingatesleadto
115turnstilespositionedaroundthe745metrepe-
rimeter.Conveniencesinclude530toiletsand360
urinals.TherearefourTVstudios,24mediadesks
and178mediaseats,aswellasamedicalcentre
andapolicestation.Tocaterforthemovementof
theimpaired,thereare16liftsand120placesfor
spectatorsinwheelchairs.
“Thesizeofthefacilityisphenomenal,”saysBev
Mitchellofprojectmanager,MitchellduPlessisAs-
sociates(MDA).“Theroofiscolumn-freeandthe
seatingispositionedinsuchawaythatspectators
canseeallfourcornersoftheplayingareawithout
havingtostandorjump.Evenwhentheyleavetheir
seatstobuyfood,therearestillopportunitiesto
see the game while standing in the queues. To
complementtheactiononthefeld,twogiantTV
screens have been mounted above the seating
area–excellentforactionreplaysandclose-upsof
theaction.”
Jointeffort
Withinthetimeframeoftheproject,thedesign
teamspentayearinthepreparationphasebefore
theconstructionteameventuallybrokegroundin
February2007.However,timewasextremelylimited,
consideringtheenormityoftheproject,andtherefore
therewasacallfortendersfrommulti-disciplinary
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179 >
teamstoensurethateverythingwouldbecom-
pletedontime.
“Duringthetenderprocess,MDAputtwoteamsto-
gether and entered two different tenders, which
cameinfrstandsecond.Afterlengthydelibera-
tions,itwasdecidedthatbothteamsshouldbe
appointed.MDAwasthecommondenominator,so
thetwoteamswereco-ordinatedfromtheMDAof-
fces.Weputtogetherajointventureoffourproject
managementfrms–ourselves,BKS,AriyaProject
Managers and Ngonyama OkpanumAssociates.
Overall,weendedupwithover51frmsinvolvedon
theprofessionalteam,representing15disciplines.
Thatwastheonlywaywecouldseeourselvesbeing
abletohandthestadiumoverbytheendof2009,
thespecifeddeadline.”
Thefrstcostingscameout20–30%overthebudget,
requiringsignifcantdesignrefnementsinorder
toshrinkthecosts.“Tryingtoadjustthecostswasa
nightmareastheWorldwasgoingthroughareces-
sionandourlocalconstructionindustrywasfying,so
thelabourratesandmaterialscostswerealothigh-
er,”Mitchellelaborates.“Fortunately,wemanaged
tonegotiateaslightlyhigherbudgetasacompro-
miseandwewereabletocomeinbelowthat,in
theend.”
Withthehelpofgmp,theGermanarchitects,thede-
sign teammanagedtoconceptualiseastructure
thataddstothebeautyofCapeTown.Standing
proudlywithintheparklikesurroundings,itsform
iscertainlydistinctiveandsomewhatsculptural.
180 >
Sustainability
TherevampedGreenPointCommonisverymuch
apeopleplaceandtofallinlinewiththenatural
andhumanaspectsofitsenvironment,theCape
TownStadiumneededtobeasenvironmentally
sustainableaspossible.Partofthechallengewas
toreducetraffccongestioninordertoreducethe
stadium’scarbonfootprint.
“Fortunately,theCentralBusinessDistrictofCape
TowniswithinwalkingdistanceandanIntegrated
RapidTransitsystemisalsoavailabletotransport
spectatorsfromtheparkadesandopenparkingareas
withinthecitytothestadium.ThereareonlyVIPpark-
ingfacilitiesallocatedwithinthestadiumgrounds
–thesewillaccommodateupto3000vehicles.”
Furtherenvironmentallyconsciousinitiativesin-
cludedwatermanagementandenergyconservation
andrecyclingwhereverpossible.“WhentheGreen
PointStadiumwaspartiallydemolished,95%ofthe
componentswereincorporatedinthenewstadium
aspartofarecyclingproject,”Mitchellcontinues.
“Waterandenergysavingswerealsoapriority.”
Abuildingmanagementsystemhasbeenincorpo-
rated.Thismonitorsenergyusageandlightscanbe
switchedoffandair-conditioningadjustedinrooms
thatareunoccupied.Compactfuorescentlamps
havebeenusedinmostareasandtoreducethe
needforairconditioning,theoutercladdingofthe
stadiumallowsairtocirculate.
Waterfromtheroofischannelledintostoragetanks
andasmuchgreywaterisrecycledaspossible.
MuchofitisusedtofllpondsontheGreenPoint
Commonaswellasforirrigationofthegardens.
Furthermore,neithertheCommon,withitsurban
park,northestadium,reliesontheCityofCapeTown’s
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181 >
181 >
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182 >
watersupplyfordrinkingwater.Thisissourcedfrom
theOranjezichtNaturalSpringslocatedamerefour
kilometresaway.
Sustainability,ofcourse,doesnotonlyextendto
naturalresources.Atpeakstimes,therewereup
to2500peopleemployedonsite.Amongstthese,
around1200artisansreceivedtrainingduringthe
constructionperiod,whichwillequippedthemto
fndfurtheremploymentinthefuture.
Thestadiumismanagedbyaconsortiumconsisting
oftheSouthAfricansportsmarketingcompany,
SAIL,andStadedeFrance,operatorsofamajormulti-
purposevenueinParis.<
PhotosbyBruceSutherland,CityofCapeTown.
183 >
183 >
184 >
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MBOMBELA STADIUM
Nelspruit
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185 >
MBOMBELA
STADIUM:
FORTHE
LOVE
OFTHE
Known as Africa’s wildest stadium,
with18structuralgiraffeelementsand
seatspatternedwithzebrastripes,the
MbombelaStadiumwastheultimate
sportsvenueforthe2010FIFAWorld
CUp,wherethe‘game’ofsoccermet
the‘game’ofAfrica.
ByStaceyRowan
‘GAME’
186 >
AsoneofthestadiumsusedintheFIFA2010World
Cup,theMbombelaStadiuminNelspruitillustrat-
edtheloveofthesoccergamethatwasplayed
withinit.Thestadiumalsoshowcasedtheloveof
Africa’sbiggamethroughitsanimalisticarchitec-
turaldesign.
SituatedclosetotheworldrenownedKrugerPark,
surroundedbynumerousgamelodges,itwasimpera-
tiveforthestadiumtohavesomereferencetothebig
gameofAfrica.Aswildlifemuralsarenotconvinc-
ing, and following the belief that form follows
function,thelongroofcantileverdesignlentitselfto
acablestayedroofdesign,whichinturnrequireda
tower,creatingthegiraffeicon.Thegiraffetowers,a
keydesignelement,providedthestadiumwithan
Africanmotif.
The30metrehighgiraffemotifs,eachwithanabstract
head large enough for a person to stand inside,
havebeenplacedaroundtheoutsideedgeofthe
stadium,facingoutwards.Thebodiesandlegsof
thegiraffeshavebeenbuiltintotheconcretestruc-
tureofthebuilding,whilethenecksformanimpor-
tantpartofthesteelsupportingstructureforthe
roof,makingtheconceptnotonlyeye-catching,
butalsopractical.
“ThestadiumisatthedoorstepoftheKrugerPark
gamereserve,perfectlypositionedsothatattendance
ofoneofthemany2010WorldCupmatcheswas
becombinedwithavisittoviewthemagnifcence
ofAfrica’swildestanimals.Thiswasnotlostonthe
stadiumdesignersandthesignaturefeatureofthe
stadiumistheabstract18structuralgiraffes,making
thisSouthAfrica’swildestfootballandrugbystadium.
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187 >
Theroofsupportswerenaturallytallandslender
andcriedouttobegiraffes.Itwasoneofthosegreat
synergiesbetweenfunction,formandstructural
necessityandsotheMbombelaGiraffecametobe.
Theseatingbowlpatternedlikeaherdofzebrasen-
hanced the association,” say Douglas Roberts,
founder,R&LArchitectsandMikeBell,projectarchi-
tect,R&LArchitects.
ProudlySouthAfrican
LocatedinMpumalangaandworthR1,07billion,
theMbombelaStadiumwastheonlywhollySouth
Africandesignednewstadiumoutofallthestadi-
ums,withSouthAfricanproductshavingbeenused
asfaraspossible.OtherstadiumswhichwereSouth
Africandesignedweretechnicallyrevampsandnot
newlybuiltstadiumsastheMbombelaStadiumwas.
“ThisstadiumistheonlySouthAfricandesigned
anddetailedstructure.Thedesignintentionwas
tomakethisanAfricanstadium.Itclearlylooks,feels
andisSouthernAfrican,”addRobertsandBell.
Asthesiteiscradledinanarcofgraniteoutcrops
andlocalthorntrees,thesurroundinglandscape
providesa‘SouthAfrican’feelandlowveldexperi-
ence.Theopeningbetweentheupperedgeofthe
seatingbowlandtheroofprovidesagapthrough
whichtheskyandsurroundinggranitetoppedhills
arevisiblefrommostoftheseats.Theroofcreates
theillusionoffoatingwithalightnessratherlikean
acaciatreecanopy.AnAcaciaforestonthesouth
hasbeenpreservedandadjoinsthestadium.The
main spectator approach path passes through
thesetreesprovidinga‘bushveld’experience.
Functionalityversusaesthetics
WithDurban’sMosesMabhidaStadiumhavingan
iconicarch,Johannesburg’sSoccerCityshowcas-
inganimpressivecalabashfaçadeandtheCape
TownStadiumpossessinganimpressiveroof,it
Theexteriorfaçadeofthestadiummolds
beautifullyintoitswildandplant-flled
surroundings.
189 >
wasimperativefortheMbombelaStadiumtohave
itsownuniquelyidentifablesignature.
Designedforcontextualrelevanceandfunctional-
ityratherthananiconicstatementandaesthetics,
theMbombelaStadium’spleasantstadiumexperi-
enceshavetodowiththeintimateproximitytothe
pitch,clearsightlinesandeaseofaccess.Otherele-
mentshavegreaterattentiontodetailratherthan
fashydécorandstoicstructures.
Stadiumdesignprinciples
Thestadiumseats40000spectatorsonthreeseat-
ingterraces.Foragoodviewofamatch,aspectator
requiresgoodfoodlighting,proximitytothefeld
ofplayandaclearviewofallpartsofthepitch.These
are,tosomeextent,confictingrequirementsbe-
causethecloseryoubringthestandstothefeld,the
poorerthesightlinesbecome.Ifyouremovespecta-
torsfromthepitchbyhavingseatingplacedata
distance,theirexperienceisdiminished.Thetrick
hereistofndtherightbalanceinordertoachieve
bothproximitytothepitchandgoodsightlinesfor
spectators.Basically,thesightlinesattheMbombela
Stadiumareexcellent,enhancingspectatorsatis-
faction.
Thedesignatalltimeswaskeptrelativelysimple,tak-
ingintoaccountthelocalityofthestructureandthe
skillsavailablefromthelocallabourforce.Another
majorfactorinkeepingthestadiumsimpleandacces-
siblewasthatthearrivalandgeneralspectatorcir-
culationoccursatthemid-heightlevelofthestadium.
Spectatorsneedingaccesstothelowerterraceeas-
ilywalkdowntotheirseats,andspectatorsusingthe
suite level and upper terrace walk up less than
halftheheightthattheywouldnormallydoatlarger
stadiums.“Theaimoflayingthearenainasimple
rectangularplanform,andnotinanovalshape,
wastosimplifytheconstructionprocessandkeep
thebudgetincheck.Bothofthetwomainseating
tierslinkdirectlyintocontinuousandgenerous
TOP:Thethemeofsoccerisspread
throughoutthestadiumwiththeuseof
soccericonwallcoverings.
ABOVE:Withbrightcoloursandanimalistic
designelements,thisisAfrica’swildest
stadium.
TOP:Thecolourfulinteriorcreatesanexciting
andvibrantatmosphere.
CENTRE&ABOVE:Zebra-stripedseatsenhance
thewildanimalisticfeelofthestadium.
190 >
pedestrian concourses, which in turn link with
eightgenerouspedestrianramps.
Inordertomeetthechallengingbudget,MOTTMc-
DonaldinLondonoptimisedtheroofdesigntobe
extremelylight,settingaworldstandardforde-
sign weights.TheroofdesignhaswontheBritish
OverseasExpertiseAwardinthesportandleisure
category.
“Thearchitectsfolloweduniversallyacceptedstadium
principlesandusedtheFIFATechnicalRecommen-
dationsandRequirementsfortheConstructionor
ModernisationofFootballStadia,2000andthe
‘Guide to Safety at Sport Grounds’ (Green Guide)
HMSO1997,”sayRobertsandBell.
Construction
Theclient,MbombelaMunicipality,wantedastadi-
umdesignthatcouldftapproximately45000seats
andonethatwassuitabletohostpreliminary2010
WorldCupGroupstagematches.Thestadiumhadto
beFIFAcompliantintermsofsafetyanddesigned
accordingtotheBritishPublishedGreenGuide.It
hadtobeconstructedwithinthebudgetsprovided
as,unlikelargermunicipalitieselsewhereinSouth
Africa,thismunicipalitydidnothavefundstocover
extracostsoverandabovetheinitialbudget.
Thestadiumwasbuiltonasitethathasanesti-
mated5metreslopefromendtoend,whichiside-
al,butthegroundconditionsproveddiffcultwith
excessiveclaynecessitatingexpensivefoundation
piles.“Fourleggedconcretecolumnsbuiltat10me-
treintervalswerepouredincrementallyaroundthe
stadium.Thesteelroofstructurefollowed,assem-
bledmodulebymodule.Thepre-castseatingtiers
andstepsfollowedasthepouredconcretecured.
Thelowertierexcavatedintothegroundwasrela-
tivelyindependentofthemainstructureandcould
thereforebeinstalledaccordingtoitsownidealpro-
gramme,”explainRobertsandBell.
Medupi ACC JV for ESKOM, Ellisras
N1 Freeway Bridge - Lynnwood, Pretoria
192 >
Eachgiraffemotifhasaheadlargeenoughfora
persontostandinside.
AnarchitecturalgiraffestaresintotheSouthAfrican
sunset.
Afsheyeviewoftheentirestadium,showcasingitszebra-stripedseatsandeightgiraffes.
193 >
Out of all the stadiums used for the FIFA 2010
WorldCup,theMbombelaStadiumhadthelowest
perseatcost.Thestadiumcanseatupto43500
spectators,ofwhich40000ticketsweresoldfor
theWorldCupand3500wereformediaandVIP
seats.Theseatswerenotremovable,thustheca-
pacityremainedunchangedaftertheWorldCup.
Forthespectatorswithwheelchairs, 196 wheel-
chairspacesareavailable.
Theseatinginthestadiumwastheclosesttothepitch
ofalltheWorldCupStadiumsinSouthAfrica.Inaddi-
tion,94%oftheseatingwasunderroofng,making
MbombelaStadium,alongwiththeCapeTownStadi-
um,thestadiumswiththemostseatsunderroofng.
TheRyegrasspitch,whichis693mabovesealevel,
hasagrasssurfacesuitableforinternationalrugby
andsoccer.
Diffcultiesfaced&challenges
overcome
Witharestrictedbudgetitwasimperativetostaywith-
inthelimits,thereforetheconstruction,including
mostcomponents,werelocallyprocured,manufac-
turedandassembled.Thedistancefromthemain
commercialandindustrialcentresrequiredaconsid-
erableamountoftransportationofprefabricated
goodswhichwasachallenge.Otherchallenges
facedincludedthediffcultgroundconditionsand
therelativelysmallcapacityoflocalcontractorsand
subcontractorsthatwereincludedintheproject.
194 >
Themaincontractorhadtotrainover400work-
men,andlocalresidentswhowereseasonalfruit
pickers,invariousbuildingskills.Despiteanumber
ofstrikesandthecollapseofagiantcraneinama-
jorstorm,whichresultedinthelossofnumerous
workingdays,theconstructionteammanagedto
meetthecontractualdeadlines.
The‘goal’istobe‘green’
Tomaintainalowcarbonfootprint,withthe‘goal’
ofbeing‘green’,thedesignersandthemunicipality
didtheirbittofallinlinewiththeWorldCup’sGreen
Goalinitiative.
“Alowtransportcarbonfootprintwasachievedby
minimisingtheuseofoverseascomponentsasfar
aspossible.Theenvironmentallyfriendlyandeco-
logicalaspectsofthedesignincludetherecoveryof
rainwaterrunofffromthestadiumroofandrecovery
oftheirrigationandprecipitationwateronthepitch
viaapipenetworkthatchannelsthewaterbackto
aholdingtankforre-use.Muchcarehasbeentak-
entorecoverandrecyclebothrainandirrigation
water. Another innovation is the heat recovery
from the air conditioning system which in turn
heatsthehotwaterforthebuilding.”
Othergreeninitiativesincludealargesolararray
connecteddirectlyintothebuildinggrid.Theclimate
oftheregionallowsforopenconcourses.Thesixme-
treopeningbetweentheupperedgeofthetiered
seatingandtheroofventilatestheseatingbowlon
hotdaysandcreatesafeelingofopenness.
Facilitiesavailable
EverynewstadiumincludingMbombelawasbuilt
toFIFA’sspecifcations.Themainplayers’change
rooms,locatedinthebasement,caneachaccom-
modate50people.Thefacilitiesincludenettedwarm
upareas,afullyequippedgymnasium,amplelockers,
Anartist’scolourpalettewasusedforthe
interior,withcoloursofred,orange,blue
andgreensplatteredthroughouttheinterior
structure.
196 >
The30metrehighgiraffemotifshavebeenplacedaroundtheoutsideedgeofthestadium,facingoutwards.
197 >
Thelongroofcantileverdesignlentitselftoacablestayedroofdesign,which
inturnrequiredatower,creatingthegiraffeicon.
198 >
hydrotherapybaths,bootwashfacilitiesandre-
laxationrooms.Elaboratepressfacilitiesareincor-
poratedincludinganauditorium,withaudiovisual
equipment for game analysis and press confer-
encesandassociatedrecreationalspaces.Offces
suitableforrunningthestadiumandagymnasium
forpublicusehavealsobeenplanned.
The mid-level, located between the upper and
lowertiersinthestadium,hasaPresidentialSuite
withbarsanddiningroom,publicrestaurantfacili-
tiesand28publicleasedskyboxes.Alongsidethe
skyboxes,fveclubloungeshavealsobeenbuilt.
ThePresidentialSuiteisservicedbyaliftfroma
drop-offpointinthebasement.ThereisalsoaTV
studio and the venue operations centre on the
Mid-level.
Alecturetheatrewithrelatedkitchensandacom-
mercial gymnasium on the ground floor can be
usedforoccasionsunrelatedtofootballorrugby
games.“Thesiteislargeandwillbedevelopedin
thecourseoftimetoincludeanathleticstrack,
netballcourtsandtenniscourtswithaccompany-
ingfacilities.ItishopedthateventuallyaSports
ScienceCentrewillfollow.Asthepublic’sneeds
becomeclearer,thebalanceofthespace(thatwas
initiallyusedasFIFAentertainmentareasforthe
worldcupmatches)willberetainedaslargeenter-
tainmentareasorconvertedintofurtherskyboxes
orleasedascommercialoffces.”
“BoththeMbombelaMunicipality,includingtheir
enthusiasticMayor,andtheMpumulangaProvin-
cialoffcialsappearextremelyproudoftheirnew
asset,”concludeRobertsandBell.
DannyJordaan,headoftheFIFALocalOrganising
Committee,hasalsorecentlysaidthat“theMbombela
Stadiumisoneofthemostdistinctiveandunique
stadiumsinFIFAWorldCuphistory.”<
TOP:Asimpleandformalarchitectural
designwasusedfortheshowerfacilities.
CENTRE:Brightcolourpaletteshavebeen
usedforinteriorrooms,togetherwith
Africanelements.
ABOVE:Thelockerroomsprovideplayers
withaprofessionalspacetoprepandget
readyforthebiggame.
We do all
Building alterations
Plumbing
Fire-claims
Replacement of ceilings
Painting
Burglary repairs
Tel: 012 664-1717 Fax: 012 664-7810 email: camjor@telkomsa.net
Address: 22 Botha Avenue, Lyttelton, Centurion
200 >
Theinteriorviewofthepitchandsomeoftheseating.
201 >
TheEllisParkStadium,situatedintheheartofJohannes-
burg,isoneofthecountry’smostfamousvenuesforlarge
sporting events. In order to qualify as a venue for the
stagingofmatchesforthe2010FIFASoccerWorldCup,the
stadiumunderwentafaceliftandupgrade.Thiswashighly
challenging,asthestadiumremainedoperationalthrough-
outtherenovation.
ByBevHermanson
ASLICEOF
HISTORY
GETSA
FACELIFT
TheEllisParkStadiumwillalwayshaveitsplacein
thehistoryofSouthAfricanrugby.Fewwillforget
thespiritofunitythatsoaredhighabovethena-
tionasNelsonMandelahelduptheRugbyWorld
CupTrophythatwaswonbytheSpringboksback
in1995.Itwasapoignantmomentinthecountry’s
historythatwillliveforeverintheheartsofourre-
centlyliberatedrainbowpeople.
Fewcanlikewiseforgetthetragiclossoflifeastoo
manyfans,crammedintoEllisPark,panickedand
ranamokatanOrlandoPiratesvsKaiserChiefs
clashin2003.Thusthestadium’shallsresonate
withglory,yetareshroudedinsorrow.
ThefrstEllisParkstadiumwasbuiltonthesiteback
in1928on13acresthatwereearmarkedforthepur-
posebytheJohannesburgCouncillor,JDEllis.After
justoverhalfacenturyofrugbytriumphsandde-
feats,thestadiumwasdemolishedtomakeway
foramoremodernfacility.Thenewstadiumwas
completedin1982,butitremainedverymucha
maledominateddomain.
FrombeingthebasefortheTransvaalRugbyUnionin
theearly1900s,thenewstadiumwasestablished
asthehomeoftheCatsandtheLionsRugbyUnion.It
wasalsoapopularvenuefortestmatcheswherehis-
torywasmadeinthetitanicstrugglesbetweenrug-
bynations.Thiswastheplacewherelegendswere
born.
Oneofthemostmemorablemomentswaswhen
JoelStranskybootedadropgoalinextratimeonthat
fatefuldaybackinJune1995,whentheSpringboks
wrenchedthe RugbyWorld Cup title and trophy
fromtheAllBlackswitha15:12fnalscore.
Tenyearslater,historywasagainmadewhen51%
ownershipwaspassedtotheOrlandoPiratesFootball
Club,establishingEllisParkasthefrstblack-owned
stadiuminSouthAfricaandhometobothsoccer
andrugby–stillinthemain,maledominatedsports.
Thebrief
Whenplanswereputinplacetopreparethevarious
citiesforthestagingofthe2010FIFAWorldCup,
Ellis Park again came into the limelight.Where
nearlyacenturyago,13acreshadeasilybeenset
asideforenjoymentofthesportofrugby,thepre-
cincthadnow becomelargelybuilt-up.Thiswas
indeedchallengingfortheteamatDBMArchitects,
whowerepartoftheconsortiumtaskedwithup-
grading the conveniently situated stadium to a
seatingcapacityof62000spectators.
“ThestadiumformspartoftheEllisParkWorldof
SportCampus.NowknownasCocaColaPark,the
stadium rubs shoulders with the Johannesburg
Stadium,thehomeofathletics,theStandardBank
Arena,apopularvenueforconcerts,tennistourna-
ments,boxingandsquashchampionshipsandthe
202 >
AerialviewofEllisPark,nowrenamedtheCocaColaStadium. Thestadiumprecinct.PhotobyEmilyVisser.
203 >
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Olympicsizedswimmingpool.Althougharound
R2-billionwassetasidebytheJohannesburgDe-
velopmentAgency(JDA)foramajorupgradeand
regenerationofthesuburbsofDoornfontein,Ber-
trams, Bezuidenhout Valley, Troyeville, Judith’s
PaarlandLorentzville,onlyR230-millionwasallo-
catedtotheupgradingoftheCocaColaParkStadi-
um,” saysWynand du Plessis of DBM Architects.
“Thiswaslessthanatenthofthebudgetsforsome
ofthenewstadiums.”
Whenonelookedattheaerialviewoftheprecinct,
thetightnessoftheurbanfabricwasapparent.As
therewasnotmuchinthewayofparking,hence
thePark‘nRideschemethatwasputinplacesome
yearsback,tocopewiththeinfuxoffans.
Theupgradewasdividedintofourcategories:
> Theentiremainwesterngrandstandwasupgrad-
ed,includingallofthecompetitors’,hospitality
andmediaareas.
> Theexistingtoiletsandconcessionfacilitiesaround
thestadiumwerecompletelyoverhauledandaddi-
tionaltoiletfacilitieswereaddedforwomen.
> Anewupperseatingtierthatwouldaccommo-
dateanadditional5000seatswasaddedtothe
northernpavilion.Thishadtoincludearoof.
> Aparkadewasadded,enoughtoaccommodate
1 100 vehicles for VIP parking, with plans in
placeforfurtherexpansioninthefuture.Thisbuild-
ingnowincludesprovisionforstoragespace,a
publicmedicalcentre,apolicestationwithholding
cellsandretailtradingspace.
“Inorderforastadiumtoqualifytohostsomeof
thematchesuptoquarterfnallevel,theseatingca-
pacity had to accommodate more than 60 000
spectators.Thiswastrickyas,duetothebigpress
contingent,we ‘lost’alotofseats,”duPlessisex-
plains.“Asaresultoftherestrictedbudget,wehad
tobeverydisciplinedintermsofwhatshouldbe
upgradedandhow.Oneoftheareasthatwede-
cidedtofocusonwasthepublicareabetweenwhat
wastheEllisParkStadiumandtheStandardBank
Arena.Weknewthatmostofthepublicapproached
thestadiumfromthenorth,sowedecidedtomake
thisaspectthefaceofthenewCocaColaPark,with
thenewParkadelocatedontheeasternside.”
Executionofthedesignconcepts
Theaestheticstyleofthenewnorthernelevation
canbedescribedasmodernfunctionalism.Elements
weredevelopedto‘workwith’theexistingstruc-
ture.Theseincludedanewstructuralskinofcare-
fullydesignedsteelsupportsthatcarrythenew
roofandseating,alongwithhugeuprightsmade
ofoff-shutterconcretedissectedbyanenormous
TheEllisParkprecincthasbeenextensivelyupgradedaspart
oftheJohannesburgurbanregenerationinitiative.
Thestadiumprecinct.PhotobyEmilyVisser.
205 >
AerialviewofEllisPark,nowrenamedtheCoca-ColaPark.
206 >
redarchthathintsattherainbowofthenewde-
mocracy. Further, the steel grille screening the
glassed area is suggestive of the South African
fag.
Over and above the architectural requirements,
every other aspect of the stadium had to be
broughtintolinewithFIFA’srequirements.Thisin-
cludedtheupgradingofthefoodlighting,which
hadtobedoubledinintensity.Therearetemporary
structuresthathavebeenplacedasoverlays,tobe
usedonlyduringtheSoccerWorldCup–thesewill
bedismantledandremovedafterthechampion-
ships are concluded.This includes a bridge be-
tweentheuniversityandthestadiumforusebythe
press.Then,forfuturesustainability,alegacyelement
hasbeenintegraltotheoveralldesign.Thisincludes
aconferencecentre,thatwillaccommodatebetween
800and1000delegates,thathasbeencreatedout
ofwhatwasaparkinglevelbehindthegrandstand.
Fortheconferencevenue,thepresidentialsuite
andthesportscentre,anaffordabletuftedcarpettile
fromNexus’sMatrixrangewasused.Thisprovides
insulation,warmthandtheabsorptionofambientsta-
diumnoise.
“WiththecarpetingattheEllisParkStadium,budg-
etanddurabilityweremajorconsiderations.Nexus
wasawardedthecontractasourproductsaremanu-
facturedlocallybuttothebestinternationalstand-
ards.Ifanyproblemsarisewiththefooring,itis
easiertoobtainsuppliesandmaterialsfromalo-
calmanufacturerandourcarpetsarebackedwith
a15yearwearwarranty,”saysAdrianScholtz,a
Nexusrepresentative.
Nexusisthecommercialdivisionofleadingcarpet
manufacturer,BelgotexFloorcoverings(Pty)Ltd.
Withitswiderangeofproducts,Nexusassisted
DBMArchitectsbyprovidingadurabletiletocope
withtheexpectedheavytraffcfow.“Theobjective
wastosteerawayfroman‘offcelook’andtocre-
ateanaestheticallypleasinginterior,withalinear
appearance.Forthis,weusedcarpettiles,instead
ofbroadloomcarpeting,”Scholtzexplains.
Publicsafety
Spectator safety is an essential consideration
whenplanningapublicfacilitysuchasastadium.
Crowd control and the dynamics of emergency
situationshavedistinctivepatternsandsincethe
2003tragedy,themanagementoftheCoca-Cola
StadiumattheEllisParkcampusisemphaticthat
thiskindofincidentshouldnotbeallowedtohap-
penagain.Likelyevacuationpatternswereexam-
inedandescaperoutesidentifed.
Themainescaperouteprovidedisa4m-widetun-
nelatthenorth-easternendofthestadium.Thisis
wideenoughforemergencyandservicevehicles
tousetogetontothepitchinordertoevacuate
anyonethathasbeeninjured.Theexitofthetun-
nelisclosetothenew,state-of-the-artmedical
centrelocatedinthenewparkade.
Disabled and paraplegic spectators have also
beenconsidered.Thereare200spectatorseating
positionsallocatedatgroundlevelwithrampsfor
easy access by wheel chairs and in the cloak-
rooms, emergency alerts have taken sight and
hearingimpairedindividualsintoaccount,too.So,
forexample,afashinglightwillindicateaneedfor
evacuation,toalerthearingimpairedspectatorsto
anemergency.
TheupgradestartedinAugust2007andendedin
March2009,intimeforthesuccessfulstagingofthe
ConfederationsCupinJune2009.
“ItwasindeedaprivilegeforDBMArchitectsto
havebeeninvolvedinthisproject.Ithasenhanced
ourunderstandingofstadiaasabuiltformand
whilechallengingonmanylevels,itwasapleas-
uretobepartoftheveryspecialteamthataccom-
plishedthisupgrade,”saysduPlessis.<
207 >
Twoconcretecolumnssupportaredfashthatisreminiscentof
thecountry’srainbow.
Theextensiveuseofsteelsupportsaddsaslightlymore
contemporaryappearancetotherenovatedstadium.
208 >
Itwasin1999thatspectatorsattheLoftus
VersfeldStadiumwitnessedBafanaBanfana,
SouthAfrica’snationalteam,playasoccer
gameagainstSweden.Asoneofthevenues
thathostedmatchesofthe2010FIFAWorld
Cup,LoftusVersveldgaveitsspectatorsthe
opportunityonceagaintowitnessBafana
Bafanaplayanothergameofsoccerwhen
theyplayedagainstUruguayatthestadium.
TheLoftusVersfeldStadiumhasalotofcharacter,
ithashistoryandithasasenseofplace.Situated
inTshwane,Pretoria,thestadiumislocatedwithin
averydenseandurbanfabric,makingitpartof
thecity.Itisnotisolatedfromthecityassomeof
theotherstadiumsare,whichmakesitunique.“It
isnotjustastadium,butitisabuzzofactivities.
Ithasavibe,”saysBhavikRanchod,architectand
projectmanager,TheCreativeAxisArchitects.
ONEOFTHEOLDESTSTADIUMS
LoftusVersfeldStadiumisoneoftheoldeststadi-
ums in South Africa.This all-seater stadium has
beenusedformajorsportingeventssince1903,in-
cludingsignifcantmatcheswhichwerepartofthe
1995RugbyWorldCupandthe1996CAFAfrican
CupofNations.Hostingcountlessrugbyandsoccer
matches, this stadium is no stranger to these
sports.LoftusVersfeldStadiumisthehomeground
oftheMamelodiSundownsFootballClub,oneof
SouthAfrica’spremiereprofessionalclubs,andSuper-
sportUnited.Itisalsohometooneofthecountry’s
toprugbyteams,theBlueBulls.
Thestadium’sfrstconcretestructure,builtbythe
CityCouncilofPretoriain1923,couldonlyaccom-
modatetwothousandspectators.Since1948,Loftus
Versfeld has undergone constant upgrades and
renovations and its four main stands have been
completelyrebuilt.
LOFTUS
SPECTATORS
WITNESSED
ANOTHERBAFANA
BAFANAGAME ByStaceyRowan
209 >
UPGRADINGTHEOLDTO
MAKEITNEW
ThemostrecentrenovationatLoftuswasthe2010
FIFAWorldCupfacelift.Toqualifyforselectionasa
SouthAfrican2010hoststadiumandavenuefor
theWorldCup,thestadiumwasupgradedtomeet
thestringentrequirementsspecifedbyFIFA.
“ThestadiumisownedbyTheBlueBullsCompany
(Pty)Ltd,wherebyotherstadiumsareownedeither
bymunicipalitiesorthegovernment.Beinganold
stadium,itrequiredvariousupgradesinorderto
make the stadium FIFA complaint. Unlike other
newlybuiltstadiums,thisprojectonlyinvolvedan
upgrade,”addsRanchod.
Thebriefentailedanupgradethatincludedbasicad-
ditionsandarefurbishment.Thefoodlightswere
upgradedandanewroofovertheeasternpavilionwas
built,whichnowhousesanewsetoffoodlights,
addingtotheaestheticsofthestadium.Another
upgradeincludedtheimplementationofback-up
power,throughtheuseofgenerators.“Duringthe
matches,thestadiumwillrunoffgenerators,elimi-
natingtheriskofpowerfailures,”saysRanchod.
Thescoreboard,players’changeroomsandsound
systemwerealsoupgradedtomeetFIFA’sspecif-
cations and designated media areas were con-
structedinthelowerleveloftheweststand.With
anestimatedseatcapacityof49215seats,thetask
ofreplacingeachseatwaschallenging.“Thenewly
placedbrightblueseats,whichareplasteredevery-
where,standout,”saysRanchod.Anewliftonthe
north-westcornerofthestadiumwasadded,to-
getherwiththeplacementofanewringofturn-
stilesthatarelocatedaroundthestadium.TheIT
systemswerealsoupgradedwhichallowedfordig-
ital access control and the pitch was restored,
amongotherminorupgradesthatoccurred.
Inaddition,anewwalkwaywasbuiltontheeastern
sideofthestadium,whichallowedformorethan
210 >
50%ofthestadiums’spectatorstocomethrough
theeastside.Thisentrancewasalsodesignedto
doubleupasanessentialaccessforemergencyve-
hicles. The walkway was, and still is, seen as a
meansofknittingtheprecincttogetherwithboth
thetransportandbusroutes,aswellasthejam-
packedsocialareaofHatfeld.Withthewalkway
beingdesignedaroundaclassicpark-likeapproach,
itmadethestadiumupgrade,asawhole,serveas
adynamicrenditiontothelistoflandmarksalready
defningthecity.
Otherupgradesincludedtherefurbishmentofthe
boardhallarea,newtoiletblockswereintroduced
andtheVIPareasonthemainpavilionwereup-
graded.Thekeyentrancesaswellasablutionfa-
cilitiessituatedaroundthestadiumwererenovat-
ed,whichgavethestadiumafreshnewlook.
THESTADIUMTHATNEVERSLEEPS
The Loftus Versfeld Stadium was different from
mostoftheother2010FIFAstadiumsasitwasa
workingstadium,withmatchesthatwereplayedon
anongoingbasisduringtheconstructionphase.
“Wefacedenormouschallengesinthatweneeded
totakehealthandsafetyintoconsideration,mak-
ingsurethatnospectatorsorplayerswerehurt.
EventhoughLoftusVersfeldwasa‘living’stadium
atthetimeoftheconstructionperiod,noincidents
occurred.
Havingthesmallestbudgetofallthe2010stadiums
wasanotherchallengefortheprojectteam.“We
didnothavethefreedomtodowhatwewishedar-
chitecturallyduetoourlimitedbudgetandthere-
forewecouldnotmakeanarchitecturalstatement,”
explainsRanchod.
Keeping within the stadium’s surroundings was
alsoachallengethatwasfaced,yetaccomplished.
“Wehadtotiethestadiumintowhatwasalready
there,keepwithintheheritageofthestadiumand
notallowourconstructionactivitiestodisturbthe
outsidearea.”Thestadiummaintainedinteraction
withthecity,whichwasvital.
Duringtheupgrade,theprojectteammaintained
eco-friendliness.Someoftheeco-friendlymethods
usedincludedtheuseofenergyeffcientproducts
forlightingandplacementofeco-friendlyfooring
likebamboofnishedfoorsandcertaineco-friendly
carpets.“Wetriedtomakethestadiumeco-friendly
wherewecould.”
AMIXED-USEDEVELOPMENT
“Thefullyoperationalstadiumcanbeconsidereda
mixed-usedevelopmentasithousesmorethan300
offces,aconferencevenue,anauditorium,change
roomsfortheplayers,manysuitesandskyboxes,”
saysRanchod.Accordingtotheclient’sbriefand
theBlueBullsManagementAgency,thestadium
hadtobeofbenefttotheownersasafuture-use
development,afterthe2010WorldCup.
“TheLoftusVersfeldStadiumprovedtobeareward-
ingprojectuponcompletion.Withthebasicinfra-
structureimproved,itisnowaFIFA-compliantstadium
andweareproudtosaythattheFIFAaffliatesare
satisfedwiththestadium,”concludesRanchod.<
211 >
GREEN
PARK:
‘WORK,
LIVE&
PLAY’
Withapublicsquare,offces,a5-starboutique
hotel,apavementretailcentre,cafes,anup-
marketnightclub,aconferencecentre,aVirgin
Activehealthcentre,aspaandapartments,
residents, employees and guests at Green
Parkdon’thavetostepafootoutsideitsdoors.
Alltheirbasicneedsaresatisfedbythefacilities
availableatthedevelopment,whichprovide
meansoffood,exercise,leisure,workandrest.
At this urban lifestyle development it’s all
aboutthe‘Work,Live,andPlay’.
GreenParkissituatedinWestRoadSouth,
Morningside,withinwalkingdistancefrom
SandtonCentralandthenewGautrainStation.
Althoughphasetwoandthreeofthedevel-
opmentareonlysetforcompletionin2013
and2015respectively,phaseoneisduefor
completionattheendof2010.
212 >
ByStaceyRowan.
213 >
ARCHITECTURALDESIGN
ThearchitecturaldesignofGreenParkis
environmentallyresponsive.Thedevelop-
menthastobecarefullyorientatednorth-
wardstoallowfornaturalsunlightandsum-
mershading.
“Thesiteitlocatedwithinapublicenviron-
mentandhasbeendesignedtoaccommo-
datethepeople.Thedesignisdeliberately
pedestrianandinclusiveofthesurrounding
areas.Theintentionwas,andcontinuesto
be,tocreateacomfortablehumanenviron-
mentsimilartothekindofsmallerscaleur-
banareaswhichexistedbeforecar-driven
planningdestroyedmostofthiscity.Also,
theclientunderstandshowcomplexand
integratedenvironmentsfunctionwhichhas
madeitpossibleforthedesigntodevelop
inaverydifferentmannertoconventional
projectsinSandton,”explainssaysVaughn
Horsman,headarchitectontheproject.
Apartfromthearchitecturaldesign,the
overallaestheticsofthedevelopmentare
modern and contemporary.The interior
calledforacleanandneutrallook.“Thiswas
createdthroughtheuseofneutralmaterial
choiceslikeconcreteintheframestructures,
glassforthefacadesandgreyandwhite
plaster.Otherchoicesincludedrobustexter-
nalmaterials,brickworkskinwithgamma
zenithorcladdingandtimberforthebal-
conies.
214 >
CHALLENGESFACED
Withthedevelopmentofferingapartments,
hotel rooms and offce spaces, among
others,thisrequiredasubstantiallylarge
amountofparkingthatneededtobebuilt.
“Thereisahugeamountofparkingaccom-
modatedoverfourbasements.”Notonly
didthesefacilitiescreateaneedformass
parking,butthemixed-useofthedevel-
opmentalsocreatedchallenges.“Thecom-
plexitiesofmixed-usearenaturallychal-
lenging.Theresidentialapartmentson
topofretailhadtobecarefullyplanned,as
wellastheoffcespacethemselves.The
useofdeepgreengardendecksandar-
cadesthatseparatethesevariouszones
providedasolutionforthis,”saysHorsman.
SOARINGINTOTHESKIES
GreenParkcertainlysoarsintotheskies
withits20storycommercialoffce,which
formsthetallestbuildinginthedevelop-
ment.“Thedesignbrief,fromourclient
LushakaInvestments,calledforamixed-
use,highriseandhighdensityprecinctin
Morningside,whichwouldfocusaroundan
urbansquare.Thelandcosthasdemanded
that the design maximises height and
bulkatallcosts,”saysHorsman.
216 >
217 >
LANDSCAPEARCHITECTURE
BerthaWiumLandscapeDevelopment,in
association with Red Landscape Archi-
tects,wasresponsiblefortheexecutionof
thelandscapearchitectureoftheLandscape
DevelopmentPlan,ascommissionedby
A3Architects.
“Workingincloserelationwiththeclient
andthearchitects,thevisionwasformu-
lated–developingalandscapethatwill
emphasisethenameofthedevelopment
‘GreenPark’.Thedesignallowedforample
green,verticalwalls,raisedplantersand
lawnareas,potgardensandlargetrees
plantedinsunkengardens,”saysBertha
Wium,MD,BerthaWiumLandscapeDevel-
opment(Pty)LtdandFrancoisvanRooyen,
MD,RedLandscapeArchitects(Pty)Ltd.
Thelandscapearchitectureneededtoover-
cometheadverseclimaticconditionsas-
sociatedwiththebuiltupenvironments
inSandton.Thiswasachievedbystrate-
gicallydesigningthelocationoftheland-
scape within and around the building,
ensuringthattheultimatelandscapewas
chosenintheavailablespaces.
“ThedesignofGreenParkwillbeayard
stickfornewbuildingsinandaroundSand-
ton,”saysWium.
A3ARCHITECTS
A3 Architects worked closely with the
LushakaGrouptocreatetheultra-modern
architecturaldesignofGreenParkSandton.
Differentiatingthemfromotherarchitec-
turalfrmsisthereuniquerelationshipswith
clientsandsuppliersandthereongoing
personalservice.“Ourpracticeisnotonly
aboutdeliveringtheendproduct,butit’s
alsoaboutcreatingrelationshipswithour
clientsensuringthattheirrequirements
aremet.Thepracticeitselfisahardwork-
ingbutrelaxedenvironmentwithagood
vibebetweencolleagues.Itisalsoalearn-
ingenvironmentwhereeveryoneisableto
participateinalllevelsofacertainproject,
askquestionsandanumberofstudents
areemployedandtrained.<
218 > 218 >
We SALUTE , NEDBANK’S EARTHLY “GREEN” SOUTH AFRI-
CAN VISION for commitment to a healthy work environ-
ment, and their insistence that all Carpet Tiles installed
at their Sandton “Phase 2” premises are manufactured
IN South Africa and are “Greenstar IEQ-13” compliant.
This “Green – Keep it South African” vision was directly
responsible for Dyemension Dynamix Corporate Carpets
(Pty) Ltd urgently researching and acquiring the neces-
sary knowledge, technology, skills and equipment for
production and the resultant “Greenstar IEQ-13”
accreditation on all of our products including the
Nedbank carpet tiles used in “Phase 2”.
In addition to creating a healthier, sustainable environ-
ment the opening of export opportunities with compli-
ant South African products is an important added
benefit.
This “keep it – Green and South African” vision is appre-
ciated and seen as a genuine display of Nedbank’s
Corporate Responsibility in creating opportunities and
jobs, by ensuring local products enjoy all the benefits
of, and are equivalent to, internationally available “state
of the art” products worldwide.
For more information please visit us at
www.dyemensiondynamix.co.za
Email us: dyedynamix@mweb.co.za
Tel no: +27 (31) 464 2627
Fax no: +27 (31) 464 9450
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yemension
ynamix
DESIGN DYNAMICS BY DYEMENSION DYNAMIX
Nedbank – colour sandune carpet tiles.As supplied by Dyemension Dynamix and Installed by
Peter Bates Flooring in Nedbank’s Phase 2 Rivonia Project.
GREENBUILDINGCOUNCIL
MEMBER ORGANISATION
SA
219 > 219 >
The‘Gogreen’movement,atrend
thathasbeenaroundforages,is
continuouslyevolving.
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ByStaceyRowan
Weallknowthewaystoliveeco-friendlyliveslike
switchingofflightsandusingwater-savingdevices
inourhomes,reducingourusageofmotorvehicles,
plantingtreesinourgardensandrecycling.Going
greenisheretostayandthevarioustrendswithin
thegreenmovementarenowchangingdirection,
movingbeyondmaintainingeco-friendlylives,to
developingeco-friendly‘green’buildings.
NedbankPhase2,situatedinSandton,Johannes-
burg,notonlyisoneofthelargestbankoffcecom-
plexesinSouthAfrica,butitisalsothefrstbuilding
inSouthAfricatoreceiveGreenStaraccreditation.
“ThisisahugeachievementinSouthAfrica,asthis
hasneverbeendonebefore.Therearenoothercerti-
fedbuildingsyetinSouthAfrica,”saysMarloes
Reinink, the sustainable building consultant on
theNedbankproject.
Whatisagreenbuilding?
Tounderstandthisachievement,itisimportantto
frstunderstandtheconceptofagreenbuilding.
AccordingtotheGreenBuildingCouncilofSouth
Africa(GBCSA),agreenbuildingisastructurethatis
energyandresourceeffcient,whilstmaintaining
environmentalresponsibility.Thebuildingitself
integratesdesign,materials,construction,techno-
logicalandoperationalpracticesthatdramatically
reduceorcompletelyeliminateitsnegativeimpact
ontheenvironmentanditsinhabitants.Building
green,anopportunitytoaddressclimatechange,
createsimproved,healthierandmoreproductive
workenvironmentsforemployeestoworkin.
Specifcgreenbuildingmeasuresincludecareful
buildingdesigntoreduceheatloads,themaximisa-
tionofnaturallightandpromotingthecirculationof
freshair;theuseofenergy-effcientair-conditioning
andlighting;theuseofenvironmentally-friendly
materials;thereductionofwaste,andtheuseof
recycledmaterials;water-effcientplumbingfttings
andwaterharvesting;theuseofrenewableenergy
sourcesandsensitivitywithregardtotheimpactof
thedevelopmentonthesurroundingenvironment.
Ratingagreenbuilding
Inordertoenableanobjectiveassessmentastohow
‘green’abuildingis,agreenbuildingratingtoolneeds
tobeputinplacetosetstandardsandbenchmarks.
Theratingsystemsetsouta‘menu’,acartedujour,
ofallthemeasuresthatcanbeincorporatedinto
abuildingtomakeit‘green’.Pointsareawardedto
abuildingaccordingtowhichmeasureshavebeen
builtinand,aftersuitableweighting,acomplete
221 >
scoreiscalculated.Thisdeterminestheratingof
thegivenbuilding.
TheGBCSAdevelopstheseGreenStarSArating
toolstoprovidethepropertyindustrywithanob-
jectivemeasurementforgreenbuildingsandto
recogniseandrewardenvironmentalleadershipin
thepropertyindustry.EachGreenStarSArating
toolrefectsadifferentmarketsector,forexample:
offce,retailandresidential,amongothers.
TheGreenStarobjectivescreateacommonlan-
guage and standard of measurement for green
buildings, together with promoting integrated,
whole-building design. Raising awareness of
greenbuildingbenefts,recognisingenvironmen-
talleadershipandreducingtheenvironmentalim-
pact of developments are other criteria of the
GreenStarsystem.
Greenbuildingsversusconventional
buildings
Asidefromthereducedcarbonfootprint,thereisa
convincingbusinesscaseinfavourofgreenbuild-
ings.Withstudiesshowingdramaticincreasesin
productivityamongusersandemployees,dueto
increased fresh air, more natural light and less
toxicmaterialsused,tenantsarebecomingmore
awareofthese‘green’benefts.Alongsidethisin-
creasedawareness,thedemandforgreenbuild-
ingsisgrowingatarapidpace,withtenantseven
beingpreparedtopayhigherrentals.
Duetothesubstantialsavingsinutilityservices,
particularlywhenviewedonalifecyclebasis,ten-
antsingreenbuildingsarefndingthatoperating
costsarelessenedconsiderably.Agreenbuilding
doesnotnecessarilyneedtocostmorethanacon-
ventionalbuilding.Throughintelligentdesignand
theuseoffundamentalenergyeffcientmaterials,
muchcanbeachieved.
Thegreenbuildingmovementisamoreeffcient
wayofdevelopingandoperatingbuildingsandit
ishopedthat,overtime,itwillleadtotheobsoles-
cenceofconventionalbuildings.Themovementis
nowbeingseenas‘futureproofng’buildingsand
isbeingregardedasariskmanagementissue.
Operatorsofgreenbuildingscanreducetheircon-
sumptionofenergytolessthanhalfofwhataconven-
tionalbuildingconsumes,withsimilarreductions
inpotablewaterusage,runofftosewerandsolid
waste.Bypromotinggreenbuildingpractices,the
GBCSAcanhaveareallysignifcantimpactonthe
222 >
223 >
224 >
reductionofresourceconsumptionandoncombat-
ingglobalwarming.
Thenamewiththegreenlogo
Woulditnotbeconsideredcoincidentalthatthe
clientofthefrstGreenStarratedbuildingsports
agreenlogo?
Nedbank Group is South Africa’s fourth largest
bankinggroupmeasuredbyassets,withastrong
depositfranchise,thesecondlargestretaildepos-
itbase,aclient-centricwholesaleandretailfran-
chise and a substantial and growing assurance
andwealthmanagementoffering.Thisgrouppro-
videsanamplerangeofwholesaleandretailbank-
ingservicesthroughfvemainbusinessclusters,
namely Nedbank Capital, Nedbank Corporate,
NedbankBusinessBanking,NedbankRetailand
Nedbank Bancassurance & Wealth. Nedbank
GroupfocusesonSouthernAfrica,withthegroup
positionedasabankforall–frombotharetailand
awholesalebankingpointofview.
Nedbank Group offers banking services which
comprisebusiness,corporateandretailbanking,
property finance, investment banking, private
banking,foreignexchangeandsecuritiestrading.
Italsogeneratesincomefromprivateequity,cred-
itcardissuingandprocessingservices,custodial
services,unittrustadministration,assetmanage-
mentservicesandbancassurance.
Makingthingshappen
WithNedbank’sproudslogan‘makethingshappen’,
thequestionisposed:howdidNedbankmakethe
Phase2developmentgreen?
Asustainabilityreviewofthedesigntookplacein
2007byagroupconsistingofWSPGREENbyDESIGN,
PJCCarewConsultingandTheCouncilforScientifc
andIndustrialResearch(CSIR).Thereviewpanel
evaluatedthedesignandsuggestedinitiativesto
improvethesustainableperformanceofthebuilding.
Therecommendationswerecategorisedandpri-
oritised using the ‘shades of green’ approach,
whichclassifedtheinitiativesintothreelevelsof
sustainability,includinggoodpractice,bestprac-
ticeandcuttingedge.Afterthesustainabilityre-
view,WSPGREENbyDESIGNwasappointedto
assistinimplementingenvironmentalinitiatives
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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.
Recommended Installers: Optimal Control Systems
Tel: 011 462 7760 / Contact: Ray Knight
Energy Efficient Building Management Solutions
For more information, please contact sking@acontrols.co.za or visit www.acontrols.co.za
226 > 226 > 226 >
andtoguidetheprofessionaldesignteamtowardsa
4StarlevelofGreenStarSA–OffceDesignv1rating
whichwasachievedon15October2009.Inaddition,
theprojectteamiscurrentlypursuingregistration
foraGreenStarSAOffcesAsBuiltv1rating.
AGreenfeldsitewasnotusedasthebuildingis
locatedonpreviouslydevelopedland.Takingthe
landuseandecologyintoconsideration,thetopsoil
onthesitewastakenawaybythesub-contractor,
cleanedandreusedonotherdevelopmentprojects,
whiletheecologicalvalueoftheNedbankPhase2
sitewasenhancedbeyonditspreviouslyexisting
state.Thebuildingispredominantlyframedincon-
cretewith95%recycledcontentforrebarsanda
minimumfy-ashcontentof30%onaverage.
“NedbankhadwantedthePhase2buildingtobe
agreenbuildinglongbeforetherulebookcame
out,”saysXavierHuyberechts,seniorexecutive
partner,GLH&AssociatesArchitects.
Togogreen,Nedbankrequiredthatallemissions
frommaterialsandprocessespossessrefrigerant
andgaseousfresuppressantsandthatthermal
insulantshaveanOzoneDepletingPotentialofzero.
VolatileOrganicCompoundsoftheoffceinterior
paintandcarpetshavebeenreducedtoabare
minimum.
Theindoorenvironmentqualityalsoturnedgreen,via
freshairintakeinthebuildingbeing100%greater
thenrequiredbySANS10400-O.Theinclusionofcar-
bondioxidesensors,integratedatthereturnpoints
oneachfoor,ensurescontinuousmonitoringand
adjustmentoftheamountoffreshairenteringthe
building.TheMeanValuelevelswerepredictedtobe
between-0.5and+0.5,calculatedinaccordance
withISO7730usingstandardclothingandmetabolic
ratevaluesduringoccupiedhoursduringtheyear.
Although60%oftheoffceshavedirectlineofsight
totheoutdoors,noisefromtheoutsidehasbeen
minimised,whilethenoiselevelswithintheoffces
havebeenreducedinaccordancewithinSANS10103:
2004.Aswithmostbuildingsthatcomplywiththe
smokingrules,theNedbankPhase2Buildingisnon-
smoking and has no designated smoking areas
internally.
Aconservativeapproach
Withregardstowater,oncemunicipalityreticence
hasbeenovercome,aBlackwatertreatmentsystem,
229 >
aprojectinnovation,willbeinstalledtoproviderecy-
cledwaterforallnon-potablewaterusesincluding
irrigation,toiletsandcoolingtowers.Anotherproject
innovationistheimplementationofarainwaterhar-
vestingplantthatwillcollectandtreatrainwaterfor
usealongwiththerecycledwater.
Toensuresignifcantsavingsinwaterconsump-
tion,watermetersforallmajorwateruseshavebeen
connectedtoaBuildingManagementSystem,which
supportsproperfacilitymanagementofwatercon-
sumption.Pumptestingrequiresnoconsumption
ofwater,effcientwaterfxturesandfttingshavebeen
installedandisolationvalvesoneachfoorlimitthe
amountofwaterusedformaintenance.Thefresys-
temhasbeendesignedtodirectsprinklerwaterfrom
maintenancedrain-downstotheBlackwatertreatment
plantforon-sitereuseandalllandscapinghasbeen
designedtoincludelowwaterconsumptionplants.
Another green initiative is in the field of waste
management.Thisinvolvesadedicatedstorage
areaprovidedfortheseparationandcollectionof
paper,glass,plastics,metals,usedcompactfuo-
rescentlightbulbsandothermaterials.
Alloutfowstotheseweragesystem,duetooccu-
pantuse,hasbeenreducedbyimplementinghighly
effcientfxturesandfttings.TheBlackwatertreat-
mentsystem,onceitisinstalledwillfurtherreduce
theoutfow.
Energysavingentailedtheimplementationofeff-
cientopencircuitevaporativecoolingtowersforheat
rejectionofthechillers.Thepartialeconomycycle
hasbeendesignedtoprovide100%freshairto60%
ofthefoorplateswhenoutsideconditionsallowit.
Lightingpowerdensitieswereputinplacefor95%
oftheoffceswithanenergyuseof2.25W/m
2
per
100Lux.Inaddition,aprogrammabledigitallight-
ingsystemhasbeenprovidedfortheoffces.The
lightingdesignachievesanaveragemaintainedil-
luminationlevelofnomorethan400Luxforthe
offcesandhighfrequencyballastshavebeenin-
stalledinallthefuorescentluminaries.
Qualitymanagement
Commissioninghadtobedoneinaccordancewith
CIBSE,TheCharteredInstitutionofBuildingServ-
icesEngineers’commissioningcodes,atpractical
completion.Thedesignteamandcontractorhad
totransferprojectknowledgetothebuildingown-
er through documented design intent, as-built
drawings,operationsandmaintenancemanuals,
commissioningreportsandtheactualtrainingof
230 > 230 >
buildingmanagementstaff.Totunethebuilding
systems,monthlymonitoringwillneedtobeconduct-
edforoneyearafterpracticalcompletion.ABuild-
ingUser’sGuidewascompiledforstaffinclose
cooperationwithdesignprofessionals.Themain
contractorontheproject,GroupFive,developed
andimplementedanon-siteEnvironmentalManage-
mentPlanthatwillrequirecontinuousmonitoring.
Duringconstruction,themaincontractoralsotracked
allwastestreamsandcompletedquarterlyreports
onwastegeneration,recyclingandreuse.
Astransportandmotorvehiclesarenotregarded
as‘green’,itwasdecidedthatthenumberofparking
spaceswouldonlybeallocatedaccordingtothe
minimumlocalrequirements.Fivelevelsofunder-
groundparkingwith1598parkingbaysareavail-
able.Dedicatedparkingbayshavebeensetasideto
provideforhybridvehicles,motorbikesandbicycles,
inordertopromotefuel-effcienttransport.Complete
bicycle facilities were constructed with change
rooms,showersandspaceforbicyclestorage,in
theformofracks,toencouragetheuseofbicyclesas
ameansoftransportation.AstheNedbankPhase2
buildingislocatedwithinthecentreofSandton,
theuseofpublictransportationisencouraged.In
thefuture,thiswillincludetheBusRapidTransit
systemthatwillhaveabusstoponRivoniaRoad
andtheGautrainSandtonStation.Residentialdwell-
ingsincloseproximitywillfurtherreducetheneed
forlongdistancecommutingforthosewhooptto
stayclosetowork.
TherelativescoresoftheNedbankPhase2building
foreachGreenStarcategoryinclude:75%forman-
agement; 52% for indoor environment quality;
30%forenergy;71%fortransport;86%forwater;
36%formaterials;43%forlanduseandecology
andlastly,50%foremissions.
Paintinga‘green’picture
Alongwiththeenvironmentalinitiativesthatwere
implemented in the Phase 2 development, the
‘greening’ of the wall covering was put in place
throughtheuseofDuluxTradeEcosurepaint.This
productformspartofthefrst‘green’rangeintro-
ducedbyDulux.Usedonmostoftheinteriorwalls,
Consistant
Durable
Quality
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For further information visit www.duluxtrade.co.za
Dulux Trade, Ecosure and Paint for a Greener Future are trademarks of AkzoNobel © 2009
FACT:
• Reduced VOC content Less than 16g/L
• Contributes towards points in the IEQ category of Green Star SA
- Paint for a Greener 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.
232 >
Design Electronic Nedbank Ph2 advert Rev1 20100818.doc
ASTER
INTERNATIONAL (South Africa) (Pty) Ltd

A Subsidiary of the Gilaf Group of Companies, Italy
Air-Conditioning Engineers and Contractors

Johannesburg
Erf 89 Impala Road, Kelvin View
Eastgate Extension 8, Sandton 2090
PO Box 1599, Kelvin 2054
Tel: +27(0)11 581 9400
Fax: +27(0)11 581 9548 or (0)86 636 1190
E-mail: aster-sa@aster.co.za

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.

Proudly associated with Nedbank
for the Nedbank Head Office Phase II Project
thislowVOCpaintcreatesapictureofeco-friend-
liness,contributingtoNedbank’sgreen-starrating.
WhentheNedbankPhase2projectcommenced,
therewasno‘green’paintavailableontheSouth
Africanmarket.Duluxwasveryaccommodatingin
thattheystartedtomanufacturethis‘green’paint
inordertomeettherequirementthatpaintshould
beproducedlocallyfortheNedbankproject.
DuluxTradeSA,aprofessionalproviderofpaintprod-
uctsandservices,pridesitselfinbeingoneofthe
leadingauthoritiesonproducts,colourandservice,
undertakingresearchintolocalandinternational
trendstoproducethemostcomprehensiverangeof
productssuitedtothenationalSouthAfricanmarket.
NowasasubsidiaryoftheAkzoNobelgroup,the
leaderinperformancecoatingandtheworld’slargest
decorativepaintscompanyandleadingspecialty
chemicalsbusiness,thecompanyaspirestowardsbe-
inganinnovative,sociallyandenvironmentallyre-
sponsibleorganisationwithbrandsthatprovide
value for money,goodtechnicalperformanceand
minimalimpact ontheenvironmentandpeople’s
health.AlsobelongingtoSAPMA(SouthAfrican
PaintManufacturersAssociation),Dulux’sproduct
stewardshippoliciesareanintegralpartofitsstrat-
egiesinAfrica.Akzo-NobelandDuluxarepassionate
aboutintroducingnewideasanddevelopingsustain-
ableanswersfortheircustomers,suchasNedbank.
ThePluviaSyphonicroofdrainage
system
Geberit, the creator of the Pluvia Syphonic roof
drainagesystem,iswellknownforitswater-saving
plumbingandsanitarytechnology.Beingnamed
oneoftheTop10oftheWorld’s100Sustainable
233 >
Companies,Generithasbeenrecognisedforits
commitmenttosustainability.
“The biggest role Geberit played in the Nedbank
Phase2projectwastheplacementofthePluvia
Syphonicroofdrainagesystem,”saysMarkSchurr,
operations director, Geberit. Geberit used the
more eco-friendly HDPE pipes, rather than the
conventionalPVCPipes.Thesewerearequirement
fortheNedbankproject.
GeberitPluviaisaroofdrainagesystembasedon
anintelligentnegativepressuresuctionsystem.This
systemofferssolutionsforthearchitectureoftoday,
providing architects with considerably greater
fexibilityintheplanningofbuildings,intheutili-
sationofspaceandintheco-ordinationofdifferent
buildingrequirements.
Thehigh-performanceGeberitPluviaroofoutlets
arelinkedtogetherdirectlyundertheroofwitha
non-slopingcollectorpipe.Largeroofareascan
thusbedrainedthroughasingledischargestack.
Thissimplifesplanningandreducesconstruction
time.Cost-intensivedischargestacksanddrains
aredispensedwith,multiplyingboththeplanning
optionsavailabletothearchitectandthepotential
usesforthebuilding.Thetechnicalprincipleandthe
highdrainagerateofGeberitPluviaensurethatthe
systemcanbeusedinawiderangeofapplications.
Someofthemanyadvantagesofusingthissystem
includelessplanningeffort,fewerdischargestacks
androofoutletsandthesimplifcationofbuilding
planning,permittingoptimumspaceutilisation.A
diminishedneedfordischargestacksreducestheout-
layforundergrounddrainconnectionsandsurfacelines
aswellasthecostsforthepropertydeveloper.
Physical Address: Unit 7, Citrus Street Industrial Park,
Citrus Street, Laser Park, Honeydew, Gauteng
Postal Address: PO Box 1477, Honeydew, 2040
Contact numbers: Tel: +27 11 794-6551 Fax: +27 11 794-5055
Email: knightshop@telkomsa.net
Web: www.knightshopfitters.co.za
Knight Shopfitters are Proud to be Associated
with the Nedbank Phase II Development
234 >
Attheforefrontofthemove
GroupFiveBuilding,asthemaincontractoronthe
NedbankPhase2project,wasattheforefrontof
the move towards a cleaner environment. The
GroupFiveconstructionteamputinamassiveef-
forttoachievethestandardssetbytheGreenStar
SA–Offcev1ratingtool.
Asoneofthelargestconstructionandmaterials
manufacturingcompaniesinsouthernAfrica,Group
Fiveisabroad-basedinfrastructurecompanywith
abalancedportfolioofbusinessesacrossselected
geographiesinAfrica,EuropeandtheMiddleEast.
Offeringmulti-disciplinaryconstructionandengi-
neeringskillsandexpertise,thecompanyachieves
deliveryofallaspectsofprojects,includingconcept
developmentanddesign.
Withyearsofconstructionexperience,GroupFive
has played a major role in the development of
southernAfrica’sinfrastructure,achievingarepu-
tationbothnationallyandinternationallyforinno-
vationandprofessionalism.
“Wemonitoredtheprogrammeverycloselyand
anydeviationsoractivitiesslackingbehindwere
immediately addressed. Every person knew ex-
actlywhatwasgoingonandwhatwasexpectedof
him.Eachmorning,thepreviousdaywouldbedis-
cussedintermsofworkbeingdone,togetherwith
howweweregoingtogoforward.GroupFivewas
chosen for this project because of our previous
trackrecord,thededicatedteamwehaveandthe
spiritpresentedbyourteam,”saysJohanMatthee,
SeniorProjectManager,GroupFive.
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.
www.derrington.co.za
Tel: 082 900 3343
Fax: 086 666 1686
Email: info@derrington.co.za
235 >
Notjustadesk
Witheightlevelsofoffcespace,Phase2oftheNed-
bankHeadOffcewillprovidenewaccommodation
for3,000employees.WithateamcomprisingGLH
Architects,TerraEtherArchitects,ClaassenAuret,
Aurecon,CoffeyProjects,Group5BuildingandWSP
Structures,amongothers,theNedbankPhase2
buildinghasbecomemorethanjustanoffcewith
adesk.
Weallknowtheterm‘sick-buildingsyndrome.’Al-
thoughthisdefnitionmayrefertoahumanhealth
conditionwhereinfectionsarecausedbyexposure
to contaminants within a building as a result of
poorventilation,thistermalsoappliestothede-
signandarchitectureofaspecifcbuilding.Whenit
comestothelayoutofabuilding,thecolourpalette
used,theinteriordesign,theinternalandexternal
lighting,amongothers,theimperativeistocreate
theperfectworkenvironmentthroughcorrectstruc-
turalanddesignimplementation.
“Theaimofarchitectureistocreateenvironments
forpeopletoworkandliveinthattheyareproud
of and that they are happy to associate them-
selveswith.Payingattentiontoaworkenviron-
mentdoesalotintermsofincreasingtheemploy-
ees’performanceandinkeepingstaff.Thequality
oftheworkenvironmentisveryimportanttous,”
saysHuyberechts.
“Theclientwantedtocreatealargeoffce,which
would bring departments together. By bringing
peopletogether,itwouldinturnmakecommuni-
cationstrongerbetweendepartments.Wepride
ourselvesinhavingcreatedaworkenvironment
237 >
thatpeopleliketoworkinandcreatingabuilding
thatworksanddoeswhatitisintendeddo.Our
primaryaimwastocreateanoffce,butforus,it
wasgoingbeyondfunctionality.Byachievingthat,
we have reached where we want to be. If you
speaktopeopleinNedbank,theyarepositiveand
happypeople,”addsHuyberechts.
Thesimpleoffces,canteens,amenities,littleshops
andgreenopennessoftheparks,allowforthemixing
ofpeople,creatingarelaxedwayofworking.“Itisa
buildingthatpeoplewanttogotoworkin.Nedbank’s
employeeslovegoingthere.Forthem,workismore
thanjustadesk,”explainsHuyberechts.
Greenerywithincement
Inordertoimproveonthepreviousworkingenviron-
mentsofNedbank’semployees,itwasessential
forthearchitectstogobacktotheoriginaldesignof
thepastoffces.BeforetheNedbankHeadOffcewas
builtinSandton,thestaffwerehousedinvariousof-
fceblocksacrosstheJohanneburgCBD.Johannes-
burg’sinnercity,oftenreferredtoasthe‘cementjun-
gle’, is crowded with developments, busy roads,
traffc-jamsandover-bearingoffceblocks.Essentially,
theoffceswerehousedindenseoffcebuildings
whichwereseenasalienatingtotheemployees.
Asnature,withitsgreenelements,affectsthework-
ingenvironment,NedbankPhase2wasdesigned
tosurroundtwobeautifulspacesofgreeneryin
theformoftwoparks.Thegreeneryhasgiventhe
employeesofNedbankanexceptionaltypeofwork
environment.Withforaandfauna,largelawnsof
grass,wildgeese,birds,windingwalkingpathsand
seatingbenches,thisistrulyanescapefromthe
cityhustle-and-bustlewhereemployeescanspend
theirlunchbreaksrelaxinganddecompressing.
“Whenyouareinthepark,youcannothearthe
buzzingofthecity.This,initself,isanachievement,”
saysHuyberechts.
Atimelesspiece
Imperativetothedesignisthecreationofatime-
lessbuilding,onethatshowsthebank’slong-last-
ingdurationandstabilitywithinSouthAfrica,whilst
differentiatingitsdesignandappearancefromoth-
erbankingdevelopments.Forthearchitects,itwas
importanttodesignabuildingthat‘ageswell’.
“Weusedaslightlyclassicallookforthebuilding,
avoidingfallingintoaneo-classicalappearance.
Peoplearenotscaredofthistypeofarchitecture.It
hasalreadybeenassimilatedthroughtheNedbank
Phase1building.Asthearchitectural‘handwriting’
238 >
hadalreadybeendoneinthefrstphase,wemade
astrongreferencetothepastarchitecturalstyles
andformsthatarerecognisedbythegeneralpub-
lic.”Asolididentity,fromanarchitecturalpointof
view,wasdeveloped.“Eachofourclientshasan
architectural ‘handwriting’ which inevitably be-
comestheiridentity,”saysHuyberechts.
Thearchitecture,withitsmodernityandpaletteof
lightcolours,isverystriking,creatingadistinctpres-
encewithintheSandtonarea.Itwasaboutbeing
strikinglydifferent,yeteasyrecognisable.
Thearchitecture,althoughnotalientoglobalarchitec-
ture,doesnotfallintothepitfalloftrends.“Following
populartrendsinarchitecturecanbedangerous,as
onedayabuildingistrendy,butthenthenextdayitis
dead.Wedidnotwanttofallintointernationaltrends,
whereyoutakeaninternationalarchitecturalextract
andplaceitinSouthAfrica,”addsHuyberechts.
ItwasimportanttotheclientthatPhase2bekept
inlinewithPhase1intermsofdevelopment,con-
structionanddesign.“Thisprovesthatwedidnot
go wrong in the development of phase 1,” con-
cludesHuyberechts.
AlandmarkinSandton
NedbankPhase2islocatedonaprimesiteinthe
heartofSandtonandalthoughthebuildingitself
isnottallenoughtofeatureaspartoftheskyline,
ithowevercanbesaidthat“anyonewhoknows
Sandton,knowstheNedbankPhase2building,”
saysHuyberechts.
ThebuildingseekstobeneftthewholeofSand-
tonbybetteringandintegratingcityliving.Thisis
accomplishedbyopeningthebuildinguptothe
streetviaanactiveface.“Therearenootherbuild-
ingslikethisthatare‘open’andactive.Thisisan
239 >
innovation,”saysHuyberechts.Afterconvincing
theclientnottohaveahardedge,theactiveedge
alongMaudeStreetwasestablishedthroughretail
shops, a high end restaurant and a Nedbank
branchwhichareopentothepublic.
“ItisalandmarkinSandtonbecauseofitssizeandits
presencewithintheprecinct,”addsHuyberechts.
WalkingthroughNedbankPhase2,theimmense
effortthathasgoneintomakingthisdevelopment
aneco-friendlyworkenvironmentbecomesappar-
ent.Withpeoplespendingasubstantialamountof
theirlivesworkinginoffces,it’simperativethat
offceenvironmentsencouragegoodhealthand
provideaplaceinwhichpeoplecanreachtheirfull
careerpotential.NedbankPhase2isalreadycre-
atingthedreamworkenvironmentfortheluckystaff
thatwillworkwithinthisdevelopment.Forthem,
thisistrulyareality.<
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241 >
Strange,buttrue,alloftheaccommodationoffer-
ings around the tremendously popular Nelson
MandelaSquareinSandtonareLegacyproducts.
ThelatesttojointhefoldaretheDaVinciHotel
andSuitessupportedbytheLegacyCornerMall.
TheLegacyGroupwasfoundedbyBartDorresteinand
thelateBrunoCortejustoveradecadeago.Theinten-
tion was, just as the group’s name suggests, to
leavealegacyofhospitalityandresidentialprop-
erties,anAfricanportfoliobuiltandruntothehighest
internationalstandards,locatedacrossAfricaand
theIndianOceanislands.
It’snotjustfnefourandfvestarhotelsthatfeaturein
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LodgeinMpumalangaandTheWindhoekCountry
ClubinNamibiathataddspicetotheselectionon
offer.Inadditiontostraightforwardhotelaccom-
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suitesandfractionalownershipintheLegacyPrivate
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ertiesthatincludegamingandretailfacilitiesas
well.
Awinningformula
Ifyouarefortunateenoughtobeinvitedtothetri-
plestoreypenthouseoftheMichelangeloTowers,
youwillgetabird’seyeviewofjusthowsubstan-
tialtheLegacyfootholdisinNelsonMandelaSquare.
OncetheGautrain’sstationhasbeencompleted,
adjacenttothesquare,theLegacystableofthe
MichelangeloHotel,DaVinciHotel,Michelangelo
Towers,RaphaelPenthouseSuitesandtheDaVinci
Suiteswillcomeintotheirownasdemandinthis
vibrantbusinesshubsurges.
TheclassicMichelangeloHotelmadewaveswhen
itwasfrstbuiltonthenewretailsquareacross
fromSandtonCity.Itssuccesspromptedfurther L
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242 >
hospitalitydevelopment and subsequently the
MichelangeloTowersbrokethemouldofferingexclu-
siveapartmentsinalavishstyleinthetallestbuilding
inSandton.WiththeLegacyformulaofelegance,cha-
rismaandcommitmenttoservicefrmlyentrenchedin
thearea,Sandton’slatestofferinghasnowarrivedto
completethepicture.
LegacyCorneris17storeysofmixed-usefacilitiessitu-
ated on the corner of 5th Avenue and Maude
StreetsinSandton,directlyoppositethestalwart
SandtonCityretailandoffcecomplex,theSandton
SunHotel, the SandtonTowers Intercontinental
HotelandtheSandtonConventionCentre.
Theretailcomponentofthisnewdevelopmentis
situatedonthreelevelsthatarelinkedwiththeupper
andlowerretaillevelsoftheexistingNelsonMandela
Square. BAI are renowned for their retail excel-
lence–andthenewLegacycornerMallistestament
tothisexcellence.Alreadyopen,themallhasmetwith
greatapprovalbyshoppersandtenantsalike.
Belowthetwoshoppingmalllevels,istheglamor-
ousMarcoPoloentertainmentcentreoffers300state
oftheartinteractiveelectronicbingoterminalsasa
diversion.ThemedasaVenetianvenue,theMarco
Polocelebratesthelifeandtimesofthefamedmedi-
evalItalianexplorerthattraversedtheglobeonnu-
merousjourneysofdiscovery.Ownedandoperated
byGalaxyInternational,aUKcompanywithover15
years’experienceinBingodevelopment,theMarco
Polo has an intimate piano bar with a romantic
dancefooraswellasashowbarandadedicated
smokingroomcalledTheCrystalRoom.
TheDaVinciHotelhas166ensuitehotelrooms,
50single,doubleandtriplebedroomedapartment
suitesaswellastwolevelsoffourluxuryduplexpent-
houses.Aftnessgym,infnitypoolandwellness
spaareamongsttheperks.
Thearchitectswhohavehelpedwiththesuccess
oftheSandtonLegacyportfolioareBentelAssoci-
ates International (BAI) who designed the iconic
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MichelangeloTowersandwhoarenowresponsible
forSandton’snewaddition,LegacyCorner.
“WearemostexcitedaboutthecompletionofLeg-
acyCorner,whichwebelievewillbeafantasticnew
additiontotheSandtonskyline–thebuildingisa
carefulbalancebetweenembracingclassicalele-
mentswhichisinkeepingwithitsneighbours,es-
peciallyNelsonMandelaSquare,andmodernar-
chitecture” says Franc Brugman, architect
responsibleforboththeMichelangeloTowersand
LegacyCorner.“Wehavealsostrivedtoinclude
sustainable technologies in the design of the
buildingasfarasthecommercialbudgetofthede-
velopmentwouldallow.Weareproudtohavebeen
abletodecreasetheenergydemandofthebuilding
byasmuchas15%throughtheinclusionof:solar
panelsthatassisttheelectricalboilers,heat ex-
changetechnologythatcollectsthehotwaterpro-
ducedbytheairconditioningchillerunits,insula-
tiontohotwaterpipes,theuseofperformanceglass
whererequiredtoreducetheACheatloadandsim-
plespecifcationslikelowfowshowerheadstode-
crease water consumption. Furthermore, the
buildingwillhaveabuildingmanagementsystem
(BMS)installedwhichwillassistinmonitoringthe
energyconsumptionofthebuildinginthefuture.”
Dininginstyle
Intendedtoberunasa24-houroperation,theDa
Vinci Lounge & Bar will be a welcome addition to
Sandton’sportfolioofhipandhappeningentertain-
mentvenues.TheWine&CigarBarpromisestobe
anotherpopularspot,althoughundoubtedlyoneof
themaindrawcards willbethegraciouslyelegant
MaximillienRestaurant,withitsexpansivewindows
andextendeddeckgivingpatronstheopportunity
toenjoytheoutdoorsandviewsofSandton.
GivenaNewYorkFrenchbistrocharacter,Maximil-
lienexudesasenseofgrandeurthankstotherich
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246 >
darkbrownbamboofooring,thepewterpressed
ceilings,theantiquemirrorsframedbyrectangular
glasslightboxesandtheDouglasJonestiles.
Theinteriordesigners,VaroomInteriors,tookon
the challenge of converting a long rectangular
spaceintosomethinginviting,classyandsophis-
ticated.“Theideawastomirrorthestyleofthe
renownedBalthazarrestaurantinNewYork.Balt-
hazar is a converted leather wholesaler’s ware-
houseandisknownforitsexceptionaldesign,”
saysVanessaPrestonofVaroomInteriors.“Ithas
a French bistro/patisserie style,butwithavery
warmvibe.That’swhatourbriefwasforMaximillien,
butwewantedtomakeitasmarter,sexierversion.
Thesilverypewtermouldingaroundthebarkept
totheBalthazarthemeandweaddedinthelions
headstogiveittheAfricancontext.”
Therectangularspacewassubtlydividedinto‘stag-
es’,withthewelcomeareaandthebaratthefront,a
raisedsectionthatcouldbeclearedforentertainment,
themaineateryareaandthentheoutdoorterrace.
Theshopping,gaminganddiningtreatsaside,Legacy
Cornerhasanothertreatupitssleeve.Spanning
threelevels,theLegacyTVwall,wrappedwithin
thegranitecladescalatoratrium,offersexception-
alexposuretopremiumbrandnameswantingto
reachapre-qualifedpremiumSandtonconsumer.
ThroughthegrowthoftheLegacyportfolio,the
keydecisionmakershaveappreciatedthatit’sthe
detailsthatcount.AtLegacyCorner,thisiscertainly
oneofthephilosophiesthathasbeenintegralto
thedesign.Mosaicsinthereceptionareaandonthe
pillarsintheretailmall,lowerluxlevelsinthelighting
togivetheshops‘centrestage’andhoteldécorde-
signedbyworld-renownedinteriordesigner,Stephen
Falcke,allcontributetotheheightenedsenseof
grandeurofthefnalpieceoftheLegacycollection
onNelsonMandelaSquareinSandton.<
247 > 247 >
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248 >
ConceivedasawalledTuscanvillage,inlinewiththepreviousphasesbuiltat
Montecasino,ThePivotisauniqueblendofoffce,retailandhospitalityspac-
esthatoffersconvenienceandstyletothoselookingforaccommodationand
businessfacilitiesintheupmarketsuburbofFourways.
ByBevHermanson
ThePivotcourtyardshowingpartoftheoffcecomplex,theconferenceblock,the‘Pivot’sculpturedesignedby
renownedJohannesburgartist,MarcoCianfanelli,andtheentrancetothehotel.
THEJUXTAPOSITIONOF
OLDANDNEW
AT MONTECASINO
249 >
EasilyaccessiblefromtheN1freeway,theLanseria
andORTamboAirportsandthebusinesshubsof
SandtonandMidrand,thecasinocomplexknown
asMontecasinooffersanexcellentblendofenter-
tainment to the residents of Johannesburg.The
frstphaseofMontecasino,comprisingagaming
foor,variousupmarketrestaurantsandboutique-
styledstores,alongwithaPieterToerientheatre,
NuMetrocinemacomplex,fastfoodcourtandkid-
dies entertainment zone, was opened in 2000.
Launchedamidstmuchfanfare,Montecasinorap-
idlybecameoneofthemostpopulargamingdesti-
nationsinGauteng.
Initially,the5-starPalazzoHotelbuiltalongside
the casino, was the only hotel accommodation
nearby,butassubsequentphasescameonstream,
offces,anadditionaltheatre–the1900seater
Teatro–andanotherhotel‘onthesquare’added
morespice.
ThelatestofferingatMontecasino,intheformof
ThePivot,addsagreatdealofvalueasanextradi-
mension to the already popular entertainment
node.AjointventurebetweenTsogoSun,Abland
andABSA,ThePivotfulfllsanumberofneeds,one
ofwhichwastheprovisionofextraparking.Further-
more,forthoselivinginthevicinityandforthose
livingnorthofWit-koppenRoad,ThePivotoffers
anexcellentbusinesspremisesalternativetothe
congestionexperiencedinRivonia,Sunninghilland
Sandton.Over16000m
2
ofrentableoffcespaceis
availableinblocksofbetween50m
2
rightupto
13000m
2
.Eachoffceblockhasitsowncorefacili-
tiesintheformoflifts,stairsandtoilets,withaccess
totheopenaircommunalsquare.
Adominantfeatureinthesquareisthehugesculpture
byrenownedJohannesburgartist,MarcoCianfanelli.
ThebrieftoCianfanelliwastocreateatallsculpture
thatwouldaddatouchofmodernitytotheTuscan
surroundings.“Itriedtocapturetheideaofapivot
Theopenplankitchencreatesa‘theatreofcooking’interactivewiththeguestsinthediningroom.
250 >
beingbothapointoforiginandasourceofenergy,”
explainsCianfanelli.Theinterpretationsuggeststhat
thepivotrepresentscentrifugalforcesandCianfanelli
decided to depict this by arranging multiple fins
aroundasinglepoint,tocreatetheeffectofenergy
radiatingoutwards.Theresulthasbeenquitea
featofengineering,at18metrestall,weighingsix
tonsandwiredtolightupatnight.
Theoffcefacilitiesarecomplementedbyachoice
selectionofretailoutletsandrestaurants.Infact,
everyconveniencehasbeenconsidered,fromrenta-
blemeetingroomsandboardrooms,tohairdress-
ers,drycleanersandevenprinters.Inaddition,ten-
antsoftheoffceaccommodationhaveaccessto
the facilities in the new four star Southern Sun
MontecasinoHotelthatispartofthenewdevelop-
ment–inparticularthe120seaterrestaurant,the
loungeareaandtheVenetianbar.
“Theadditionofanotherhotelincreasesourtotal
roomstocktoover600intheMontecasinonode,”
saysKevinPage,directorofdevelopmentfortheTsogo
SunGroup.“Thishasbeenawelcomeextensiontothe
accommodationalreadyavailable.Theadditionalof-
fceshavefurtheraddedanexcitingbusinessoppor-
tunity,especiallysincewehaveincludeda1200m
2
conferencecentreasanextraattraction.”
ModelledonthePalazzoCorsini,affteenthcentury
villanestlingontheslopesbetweenGianicoloandthe
TiberRiverinItaly,thenewSouthernSunMonteca-
sinoHotel,withitsdistinctivepinkandcreamexterior,
offers194roomsandboastsatheatre-styleopen
plankitcheninteractivewiththerestaurant,ahigh
techgyminthebasementandaspaciouslounge
andbar.Anextensivewoodendeckedterraceout-
sideoverlooksthepoolandwetlandareaonthe
northernsideofthehotel,which,althoughitfaces
MultiplevolumereceptionareaoftheSouthernSunMontecasinoHotelandthesweepingstaircaseleadingoffthe
receptionarea.
Tel: +27 011 474 1431
Email: lailainteriors@wol.co.za
www.lailainteriors.co.za
Laila Interiors have been involved in the
following projects with Kharafi Holdings;

-Sheraton Hotel, Albania & Gambia
-Lombardy Estate Lodge, Pretoria
-Port Khalib Hotel Project Egypt
-Sheraton Hotel, Pretoria
"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
252 >
TheSouthernSunMontecasinoHotelenjoysprimepositionaspartofThePivotdevelopmentinFourways.
oneofthebusytraffccircles,iseffectivelyshielded
frompublicview.
“Whatisspecialaboutthisdevelopmentistheunique
fusionofoldmeetingnew,”saysRyanIllgner,inte-
riordesignerforthehotelandconferencefacilities
andDirectorofBlacksmithAfricaInteriorDesign
Consultants.“Thejuxtapositionisevidentthroughout
thedevelopmentandespeciallyinthehotel,which
resemblesanoldVenetianbuildingthathasbeen
refurbished.”
The‘remnants’ofthe‘old’buildingareevidentin
theantiquefurniturepieces,therefurbishedceil-
ings,reclaimedoakfoorsandtimberwork.Acontem-
poraryelementisaddedthroughtheuseofglass
forthebalustrades,stainlesssteeldetailingand
theinterminglingofclassiccontemporaryfurni-
turepiecesaccentedinplaceswithstrongcolours.
“ThePivotprojectwasawonderfulexperiencein
thatitcombinedthetalentsofsomeofthetopcon-
sultantsinalldisciplineswithinSouthAfrica,who
weregiventhecreativefreedombytheclienttocreate
auniquedevelopmentwhereeverydetailhasbeen
carefully considered and tested,” Illgner adds.
“ThefutureforThePivotcanonlybesuccessful.Its
beautifulclassicVenetianappealisseamlesslyin-
tegrated with contemporary design and all the
convenienceaffordedbymoderntechnology.”<
+27 (0) 82 398 2632 | elaine@effects.co.za | www.effects.co.za
e are specialists in faux finishes, paint
effects, murals, mosaics, gold and silver
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effects on furniture, fireplaces, kitchens and
bathrooms, living rooms and bedrooms.
Based in Gauteng, South Africa Elaine Jansen van
Rensburg and her team of skilled painters and
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255 >
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CapeTown,withitsbeaches,winefarms,
Table Mountain, Kirstenbosch Gardens
andtheV&AWaterfront,isconsidered
oneoftheworld’smostbeautifulcities.
And,theperfecthoteltoexperienceits
riches is the Coral International Cape
Town.ForthefrsttimeinSouthAfrica,
guestscanexperiencetheidealcombina-
tionofCoralHotels&Resorts’distinctive
hospitality,throughtheoperationofthe
CoralInternationalCapeTownHotel,and
CapeTown’sbeauty.
256 >
Theclient,CiiHoldings,isoneofthemostestablished
businesshousesinSouthAfrica,withawiderange
ofcommercialactivitiesspreadacrossdiverseseg-
ments, including Cii Hotel & Resorts CapeTown
(Pty)Ltd,andisnowpoisedtobeamajorplayerin
thehospitalityindustry.
A5-starbrand
CoralInternational,beingthe5-starbrandthatitis,
hasbroughtitsblendofrefnement,eleganceand
luxury,toppedbyitsstate-of-the-artfacilities,to
theSouthAfricanshoresintheformofthisnew
hotel.“Ithasthelookandfeelofa5-starinterna-
tionalhotel,”saysCliveShepherd,managingdirec-
tor,DSAArchitectsInternational.Featuring137spa-
ciousroomsandsuites –eachequippedwiththe
fnestamenities–CoralInternationalCapeTowncom-
binesworld-classcomfortwithoutstandingservice.A
swimmingpoolwithapooldeck,meetingrooms,a
businesscentre,tworestaurantsservinginternation-
alcuisine,aloungearea,spaandgymfacilitieson
themezzaninefoor,arealsoavailable.
The Coral International CapeTown Hotel provides
beautifullydecoratedroomsandsuiteswithamen-
itiesincludingluxuriouslinens,plasmaTVs,cable
TV,highspeedwiredandWi-FiInternetaccess.“The
roomsarespaciousandthoseonthetoplevelareall
suites,whichareverylargeinsize,”saysRobLow,
director,DSAArchitectsInternational.
AhintofArabesquefavour
Withregardstotheinteriorfeelanddesign,thecli-
ent wanted to have a hint of Arabesque theme
throughoutthehotel,withacombinationofmid-
dle-easternandorientalelements.
“CoralInternationalCapeTownbringsanewcon-
cepttoCapeTownwithapowerfularchitecturalde-
sign.The idea from the outset was to explore a
strikinglydifferentapproachtodesignwhichisre-
fectedinthehotel’sdistinctivearchitecture.Basi-
cally,thehotelincorporatesthebestofmodern
AneveningviewoftheCoralInternationalCape
TownHotel.
AlZaeemhastheshishaforeveryoccasion.
258 >
architecturewithatouchofArabesqueandAfrican
designsuchasthebeautifulchandelierinthelob-
by,thearchesattheentranceandtheornatechairs.
Itgivesyouafeelingofacourtyard–thisissucha
signatureelementofArabiandesign.Whiledevelop-
ing the public spaces, much attentionhasbeen
giventocreatingcomfortableandrelaxingzones
whilegivingourguestsauniqueexperience.
Extensiveamenitiesandfacilitiesareinterwoven
intothelayouttoofferopportunitiesforsocialinterac-
tion,leisureandrecreation.Exquisitetraditional
Africantouchesandattentiontodetailbringasense
offamiliarityandharmonyfromourlocalcultures.The
restaurants are equally imaginatively designed in
termsofcoloursanddécor.Theroomsaregener-
ouslyproportionedandprovidearelaxedambience
withasleekandultra-modernlook.Overall,CoralIn-
ternationalCapeTownisavibrant,high-qualityprod-
uctthatembracesthefuturewhilevaluingthetradi-
tions,” says Jacqui Booyzen, General Manager,
CoralInternationalCapeTown.
TheBo-Kaap
Thehotel,beinglocatedadjacenttotheBo-Kaap,
aMuslimcommunityinCapeTown,createdchal-
lengesfortheteamatDSAArchitectsInternation-
al,who,fromadesignpointofview,hadtomouldthe
hotelintotheprecinctandworkwithintheBo-Kaap
context.
The‘BoKaap’,or‘CapeMalayQuarter’asitisalso
known,belongstotheculturallyandhistoricallymost
interestingpartsofCapeTown.Manyoftheinhabit-
antsaredescendantsofimmigrantsfromIndone-
sia,SriLanka,IndiaandMalaysia.
TheCapeMalayshavepreservedtheirculturaliden-
tityandMuslimfaith.TheoldMalayQuarterwithits
steep and narrow streets, the simple artisan’s
houses, Mosques and Minaretts reaches from
BuitengrachtStreetrightuptotheslopesofSignal
Hill.Thehouseshavebeenrestoredandcolourfully
painted.ThearchitecturalstyleisasynthesisofCape
Thearchitecturalstyleofthehotelblendsintothe
historicalcontextoftheBo-Kaapprecinct.
Viewofthespaciouslobby.
259 >
Viewsofthepooldeck.
Oneofseveralmeetingrooms.
Boasting137roomsandsuites,CoralInternationalCapeTowntakesmodernluxurytoahigherlevel.
EachsuiteincludesanelegantandrelaxinglivingareawithstunningviewsofTableMountain.
Thebusinesscentre.
260 >
Thestate-of-the-artgym.
TheMezbaanrestauranttakesthebestelementsfromIndiaandArabiaandaddsa
moderntwisttocreateoneofCapeTown’smostoriginalrestaurants.
TheAlNafoorarestaurantspecialisesinMediterraneancuisine.
Thehairsalonandnailbar.
261 >
DutchandEdwardian.“Itisaresidentialareawith
lotsofcolourfullypaintedcottages,”saysShepherd.
Challengesfaced
WiththeCoralInternationalCapeTownhotellocat-
edonaveryprominent,butrestricted,cornerofthe
precinct,atthebaseofTableMountain,therewere
a few design challenges that needed to be ad-
dressed.
“Fromadesignpointofview,thehotelhadtosit
well aesthetically. To ensure that views of the
mountainandotherwell-knownfeaturesofCape-
Townwerenotobstructedbythebuilding,theau-
thoritiesimposedheightrestrictionsonthebuild-
ing.Tocompensate for this, we went out of our
waytooptimisetheviewsoftheWaterfrontand
TableMountainfromeveryaspectwithinthehotel
andespeciallymadeanefforttogiveeverybed-
roominthehotelaview,”explainsShepherd.
The site restrictions required improvisation to
mouldthebuildingwiththecorner.Thecourtyard
terrace and spa were given privacy through the
useofform,whichshieldsbothfacilitiesfrompub-
licview.
“Anotherchallengewefacedwastheconstruction
of the parking. As the hotel is bound by three
streetsithadlimitedspaceforparking.Oursolu-
tionwastobuildalltheparkingforthehotelinthe
basement,”saysLow.
“We’vemanagedtoachievea137roomhotelofavery
highquality,asrequestedbytheclient.Itfulflls
theclient’svisionofanIslamicHotelwithinaMuslim
community,whileincorporatingallofthenecessary
facilitiestoserveaninternationalclientele,”concludes
Shepherd.“Weembracedtheaestheticswhicharerel-
evantto the environmentofCapeTown,andsuc-
ceededinmeetingtheclient’sexpectationsofreturn
oninvestment.”<
Viewofthesteamroom.
Thehotel’stworestaurantsprovidedinerswith
distinctiveexperiences,signaturedishesand
ambiance.
262 >
TheCityofCapeTownhassignaleditsinten-
tion to bid for IDA World Design Capital™
(WDC)in2014.TheWDCprojectisabiennial
internationaldesignationcreatedtoidentify
and recognise cities that have effectively
useddesigntorevivethecityandimproveits
qualityoflife.
TheWDCdesignationformspartofthebat-
tery of projects of the International Design
Alliance(IDA),whichconsistsoftheInterna-
tionalCouncilforSocietiesofIndustrialDesign
(Icsid),InternationalCouncilofGraphicDesign
Associations(Icograda)andtheInternational
FederationofInteriorArchitects/Designers(IFI).
UnderthedirectionofIcsid,theWDCdesig-
nationpromotestheimportanceofgoodde-
signbystrengtheningandempoweringcities
to use design to position their competitive
advantagesfromsocial,culturalandeconom-
icpointsofview.
ThisstatuswillgiveCapeTowntheopportu-
nitytoshowcaseitsvisionanditsachieve-
ments through a year-long programme of
design-led events and activities similar to
whatWorldDesignCapital2010Seouliscur-
rently doing and what Torino achieved in
2008.
SociallyconsciousdesignisatthecoreofCape
Town’s bid: design that seeks solutions to
theCity’schallengeswhilstcreatinganenvi-
ronmentthatissustainableandinclusive.
SOCIAL
CONSCIOUS
DESIGN
FORA
SUSTAINABLE
FUTURE:
WORLD
DESIGN
CAPITAL
FOR2014?
263 >
Flowerball light by Heath Nash.
264 >
NestedbunkbedsbyTsai.
CapeTownStadium.Image
courtesyofCityofCapeTown.
DesignIndaba10x10Housing
ProjectwitharchitectLuyanda
Mphalwa.
265 >
Cape Town is already home to numerous
cutting-edge designers and the breeding
ground of award winning, groundbreaking
designs. Designers like Haldane Martin with
his Zulu Mama chair which draws on indig-
enous knowledge and craft techniques,
Heath Nash with his refashioning of used plas-
tic products, Luyanda Mpalhwa’s 10x10 Hous-
ing Project submission, Tsai Design’s stacking
beds and Mokena Makeka’s public buildings,
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
single item detached from social or environ-
mental context.
But, the City’s urban landscape and lack of
social cohesion refect the planning archi-
tecture of apartheid and latter day political
economic policies which resulted in the ma-
jority of citizens living on the urban fringes,
condemned to poverty, unemployment and
a lack of access to resources.
In 2014, when South Africa commemorates
20 years of democracy, Cape Town will hope-
fully have a compelling story to tell of design-
led transformation. Socially conscious design
is already evident in a number of public sector
projects like the Violence Prevention through
Urban Upgrade project in Khayelitsha, the
upgrading of public spaces in the broader
Cape Town area through the Dignifed Spaces
programme and the legacy left by the 2010
Soccer World Cup. The latter has seen infra-
structure investment, which has emphasised
pedestrianisation and embedded ‘people-
frst’ design in its development of urban parks,
pedestrian and cycle routes and the begin-
nings of an Integrated Rapid Transport (IRT)
system. The Cape Town railway station and
the airport terminal have also been completely
transformed. All of these have a substantive
impact on people’s connection with, and in,
the city.
All these projects aim to give the poor greater
access to employment, give them parts of
the city from which they were displaced and
the relief from monotonous, bleak aesthetics.
Socially conscious design acknowledges cur-
rent world dynamics and uses design in in-
novative ways that seek to weave solutions
into the way in which design is conceived,
how its application is used, how its products
or services are consumed, and lastly how its
waste products are absorbed back into the
ecosystem. Socially conscious design em-
ploys methodologies that make use of local
techniques, are labour intensive and that
create employment. It uses products that are
not harmful, scarce or non-renewable and
which can be reabsorbed into the ecosystem
without obstructing the planet’s ability to
regulate itself.
Cape Town’s WDC 2014 bid aims to catalyse
a new way of thinking in which socially con-
scious design is integrated into the language
of design and embedded into a curriculum
of all design-led thinking. <
For more information about the World Design
Capital or how to enter your project, visit
http://www.capetown2014.co.za/
Images courtesy of Design Indaba.
266 >
MAKING
SENSEOF
STRATEGY&
POLICY:
THE
CURRENT
STATE
OFDESIGN
PROMOTION
ByJennieFourie
267 >
Mostdesignersfromdisciplinesacrosstheboard
havelittleornointerestindesignpromotionstrat-
egiesandpolicies.Truthbetold,theymostprob-
ablydon’tspendaminutethinkingaboutthese
issueswhiletherearedeadlinestomeet,plansto
bemadeandprojectstopresent.
InastudytosupporttheactivitiesofaSouthAfrican
taskteamondesignpromotion,JacquesLange,
past president of the International Council of
GraphicDesignAssociations(Icograda),collated
informationondesignpromotionstrategiesand
policies globally.This study found that Finland
andSouthKoreaweretheonlycountriesinthe
worldthathaveacompletedesignsystemthat
implementsdesignsupportprogrammestarget-
ingbusiness,thegeneralpublicanddesignedu-
cationwithnationaldesignpoliciesoperatingat
governmentlevel.
AsiaandtheNordiccountries,inwhichSouthKorea
andFinlandresiderespectively,arethemostvig-
orousregionswhenitcomestodesignpromotion.
Infact,Asiastandsoutwithdifferentdesignpro-
motionstructuresinChina(includingHongKong),
Japan(withnolessthanfourorganisations),Ma-
laysia, the Philippines, Singapore, Taiwan and
Thailand. Over and above Finland, the Nordic
countries have organised design structures in
Denmark,NorwayandSweden.Themajorityof
EuropeanUnioncountrieshaveactivenational
andregionaldesignpromotionagencies.
Traditionally,designpromotionactivitieswereestab-
lishedtosupportandstimulatethemanufacturing
industriesofcountries.Adevelopedmanufacturing
industryisregardedasaprerequisitefordesign
stimulustobeeffective.Thismightexplainone
ofthereasonswhyAfricalagsbehindwithSouth
Africa’sSABSDesignInstituteasoneoftheonly
designpromotionstructuresonthecontinent.
Africaisknownforcraft-basedindustriesandit
mightwellbethatnowisthetimefornewmod-
elsofrelateddesignpromotionactivitiestobe
developed.
InapreviouseditionofDESIGN>(No.13,2009),
thoughtleadersfromdifferentAfricancountries
gavetheiropinionsonwhatwasneededtoboost
design on the African continent. They unani-
mouslyagreedthatthedesignsectordidnotre-
ceiveappropriate,ifany,supportfromtheirgov-
ernments. As Lindi Ndebele Koka from South
Africanstatedinthearticle:“Comparatively,de-
signdoesnotreceiveenoughgovernmentalsup-
portasopposedtothecraftandflmsectorsthat
wereidentifedbygovernmentaspotentialsectors
foreconomicgrowthinSouthAfrica,despitethe
factthatdesignisalsopartofthecreativeindus-
tries. Currently governmental stakeholders do
notseemtohaveadequateunderstandingofthe
potentialofthedesignsector.Thesupportofthe
sector requires political advocacy backed by
enoughresearchthatwillmotivatethecontribu-
tionofthesectortobeneftandimpactonmajor
governmentimperativeslikejobcreation,pov-
ertyalleviationandmore.”Sheadded:“Designis
stillviewedasan‘elite’sector,sotospeak,where
thereareseriousbarriersofentryforordinary
people.”
AlthoughnonationaldesignpolicyexistinSouth
Africaatpresent,theSABSDesignInstitute,es-
tablished in 1969 and funded by government,
promotesdesigntosupporttheeconomicand
technologicaldevelopmentofSouthAfrica.The
Institute’sinitiativesincludeanumberofaward
schemesanddesignpublications,withafocus
oneducation,industryanddevelopment.
268 >
Thereisgrowingemphasisonthecreationofde-
sign and innovation structures in South Africa
throughadhocinitiativessuchasawell-defned
craftstrategy.
Whyshouldgovernments
careaboutdesign
promotion?
Thesimpleanswertothequestionwhygovern-
ments should care about design promotion is
thatitmakeseconomicsense.Let’stakeSouth
Koreaasanexample.
InaMcKinseyquarterlypublication,titledSouth
Korea:Findingitsplaceontheworldstage,fve
essaysexplorethemiracleofSouthKorea,Asia’s
fastestgrowingeconomy.Duringthefourdec-
ades following the Korean War, this country
evolvedfromoneofthemostwretchedstatesin
the region to one of the most vibrant. It has
turned into a manufacturing powerhouse that
has virtually eradicated poverty, malnutrition
andilliteracy.
Inaglobaleconomicclimatethatisstrugglingto
recoverfromtheravagesoflastyear’srecession,
South Korea is performing exceptionally well.
Thiscountry’seconomyacceleratedinthefrst
quarterof2010asrisingglobaldemandboosted
salesatthenation’scarmakersandelectronics
manufacturers. Exports surged to more than
30%fromayearagoandtheSouthKoreangov-
ernmentforecaststhatexportswillrise13%this
yearto$410billion,withtheHyundaiMotorCor-
porationincreasingsalesandSamsungElectron-
icspostingaseven-foldincreaseinproft.Finally,
thecentralbankhasraisedits2010growthfore-
castto5.2%.
InanessaytitledDesigningaDistinctiveNational
BrandintheMcKinseypublication,Christopher
Graves,statesthat“SouthKorea’sinvestmentin
designhasbeensubstantial,fromtheKoreaIn-
stitute of Design Promotion to its 230 design
schoolstothedesigninstitutesatbothLGand
Samsung”.
GravespostulatesthatSouthKorea’sinvestment
indesignispayingoff.“SouthKoreandesigners
are driving the most innovative designs in the
autoindustry–therevivaloftheCamaro,thenew
conceptcrossoverCadillacProvoq,theelectric
ChevyVolt,andtheLincolnMKT.Infashion,South
Korean designers have been sewing up excel-
lenceaswell.In2008,accordingtotheFinancial
Times,halfofthemosttalentedemergingdesign-
ers chosen to be honoured in Gen Art’s Fresh
FacesfashionexhibitionwerefromSouthKoreaor
wereKoreanAmerican,andatParsons,TheNew
SchoolofDesigninNewYork,nearlyathirdofall
studentsareKorean.AtCanneslastyear,tenKorean
flmswerescreened–arecord–andone(Thirst)
wontheJuryPrize…CompaniessuchasLGandSam-
sunghavebeensweepinginternationaldesign
awards.IntheprestigiousiFdesignrankings,award-
edbyInternationalForumDesigninHanover,Ger-
many, Samsung is number one in the world –
aheadofnumber-twoApple.LGisnumbereight,
aheadofGermandesignlegendsBMW,Miele,and
Gaggenau.”
KoreaInstituteDesign
Promotion
DesignbecameanationalimperativeinSouth
Koreain1970withtheestablishmentoftheKorea
InstituteofDesignPromotion,orKIDP.KIDPwas
establishedbytheKoreangovernmenttopro-
motethedesignindustryandexpandexports.As
269 >
anationalgovernmentdesignorganisation,KIDP
promotesKorea’smidtolong-termdesignpolicies
andengagesinvariousexchangeprogrammes
withcountriesaroundtheglobe.Tomeetthede-
mandsofthedigitaldesigneraofthe21stcen-
tury,KIDPparticularlyfocusesonleadingKorea’s
economicdevelopmentandenhancingqualityof
life.KIDPintendstodothisbypromotingresearch
anddevelopmentactivitiespertainingtodesign
andimplementingprojectstopromotedesignin
effectiveandsystematicways.
Withafull-timestaffofmorethan300,KIDPisbased
inthesix-storeyKoreaDesignCenterinSeongnam
Cityandissupportedby16regionaldesigninno-
vationcentres.
ThedesignpromotionpolicythatexistsinSouth
KoreaislegallyenforcedthroughtheIndustrial
DesignPromotionAct.
SeveralawardschemesformspartofKIDP’sinitia-
tives,includingtheGoodDesignAwards(product,
packaging,environmental,communication,materi-
als&surface,andprocessingdesign);theYoung
DesignersCompetition(fromelementarytohigh
schoollevel);andtheKoreaIndustrialDesignExhibi-
tionthatshowcasesthePresident’sAwardand
PrimeMinister’sAward.
ThestrengthofKoreandesigncanbeascribedto
anembeddeddesigncultureandcomprehensive
governmentsupportprogrammethataddresses
alllevels.AveryclearexampleofthisisthatSeoul
hasbeensuccessfulinitsbidtobecometheIDA
2010WorldDesignCapitalandhasdeclaredastrat-
egytobetheGlobalCentreforDesignby2015.
Andtherestoftheworld?
Aneconomiccasehasbeenmadefordesignpro-
motionbytakingSouthKoreaasanexample,but
thisdoesnotmeanthatthesubstantialeffortsof
othercountriesshouldbeignored.Themostpromi-
nentisthewell-knownBritishDesignCouncilin
Britainwhichservedasmodelformanydesignpro-
motionprogrammesformanydecades.InEurope,
Belgium,theCzechRepublic,France,Germany,
theNetherlands,SpainandPortugal,tomention
justafew,havewell-establisheddesignpromo-
tioninitiatives.TheAmericasandOceaniaalso
haveprofessionalbodies,awardschemesand
theliketopromotedesign.Althoughtheprimary
goalofdesignpromotioniscommercial,thecul-
turalidentityofacountryorregionplaysasig-
nifcantroleinthenatureofthepromotionalpro-
grammes.
Andthepointofallofthis?Itisclearthatdesigners
shouldstartpayingattentiontoregional,national
andinternationaldesignpromotionactivitiesif
theywouldliketoelevatethestatusoftheirprofes-
sionontheglobalplatform.Byaddingtheirvoic-
estothoseofpressuregroupsthatarelobbying
governmentstoformalisedesignstrategiesand
policies,designerscanbeinstrumentalinsecur-
ingaprosperousfutureforthemselves.<
40 YEARS
OF DESIGN
EXCELLENCE
T: +27 (0) 12 428 6326
F: +27 (0) 12 428 6546
E: design@sabs.co.za
W: www.sabs.co.za
270 >
REBRANDING:
AFEWLEGAL
CONSIDERATIONS
Atsomepointduringthelifecycleofmostorganisa-
tions,therewillcomeatimewhenitisconsidered
appropriatetochangethecorporateidentityorits
fagshipbrands.Thishappensforvariousreasons,
suchaswithmergersandacquisitionsoftwoor
morebusinessesorpurelyforthesakeofrejuvina-
tionorrepositioning.Sometimesthereasonfor
rebrandingmaybeconnectedtoadesiretoshed
a ‘tainted image’. For example, it has recently
beenreportedthattheglobaloilandgasgiant,
BP,maybeconsideringare-brandinlightofthe
negativepublicityithasreceivedasaresultofthe
oilspillsintheGulfofMexico.Closertohomeit
hasbeenreportedthattheSouthAfricanFootball
Association(SAFA)maybeconsideringachangeof
thepopularnationalfootballteamnameBAFANA
BAFANAduetothefactthatthismarkhasbeen
registeredinthenameofanotherparty.
Thereareafewbasicintellectualpropertyconsidera-
tionswhichbusinesseswoulddowelltokeepin
mindintherebrandingprocess.
Perhapsagoodstartingpointistherecognition
thattrademarksorbrandsareavaluableformof
intellectualproperty.Theirfunctionistoindicate
tothepublicthat‘thesearethegoodsorservices
ofme,thetrademarkowner.’Theirroleinattracting
customshouldnotbeunderestimatedsincecon-
sumersgenerallysticktothebrandsthattheyknow
orholdinhighesteem.Thatisthepowerofagood
brand.Nowadaysthevalueoftrademarkscanbe
reliablycalculatedanddetermined,andthisisan
everydayprocessacceptedbynoneotherthanthe
ReceiverofRevenue,aswellasfnancialinstitu-
tionsandthebusinesscommunity.Forexample,
Business Week has ranked COCA-COLA as the
mostvaluablebrandintheworldwithitsnotional
valueexceedingUS$65billion.Obviouslyveryfew
brands can be compared with COCA-COLA, but
this brand illustrates well the point that trade
marksarevaluableproperty.
Itstandstoreasonthatasizeablechunkoftheval-
ueofatrademarkcanbeattributedtotheexclu-
sivityattachedtoit.Itisthereforecriticaltoensure
that this exclusivity is maintained at all costs,
whichcannormallybeachievedthroughtrademark
registrations,domainnameregistrationsandpre-
ventingothersfromdilutingthemark.
Whenrebranding,considerationshouldbegiven
totheprotectionofthe‘old’aswellasthenewbrand
inordertopreventpotentiallossesasaresultof
divertedcustom.Ifaregisteredtrademarkisbeing
discontinued, the registration should be main-
tainedforaslongaspossible.Therewillobviously
beacostimplicationinmaintainingandpromoting
thebrand,whichwouldhavetobeconsidered,but
inthevastmajorityofcasesthebeneftinmain-
tainingthetrademarkregistrationwillfaroutweigh
therelatedcostasthiswouldprovidearelatively
easyandinexpensivewayofpreventingpotential
competitorsfromproftingfromanygoodwillin
thebrand.Itwillalsoalwaysbepossibleforthe
trademarkownertosellthebrandifitisconsid-
ered to be expendable, as opposed to merely
abandoningit.
Animportantconsiderationinrelationtodiscon-
tinuedbrandsisthatinmostjurisdictionstrade
markswhicharenotinuseinthecourseoftrade
willatsomepointbecomevulnerabletoremoval
fromtheTradeMarksRegister.InSouthAfricareg-
isteredtrademarksbecomevulnerabletosuchan
attackafteraperiodoffveyearsofnon-use.In
271 >
REBRANDING:
LEGAL
CONSIDERATIONS
ordertopreventthisfromhappening,themarkwill
havetobeusedinthecourseoftradeatleastperi-
odically.Assomebeerdrinkerswouldbeaware,
for example, SAB MILLER has discontinued its
LIONLAGERbrand,butinordertopreventthemark
frombecomingvulnerabletoanattackbasedon
non-use,LIONLAGERbeerisnowavailableinSouth
Africaonlyduringthefestiveseason.
When rebranding, protection for the new brand
shoulddefnitelybesecuredpriortoitslaunchor
publication.Typicallythiswouldentailconducting
searchesoftheRegistriesinallthecountriesin
whichonehasorintendstohaveaviablebusiness
undertaking,toensurethattheproposedtrade
markisavailableforuseandregistration.Ifthemark
isavailableitshouldberegisteredimmediatelyin
alltherelevantclasses.Thisappliesequallyto
businessnamesaswellasdomainnames.Inthe
caseofFletcherChallengeLtdvFletcherChallenge
PtyLtdnewsoftheincorporationofAunderthe
name of Fletcher Challenge, which was formed
throughthemergerofthreeNewZealandcompa-
nies, was announced to the Stock Exchange of
NewZealandon22October1980.Thenextdaythe
newsappearedinanumberofnewspapersand
fnancialjournals.Onthesameday,Breservedthe
companynameFletcherChallenge.InGlaxoPlcv
GlaxowellcomeLimited,Aissuedapressrelease
on 23 January 1995, announcing a takeover bid
which, if successful, would form a new entity
calledGlaxo-WellcomePlc.On24January1995B
fledanapplicationtoregisterthecompanyname
GlaxowellcomeLimited.Bothmattershadtobe
resolvedthroughlitigation.
Anoftenoverlookedaspectoftrademarksisthat
someofthemalsoenjoycopyrightprotection.Ifa
mark is in the form of logo or a combination of
wordsandadesignordevice,suchastheBPand
COCA-COLAtrademarks,itwillgenerallyalsoenjoy
copyrightprotectionasan‘artisticwork.’Theterm
‘artisticwork’asitisusedintheCopyrightActNo.
98of1978hasnoreferencetoartisticquality,and
should therefore not be misunderstood. Even
‘plainlooking’logosorvisualdeviceswillinmost
272 >
273 >
instancesenjoycopyrightprotection.Anotherlittle
knownfactisthatcopyrightgenerallybelongsto
theauthoroftheparticularworkandcanonlybe
transferredinwriting.Itmakesnodifferencethat
the designer was remunerated for creating the
logo.Unlessthereisawrittenagreementinterms
ofwhichownershipofthecopyrightinthelogoor
deviceistransferredtothetrademarkowner,the
copyrightsubsistingthereinbelongstothedesigner.
So what happens if during the course of A’s re-
brandingexercisethedesignerofA’snewlogo,as
thelegitimateownerofthecopyright,sellsittoB,
acompetitorofA?
Intermsofsection10(12)oftheTradeMarksAct
194of1993(“theAct”)atrademarkshallnotbe
registered,orifregisteredshallberemovedfrom
theRegisterifitsregistrationiscontrarytoany
law. In the circumstances mentioned above if A
triestoregisterthenewmarkhecanbeblockedin
termsofsection10(12)oftheAct.Ifheusesthe
markhewillinfringeB’scopyrightandcanthere-
forebestoppedintermsoftheCopyrightAct.
Consequently, A’s rebranding exercise could be
stoppeddeadinitstracks.Dependingontheextent
ofA’soutlayatthatstagethiscouldpotentially
resultinasubstantialloss,oratleastsomeembar-
rassment. It is also arguable that a trade mark
‘owner’whodoesnotalsoownthecopyrightinthe
markcannotbethebonafdeownerofthemark.In
termsofsection10(3)oftheAct,amarkinrelation
towhichtheapplicantforregistrationhasnobona
fide claim to proprietorship shall not be regis-
tered.Allofthispointstotheimportanceofensur-
ingthattheownershipofthecopyrightinlogoand
devicemarksissecured.
Rebrandingsignalschange.Anewimagewillcause
consumerstotakeafreshlookatabusiness.It
wouldbeapityiftheyfndabusinesswhichhas
unwittinglyopeneditselfuptolitigationasare-
sultoffailingtoadequatelysecureitsintellectual
property.<
274 >
TRANSFORMING
RURALVILLAGESINTO
WEALTHYTOWNS
THROUGHTHE
INDUSTRIALISATION
OFCRAFT
ENTERPRISES
ByLeonardShapiro
275 >
Theproductionofcraftproductsisamajorcon-
tributor to economies in countries the world
over.Insomecountries,functionalcraftproducts
areproducedinvolumeslargeenoughtobesup-
pliedtomajorchainstores.
InSouthAfrica,craft-makingandtheharnessing
ofhandskillsandcreativetalentintothedesign
andproductionofcraftproductsfornationaland
globaldistributioniskeytoasectorthatcancontrib-
utesignifcantlytooureconomy.Toachievethis,the
setupofpurpose-builtproductionlinefacilities
and appropriately mechanised manufacturing
systemsareprimarycomponentsinthecontinued
supplyofcraftinlargevolumestosatisfymarket
demand.
Commonstereotype:peoplewholiveinruralareas
inSouthAfricaaretypicallypoorandunemployed.
Thisblindsustothefactthatthereareanabun-
danceofsophisticatedhandskillsanddesign
knowledge available in these areas, which re-
mainuntappedandundeveloped.Theseskills
represent a valuable inherent asset that can
formthebasisofthrivingandsustainablecrafts
enterprises.
PapermâchécrafterThembaMasalaand
productdeveloperLeonardShapiro.
276 >
If more employment is created in rural areas,
theseareaswillbecomemorewealthyandthe
moremunicipalservicesruralinhabitantswillbe
able to afford. In addition, individuals will be
abletoaffordbetterhousing,privatehealthcare,
universityeducation,morenutritionalfoodstuffs
andluxurygoods.It’sthatsimple.
Tothisend,investmentintheruralvillagebecomes
attractiveforcertainretailoutletsandbanksas
thedemandfortheirgoodsandservicesbecome
affordable.
PovertyalleviationfundingfromtheSouthAfrican
NationalTreasuryisdirectedtoanumberofgovern-
mentdepartmentswhoaretaskedwithusingthese
fundstodevelopcraftsenterprises.Themainfocus
behindtheuseofpovertyalleviationfundsinthe
craftsectoristocreatesustainablecraftsenterpris-
esandjobsbasedontheutilisationofexisting
handskills.Thispolicyandprocesshasbeenim-
plementedsteadilyandsuccessfullysince1994.
Manycraftershavebeneftedfromproductdevelop-
mentandbusinessskillstraininginterventions
providedbyserviceproviderscontractedtovarious
governmentdepartments.
Consequently,thereareagrowingnumberofcraft
enterprisesthathavereachedthepointwheretheir
productionratecannotkeepupwiththedemand
fortheirproducts.Assuch,thenextlogicalstepin
thedevelopmentofthecraftenterpriseistheindus-
trialisationoftheproductionsysteminorderto
increase manufacturing efficiency and product
output,whilststillmaintainingproductquality.
Theindustrialisationofcraftsenterprisesthatare
atthepointwheretheycanjustifytakingthisde-
velopmentalstep,leadstoadramaticincreasein
jobsandwealth.Industrialisationneedstobein-
troducedsensitivelyandthemaintenanceofthe
RaaswaterPaperCraftandDesignenterprise.
importanthand-processesinthemanufacturing
processneedstobekeptsothatcraftproducts
stillhavethecharacteristicsthatmadethemdesir-
ableinthefrstplace.
Itisassumedthatanenterprisethatisreadyfor
industrialisationhastypicallybeeninexistencefor
atleastthreetofveyearswithconsistentmonthly
orders,butnowtheordersfortheirgoodsarenow
outweighedbytheirabilitytoproduceandsupply.
Itfollowslogicallythatthedevelopmentofapurpose
builtproductionfacility,a‘productionworkshop’
or‘factory’,andtheintroductionofaproduction
systemalignedtothemanufacturingprocessof
thecraftproduct,willincreaseproductionoutput.
Currently,therearecraftsenterprisesthatareatthe
stagewheretheycanjustifablytakethisnextstep
andestablishapurposebuiltproductionfacility
whilstintroducingtheappropriateinterventionof
manufacturingtechnologiestoassistthepeople
involvedinthemanufacturingprocess.
Itisimportanttonotethatanyinterventionoftechnol-
ogyissolelyforthealleviationofthedrudgeryof
humanlabour.Toelaborate,thestagesinthepro-
ductionprocessthatarerepetitiveandsuitedto
mechanicalinterventionshouldbemechanised.
However,machinescanneverreplacetheunique-
ness and desirability achieved by hand crafted
products,andthereforethosestagesofproduction
suchashanddecoratingmustobviouslyneverbe
appliedthroughanautomatedprocess.
Takemouldingforexample.Mouldmakingmachinery
canbeusedtoreplacehumanlabourwhenacrafter
ismakinganumerousceramicplatesbyhand,where
thesizeoftheplateneedstoberegularandwhere
thedecorativeprocessisirrelevant.Thedecorative
processwillofcoursenotbemechanisedbutwill
277 >
278 >
remainahandprocess.Thereasonforthisisthat
thedecorativeprocessgivesthefnalproductits
real value, where the consumer is buying the
plateprimarilyforitshanddecoration.Mecha-
nisingtheprocessofshapingtheplatemeansthat
manymoreplatescanbemadeandorderscan
betakenfromretailoutletsandchainstoresthat
requiresupplyinlargequantities.Asordersin-
crease,morepeoplewillberequiredtodecorate
theplatesandconsequentlymorepeoplewillbe
trainedandemployedforthispurpose.Themore
themerrier!
Bysupportingthedevelopmentofsustainable
enterprisesinruralareasthroughtheindustrialisa-
tionprocess,willresultinfewerpeoplewholivein
ruralareasneedingtoseekworkinurbanareas.
SouthAfricaisarelativelyyoungdemocracyand
althoughgreatstrideshavebeenachievedinthe
craftssectorinthelast15years,developmentof
thecraftsectorisembryonicwhencomparedto
craftdevelopmentinothercountries.However,im-
portantly,indigenousknowledgeskillsthatform
thefoundationforthemanufacturingtechniquesin
themakingofSouthAfricancraftsarepartofSouth
Africa’sknowledgebankofskills.Theseskillsare
home-grown.Thesetechniqueshavebeenpassed
onfromgenerationtogenerationandalthough
theymayemploylow-technologyintheirmak-
ing,manyofthesetechniquesareinfacthighly
sophisticated.
Aftertheindustrialisationofacraftsenterprise
hasbeensuccessfullypilotedinonevillage,its
RaaswaterPaperCraftandDesignenterprise.
methodologyfordevelopmentcanbeappliedinall
oftheprovinces,tocraftenterprisesthatareready
forthisnextimportantstepintheirdevelopment.
Thereisacraftenterpriseinasmallvillageinthe
NorthernCapeprovinceofSouthAfricacalled,Raas-
waterPaperCraftandDesign.Itwasfoundedin2002
bypapermâchécrafteranddesigner,ThembaMasala.
AtthistimeLeonardShapiromentoredMasalafor
aperiodof18months.Today,Masala’scraftenter-
prisenowemploys20peopleandsuppliesretail
outlets in South Africa, Germany, Switzerland,
FranceandtheUnitedKingdom.Thisenterpriseis
nowatthestagewherethedemandforproducts
exceedstheabilitytosupplytimeously.Assuch,
this craft enterprise is a perfect candidate for
mechanisation/industrialisation. In essence, a
purposebuiltfactoryspaceiswhatisneeded.If
youoryourorganisationwouldliketosupportthe
Raaswater Paper Craft and Design initiative,
pleaseemailmeatleonard@craftsouthafrica.co.za
ABOUTLEONARD
LeonardShapiroisthedirectorofCraftSouthAfrica,
anorganisationdedicatedtothedevelopmentofcraft
enterprisesinSouthAfrica.<
279 >
280 > 280 >
WHAT’S MORE ALIVE THAN YOU™
(WMATY) is an original Italian project
producingfashion-artcollectionsofshoes,
bagsandaccessoriesbasedondesigns
bycreativesfromacrosstheworld.The
project targets young students of art,
architecture,fashionandinteriordesign
collegesaswellasallthose–regardlessof
age–whohaveapenchantforfashionart
andwanttoseetheirideasrealisedand
rewarded.
WHAT’SMOREALIVETHANYOU™col-
lectionsareuniqueandincludedesigns
developedafterartisticandstylisticre-
search,whichtelltalesfromalloverthe
worldanduseinnovativematerialsand
WHAT’SMORE
ALIVE
THANYOU?
281 > 281 >
originalpatternsastheexpressionofa
distinctivestyleforthosewhowantto
standout.
Thereisasubstantialdifferencebetween
standardcompetitionsandWMATY’screa-
tivecalls.WithWMATY,participantsare
allonapar,providedthattheirideasare
newandoriginal.Thereisnoclassifcation
witha1
st
,2n
d
or3
rd
place,butareward
forthoseprojectswhichareconsistent
withthecreativecalltheme,theorganiser’s
corporatestrategiesandthenatureof
theircollections.WMATYaimstopromote
culturaldiversityandgivingaplatformto
everybody’sartisticanddesignskills.Itis
a thread of creativity spinning around
theglobe,whichbringstolifethestory
thatliesbehindeachartwork.
Designersofselectedartworksreceivea
net6%royaltyfeecalculatedonthesales
priceoftheirartworksaslongastheystay
intheWMATYcollections.Selecteddesign-
ersandartistsarealsopromotedthrough
aninternationalcommunicationcampaign.
Theirimagesandproflesaccompanyeach
oftheartworksonsale.Itisthedesigners
themselveswhointroduceandexplain
theirartworksandtellbuyersabouttheir
LTR:FloralShoesdesignedbyVictoria
Geaney,UnitedKingdom.PebbleBag
designedbyTomásTrenchard,Ireland.
282 > 282 >
underlyingstories.Therealprotagonist
isthedesignerwithhis/herartwork.
Followingseveralyears’work,theinter-
nationalprojectfnallygotunderwayin
May2009,whenthefrstcallforsubmis-
sionswaslaunched.Submissionscame
from82countriesandincludedconcepts
forfashionartwhichencompassedshoes,
bagsandaccessories.Thefrstselection
tookplacelastOctoberattheTriennale,
Milan.Theselectionpanelcomprisedof
WMATY’sdesignsupervisors,atechnical
committeeofpatternmakersandproduct
developmentmanagersandascientifc
committeeofrepresentativesfrompart-
neruniversities.Thepanelshort-listed
projectsby15designersfrom12countries
andassoonastheresultswereannounced
theprocesswassetintomotiontoget
theseproductsintoproduction.
Projectsselectedamongthoserespond-
ingtothecreativecallsareindividually
developedforproductionbyWMATY’sstaff
withthesupportofoutsourcedspecialists
TOP:RecycledShoes,designedbyLiza
FredricaÅslund,Sweden.
RIGHT:MyjabaMoneyBagdesigned
byAkikoTanakashi,Japan.
FARRIGHT:PostModernGetadesigned
byAkahitoShigemitsu,Japan.
including Material Connexion,Vibram
andGruppoGiovanniCrespi.Theproduct
developmentprocessisbackedupbyex-
tensiveresearchintomaterialsandevery
partoftheproductionphaseisfrstsub-
mittedtothedesignersforapprovalbe-
foreproductionproceeds.Allthismakes
WMATY not only a manufacturer of
shoes, bags and fashion accessories,
butaboveallatrueincubatorofprojects
whichinvestsininnovativepeopleand
creationstogiveanewperspectiveto
fashion.
WMATYisalsocommittedtoprotectand
safeguardthedesigners’creativityand
intellectualpropertynotonlyforshort-
listedprojects,butforallprojectssubmit-
tedinresponsetocreativecalls.WMATY
283 > 283 >
284 > 284 >
TOP:SushiCovershoesdesignedbyPremrudee
Leehacharoenkul,Thailand.
ABOVE:TemporaryNightclutchbagdesignedby
PremrudeeLeehacharoenkul,Thailand.
RIGHT:UpShoesdesignedbyClaudiaCivilleri,Italy.
285 > 285 >
alsorewardsanytechnicalideas,inven-
tionsorinnovationswhichmaybeselected
from both short-listed and non-short-
listedproducts.Forexample,ifashoes
projectcontainsaninterestingideafora
sole,aninnovativematerialoraspecial
constructionwhichcanbesubmittedfor
apatentapplication,WMATYwillpaythe
relevantdesignera3%to10%royaltyfee
inadditiontoastandard6%iftheproject
haspassedselectionandtherebyengages
toprotectthedesigner’sintellectualprop-
ertyrights,nameandpersonalimageat
alltimes.
WMATYmightalsocallpreviouslyshort-
listed artists to complete further on-
commissionprojectsforcollectionsorco-
ordinates.Insuchcases,designerswillbe
rewardedwithbothastandardroyalty
fee and an additional recompense for
contributingtoresearchonstyle.
Thefrsttwocreativeswho’sproductswent
to market was Premrudee Leehacha-
roenkul’sSushiCovershoesandTemporary
Nightclutchbag,andAkahitoShigemitsu’s
PostModernGetamini-shoerange.Since
productdevelopmentisatime-consuming
process,collectionsarelaunchedinphas-
es.Todate,fvemorerangeshavebeen
launched, including AkikoTanakashi’s
MyjabaMoneyBag,ClaudiaCivilleri’sUp
Shoes,LizaFredricaÅslund’sRecycled
Shoes,TomásTrenchard’s Pebble Bag
andVictoriaGeaney’sFloralShoes.Other
rangeswillsoonfollow.
Afteraprototypeisdeveloped,WMATY’s
designsupervisorsdecidewhichcollection
isassignedtoeitherthePermanent,Limit-
edorPrivateCollection.ThePermanent
Collectionisthecorecollectionandgathers
together the largest number of newly
developedfashionartworks.Best-selling
artworksarepresentedaspartofthiscol-
lection.Here,artworkscouldremainon
saleforyears.TheLimitedCollectioncon-
sistsofthemostprecious,creative,com-
plex,visionary and even crazy fashion
artworks.Theyaredesignedforshort-run
production,individuallynumberedand
signedbydesigners.ThePrivateCollection
istargetedatexistingcustomers–those
who have already accessed WMATY’s
universebypurchasinganartworktowear.
Acopyofthecatalogueofthiscollection
anditsupdatesaresenttocustomers
onaregularbasisandaswiththePer-
manentCollection,someitemsmayre-
maininthiscollectionforyears.
“Peopleandourcollectionsarethereal
strengthofourproject,sowetellyouwho
they are, to give them a name and an
identitythatarerefectedintheircrea-
tionsaswell,”concludesGiuseppeReo,
WMATYcommunicationsmanager.<
286 >
By Stacey Rowan. PACE 2010 presented a bold
newvisionforacontinentthatisascontemporary
asitisAfrican.Thisshowcaseofpiecesfromaround
thecontinentwasamust-seeforvisitorswhowere,
andstillare,interestedinavisionofAfricathatchal-
lengestheirpreconceptionsandhackneyed‘curio’
stereotypes.Havinghighlightedexcitingnewdirec-
tionsinhand-madeAfricancraft,theexhibitionpre-
sentedAfricancrafts,withanedge.
HostedattheGautengCraftandDesignCentre,
NelsonMandelaSquare,Sandton,from17June–
31 July, PACE 2010 was supported by the South
AfricanDepartmentofArtsandCulture,theGau-
tengProvincialGovernment,theCityofJohannes-
burgandtheGautengCraftandDesignCentre.
Curators Adam Levin and Andile Magengelele,
commissionedbyCreateAfricaTrading,scouredthe
continentforunusualnewpiecesandcontemporary
PACE:
THEPAN
AFRICAN
CRAFT
EXHIBITION
African handmade designs that based their
identitylessonethnicityandmoreonshape,
modernity,textureandindividualcreativity.
“It was aesthetically challenging to envision
somethingthathadnotyetbeendoneinterms
ofartpiecesandtheexhibitionasawhole,butit
wasalsoagreatjoy.Logisticallywehadtowork
with20countriesinashorttimeframeatatime
when South African customs and air-freight
were beyond busy, due to the 2010 Soccer
WorldCup,”saysLevin.
“Whenselectingtheart,wefrstfguredwhat
wedidnotwantandthen,throughaverygood
networkofcontacts,wesimplyworkedonpiec-
esthatblewusaway.Wedidn’twanttojust
settleonanythingmediocretofllupthespace.
Itworriedmeattimesthatwe’dhavenothing,
butintheend,theartanddesignpieceswere
veryfresh.Allthepiecespresentedagreatfu-
tureforartsandcraftinourcontinent.”
ExhibitorsatPACE2010included:KenteDigital,
Tekura,AboubakerFofana,Okechuku,Cheick
Diallo,TheLover’sDrum,KpandoPottery,Aida
Duplessis and Seringa, among others.When
consideringsomeofhisfavouritepiecesinthe
exhibition,LevinsaidthathefavouredtheAli
Lamu Canvas, Cheik Diallo’s Banana Rocker
andTekura’sWalkingTable.
Tekura,creatorsoftheStoolandTheWalking
Table,amongstotherpiecesintheshow,focus
on converting the traditional and decorative
intothefunctionalforexample,turningamask
intoatablelegoradrumintoachair.Forthe
Tekurateam,it’saboutseparatingcuriosfrom
designproducts,focusingmoreondesignfunc-
tionality, yet continuing to keep the cultural
aspectofadesign.
287 >
KindofBlue.Thecombinationofwhimsyandfnesculptingbearsthe
unmistakablesignatureoftheHouseonFirecollective,Swaziland.
TOP:Calabashes.Theapplicationofrafatothe
traditionalTuaregcalabashaddsanintriguingtextural
qualitytoatraditionaldesignfromNiger.ABOVE:
BananaRocker.ThestrikingrockingchairbyCheikDiallo
(Mali)iscoveredintie-dyedTuaregleather.
TOP:TheWalkingTablebyTekuraplacedontop
ofTheHuntedrugbySouthAfricanartistConrad
BotesandPacoRugs.ABOVE:NdebeleChair.
ThenewdesignbySouthAfrica’sforemost
textileartist,RonelJordaan.
288 >
LTR:Exhibitswerehousedinaseries
ofwell-litfuturisticpodsdesignedby
NicholasdeKlerk.DolosLight.This
newMoonlightandMagicdesignis
basedonanotherSouthAfrican
invention,theiconicconcreteDolos
blockswhichworkaswavebreakers
alongcoastlines.AloeLamp.Thisnew
designfromMoonlightandMagic
(SouthAfrica)whopioneeredthe
designofmuchcopiedpapermâché
animallamps.
289 >
House on Fire, designers of the Kind of Blue
andBlackNapoleonChairandOpenBust,among
otherpiecesintheshow,playedadominant
rolewithintheexhibition.ForHouseonFire,
designingcontinuestobeaboutexplorationand
goingbeyondthenorm.It’sabouthavingan
enthusiastspirit,adrivingforcebehindacertain
design.Exploration,fortheteamatHouseonFire,
createsopportunitieswherewecanshareideas
andlearndifferentthings.Tobeadesigner,one
hastoholdontoavision,aplacewhereone
ultimatelywantstobe.
LorenKaplan,ceramicartistanddesigner,de-
signedtheLightRoseWindowChandelier.“I
lookatthevalueandimportanceoftheobjectI
createandtheprocessitwilltaketocreateapar-
ticularthing.Theremustbealargeimportance
placedonthe‘sensory’–howitwillfeeltothe
enduserandhowitwilllook.Theenduserwill
thinkaboutwhomadeitandwhattheproduct
ismadeof.Whatdoestheuserthinkwhenthey
usetheproduct?Asadesigneryouhavetoask
yourself–whoisgoingtouseit,whoisgoingto
touchitandexperienceit?It’saboutgettinginto
theheadspaceoftheenduser,”saysKaplan.
PACE2010allowedAfricandesigntostandits
owngroundonaglobalstagebecauseprevi-
ouslyishasbeensurpassedasnaïve,ethnic
visionsandclichés.“Throughthisexhibition
wehavebeenintroducedtoawholenewwave
ofAfricandesign.Wetendtofocusalotonthe
wonderfullocalscene,butnowwecanseethe
continent is moving forward. I’m all for Afro-
futurism.IthinkPACEhasbeenalandmarkin
settingthatmoodonthecontinent.It’salways
greattoseeyouridentitythroughfresheyes.In
ourcontinent,thereisasenseofbuilding…de-
signers and crafters are always building.We
have to continually keep thinking of how we
havetoupourgameascrafters,designersand
artists,”concludesLevin.<
BlackNapoleonChair.Carvedfromreclaimed
woodbytheHouseonFirecollective,Swaziland.
290 >
ByStaceyRowan.Theadage‘Apictureiswortha
thousandwords’referstothethoughtthatmulti-
facetedstoriescanbedescribedwithjustasingle
image,orthatanimagemaybemoreinfuential
thanasubstantialamountoftext.Thismaystand
trueinsomecases,butinthecaseofGreeneron
theotherside,anexhibitionbyKudzanaiChuirai,
thewordswithintheartworksspokevolumesover
theimages.
Greenerontheotherside,hostedfrom9July–7
AugustatCO-OPinJohannesburg,wasKudzanai
Chuirai’sthirdposterseriesincollaborationwith
DokterandMisses.Featuringeightpostersandsix
drawingsintotal,theshowexploredthefranchise
ofdemocracy.“Thefranchiseisopenforbusiness,
butcanyouaffordtheproduct?Manyhavecome
toacceptthattheyaresimplywindow-shoppers.”
Althoughthethemeofdemocracyplayedadominant
rolewithintheexhibition,whatwasmoreprominent
werethewordsusedwithintheartworksandthe
titlesthatweregiventoeachpiece.Onecanlook
atanartworktitleandimmediatelycreateanideain
APICTURE
ISWORTHA
THOUSAND
WORDS
291 >
TOP:KudzanaiChuirai.
ABOVE:DetailfromVirginsofthe
Atlantic.Thewordswithinthe
artworksspeakvolumesoverthe
images.
LEFT:VirginsoftheAtlantic.Acrylic
andwaxcrayononboard.1500x
2500mm.
292 >
one’sownhead,projectinghisorherownpre-
conceivedperceptionsandthoughtsoniteven
beforeviewingtheartwork.Notonlyaresomeof
thetitles,likethepostersnamedDisarm,Dismay
andDisplace,thoughtprovoking,butitisthewords
usedwithintheartworksthemselvesthattruly
evokeemotionsandgivetheexhibitionitstone.
“Thetitles,DisplaceandDisarmarelinkedtoa
space,amoodorcharacterwithinthespace.Aper-
soncanbetransportedtoaplacesomewhereand
disarmthemselveswithinthatdisplacedspace.
It’showthewordsusedforthetitlesconnectto
anenvironment,”saysChuirai.
InVirginsoftheAtlantic,wordslikedisassociated,
disconnected,discarded,discourage,disbelieve
anddiscriminatedevokeanegativetone,yetan
almostrealisticone–consideringthatthesewords
speaktrueofourcircumstancesinwhichwelive
(TakeSouthAfricaforexample,wherethepooris
discardedanddifferentracesaredisconnected.)
Thesewordsallowustofocusonissuesthatare
normallysweptunderthecarpet.“Inthispiece,
Iusedasequenceofwords.Ilookedthroughthe
dictionaryandputthewordsinanalphabetical
formatthatfollowedinsequence.Thetextinthis
artwork,andtheotherworks,leadthewayofhow
youlookattheshow.”
Sentencesusedinotherartworkslike“Adiamondis
forever.EenyMeeny,Miny,Moe,catchablackdia-
mondbuyitstoe,ifhehollerslethimgo,EenyMeeny
MinyMoe”,usedinDeBeers,ishumourouslychar-
ismaticyethasacynicalundertone.Thereisan
underlyingmeaningherethatcouldbeperceived
asrelatingtotheslaveryandexploitationofblack
people,theblackdiamond,whomineddiamonds
inAfricancountries.TheposterstitledLetThemEat
CakeandWorkingHardforYou,alsopertainto
ABOVE:Cazal.Charcoalandwaxcrayonon
board.594x840mm.
OPPOSITEPAGE,TOP:DrawingsbyKudzanai
Chuirai.
FARLEFT:ScottTissue.Charcoalandwax
crayononboard.594x840mm.
LEFT:Rolex.Charcoalandwaxcrayonon
board.594x840mm.
293 >
294 >
295 >
thismatterinthattheyalmostsymboliseracism
andthesubordinationoftheblackworkingclass.
Combinethesetwotitleswithanimageofablack
manandablackwoman,andthetitles’meanings
aresupported.
“Mentalkaboutwoman,sportsandcars.Women
talk about men in sports cars”, in the artwork
Mercedes-Benz,isofagender-basednature.Join
that sentence with the statement “picture me
fucking”(whichisinaspeechbubblepointingat
amalehyena’spenis)andyoucreateaworldof
stereotypicalwaysinwhichmenandwomenare
viewedandwaysinwhichtheyboththink.
NotonlydoesChuiraifocusongenderinhisuse
ofwords,butthetopicofviolencecomesupinthe
words“MachineGunFunk”,usedinRolex.The
wordsarealsoilluminatednexttotheartwork
imagery.Aladylaysnakedwithherlegsopenand
machinegunbulletsarefyingintohergenitals.
Now,ifthisdoesnotevokeemotion,thenwhat
does?
“Flauntourtaste”,intheartworkHennessayand
“Whenyouareworkingtomorrow,wearaRolex”,
intheartworkRolex,haveanunderlyingsnob-
bishtone.Thesestatementsportrayasenseof
mockery–amockeryattherich,whoseemtothink
thatmaterialthingsdefnethemasaperson.
Notonlydoesthewordingusedinthetitlesofthe
artworksandwithintheartworkthemselves,have
thepowertocreatethetonefortheentireshow
andevokeourthoughtsandemotions,butit’s
thewordingandtheimageryincombinationthat
trulycreatesomethingbeautifulandartistic.<
TOPLTR:Disarm.Dismay.Displaced.Letthem
EatCake.LithographicprintsonMunkenpure
unlimitededition.420x594mm.Workinghard
foryou.LithographicprintsonMunkenpure
unlimitededition.420x594mm.
LEFT:GreenerontheothersideandGreener
ontheothersideinvitationandposters.
296 > 296 >
ImagingOurselves:VisualIdentitiesinRepresen-
tation,editedbyLeoraFarberandpublishedby
theFADAResearchCentreandtheVisualIdentities
inArtandDesign,presentsacollectionofessayson
howvisualidentitiesinSouthAfricaareconstructed
andrepresentedacrossarangeofartanddesign
disciplines.
Thecoveriscleverlydesignedtoactlikeamirror.
Uponlookingatthecover,thereaderisabletosee
arefectedimageofhimorherselfonthecover.This
supportsthetitleofthebook,whichspeaksofim-
agingourselvesandidentities–weareabletosee
ourimage,andimagineouridentityonthecover.
Thechapterswithinthebooklookattopicslike
advertising,creatingmeaninarchitecturaland
furnituredesign,ideologiesindigitalartist’sbooks,
socialidentity,andthemutabilityofidentifcation
inartworks,defanceandtouristicrepresentation,
amongstothers.
OnecouldclassifyImagingOurselves:VisualIden-
titiesinrepresentationastheperfectvessel,or
coursematerial,fortheoreticalstudieswithina
coursethatfocusedonrepresentationoridentity.
Beingtextheavyandimageshy,thisbookwould
notberecommendedforaleisurelylightread.
Withessaysfromnumeroussources,itiseasyto
seehowmuchresearch,timeandeffortwentinto
thecreationofthisliterature.Whatisanotherno-
tablecharacteristicisthediversityofapproaches
thattheessaysencompass–itisinterestingtosee
differentpointsofviewsandopinions.
WiththeliteraturebeingplacedwithintheSouth
Africancontext,togetherwiththeuseofSouth
Africanimageryandinformation,thisbookiscer-
tainlyhome-grown,andproudlySouthAfrican.
Theintentionoftheauthorswastohighlightthe
centralrolethatartanddesignplaysintheforma-
tion and expression of post–1994 South Africa
visualidentitiesand,indoingso,tocontributeto
thebroaderredefnitionofSouthAfrica’ssocial
andculturalidentities,whichisstillongoingon
multiplelevels.Afterreadingthroughthebook,it
isobviousthattheintentionhasmostcertainly
beenachieved.
BOOKREVIEWS
IMAGINGOURSELVES:
VISUALIDENTITIES
INREPRESENTATION
ANDARCHITECTURE
OFTHETHIRDLANDSCAPE:
AWARDWINNINGBUILDINGS
OFTHEFREESTATE
297 > 297 >
Architecture of the Third Landscape: Award
WinningBuildingsoftheFreeState,writtenby
PattabiGRamanandJakoOlivier,goesbeyonda
meredescriptionofthearchitectureofthebuild-
ingsandlocatestheminthespecifcphysicaland
culturallandscapeoftheFreeState.Focusingon
conservation,buildingsinthecityandtheuni-
versity,housesandhouseextensions,architec-
tureoftheindustrialtownandtheFreeStateland-
scape,thisbookisyourA-ZguideofallthingsFree
Stateandallthingsarchitecture.
Inthisbook,eachdevelopmentisdissectedinto
adescription,foorplan,elevation,drawing,sketch
andlocalitymap,togetherwithprovidingthearchi-
tect’sdetailsandawardsgivenforthedevelop-
ment.Withinthisdissection,thedevelopments
arelookedatwithadetailedeye,analysingthe
prosandconsofthearchitecture.
Someofmypersonalfavouritedevelopments,
showcasedwithinthebook,areHouseVanRens-
burgbyKobusdePreezArgitek,therefurbish-
mentofthemainbuilding,UniversityoftheFree
StateandVaalEstateStudiobyElphickProome
Architects.With a whole selection of develop-
mentstochoosefrom,thereaderisboundtohave
hisorherfavourites!
Ifyouarelookingforarchitecturalimages,thisis
thebookforyou.Sportingcountlesspagesofim-
agesandgraphicsofinteriorviews,exteriorviews
andfaçades,thisbookdoesnotfallshortofvisual
appeal.Viewingthesearchitecturalbuildings,it
isclearthethatSouthAfrica,particularlytheFree
State,havecomealongwayintermsofarchitec-
ture, and this in itself is an achievement that
SouthAfricanscanholdproudly.
Withlimitedtextandacasualtonetothewriting
style,ArchitectureoftheThirdLandscape:Award
WinningBuildingsoftheFreeStateisaneasy
andenjoyableread.Thisbookisaninspiration
forthearchitectandtheFreeStateloveralike.<
ReviewedbyStaceyRowan.

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