Design Grade 12

GRADE 12 - SUN STASSEN - WILNA COETZER ESTE CRAFFORD - VIKKI DU PREEZ - ISABEL LUBBE
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GRADE12
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Sample Copy
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Future Managers 2012 All rights reserved. No part of this book may be reproduced in any form, electronic, mechanical, photocopying, or otherwise, without prior permission of the copyright owner. To copy any part of this publication, you may contact DALRO for information and copyright clearance. Any unauthorised copying could lead to civil liability and/or criminal sanctions.
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ISBN 978-1-77581-004-9
First published 2012
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Please note that this copy is for sample purposes only and will still undergo final editing. Contact Future Managers for more details on when final copies can be ordered or like our Facebook page to be kept up to date.
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FutureManagers
Published by Future Managers (Pty) Ltd PO Box 13194, Mowbray, 7705 Tel (021) 462 3572 Fax (021) 462 3681 E-mail: info@futuremanagers.net Website: www.futuremanagers.net
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CONTENTS
MODULE 1
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2. Design: From 1950s today Timeline
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1. Design Overview: Grades 10 11 371 a. Ancient Greece 4 b. Ancient Rome 8 c. Gothic Period 12 d. The Renaissance 16 e. The Baroque Period 20 f. The Rococo Period 24 g. The Neo-Classical Period 28 h. Victorian Period 32 i. Arts & Crafts Movement 38 j. Art Nouveau Movement 42 k. De Stijl 46 l. The Bauhaus 50 m. Art Deco 54 n. Modernism 58 o. Scandinavian Design 62 p. How the movements influenced South Africa 66 q. Overview Glossary 72
3. Theory: 1 76 a. From the 1960s to today 77 i. Pop Art 78 ii. Optical Art 82 iii. Digital Art 87 iv. Postmodern Architecture & The Memphis Style 91 b. Case Study International Award winning designer 95 i. Visions of PoMo: Charles Willard Moore 95 1. Biography 95 2. Social Responsibility and Legacy 95 3. His Design Projects 96 c. Iconic Design: Piazza dItalia, New Orleans 97 d. Iconic Design: Kresge College, Santa Cruz 99 4. Moores Social & Environmental Inspiration 100 e. Deconstructivism 101 5. Reinterpreting Decon for a Modern World: Maarten Baas 105 4. Design in a Business Context: 1 109 a. Marketing Mix 110 b. Packaging 111 c. Advertising 120 5. Practical Projects: 1 131 a. Section 1 2D 132 b. Section 2 3D 144 6. Drawing Programme 162
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MODULE 2
1. Theory: 2 184 a. Design in a Socio-cultural / Environmental and Sustainable Context 185 b. What is Craft and what is Design? 186 c. Traditional Crafts of Southern Africa 189 i. isiZulu Beadwork 192 ii. The AmaNdebele 193 iii. isiXhosa Beadwork 195 d. Traditional Vessels 197 e. Modern Vessels 197 f. Woven Baskets 200 g. Designers: 202 1. Haldane Martin 202 2. Bibi Seck and Ayse Birsel 202 3. Tord Boontje 203 4. Bayo Adegbe 203 h. Textiles 204 i. Craft Centres, studios and individuals who make a difference through craft 207 j. Case Studies 208 1. Laduma Ngxokolo 208 2. Mielie 209 3. ZenZulu 211 2. Design in a Business Context: 2 215 a. Following Design as a career option 220 b. Case Study / Interview 226 i. Changing the World can be Fun too! This is Monarchy 226 c. Biomimicry 233 d. 7 Principles of Universal Design 233 3. Practical Projects: 2 236 a. Section 1 2D 237 b. Section 2 3D 253
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MODULE 3

4. Drawing Programme 276
1. Architecture: 19th - 21st Century Timeline 290 2. Theory: 3 292 a. A Quick Historical Overview of Architecture 293 i. Greek 294 ii. Roman 295 iii. Byzantine 296 iv. Romanesque 297 v. Gothic 298 vi. Arts & Crafts 300 vii. Art Nouveau 301 viii. De Stijl 301 ix. Deutche Werkbund & The Bauhaus 302 x. Modernism & International Style 303 xi. Late Modern & High Tech 304 xii. Post Modern 305
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b. Buildings of Power and Identity 306 c. Buildings of Pleasure & Retail 309 i. Roman Forum vs Modern Shopping Centers 309 d. Ancient Theatres vs Modern Stadiums 313 i. The Coloseum in Rome 313 ii. Soccer City 316 e. Ancient Swimming Pools & Public Baths vs Beijing Aquatic Centre 318 f. Places of Worship 320 i. The Notre Dame Du Haut Ronchamp by Le Corbusier 322 ii. Vaaler Kirke in Copenhagen, Denmark 322 iii. Temples & Mosques from the East 323 iv. The Lotus Temple in Delhi, India 324 v. Centre for Religious Studies in Albania 325 g. Case Studies 328 i. Thomas Heatherwick 328 ii. Tokujin Yoshioka 333 iii. Mokena Makeka 338
4. Practical Trial: Preliminary Examination 345 a. A Brief and Tips on approaching your Moc Practical Exam Brief 346 5. Drawing Programme 368
MODULE 4
1. Theory: 4 376 a. Social & Environmental Case Studies 377 i. Haldane Martin 378 ii.XYZ 382 iii. Mitchell Joachim 385 iv. Hok Agency 388 b. Preparing and Revision for the Final Theory Examination 394 c. Grade 12 Exemplar Paper 409 i. Paper 1: 410 1. SECTION A Design Literacy 411 2. SECTION B History of Design 413 3. SECTION C SocioCultural / Environmental & Sustainable Context 414 ii. Paper 2: 416 1. SECTION A Design Literacy 416 2. SECTION B History of Design 418 3. SECTION C SocioCultural / Environmental & Sustainable Context 420 2. Your Exhibition 422 3. Glossary 441
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3. Design in a Business Context 343
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t heo r y Business Pra ct ical Dr a w ing
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Grades 10-11
DESIGN GRADE 12
Ancient Greece 1000 27 BC

Ancient Greece consisted of inhabitants from many different backgrounds including: Dorians, Ionians and Mycenaeans. The sheltered nature of the Greek peninsula helped safeguard the developing nation. Soon throughout Greece powerful city states were established, like Corinth, Athens and Sparta. The Greek city states were individually ruled and developed separate characteristics, for example, Athens was a city of intellectuals where studies, thinking and philosophy prevailed while Sparta was a city of warriors. The development of Greek culture and history is divided into three main periods: the Archaic, the Classical and the Hellenistic. After a number of devastating wars between Greek states and between Greeks and other ancient civilisations, such as the Persians, Greece was conquered by Rome in 146 BC. The period from 146 BC to 27 BC is referred to as Roman Greece.
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Famous Design Examples Erechtheum (Architecture) Greek Key Pattern (Surface) Basic Greek Chiton (Fashion) The Parthenon (Architecture) Mask of Agamemnon (Jewellery) Laocoon and His Sons (Sculpture)
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Greek Orders of Architecture When analysing Greek architecture it is important to note which order the building is. The order refers to the type of columns used. In ancient Greece there are three main orders: the first, and oldest, is called the Doric Order, this is followed by the Ionic and finally the Corinthian. To identify the order, you need to look at the capital* (the head piece of the column between the shaft and the ceiling). The Doric order has plain, square capitals; the Ionic features scroll-like patterns called volutes and the Corinthian is the most decorative, featuring stylised acanthus leaves.
Please find the definition of the word on page 70 71 .
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Mask of Agamemnon from Mycenae
Impact of Greek Civilisation Thinking and philosophy were encouraged in Ancient Greece, leading to a rational and analytical society which embraced reason. Fields like science, astronomy, education and medicine were all encouraged and explored.
Man is the measure of all things. Protagoras

Ancient Greek art and design drew inspiration from the human figure. Ancient Greek civilisation placed man at the centre of development, which led to the formulation of concepts like democracy.
Ionic Column with Greek Key Motif
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Ajax and Achilles Playing Draughts, Black-figure Amphora
Development of Ancient Greek Sculpture Ancient examples of Greek sculpture have varying subject matter. Some depicted Greek myths, the stories of their gods and goddesses and the courageous deeds of their heroes. Other examples, especially relief sculpture, depicted daily life, athletes contesting, warriors fighting, and women with their children and maids, as well as funerary precessions and mourners at tombs. From the 5th century, portraits of prominent people were created and placed in public places. The function of Greek sculpture was normally religious, votive of commemorative. Votive statues refer to statues which were created and dedicated in fulfilment of a pledge, quest or vow. Commemorative sculptures were also important, and a significant victory or an athletic triumph would be celebrated with a statue of the victor.
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Design Influences The Ancient Greek civilisation was obsessed with the human form. They believed that a sound body produced a sound mind and, as a result of this philosophy, the Ancient Greeks worked incredibly hard to develop their minds as well as their physical appearance. Sport and physical activities were a major part of their everyday lives. Another aspect of Ancient Greek civilisation, which was influenced by their focus on man, was their beliefs and mythology. The Greek gods took human form and displayed human emotions like desire, love or regret. The human form is the biggest influence on Ancient Greek architecture and design during the Classical period. Design Characteristics Simplistic, harmonious, rational, proportioned, based in mathematics, balanced.
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Discobolus of Myron
DESIGN GRADE 12
Basic Style Analysis: Ancient Greece Most of the examples of ancient Greek writing can be found carved in stone, as in this example, or on Greek vases (pottery). The Greek people did write on papyrus and other materials but these have unfortunately not survived from ancient times. The Greeks believed in the distribution of ideas, public speaking and debate. They also had a thriving trade system that, combined with their focus on spreading ideas, contributed to the development of the Ancient Greek alphabet. The Greek writing system has not changed much in the last 2000 years, with only minor changes to the way letters looked. In this example of early Greek letters the characters are simple and stylized with a focus on geometric letter construction (using geometry to create letters which has a sense or balance and proportion). The Greek writing system used only capitol letters. This example also shows the practice of boustrophedon writing where you read in a zig-zag patter; the first sentence from left to right and the next one right to left. In examples of Greek writing there is a focus of precision and clarity.
Early example of Ancient Greek text
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The Parthenon in Athens
Analysis of Design: The Parthenon in Athens The Parthenon was designed by the architects Ictinos and Callicrates and stands on a raised outcrop, called the Acropolis, in Athens. Phidias was responsible for the sculptural elements of the building. The building is almost 70 m long and just over 30 m wide and the facade is constructed within the Golden Ratio (a ratio of 5:8). The Golden Ratio is considered the most proportionally appealing rectangle and the ratio can be found in nature (like in the spiral shape of a shell). The Parthenon is made from marble and is divided into two sections, one housing the cult statue of Athena (the patron goddess of Athens) and the other a treasury. There are 46 Doric columns on the outside of the building.
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Comparing Classical Design

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Instructions: Below are statements relating to materials and design characteristics of Ancient Greece and Ancient Rome. Consider each of the points and decide whether the statement is true or false. Tick either the True or False bubble to indicate your decision.
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TRUE TRUE TRUE TRUE TRUE TRUE
Ancient Greek design is based on principles of balance, harmony, simplicity and proportion while Roman design is impressive, massive and meant to inspire awe.
Ancient Greek designs were busy and overly decorated.
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Roman engineering resulted in many social and environmental changes including improved living conditions in cities and easier travel over land.
The Roman alphabet does not form the basis of our modern alphabet. Our alphabet developed from Middle Eastern examples.
The Colosseum in Rome could be flooded with water to present popular navy battles, using real ships, to Roman citizens as entertainment.
Ancient Greek mathematicians did not contribute any important developments to the field of modern mathematics.
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FALSE FALSE FALSE FALSE FALSE FALSE
Marble is a popular material in Ancient Greek and Ancient Roman architecture and sculpture.
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DESIGN GRADE 12
Ancient ROME 753 BC 476 AD

The mythological founding of Rome dates to 753 BC when the city was founded by two brothers known as Romulus and Remus, the sons of the Roman god Mars. The brothers were set afloat to die in the Tiber river soon after their birth; however fate had a different plan. They were found by a she-wolf who suckled the boys and later a shepherds family found and raised them. Eventually Romulus would go on to found the city of Rome and its first senate. Rome as a nation was focused on conquering the known world and at its height the Roman Empire included most of the Mediterranean as well as sections of Africa and Britain. Whereas the Greeks focused on physical and intellectual pursuits and the search for knowledge, the Romans focused on power, wealth and celebrating the glory of Rome through war and conquest. As the empire expanded, it became more and more difficult to protect its borders. After years of battling enemy forces, and the pressure of internal conflict and administrative difficulties, the empire fell in 476 AD when the Germanic leader Odoacer deposed the last Roman emperor in the western part of the Roman Empire.
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Design Characteristics Functional, amalgamated (complex structures and designs), imperialistic strength, monumental, arches in building (arcuated), gigantic, decorative, imposing, dominant.
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Famous Design Examples Mosaic from the House of Neptune & Amphitheatre at Herculaneum (Surface) Equestrian Statue of Marcus Aurelius (Sculpture) Temple of the Sibyl in Tivoli (Architecture) The Colosseum in Rome (Architecture) Roman coins (Product)
Design Innovations Producing monumental structures through engineering. The discovery of concrete and the development and use of arches in construction. Panel paintings were produced in tempera* and encaustic*. Mosaic paving in intricate geometric patterns. Design and production of cameos and metal jewellery. Coins were developed. Evolution and improvement of armour and weaponry.
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Roman Dress: Wealthy Soldiers & Citizens
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Design Impact As the Roman Empire grew, so did the cities within and as a result engineering and design became important disciplines. Moving water hundreds of kilometres, roads, sanitation and sewers all represent Roman ingenuity. Great structures like the Colosseum, Pantheon, triumphal arches*, amphitheatres*, aqueducts* and bathing complexes were physical representations of the superior Roman design and construction style.
Veni, Vidi, Vici.

Gaius Julius Caesar
This Latin quote means I came, I saw, I conquered. Julius Caesar is arguably one of the most famous Roman rulers. Under his leadership the Roman Empire grew and flourished but social and political turmoil was always in the background. He was assassinated in 44 BC by the Roman Senate.
Design Influences The Roman style of design and architecture was based on examples from Ancient Greece and Mycenae. Roman design was an evolution of previous styles and successfully combined new innovation and materials with existing design elements. As the Roman Empire conquered other civilisations, their visual styles often influenced Roman design, examples include style influences from Egypt and Persia.
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Pantheon Interior in Rome
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Model of Rome with Colosseum
Living in Rome The Romans invented central heating. Wealthy Romans homes had a space below the floor where slaves would make fires. Heat from the fires spread through the floors and walls to heat the interior of the villa the term used for a Roman house. Outside, or at the entrance of villas, mosaics of guard dogs on the floor or walls warned burglars to steer clear. The pictures sometimes came with the words Cave Canem, which means Beware of the Dog.
Medusa Mosaic used in a Roman Villa
DESIGN GRADE 12
Basic Style Analysis: Ancient Rome The Roman civilisation was powerful and focused on expansion and development. Materials like concrete made it possible to build impressive structures. As Roman cities grew and prospered so the need for water and trade increased. Facilities in Roman cities and large towns were provided by the state. This included fresh water that often had to be transported over long distances via complex stone channels referred to aqueducts. The water channel of an aqueduct was raised on a series of arches to ensure a downward flow of water from the source to the town. The Pont du Garde Bridge and aqueduct is actually only a section of the larger ancient Roman Nimes Nimes aqueduct in the South of France. The Nimes aqueduct runs over 50 kilometers through mountainous areas moving water from natural springs, At the river Gardon the Pont du Garde aqueduct bridge was constructed. It is the highest Roman aqueduct bridge (almost 50m high) and dates to the 1st century. The bridge has three tiers of arches, which decrease in size from bottom to top. The precision of construction shows the high standards of Roman engineering. Today the Pont du Gard is a World Heritage Site. Analysis of Design: The Pantheon in Rome The Pantheon, known as the Temple of all Gods, was completed in Rome in 125 AD. The domed style of the temple is characteristic of Roman building styles. The main domed temple is fronted by a portico* which has eight Corinthian columns. The dome rests on walls almost 5 m thick and is constructed from poured concrete. The creation and weight displacement of the dome are engineered wonders. The interior of the dome has recessed square patterns which lighten the weight and add a decorative element. In the centre of the dome is an opening known as the oculus*. This opening provides light into the temple. Along the walls of the interior are recessed niches which housed the planetary gods. From the innovative light source to the ingenious drainage system within the temple, the Pantheon represents the incredible skill of Roman engineers, architects and builders.
Pont du Gard Aquaduct in Niems, France
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Pantheon interior
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Ancient World Crossword

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Instructions: Answer the questions below and complete the crossword puzzle. All the questions refer to the lives and designs of the Ancient Civilisations. It may be a good idea to complete the puzzle in pencil first.
1 5 2 3 4 8
10 12
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Leads: 1. This animal was very important in Egyptian beliefs. 2. Famous public building in Rome (for entertainment). 3. Key feature in Roman architecture. 4. Greek art focused on the human form in this period. 5. Rulers of Egypt were called this. 6. Famous Greek warrior state. 7. Greek temple built on the Acropolis in Athens. 8. The three famous pyramids are located here.
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9. Egyptian goddess of motherhood and wives. 10. Greek design is influenced by this. 11. Greek conqueror the Great. 12. A Roman house was called this. 13. Famous Egyptian motif, The ...... of Horus 14. The Temple of All Gods in Rome. 15. The Greek goddess of battle. 16. Oldest Greek order of architecture. 17. The main river that flows through Egypt. 18. One of the brothers who founded the city of Rome. 11
DESIGN GRADE 12
THE GOTHIC PERIOD c.1150 1550

After the fall of the Roman Empire, Europe was in a state of confusion which is often referred to as the Dark Ages. During this period nothing was certain. Disease, war, violence and starvation were common and contributed to an overwhelming sense of fear. To help make sense of this dire situation, many individuals became superstitious. However, as the level of literacy declined, superstitious beliefs grew. From this confusion, the Christian church grew as the new authority replacing the Roman emperors and pagan beliefs. Life during this period returned to subsistence* farming and a new social hierarchy and system of control developed, named feudalism*. At the bottom of the social and power pyramid were the peasants and slaves; above them were knights and the landowners professional warrior called a vassal*. At the top of the pyramid were the wealthy landowners, the aristocrats, nobility and the Church. The architectural style associated with this time is Romanesque (based on Roman stylistic features). By c.1150, the Romanesque style had evolved into a more gracious and imposing style called Gothic. It is interesting to note that the term Gothic became associated with this period retrospectively, when the Renaissance art critic Vasari used the term as an insult. The cathedrals of this period are the icons of Gothic style, but illuminated manuscripts, furniture and craft also exhibit their own Gothic features.
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Design Characteristics: Manuscripts Manuscript design can be separated into illustrations and typography. Manuscripts were designed and produced by hand and mostly calligraphy-style typography was used. Illustrations are simplified and in many cases outlined. Popular motifs include human figures, plants, animals and geometric patterns. Because many people were illiterate* during this period, illustrations are narrative they tell stories. Many different styles of manuscript illustration developed and were greatly influenced by local styles and culture. Famous Design Examples Lady with the Unicorn at the Chateau Pierre dAubusson (Tapestry) Notre Dame Cathedral, built between 11631250 in Paris (Architecture) Salisbury Cathedral, built between 12201270 in Britain (Architecture) Crucifixion window from c.1190 at St. Remi in France (Glass) Chartres Cathedral from 11401220 in France (Architecture) Reliquary Bust of Charlemagne, 1349 (Product)
Popular Materials Architecture: stone, glass. Manuscripts: parchment, which is a thin material made from sheepskin or goatskin. If the material was made from calfskin, it would result in a finer writing surface the material is then called vellum.
Design Characteristics: Architecture In architecture, pointed arches (instead of the rounded arches used during the Roman and Romanesque periods) became popular in the Gothic period. Pointed arches allowed for greater height and therefore more light. Intersecting arches resulted in vaults. During the medieval period, vaults were developed and in the Gothic period the rib vault became popular. Flying buttresses formed permanent scaffolding and allowed for more windows to be included and higher walls. Windows were often used as glass canvasses to tell stories and instruct. A very specific window used in Gothic cathedrals is called a rose window.
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Design Innovations The flying buttress is one of the key design innovations in Gothic cathedrals. Flying buttresses were built about the sides and east end of cathedrals and helped distribute the weight away from cathedral walls. In this way, flying buttresses made it possible to move away from solid load-bearing walls. This meant that an additional row of windows could be added in the clerestory and that more light could enter the cathedral. The redistribution also meant that cathedrals could be built taller and taller.
Gothic Manuscript from the 14th Century Ceiling Detail Norwich Cathedral in Britain
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Chartres Cathedral from 11401220 in France Chartres Cathedrals South Rose Window from 1220 in France
The Gothic cathedral is a blossoming in stone...
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Ralph Waldo Emerson
Gargoyle from Notre Dame Cathedral in France
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DESIGN GRADE 12
Analysis of Design: Chartres in France Chartres cathedral dates from c.11401220 and is an example of High Gothic architecture. At the Chartres building site, unified groups of skilled artisans worked together to build a monument of faith. In the medieval and Gothic times, individuals of a specific trade, such as stonemasons or carpenters, lived and worked together in guilds. Chartres cathedral has pronounced flying buttresses around the chevet* (the east section of the cathedral). Other Gothic style characteristics, like pointed arch windows, rose windows, lancets and pinnacles, are all present in the design of Chartres. The cathedral was destroyed by fire in 1194 (with the exception of the west facade portals) and has been completely reconstructed.
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Inside of the Chartres Cathedral
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In the tapestry linked to sight a woman is seated with a unicorn kneeling next to her on the ground, with his front legs resting on her lap. In her hand she holds a mirror into which the unicorn is staring. On the left of her is a lion. The prominent colours used are red and green. The composition is traditional as the three figures are placed in such a way that they form a triangle. Two trees in the background offset the triangular composition. Placing the trees behind the characters creates a sense of depth.
Basic Style Analysis: Gothic In the Medieval and Gothic periods the rich and noble classes of society invested in tapestries to cover the stonewalls of their homes. The selected themes and subjects were often associated with the activities of the family. Subjects included hunting, tales of legends, adventure stories and fables. Tapestries were often very large and highly detailed. The Lady and the Unicorn is a series of tapestries from Flanders woven in silk and wool. There are a number of interpretations of the tapestries subject the most commonly believed insight is that they represent the five human senses (smell, sight, hearing, touch and taste). In the series Sight from the Lady and the Unicorn tapestry series from 15th Century, woven in Flanders of tapestries reference is made to the coat of arms of Le Viste who was a prominent nobleman.
define the following terms

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Instructions: Below are terms and phrases, which refer to art, design and life of the Middle Ages. Find the meanings of the words and write them in the table. Ensure that you write in full sentences and that you use your own words to describe each definition.
Word Didactic
Definition
Apocalypse
Sacred
Chivalry
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Heraldry Spiritual Cruciform Dogma Icon Hieratic
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Guild
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Feudal
DESIGN GRADE 12
The Renaissance c.14th C 17th C

The Renaissance period in Europe represented a change of views, beliefs and mind-sets. From Florence, the heart of Renaissance change and development, a focus on humanism and the rational mind spread throughout Europe and beyond. The feudal system, which represented the political and social ruling system of the medieval period, became unstable, as many wealthy landowners lost everything during the Crusades. Mercantile* towns were established along the coast and ports expanded. With the rise of trade, new opportunities formed in towns and cities. Trading families became enormously wealthy and increased trade enabled later voyages to new worlds. Just as trade and the collapse of the feudal system changed the physical situation of individuals, the printing press changed what they knew and believed at the time. The printing press eliminated the expensive process of book production by hand and, as a result, books and pamphlets became available to the wider public. Knowledge became accessible, literacy levels increased and anything was possible.
Simplicity is the ultimate sophistication.
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Famous Design Examples Pendant designs by Hans Holbein from c.153243 (Jewellery) St Peters Cathedral in Rome by Michelangelo from 154664 (Architecture) The Temptation of St. Anthony by Schongauer from c.148090 (Engraving) Canopied ceremonial bridal bed by Pieter Kolding from c.164050 (Product) Four Horsemen of the Apocalypse by Albrecht Durer from 1498 (Woodcut) Dome of Florence Cathedral by Filippo Brunelleschi from 1420 (Architecture)
Design Characteristics Great thinkers, artists and designers like Michelangelo, Leonardo da Vinci and Raphael gave visual expression to the ideals of the Renaissance. Design during the period is characterised by naturalism, organisation of space, the use of perspective, a revival of classical ideals and motifs, as well as the representation of the individual as a being of importance, reason and questioning. The Rise of Humanism Humanism refers to the Renaissance philosophy which maintains that every individual has the right to think, reason, question and decide their own beliefs. The word Renaissance means rebirth and signifies a return to reason, thought, science and the classical ideals. This mind-set is very different to that of the medieval period where people were told what to think and believe. The Renaissance and followers of Humanism supported free thinking and a questioning of commonly held beliefs.
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Leonardo da Vinci
Da Vincis Mona Lisa from 15031506 Michelangelos David Statue from 15011504
Interior of Basilica of Saint Peter from 15061626
Innovation: Discoveries & Scientific Developments With a new focus on thought, observation, research and rational thinking, the Renaissance was a period which encouraged innovation and scientific discoveries. A few of these examples include: 1455 Johannes Gutenberg invents the printing press & metal movable type 1606 Galileo Galilei invented the astronomical telescope 1629 Giovanni Brance invents the steam turbine 1687 Isaac Newton publishes Newtons law of universal gravitation 1714 Gabriel Fahrenheit invents the mercury thermometer
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Brunelleschi, Dome of Florence Cathedral
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Da Vincis Anatomical Drawings
Renaissance Book Cover Design
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Design Influences Artists from the early Renaissance period used the natural world as a reference for their art and often art considerations were approached through observation and systematic investigation. The rational approach visualised by these artists differs greatly from the purely faith-inspired artefacts, designs and art from the medieval and Gothic periods. During the 16th century, this new approach and style had begun to flourish. Renaissance design is influenced by observation, striving to accurately reflect nature, a focus on idealism and perfection.
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DESIGN GRADE 12
Basic Style Analysis: Renaissance During the Renaissance ancient documents, both pagan and the Christian classics became available to a new reading public. This was a direct result of new innovative printing processes. The improvement of the printing press extended also allowed for visual elements to be included through the designs being incised or cut into metal plates called engravings. Engravings began as an offshoot of the goldsmiths skilled craft and as a result, early engravings are often finer than woodcuts. Among the best early graphic artists was Martin Schongauer. He was also one of the first engravers to sign his work you can see his initials at the bottom of the engravings.
The Portraits of the Ten Virgins by Martin Schongauer, 1483, Copper Engraving
Analysis of Design: Dome of Florence Cathedral from c.14201436
Filippo Brunelleschi designed the dome to integrate with the existing Gothic cathedral. The most challenging aspect of the dome was its size, as it had to span over a 50 m drum. To create the dome, Brunelleschi embraced new and innovative theories and building methods he even invented a number of new machines to facilitate the construction. This aspect of the project represents the new mind-set of Renaissance designers and architects. The final design is a 24-ribbed framework resembling a series of pointed arches over an octagonal drum; however, only 8 of the ribs are visible from the outside. The interior of the double-shelled dome is herringbone brickwork. The repeated and symmetrical elements of the dome are reminiscent of classical ideals of proportions, balance and harmony.
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Inside of the dome in the Florence Cathedral
The Portraits of the Ten Virgins are biblical images referring to the five foolish virgins who did not have enough oil in their lamps and the five wise virgins who made sure they did. Schongauer clearly illustrates the difference between the two groups by having the foolish virgins face away from the viewer with their lamps turned downwards. His style of engraving is highly detailed. Light and shadow areas used to create an overall dramatic tone and image depth. Attention has been paid to the virgins facial features and hand gestures to add lifelikeness to the figures.
The Renaissance Man

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Instructions: Leonard da Vinci is referred to as the Renaissance man because he focused on reason, research and the human mind. He was excellent in a number of different fields including engineering, painting, sculpture, medicine and more. Below are several images of Leonardo da Vincis paintings, designs and inventions. Research his works and see if you can find the title and descriptions of each example. Write your answers in the allocated space
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DESIGN GRADE 12
The Baroque Period c.1600 1750

The Baroque period developed in Europe around 1600, as a reaction against Mannerism (the complicated and prescribed style of the Late Renaissance period). The term Baroque comes from the Portuguese term for an irregularly shaped pearl, with reference to the irregularity of Baroque composition and decoration (as opposed to the symmetry expressed in Renaissance work). The period was named retrospectively and the term Baroque was meant as an insult (a pejorative* term). The shift from Renaissance to Baroque was influenced by many factors, including the rise of wealthy monarchies in Europe (such as that of Louis XIV, the Sun King of France) who wanted a more elaborate style to represent their power and conquest, as well the resurgence* of the Catholic faith after the Counter-Reformation. Baroque art and design can often be experienced by more than just sight as the viewer is awed by size, materials, persuasive nature, interactive elements or theatrical spectacles. The resulting style can be described as dynamic, elaborate, emotional, dramatic, evocative and often manipulates space, volume and light. Iconic artists of this period include Caravaggio, Bernini and Rembrandt.
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Design Influences Baroque design and art is heavily influenced by the CounterReformation. This refers to the period in history when the Catholic Church reflected on church practices and principles and implemented positive changes. The Church used Baroque art and design to reach out to the people and promote a rebirth of faith. Baroque design also appealed to the wealthy and aristocracy* who were drawn to the styles drama, scale and ability to impress. Famous Design Examples Triumph of the Name of Jesus by G. Battista Gaulli in Rome from 167285 (Ceiling fresco) Hall of Mirrors at Versailles by HardouinMansart and Le Brun from 1678 (Interior) Colonnade of St. Peters in Rome by Gianlorenzo Bernini begun 1656 (Architecture) Berninis Baldacchino (Altar) in St. Peters in Rome from c.16241633 (Product) The Elderly Fool and His Cat by Alexander Voet II from 17th C (Graphic) Christ Preaching by Rembrandt from c.1652 (Etching)
Absolutist Rule The term absolutist rule refers to a king, queen or ruling family (often referred to as a monarchy) who have complete and unrestricted control. In design, this is an important factor to consider because the style which develops is not the style of the people or the age but rather the vision and taste of one individual or family.
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Alexander Voet IIs The Elderly Fool and His Cat from 17th C Pendant Design from 17th C
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Le Vau & LeBruns Palace of Versailles in France begun 1669
What began as an insult has become a more positive word associated with energy, emotion, drama, even extravagance...
Ann Sutherland-Harris (2005) regarding the term Baroque
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Riguads Portrait of Louis XIV from 1701
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Design Characteristics Baroque design is characterised by a rebellion against the order and restraint of the Renaissance period. Examples of Baroque design have dynamic compositions, a sense of drama (theatrical) and an interplay between light and shadows. Many designs refer to religious content (a move away from the pure Renaissance focus on logic and reason). Baroque architecture uses light to create a sense of wonder and movement.
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Berninis Baldacchino in St. Peters in Rome from 16241633
Mannerism: Bridging the Renaissance and Baroque Mannerism (15301600) is often referred to as the final phase of Renaissance art and design. The style bridges the naturalism of Renaissance examples and the emotion and extravagance of the Baroque period. Mannerist works are characterised by sophistication, elegance and idealised Andr Le Ntres Versailles Garden Design from 17th C beauty. The importance of nature, observation and the human figure are still present in Mannerist works; however, naturalism gives way to idealised perfection, exaggeration and the display of an artists skill.
DESIGN GRADE 12
The production out of bronze was a monumental task. The components of the canopy and supporting columns had to be cast in several different sections. Besides the decorative elements around the columns the canopy features another highly decorated element the cast border with tassels. Traditionally this would have been made of a textile but in Berninis design the border is also cast in bronze. Analysis of Design: Le Vau & Le Bruns Palace of Versailles in France from 1669 Although most credit Le Vau as the architect of the Palace of Versailles, the building was originally designed by Philibert Le Roy as a stone and brick hunting lodge. In 1669, architect Louis Le Vau and designer Charles Le Brun started extensive expansions and renovations and the once almost simplistic lodge was converted into the stately Baroque icon we know today. Features of the Palace of Versailles that are characteristic of Baroque architecture include complicated shapes, imposing curved forms, the extensive use of columns (functional and decorative), grand and spacious rooms and stairways, high ceilings, dramatic frescoes, panelling, trompe lil paintings, the use of reflective materials as well as the inclusion of sculpture as an architectural feature.
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Inside the Le Vau & LeBruns Palace of Versailles in France
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Basic Style Analysis: Baroque Berninis lavish alter for St Peters is a monument to the grand and lavish Baroque style. The canopy over the altar was commissioned by Pope Urban VIII and was completed in 1634. It is almost 8 stories high and dominates the interior space. Berninis work as a sculptor influenced the style of ornament and the canopy represents an important development in the Baroque Style the combination of architecture and sculpture. The Baldacchino (Alter canopy) in St Peters Cathedral by Bernini, 1624-33 There are a number of decorative elements and surface treatments. Along the 20meter columns, sculptural natural motifs such as bees and leaves can be noted. At the top of the columns there are four larger than life angels. From the angels the canopy curves towards the highest point where a cross, placed on a sphere, can be found.
TITLE?
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Explain, in your own words using full sentences, what you understand to be the most important visual characteristics of the Baroque Period.
Which of the following examples are from the Baroque period? Circle the correct answer.
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This is Baroque! Of course it is not!
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DESIGN GRADE 12
The ROCOCO Period c.178 1780

The emotional and dramatic Baroque period was followed by the lighter and refined Rococo style. In 1715, Louis XIV, known as the Sun King, died and left the throne to his great-grandson who was only five years old at the time. Philip, Duke of Orleans ruled as regent until Louis XV was old enough to rule (17151723). The rule of Louis XV is characterised by war, bad decisions and a focus on entertainment and leisure rather than politics. The style which emerged under the reign of Louis XV aimed to react against the controlled symmetry of Versailles and the dominant legacy of his greatgrandfather. The overly decorated Rococo style coincides with a lapse of morals, judgement and social consideration on behalf of the French court and aristocracy. The lack of social, economic and political development by the French aristocracy finally led to its demise in the French Revolution of 1789. The revolution also signified the end of the decorative Rococo period.
The Feminine Touch The Rococo period is characterised by a more feminine style. Two women who contributed greatly to the development and continuation of the style are Marquise de Pompadour and Marie Antoinette. Marquise de Pompadour was the mistress of the young King Louis XV and was highly influential in developing the visual qualities of the Rococo, which would later become the official style of the French Portrait of the Marquise de Court. She favoured frivolous, romantic, Pompadour by Boucher, 1756 entertaining and light-hearted subjects and intimate spaces over the grand style of Baroque interiors. When Louis XV died in 1765, he left the throne of France to his son Louis XVI who married Marie Antoinette in 1770. Until the French Revolution in 1789, Marie Antoinette continued to indulge in the frivolity and elaborate nature of the Rococo style. Her expensive taste in Rococo styled costumes, parties, portraits and indulgences did little to endear her to the starving people of France, which led to her beheading in 1793. Portrait of Marie Antoinette by lisabeth
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Vige-Lebrun, 1779
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Design Characteristics The characteristic qualities of the Rococo style (often referred to as Louis XV style) include an overall lightness, a sense of movement, focus on asymmetry, elaborate decoration, overly refined elements and reference to flower and other natural motifs. Decorative S and C shaped scrolls can be noted in graphic examples, furniture, sculpture, products, etc. Interior spaces become smaller and more intimate with light colours and overall decoration meaning that floors, walls and ceilings would often all be covered with decorative motifs and elements.
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The Queens Bedroom at Versailles Queluz Palace Ballroom by Robillon in Portugal, 1760
Elegant, agreeable, seductive, charming, lively, fecund, delicate, voluptuous, imaginative...
Milissa Hyde, with reference to the Rococo painter Francois Boucher
Fountain of Pinaeus by Pierre-Quentin Chedel
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Louis XV Console Table
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Famous Design Examples Pair of Lovers group by Franz Anton Bustelli, c.1760 (Porcelain) Royal Hunting Palace by Juvarra in Stupinigi in Turin, 172933 (Architecture) The Trevi Fountain by Niccolo Salvi in Rome, 173262 (Sculptural Product) Salon de la Princesse in Hotel de Soubise by Bouffuand in Paris, 1732 (Interior) Boucher aux Alentours (Croome Court tapestries) woven at the Gobelins*, 175867 (Surface)
Design Influences Design from the Rococo period is influenced by the views and lifestyles of the wealthy and aristocracy*. The style is extravagant and over the top. Rococo designs lack intellectual depth and are rather a style of decoration. The heavy, dramatic style of the Baroque became outdated when Louis XV came into power he wanted to establish his own style which reflected wealth, power and grandeur*. The style originally developed in France but spread throughout Europe including Portugal, Germany and Italy.
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DESIGN GRADE 12
Basic Style Analysis: Rococo The Rococo style moved away from the dramatic forms or the Baroque period as well as the often-dark colour palette. The term Rococo has been associated with the French terms rocaille (stones) and coquille (shell), referring to the decorative motifs from the grottoes of Versailles. Rococo was a style of overwhelming decoration supported by the aristocracy and wealthy. During the Rococo period the outsides of buildings and facades become simpler as focus had turned towards the interior. Charles III of Spain as a dressing room and personal receptions space used the Gasparini Room, in the Palacio Real. The room took so long to be completed that it was only finished after his death. The room is named after the artist Matteo Gasparini who created the space. Decorative motifs uniformly cover ceilings, floors and furnishings giving the room a unity. Main motifs include stylized vines, leaves and different types of flowers. Embroidered silk panels on the walls give the room a rich and textural quality. Mirrors in the room.
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The Gasparini Room in the Palacio Real in Madrid, Spain from the 18th Century The Queluz Ballroom
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The doors and sections of the walls are covered with mirrors to enhance the quality of light in the space. Decorative panels and motifs are used throughout the room to give a sense of unity to the spacial elements of the room.
Analysis of Design: Queluz Ballroom in Portugal, 1760 The National Palace of Queluz is one of the last true Rococo buildings to be designed and is sometimes referred to as the Portuguese Versailles. Architect Mateus Vicente de Oliveira began work on the palace in 1747. Originally the palace was designed as a summer retreat for Dom Pedro of Braganza but, after his wedding to Queen Maria I, it became a royal residence. Queen Maria I stayed on in the palace after the death of Braganza as she slowly lost her mind. The palaces ballroom is one of the largest rooms in the palace and was designed in 1760 by Robillon. The room is characterised by the typical Rococo style oval shape. The room has a light colour palette with white and gold as the dominant colours.
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RENAISSANCE TO ENLIGHTENMENT
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Instructions: Find the following words and circle or colour them in the word search:
S I E B P Z B R M T A Q A S P R E W E L M T X Z W L Y Z
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W E N P B A V Z I M O S I N V A I M N U C O H K N J R E D D A R Y I R S J U C Q B C O S A B I N J N F E L P S H A V F R O R O R V E T U B U G C A Q N I W V C M A V Q Q Z N E A M L A S N T O Z R J W P X K L L A A E S H K H R T J I A Q I O P T Q I A D V V G X B I R T N Y I I K R N A H G C E D Y E O G W P C H A C H W J N E L H C L C A L N I A G S A R E A A F V Y N I W Q A H L P S S I E O D Y D A Z A U D N O N X B B W H S N B R M T A X W I R S P W O I C Z R C O E L C R H A X I X O T O N N M H T G Y Q C L E G T K W R N R W R
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Q H D Z Y M D S M S F T S E R E I O L R I C P E M R M E V I P C K M R E D E I B Q E E H W D
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G N I O I J T N I L Y X G T L S R P H M M U
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H I T T N E M N E T H G I L N E Z S C F T C T W Z Z D Q U G E F L M E A S
1. Humanism 4. Renaissance 7. Sun King 10. Extravagance 13. Empire Style
2. Michelangelo 5. Printing Press 8. Versailles 11. Rococo 14. Biedermeier
3. Leonardo Da Vinci 6. Baroque 9. Dramatic 12. Marie Antoinette 15. Enlightenment
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DESIGN GRADE 12
The Neo-Classical Period

The Neo-Classical style was a reaction to the dramatic, emotional and decorative styles of the Baroque and Rococo periods. A new style was required to support the growing interest in knowledge, secularity and the focus on reason as a result of the Enlightenment movement. The need for a new style coincided with archeological excavations in Italy and renewed interest in the Classical world and ideals. Antiquity offered a quiet, austere* style as well as a link back to an age of reason. The Age of Enlightenment coincides with a substantial part of the Neo-Classical period. Great thinkers, scientists and mathematicians focused on the development of new knowledge, to reform society and to challenge absolutist* rule. Contributors included the philosophers John Locke, Voltaire and Pierre Bayle and the physicist Isaac Newton. Reason became the most important guide in beliefs, morality and society.
Regency-Style Wallpaper, Bamboo & Drapery c.180015
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Design Innovation: The Printing Press With the development and improvement of the printing press, ideas and information could reach a wide audience, enabling the spread of knowledge across the world. The printing press is one of the most important innovations of this period as it made ideas and designs portable. Poems, stories, historical studies, revolutionary ideas, etchings, illustrations and graphic designs became available to all. Famous Design Examples Robert Adams Design for the Etruscan Dressing Room at Osterley Park in Britain, 177374 (Interior) University of Virginia by Thomas Jefferson in America, 181727 (Architecture & Curriculum) A Black Basalt Vase with Red Figures designed by Wedgewood in Britain, 1815 (Product) The Schauspielhaus Theatre by Karl Friedrich Schinkel in Berlin, 181824 (Architecture) The Pantheon by Jacques-Germain Soufflot in Paris, 175590 (Architecture) Mahogany Wash Table by James Stuart in Britain, c.1760 (Furniture)
Ideals of Virtue* and Decorum* The Neo-Classical style encompasses a number of different styles. However, all can be seen as a return to the classical ideals of order, logic, reason, clarity and balance. The movement is a direct reaction to the elaborate nature of Baroque and Rococo styles and rather focuses on the ideals of virtue, honour, moral principles and responsibility. In France, artist Jacques Louis David represented the new style following the French Revolution of 1789. His subjects often referenced Greek and Roman mythology and history, and aimed to instruct the viewer in their moral and patriotic duties. Paintings like The Oath of the Brothers Horatii and The Death of Socrates are characteristic of the Neo-Classical period and refer to the duty of the individual to themselves, their country and society.
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Biedermeier Mahogany Bench with the Curule or X shape, c.1820
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French White Cotton Dresses with Raised Empire Waistline, 1810
c.1750 1830
Unity and simplicity are the two true sources of beauty.
J.J. Winckelmann, German
archaeologist & art historian
Queen Louise of Prussia by J.M. Grassi, 1802. Typical Diadem and Shoulder Brooch.
Neo-Classical Interior
Design Characteristics There are a number of regional adaptations of the Neo-Classical style, such as the Empire style of France, the Biedermeier in Germany and Austria, the Federal style in America and, in Britain, the Adams and Regency styles. Although regional styles have unique design characteristics, all Neo-Classical design exhibits a sense of restraint and embraces the Classical ideals of balance, symmetry, proportion and harmony. Characteristic motifs, used in most regional styles, include medallions, laurel wreaths, vines, scrolls, Classical urns, natural elements and characters from ancient mythology like sphinxes and griffins.
United States Capitol by Thornton, Latrobe & Bulfinch in Washington D.C., 17931830
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Design Influences Neo-Classical styles were a reaction to the decorative and dramatic Baroque and Rococo styles. These styles were associated with the wealthy. After the French Revolution, in which the people of France rose up against the monarchy* and wealthy ruling class, a new style had to be found. Designers and artists turned back to Classical Greece and Rome for inspiration.
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DESIGN GRADE 12
Basic Style Analysis: Neo Classical Giambattista Bodoni began designing the Bodoni series of serif typefaces in 1798. Bodoni was inspired by the work of John Baskerville who designed the Baskerville typeface. Graphic design and typefaces from the Rococo period were very ornate and often illegible. Rococo layouts features natural and decorative motifs, borders, imagery and typography. As information and printed material became available to the public a new style of graphic design was needed to replace the opulence and classist nature of the Rococo style. Bodoni as a typeface has a number of unique features. Firstly the overall appearance of the typeface is characterized by an increased contrast in line thickness and a slim, condensed upper case (see Module 1 in the Grade 11 textbook for a complete overview of typeface terms and definitions). The letterforms had flat serifs which complimented the thin stokes of the letterforms. Unlike the Rococo typefaces Bodoni is elegant in its simplicity. Giambattista Bodoni was also involved in the printing and layout industry. His views on layout shared wit his letterforms a focus on balance. He believed in allowing type to stand in open spaces with no additional decorative elements.
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Analysis of Design: United States Capitol by Thornton, Latrobe & Bulfinch in America, 17931830 Architect William Thornton entered his design for a new Capitol building on 31 January 1793. The competition he entered was initiated by Thomas Jefferson in the hope of finding a suitable design for the countrys federal capitol. Thorntons design, which was based on classical ideals and elements from Neo-Classical buildings like the Louvre in Paris, was considered most suitable as it represented the ideals of simplicity, dignity, restraint, power and beauty. A number of alterations were made to the original plans by architects Benjamin Henry Latrobe and Charles Bulfinch. The imposing use of columns, faades, white stone, arches and domes all reflect architectural elements from antiquity*, contributing to a quiet sense of grandeur and power.
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Bodoni Typeface: Image from the Bodoni Type Specimen United States Capitol by Thornton, Latrobe & Bulfinch in Washington D.C., 17931830
Revisiting Classicism Crossword

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Instructions: Answer the questions below and complete the crossword puzzle. All the questions refer to the Renaissance and Neo-Classical periods in history during which design and art took inspiration from the ancient Greek and Roman civilisations. It may be a good idea to complete the puzzle in pencil first.
1. 2. 3.
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10.
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Questions 1. What social revolution led the decline of the Rococo Style? 2. Which American president introduced the NeoClassical style in America? 3. What invention helped spread the Renaissance and Neo-Classical style across Europe and America? 4. Neo-Classicism is based on the ideals of Virtue and ? 5. The dome of which cathedral was designed by Filippo Brunelleschi? 6. Which famous Renaissance artist sculpted the iconic marble David?
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7. 9. 11. 12.
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7. What famous ancient building was reinterpreted by Jacques-Germain Soufflot in Paris? 8. Which famous company produced Greek-inspired vases and ceramics during the Neo-Classical period? 9. What was the American Neo-Classical style called? 10. What was the French Neo-Classical style called? 11. Renaissance design was influenced by Ancient and Rome. 12. What did the Renaissance Humanists focus on? 13. Who was referred to as the Renaissance Man?
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DESIGN GRADE 12
Victorian PERioD 1837 1901

The Victorian Period refers to the reign of Queen Victoria in the United Kingdom who was crowned in 1837 and died in 1901. During her reign, the UK and the world experienced radical changes. The Industrial Revolution led to new methods of production, urbanisation, expanded methods of transport and a rising middle class across Europe and America. The atmosphere of change and new possibilities experienced across the globe was further encouraged by social change, the writings of influential authors, including Charles Darwin, and a unprecedented* development of technology. The Victorian style visually represents new industrial possibilities, eclecticism and an almost frantic desire to include as much as possible in every design. A good example of works created in the early part of the era is the collection of goods exhibited at the Great Exhibition of 1851. The exhibition was the first world fair and was held in the Crystal Palace a structure of glass and iron constructed specifically for the occasion. Although the exhibition was a celebration of innovation and technological prowess, it also highlighted the problems of Victorian style: too much, too often with no regard for visual cohesion. After the death of Queen Victoria, her son Edward took the throne, and this marks the start of the Edwardian era.
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Famous Design Examples Sewing Machine Design Bradbury Building by George H. Wyman in California, 188993 (Architecture) Victorian with Cherub* Thread Guide Lyles Golden Syrup Packaging by Tate & Lyle in England, 1800s (Packaging) The Crystal Palace by Joseph Paxton in England, 1851 (Architecture); Dunce Cap Stove by James Wilson in New York, 1816 (Product); Eiffel Tower by Gustave Eiffel in Paris, 188789 (Architecture); Flocked Wallpaper by Pugen in England, c.1850 (Surface); Cherub Thread Guide by D. W. Clark, 1858 (Machine)
The Industrial Revolution Arnold Toybee, an English economic historian, used the term Industrial Revolution to describe Englands economic development from 17601840, when changes in Tate & Lyle, Lyles Golden Syrup Packaging, c. 1800s, England agriculture, manufacturing, and transportation had a huge effect on the socioeconomic* and cultural conditions. This period was called the Industrial Revolution. These changes soon spread throughout Europe and North America and eventually the world. This process, called industrialisation, still continues today. In the late 1700s, the economy of Great Britain, which had been based on manual labour, was now based on manufacture by machines. The textile industries were mechanised and the use of refined coal and steam power (for machinery and the railways) increased. Iron-making techniques (for machine tools and improved production) were refined and developed. The telegraph system allowed information to reach destinations more quickly. A transportation system, largely based on steam power, allowed goods to be delivered over great distances at reduced expense.
Design Characteristics Design during the Industrial Revolution and Victorian age is characterised by the use of new materials and industrial processes. Industrial materials like glass, steel and iron (cast iron and wrought) were used extensively. The visual properties of design were heavily decorated with elements from mixed historical influences. In a single design, elements from, for example, Ancient Greece, Rococo and Egypt would all be used.
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Design Innovation The Industrial Revolution, through the invention of the machine and the establishment of factories, completely transformed human society and impacted on many aspects of everyday life. The use of machines allowed for mass manufacturing* and faster production times. Designs of all types flooded the market from new machines to sewing needles. The steam-powered engine, which James Watt improved in 1769, was the most influential design of the age. The steam engine led to mechanised* processes and a new style of production. Design Influences The new industrial age had allowed for new materials and processes to bloom and there seem to be no limits to the ingenuity* of engineering. The traditional way of working with materials and producing an item were no longer relevant and, for the first time in history, design could not look back to historic styles for guidance. From the mid-1800s, producers of designs used random elements from past styles resulting in an eclectic* usage of materials, decoration and motifs. Gothic, Renaissance and Baroque elements could all be found in one example of design. The products lacked a cohesive design style, and often taste, but they were in high demand by the uneducated new-rich and working class who believed it showed off their wealth, and represented their new social status. Wealth was expressed through the use of ornamentation.
Victorian Papier Mch Chair, 1850
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The Crystal Palace by Joseph Paxton in England, 1851
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Victorian Poster Advertising Uxbridge Fair, 1878
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It was the best of times, it was the worst of times...
Charles Dickens, Victorian novelist.
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Basic Style Analysis: Victorian The new urban society, which developed during the Industrial Revolution, required a new form of mass communication. Products and messages needed to be communicated almost instantly to the public. This need for instant communication was a shift from pre 19th century printing and communication during which books and pamphlets were mediums for information distribution. As the need for more mass communication grew, so to did the number of printers, typesetters and illustrators working in print houses. No longer were standard typefaces and etchings enough the new industrial world required impactful communication and eye catching designs. The traditional metal cast type could not produce the varying designs being demanded. As a result, in 1827, Darius Wells invented a method for producing wood types at a fraction of the cost. Wood types allowed type designers and printers to produce a great range of types to be used in communication and advertising. Posters now featured decorative and different typefaces to create visually striking and attention grabbing mass communication.
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The Crystal Palace by Joseph Paxton in England, 1851
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Analysis of Design: The Crystal Palace by Josef Paxton in London, 1851 The building was erected in Hyde Park for the 1851 Great Exhibition. The construction of the building was a true reflection of the industrial age and was completed in only nine months. The floor area within the building was a staggering 257,000 m. The project was based on prefabricated building components, most of which were multiples of 24. Glass panes and iron sections arrived at site ready for assembly. Almost 90% of the structure was glass, which made it resemble a giant greenhouse. The inside of the building was also regarded as a modular system, with colours indicating the function of a specific element blue for columns and girders*, yellow for visual variety, and red for the balconies and exhibit backdrops. Owen Jones was responsible for the interior of the structure. After the exhibition, the structure was moved to Sydenham in 18524 as a final site but was destroyed by a fire in 1936.
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Advertisement for the Uxbridge Fair by Williams and Straham
Industrial & Victorian Definitions

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Instructions: Below are terms and phrases, which refer to art, design and life of the Industrial era and Victorian period. Find the meanings of the words and write them in the table. Ensure that you write in full sentences and that you use your own words to describe the definition.
Word Eclectic
Definition
Mass Produced
Prefabrication
Wood Type
Kitsch
Mechanized
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Popular Culture Factory system Factory system Colonialism Utilitarianism Hieratic
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Victorian PERIOD 1837 1901
south african victorian

LOCAL IS LEKKER
THE STORY OF HOW A BRITISH STYLE CROSSED THE OCEAN
The 19th century was a time of great change in South Africa. The Dutch, who had maintained their power over the southern part of Africa through trade and expansion, began to lose footing to British forces keen to have a presence in the area. From 1795, the authority over the Cape moved between the British, the Dutch and the French, until 1815 when the authority of Britain was formally recognised at the Congress of Vienna. When the British took ownership of the Cape, it was already a well-established area. Between 1815 and 1830, many British nationals moved to the Cape and established a dominant English culture. Most of the immigrants settled in the more urban centres such as Durban, Cape Town or the Cape Colony. With them they brought the culture and visual style, the Victorian style, which was prominent at the time in Britain. It was important, especially for wealthy British immigrants, to stay in fashion with regards to styles back home and as a result the Victorian style remained a dominant design style in the colony. Between the 1830s and 1840s, a group of settlers left the colony to establish their own settlement, in what was known as the Great Trek. The discovery of diamonds in 1866 (Kimberley) and gold in the Gauteng region drew more people away from the original Cape colonies, looking for their fortunes. The Victorian style of architecture and design is visible in examples of architecture, furniture, etc. from this era.
Design Influences The examples of Victorian design in South Africa are very similar to those in Britain. British immigrants brought the style with them in the form of architectural and design catalogues and as the main style they remembered from home. The materials required to produce many Victorian designs, especially architecture, were imported along with machinery. Once mining was established in South Africa, iron and steel were produced locally. In 1895, The South African Breweries Ltd was registered in London. These bottles below are pre-1896 examples of beer bottles from Cape Town.
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Antique SAB Bottles
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Design Characteristics Many examples of fashion, furniture and products were imported directly from Britain but architecture had to be reinterpreted and constructed. The similarities between British and South African Victorian style can today be seen most clearly in architecture, as many cities and towns, like Cape Town, Kimberley and Grahamstown, still have original structures. An example of Victorian style adapted to the Cape vernacular* style is broekie lace. Broekie lace is a popular term for the decorative cast-iron trims found on balconies and the eaves of verandah roofs. The name was chosen because the trim resembles the lace decoration on Victorian underwear (broekies). Elements of early architecture and design would often be designed and produced in Britain before being shipped to South Africa. The process of producing elements off site, often to standardised sizes, and transporting them to the building site for assembly is referred to as prefabrication. This production method is a feature of the Victorian age and was used for many iconic Victorian and Industrial examples, including the Crystal Place in London and the Eiffel Tower in Paris.
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Building in Long Street, Cape Town
Kimberley Mine Museum
Design Legacy and Visual Impact Examples of Victorian architecture in South Africa are recognised as important elements of our past and heritage. The South African Heritage Resource Agency (SAHRA) is an organisation which provides resources for the conservation and protection of heritage sites across the country for the present and future generations. Hundreds of South African buildings from the 1900s are listed as heritage sites and may not be demolished. This results in a unique visual mix of old and new in many South African cities and towns.
...If there be a God, I think that what he would like me to do is paint as much of the map of Africa British Red as possible...
Cecil John Rhodes (18531902) English businessman and politician who lived in South Africa
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Victorian Facades in High Street, Grahamstown Governors House, Robben Island, Cape Town Victorian Architecture in Graaff-Reinet In 1882, the Cape Colony, James Crossley applied for the trademark Enos Fruitsalt.
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Arts & Crafts Movement

The English Arts and Crafts Movement dedicated itself to re-establishing the importance of craftsmanship in an era of mechanisation and mass production. An influential member of the movement was William Morris, who founded a firm of interior designers and manufacturers to produce handcrafted textiles, printed books, wallpaper, produced furniture, jewellery and metalwork. The Arts and Crafts Movement lasted well into the 20th century, supported by progressive artists, architects and designers. Although the movement was criticised as elitist, for a select few only, and impractical in an industrial society, its appeal spread to other countries in the 1890s, including the United States of America.
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Pink and Rose Wallpaper by William Morris Liberty Jewellery with Peacock Colouring
Simplicity of life, even the barest, is not a misery, but the very foundation of refinement...
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Kelmscott Press Logotype, 1891
William Morris
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Famous English Design Examples: Title Page of The Nature of Gothic by Morris and the Kelmscott Press, 1892 (Graphic) Leaded Stained Glass Fire screen by Edward Burne-Jones, c.188596 (Product) The Red House by Philip Speakman Webb, 1860 (Architecture) Pink and Rose Wallpaper by William Morris, c.1890 (Interior) Trellis Wallpaper designed by William Morris, 1862 (Interior) Morris Chair by Morris and Company, 1866 (Furniture)
Design Influences and Impact Towards the end of the Victorian era, and especially after the Great Exhibition of 1851, many craftsmen, artists and designers expressed their disgust with the quality of manufactured goods being produced and the confused eclectic style used. Their concern was not only regarding the products being produced. They believed the mass production to be an assault on the creative integrity of the design process. This belief led the movement to embrace handcrafting, natural materials and the manufacturing process where artisans produce a whole product, not just a part. The continued growth of urban centres and the inevitability of mechanisation and the influence of technology finally overshadowed the ideals of the movement. The importance of handcrafting in an industrial world, however, has never again been disputed.
c.1850 1910
A Movement of Social Reform The industrial society of the 19th century was focused on production and consumption. The idea of handicraft was an out of date practice in the new industrial world, as was the idea of being a craftsman or artisan. In the factory system, workers were becoming alienated and dehumanised. They performed the same monotonous and soul-destroying tasks in dreadful conditions. The plight of the worker did not go unnoticed and it is well documented in the poetry and literature of the late 19th century. Individuals, like John Ruskin, argued that Britains industrial society was morally degenerate and that the labouring class was being driven into cultural and material poverty. Ruskin understood Morris Chair, by Morris & Co. that an individuals work is tied to their identity and self-worth. With the support of thinkers, writers, artists and designers like William Morris, the Arts and Crafts Movement revolutionised not only style but also liberated the worker. Instead of the industrial model, supporters of the Arts and Crafts Movement took inspiration from the medieval Guilds. Design Characteristics and Innovation The Arts and Crafts Movement is not known for its use of technology or innovative practices instead they are known for turning their backs on Victorian technology and innovation. Artists and designers of the Arts and Crafts Movement returned to hand processes, a focus on quality and craftsmanship, and the use of natural materials. Art and Craft designs are honest, meaning that you can see the joins and manufacturing marks instead of hiding or covering them with decorative elements. Designs were simple, elegant and functional. Stained glass, wood, textiles and natural brick were popular materials. All paper, inks, textile and dyes were produced by hand, using organic materials. A key characteristic of Arts and Crafts design is focusing on the design as whole and thus maintaining complete control of the designs quality and production.
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Woodcut from the Works of Chaucer by the Kelmscott Press, 1896 The Red House, by Philip Speakman Webb in England, 1860
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Basic Style Analysis: Arts & Craft William Morris purchased the Merton Abbey works in 1881 and began printing calico on the site in accordance to Arts and Craft principles. Morris not only wanted to create beautiful and hand produced item but he wanted to do it in a way that would benefit the workers. The abbey contained design studios, dormitories for the workers, printing and dye areas as well as a stained glass studio and beautiful meadow. Fabrics were dyed with only the highest quality, natural dyes based on herbal recipes. Often fabrics produced at Merton were dyed using the indigo discharge method. This method is divided into phases: firstly the cotton is dyed a blue shade (indigo), then with bleaching agents the blue dye is removed according to the design. A fixing agent is applied to all areas that need to stay white and finally the fabric is dyed again with red and yellow dyes. The result is a deep colour palette of reds, oranges, purples, greens and blues. Morris focused his textile designs on natural motifs like flowers, vines and leaves. In this design a sense of perspective is achieved by overlapping the flowers and stems.
Printed Textile from Morris & Co. in 1884, produced in Merton Abbey.
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The Red House, by Philip Speakman Webb in England, 1860
Analysis of Design: The Red House, England by Philip Webb, 1860 In 1860, William Morris commissioned Philip Webb to design The Red House in Kent, England for his new bride, Jane Burden. The house is a Tudor Gothic manor house and is characterised by the use of simple lines, Gothic elements (such as pointed arches), red brick and a unique integration of tiles. The interior of the house was a collaborative project, with Morris designing and producing many of the furniture items himself. The elegant beauty of the house can be attributed to the plain brick walls, the slender windows, a focus of function rather than aesthetic as well as the honesty of the construction process. Exposed joints and beams tell the story of how the building was made instead of hiding them behind superficial decoration. The Red House was a departure from the then popular eclectic style of the Victorian age.
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TITLE?
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Instructions: Complete a visual analysis for each of the examples below although this analysis is visual you may have to do some research. Consider the following elements and principles in your analysis: materials, colours, shape, use of line, motifs or patterns visible, overall size and dimension. Figure 1: Arts and Craft Example Figure 2: Art Nouveau Example
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Design of book cover for William Morris, 1870
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Poster design for Bitter Oriental, 1900s
Analysis:
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Art Nouveau MovemenT

The Art Nouveau Movement originated in approximately 1890, peaked during 1900 and began fading just before World War I. The name of the movement comes from the interior design shop and gallery opened in Paris in 1896 called Maison de lArt Nouveau. Art Nouveau was a style mainly found in the visual arts, furniture, graphic design (especially poster design), jewellery, ceramics, product design and architecture, which influenced Europe and North America. One of the characteristic elements of the movement was the defiance and rebellion against accepted artistic values, as well as the social and moral condition of society during the 1800s.
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Design Examples (French & Spanish Organic) Entrance to Paris Metro by Hector Guimard in Paris, 189905 (Architecture) Chairs for Calvet House by Antonio Gaudi in Barcelona, 1902 (Furniture) Water-Lily Writing Desk & Chair by Majorelle in France, 1903 (Furniture) Necklace for Parisian Exposition by Rene Lalique in France (Jewellery) Casa Mila by Antonio Gaudi in Barcelona, 190510 (Architecture) Gel Park by Antonio Gaudi in Barcelona, 1911 (Environmental) Dance (print) by Alphonse Mucha, 1898 (Graphic)
Design Examples (Scottish and Viennese Rectilinear) Jardinire by Henri Van de Velde, 1902 (Product) Tea Service by Josef Hoffman in Austria, 1910 (Product) Glasgow School of Art by Charles Mackintosh, 189709 (Architecture) Dining Chair for Bloemenwerf by Henry van de Velde, 1895 (Furniture) Willow Tearoom by Charles Mackintosh in Glasgow, 1903 (Architecture) Secession Exhibition Poster by Kolomon Moser in Vienna, 1909 (Graphic)
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Chairs for Calvet House by Gaudi, 1902
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Design Characteristics: The Two Sides to Art Nouveau When analysing examples of Art Nouveau design, it becomes apparent that there were two distinct visual styles: the first is the organic style, which was popular in Belgium, Spain and France, and the second is the more controlled rectilinear* style popularised in Vienna and Scotland. The first style can be noted in the works of Antonio Gaudi, Alphons Mucha, Hector Guimard, Emile Galle, Louis Majorelle and Victor Horta, and is heavily influenced by the female form, natural motifs, insects, mythological creatures and organic forms. A characteristic visual element is the whiplash line. Designers who worked in the second style include Charles Rennie Mackintosh, Kolomon Moser, Joseph Olbrich and Josef Hoffman. The rectilinear* interpretation of Art Nouveau is represented through elongated designs, symmetrical design solutions, simplicity, modernity and strong control of line and form.
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Hill House Chair by Mackintosh, c.1903 Bowl using Plique-de-jour technique Stained Glass at Hill House in Glasgow, 19023
c.1890 1910
Design Innovation Art Nouveau style embraced the usage of Victorian technology and new industrial materials but not the Victorian style. Developments in the use of electricity opened a new avenue for designers of the period. Electric light fittings and elevators are two examples of inventions that design visualised and incorporated into architecture. The Art Nouveau Movement did not focus on developing new innovations; instead, the movement focused on developing an appropriate modern visual style for designs and spaces of the 20th century. Design Influences and Impact Art Nouveau designers and artists wanted to create a new style which reflected the modern age and new urban world, devoid of excessive historicism. The visual representation of the modern age was based on individual interpretation resulting in a number of stylistic differences in the work from designers in this period some embracing technology, the machine and an urban setting while others found inspiration in the subconscious, nature, spirituality and the female form. Art Nouveau designers and artists represented women as powerful and sensual beings. Their representation of women mirrored changes in society and rebelled against the traditionalist views regarding the role and nature of women. Although visually there are regional differences, and even differences between designers from the same city, all Art Nouveau examples exhibit a focus on form and decoration, a progressive nature and a view that the arts and design should speak a united language. Architecture, furniture, prints, jewellery, fashion and product design focused on one set of principles the ideal of Gesamtkunstwerk*.
Dragonfly Woman Corsage Ornament by Lalique, 1898
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Dance from The Arts Series by Mucha, 1898
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Casa Batllos Balconies by Gaudi in Barcelona, 1905
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Basic Style Analysis: Art Nouveau A pectoral is a large brooch, which often connected or intertwined with other elements like strings of pearls. This example by Lalique references one of his most prominent themes serpents and is approximately 21 centimeters long. The Art Nouveau artists often referenced a number of natural motifs, from flowers and organic elements to insects, reptiles and birds. The use of natural motifs and organic styling became a defining characteristic of French and Spanish Art Nouveau. This pectoral consists of nine serpents knotted together. Eight serpent heads curve outwards whilst the night is placed on the top of the knot. Each serpent has ring like elements placed at intervals along the body. The serpents are depicted in attack position with their mouths open. The use of enamel and gold is very characteristic of French Art Nouveau. Lalique used new and varied materials, mixing precious with semi-precious, and raised the art of enamel to a new level. He also produced exquisite glass-ware and designed perfume bottles, vases, clocks, light fixtures and statuettes, of milky blue opalescent or clear crystal glass engraved with frosted patterns of flowers, animals or figures. Analysis of Design: Antonio Gaudi, Casa Batllo, Barcelona, 1905 The Batllo residence was created by Antonio Gaudi between 1904 and 1906, when he renovated the building at 43 Paseo de Gracia in Barcelona. Gaudi renovated the interior and added an additional level and a new building faade. The buildings faade is one of its unique characteristics in that it eliminates straight lines and edges. Instead, the balconies and window details form organic and curvilinear lines. The windows feature circular and organic shaped stained glass inserts, which add colour to the exterior along with mosaic and decorative tile work. Although the forms and lines of the building faade can be overwhelming, the overall appearance of the building is cohesive and light. At the top of the building, a blue shaded roof covers the attic space in a shape reminiscent of a dragon. Gaudi created a number of interior design pieces for the residence including a magnificent fireplace, whirling ceilings, furniture, wrought iron features and doors.
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Casa Batllo by Gaudi in Barcelona
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Serpent Pectoral made by Rene Lalique
Victorian to Art Nouveau

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Instructions: Use the words and phrases from the Word Pool to complete the following grid, remember every word can only be used once!
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Whiplash Line Organic Hand Made Mackintosh Urbanisation Queen Victoria Gothic Revival Lyles Golden Syrup Red House William Morris Inspired by Nature Child Labour
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Word Pool
Arnold Toybee Design Honesty Willow Tearoom Crystal Palace Antonio Gaudi John Ruskin Kelmscott Press Great Exhibition Gesamtkunstwerk Merton Abbey Eclectic Casa Batlo
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Words which refer to the Victorian Period are:
Words which refer to the Arts & Crafts Movement are:
Words which refer to the Art Nouveau Period are:
DESIGN GRADE 12
De Stijl c.1917 1931

After World War I, in approximately 1917, a group of architects and artists in Holland founded a movement called De Stijl. De Stijl was Dutch for The Style and founding members included Theo van Doesburg, Gerrit Rietveld and Piet Mondrian. Theo van Doesberg was heavily influenced by Kandinsky and used geometric shapes to create dynamic compositions in architecture and furniture. Piet Mondriaan used form, basic colours and grids to create a new visual reality based in simplicity, balance and geometric laws. During the movement, Gerrit Rietveld was one of the most prominent designers working in a variety of fields, including architecture, product and furniture. Early in the movements history, the periodical De Stijl was founded and the magazine became a influential platform to showcase the groups work and spread the ideals of transformation and modernism.
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Front Cover of the First Issue of De Stijl Magazine, 1917 Broadway Boogie Woogie by Piet Mondrian, 1942
Design Examples Schrder House Interior by Gerrit Thomas Rietveld, 1924 (Interior) Red and Blue Chair by Gerrit Thomas Rietveld, 1917 (Furniture) Composition in Red, Yellow & Blue by Mondrian, 1937 (Art) Maison Model by Theo van Doesburg, 1920s (Architecture) Rietveld Lamp by Gerrit Thomas Rietveld, 1930 (Product) Broadway Boogie Woogie by Piet Mondrian, 1942 (Art) De Stijl Layout by Theo van Doesburg, 1921 (Graphic)
Inspiring Russian Constructivism Russian Constructivism, also called Soviet Constructivism, is a design and art movement which became popular in Russia during the 1920s and 1930s. The style used geometric shapes and mathematical constructions as subject matter. A clear link can be made between Russian Constructivist art and the De Stijl movement even though the two styles developed worlds apart.
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Table Design titled De Stijl by Grey, 1922 Red and Blue Chair by Gerrit Thomas Rietveld, 1917
Design Characteristics The visual philosophy of the movement was functionalism and rectilinear in form. Intersecting planes and basic geometric shapes are combined in dynamic and angular ways to create works which use the simplistic language of geometry to communicate in a complex manner. Artists and designers took inspiration from the Dada movement and moved away from traditional ideas and accepted values in design. There was limited texture and pattern used on products and in architecture, with most surface decoration consisting of pure primary hues of colour, plus black and white.
Design Impact The De Stijl Movement represents a change in 20th century design. The movement established the use of pure geometric forms as subject matter. The focus on geometry and mathematics instead of traditional content broke with all design and art conventions. The Bauhaus, Modernism, Art Deco, abstract and minimalist movements, to name but a few, were inspired by De Stijl works.
Composition with Yellow, Blue and Red by Mondrian, 19374
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Schrder House by Rietveld in Utrecht, 1924
De Stijl Design Influences De Stijl design and art was influenced by the Dutch tradition of logic, severity and clarity. This influence led to a simplification of content and subject matter to the basic building blocks of visual expression. The theories of Dutch philosopher Schoenmaekers was also influential in the development of De Stijl. He believed nature could be reduced to binary* opposites and basic lines, forms and shapes. Other influences include the views and processes of Cubist artists (especially analytical Cubism) and the concept of universality, not individuality.
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Contra-Construction Project by Theo van Doesburg, 1923
With this chair an attempt has been made to have every part simple and in its most elementary form in accordance with function and material...
Gerrit Rietveld, speaking about the Red and Blue chair.
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In the page layout designed by Van Doesberg the De Stijl quality of space, geometry and reduction is represented. Information is grouped and presented in blocks surrounded by think black lines arranged in a grid format. Various sizes of type are used to present in a certain order and creates a hierarchy in the message. Mostly capitol letters have been used and the selected typeface is sans serif (without serifs), which contributes to the modern character of the layout. The layout is black on white, which supports the simple and reduced nature of the design.
Analysis of Design: Schrder House by Gerrit Rietveld in Utrecht, 1924 Schrder House in Utrecht was commissioned by Ms Truus SchrderSchrder as a residence in 1924. Gerrit Thomas Rietveld was the architect of the residence with a brief to create an open interior with flexible spatial design. The plot where the residence was constructed was at the end of a row of traditional 19th century houses; the result is a merging of vernacular and modernity. The residence is a visual representation of the ideals of the De Stijl movement in the Netherlands and is considered one of the icons of Modernism. Furniture pieces and interior elements were designed along with the house, creating a sense of unity in the design and a totality of style. Colour is used sparingly and is limited to shades of grey and a primary colour palette.
Schrder House by Rietveld in Utrecht, 1924
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Basic Style Analysis: De Stijl The movement started in Holland in 1917 and was founded by Theo van Doesburg, Piet Mondrian and a few other artists who wanted to find a new way to express their views of the world. Die Stijl was also the name of the groups publication, published by Van Doesburg that discussed ideas and theories. The work published in the Die Stijl publication represents some of the most iconic work of graphic design and typography from the movement. The De Stijl members wanted to communicate the machine age in a practical, visual way. Objects, art and designs are based on the idea of Reductivism which means the analysis and abstraction of an object through reduction until only a basic shape A De Stijl Layout by Theo Van Doesburg from 1921, Holland. is left to represent the object. The colour pallet is also reduced and includes a limited range of colours: yellow, blue, red black and white. Keywords when analyzing De Stijl examples are simplification and abstraction. The use of straight lines and geometry is very prominent. Work does not have a central focus point.
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Instructions: The De Stijl designers and artists communicated using geometric shapes and a very limited colour palette. Work through the overview and further research of the work of Piet Mondrian and Theo van Doesberg. In the space below first create your own De Stijl image/scamp library inspired by the work of these great designers. Be creative and explore different designs, colour combinations and layout options before committing to a final design.
Space for scamping, continue on a separate piece of paper if needed:
Title of the design: _________________________________________________ Final Design:
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DESIGN GRADE 12
THE BAUHAUS
c.1919 1933
The Bauhaus was the name of a design school in Germany but the name came to represent a style and an ideology. The word Bauhaus refers to the German phrase to build a house but the house they were referring to was not a building but a unification of art, craft and design. There were four main phases of the Bauhaus: the first was whilst the school was in Weimar, the second when the school moved to the city of Dessau, the third was the short period that the school was based in Berlin and finally the fourth phase was when the ideas, styles and methods of the Bauhaus inspired designers in America and Europe (after the closing down of the school). The founding members of the school wanted to create a space where the roles of the artisan and craftsman are merged. Collaboration and shared learning was key in the early teachings of the school (based on the Guild system of the medieval period).
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Design Examples Tubular Steel Wassilly Chair by Marcel Breuer, 1925 (Furniture) Sommerfeld House by Gropius & Meyer, 192022 (Architecture) Bauhaus School by Walter Gropius, 192526 (Architecture) Bauhaus Baby Cradle by Peter Keller, 1922 (Furniture) Bauhaus Teapot by Marianne Brandt, 1924 (Product) Universal Type by Herbert Bayer, 1926 (Typography) Design for a Carpet by Gunta Stlzl, 1928 (Surface) Photography by Maholy-Nagy, 1925 (Graphic) Triple Weave by Anni Albers, 1926 (Textile)
Design Characteristcs Bauhaus Exhibition Poster, 1923 The Weimar period produced work which was more experimental, using natural materials with a strong focus on hand production. When the school moved to Dessau in 1925, the focus shifted to the incorporation of technology and industrial processes to create modern design examples. Designs from the Dessau period are modern, simple, quality focused (production and manufacturing), universal, functional, international, accepting of technology and linked to industry. Products and furniture examples produced at the Dessau Bauhaus are still considered icons of simplicity, function and elegance.
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Tubular Steel Chair by Marcel Breuer, 1928
Bauhaus School Basic Information The Bauhaus school opened in Weimar in 1919. In 1925 it moved to the industrial town of Dessau and in 1933 the school moved to Berlin before it was closed in 1933. The various directors of the Bauhaus played a major role in establishing the vision and principles of the school. The directors included Walter Gropius from 19191928, Hannes Meyer from 19281930 and Ludwig Mies van der Rohe from 19301933.
Early Design Influences The early Bauhaus years were influenced by a return to craft production and a focus on quality. The medieval (Gothic) Guild system of apprentices working under a master became the foundation of education at the school. Design Innovation & Impact The Bauhaus was the first true design school and founded many of the design practices still used today. The school developed the studio-based practices still used in design education, including much of the content. The Bauhaus designs created during the Dessau period are considered the pinnacle* of industrially produced design. The relationship between designer and manufacturer developed during the Dessau period is still the foundation of applied design today. The innovative practices of the Bauhaus, educational and professional, were revolutionary and form the basis of design practices today.
Bauhaus Teapot by Marianne Brandt, 1924
Club-chair by M. Breuer, 19251926
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Dessau Bauhaus Building by Walter Gropius, 1925
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Red and Green Silk Tapestry by G. Stlzl, 1927
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They must be merged once more with the workshop. The mere drawing and painting world of the pattern designer and the applied artist must become a world that builds again.
Walter Gropius, the Bauhaus Manifesto
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Analysis of Design: Bauhuas Building by Walter Gropius in Dessau, 1925 The Bauhaus building was a physical manifestation of the ideals of the Bauhaus. The speed with which the building was constructed was a testament to the willingness of Gropius to embrace technology, mass production and prefabrication. The exterior and interior of the building were merged through the use of glass walls. The large sections of glass also created a sense of transparency, and light could fill the building. The building was designed to be a functional space and Gropius focused on the layout and positioning of studios and offices for spatial logic and maximum usage of space. A limited colour palette was used on the interior and exterior of the building.
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Dessau Bauhaus Building by Walter Gropius, 1925
The cradle, designed by Peter Keller, epitomizes the Wiemar ideals of Bauhaus in product design and also takes inspiration from the De Stijl movement. The baby cradle incorporates the favorite mediums of the Bauhaus; tubular steel and cane. The bright colors were unusual as black was the often a preferred color as it deflected attention. The cradle uses a very limited colour palette, which includes yellow, blue and red. Two circles form the framework in which the basket is balanced. The basket is designed in a triangular shape, highlighting the strong geometric considerations. The circular framework enables a rocking function in the cradle that soothes the infant.
Basic Style Analysis: Bauhaus The Bauhaus movement refers to the design style and legacy developed at the Bauhaus design school in Germany between WW1 and WW2. The school was located in two main areas during this period; firstly in Weimar and later in Dessau. For the final year of the schools existence it moved to Berlin. The Bauhaus manifesto clearly described the schools goals and vision: Let us therefore create a new guild of craftsmen without class distinctions that raise an arrogant barrier between craftsmen and artists! Let us desire, conceive, and create the new building of the future together. From this statement it becomes clear that the main ideas behind the school included a return to guild systems (from the Medieval period) and the development of every student to be both artisan and craftsman.
Cradle design by Peter Keller in 1922, part of the Bauhaus school.
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Instructions: Find the following words in the word search:
F F U N C T I G K F F E F G H L O R T Y L
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M X E T R I C R C S W M E U P L I E V B L U A V N R U S I I R E G B N R G L H O S F X W T Z E U U T B F U H E D G N U T G V D F H C E R J D S B T O V U S R N V N D D E S S A U A E J K O L C D A Y S H C R P Q R F C P S E M R O G F Q C O W F D B I T T E N U H D W F U A V B O N S L R Y A B A D B R G M E J I H I C T C R D A Y T H E Y H D K U G U V S E W E A X R T A V I D T R F M S F F T N E J O L N G D G V G V A R M N H G R Y B M T
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O R D C C E A R D G B V E M C X N C V A N I L R E B A R F D S O U D D R B H T Y
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K K J R A Y J S I M P L I C I T Y G R A M I E W L K J H G F D S A Q W E
1. Weimar 2. Dessau 3. Guild 4. Tubular Steel 5. Craftsmen
6. Weaving 7. Modern 8. Simplicity 9. Functionality 10. Geometric
11. Berlin 12. Walter Gropius 13. Itten 14. Collaborative
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ART DECO c.1925 1939

The Art Deco style is a decorative design style that originated in Paris in the 1920s. The term was inspired by the1925 Exposition Internationale des Arts Dcoratifs et Industriels Modernes, an exposition of modern products, design and styles held in Paris. In Europe, Art Deco flourished between the World Wars and created an alternative reality to war-torn Europe an exotic, glamorous, elegant and luxurious world. The Art Deco style spread across the globe with regional and national adaptations developing. In America, the style became synonymous with streamlining and the use of new materials and processes.
Beauty through function and simplifcation.
Streamline Moderne: Dream of Speed and Power Streamline designs are influenced by aerodynamic considerations and designs. During the Art Deco period in America, the concept of streamline became Bugatti Type 57SC Atlantic, 1938 very popular. The removal of angles and extruding elements and the focus on organic shapes, characteristic of streamlining, was applied to the design of automobiles, planes and ships, as well as items which did not benefit from this quality, like furniture and product design. One area which benefited from streamline design was the automobile industry. Cars like the Chrysler Airflow (designed in 1933) featured functional aerodynamic design considerations. With the addition of streamlining, automobiles from the 30s and 40s have an elegance and grace, grounded in the functional application of aerodynamics and the aesthetic beauty of organic lines. The use of streamlining became so popular that it is often referred to as a separate style named Streamline Moderne. Design Examples: Streamline Moderne Coca-Cola Building by R.V. Derrah in Los Angeles, 1939 Burlington Streamlined Locomotive Aeolus in USA, 1937 Chrysler Airflow Sedan by Carl Breer in USA, 1934 Pencil Sharpener by Raymond Loewy in USA, 1934
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Design Examples National Cash Register Building by Waiter D. Teague, 1939 (Architecture) Dressing Table by Jacques-Emile Ruhlmann in France, 1925 (Furniture) Ravel Pattern by Clarice Cliff in Britain, 1930 (Ceramic and Surface) Skyscraper Furniture by Paul T. Frankl in USA, 1920s (Furniture) Patriot Radio by Norman Bel Geddes in USA, 1939 (Product) Young Lady with Gloves by Tamara de Lempicka, 1930 (Art) toile du Nord by A. M. Cassandre in France, 1927 (Poster) LOiseau de Feu by Rene Lalique in Paris, 1930s (Product) Flapper-Style Gown by Jeanne Paquin, 1925 (Fashion)
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Art Deco Chair by Kem Weber, 1937 Spire of the Chrysler Building by William van Alen, 192830
Raymond Loewy
Design Influences The need to escape everyday life was a major influence on Art Deco, resulting in exotic design inspiration. Inspiration was taken from antiquity, ancient Egypt, the Aztec civilisations, cubism, fauvism, futurism, the Russian ballet, Africa and modernism. In the USA, travel and speed also greatly influenced the American Art Deco style. Design Characteristics and Innovation In Europe, Art Deco designers explored new materials and processes. The movement embraced progress and aimed to represent the modern age. European designers like Emile-Jaques Ruhlman used sharkskin, inlays and other expensive materials to create objects of beauty and luxury. Americans, in the clutch of the great depression, also desired an escape from their everyday lives but due to the economic situation they could not afford the expensive materials which characterised Art Deco in Europe. Instead, modern inexpensive materials like Bakelite (plastic) was used to simulate expensive surfaces and materials. Bakelite was one of the first commercial plastics used in product design. American designers also incorporated new theories and technologies in their designs, some of which were developed during World War I. Examples of these include streamlining and ergonomics, which is the study of designing equipment and devices that fit the human body.
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Travel Posters by Cassandre French Bow Knot Pin 1925
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Jade Green Empire State Radiolette, by AWA, 1930s
Summer Frocks in The Pictorial Review, 1925
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Analysis of Design: Chrysler Building by William van Alen in New York, 192830 In the heart of New York City during the early years of the depression, an icon of Art Deco and a 20th century skyscraper design was built. After its completion in 1930, the Chrysler building was the tallest building. The sunburst spire made of nircosta steel reached up into the heavens as a symbol of strength and power, while the physical tapering of the spire allowed light to reach street level. Art Deco motifs used in the exterior design of the building include Gothicinspired eagle gargoyles, Egyptian pyramids and sunburst patterns. The interior of the building features wood inlays, the use of copper and decorative elements like lotus flower designs on elevator doors.
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Chrysler Building by William van Alen
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The 1938 Talbot-Lago T-150 CSS coupe represents the perfect balance of design and technology. Tabot-Lago as a company had roots in France, and was based just outside of Paris, but was owned by a Venetian born engineer named Antonio Lago. Georges Paulin designed the car and C. M. Pourtout completed the body. The clean, curved lines that defines the body of the car epitomizes the functional application of streamlining. Slanted doors characterize the design of the car as well as a long, curved rear-end. Power, beauty and technology are combined to produce a design, which reflected Art Decos vision of a modern world.
Basic Style Analysis: Art Deco The Art Deco and Streamline Modern styles are based in the concept of organic lines and shapes, which offer less resistance. One of the early examples of streamlining was the Douglas DC-3 aircraft which was not only technological advanced but shaped and formed to resemble organic curves which is reminiscent of speed and motion. In his 1932 book, Horizons, Norman Bel Geddes wrote: the design of an object is in keeping with the purpose it serves, it appeals to us as having a distinctive kind of beauty. That is why the stirring beauty of airplanes impresses us. The underlying principle of the emotional response that the airplane stirs in us would seem to be the same as that which accounts for the emotional effect of the finest architecturethe form, proportion, and color best suited to that objects purpose. Eventually Geddes view that streamlining must be a functional design consideration was challenged as pencil sharpeners, kitchen blenders, radios and other product all reflected this style in the hope of appearing modern and progressive.
The Talbot-Lago Coupe made in 1938
21st century design

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Instructions: Complete a visual analysis for each of the examples below although this analysis is visual you may have to do some research. Consider the following elements in your analysis: materials, colours, shape, use of line, motifs or patterns visible, overall size and dimension. Figure 1: European Art Deco Example
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Analysis:
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LOiseau de Feu by Rene Lalique, 1930s
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MODERNISM c.1932 1955

Although the end of Modernism is indicated as the mid 1950s, it is important to note that visually the style resurfaces in the 1970s as Late Modernism and High Tech Architecture and that the concept of modernism and modernity is still with us today. The architecture, products and design developed as part of Modernism became very successful and contributed to growing consumerism. Following the war, people wanted to build new lives, modern lives, and this mindset further pushed the modern style into the mainstream. There is a dual nature to Modernism which one should keep in mind most modern designs were well received, including works by Charles and Ray Eams, Frank Lloyd Wright and Mies van der Rohe. However, the purist ideals of Modernist architecture, the reduction of all elements to create a machine to live in as practised by Le Corbusier, were a bit too radical for users to embrace totally.
Design Characteristics Design was functional, simplified, construction materials and surfaces often left unadorned (truth to materials), and not grounded in any vernacular* or traditional practices. Modernists believed that design should be universal and that where and for who should not matter in a true Modernist world the same building would be built in New York, Reykjavik, Dubai and Johannesburg. The famous 1919 London Underground logo and signs, designed by Edward Johnston, are early examples of a modernist design approach. It is clear, simplified, universal and easily recognisable: a modern graphics sign fora modern time.
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Lounge Chair & Ottoman by Ray and Charles Eames
Design Influences When the Bauhaus closed, many of the influential thinkers and designers who were associated with the school fled to America to avoid persecution during World War II. Their ideas and design ethos* were based on the revolt against traditional styles, methods and materials as they felt that these did not meet the needs of a modern, industrial society. This outlook inspired a new generation of designers across America and Europe.
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Unit dHabitation by Le Corbusier in Marseilles, 1952 The New Look Suit by Christian Dior, 1947
The Early Years Although the movement has its origin the writings, art, thoughts and ideas of the 19th century, it is by 1930 that the concept of Modernism entered popular culture. The increase of urbanisation led to the development of new suburbs and growing consumer markets. Modernism benefited from this opportunity by offering new ideas, products and style. Authors, artists, architects, designers and thinkers embraced the modern way, and a lifestyle and approach developed based on Modernism, referred to as modernity.
...form ever follows function. This is the law
Louis Sullivan, 1896
Design Impact Modernism influenced modern interpretations of design and established a new language in design and architecture based in simplicity and functionality. The movement broke all ties with history to establish a style which was truly reflective of the new age. The style did not consider the need of individuals to express themselves or cultural connections an aspect of the movement which contributed to its decline. The lack of personal expression, as well as social, political and economic influences, fuelled a move away from Modernism in the 1960s. The style resurfaces again in the 1970s, only this time in the guise of Late Modernism and High Tech. Design Examples Guggenheim Museum by Frank L. Wright in NY, 1958 (Architecture) Lake Shore Drive by Mies van der Rohe in USA, 1949 (Architecture) Le Grand Confort Armchair by Le Corbusier, 1929 (Furniture) (Coco) Chanel Suit by House of Chanel, 192050 (Fashion) Rocker Chair by Charles and Ray Eames, 1950 (Furniture) Barcelona Chair by Mies van der Rohe, 1929 (Furniture) The New Look Suit by Christian Dior, 1947 (Fashion) Glass House by Phillip Johnson, 1949 (Architecture) Giotto by Roberto Grippa, 1950 (Textile)
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Le Grand Confort Armchair by Le Corbusier, 1929
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Le Corbusiers Modularman Villa Savoye by Le Corbusier
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Analysis of Design: Unit dHabitation by Le Corbusier in Marseilles, 1952 Le Corbusier was a Swiss-born architect who wanted to create a new language of architecture based on the use of modern materials, industrial processes, the application of reduction to design and embracing a new universal person. To create a true universal person, though, he could not reference just anyone so he took the human figure and dehumanised it into a modular man. The standardisation of man was for the greater good of the International Style. Le Corbusier wanted to redesign the world and society in a neat, epitomised, grid-like manner which embraced technology, machines and the automation of human life. His ideals for society and architecture can clearly be seen in the Unit dHabitation residential building built in 1952 in Marseilles. He designed the building, furniture, lighting, operations and every aspect of the building. The apartment building revolutionised architecture in that people did not have to leave the building entertainment, shopping, laundry, etc. could all be done in the building. The construction and exterior of the building reflects a strong sense of experimentation with the use of concrete, which does give the building a dark, heavy look. The Unit dHabitation by Le Corbusier in Marseilles, 1952 brutality of the work can be seen in the pillars on which the building stands the area below the building was meant for children to play under but it is very depressing and dark. The concrete recreational area on the roof has the same problem cold and hard. The standardised and impersonal style however was not well received and the residents soon starting adding their own flair and decoration to the barren interior spaces.
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In 1928 Le Corbusier, Pierre Jeanneret and Charlotte Perriand designed the chaise lounge for the interiors of the innovative Villa Church Pavilion, a house near Paris, designed by Le Corbusier and Pierre Jeanneret for an American couple. The original version of the piecewas slightly adapted and exhibited at the Salon dAutomne in 1929. The design of the chaise lounge draws inspiration from geometry and the resting position of the human body. Careful attention was paid to the proportions and overall balance of the design. Originally the piece was completed in leather and tubular steel. Le Corbusier added no extra decoration or colour was his designs because he wanted to create iconic pieces focused on modern styling and functionality.
Basic Style Analysis: Modernism In 1929, at the Salon dAutomne in Paris, a group of designers presented designs that would become classics. Among them was Charles-Edouard Jeanneret, better known as Le Corbusier. As the decades progressed Le Corbusier greatly influenced design thinking and aesthetics in Europe. He shared with Bauhaus designers and teachers a passion for modern, functional products and furniture that did not look to the past for inspiration or context. Tubular steel, leather and chrome were Chaise Lounge Chair by Le high quality and unadorned materials used by Corbusier and Charlotte Perriand in 1929 Le Corbusier. Le Corbusiers furniture has not dated in the slightest, and can be found today in homes and offices throughout the world. Cassina has an exclusive contract to produce Le Corbusiers furniture dating from 1964 when Le Corbusier himself granted the company the rights. Cassina produces Le Corbusiers furniture to his original designs, focusing on the quality of craftsmanship and material that made the original designs famous. Furniture pieces produced by Cassina include the LC3 chair and the famous LC4 (Chaise Lounge).
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Instructions: Below are design examples from the De Stijl, Bauhaus, Art Deco, Modernist and Scandinavian movements. Identify the movement that each design is from by writing the movements name below the image.
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Scandinavian Design
When the term Scandinavian Design is used, it refers to designs from the Northern European countries: Denmark, Sweden and Norway. The beauty of Scandinavian design styles was showcased internationally through a great number of expositions and shows. The Scandinavian Design show of 1954 and the 1960 Arts of Denmark Exhibition, at the Metropolitan Museum of Arts in New York, brought the style to America. The modern IKEA stores maintain the connection between Scandinavian designers and the global market, offering an international market the beauty and functionality of Nordic design.
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Unikko Pattern by Maija Isola, 1964
Design Examples Kunsten Museum of Modern Art by Aalto, Aalto and Baruel, 1968 (Architecture) Royal Danish Embassy by Arne Jacobsen in London, 197677 (Architecture) BeoCenter 9500 by David Lewis for Bang & Olufsen, 1989 (Product) Unikko Pattern by Maija Isola for Marimekka, 1964 (Textile) Ball Chair (Globe Chair) by Eero Aarnio, 1963 (Furniture) The Domino Vase by Stig Lindberg, 1956 (Product) Ant Chair by Arne Jacobsen, 1952 (Furniture)
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Design Characteristics Scandinavian Design is democratic and meant for the masses but is not minimalist and reduced; rather, design maintained a balance between costeffectiveness, function and aesthetics. Colour, pattern, organic lines, natural materials (mostly light wood) were unique and contributed to individual pieces with character and an elegant beauty.
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Annansilma Textile by Aino-Maija Metsola
Design Influences The visual appearance and style of Scandinavian architecture, furniture and product design is grounded in the legacy of institutions like the Swedish Society of Industrial Design, which focused on the creation of functional and affordable design. Scandinavian Design took inspiration from 20th century art movements, the Bauhaus school, Modernism and the International Style, the Northern climate, increased accessibility as well as social philosophies and democracy.
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Great Leaf Dish by Stig Lindberg, 1950
c.1950 present
Bringing Scandinavian Design to the World IKEA is an international retailer of home products that designs, products and sells furniture appliances, home accessories and soft furnishings. The company was started in 1943 by Ingvar Kamprad in Sweden, who at the time was only 17 years old. IKEA aims to bring the beauty, simplicity and functionality of Scandinavian design to the world, at an affordable price through massive retail stores. The companies website lists over 12,000 products! IKEA is the worlds largest furniture retailer of fl at pack and ready to assemble furniture
Egg Chair by Arne Jacobsen, 1958
Ball Chair (Globe Chair) by Eero Aarnio, 1963
S-Chair by Verner Panton, 1967
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Kunsten Museum of Modern Art by Aalto, Aalto and Baruel in Denmark, 1968
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Magisso Cake Server, 2010
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If a building becomes architecture, then it is art.
Arne Jacobsen
Design Impact Scandinavian architecture, furniture and product design is internationally associated with beauty, simplicity and functionalism. The clean lines and natural influences found in Scandinavian design have inspired many contemporary designers and companies throughout the world. The strong and recognisable visual identity of Scandinavian design can be attributed to a single set of design principles applied to all forms of design.
Ant Chair by Arne Jacobsen, 1952
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Basic Style Analysis: Scandinavian Design The goal of Swedish Society of Industrial Design was to promote design that the general public could access and enjoy. This goal was influenced by social context and changes in Europe at the time. The design style was accessible, simple and easy to understand yet not stripped of beauty and style. The balance between beauty and function is one of the most characteristic qualities of Scandinavian design. To promote the new style and raise awareness of Scandinavian design a number of exhibitions and trade shows were held throughout Europe. One of the first mayor exhibitions was the 1930 Stockholm Exhibition. The phrase Scandinavian design became popular during the 1950s when exhibitions travelled through North America. The poster for the 1930 Stockholm Exhibition represents the qualities of Scandinavian design, which is still held in high regard today simplicity, functionality, accessible to all with a distinct reference to the people and environments from Scandinavia. The poster has a solid red background with three main text components. The first is the representation of 1930 in a faux three-dimensional manner. The other two are section of black and white test of varying sizes in capitols letters. The information is communicated in a clear way and typefaces are san serif and simple. At the very top of the poster is a visual reference to the Scandinavian origin of the poster in colour bands from the Swedish flag.
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Poster design for the 1930 Stockholm Exhibition
Analysis of Design: Kunsten Museum of Modern Art, by E. and A. Aalto, and J.J. Baruel in Denmark, 1968 The Kunsten Museum of Modern Art in Aalborg, Denmark, began construction in 1968. The building was designed in such a way that it responds to the location and nearby natural setting. The main central hall is a centre point around which the galleries and exhibition areas are surrounded. The function of the building, to show art, is considered in the construction and colour palette of the building. Carara marble is used for exterior walls and courtyard cladding. The material is functional and easy to maintain. Ribbons of windows stretch along the top part of the ziggurat-influenced building to allow in light. The ribbon windows are an influence of Modernist and International Style architecture. The overall design characteristics are simplicity, clean lines, functionality, quality, modernity, geometry and acceptance of industrial processes.
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Kunsten Museum of Modern Art by Aalto, Aalto and Baruel in Denmark, 1968
21st century design

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Instructions: Complete a visual analysis for each of the examples below although this analysis is visual you may have to do some research. Consider the following elements in your analysis: materials, colours, shape, use of line, motifs or patterns visible, overall size and dimension. Figure 2: Scandinavian Example
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Kosta vase by Goran Warff in the Royal Art Collection.
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How did the characteristics and knowledge of the previously mentioned movements impact and continue to influence the design world of South Africa?
Often we forget that the styles and movements we learn about can be found in the design and architecture of our own context, in this case South Africa. South African designers, like those from around the world, are inspired by the historical context and visual characteristic of past styles. In the overview section the influence of Victorian design on South Africa (see page 24 - 25), especially in the Western Cape, was discussed but there are many more examples of historic design inspiration. In this section examples of South African architecture and design are compared to movements and styles mentioned in the overview section.
Ancient Greece, Rome, the Renaissance and Neo Classicism The classic architecture and design principles that characterise work from ancient Greece and Rome were revisited in the Renaissance and Neo-Classic periods. These periods took inspiration from the ideas behind classical design - a focus on balance, proportion and harmony of design as well as the physical design details including columns, pediments, wreaths etc.
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The Ancient Greek temple, the Parthenon, was designed by the architects, Ictinos and Callicrates. It is located on the Acropolis outside Athens.
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United States Capitol by Thornton, Latrobe & Bulfinch in America built in the NeoClassical style during 1793-1830.
The Vodacom regional head office building, designed by GLH & Associates Architects, is located in the Century City development outside Cape Town. The building reflects the classical style referencing traditional pediments and columns.
The Johannesburg City Hall is on the corner of Loveday and President street. The hall is built in the distinctive classic city hall style. Classical elements include porticos, high-domed towers and the use of columns. Designed by Hawke and McKinlay the building was completed in early 1915.
The Gothic and Arts & Craft The focus on hand production and community participation is a feature shared by the Gothic and Arts and Crafts movements. During the Gothic period guilds of craftsmen joined to build the monumental cathedrals of Europe. Items were made by hand and natural materials were used. William Morris and other members of the Arts and Craft movement were inspired by the natural beauty and sense of community found in Gothic guilds and focused on reviving handcraft.
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Chair from the Riempie collection designed by Haldane Martine, a Cape Town based industrial and furniture designer.
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Chatres Cathedrals South Rose Window from 1220 in France
Various chairs produced by Morris and Company, a prominent design firm during the Arts and Craft movement.
Pink and Rose high quality wallpaper by William Morris from the Arts and Craft movement.
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Stained glass window tribute to Nelson Mandela in Soweto.
The following examples were all hand produced by South Africans. Similar collaborations between guild-type/studios and local crafters and communities result in these beautifully crafted pieces.
Amanda Haupt and Lise Butler, run Design Team, a textile design business focusing on the design and print of South African inspired textiles. Emphasis is placed on quality and uniqueness of design.
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Baroque and Rococo Lavish materials and opulent decoration characterize the Baroque and Rococo periods. During the Baroque period design was theatrical, playing with light and shadow trying to create a dramatic atmosphere. The Rococo period was still opulent but the overall colour palette became lighter and more feminine. Organic and vegetable-type designs adorned walls, ceilings, floors and furnishings. Both styles had a focus on sophistication and superior luxury.
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Bauhaus Teapot by Marianne Brandt, 1924
De Stijl and Bauhaus: Focusing on geometry and function
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Table design titled De Stijl by Grey, 1922
There may be a number of differences between the De Stijl movement and the Bauhaus but both focused on producing functional designs using geometry as a design focus. Both the De Stijl and Bauhaus designers used a limited colour palette and modern materials like steel. Designs from these periods were production orientated and resisted the urge to refer back to the past, instead these designers created a new universal design language.
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The Caf Chic in Cape Town owes its dramatic interior room design to Baroque textures and colours, including browns, purples, reds and gold.
The interior design of Rococo Restaurant in Sandton, Johannesburg has been designed to capture the luxury and opulence of the Rococo style.
Taiwan-born, South African designer and architect Tsais Zig Zag coffee table. Hand made in Tsais Cape Town studio. He is fascinated by geometric design solutions.
A teapot designed by Carol Boyes. Boyes played with the concept of geometry within the design of the teapot. The body is rounded with an organic-shaped handle. Similar to Brandts Bauhaus teapot Boyes used metal as her main material.
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Modern design and simplicity The ideals of Modernism are still globally prominent in contemporary design and South Africa is no different. Simplicity, functionality and a focus on quality characterize this modern beauty.
The Barcelona couch was designed by Mies van der Rohe for the International Exposition of 1929 held in Barcelona, Spain. It is an icon of classic modern design.
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The Shongololo couch by Haldane Martin is influenced by modern design with references to indigenous African design and materials. Like Mies can der Rohe he used steel and leather but added a South African Twist.
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Paragon Architects designed the AFGRI Head Office in Pretoria. The building shares many similarities with Le Corbusiers architectural style. It is a functional, modern building, which reflects the South African environment.
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Le Corbusier designed the Villa Savoye in 1929. It was designed to be a machine for living, focusing on the function and flow of the space. The villa was designed according to Le Corbusiers five points of modern or new architecture
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South African Design Analysis

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INSTRUCTION: Identify at least three visual design characteristic of each of the following South African examples. The analysis may be visual but you should support your findings through additional research. You should also consider the following elements and principles while you formulate your analysis: materials, colours, shape, line, motifs, visible patterns, overall size, dimensions and structure. Also consider the social and environmental impact of the design, if any.
Example 1 Architecture: Astor Mansions, Johannesburg
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Astor Mansions is one of the best examples of Art Deco buildings in South Africa. Built in 1932, designed by Obel and Obel, the building is Johannesburgs equivalent of New Yorks Chrysler building. At the time it was built it was the tallest building in the city.
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Example 2 Furniture & Product: Bucket Stools, Pedersen and Lennard
Pedersen and Lennards Bucket Stool represent a new style of South African design - creative and free from traditional ideas of what design should look like and be. The design is characterised by a Postmodern spirit playing with expected context, humour and colour. The stool also has a second function as a storage unit or ice bucket when the seat component is removed. The use of found objects in repurposed designs also reflect contemporary international trends.
Example 3 Textile Design: Julie Juu, Shine Shine
Julie Juu fabric for Shine Shine is a fun and creative exploration of politically and religiously commemorative cloths, which has a long history in Africa. The fabric designed by Heidi Chisholm for Shine Shine is urban and explores popular South African culture and also refers to a Pop Art explorative style of everyday situations and objects.
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Example 4 Graphic Design: Freedom, The President
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Cover illustration designed by The President design agency for the Mail & Guardian newspaper. The stylized illustration combines pattern, solid areas of colour and symbolic icons to communicate. The illustration can be compared to Pop Art in that it uses motifs and elements from everyday life. It also uses this alternative way of communication to comment on social and political situations the same way Resistance and Protest Art and Design did.
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OVERVIEW GLOSSARY
A Absolute rule Complete, unrestricted and unquestioned power of a monarch or ruler. Amphitheatres A semicircular theatre or public space with a tier of seats around a central space. Antiquity Refers to the culture, history and artefacts produced before the medieval period including those from Ancient Greece and Rome. Aqueduct A structure which carries water to towns and cities. Some of the best examples of these waterways come from Ancient Rome. Arcuated A system of construction and architecture which extensively uses arches. Cherub Angelic (embodies characteristics of an angel), beautiful or winged child. Chevet An apse (an apse is an arched or domed recess), or group of apses, at the end of the nave (the nave is the central aisle of a cathedral) in medieval architecture. D Decorum The practices associated with good manners and dignity. E
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Austere Morally strict and severely simple. B Binary Two or dual, as in binary code, which refers to computer code programmed with two numbers. C Capital The headpiece of a column which is placed at the top of the columns shaft. In ancient architecture, the capital of a column identified the order of architecture to which the building belonged.
Artisan A craftsman focused on quality hand production.
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Aristocracy Referring to nobility (nobility refers to important families of high social standing, often with titles) or a system of government where nobility rule.
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Encaustic Burnt in.
Eclectic In design, the use of motifs, ideals and theories from different styles and movements within a single design.
Ethos Characteristic spirit or tone of a movement or community.
Feudalism A pyramid system of land ownership and rule which characterised medieval Europe. At the top of the pyramid in the medieval period was the church and the King who granted land to the nobility. The nobility would grant land to soldiers in exchange for protection and service. At the bottom of the pyramid were the peasants (called serfs) who worked the land and were at the mercy of the landowner and vassal*.
Gesamtkunstwerk Gesamtkunstwerk (translated as a total work of art)implies comprehensive artwork, allembracing art form, a style or design approach that incorporates many different design disciplines into a unified whole. Girders Supporting beams in architecture, often made from iron or steel.
Gobelins The Gobelins Manufacturers is a tapestry factory in France. The workshops are best known as a royal factory supplying the court of Louis XIV and later monarchs. Grandeur Nobility of character, high rank, splendour, dignity, majesty. I Illiterate Unable to read and write. Ingenuity Clever, innovative, original, creative solution. M
R Resurgence Rising again, happening again, reappearance. S Socio-economic A term that indicates both social and economic elements or factors. Subsistence farming This refers to a farming system where the farmer grows crops and owns cattle for consumption by the farmer farming to survive. Crops and cattle are not sold for profit or exported. T
Mass manufacturing Producing great volumes, usually referring to machine production. Mechanised Refers to the production methods and processes facilitated by machines.
Mercantile Relating to trade, can refer to a city or family. Monarchy Royal ruler of state. O
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Oculus A light source, for example, the circular opening in the ceiling of the Pantheon in Rome. P Pejorative Insulting, depreciatory, negative or derogatory. Pinnacle A pointed turret crowning the buttress or roof, often used in medieval architecture. Portico A porch with column, mostly used when discussing architecture from antiquity*.
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Vellum Fine parchment (writing medium) made originally from the skin of a calf, used extensively in the medieval period.
Tempera Tempera, also known as egg tempera, is a painting medium consisting of coloured pigment combined with a binding medium (usually egg yolk). Tempera is also the name given to paintings done in this medium. Triumphal arches Massive, freestanding, arched structures which celebrate or commemorate an individual or event.
Unprecedented Never done or known before, unparalleled, exceptional.
Vassal A holder of land by feudal arrangement on conditions of service and loyalty to the landowner (and possibly King).
Vernacular Not foreign, of ones own for example, the vernacular language of Paris is French. Virtue Behaviour showing high moral standards, qualities considered morally good or desirable.
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Design: From the 1950s to Today

Technology & New Materials World Events
1954 First colour TV broadcast in USA 1965 Moores Law formulated, describes the rate of development of computer technology 1962 Cuban missile crisis 1959 End of Cuban Revolution 1965 Bloody Sunday US Civil rights class in Alabama 1969 First man on the moon. 1973 First cellphone demonstrated by Motorola 1973 Global energy crisis 1972 First UN Environmental conference in Stockholm 1977 Commodore PET personal computer launched
Social Impact
1950
1958
1960
1965
1970
Pop Art [1958 - 72]
Development of Postmodernism [1950 - 70]
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Pop Art
Live Ammo (Blang!) by Roy Lichtenstein painted in 1962.
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Postmodern Architecture
Aerial night view of the Piazza dItalia in New Orleans by Charles Moore and Perez Architects, 1978
Optical Art [1965 - 73]
Optical or Op Art
British fashion model Twiggy posing in front of Bridget Riley Paining for Vogue magazine in 1967.
Timeline Module 1
1981 IBM produces first personal computer 1981 First cases of HIV/ AIDS identified 1985 Hole in ozone layer discovered 1985 Congress of South African Students was banned in SA. 1988 First transatlantic fibre optic cable laid 1990 Berlin wall demolished 1994 First democratic election in South Africa 1995 Internet commercialised 1998 Google founded in USA 2001 First generation iPod launched 2001 September 11 (9/11) attacks in the USA 2004 Opportunity rover (MER-B) lands on surface of Mars
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1981
1990
2000
2002
2010
Memphis Style [1981 - 88] Deconstuctivism[1980s - Today] Digital Art [1970s - Today] Postmodern Architecture [1970 - Today]
M. Baas [2002 - Today]
The Renaissance of Colour by Alberto Seveso.
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Memphis Style
Interior with Memphis style furniture. The Dancing House by Frank Gehry, 2008.
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Maarten Baas
2004 Smoke edition of Rietvelds Zig Zag chair.
Digital Art
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Deconstructivism
Modul e 1 T heo ry
Visual expression, in the form of art and design, is rooted in the social, environmental, political and technological background of any age. For instance, without the French Revolution, Eugne Delacroix would never have had the need to paint Liberty Leading the People (1890), featuring Liberty as a female combatant leading the French population to victory after years of oppression. And without the developments of photography in the early 20th century, abstracted art would not have been possible, as we would still be focused on trying to capture the real world through portraits and landscape paintings. So, our own situation shapes our world and how we express ourselves. The 20th century is characterised by a long list of the most horrific events that really revealed the dark side of human nature! There were two world wars, the Korean war, the great American depression, an oil crisis, the nuclear disaster at Chernobyl and endless political conflicts in Africa. Ample circumstances and situations that certainly shaped the world of many people and had a huge influence on the
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Design From the 1960s to today
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development of mans existence. On the flip side of all this darkness, it was also the same time that Walt Disney released the first full length animated movie Snow White and the Seven Dwarves, man walked on the moon, the youth took a stand against the Vietnam war, computers where developed, the Internet was conceptualised and Apartheid was abolished in South Africa. The role of technology in events which shaped the 20th century is undeniable. The modern conveniences we enjoy today would not have been possible without the technological visionaries of the 1980s and 1990s. When we consider the diversity of events which occurred during the last half of the 20th century, it stands to reason that the visual expression of the age was reflective, expressive, ever changing and influenced by technology. From Pop Art to Deconstruction, the artists and designers used visual media to comment on the changing nature of the world and their hopes for the future.
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Pop Art
(1958 1972) Introduction
Many of the most popular Pop artists are American, but the early inspiration for this style can be linked back to a group called the Independent Group who would meet and discuss the role and impact of mass media and popular style on fine art and the implications of moving away from traditional art. The group included Richard Hamilton, who would go on to paint the first true Pop Art painting. Hamilton, Roy Lichtenstein and Andy Warhol are some of the first artists to truly embrace the nature of modern society and the popular images it held dear. Inspiration for their work was taken from everyday life and images from commercial and consumer realms. This style evolved and moved away from traditional high art in galleries, often with the inclusion of symbolism, illusionary painting techniques and meaning. Pop artists immersed themselves in abstract and conceptual art, advertising, commercial graphic design, comic books, sci-fi novels and world events. Artist Roy Lichtenstein focused on the visual effect that printing technology had on paper, tiny grid-like marks called Ben-Day dots, and incorporated it into his art. The visual style of Pop Art is reduced, simplified and often outlined giving the work a cartoonlike appearance.
I was a Rich Mans Plaything by Sir Eduardo Luigi Paolozzi, 1947
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Coke, by Andy Warhol, 1962, New York.
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Soft Bathtub (Model) Ghost Version, by Claes Oldenburg, 1966, Hirshhorn Museum, Washington, DC
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Flag by Jasper Johns. Encaustic, oil and collage on fabric mounted on plywood, 195455, New York
The first time the term Pop was referred to in visual work was in the early collage I Was a Rich Mans Plaything compiled by Paolozzi in 1947. The piece included popular culture in the form of a cut-out pin-up girl and a reference to the Coco-Cola logo. Paolozzis piece was ahead of its time with most Pop Art artists only becoming active in the 1960s. In New York, the movement was embraced by artists Andy Warhol and Roy Lichtenstein, who focused on print production and the visual effects of print reproductions, while in France artists worked under the banner of Nouveau Ralisme that focused mainly on sculpture.
Modul e 1 T heo ry
Characteristics of Style
The visual appearance of Pop draws inspiration from Dadas ready mades, found objects and collages. The work of American Pop artists Andy Warhol and Roy Lichtenstein had a strong twodimensional quality. Their focus is on the visual effects of commercial printing which they included in their work. In general, Pop Art is simplified, two-dimensional with an opaque colouring instead of deep rich tones and shades. Primary colours are characteristic of a number of Pop artists, most notably Lichtenstein. Images from magazines, newspapers and popular media are often included as inspiration or in a collage. In sculpture, the element of surprise or shock is used, e.g. the melted look & feel of everyday objects. Sculpture features innovative materials and unusual combinations taken from popular culture. Pop Art developed out of the commercial art and design fields, drawing inspiration from graphic design, advertising, illustration and comic books. The foundation of Pop Art is therefore not only grounded in popular culture, but also design. Pop artist Andy Warhol came from a commercial art background and often applied his imagery and concepts to fashion and products during the 1960s. The simplified, two dimensional style of Pop Art has inspired many designs and designers since its beginnings in the 1960s.
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Live Ammo by Roy Lichtenstein, (Blang!), 1962 Brushstroke, by Roy Lichtenstein, Leo Castelli Gallery, New York, 196
Modern product, fashion, surface and graphic designs have also been inspired or informed by the ideas and visual appearance of Pop Art. Fashion designer Charles de Castelbajac has created a number of fashion pieces which represent the ideals of Pop Art. He uses imagery from contemporary popular culture often with no regard for their contextual meaning rather becoming decorative elements. He has used Disneys Mickey Mouse, the Muppets and even the American president Barrack Obama face as imagery. In other cases designers are inspired by the visuals created by famous Pop artists Andy Warhol and Roy Lichtenstein. In these cases existing pop imagery is used, manipulated and applied to products and surfaces like a beverage cans, tables, poster and book covers. Because the foundation of Pop Art is the use of popular imagery and concepts it has stayed relevant throughout the years. Our world is filled with images of pop stars, famous movie actors, must have products, slang words, desirable cars, all the rage music, trendy fashions and new technology. Pop Art is the medium through which these elements can visually be represented through art and design.
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Drowning Girl by Roy Lichtenstein, 1963, New York.
DESIGN GRADE 12
Dresses by Jean Charles de Castelbajac featuring popular icons and characters including Micky Mouse and US President Barack Obama.
Katy Perrys Muppet dress by Jean-Charles de Castelbajac.
Andy Warhol Souper dress, Circa 1960s
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Yeng Constantino on the cover of the first issue of fashion magazine Flique. The magazine cover makes reference to images and icons of popular culture
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Hello Kitty iPad and notebook case. Hello Kitty was brought into the U.S.A. in th 1980s and has become an international symbol of Japanese popular culture.
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Stephen King book covers by Lisa Litwack. The cover is inspired by the typography and flat, simplified and two dimensional nature of Pop Art
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Rare Coke can in a Pop Art style.
Zanotta Blow inflatable chair designed by De Pas, DUrbino and Lomazzi back in 1967
Pop Art table inspired by the graphic style of artists like Roy Lichtenstein
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Social, Environmental or Technological Implications

Pop Art developed at the same time as the youth rebellion in America and the rise of rock and roll music. The younger generation rebelled against the oppression of tradition and wanted to embrace new ideals, views and perspectives. Pop Art broke away from the traditional idea of high art and rather continued in the footsteps of Dada when, for instance, referring to popular taste and kitsch as acceptable art references. The Pop Art exhibition at the Sidney Janis Gallery in New York in 1962 established Pop Art as a serious movement that removes the separation between high and low art. Art was now for the people, by the people, using images that everyday man could associate with. This aspect of Pop Art represents a change in social tradition which linked art to the wealth and intellectual members of society. Another social consideration is the representation of women in Pop Art. Women are often represented as a commodity (or product) or as stereotypically emotional and helpless. Consumerism, capitalism and technology became popular and the movement produced art which was shallow, superficial and mass-produced. It has been noted that the acceptance of Pop Art as a concept and an art movement signified the end of Modernism and the beginning of a Postmodern era.
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Coke, Andy Warhol, 1962, New York.
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Campbells Soup Cans by Andy Warhol, 1962, New York. Shoes by Andy Warhol, 1980, New York.
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16 Jackies by Andy Warhol, 1964, New York.
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The environmental impact of Pop Art is less easy to determine. The movement is responsible for making normal commercial products, like soup cans and Coca-Cola bottles, into iconic elements of popular culture. During the 1960s, the consumer market grew rapidly, producing new products to satisfy consumer demands. It may be difficult to say whether Pop Art influenced the purchase of more products, but it is clear that Pop Art justified consumer culture and elevated it to the level of art. In his 1972 book Ways of Seeing, John Berger stated that Clothes, food, cars, cosmetics, baths, sunshine are real things to be enjoyed in themselves. This statement suggests that products are equally important as sunshine. Berger may not have been aware in 1972 where the worlds buying habits would lead, but his statement does reflect the mid-20th century obsession with new consumer items and owning the latest and greatest of everything.
Main Contributing Artists

Pop Artists working in Britain include: Richard Hamilton, Eduardo Paolozzi and Allan Jones. Pop Artists working in America include: Roy Lichtenstein, Andy Warhol, Claes Oldenburg, Jasper Johns, Robert Rauschenberg,
(1965 1973)
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Occhio al Movimento by Alberto Biasi,1964
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OPTICAL Art
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Introduction
The abstract art movement expressed the notion that art should be respected and viewed for what it is and not for what it represents (the subject matter). Optical Art, also known as Op Art, embraces this idea, working only with geometric shapes and colour. The objective of Optical Art is to produce the illusion of movement within a static image. Examples of Op Art thus produce an effect beyond what is put on the canvas or page. The movement is usually in the form of warping, bulging, or vibrating and for this reason Op Art is sometimes also discussed under the heading of Kinetic Art (art movement based on the concept of movement). After viewing an Op Art piece, an after-image may be seen when the viewer looks away, referred to as a moir effect. The most prominent artists and designers of the Op era were Victor Vasarely, Bridget Riley, Julian Stanczak and Patrick Hughes. Bridget Riley expanded the application of Op Art to set design and threedimensional interpretations, and in the 1970s, the fashion industry also started to incorporate the style. Op Art has influenced a number of movements and has enjoyed a number of style revivals, like in the work done by Philip Taaffe and Peter Schuyff in the 1980s. However, as a movement it never successfully crossed into the popular culture realm in the same way as Pop Art did.
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Sign Sculpture by Victor Vasarely, 1977, Hungary
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The use of optical manipulation dates back much further than the 1960s. In Ancient Greece, architects strove to design and build the perfect building but one thing stood in their way: the human eye. When you look at a building, your vision is influenced by the way light moves and as a result floors seem to curve or higher elements seem smaller. The Ancient Greeks decided to compensate for this and adapted their designs to look perfect. They used design to correct optical imperfections. One of the best examples of this is the Parthenon in Athens where the architects altered the floor and columns to ensure the temple appeared perfect. The use of optical illusions has been a component of design ever since
Blaze 4 by Bridget Riley,1963, London, England
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Movement in Squares by Bridget Riley,1961, London, England
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Fresco with trompe lil in the Jesuit Church Vienna by Andrea Pozzo, 1703
During the Baroque period, interior spaces were often decorated with elaborate murals meant to extend the space of the interior or force the perspective. This practice is called trompe lil, which means to fool the eye in French. As a technique, trompe lil involves realistic imagery to create a three-dimensional optical illusion. The Jesuit Church in Vienna, Austria, is a two-storey church influenced by early Baroque principles. The early 1700s remodelling by Andrea Pozzo included dramatic trompe lil frescos. The use of this technique has remained popular and today many street artists use trompe lil to create almost unbelievable scenes. Edgar Mueller, a German street artist, turns everyday streets and walkways into strange and dreamlike landscapes. The manipulation of optical principles has been developed in digital art forms as well. In film, the manipulation of right-eye, left-eye vision has allowed for the development of three-dimensional films where the characters and action seem to come out of the screen. Op Art as an art and design movement is thus just one of the many movements throughout history which has focused on fooling us to see what is not there, or to see a two-dimensional surface as a threedimensional space.
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At the top and below are examples of street art and trompe lil by Edgar Mueller
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Optical Art/Op Art is characterised by precise geometric lines and shapes placed in such a way that they create a visual illusion. This was often produced in simple black and white (positive and negative space) and sometimes colour was introduced. Bridget Riley is a good example of colour usage in Op Art as she did not simply use colour she spent great amounts of time mixing exact shades and tones of colour to enhance the optical illusion. As you learned when you studied colour in Grade 10, warmer colours appear to move forward and cooler colours appear to recede, offering the artist another method or tool to further build onto the existing illusion with colour. The style was very successfully transferred to two- and three-dimensional surfaces.
Installation of wallpaper by Bridget Riley at Royal Liverpool Hospital, 1983
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Bridget Riley in her studio, 1960s
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Twiggy in Front of Bridget Riley painting, Vogue, 1967
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The basic characteristics of Op Art can be defined as: The basic design elements used in the piece, including form, line and colour, are considered, planned and manipulated to enhance the effect of illusion. It is geometrically-based and is non-representational. It uses chromatic (separate identifiable tones and hues) or achromatic (white, black and shades of grey) colours.

Shortly after Pop Art, Op Art was celebrated as the newly emerged style in the 1960s. The style offered a fresh take on subject matters and involved the viewer in a personal manner through optical illusions. Due to over-exposure and lack of conceptual or theoretical underpinning, the movement however did not transcend the fleeting and gimmicky view that the public and critics had regarding the movement. Even though the movement began to lose popularity from the late 1960s, the concept of visual illusion and manipulation still remained and can still be seen today to varying degrees in graphic design, book covers, fashion, interiors and architecture.
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Op Art bathing suits, Hamburg, 1966
Bridget Riley, Victor Vasarely, Jean-Pierre Yvaral, Heinz Mack and Yaakov Agam.
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Ponds advertisement, Spots are in, but not on your skin, 1965
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Bridget Riley with wall installation, 1971
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DIGITAL ART
(1970s Present) Introduction
The development of the computer and the digital age has changed how we live, shop, communicate and even think. Digital technology has changed the way the modern world works and has had an impact on every field imaginable, including the conceptualisation and production of imagery. The term Digital Art had developed over the last three decades and is now an umbrella term referring to a range of media including digital illustrations, photo-manipulation, three-dimensional models, animation, digital paintings and commercial art including websites and games.
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Snow White + 7 Pixels by April Greiman, 1983
Digital Art can simply be referred to as art which uses digital media in the conceptualisation or production of the work. Early digital design explored the possibilities and visual qualities of the then relatively new media. Work from designers like April Greiman in the 1980s reflects an exploration of digital typography, basic image manipulation and early layout production. As technology advanced so did the quality of Digital Art and the range of production and design possibilities of both art and commercial projects.
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Your Turn, My Turn by April Greiman, 1983
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It is debatable when exactly the history of digital art began. Artists have been experimenting with computers at least since the 1970s... As in the evolution of photography and video art, this new medium was often considered a threat to traditional art forms ... Over the decades, art making use of digital technologies has taken many forms, and even today, the question of how exactly digital or new media art can be defined is still being debated
Christiane Paul the New Media curator at the Whitney Museum of American Art, 2002.
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The influence of digital technology on art and design goes beyond the conceptualisation and production. Social media and sites dedicated to the showcasing of art and imagery is another way that technology is influencing the distribution and viewing of visual media and images. Sites range from basic image sharing to art and design portfolio platforms. The influence of digital technology is thus evident in the conceptualisation, development, production, storage, viewing and distribution of computer generated art and media.
Still from The Tale of How by The Black Heart Gang, 2006, Cape Town
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Reawakening by Maciej Mizer, 2007, Poland
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Riders of the Storm by Heiko Klug aka. Jesar, 2008, Germany
Mona-Leo by Lillian Schwartz, 1987, Bell Laboratories , USA
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The characteristics of digital design are as varied as the fields in which it is used. Jae-Hoon Chun, in a review of the characteristics of Digital Art in contemporary fashion, divided digital design characteristics into five categories: perfect duplicability, interactivity, networkability, variability and compositeness. His classification relates to the inappropriateness of traditional analyses with regards to digital mediums. Contemporary digital design and image generating software has allowed images and art to mimic the real world and actual individuals, blurring the line between what is real and what was generated.
Digital Art is characterised by perfect duplicability, interactivity, networkability, variability and compositeness
Jae-Hoon Chun
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Discrepancy between cover and article regarding Megan Fox in Frances Grazia magazine
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The link between technological developments, digital art and commercial design is clear. However, there are also social considerations, because the development and capabilities of digital technology has a number of ethical implications. Contemporary desktop software and publishing programmes allow anyone to change imagery and produce new work which is altered, and in most cases improved. The question in current debates remains about where to draw the line. What is the difference between removing the red eye effect that a flash has on an individuals eye in photographs and slimming down a model in a photograph to be used for a magazine cover?
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Our world, and its many Western values, is based on the visual appearance of individuals, so is it fair to create an impossible perfection? Should images in the news and in journals be altered when the viewer believes the image to be true? The debate regarding possible restrictions of unethical image alterations is still raging, leaving the public wondering about what is real. Jerry Lodriguss, in an online article The Ethics of Digital Manipulation, stated that: When photography was first invented, its overwhelming power came from the fact that it recorded nature more realistically than any other art form had ever done before. Because of this, people trusted it and believed it portrayed reality and truth. But, just as story telling could portray the truth with an accurate accounting of the facts, it could just as easily become fiction. Fake and manipulated photographs visual fiction began circulating not long after the invention of photography. So it goes back further than you think: To view the history of photomanipulation go to http://www.fourandsix.com/photo-tamperinghistory/

Early digital artists include: Andy Warhol, Lillian Schwartz.
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South African digital artists: Amy Williams, Warren Louw, Werner Diedericks, Karen McDade, Tegan Bristow.
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The Renaissance of Colour, digital artwork by Alberto Seveso
Contemporary digital artists include: Tae young Choi, Daniel Conway, Sarah Rose Oliver, Craig Sellars, Wen Xi-Chen, Alon Chou, Marta Dahlig, Linda Bergkvist, Ray Caesar, Bobby Chui, Cristiano Siqueira, Marek Okon, Alberto Seveso, Heiko Klug, Maciej Mizer, Pawel Nolbert, Zack Bush.
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Kate Mosss daughters fingers seem to disappear, American Vogue, 2011
A Souls Silhouette, digital artwork by Zack Bush
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Portrait of Gerard Butler by Sarah Rose Oliver, digital portrait
Introduction
The term Postmodern describes the trend from the middle of the 20th century that moved away from the constricting nature of Modernism. The prefix post refers to after, thus Postmodern is the style following Modernism. While Modernism was seen as traditional, accepted and focused on function, it was also impersonal and too rational, which motivated writers, artists, architects and designers to rebel against the traditional philosophies and practices associated with this movement. The early departures from Modernism, included movements like Pop Art and Op Art, where the rational and controlled gave way to the individual experience, shock and emotions. The first phases and the beginning of the move towards Postmodernism were little more than a change in theory and outlook. It slowly gained momentum until the 1970s when the style started to also be identified in architecture, visual expression and design.
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Postmodern Architecture & The Memphis Style
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The Portland Building by Michael Graves, 1975, Portland, Oregon
Half Minute Horrors by Bobby Chui, 2009, digital artwork
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Piano Violin House with escalator in the glass violin, 2007, Huainan, China
said Robert Venturi in response to Modernisms philosophy of Less is more
I see architecture not as Gropius [founder of the Bauhaus] did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention,
said Micheal Graves
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Less is a bore,
In architecture, the Postmodern style became most prominent during the 1970s. Architects like Robert Venturi, Charles Moore and Micheal Graves challenged expectations and created spaces with uniquely different characteristics to the norm in architecture, like the inclusion of humour, personalisation, colour and ornament. No longer was architecture held ransom to only produce concepts that answer to ultimate functionality and universality. The uniformity seen in Modern architecture, unadorned and designed for purpose, was replaced with eclectic reference to past styles through adapted motifs, elements and symbols. Postmodern architecture is meant to be experienced and encourages a dialogue between space and user instead of simply being appropriate and practical.
Matsudas (Mazda) car salesroom by Kengo Kuma, 1991, Tokyo, Japan
The philosophy of Postmodern architecture can be summarised in Robert Venturis comment that Less is a bore, in response to the Modernist mantra that Less is more. Micheal Graves further explains when he states: I see architecture not as Gropius [founder of the Bauhaus] did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention. Today, Postmodern trends in architecture are still prominent in architecture across the globe.
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Postmodern furniture and products displayed the same playfulness and rebellion that can be noted in architecture. Examples from Ettore Sottsass and the Italian Memphis group in the 1980s epitomise the design language of Postmodern furniture design: parody, humour, impracticality, colour, excessive ornament, reference to popular culture and the use of kitsch. The Bauhaus (noted as a Modern movement) principles related to functional furniture and products, celebrating the relationship between industry and designer, are disregarded in Postmodernism being replaced with a focus on aesthetic, meaning and interpretation.
Carlton cabinet by Ettore Sottsass, 1981, Milan
Dublin Sofa by Marco Zanini, 1981, Milan
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Interior with Memphis-style furniture
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The prominent feature of Postmodern design is a focus on the aesthetics, how things look. Designs are often impractical and contain elements of surprise presenting the idea that anything is acceptable. The formal aspects of how a design is created and the conceptual ideas behind what the design should communicate are equally strong. This subsequently led the style away from the unadorned and functional designs of Modernism. Keywords to remember when analysing Postmodern design include: complexity, responsive, eclectic, personal, decorative, reactive (political and feminist), non-functional, conceptual and site-specific. The word kitsch is often used to describe designs from this period. Kitsch refers to an object, context or design which is appreciated in an iconic manner because it is considered to be excessively sentimental or tasteless.
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Memphis Group
A group of Postmodern designers in Italy banded together and formed the Memphis Group. Ettore Sottsass was one of the groups most influential designers and worked in a number of fields including ceramics, product design and furniture design. Other members of the group included Alessandro Mendini, Michele de Lucchi, and Michael Graves. The group contributed greatly to the Postmodern movement and drew inspiration from movements like Constructivism Art Deco, Op Art and Pop Art. Designs from the Memphis Group are traditionally produced in bright colours with disproportionate elements the feet of a chair, for example, may be oversized and exaggerated. For the Memphis designers, it was important that the user has an emotional reaction to the piece and designers focused on returning fun to products. This trend can still be noted in modern designs from companies like Alessi, including their 2006 Goldfish egg-cups.
Memphis-style clock, 1981
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Memphis furniture: Left First Michele De Lucchi, 1983; Right Bel Air Peter Shire, 1982 Stefano Giovannoni with Rumiko Takeda for Alessi, 2006
Environmental and Social Concerns
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The Memphis style and Postmodernism reflect on a social rebellion state of mind which goes against the conventional, functional and universal. The Modernist dream, like that of Le Corbusier, where individuals work and live in controlled and optimised environments, reflected an impersonal view devoid of culture and tradition. By the 1970s, people wanted to express their views and identity, with the urge to experience culture through the items they purchased, wore and the spaces they inhabited. The consumer world and popular culture gradually merged with art in the late 1950s (as can be noted in Pop Art) and the design of everyday objects began to reflect this trend from the 1960s which all eventually culminated into Postmodernism. Many Postmodern architects, like Charles Moore, had a deep respect for nature and incorporated natural elements, or retained existing natural elements, in their designs. This is in direct contrast to the Modernist style that dominated and reshaped the landscape, through the use of steel and concrete. For instance, the modern residential building Unit dHabitation (1952), designed by Le Corbusier, features a cold concrete garden at the top of the building and a childrens play area between concrete pillars at the bottom of the building. Postmodernism rejected this, focusing rather on the design of spaces that includes personal motifs and symbols with the aim to motivate and inspire interactive play in that particular space: a stark contrast with the cold bare concrete play areas suggested by the Modernist style.
Main Contributing Designers

Architecture: Michael Graves, Philip Johnson, Frank Gehry, Charles Moore, Robert Venturi, Robert A.M. Stern, Paolo Portoghesi, Cesar Pelli Memphis Group: Ettore Sottsass, Alessandro Mendini, Michael Graves, Andrea Branzi, Nathalie du Pasquier, Michele de Lucchi, Shiro Kuramata, Hans Hollein, Javier Mariscal
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Case Study:
International Award Winning Designer

Visions of PoMo: Charles Willard Moore
Basic Biography Charles Moore was born in 1925 and would become one of Americas most respected architects as well as an iconic Postmodern designer. In 1947, Moore graduated from the University of Michigan after which he travelled through America, Europe and North Africa. During this time, Moore experimented with a number of mediums, including photography and watercolours. His travels continued through the early 1950s when Moore was sent to Seoul in Korea as part of the Army Corps of Engineers. Although the focus of his travels was war related, Moore managed to visit Japan a number of times and took inspiration from the Japanese way of life and design. The Japanese architectural custom of integrating interior and exterior spaces and the importance of natural elements such as water in the design of spaces greatly inspired Moore. It is interesting to note that Moores PhD, which he was awarded in 1957 at Princeton University, was titled: Water and Architecture. From 1957, Moore taught, wrote, designed, contributed to a number of exciting projects and travelled extensively.
Charles Willard Moore
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Chambers for A Memory Palace by Donlyn Lyndon and Charles W. Moore (1996)
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The Place of Houses by Charles Moore, Gerald Allen and Donlyn Lyndon (2000)
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City Observed: Los Angeles by Charles Willard Moore, Peter Becker and Regula Campbell (1998)
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You Have to Pay for the Public Life: Selected Essays of Charles W. Moore by Charles W. Moore and Kevin Keim (2004)
Moore held a senior position at the University of California in Berkeley, acted as dean from 19651970 at Yale School of Architecture, then moved to the University of California in Los Angeles to a teaching position. He finally became the ONeil Ford Centennial Professor of Architecture at the University of Texas at Austin in 1984. During his career, Moore taught some of the 20th centurys most influential architects and worked tirelessly on his own projects. Moore received many awards and distinctions, including the Topaz Medallion for excellence in teaching and, from the American Institute of Architects (AIA), he received two Firm of the Year awards, a Gold Medal (1991) and the celebrated AIA 25-Year Award for his work on the Sea Ranch Condominium in Sonoma County.
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Between his teaching and award winning architectural projects, Moore was also a prolific writer. His body of work includes the following highly regarded titles: The Place of Houses, co-authored with Gerald Allen and Donlyn Lyndon Dimensions, co-authored with Gerald Allen Body, Memory and Architecture, co-authored with Kent Bloomer The Poetics of Gardens Los Angeles: The City Observed, co-authored with Peter Becker and Regula Campbell Water and Architecture Chambers for a Memory Palace, co-authored with Donlyn Lyndon You Have to Pay for the Public Life: Selected Essays, co-authored with Kevin P. Keim An Architectural Life: Memoirs & Memories, co-authored with Kevin P. Keim Moode Ruble Yudell
Social Responsibility and a Legacy at Yale University

While at Yale University, Moore founded the Yale Building Project in 1967 with faculty member Kent Bloomer. The 1960s was a time of social and political activism and change. People realised that they had the power to help these individuals or communities and that a single person can make a difference. The premise of the Yale Building Project was for students to engage with a community and design and construct a building for them. The project was aimed at developing a sense of community awareness and social responsibility, while giving students an opportunity to work with an existing community in a practical and meaningful way. Building types have included medical centres, housing, pavilions, clinics and community centres. In 2007, Richard Hayes and Robert Stern published The Yale Building Project: The First 40 Years as a retrospective of the buildings created as part of the initiative. The programme is still running and has partnered with organisations like Habitat for Humanity and Common Ground to work towards affordable housing and aiding communities in need.
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2007 Richard Hayes and Robert Stern, The Yale Building Project: The First 40 Years
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His Design Projects
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Moore, Robert Venturi and Michael Graves, were influential in moving design and architecture away from what they felt was the cold, impersonal style of Modernism. Instead they focused on design that celebrated uniqueness, personality, playfulness and decoration a style referred to as Postmodernism. Many of Moores projects reflect a Postmodern focus. He uses bright, often neon, colours, eclectic style motifs and patterns, clashing design styles and non-traditional construction materials like plastic. Moores Piazza dItalia, constructed in 1978, is heralded as one of the icons of Postmodern architecture. Some of his other architectural projects include: 1963: The Sea Ranch community in Sonoma County, California 1968: The Faculty Club, University of California, Santa Barbara 1971: Kresge College, University of California, Santa Cruz 1992: National Dong Hwa University, Taiwan 1993: The California Center for the Arts, California 1995: The Haas School of Business, University of California, Berkeley 1995: Lurie Tower, University of Michigan
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Aerial view of New Orleans and the Piazza dItalia
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Iconic Design: Piazza dItalia, New Orleans Moores Piazza dItalia is one of the most critiqued and acclaimed examples of Postmodern architecture. The piazza was constructed in the heart of New Orleanss business district by Moore and Perez Architects consisting of Malcolm Heard, Ronald Filson and Allen Eskew, to celebrate the large Italian community in the city. The space was meant to be lived in, with large open areas to sit, relax and congregate. The piazza was celebrated as a triumph of Postmodernism even before it was completed; however, the life story of the structure proved to be less celebrated. For years the piazza received little to no maintenance due to economic pressure on the city, and with a rising city developing around it the piazza fell into disuse and almost ruin. In 2003, the Loews Hotel chain funded the restoration of the piazza. The piazza also features a new addition a bronze statue of the acclaimed Italian actress Sophia Loren, completed by Milanese sculptor Francesco Vezzoli.
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Aerial view of Piazza dItalia by Moore and Perez Architects, 1978
Floor plan of Piazza dItalia with fountain in the shape of Italy
Details of Piazza dItalia in New Orleans, 1978, with the sculpture of Sophia Loren (middle)
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An element which directly influenced the piazzas design was a series of paintings done by the Surrealist and metaphysical painter Giorgio De Chirico. The visual reference is undeniable when a connection is made between the two. Moore does not however reference the work directly, which adds another layer of interpretation to the space. When you analyse a Postmodern space like the piazza, it is important to note the complexity and layers of meaning with which you can engage. Postmodern architecture is focused on the dialogue between the designer and the user of the space.
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Waterspout (above), Ionic column with volute scroll detail (top) and pillar details (left) of Piazza dItalia in New Orleans, 1978
The original Postmodern influences can be noted in the concept, plan and execution of the piazza. Moore wanted to celebrate the Italian community and looked back to Ancient Rome for structural inspiration. Architectural arches, columns and triumphal arches are all elements of Ancient Roman architecture but Moore does not represent them in the formal, Classical manner. Instead, he adds to the structure a bright, almost kitsch, colour palette and neon lights. Moore used all five classical orders of architecture: Doric, Ionic, Corinthian, Composite and Tuscan (identified by style of the capital, the top of the column) plus one he created with neon lights as part of the capital which he referred to as the Deli Order. This contrast and playfulness is characteristic of Postmodern design. Moore also adds a map of Italy, as the shape of the fountain, as further reference to the Italian community. However, even though so many Italian references are used, the overall feel of the piazza is in no way linked to traditional Italian design. A sense of duality is created: the space uses traditional Roman elements in an untraditional way as though the space is designed for a new Italian style.
Decorative details can be found everywhere, on column capitals, fountain elements and on architectural surfaces where you would usually find Roman-style typography. Above the fountain is the phrase: Fons Sancti Jesephi which means Fountain of Saint Joseph. Water is a major feature in many of Moores projects.
Paintings by Giorgio de Chirico all titled Piazza dItalia and painted between 1955 and 1972
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Iconic Design: Kresge College, Santa Cruz Moore and fellow architect William Turnbull began work on Kresge College in 1966 and the project was completed in 1974. The college is located in Santa Cruz in a dense redwood area and is constructed to specifically not have a traditional educational institution layout. Instead, the college is designed to resemble a Tuscan residential area and walkway with freestanding faades that almost seem like cut-outs. The design moves away from a Modernist approach, which embraces a traditional, universal and function-oriented style of building.
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Kresges residences, 1971, University of California, Santa Cruz
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Plan for Kresge College
In the 2002 book Architecture: from Prehistory to Post-Modernism, Trachtenberg and Hyman describe Kresge College: The L-shaped layout rambles through a redwood forest, widening, narrowing, and twisting along its central street in his version of the Italian hill town. Paradoxically, Moore vividly evokes the picturesque vitality of the hill town by fronting the street faades with a varied series of stuccoed, trabeated screens, stairs, and arches. These flimsy-looking, PopHollywoodish forms are accented with bright, primary colors at strategic places, marking with 1960s irony as monuments such functional banalities as a public telephone and laundromat. (pg 568). An interesting aspect to the design of the student residences is the collaboration that Moore facilitated between the designer and user. Small individual apartments and octets, living spaces for eight students, replaced traditional dorm-style residences. The octets were left partially unfinished by Moore and when the college opened the first occupants of the spaces were allowed to design and construct their own floors and walls. The collaboration between architect and user is reminiscent of many usercentred design philosophies today and allowed the students to feel a sense of ownership of the space. Please have a look at the HCD (Human Centred Design) principles explored later in this module.
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Walkway at Kresges, 1971, University of California, Santa Cruz

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Summary: Moores Social and Environmental Inspiration

Charles Moores professional career spans decades and shows the changing nature of his style and his professional growth as an architect. His work in the late 1960s and 1970s reflects the ideals of Postmodernism, which aimed to replace the cold, simplified and impersonal style of Modernism. Instead of pure functionality, rationality and truth to materials, the Postmodern style celebrated playfulness, colour, decoration, personal inspiration, reference to past historic styles, eclectic combinations and conceptual ideas. These characteristics can be seen in Moores Piazza dItalia. There is however a strong link to both social and environmental considerations by Moore in his work. The Yale Building Project is one of Moores most notable social projects. Not only did he highlight the plight of the less fortunate communities, but through his teachings he created a way for students and individuals to contribute and learn in collaboration with the community. The success of the project speaks to the core of its relevance. In a world where it is so easy to turn our backs on those in need, these design projects focused on social upliftment and contribution connected on all levels of society. Moore also maintained a social focus in other projects, such as the Piazza dItalia and Kresge College. In both these designs, he encourages community activities and social interaction. Moores designs offered the viewer the opportunity to find personal meaning in the structures and to allow for individual interpretation. Where Modernism wanted to create a space for the universal individual, Postmodernism created a space for the unique individual. The importance of nature and the relationship between natural elements and his designs is another feature of Moores Postmodern designs. He found inspiration early in his career in Japanese culture and design in which nature is a key focus. The role and importance of water in urban environments was a focus throughout Moores career. In the Piazza dItalia, Moore used a fountain in the shape of Italy to reinforce the concept of the design and as a cooling feature in an urban setting. Water is a moving character in the design, contributing visually and aurally to the space. At Kresge College, the majestic redwood forest in which the campus is set became a key design focus. Building faades facing the forest were painted brown and the main pathway, around which all the buildings are placed, follows a curved path though the forest. Moore realised the importance and significance of natural elements in architecture and urban projects. Charles W. Moore passed away in 1993 not seeing the completion of a number of buildings he designed.
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The overall design of the college features a stark white colour palette with primary colour focal points. Buildings are placed along an ascending walkway in a non-linear fashion, enhancing the village atmosphere. The idea of community is encouraged through shared residences and communal areas like the octagonal dining room, piazza and assembly area. The role of nature and the redwood forest setting are considered and instrumental in the flow and design of the college. The design of Kresge College has been celebrated in a number of essays and publications, like Smiths Sourcebook of American Architecture: 500 Notable Buildings from the 10th Century to the Present, published in 1996. The space and buildings offer students the opportunity to engage with the structures in their own way, and have a personal dialogue, instead of forced movement and control which is encouraged by traditional university design.
Courtyard at Kresges, 1971, University of California, Santa Cruz
Modul e 1 T heo ry
Deconstructivism
(1980s Present) Introduction
Deconstructivism as a visual style developed out of the philosophy and writing of French philosopher Jacques Derrida. Derrida wrote about how nothing is certain and that the world comprises a number of opposites which are in a state of instability. For example, consider life and death the words representing opposing states, but death cannot happen without life. You can then argue that death cannot exist without life and that our understanding of life only exists because of death we know that these ideas are not necessary justified or correct. Derrida did not want to destroy or resolve the opposing forces, rather he wanted to point out that there are often unseen relationships between all things and that opposing ideas or situations have an underlying order, referred to as a hierarchy. The idea of hierarchy can be found in many examples of design.
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Architect firm Coop Himmelblau designed UFA Palast, 1998, Dresden, Germany
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Beekman Place designed by Frank Gehry, 2012, New York
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In Graphic Design, for example, hierarchy can refer to the levels of importance of information on a poster or flyer. The level of importance would influence the placement and appearance of text in the layout. To analyse Deconstructivism, it is important to review the hierarchy between opposites, for example, man/ woman and nature/culture. This is, however, a very simplified view of Derridas deconstruction theory to fully understand Derrida you would have to study his books, articles and presentations, which number well over a hundred.
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So I think there are inventive forms of respecting the tradition, and there are reactive or non-inventive forms. But I would not say that in order to invent something new, or to make something new happen, you have to betray the tradition or to forget the tradition.
Jacques Derrida
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The Parc de la Villette, designed by Bernard Tschumi, designed 1982, Paris
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The Dancing House designed by Frank Gehry in 2008, Prague
Architects in the late 1970s and 1980s were inspired by Derridas view of opposites and his focus on analysis pulling things apart to investigate the relationship between components. Instead of focusing on the function and construction of a building, the Deconstructivist architects focused on exploring the relationship between different parts of a building. The resulting style resembles buildings that are irregular and literally pulled apart. The deconstructed nature of architecture coincides with movements in the art world that focused on abstract conceptualisation instead of traditional object- or subject-based works. The move to the use of a more abstract approach was questioning the role and the identity of art. This mindset of questioning can also be seen in deconstructed architecture, where they posed the question: What is the role of a building? Is it meant to be functional? Must it be personal?
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Or can it rather be a creative expression of the architects view or philosophy? These are some of the questions that drove architects in the 1980s that are still relevant today as the driving force for present day deconstructive designers: to create some of the more interesting spaces that blur the line between architecture and art.
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Similar to Postmodernism, the work of Deconstructivism rebels against Modernism. But unlike Postmodernism, which wanted to return the individual, culture, traditional, ornamentation and enjoyment to design, Deconstructivism aimed to create a visual style that will represent the invisible relations between opposing components. In 1988, Philip Johnson and Mark Wigley curated an exhibition titled Deconstructive Architecture at the Museum of Modern Art. It was this exhibition which showcased the visual interpretation of Derridas work to a global audience. The theory and visual interpretation of Deconstructivism inspired other design professions, including photography, graphics, fashion, product and furniture design. In all these fields, the deconstructive approach led to an analysis of meaning, form, structure and the relationship of different components. One example of modern deconstruction is the change of printed media and visual communication from printed media to digital media. Computer aided design is allowing designers to create, communicate and distribute information in new ways, replacing existing methods and exposing the changing relationship between written words and the spoken language.
Ray and Maria Stata Computer Center at MIT, designed by Frank Gehry, 2004
Dont mistake legibility for communication.

DAVID CARSON
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Abu Dhabis Performing Arts Centre, designed by Zaha Hadid Architects, begun 2007, Abu Dhabi
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Stylistic Characteristics of the Decon Style
The movement refers mainly to an architectural interpretation which includes displaced and distorted angular forms, often set within conflicting geometries or intercepting planes. Key aspects to consider when analysing a deconstructed architectural design include: 1. Is there a focus on geometric shapes in the design? 2. Are the elements fragmented? 3. Does it seem as though the space has been cut with a diagonal focus? 4. Is there a sense of movement and dynamism? 5. Does the building or space provoke a feeling of uncertainty, unease, shock or disruption? 6. Does the structure reject pure function and the conservative notions of harmony, unity and noticeable stability? Deconstructive design in general is characterised by distorting the shape, fragmentation, the use of non-rectilinear shapes and visual chaos. In examples of deconstructed graphic design, the visuals and text can often lead to some level of questioning and both can be distorted beyond legibility. Ellen Lupton defined deconstruction in graphic design as: A work of design can be called deconstruction when it exposes and transforms the established rules of writing, interrupting the sacred inside of content with the profane outside of form.
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In fashion, garments are left unfinished or the traditional structure and production method of an item are ignored, resulting in alternative methods and materials being used.
Thumbprint, polished stainless steel, by Ron Arad, 2007.
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Cover Designs for Ray Gun by David Carson
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Environmental and Social Concerns
Smoke chair for Moooi by Maarten Baas
Fuse by Neville Brody
Deconstructivism as a visual style was inspired by philosophy and an investigation into the perception of what we call real. Jacques Derrida and Peter Eisenman wrote and spoke about the modes of representation in our modern world from alphabetic writing, to architecture, to photojournalism as culturally powerful methods that can alter and create reality as we perceive it. The impact that examples of deconstructive design had on society was more conceptual than physical. The nature of deconstruction is not to break down as many may suggest, but rather that of a deep and fundamental analysis showing the tension and relationship between everyday opposing forces (good/evil, man/ woman, horizontal/vertical). Exposing this tension results in buildings and design that assault the human senses and perceptions. Buildings, which we believe should be solid, secure and safe, appear fragmented and unstable, often leading the visitor to experience a sense of anxiety. The role of the environment and natural elements are also a consideration of opposites. In many cases, the stark modern building materials like concrete and steel are contrasted with water, gardens or wild natural settings. The use of opposing elements (natural/man-made, wilderness/urban) remain part of the analysis and representation.
Modul e 1 T heo ry
Charles Jencks, one of the defining members of the Postmodern movement and a supporter of Deconstructivism, for instance embraced nature and landscape design as his medium of choice. The Garden of Cosmic Speculation is a massive planned garden which aims to tell the story of nature, through nature to embody the nature of the universe in the design of a garden.
Main Contributing Designers

Architecture: Frank Gehry, Peter Eisenman, Zaha Hadid, Bernard Tschumi Graphic Design: David Carson, Cornell Windlin, Neville Brody Fashion (Collection dependent): Jean Paul Gaultier, John Galliano, Issey Miyake, Rei Kawakuba Fine Art & Sculpture: Damien Hirst, James Wines Interior: Michael Czysz, Frank Gehry Product & Furniture: Ron Arad, Maarten Baas
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The Work of Maarten Baas
132 5 by Issey Mikake. Explores fashion manufacturing methods and emerging technologies
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Tank top by Jean Paul Gaultier, 2002
Reinterpreting Decon (questioning) for a Modern World Introduction

Dutch product designer and artist Maarten Baas was born in Armsberg, Germany in 1978. He moved to the Netherlands when he was still a baby and went on to study at the world famous Design Academy Eindhoven. His first product was taken into production by the company Pols Potten before he had even graduated. The product in question is a ceramic candleholder which resembles a human knuckle.
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During his time studying and travelling, Baas spent time at the Politecnico di Milano, in Milan. He graduated in 2002 with two major design concepts, one of which was the Smoke series of furniture. Smoke is a series of furniture, mostly design classics, which was scorched. Baas applied an epoxy coating to the furniture after it was burnt to seal it and make it useable once more. The Smoke series won Baas international acclaim and has since been added to a number of international design collections, including the Montreal Museum of Fine Arts and the British Victoria & Albert Museum.
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Smoke interior by Maarten Baas, 2004/5
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Smoke edition of Gerrit T. Rietvelds 1918 Red and Blue chair, by Maarten Baas, 2004
In 2005, Baas and Bas den Herder founded the design and production studio Baas & Der Herder. The collaboration between these two creative individuals made it possible for Baas designs and creations to be produced on a larger scale. The studio employs craftsmen to produce Baas designs retaining the hand-produced quality. The focus always remains on the quality of production and the unique nature of each individual piece. A structured production process made it possible for Baas to create his uniquely ambitious projects on a much larger scale and to accept commissions from hotels, museums and private collectors. The studio also made it possible for Baas to produce work for, and collaborate with, larger brands like Moooi (which took on the Smoke series) and galleries like Moss, based in New York. Private collectors of Baas work include actor Brad Pitt, industrial designer Philippe Starck and trend forecaster Li Edelkoort.
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Smoke armchair by Maarten Baas
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In 2009, Baas Der Herder studio moved to the south of Holland and Baas presented the work, Real Time, a timing mechanism which does not keep traditional time. The concept behind the piece refers to time as a man-made construction and the obsession with time in the modern world. At the end of 2009, Maarten Baas became the youngest recipient of the prestigious Designer of the Year at Design Miami, an international design forum.
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Smoke edition of Gerrit T. Rietveld 1934 Zig Zag chair, by Maarten Baas, 2004
Review and Adaptation of Deconstructive Questioning
The most important aspect of Deconstructivism is to question existing methods, laws, rules and relationships. The work of Maarten Baas may not be directly inspired by the work of Derrida, but his questioning of traditional style and materials reflects a new direction in the relationship between form and function. Baas disproved the idea that something is no longer useful or beautiful after it was burned (his Smoke series). He also allows for spontaneity in his work, the idea of surprise. The Clay series of furniture questioned our perceptions of what a chair should be made of and what it should look like. By using synthetic clay, Baas produced functional objects from clay which elicit a sense of distrust in how the user initially sees it: Can I really sit on a chair made from clay? The associations we have with shape and form are also questioned in Baas work. The Wooden Plastic Chair plays on the viewers past interaction with the shape of the chair, which is usually made from plastic. The element of surprise and questioning is raised because the shape is not produced in the material we expect it should be (plastic) but rather in wood. Baas work embraces the questioning of design convention and the relationship between the product and user reinterpreting the theory of relationships found in Derridas Deconstructivism.
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Chromed clay furniture floor fan by Maarten Baas
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Smoke cabinet by Maarten Baas
Clay furniture by Maarten Baas, 2006, for Salone del Mobile, Milan
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Characteristics of the Style

When asked in a 2007 Behind the Design Interview what influenced him to become the designer he is today, Baas responded saying: My inner drive to make what I want to make. This inner need to make this furniture that I make. Of course, everything Ive done has played a part in this: both the setbacks at the academie and the things that went better than expected. The personal interpretation of design is key in analysing the visual appearance. Baas has described his working style as spontaneous, refraining from playing it safe and using traditional conventions, moving away from accepted norms and functional design. Nature is a major influence on Baas work which can be noted in the materials he chooses to use, mostly ceramic and wood, and the organic quality his style has. Baas does not use rectilinear lines but rather focuses on compound organic shapes, circles, ovals and irregular lines.
Another aspect of Baas work is the focus on new materials and taking risks. The Clay and Plain Collection, a simplified version of the Clay series of furniture, represents Baas use of new materials for traditional purposes. The furniture is made of synthetic clay which, in the case of the Clay series, is lacquered; inside, a steel frame provides reinforcement to the pieces. The Real Time project uses video to interpret the telling of the time. Baas uses a traditional shape, the grandfather clock, but the clock face is a digital animated video showing a man drawing the lines indicating time. The piece incorporates cinema, technology, design and art. The Real Time project has a number of interpretations, including a digital clock version and one showing people sweeping rubbish to form the hands of the clock.
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Plastic chair in wood by Maarten Baas, 2008
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Real Time by Maarten Baas. The man in a clock showing a man drawing the hand of the clock to indicate time. It appears as though the man is standing inside the clock, 2009.
To watch an interview with Maarten Baas visit: http://vimeo.com/44251441

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When trying to define what marketing is, most people refer to the Marketing Mix.
In this module, the focus will be on gaining a basic understanding of marketing and how to use marketing to attract a response from your target market. We spoke a lot about target markets in Grade 11 can you recall some pointers on how to profile a target market?
So what is a Marketing Mix?
Your Marketing Mix is the combined use of the different elements of marketing and the specific roles each element plays in promoting your products and services, and then delivering those products and services to your customers or target market. For many years, marketers referred to the four Ps of marketing, but in recent years an additional P has been added. These days we talk about the 5 Ps. These 5 Ps are your marketing mix.
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Here are the 4 original Ps of marketing elements of the marketing mix
Product: The products or services you
are offering to your customer: Their physical attributes, what they do, how they differ from your competitors and what benefits they provide.
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Price: How you price your product or service so that your price remains competitive but allows you to make a good profit. Place: (This is also referred to as distribution) Where your business sells its products or services and how it gets those products or services to your customers. Promotion: The methods used to communicate the features and benefits of your products or services to your target customers.
Module 1 B U S I NES S
And the added 5th P of the marketing mix:

People: When referred to as an element in the marketing mix, this 5th P explains how your level of
service and the expertise and skills of the people who work for you can be used to set you apart from your competitors.
Paraphrased from: Marketing Mix by Randy Duermyer (www.about.com)
The 5 Ps can be broken down into smaller parts or tools, such as product planning, branding, channels of distribution, advertising, promotion, display, packaging, personal selling and more. Out of the many smaller parts or tools that make up the 5 Ps, we are now going to focus only on packaging and advertising.
PACKAGING
If you think about it, the human body is packaged everyday and what we decide to wear or wrap ourselves in says a lot about who we are, where we come from, what we believe in or just simply reflects our personalities. Specific outfits also communicate certain circumstances think about when someone is wearing sportswear, or if the outfit has some cultural or religious reference. What we wear does make it easier for the other person to understand us within a specific context. Packaging has the difficult task to do just that with a product. A product, which may very well be quite complex, with more than one use, aimed at a wide target market, has to be packaged in a way that reduces complexity into the communication of one single strong message! The science of packaging is vast and can become really technical but we will be touching on the main points of packaging design so you have a much broader understanding. If you are interested in packaging design as a possible career, there are many great packaging web sites and books available for you to study from. We can say that packaging is the art, science and technology of protection and enclosure of products for their distribution, sale, storage, and use by the market they are aimed at (target market). Good package design is regarded as an absolute essential part of successful business practice and apart from this is also regarded as a very important and powerful tool to distinguish products from their competition.
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As you can see from the definition above, packaging needs to do much more than just express the personality of a product. We can break down the characteristics of good packaging into four main aspects.
1. It needs to contain the relevant product

This seems really obvious, but have you really looked at a fully stacked aisle in a supermarket? So many shapes and sizes, so many different materials and each individual products shape, size and material was chosen with great care so it will be the best possible and optimal solution for containing that particular product to attract the ultimate user/consumer. Products differ widely, some need to be kept fresh, like dairy products (e.g. long-life milk), some are poisonous (rat poison or insecticides), some are fluids, and some need to be stored at a specific temperature. So it is not that easy to determine what the best solution for each product will be. In addition to these factors that always have to be taken into account, products need to be transported from where they were produced or packaged, to where they will be stored or sold. It is therefore vital that the best materials to protect the product are selected so that the product and packaging arrives intact at the desired destination. If this is not the case, the complete operation from production to distribution can be written off as a financial loss.
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Typical materials from which packaging is produced

Plastic This is the material most often used as packaging material and, at the same time, one of the most difficult to dispose of. Reasons why plastics are popular to use is that they are light, strong and very cheap to manufacture. A large percentage of our landfill sites consist of different types of plastics, which presents a huge problem, as they are normally quite bulky and therefore take a lot of space; they can contaminate the environment and the plastics all degrade extremely slowly. Recycling is of course a great way to limit the damage to the environment that can be caused by plastic. NOTE. Here is an excellent web site where you can gain great insight into the recycling process. It discusses all recyclable materials and also gives useful information about contacts for recycling purposes in South Africa. You will find it at: http://treevolution.co.za/ Metal Tin plate is solid, heavy steel covered with tin to protect it against rust. It is used to package canned foods. Magnets can separate it from other refuse so it has great potential to be recycled. Aluminum is attractive, light and strong, but requires a lot of raw materials and energy to manufacture it. This is the reason why it is so important to recycle aluminum cans.
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Glass Glass is great to package foods, especially liquids. It is strong and easy to recycle. Its weight, size and shape may present some difficulties for transport and storage. Plastics, metals, brick cartons, cardboard and glass are the typical materials used for packaging, but more often than not these materials are used in combination. Examples of this could be a glass jar with a metal lid or cardboard packaging with a plastic window to see the product. Of course you also find a lot of novelty packaging, especially in the highend market and also around special times of the year. Think Mothers Day, Easter, Christmas! These designs tend to be flashy and expensive to produce, with little or no regard for environmental concerns. There is some movement happening where large producers of e.g. Easter eggs are thinking of better ways to package the millions of goodies they produce, but when you have a fragile item, which is temperature sensitive, it may take some time before we see some real change.
Cardboard This material is certainly one of the most widely used of packaging materials. In most cases, this material is easy to recycle. It is used in the form of boxes, sheets of cardboard or corrugated cardboard.
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Novelty packaging arond Easter time
Brick carton We also know this by the name Tetra Pak. This material is a light, strong, airtight packaging material. It is ideal for transporting and storage of especially milk and fruit juices. Its complex composition makes it difficult to recycle but this has not stopped it from becoming an important packaging material used for basic foodstuff.
Some great examples of novelty packaging around Easter time
Adhering to the very basics of packaging is not an easy task!
Standard features can include:

ease to carry ease to store ease to protect the product no matter what it is ease to preserve the product
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Well-designed and planned packaging also reduces the possibility of theft or pilfering, it preserves the nutritional value and freshness and helps prolong the shelf life. When packages or packaging are ecofriendly, they contribute less to environmental damage. It may cost slightly more, but you as a designer can, by making ethical and sensitive choices about packaging materials, have a positive impact on our war against waste and help to limit its impact on the world.
3. Packaging needs to communicate

What do you see when you look at a package? Firstly, you want to know what you are buying, right? So you focus first on the name and/or logo of the product. There could also be an illustration or photo included to show what the product looks like. Sometimes there is a see-through panel so you can even have a quick peep at the real thing. But there is also very important information a package needs to communicate to the potential buyer or consumer.
As there are so many different products, each package needs to be customised to suit the unique features of each product. Obviously if the product is fragile, more care should be taken with the structure of the packaging to ensure its safe transit from production to seller, but even non-fragile products are sometimes transported in quite rough environments. Packaging should be resilient when picked up and put down repeatedly until they eventually are stacked on a shelf (still in pristine condition). Apart from the rough handling during transport, the packaging also needs to withstand stacking pressure, moisture loss (that can ruin a package and therefore make it unsellable) and the airflow and possible fumigation through ventilation openings.
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2. Packaging needs to protect the product
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This information can vary from:

instructions on how to use a newly purchased electric appliance or how to assemble a new product; information required by law that includes e.g. the breakdown of nutritional values of food; information like country of origin of the product; volume or quantity of the product; or any other relevant and important information about the product.
So, communicating important information about the product is one of the major roles fulfilled by the packaging industry. Take a new long look at a few products next time you are in a supermarket and see if you can identify the different types of information on all the different packages.
NOTE. If you understand how to use and manipulate the elements and principles of design we taught you in Gr 10 and Gr 11, you should have no problem to understand how to use packaging to attract and sell a product to the correct market. Well-developed conceptual, analytical, strategic, problem solving and innovative skills will stand you in good stead if you want to pursue a career in packaging design.
4. Packaging needs to sell/express the personality of the product
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Packaging also needs to express the personality of the product so that it can gain the attention of the correct market and increase sales. Of course, this point is closely linked to the previous one that also focuses on the role of communication. But this point focusses specifically on the act of selling as opposed to information that is legal or descriptive in nature. Over the last few decades, marketing and branding of products have become really important. The need to instantaneously recognise a product, or the need to grasp the relation between products from the same manufacturer, is something upmost in marketers minds. Packaging therefore becomes a handy tool for marketers to guide us to differentiate between products from one company or from its competitors. Packaging has also become a tool for companies to establish the initial contact with consumers and, in this era of using integrated marketing communications, packaging plays a major role in driving people to purchase. A company that truly understands their consumer and the target market of the product and uses this knowledge to inform the design of their packaging will have a distinct advantage above the rest of its competitors! So yes, this is a very competitive industry where the quality of the details in the packaging design can determine the market share of the brand or product. So essentially, packaging functions as a type of billboard that showcases and advertises the benefits and attributes of the product. Its also a platform to introduce the brand identity of the product, and can also contribute to the overall product experience.
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Next, the package also needs to communicate what the product is in such a way that it attracts the attention of the correct target market.
Packaging designers, like any other designers, need to study consumer habits. This will help them to determine the best way to design something that will attract the consumers the product is aimed at the target market. It will also teach them about preferences as well as international and domestic trends so that they can continue to make informed decisions pertaining to colour psychology, sociology and consumer awareness. Finally, good packaging design ultimately should sell the product because, according to research, nearly 75% of purchase decisions are made at the time of purchase.
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You all know this sight! Fully stocked shelves in supermarkets. Sometimes a very overwhelming sight! Every package designed according to specific criteria and function. Hopefully you will look at packaging in a new light from now on!
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As a nation we tend to be impulse purchasers. When packaging can sway a consumer to buy purely on what the packaging looks like and what it promises, it has done an excellent job! We can therefore say that packaging is a Silent Salesman.
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A cti vity
Take a walk through your local supermarket and find two products with packaging made out of each of the traditional packaging materials we mentioned before. The two examples should not be similar in product or style. Draw a table like the example below and investigate the following:
From what is the packaging predominantly made? In what way does it protect the product? What information about the product does it communicate? How and what about the packaging is trying to sell and express the personality of the product?
Type of material and packaging examples
Cardboard
glass
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Example 2: Brick carton Example 1: Example 2: Example 1: Example 2: Example 1: Example 2:
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Metal
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Example 2: Example 1:
Plastic
Example 1:
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1. Is it successful in protecting the product? 2. What does it communicate, and do you think it is successful and appropriate for the target market? 3. Is it successful in the way it sells the product? 4. Does it display or express the personality of the product?
To what extent do you think each particular package has succeeded in the following points:
Things to consider for great packaging design

Understand your target market! You may design the funkiest and most brilliant package,
but if your target market does not understand it, or cannot use it, you have not only wasted your own time but most probably a lot of someone elses money and investment.
Communication is the key! Explain key benefits of your product as quickly as possible. This could be price, innovation/new product or functionality. As we saw last year, consumers have a very short attention span so the quicker you can get the reasons for purchase across, the better. Can you still remember what a USP is? Convenience: Depending on the type of product, packaging should enable the product to be available in varying sizes and quantities. It should be easy to carry, store, protect and preserve the product. The viability of a packaging design will be questioned if it only works in one size because it could limit the use of it in most scenarios. Does the packaging need to perform as part of the product experience? We can use dishwashing liquid as an example: the packaging/container needs to be easy
Make sure all text on the package is readable. Understand your target market when deciding how large or small the text should be; e.g. the elderly will find bigger text much more appropriate. So be user-appropriate and understand the possible disabilities and restrictions of your user. Awareness of environmental impact. We are all aware of environmental issues and a large portion of refuse landing in landfill sites is discarded packaging. It is a positive thing if you can design your packaging with the necessary responsibility towards the impact on the environment. Depending on your product and market, you may even add your eco-friendly packaging as a USP and gain a competitive advantage over your competitors. Many consumers say that they feel products are over-packed, and presume that all packaging is bad for the environment. We see many examples of over-packaging especially in our supermarkets individual items are wrapped, placed in another package which is again wrapped, and at the end, everything is again wrapped in a layer of plastic. Generally speaking, this type of over-packaging is frowned upon; current thinking is that less is definitely more!! If your packaging is environmentally friendly, why not say so and use it as a USP? Packaging often says so much more than what we think! Most product
developers, marketers and designers see packaging design as a type of investment because of all the reasons listed earlier. Think about it sometimes high-quality packaging can make your product seem high end compared to the competition. It may persuade consumers to spend a little more to purchase it and therefore adds to its perceived value. The tone, or the emotions the package must evoke in your target market, e.g. a formal corporate more businesslike tone, or warm and inviting, or whimsical and fun, should be well researched as the wrong decision will certainly alienate your target market.
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same shelf and you want to ensure it stands out and attracts the most attention. With the overwhelming exposure we daily have to products, packaging and advertisements, you need to make sure that your product and the packaging are memorable and for the right reasons! You cannot afford that this product gets lost amongst the noise of all the rest.
Research your competitors! Your product may be sitting alongside the competition on the
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to hold, even with wet hands, and to pour without wasting or spilling everywhere. Dishwashing liquid packaging is not the same as, for example, the packaging for a bar of soap. The packaging on a soap bar may initially help sell the product with an appropriate design, but once it is unwrapped and discarded, it has nothing to do with the ongoing product experience. The dishwashing liquid will be handled up to the point when all the dishwashing liquid has been used and so it remains part of the product experience until the product has reached the end of its life cycle.
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A cti vity
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Go to your local supermarket and find three examples of packaging which in your mind are over-packaged. Draw a grid like the example below and document your findings.
Your examples of overpackaged goods
Above we see a great example of over packaging. If you start with the outside package, you need to go through four different layers of packaging to reach the product! Why??
Reasons why you feel the product is over-packaged
1. 2. 3.
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PROJ EC t S
Selecting a panel For this project, you are required to firstly answer the following questionnaire yourself (as a consumer) and then select a group consisting of 9 panel members that represents a diverse group of individuals (different backgrounds, ages, cultures) so that you can collect information that will eventually reflect a more objective study/ result. Task Please ask your panel to visit any supermarket so that they can complete the following ten questions on the next page.
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Suggestions on how to improve the packaging of the product?
Questionnaire: Date: Name of panel member:
Please answer truthfully there are no right or wrong answers! It is about consumer behaviour and how we as consumers experience and react to packaging. Where possible please give examples to illustrate and motivate your opinion.
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Does packaging make a difference to the way you initially look at a shelf of goods? Which attracts your attention first, and what determines the way your eye roves across an aisle? Why do you think the shop managers organise the shelves the way they do? In other words, do you think there is a reason for some packages landing at the top or bottom of shelving? How do you think they choose which products will be closest to the end of an aisle?
2.
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Why do you think that certain products, such as coffee, cookies, etc. are sometimes sold in limited edition tins or novelty packages? When you look at health food packaging, do you think there are certain colours or packaging materials they use that are indicative of belonging specifically to the health food industry? How does the packaging communicate, Look at me! Im healthy!? Why do you think the in-house brands (no-name brands) of e.g. Shoprite or Pick n Pay look so cheap? Do you think there is reasoning behind the look and feel of the no-name brands and the perception that they did not spend any time or money on the design of the packaging, and do you think this plan (if you think there is one) is working? If you consistently struggle to open a package because of bad packaging design, would you still continue to purchase it because of the quality of the product itself ? To what extent do you think the functionality of the packaging plays a role in the buying process? Are you as a consumer attracted to *point of purchase displays? Do you think our society is still seduced into buying things they dont necessarily want because of fancy and impressive displays? (*Point of purchase displays are beautiful installations in a shop, usually positioned close to the exit/entry and pay points, and often contain new products or, for example, a display for a special time of the year, like Easter eggs before and during Easter.) What stereotypical approaches do you recognise when looking at products which have a local flavour? Name as many as you can. (Hint: a favourite to use is The Big Five, so see if you can think of, or spot other examples with local flavours.)
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8. 9. 10.
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Would cute or unusual packaging sometimes persuade you to buy something you dont really need? If so, why?
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Why do you think packaging is sometimes called the silent salesman?
DESIGN GRADE 12
Data analysis Once you have collected all 10 questionnaires, your own plus an additional 9 from your chosen panel, you will need to do a data analysis and write down your findings in a report. This report will need an introduction, feedback on your findings, conclusion and a bibliography. Final interview After you have analysed all 10 questionnaires, you need to go back to the supermarket where you initially did your own questionnaire and conduct an interview with the store manager about your findings. Make sure to include questions 2, 5, 6, 7 and 9 in your interview again as the store manager will be able to give you great insights. Final essay Finally, prepare a written piece that includes all 10 questionnaires, the data analysis, report and interview to your teacher. (Please refer to your Gr 11 book to refresh your memory about how to conduct an interview. As always be on your best behaviour, make an appointment with the store manager and be well prepared!)
Everybody has heard the word advertising, but what exactly is it, and what does it do?
The definition of advertising is:
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The above definition is clearly a mouthful so lets break it down into smaller chunks so that we can understand what it all means!
There are many definitions of advertising, but here is a good one.
Advertising is the non-personal communication of information usually paid for and usually persuasive in nature about products, services or ideas by identified sponsors through the various media.
(Bove, 1992, p. 7, Contemporary Advertising: Courtland L. Bove, William F. Arens)
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ADVERTISING
1. Non-personal
Firstly, what does non-personal mean? There are two different ways to sell any product, service or idea, and those two are personally and non-personally. Personal selling can only happen if the seller and the buyer are at the same place at the same time, meaning they need to actually make eye contact for any transaction to happen. It is generally quite successful compared to non-personal selling, but it is very expensive and labour-intensive as you are limited to have only one or a few consumers to one seller at a time. Because advertising has the ability to reach the masses, you have probably already guessed that advertising is the non-personal way of selling, where the advantages of personal selling are not available.
So if personal selling is more successful, why do we still advertise? There are several reasons for this.
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More time on your side to do it right!
You can take your time crafting the essence and details of a great advertisement. Scripts or copy can be crafted and rewritten and do not have to be created on the spot like in personal selling. You may not be able to see your consumer or customer in person, but you can research them so that you know how to profile them and again we are back to the importance of knowing your target market! It is so important that you know to whom you are talking. Research will identify potential customers; find out which message elements might influence them and also figure out how exactly to get the message out to those identified as your target market. It is important to realise that the type of research regarding target markets is more or less meaningless when applied to any individual, but it is very effective when applied to large groups of identified consumers. The last reason why we still advertise is that it can be far cheaper to reach more potential customers. With an advertisement you can reach hundreds, thousands, or millions of customers at any given time, and this reduces the cost spend per customer in a major way. So, advertising still appears to be a very effective sales tool. For small items, such as chewing gum and deodorant, advertising is very cost-effective as it can take care of the complete selling process as a standalone. For larger items, such as cars and computers, advertising can be used as bait whereafter, and in combination with the personal seller, the final deal/sale can be clinched. So although advertising takes the non-personal approach, it is still very effective.
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For example, in advertising there is very little time in which to present the sales message or pitch, and there is no way to know at any given time who exactly it is you are talking to. Neither do you have the ability to assess how well each person is understanding your message or how willing they are to engage with the ad. You cant therefore, as you can with personal selling, change your approach halfway through an advert, in order to retain your consumer/customers attention.
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An example of personal selling on the left, and non-personal above
DESIGN GRADE 12
2. Communication
Communication means not only through the use of speech or pictures, but any possible way one person can pass information, ideas or feelings to another. Communication therefore uses all of the senses: smell, touch, taste, sound and sight. Of the five, only two are really useful in advertising: sound and sight. While the senses of smell and touch are sometimes used in advertising, taste requires personal contact. It is possible to send food samples to individual customers, but an approach like that can be really expensive. Smell is sometimes used by the perfume industry and you may find, for example, an area in a magazine which you can scratch and sniff to get an indication of how the perfume smells. Touch is normally used as a gimmick e.g. when glossy pages are inserted into a magazine, so when readers page through the magazine, they will feel the different texture and then pay more attention to the glossy advertisement than the rest of the magazine. These techniques do exist, but are not used that often. Sound and sight, the remaining two senses, are by far the most effective and easily used ways of communicating a message in advertising. Virtually all advertising relies on sound and sight.
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Sight
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We as consumers just dont realise how many written words we actually read in one single day posters, billboards, on the television, news headlines, etc. We are literally bombarded everywhere we go often we do not respond to messages delivered through advertising as we have learnt to be selective. Although it is difficult to convey with written words the emotional content and innuendo possible in words that are spoken, written words are certainly the best way for getting across and explaining complicated ideas or arguments. There is an even better aspect when using sight that makes it excellent for advertising. The old clich, which says, A picture is worth a thousand words, is absolutely spot on! Think how long it takes to describe something as opposed to showing someone a picture of the same thing. No matter how hard you try or how many words you use, you can forget details and facts, which would have been very obvious in a single picture. Therefore sight can quickly and accurately indicate to a customer what the advertiser wants them to see.
Sound is extremely useful for advertising and can be used in a wide variety of media. This could include the use of radio and television. Sound is capable of presenting words and also what we call theatre of the mind. Words, the method by which humans communicate their ideas and feelings, are presented by speaking aloud, in other words through the use of sound. Using words makes it possible to deliver persuasive arguments, discuss advantages and disadvantages and evoke emotions. Through the use of sound, it is also possible to create what is called the theatre of the mind. This means that sound can paint a picture in the listeners mind of images and actions that dont necessarily exist. For example, if you want to create in someones minds eye the image of a bar scene when advertising a specific brand of beer, you need merely use the sound effects of people talking and laughing enjoying themselves, the tinkle of glasses and ice with soft music in the background. The listener will immediately be able to relate to and understand these sounds, and at the same time mix their personal interpretation and experiences into the mix. So now the listener may imagine themselves in their own favourite bar, ordering this specific brand of beer thats being advertised. Sound is therefore pretty useful to the advertiser and can influence and manipulate the consumers behaviour by using spoken words as well as ambient sounds.
Sight is without any doubt the most useful and powerful communication channel available to the advertiser. Through sight it is possible to use both words and images to great effect. You do not have to speak words to be understood. They can also be printed.
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Sound
The mind also does not have to specifically recognise what the eye sees for it to have an effect on how the consumer understands the message. An advertiser can put many hidden details into a picture that will affect a customer on a subconscious level. For example, a drop of water on a flower petal may not consciously be registered (Oh! I see theres a drop of water on this rose), but subconsciously will leave the consumer with an impression of freshness and delicacy. The five forms of human communication can be used to send any message to potential customers. However, not all five are equal. Smell, touch and taste are of little use, but sound and sight are really effective.
This rose illustrates freshness and delicacy by using dewdrops on the petals. They are not actually noticed but they create an impression of how fresh the flower is!
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4. Paid for
For this reason, information used in advertising must out of necessity be incomplete; you would never write everything there is to know about the subject in advertising. This is where the role of the copywriter becomes really important, as well as great writing skills and the ability to understand how to be clever and creative with words. What eventually appears is everything the copywriter thinks the customer needs to know about the product, service or idea in order to make an informed decision about using or purchasing the product or not. This information will generally be aimed at the way or ways the product can benefit the consumer. Advertising is of course biased, as the advertisers main function is to make his/her clients product look good by emphasising the good and ignoring the bad or not so good aspects of the product or service. This biased information happens all the time and you may feel this is dishonest, but the practice is recognised and accepted by industry, regulators and consumers. In fact, it is called puffery (an overdone praise), the legitimate exaggeration of advertising that claims to overcome the usual skepticism of the consumer. However, sometimes the biased information goes beyond legitimate puffery and slips into deception with the deliberate use of misleading words and images. In other words, deceptive information is lying to the customer about the qualities of a product. Such deception is illegal and, as you learnt in Gr 11, there is a body in South Africa where you can complain about dishonesty or misrepresentation in the advertising industry. It is called the ASA; can you remember what it stands for?
This is pretty straightforward. If an ad is created and placed in the media, the costs of creation and time or space in the media must be paid for. This is a major area in which advertising differs from public relations. Public relations tries to place information about companies and/or products in the media without having to pay for the time or space: it writes up news releases and sends them to news media in the hope that they will be run/ published. But there is no guarantee that the media will run any of the PR material.
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Information comes in many forms. It can be complete or incomplete and it can be biased or deceptive. Complete information is telling someone everything there is to know about something: what it is, what it looks like, how it works, what its benefits and drawbacks are much like a manual. However, to provide complete information about anything is time consuming and difficult. All the information on products or services would require a documentary, not a commercial. It is just impossible to provide complete information in one single ad.
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Advertising doesnt have that problem of uncertainty. If time or space is bought in the media, the ads will appear as long as they follow the guidelines set for good taste and legal requirements. The drawback is that ads are clearly designed to praise the best qualities of products and companies, and consumers therefore generally see any advertisement as at least part puffery. PR pieces are usually perceived as more honest and trustworthy.
5. Persuasive
Persuasive stands to reason as part of the definition of advertising. The basic purpose of advertising is to identify and differentiate one product from another in order to persuade the consumer to buy that product in preference to another.
6. Products, services or ideas

Products, services or ideas are the things that advertisers want consumers to buy. However, there is more involved in products or services than simply items for purchase. A product is not merely its function. It is actually a bundle of values of what the product means to the consumer. That bundle may contain the products function, but also the social, psychological, economic or whatever other values are important to the consumer. We can also call this, the promise of the product. When you are looking to buy a car, you are not looking just for a four-wheeled vehicle that will get you from point A to point B; you are looking for something with a specific value the fact that you are buying a car implies that it will have a function, but consider the further values Perhaps the value is social. The type of car a person drives is often indicative of that persons social status. A ten-year-old second-hand car shows a lower status than a new Mercedes. A sports car shows that a person is (or wants to be perceived as) more socially active and fun loving than a person in a sedan or station wagon.
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These three types of motorcars each have a different target market. Can you identify in broad terms what the markets are?
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Perhaps the value is psychological. Some cars may make a person feel safer, or sexier, or give them self-esteem or enjoyment. It could also express what they want for their lifestyle. Perhaps the value is economic. Some cars may be cheaper to run, give better mileage, carry more people or cargo, and cause less damage to the environment. The above four values, functional, social, psychological and economic, can each stand on their own. However, for most consumers, the values are bundled together in varying proportions. How closely a product can reflect or express an individuals proportion of values will often determine whether he or she will buy
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that product or not. Companies, through research, try to determine what values consumers want in their products, and then advertise to show how their product satisfies the customers bundle of values better than the competitors products. To do this, the company must differentiate their product from competitors.
There are three basic differentiations: perceptible, imperceptible, and induced.

Perceptible
Perceptible differences are those that actually exist (you can see them) that make one product obviously different from others of the same kind. The difference may be in colour or size or shape or brand name or some other way. The consumer can easily see that this car or coffee table or phone is different from other cars or coffee tables or phones. Perceptible differences allow a person to make an instant identification of one product as opposed to another.
Imperceptible
Imperceptible differences are those that actually exist between one product and others, but are not obvious. An example could be two cars, a normal petrol-driven car and another, which could be a hybrid. Why not see if you can think of a few more examples of products with imperceptible differences?
Induced
7. Identified sponsors
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8. Various media
Identified sponsors means whoever is putting out the advertisement tells the audience who they are. It is a legal requirement, but also it makes good sense for sponsors to identify themselves in the ad. If the sponsor doesnt, it is possible for the audience to believe the advertisement is for a competitors product, therefore wasting all the time, creativity and money that went into making and placing the ad. This remark is not always as obvious as you may think because often you may see an advertisement in a newspaper or magazine that looks like it is an article written about a topic, such as weight-loss, insurance, etc. A reasonable person might perceive the article as having been written by a reporter who had investigated weightloss programmes and decided to objectively discuss this particular one. Such a perception is misleading, and illegal. Since it is an ad, somewhere on it there must appear the word advertisement to ensure the audience does not think it is an objective to report the of news. If you look, you will most often find the word advertisement quite small in the top left- or right-hand corner.
The various media are the non-personal (remember that?) channels of communication that people have invented and used and continue to use. These include newspapers, magazines, radio, television, billboards, transit advertising (advertising on moving vehicles), skywriting, posters, anything that aids ideas of communicating in a non-personal way, from one person or group to another person or group. These days we also have a host of new media such as blogs, the Internet, social media and text messages, which are all regularly put to good use as added advertising tools.
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Parity products have the greatest difficulty differentiating one from another. They must rely on creating a trivial or even non-existent perceived difference in the bundle of values their target audience might find important to their purchase decision.
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For many products, there is no actual substantive difference between one and another. For many brands of cigarettes, beer, cleansers and soaps, rice, etc., there is essentially no difference between one brand and another. These products are called parity products (or products of equal value). For these products, the only way to differentiate one from another is to create that difference: to persuade people about the difference, and that it is the difference that will add extra value to their well-being and enjoyment. These differences are created through advertising, not through any inherent difference in the products.
DESIGN GRADE 12
Examples of two traditional media (billboard and transit advertising) as well as one example of new media (texting advertising)
Paraphrased from: A Definition of Advertising by Richard F. Taflinger
Before we proceed to the next activity, lets quickly recap what we learned about advertising in Grade 11. Can you remember where to start when you design an advertisement?
Of course, the client will always brief the advertising agency and needs to answer the following questions:
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Who am I talking to? What am I trying to say? How will I go about saying it?
Who am I talking to? A target market is a specific consumer group at which a company may aim their services and products. These are the people who would be most likely to buy from them. In far too many cases, agencies try to be too general hoping to gain more market share. The problem about an approach like that is that when your message goes all over the place it has the ability to completely miss most potential consumers. Successful campaigns are very specific in their approach. To achieve success it is vital that the designers/advertising agency try to determine the target market as accurately as possible, based on all the information they gather from the client, the product, in-depth market research and prior knowledge. Here are some basic questions you could ask to help you: Is your target market male or female? How old are they? Where do they live? Is geography important; are they city dwellers or do they live in rural areas? What do they do for a living? How much money do they earn? Can they afford the product or not? This is important to know especially when you have a product that falls within the luxury market. What other aspects of their lives matter to them? Are they homeowners, do they drive cars or do they use public transport? Do they have children? Do they have pets?
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Who, What, How?
What am I trying to say? Although the answer to this question seems easy and obvious that the client would like the campaign to portray the product or service in the most positive way possible, one must remember that your message must also communicate that the product is desirable and necessary to become a must have! Probably the most complex aspect of this question is the USP or the Unique Selling Point. This USP is the single and most effective or strong message, which will distinguish this product/service from its competition. A product or service may have many good points or attributes, but you have to identify that ONE message on which your complete campaign will be built. How will I go about saying this? The last question you should ask for an advertising campaign is the how. This in particular is where creativity is included to play a vital role towards building a successful campaign. The previous two questions had to do with research and the product, which already exists, that determined the answers. It is fact based and in most cases there is no dispute over e.g. the target market, it only has to be defined. But the How is different every time. The agency or designer has to brainstorm to find the most interesting and memorable way to tell the story of the product or service they need to advertise. The advertisement needs to do a few things for it to be considered great by most. Firstly, the ad needs to portray the product as King. In no way may you forget and end up prioritising anything else than the product or service at hand. It needs to be memorable! And by that we also mean for the right reasons. Sometimes we laugh at an advert on the TV, tell it to a friend and when we want to recall for which product it was, we cant. We remembered the advert for the humour, but not for the message/product at hand. If an advert is particularly bad, we may also remember it but again for the wrong reason! It should evoke an emotion. We all know the toilet paper adverts with puppies and babies that make us all feel maternal, but emotion can also include anger about an injustice, discomfort or shame, happiness and joy, peaceful and content, or make you laugh because of the satirical content. It can also be considered successful when it causes you to think: maybe you realise for the first time that certain issues arent as easy to solve as you thought? It may be compelling and may influence your behaviour.
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On a more commercial level, it may motivate you to change your consumer behaviour or to buy something you did not know existed before the advertisement.
All in all, it is about giving the consumer the opportunity to make informed and responsible decisions and choices!
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DESIGN GRADE 12
A cti vity
To quote ourselves
For many brands of cigarettes, beer, cleansers and soaps, rice, etc., there is essentially no difference between one brand and another. These products are called parity products.
Please choose 3 parity products e.g. 3 shampoos, 3 different brands of toothpaste or 3 different detergents, etc. and complete your own drawing of the following table. This table needs to neatly convey your findings.
According to the packaging and related advertising, what is the USP of this product? What promise is made by the product and how is this used to differentiate from the competition?
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Next you can analyse and conclude your findings in a final report that you hand to your teacher for marks.
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Description of product and brand name
Who do you think the target market of this branded product is?
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Earlier we said the definition of advertising is:
Advertising is the non-personal communication of information usually paid for and usually persuasive in nature about products, services or ideas by identified sponsors through the various media.
For this project, you need to choose ONE of the following advertisements of motor vehicles and analyse the advert you chose according to the following aspects, as well as everything else you have learnt about advertising over the past few years. Please refer to the breakdown of the definition of advertising and the recap from last year when necessary. Please note that you do not need to read the fine print on any of these adverts, there is enough information you can use without having to read the fine print. Each of the adverts is aimed at a different target market. Do research on the brand you choose and, armed with this information and the advertisement, please identify the target market by looking closely at the image of the advert; the colours they use, the conceptual reference, e.g. the rhinoceros, and your prior knowledge of the brand. What clues are given to you? What do you think is the tone of the advertisement? Can you detect any humour in the advert? If so, please explain this in your report. Analyse the four values: functional, social, psychological and economic, and explain how the advert you chose is trying to convey each. Please write an essay where you explain your analysis of the advertisement and in your final conclusion whether you deem the advert to be successful or not. Your essay should be at least 3 pages in length excluding an introduction, content/body, conclusion and a bibliography.
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Rhino print ad for Mitsubishi Pajero
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The New Mini print ad
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BMW The Ultimate Driving Machine print ad
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We all belong somewhere!

When looking at our broad society, each and every one of us forms part of a group or more often than not, several groups. This means, for example, that one person can be a woman, a graduate, mother, wife, career person and an avid sportsperson. This social identity is a persons sense of who they are based on these group memberships. These groups (e.g. social class, family, soccer club, etc.) to which all of us belong are an important source of pride and self-esteem. Groups give us a sense of social identity and a sense of belonging to the social world around us. So it is fair to say that groups and communities are some of the most important aspects of our lives. Maybe they are the most important aspects in our way of living because humans are not supposed to be completely on their own.. We thrive and excel in a community. Our community helps bring meaning to our lives. Working and interacting with fellow human beings and members of our communities or groups are what brings meaning and adds joy to our lives. We often seem pretty preoccupied with the identity/personality and type of group we are in or associate with. Some people feel unworthy of belonging to a certain group and some groups have an ever-changing membership, when people are not made to feel welcome when they join. Many of us test and try relationships and group memberships until we find the communities where we feel most suited to.
SECTION 1 2-D
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PRACTICAL projects
Module 1 PRACT I CAL
So, although groups include certain people, it is also the same act of grouping that excludes others. To be honest, it is a way better feeling to be included than excluded! By association with like-minded people, you are able to define yourself in a way you feel comfortable with and enjoy. If the opposite is true, you most probably made the wrong choices and associated yourself with a crowd/group that does not necessarily represent who you really are. There are many ways in which we can define ourselves. These can include occupation, religion, race, creed, nationality, abilities, hobbies, skills, age group, personality traits, and the list goes on. So, think about it, we mostly define ourselves through the association with groups we believe has the personality that reflects our brand the strongest.
So why is it so important for us to form associations with others?

From the day we are born, humans naturally rely on others and although we are much more self-reliant as adults, we still often have to rely on others. This does not mean that we are necessarily dependent on others (this may be true in cases of e.g. illness) but as humans we need interaction, support and a sense of belonging it is a basic human need.
This is a very important point, because needing others comes down to having the ability to accept and understand yourself and others. During our early developmental stages, one of the first things we are taught is how to identify similarities and differences through the use of simple shapes and colour. So, to group things is not unnatural for us since this is based on our normal cognitive processes and development: it is our tendency to group things together with similarities and separate those with differences. But when it comes to consciously grouping people the same way, based on what we see rather than what we know, we call that stereotyping.
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DEFIN ITION A stereotype is ... a fixed,
As a society, we tend to pigeonhole or compartmentalise individuals according to their similarities and differences into groups. Many of us hate being labelled and stereotyped but strangely, we do it to ourselves all the time anyway. If a stranger asks you what you do, you almost always answer with your occupation! So, you are labelling yourself by your occupation and thereby also defining a large part of yourself with this grouping. Without generalising too much, this manner of operation seems to be perfectly natural and acceptable to most. An example could be: a Hells Angel biker dressed in leather. Whether this biker is a lawyer or a doctor by profession, we tend to stereotype him/her without having any real information. One advantage of a stereotype is that it enables us as individuals to respond quickly to situations because we may have had a similar experience before; whereas a disadvantage is that it makes us ignore differences between individuals; therefore we think things about people that might not be true. This means we make generalisations, which could lead to biased behaviour.
over-generalised belief about a particular group or class of people. (Cardwell, 1996).
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The necessity of interaction, support and a sense of belonging is a basic human need!
DESIGN GRADE 12
The use of stereotypes is a major way in which we simplify our social world, since they reduce the amount of processing, thinking and analysis we have to do when we meet someone for the first time. By stereotyping, we assume that a person has a whole range of characteristics, abilities and issues that we assume all members of that group have. Stereotypes lead to social categorisation, which is one of the reasons for prejudiced attitudes. We sometimes call this an us and them attitude. Most stereotypes probably tend to convey a negative impression and focus on what we do not agree with in another person or group.
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Truth is, the more we know about each other, the more we understand each other. This does not mean we become more like each other, because there will always be differences, but by understanding different aspects like traditions, stories, abilities (as in a specific sport club or society), background and preferences we no longer fear the unknown of a different group to ours.
But, very importantly, to acknowledge the differences between groups of people or communities does not mean we are stereotyping them (remember the definition: a fixed, over-generalised belief about a group of people, assuming they all have the exact same characteristics, normally negative). You can depict a group with a certain set of beliefs, certain lifestyle or certain outlook on life without judging them. We are all different and that is wonderful!!
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This poster illustrates some negative stereotyping
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A cti vity
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Exploring my own life according to the groupings where I belong.
Use a mind map to visually explain the details of your life, including the groups and communities to which you belong or can associate with.
What is a mind map?
For those of you who may not know how to start with your mind map, here are some pointers! Use a large sheet of paper A2 (the bigger the better) or if you do not want to go that big, an A3 will also do. Use it in a landscape format. Careful not to go too small as you will struggle to fit enough information. Remember that you can also stick two A3s together if you do not have access to an A2. Larger formats give you the freedom to add drawings, cut-outs from magazines, photographs and even some 3-D objects that are appropriate! Create a reasonably sized memorable central image that represents you. This could be a photograph, but it could also be something that symbolises you, or a much-loved object the possibilities are endless, just make sure it truly represents you. Draw at least four thick organic-looking branches radiating outwards from the central image. You could use a different colour to represent each branch all up to you. These branches will represent the different groupings that you belong to. Write key-topic words along these branches that represent the different groups or communities you belong to. Draw additional branches that extend from your main branches. The words on these branches are sub-topics of the words you wrote on your main branches. Keep expanding the mind map outwards with additional sub-topics/keywords and branches. Our hope is that the number of groupings you subscribe to or associate with will surprise you. Isnt it amazing how interconnected we all are while still also being very unique as individuals! Once you have finished your mind map, keep it as reference for Project 1.
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Mind mapping is a visual tool that helps to manage vast amounts of information. It helps us to organise, structure, remember, sort, brainstorm and learn information in a very specialised and visual manner. Over the past decade or so, we have gained enormous insights into how the human mind works, and the fact that we have a virtually limitless capacity to think, understand and file large volumes of information. Studies have proven that our capacity to think effectively and quickly is very closely tied to our imagination and our ability to visualise and create associations between different sets of information sources. Today, mind mapping is becoming a popular aid that helps students, business professionals and many other individuals organise and take charge of the overload of information that we are subjected to every day.
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PROJ EC t S
Introduction and background

We have already discussed the whole idea of belonging and of social identity. You have also explored your own identity and how you relate to those around you through the design of your own mind map. We are now going to proceed and ask you to select another group in society you will use as your focus group for your first project. We will again touch on the subject of target market as this is closely related to social identity and grouping and how information on specific target markets is used in advertising and packaging.
Project brief
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! TIP At the same time, quickly recap what the stylistic characteristics are of the 3 movements mentioned so that you dont struggle later on in the project to match the style of your group with the style of the movement you finally select. We are sure you will make a very interesting selection and it will greatly help you if it is something you can also relate to. The more clearly defined your group is, the better you will able to complete the project.
To jump-start the project, you first need to design a mind map that will map out all the different characteristics and details that represent your selected group. It is advisable to follow exactly the same process as you did when you sorted and designed your own mind map. So have your own close for reference. Start with the group as the central figure and branch out into all the different characteristics this group might have. It is impossible to list all the typical characteristics, as your groups will all be so different, but think of what makes them unique and different from the rest, how they spend their free time, what they spend their money on, in what manner do they celebrate, where do they go on holiday, etc. For some of your groups, these questions wont all be relevant, but you need to choose characteristics that explain and celebrate the unique nature of the members of that specific group. Your mind map should have at least 5 to 8 branches.
! NOTE To complicate matters more, later in your project you need to use style reference to Pop Art, Op Art or Postmodernism in your design application, which does mean that stylistically your selected group must somehow relate to the style and look and feel of one of the above-mentioned movements. So, the style of elderly birdwatchers would probably not be the best of choices. Think especially along the lines of sport, music, lifestyle, adventure or occupation.
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Choose any group you find interesting, ideally operating and available in your immediate environment. You do not have to be part of this group, but an interest or curiosity about this group will definitely be to your advantage as you proceed through the different stages of the project. For example, you may not currently be a cyclist, but you have enough interest in this sport to consider buying yourself a bicycle and maybe later joining a cycling club. You will therefore show a natural curiosity about the routine and lifestyle of cyclists, what they eat, how they dress, where and when they gather, etc. Of course, this is just an example and your interest in a group might not at all represent a sport group. It can be a group of musicians, tattoo artists, or any other group you aspire to belong to.
Why not take the personality of your group into account when you are actually designing your mind map? You could make use of typical symbols and signs, which refer to or support your chosen group! ! TIP To truly understand your group, you will have to spend some time with them in order to do research so that you can add real information rather than stereotypically assumed information. If you do not know what they like to eat (e.g. health foods), what they drink (e.g. beer), what they like to wear (e.g. jeans and leather jackets), this will be the time to ask. Please also recap and use what you were taught in Gr 11 about interview techniques. Remember, you are a guest in their midst and you should always be respectful and polite, but most of all, you need to arrive prepared and with a plan of action. Follow the same guidelines as with your own mind map and eventually complete Step One neatly and professionally. Methods to group and profile You may well ask what the point is of the above exercises. Good question! What you have done on a rather small scale is you have profiled and determined the details of a target market. Commercial target markets are normally much larger. In principle, this is how it works. People with the same likes, dislikes, beliefs, etc. could fall in one target market.
They can be separated into:
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Step 2
Geographic segmentation or addresses, which refers to location, climate and region Demographic or socio-economic segmentation, which refers to gender, age, income, occupation, education, household size and often stage in the family life cycle Psychographic segmentation, which refers to similar attitudes, values and lifestyles Behavioural segmentation, which refers to behaviour at specific occasions or a degree of loyalty Product-related segmentation, which refers to a relationship with a product (Wikipedia) If you did a good enough job (and were pretty sure you did!), you will find many of the segmentations mentioned above in the mind map you designed in Step 1. Using the information you have gathered from all the research into your group or target market to inform you, please collect packaging and advertising you think is aimed at your target market. Do this by searching for examples that are purely based on your newly found knowledge of your group or target market. Aim for at least five examples of each. They can be in the form of actual packages, photographs or cut-outs from magazines. Once you have a collection of examples, please draw the following table so that you can evaluate your choices and test the selection you have made against the likes and dislikes of your target market.
Target markets As you already know by now, a target market is a specific consumer group at which a company may aim their services and products. These are the people who would be most likely to buy and desire their products and services. This socio-economic grouping process actually allows businesses to create profiles of the typical consumers who will most likely buy their products. Target markets are groups of individuals separated by distinguishable and noticeable aspects.
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Be as thorough as possible! Once you have completed your table on packaging, proceed to do the same exercise in a new table with your selection of advertisements. Packaging / Advertising
Reasons for your selection: analysis according to target market segmentation (geographic, demographic etc) as well as gained insights through research
Name and description of packaging / advertising
Image of product / packaging / ad
Feedback from target market about the success of your selection
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! Tip Please remember that even within a target market there are many individual opinions and preferences! Note that the above activity is quite a complex task because you are not only sourcing products which you believe are aimed at your target market, but you also have to evaluate the packaging, product and advertisings appropriateness, followed by testing your decisions against the target market itself. Of course, there will be no consensus, but the larger your group, and the more feedback you get, the more you will be able to see how accurate your thinking was. It is important to note that this type of research (target market) is more or less meaningless when applied to any specific individual but it is very effective when applied to large groups of customers From Design in a Business Context, Module 1 The above quotation clearly explains that there is great variety within any target market but with careful and continuous research and good instincts you will eventually get it right. In this project, what does count in your favour is the fact that we asked you from the start to choose a smaller group rather than a large commercial group. This selection in itself will help you to define specific needs, likes and dislikes.
Conclude your findings Reflect on the whole process. How successful were you in your choices? Were they good choices, or did you make some assumptions about your target market, which proved to be completely wrong? If a person designing a piece, for example, a package, advert or poster, decides to rather use information determined by their own preferences and beliefs, and not use the information gathered by research, it often happens that they completely miss the boat, in this case the target market. How often have we laughed at silly or stupid advertising, thinking it was really lame or inappropriate? Meanwhile, often these adverts are highly successful and the reason why we find them silly or stupid is simply because we are not included and part of that target market the ad or packaging was not aimed at us. So, before you judge adverts, packaging or any other element of marketing too harshly, rather try to understand the research and rationale behind the making of it! Please put your findings down in writing and hand in your report as well as your mindmap of your chosen group to your teacher. You will be referring back to your report and mindmap in Project 2.
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As a point of reference, lets have another quick look at the group of cyclists we used as an earlier example. Cyclists use very specific tools and products that clearly define them as cyclists and not as rugby or soccer players. Of course, all of them probably use tissues too, but tissues are not specific enough to define a specific group. You need to therefore select products that really define your group.
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Global design thinking and the importance thereof in your life

Now, what has global design thinking and target markets have to do with each other? Well, quite a lot actually. Global design thinking refers to the new way of thinking about design, after the era of consumerism. As we discussed last year, consumerism is all about stuff and the fact that consumers think they feel empowered and happy because they have a lot of stuff. User-Centred Design or UCD Globally, the new way of thinking is what we call User-Centred Design or UCD. Some people also call it HumanCentred Design or HCD. This simply means that instead of starting with a random product and only later considering ways of selling it, the focus has now shifted to first start with a human need or problem, solve the problem by making use of the same techniques and abilities we always used, only this time you will have a definite problem-solving goal in mind. So we dont continue to mindlessly design yet another chair, but we choose to rather focus on designing a chair for people who suffer from severe arthritis. The chair will now fulfill a specific need that was presented by a specific group of people.
says Daniel Hunziker, owner and director of Associs Consult Human-Centred Design.
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The chief difference from the design approach of other product or services is that user-centred design tries to optimally design the product around how users can, want, or need to use the product, rather than forcing the users to change their behaviour or lifestyle to accommodate the use of a product or service they dont really need. Of course, we still have a long way to go and there are no way enough producers and manufacturers on board, but the voice of reason is starting to shout ever louder! The 3 legs of UCD UCD always stands on three legs. The first, and most important leg, is desirability. Desirability can be seen as a need, or want, or as an answer to a prayer if you like not the desire for something pretty and useless like in the past. The second leg is feasibility. Is it technically and organisationally feasible? It is pointless to design a wonderful solution to a problem if e.g. the location does not allow for the implementation of the idea. So, the idea has to be feasible. Thirdly, it needs to be viable too (viability). And here we are talking about finance. Ultimately, everything costs money, and sometimes, despite our best effort, there just is not enough money to implement an idea, no matter how good it is. This should not discourage designers at all, because our experience is that when designers are
We can therefore say that UCD is a type of design and design process where the needs, wants, and limitations of end-users of a product are given a lot more time and attention throughout the design process. UCD can be explained as a multistage problem-solving process that requires designers to analyse and predict how users are likely to use a product, but also to test the validity of the assumptions they made when they did their research. They see whether the decisions they made were accurate in actual tests with the actual users. Testing is very necessary as it is often very difficult for the designers of a product to understand intuitively what a first-time user of their design will experience.
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Our work is based on qualitative research of target groups. Because you simply design better with your target audience in mind,
challenged with logistical problems, it brings out the best in them. Many of the worlds best problem-solving ideas happened when designers had to put on special thinking caps, as the initial ideas were too expensive to execute. In India, in some of the poorest and most difficult to reach places, some of the best design solutions have happened despite the difficult circumstances! UCD will not be successful if the idea cannot stand on all three legs. In addition to the three legs of UCD we also want to remind you of the ongoing reference to the triple bottom line: People, planet/environment/location and economy. They say if you can develop a business plan, product or service that has a focus across the triple bottom line, then you are a great example of a sustainable entrepreneur! For those of you who are interested in UCD, and how to put it into practice, you can download a great toolkit from the following site. http://www.hcdconnect.org/toolkit/en/download Designer Tim Brown urges designers to think big in a presentation to TED and you can find his wise words at the following URL: http://www.youtube.com/watch?feature=player_embedded&v=UAinLaT42xY The great thing about maturing, as designers and as human beings, is the wonderful ability to see things from different perspectives. We seek to develop our natural empathy and embrace the value of taking the long view or looking at the bigger picture. But part of growing up, if we are not careful, is becoming more and more enslaved by our beliefs and approaches to problems, leaving us stuck in a rut, seeking quick and easy answers by applying the same old solutions. A sure way to prevent this mental constipation from happening is to keep on learning, to keep challenging ones prejudices and beliefs and continually search for new and different ways to being the best you can be in the world.
Remember you are tomorrows stars!
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After our discussion about global design thinking and the change to the User- (or Human-) Centred Design approach, you should now be really eager to make a difference in the world! We would like you to return to your group/target market of project 1 for this project. During your previous project, you gained a much better idea of your groups preferences in terms of good, bad, likes, dislikes, appropriate advertising, products and packaging. Your last challenge in Section One (2-D) is to find a packaging of a product that is appropriate for your group, but the packaging itself is unsuccessful in its design and communication. The decision about the choice of packaging should be done in conjunction with your group, as they are the end-users. Do an analysis of how the package fails to push the happy buttons of your group or target market. You now need to make use of ALL the knowledge you have gained through your Gr 11 year and the Business section of this module as well as all the information we have given you in this section. This is all-important to finally illustrate a broad understanding of marketing with regards to packaging.
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Inspirational and trendy Pop Art, Op Art and Postmodernism

As designers, you always need to be aware of the current trends and what the references of these trends are. No style is grabbed out of thin air; there is always a great amount of thinking and a process of development in any trend or fashion. Many styles that are current and relevant today refer heavily to a bygone era or style. It may also use as its inspiration an issue such as sustainability, recycling or industrialisation/mass production. Once you understand the styles (and you have studied them diligently over the past few years!), you should not have any problems in identifying the references and influences on trends that are current. For this specific project, you need to refer to any one of the following styles: Pop Art, Op Art or Postmodernism. Before you decide which one of the three styles you want to marry with the stylistic characteristics of your group, lets have a quick recap of the typical characteristics of these styles so that you can make an informed decision. Pop Art: Considered to be a reaction against the ideas of abstract expressionism. Recognisable imagery, drawn from popular media and products. Use of very bright colours. Replaced the destructive, satirical and anarchic elements of the Dada movement by having a reverence to consumerism and mass culture. Employed images of popular culture in art, emphasising banal elements of any culture, usually through the use of irony, humour and criticism. Flat imagery influenced by comic books, advertising, mundane cultural objects and newspaper photographs. Images of celebrities or fictional characters in comic books, advertisements and fan magazines. In sculpture, explores an innovative use of media. Predominant colours used by Pop Art artists are yellow, red and blue. Clear lines and representations of symbols, people and objects. Put art into terms of everyday, contemporary life.
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Op Art Mathematically-themed form of abstract art. Uses repetition of simple forms and colours to create vibrating effects, moir patterns, foreground-background confusion, an exaggerated sense of depth, and other visual effects. Non-representational precise geometric shapes. Op Art may create a perceived movement or vibration on the surface of a painting. The patterns, shapes and colours used in these pictures that follow are typically selected for their illusional qualities, not for their substantive or emotional content. Op Artists use both positive and negative spaces to create the desired illusions. It uses chromatic or achromatic colours.
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Packaging influenced by Pop Art
Two examples where Op Art was used as a reference for packaging
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Process
1. Decide on your package that will be the focus of your project. 2. Do the analysis as described earlier, making use of all the tools and information you have been given with regards to the design and functionality of packaging. Be thorough and really investigate why the packaging is not successful, even though the product is seen to be appropriate. 3. By using your gained insights and the contribution of your target market, come up with a strategy which will address the shortcomings. All the types of information on the current package need to be on the new package, but the specific wording may be changed to be more appropriate. In other words, there may be a slogan on the old packaging so there must be a slogan on your redesigned packaging, but it may be a different one. Think of the functionality, scale, and shape in fact, take everything we discussed into consideration! 4. Interpret your design solution into one of the above-specified styles; the style you think will best suit the product and your target market. By now you should be able to make that decision with confidence! You also need to make
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Examples of packaging where the design was influenced by Postmodernism
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Postmodernism Seriousness and the search for underlying truth are ignored and it is replaced with playfulness. The idea that anything is acceptable was embraced. The return of ornament and historical reference is appropriate. A focus on how things look/aesthetics are important. Often seem impractical and contain elements of surprise. Seen as complex, responsive, eclectic, personal, decorative, reactive (political and feminist), non-functional, conceptual and site-specific. Make use of collage, pastiche/imitation and irony. Often described as kitsch and accessible. Appropriation of popular media.
DESIGN GRADE 12
informed and appropriate decisions with regards to size, materials, typefaces, colours and shape. If you are unsure, you can never go wrong by doing some extra research until you are convinced of your decision! 5. You are allowed to present your packaging flat. By this we mean that you can do separate drawings of the front, sides, top, bottom and back of your packaging on scale and in full colour. Ideally, we want you to also build a prototype without destroying your original drawings. This wont be possible with all products but at least try and see if you can make a plan, e.g. if your redesigned package is a glass bottle with two labels on, try to find an existing bottle that is the correct size and shape, and paste your labels on it for presentation purposes. 6. You may use any medium to present in, the key is to be convincing. Everyone looking at the old packaging next to the new one should be absolutely convinced that it is a vast improvement. For this reason, you need to also hand in the old packaging and present old and new together. 7. Finally, the whole process needs to be documented, and each decision you made should be supported by sound research and insight stated in your design workbook. 8. The final test: test the new packaging with your target market. Remember not to rely only on one or two opinions to determine the success of your new packaging design. There are many opinions within one target market. Gain as much feedback as possible to get a more realistic result of what you have done and dont forget to document that too! Once all the work, research, reflection and testing is complete, hand everything in to your teacher and make sure that it is of such a high standard that you can be immensely proud of yourself. You should be!
PRACTICAL projects
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Introduction
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To place your next project in context, lets start with the basics: First it is human nature to have the urge to belong and we all belong somewhere. Secondly our individual identities make us all unique and we all have different experiences, associations and memories! Thirdly as we grow older we always refer to our past as something that is a collection of our memories and past experiences. And so many times we come across a smell, an image, a situation, music or a person that brings back memories of something that was part of our past (when we have a feeling of nostalgia). Fourthly so many of us collect things (memorabilia) that we like or that have special meaning to us. But we also keep things from the past (because of the sentimental value they hold for us). All of the above information creates a collection of information associated with one individual enough information that will help to differentiate one person from another, because none of us will ever have the same experiences and memories even if we did participate in the same activities.
SECTION 2 3-D
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How does this all fit into a postmodern society? In our contemporary postmodern society, many people are struggling with the controversial question of
How do we know we belong?

The distinctive characteristic of belonging to any particular social category or group can be defined as personal identity. The German psychologist, Andre Weinreich gives a useful definition: A persons identity is defined by the totality of ones self-understanding. To be able to find meaning in self-understanding we have to revisit our past to find our own future.
A persons identity is defined by the totality of ones self-understanding. To be able to find meaning in self-understanding we have to revisit our past to find our own future.
Andre Weinreich
The Postmodern Era was filled with contradiction, ambiguity, and complex double meanings, making it difficult for individuals to understand themselves, a challenge for most people ... Therefore many people saw the Postmodern Era as confusing, complicated, chaotic, polluted, difficult, ugly, and confrontational whereas the past is nostalgically remembered as simple, pure, ordered, easy, beautiful, and harmonious. To add to this confusion, we are reminded of the future mayhem or chaos that was predicted centuries ago by the notorious Greek philosopher Nostradamus who pronounced that the world will end at precisely 11:11 am on the 21st day of November, in the year 2012.
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Li Edelkoort
In our contemporary society, most people feel that Nostradamus predictions will signal the end of the world as we know it, but not the end of Mother Earth, and on that note the renowned Dutch trend forecaster Li Edelkoort decided to celebrate the end of the world as a sign or symbol that signifies a rebirth or a Renaissance in how we should live! She predicted for 20122014 a return to real emotions, a renewed interest in romantic things, and a return to more natural lifestyles. She also predicted an emphasis on memory, nostalgia and vintage styles, e.g. Victorian styles, as a need to return to quality, DIY handmade or crafted things, and more traditional things.
Li Edelkoort is internationally known and certainly the most prominent trend forecaster in the world of design today. She is also an educator, curator and publisher and a highlight at any Design Indaba. She started her career as a fashion co-ordinator and today she is the proclaimed trend forecaster who has shown an amazing ability to interpret design within a broad holistic framework. Li Edelkoorts predictions also run parallel with postmodern tendencies in a return to adding value to memorabilia again. Through memory and nostalgic feelings about the past, we bring the imagined past nearer and therefore distance ourselves from the present; we exploit and manipulate nostalgia as a form that allows us to escape from the realities of the present day to a better time and place in the past!
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Cultural identity can be defined as the feeling of an individual or a group to be part of or belong to a specific group or culture. Belonging to a specific cultural group creates a sense of community and belonging. In addition, belonging to a cultural group adds a connection between ones ethnic identity and this, in turn, connects us with our past ancestry and our future aspirations in relation to ethnicity.
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So lets define what we are talking about The term identity comes from the French word identit which finds its linguistic roots in the Latin noun identitas, -tatis, derived from the Latin adjective idem meaning the same. The term can therefore essentially be compared with ideas of sharing, sameness, oneness, belonging with others in a particular area or a group.
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DID YOU KNOW

The meaning of nostalgia comes from the Greek roots nstos, meaning to return home and lgos, meaning pain. This word was coined in 1688 by a 19-year-old Swiss student Johannes Hofer in his medical thesis as a sophisticated lethal kind of homesickness. This physical and emotional upheaval that unifies memory, a condition that could kill (according to seventeenth- and eighteenth-century doctors), was seen as a disorder of the imagination. By the twentieth century, it had begun to attract the interest of psychiatrists and changed from physical to psychological, from external to internal, from curable to incurable a condition of the spirit or psyche. As the psychologist Immanuel Kant noted, it was no longer simply a yearning to return home more a return to a time, a time of youth, a time that has already passed. And nostalgia becomes the reaction to that sad fact.
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The question is: is the human behaviour and simple act of collecting memorabilia and our urge to be nostalgic about things from the past enough to keep books alive for a little longer OR will books become absolute due to other forces that urge us to support more eco-friendly options and eventually embrace a completely digital era? How will future lives be affected without the presence of tactile products like books, magazines and newspapers? Can we even begin to understand any of this? Li Edelkoorts future predictions or forecast trends at the 2012 Design Indaba made some people think back to their own personal experiences. So many of us have parents who still love books. Some of us grew up with special book collections. Being exposed to peoples fondness of books can create an awareness that can lead to a lifelong journey of collecting quality things like leather- and handbonded books. More and more artists and designers are collecting things from the past, especially old books, magazines, comic books and newspapers especially to fill their memory banks of quality, antiquity, rarity, originality and the sentimental or nostalgic associations they hold with their past. Many artists and designers are also asking the same question: For how long will we still have this luxury of printed books?
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The two images above deal wittily and satirically with the redundancy of yellow pages.
So what is the relation between nostalgia, memorabilia, future predictions and the future of real books?
Yellow Pages and telephone directories a blast from the past!

Not too long ago, in fact only a few years back, the Yellow Pages (listing of all businesses and services) and the phone directory/book (listing of individuals contact details) were the primary resources for finding the contact details of a business, a service or the contact details of an individual person. Can you even start to imagine the thickness of these directories that alphabetically listed all the individuals in your province or town that owned a landline? And can you imagine how many of these directories were printed if almost every household and business had at least one of each the Yellow Pages and the phone directory? Today, these directories are still printed even though the need of the target market has changed all we need is the Internet or a cellphone. New technology not only gives us access to information about our province or city but worldwide and just about anything we can think of. Not using so much paper is of course a much more eco-friendly option if the production of computers and cellphones are of course also eco-friendly. Many designers feel very strongly about environmental issues and acknowledge that printing and publishing the real deal book contributes towards the depletion of our natural resources and forests. So even though many of us still love the idea of curling up in bed with a real book, it seems that one day we might have to say goodbye to that cosy activity. Reading a real book in bed might pretty soon become obsolete and eventually the topic of nostalgic discussions, especially when e-books are the only access to storytime! Designers/creators of e-books (electronic books) are certainly addressing the environmental concerns. Even though e-books might be the reality of our future, many people still find it really difficult to imagine a world without real books, magazines and newspapers.
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An interesting class debate
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Are new forms of publishing making the conventional book redundant, if not obsolete? Your class needs to be divided into two groups: those who are in favour of conventional printed books and those who are against it and rather favour e-books Make sure that you understand the pros and cons with regard to printed and electronic books before you decide which side you want to support.
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Focus on the previous question as your departure point and also consider the facts listed below. Here is some useful information to consider in your class debate (make sure that you understand which of these points below are in support of your groups debate): The conventional printed book dates back as early as the 9th century and there are plenty of reasons for its long-lasting existence and relatively unchanged design over the centuries. Famous Italian author Umberto Eco accurately summarised the everlasting nature of books: Books belong to the kind of instruments that, once invented, have not been further improved because they are already all right, such as the hammer, the knife, the spoon or scissors. In a fast-changing information age, many believe that even the 244-year-old Encyclopaedia Britannica has axed its print edition. There is no denying in that the increased popularity in new forms of publishing, such as e-books and the availability of books on iPads and tablets, most recently placed a dent on the demand for printed books. The highly significant advantages of portability and mass storage capabilities of e-readers have become valuable assets in a society that demands immediate and large amounts of information available at its fingertips. As such, it is likely that the conventional printed book will become redundant and be taken over by the advantages held by these new advanced and modern forms of communication. Our reality is that we live in times where everything is becoming electronic and mechanical, a cyberspace existence and future. By working with printed books, we can soothe our techno anxieties and yearn with nostalgia in an attempt to defy the end or evade the deadening influence of technology. The history of communications media tells us that new media often do not replace old media. At most, they redefine the purposes and functions of older media. The fact that hardback leather cases have been designed for the iPads to mimic the feel and look of an antique book verifies a reluctance to abandon the form of the traditional printed book. The Pop Up book emphasises the three-dimensional nature of a traditional book, unachievable with an e-book. The three-dimensional nature of the traditional printed book, which allows for the production of such forms as Pop Up books, will perhaps soon be surpassed by 3-D books on e-readers.
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Postmodernist awareness and a curiosity about nostalgia and memory. BOOKS - OUR LINK WITH NOSTALGIA AND MEMORY
I think of life as a good book. The further you get into it, the more it begins to make sense Herold Kushner
BRIEF Design any product that works with or reflects either a (1) social, (2) cultural or (3) sustainable environmental issue. By reusing existing materials, your work automatically deals with found objects/ready-mades, recycling, up-cycling and noticeably with environmental issues.
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As nostalgia and memory are the golden threads for this project, please consider your choice of materials carefully. Remember that your selection of references ultimately reflects on our postmodern awareness and curiosity about nostalgia and memory. Design a product that represents any ONE of the following four design categories*: Visual communication and digital design Surface design and two-dimensional craft design Product design and three-dimensional craft design Environmental design !TIP: Knowing what exactly you will be designing for which target market will assist you in choosing the correct discipline.
STEP 1
STEP 2
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Collect and select a variety of old books, encyclopaedias, scientific books, map books, comic books, magazines, newspapers, etc. to use as the building material for your 3D design. In this day and age, when so many things are already more digital, you might find it difficult to collect and find enough of what you need to complete your project. So be creative and investigate a variety of ways to collect everything you might need. If the function and appearance of your final product will solely depend on your finds, it is strongly advisable to consider this when you design your product before you start to collect your materials. You might have to consider a design that is flexible enough so that it can still fulfil its function no matter the materials you use. List of possible materials needed for this project: Old or new books, encyclopaedias, Yellow Pages or telephone directories, old or new maps, atlases, magazines, newspapers, comic books, etc. Glue sticks, preferably acid free Smaller NT-cutters and many extra blades Cutting board and any other surface to do the cutting on Needle and thread. ! NOTE: The choice of your medium(s) is limited to the use of books, magazines, and newspapers. Carefully select your paper to fit your planned design. Please remember that the emphasis is still on being original, creative, innovative and to skilfully manipulate your materials!
* Remember nostalgia and memory should play a big part use this theme in combination with your target market and make reference to images, activities, memories that somehow deal with nostalgia that is specific to your target market. This angle will greatly inform details of your target market that can be really valuable and will assist you to determine what product will be best suited to the needs of this market.
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Identify your target market: Use all the knowledge you have gained since Grade 10 and do a proper profile of your selected target market* so that you can understand their likes and dislikes before you even attempt to design anything. Remember, a designer should never just design something for the sake of designing. The product must be aimed at a specific groups needs, so that you can attract them to buy or use your product. Finally, organise all this information on a story-/information board. This will assist you to determine exactly what it is that you are going to create.
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STEP 3
Building/construction/production methods. Consider all the techniques you have used or learned about since Grade 10. If appropriate for this project, it would be advisable to choose one that you have already succeeded in using, or one that really intrigues and inspires you. Make sure that you allow time for experimentation so that you can eventually tackle the production of your final product with confidence. Some inspirational resources For this project, case studies were carefully selected to show a Postmodernist awareness and a curiosity about nostalgia and memory. They are all using a variety of books/ magazines/newspapers as their prime source of material or medium to produce these fascinating pieces or products. Lets have a look at some of their masterpieces.
Original building material: piles of phone directories.
Have you ever thought about what happens to your old telephone books and Yellow Pages? Many of us would argue that they get recycled, but unfortunately, most of them end up in the landfill.
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The fact is that over 600 million telephone books and Yellow Pages are printed each year. Huge amounts of energy, resources and trees are used in the making of these books. From an environmental viewpoint, it just does not make sense and to add to that, how many of us are still using these books if we could just use Google or our cellphones?!
PHONE BOOK BUILDING BY RICHARD KROEKER
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Exterior faade on the left and Richard Kroeker and his students on the right. The 7000 books are stacked in columns reinforced by simple drywall metal corner beads. An amazing beam made from phone books was developed to support the roof. The books are so dense that wood can be screwed directly to them, allowing for a beautiful basket weave faade gracing the sustainable and green experimental building.
Richard Kroeker, an architecture lecturer at the Dalhousie University Department of Architecture in Nova Scotia was troubled by these facts. So he decided to build a house with the help of a handful of his students. They decided to use the 7000 outdated and used phone books from the University and to transform them into an intriguing building block architectural structure. The experimental Phone book building uses the discarded phone books for load bearing or support of the walls and the roof. The books are also used to create a solid 8 to 10 inch thick infill and insulation. They also discovered that if the wall frames were built to fit the size of a phone book, the books could be stacked up like bricks inside. This meant that the weight of the books created enough compression so that an airtight environment was created that eliminated fire danger.
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Left and above are the Garden of Knowledge
The Living Garden of Knowledge is truly an amazing example of book architecture and a beautiful example of discarded books being utilised in a creative but also learning experience. The philosophy behind this astounding living library built from 40,000 reclaimed books was to create a Living Garden of Knowledge that could become a sensual reading room, a library, an information platform, an invitation to a different realm of knowledge.
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JARDIN DE LA CONNAISANCE or GARDEN OF KNOWLEDGE, DESIGNED BY THILO FOKERTS AND RODNEY LATOURELLE
The books form a readymade, insulated building module held in place with sheet metal angles normally used as drywall bead material. Once tensioned, the phone books form a stable wall into which additional layers can be easily screwed. The roof joints are also made of laminated phone books. The finished structure becomes a kind of time capsule, recording the names and numbers of community members says
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This Living Garden of Knowledge is in the middle of a forest and formed part of the 11th International Garden Festival in Mtis, Quebec. The Garden of Knowledge is a unique outdoor library and a garden that symbolises the bringing back of books to their roots within a natural setting. After the festival, the temporary garden will deconstruct and the books eventually turn into compost.
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The garden engages the mythical relation between knowledge and nature integral to the concept of paradise. By using books as material in the construction of the garden, we confront these instruments of knowledge with the temporality of nature. And by exposing these fragile and supposedly timeless materials to transformation and disintegration, we invite an emotional involvement of the visitor
Thilo Fokerts and Rodney Latourelle
CLOCKWORK LOVE SERIES BY TJEP

The heart is such a complicated thing, both physically as it beats to keep us alive, and emotionally in matters of love. One of the trends Li Edelkoort mentioned during her seminar at Design Indaba 2012 was a poetic and sentimental return to romance. She said that hearts will become one of the most collectable objects through 20122014. Just visit any craft shop these days and you will find ample evidence of a variety of 3-D hearts in steal and craft wood, as well as 2-D lacer-cut hearts with sentimental messages printed on them!
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Clockwork love paper
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Clockwork love gold
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Designed by Tjep, the above examples are part of a jewellery series called Clockwork Love (Clockwork love paper & Clockwork love gold). The Clockwork Love series is described as A jewellery collection evenly and consistently combining a great multitude of graphic elements in a multitude of layers. The pieces are intended to represent various moods of the heart and link to emotional themes such as fragility, passion, uncertainty, and desire. These complex pieces are symbolic of the intricate structure and layers and the delicate balance associated with a heart. At first, the prototypes are painstakingly made by hand out of lacer-cut paper cut-outs (the example on the left) before they are eventually recreated in gold and silver (example on the right).
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LAURA BRULAND OF YES & YES DESIGNS

Yes & Yes Designs makes the below bold, one of a kind jewellery from recycled books. Founder Laura Bruland laser-cuts and etches the jewellery herself. Inspired by vintage styles, she makes her unique pieces from carefully selected recycled book covers. Each piece is handcrafted with an eye for detail and love. She searches for and buys books from second-hand stores, garage sales, and library sales. Her goal is to only use books that are obsolete or falling apart.
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Jewellery designed by Jeremy May
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Jewellery pieces designed by Laura Bruland
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Paper necklace and bracelet designed by Dorisse
Jeremy May of Littlefly Jewellery
The above examples are designed by Jeremy May of Littlefly Jewellery. He creates his jewellery pieces by laminating hundreds of sheets of paper together, then carefully finishing them with a layer of high gloss varnish to imitate a polished effect. Paper necklace and bracelet on the right designed by jeweller Dorisse. Both pieces made from old books, cut into circles to imitate the look of a beaded or pearl shell jewellery piece. The form is also biomorphic as it bears similarities with wormlike forms.

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Lisa Finster, architect, artist, fabricator
Lisa Finster is an architect, artist and fabricator who is also the creator of what she calls the Book Table. Her idea is to use her clients favourite and different sized books and then to precisely fit them between panels of poplar wood much like putting together pieces of a jigsaw puzzle. What makes this an interesting design is that it also becomes a Postmodern design, showing the deconstructed to reveal the design as a complex conversation piece that reflects multi-layers of interpretations that can deal with personal history, belonging, nostalgia and memory.
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Alvaro Tamarit designed the bench of thoughts. This example is part of a range of 3-D sustainable, eco or green works using the process of recycling and up-cycling. His range of designs was created to focus on forming pieces that fuse the functional with the sculptural and vice versa! It is structurally reinforced and the back of the chair is bended to create a supportive and ergonomic feel for added comfort. The chair is finished with a gloss varnish, the seat is highly durable, and it comes with optional wooden armrests.
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Alvaro Tamarit
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Lisa Finster from SF. Architecture designed the book table above
IN CONCLUSION:
The numerous projects inspired by books are obviously a reflection that both artists and designers are utilising books as a means to reconnect with a nostalgic place. The use of books reveals personal, sentimental and sometimes painful themes related to our main theme of nostalgia and memory. It is clear that Postmodernism is entering a sentimental and romantic period. The mere fact that people are returning to handcraft and traditional crafts also carries through this nostalgia, but ultimately becomes the praxis in bringing people together and reuniting them with their past, history, and ultimately their cultural identity.
Through our nostalgic longings for the past, we become conscious in knowing that we belong!
Write a comparison that deals with the differences and similarities between art and design and refer to the TWO included case studies below. REMEMBER: The boundaries between art and design are often blurred and, in many cases, can be both. It is important not to generalise, as many aspects between artist and designers co-exist. Please make sure to provide a justified or reasoned answer for all your arguments.
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SECTION A: ART
BARBARA WILDENBOER
The included case studies for this comparison are divided into TWO sections:
SECTION A: ART Reference to South African artist Barbara Wildenboer. SECTION B: DESIGN Reference to Anderson M Design Studio with their amazing Going West stop-frame animation.
Barbara Wildenboer is a practicing artist living in Cape Town, South Africa. In an interview with Barbara Wildenboer, she explains her obsession with books in relation to sustainable or environmental themes: I recycle old and redundant books or old atlases/maps to create paper sculptures that comment on environmental issues e.g. endangered plant and animal life as well as the phenomenon of global warming and climate chaos.
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A clear tendency within Postmodern is to deconstruct and eclectically fuse styles. In relation to boundaries or categories, we can conclude that both artist and designers are following a similar modus operandi. We live in a time were everything seems to be in a constant flux or movement. Both artist and designer, in their search for deeper meaning, are challenging the whole process of grouping, classification and categorizing. Wilna Coetzer
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She also sees encyclopedias as a threatened information system. The act of altering old books and maps echoes the idea of an environment in flux. I often use photographic processes as a means of collecting and as a means to explore the idea of traces of things which are transient, elusive or no longer present. By working on such a project, my intention would also be to move beyond the mere alteration of the books and incorporate photography and stop-frame animation to comment on the arguably uncertain future of printed books as a consequence of the increased popularity of new electronic digital alternatives. My work forms in no way any links with any environmental campaigns. I am making personal and emotional statements as an artist. Artist Barbara Wildenboer wields the scalpels she uses to cut paper with the dexterity of a surgeon. Transforming books ranging from encyclopedias to scientific reference works, she has revived discarded volumes that had already been used as research sources for anonymous projects. She mostly collects her books from second-hand and charity bookshops. By folding, cutting and gluing, (this to reinforce fragile paper), she has extended a childhood fascination for the pop-up book with remarkable results. The emphasis is firmly labourintensive.
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Barbara Wildenboer is adamant that she is an artist (not a designer) and her latest exhibition continues a pursuit for excellence that sets its own standard, as her work continues to challenge and change the way we think about objects, their value and function in a postmodern society! The cutting up of atlases into animated geometric shapes in the work I love chaos and chaos loves me refers or alludes to shifting tectonic plates.
Explanation of Canaries in the Coalmine
Birds have long been recognised as the indicators of environmental change, and are effectively the canaries in the coalmine when it comes to climate change. The idiom canaries in the coalmine refers to the practice of mineworkers taking cages of singing canaries into the mines with them to forewarn the miners of poisonous gases that have been released. The moment the incessant singing of the birds would stop, the mineworkers would leave the shaft. My intention initially was not to use the actual bird motif again, but I had become interested in the changing migration patterns of birds, specifically as influenced by global warming. Climate change seems to be
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I love chaos and chaos loves me
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affecting bird migration patterns. This in turn is threatening their existence and having a major impact on various ecosystems. I wanted to tie this up with the idea of solastalgia, a concept pioneered by Dr. Glenn Albrecht, a professor of sustainability at Murdoch University in Perth, Australia. Solastalgia, ecoparalysis, global dread and soliphilia are all terms that refer to the relationship between ecological health and mental health. I was interested in Albrechts studies of ecopsychology and his theory of how an increase in human depression, psychosomatic illnesses and stress disorders is linked to our planets ecology.
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Canaries in the Coalmine by Barbara Wildenboer
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Who inspired your artworks? 1. Since my childhood, I was fascinated by pop-up books. These pop-up storybooks would come alive and open worlds, with a magic forest that folds out when you turn the
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Close-up of Pop-up printed books by Barbara Wildenboer
It was here where I, for the first time, started working with the idea of the connection between a changing environment and feelings of homesickness or nostalgia!
page, paper ribbons that you can pull to open and flap the wings of butterflies, and round holes in cardboard pages that reveal a festive meal of a worm ... 2.The collage, montage and assemblage constructions of Max Ernst, Hannah Hch and Joseph Cornell made a permanent impression on my creativity!
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Details from Cross Pollination pop-up books by Barbara Wildenboer Psicologia Bilogia by Barbara Wildenboer
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Here are a few tips that Barbara Wildenboer was willing to share with us: Use an acid-free glue stick (e.g. Pritt, etc.) and acid-free paper when possible. Connect a thicker cardboard or backing to support the fragile images. Use smaller NT- cutters and ensure that you work with sharp blades. Use a cutting board to work on and work in a safe environment. Preferably choose books with a matt surface older books have a fibrous cotton texture, which is excellent to work with. You need time and patience! Never rush your work! Constantly experiment, play, and look for new ideas. Do more research and do frequent Google searches. Constantly collect old books and images this should become second nature!
ANDERSON M DESIGN STUDIO AND GOING WEST STOP-FRAME ANIMATION
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The NZ or New Zealand Book Council is a non-profit organisation that serves to promote more reading, foster a love for books and promote New Zealand authors.
It was a happy discovery to find a new animated short film entitled Going West that was created for the NZ Book Council. Going West is a 2-minute paper cutting and stop-frame animated promo that can only be described as impressive and uniquely beautiful.
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Original book front cover for Going West
SECTION B: DESIGN
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But perhaps the conceptual characteristic most synonymous to Wildenboer as an artist is her process of book alteration and her framed works entitled Psicologia Bilogia. These works present the viewer with layers of intricate and delicate patterns, embedded in, and created from, the books pages. Through this process of textual alteration, Wildenboer extends her questioning of all that is set and permanent. She explores the idea of the authority of text that, despite its responsibility to record history and narrative, can be easily manipulated. (3) Another huge influence on her work is Brian Dettmer who creates delicate paper-carved designs in relief. His books symbolise erosion and decay on a social and environmental level. Dettmer also selects specific texts that he then transforms and thereby separates the idea that a book is not only read but that it can also be experienced visually.
An example of one of Brian Dettmers sculptural cut-out books that inspired Barbara Wildenboer
A scalpel has brought to life a classic Kiwi novel in a compelling ad produced by Colenso BBDO for the New Zealand Book Council. Colenso BBDO was briefed by the New Zealand Book Council to develop a piece of film that would inspire more New Zealanders to read more books. Colenso worked with Andersen M Studios in London to develop a concept that would show Maurice Gees classic novel, Going West, coming to life through hand cut pop-up scenery springing up from the pages ... via press release from New Zealand Book Council
This animation for the New Zealand Book Council is possibly one of the most impressive and beautiful pieces of bibliophile-animation Ive seen. The stop-frame animation uses paper cut-outs in a book, creating scenery which enhances the narration of Maurice Gees novel Going West. An incredibly unique and very sophisticated pop-up book animation using lighting to create an eerie and riveting effect
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The design company responsible for the cut-outs and stop-frame animation is called Andersen M Studio and is based in London. They work in graphic design, animation, film and music.
A scene from the animation Going West
In the scenes below, you can clearly see the advanced craftsmanship in the use of the pop-up and cutout techniques.
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!REMEMBER: Please ask your teacher to show you their amazing and inspiring video.
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Glossary
Bibliophile: Refers to a lover of books or a collector of books. Bibliophile animation deals primarily with the loving alterations added to books. Bric-a-brac (br k -br k): n. Small, usually ornamental objects valued for their antiquity, rarity, originality, or sentimental associations. E-books: This is an abbreviation for electronic books available on iPads and tablets. Ergonomic: The science of fitting the design to the user instead of forcing the user to fit to the work. Simply put, a design that is scientifically or biologically formed or engineered to create a comfortable purpose for the user. Escapism: A noun meaning an inclination to retreat from unpleasant realities through diversion or fantasy.
Memento mori: Means remember that you must die in Latin. It serves to remind us of our own mortality, of our mistakes and failures. Memorabilia: From the Latin word memorabilis, first used in 1785. The word refers to things that are remarkable and worthy of remembrance. They also stir recollection or are valued or collected for their association with a particular field or interest: e.g. baseball memorabilia. Nostalgia: A bittersweet longing for things, persons, or situations of the past. The term also refers to the condition of being homesick, or homesickness. The habitual diversion of the mind to purely imaginative activity or entertainment or as an escape from reality or routine.
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Laser-cut paper work: Laser cutting is a technology that uses a laser to cut materials, and is typically used for industrial manufacturing applications, but is also starting to be used by more artists who use it for cut-out techniques on all types of paper, cardboard, wood and steel. It is affordable and currently a very trendy technique.
Filigree lace work: Refers to ornamental art and is synonymous with fretwork, interlace, lattice, crochet or lace.
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1. observe detail, 2. create quality marks, and 3. be skillful in using a variety of drawing styles and mediums. For Grade 12, the focus of the drawing programme will remain on observation, mark making and skilfully using styles and media, but with a stronger emphasis placed on experimentation with the introduction of 'unconventional techniques'.
Since Grade 10, the main aim of the drawing programme was to improve your ability to
The drawing projects advanced progressively from Grade 11 with the introduction of many more techniques and mediums. The general idea was to challenge the predictable and boring idea that drawing implies using an HB pencil and creating images on a sheet of white paper!
INTRODUCTION
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If you are planning to study design after school, we would strongly suggest that you use your final year in becoming exceptional in your drawing abilities. Consistent practice is as usual the 'golden recipe' for success! If you add to that the ability to freely experiment, you would definitely be ready to create innovative and original work! So many first-year students say that they struggle and 'fear' the drawing classes. The tragic reality is that if they fail their drawing course, they fail their year! Bearing this in mind, lets look at a drawing technique that could hopefully take the 'fear' out of drawing a technique simply called "Dip & Dunk". This technique relates to Automatism and takes its inspiration from the Surrealist and Dada artists, who were fearless in their 'wild and unconventional experimentations'!
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DID YOU KNOW

Origins of unconventional drawing techniques: During World War I, Surrealist and Dadaist artists such as Max Ernst did not have money to buy expensive art materials. They had to resort to the use of unconventional materials, surfaces, and techniques. It was during this chaotic period in history that artists revolted against so-called museum art, good taste, originality and this sparked off the development of numerous unconventional/non-traditional techniques, such as Automatism, Element of Chance, Decalcomania, Fumage, Frottage, Grattage, Sgraffito, Merz, etc. Kurt Schwitters, who invented the Merz technique, summarised the situation after the war: The war had just ended, and Germany had been plunged into revolution. For Schwitters, the revolution served as an inspiration to create a new form of art, which in his mind reflected the changes that were happening all around him: Everything had broken down ... new things had to be made from fragments. In the winter of 191819, he started to make collages and assemblages from all kinds of refuse and found materials new art forms out of the remains of a former culture. Sensing that these were his most important and original works to date, Schwitters chose the word Merz to describe them.
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Frottage/rubbings Decalcomania
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Most of these techniques are clear evidence of artists who believed in alternative ways to be creative and through their consistent practice, and unrestrained experiments, they were able to create a new foundation for artists and designers to become innovative, original and skillful in the art of drawing!
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These techniques were in fact our first examples of 20th century Protest or Resistance Art. Furthermore, many of these techniques were used as a direct link between consciousness and unconsciousness. Many used their art as a form of escapism! The artworks by the Surrealist artist Salvador Dali and Rene Magritte are good examples where both used their dreams and nightmares to escape the horrors of the war.
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A class demo of unconventional drawing techniques

The class will be divided into groups. Each group is given at least TWO unconventional techniques (from the list below):
Automatism
The term refers to an art technique that was first used by the Surrealist and Dadaist painters and poets to express the creative force of the unconscious in art. The term also refers to an act of creation which either allows chance to play a major role or which draws on the unconscious mind through free association, state of trance, or dreams. Typical characteristics would be splatters and doodles in art that were later taken further by the Abstract Expressionists, e.g. Jackson Pollock.
Element of Chance
Decalcomania
Fumage
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Frottage Grattage
A Surrealist art term invented by Wolfgang Paalen, in which impressions are made by smoke trails using a candle or lamp on a piece of paper or canvas. Salvador Dali also made use of the technique and called it sfumato. Also see Diane Victor who uses Fumage as a direct link with burn victims. The term comes from the French word frotter which means to rub. It is a Surrealist/ Dadaist and Automatic method developed by Max Ernst in 1925. An ancient wooden floor inspired him. He placed a sheet of paper on the floor and started to rub over the surface with a soft pencil. The texture was transferred to the paper. Is an art method of drawing by scratching paper or cardboard that has been covered with ink. A pen or a sharp instrument is used to scrape or engrave into the surface. The grattage process is reminiscent of scraping an oiled surface in lithography. Works done by the grattage technique have a black background on which the drawing is traced in contrasting white lines, resembling a woodcut or linocut in appearance. Grattage is used in 20th-century graphic art. In Russia, grattage, under the name of grattografiia, was first used by M. V. Dobuzhinskii in his works in the 1920s.
An art term that comes from the French word decalcomanie, it is a decorative technique by which engravings and prints may be transferred to any materials. Simon Franois Ravenet, a French engraver, invented the term in 1750. He perfected the process and called it decalquer, which means to copy by tracing. The technique become popular with the Surrealists and Dadaists, e.g. Max Ernst.
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To create marks randomly and not having control over it, e.g. dripping or running paint. The Dada artists embraced this technique as a means to create art and anti-art. Many Abstract artists followed, e.g. Jackson Pollock with his drip cans and the use of action or motion.
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Sgraffito
The term sgraffito comes from the Italian word sgraffare which means (literally) to scratch. Sgraffito is a painting technique where the artist scratches into the top layer of the paint to reveal areas of the surface underneath. This method is best suited for oil paint as the paint stays wet longer, but acrylic paint mixed with a retarder can also be used. The image is built up by applying thick layers of paint, and then using a blunt tool to scratch into the top layer to reveal the white background surface or another colour underneath. The background can be painted simply white or monotone colour, or a variation of colours and patterns can be created as a painting surface. For a more complex pattern, a third layer of paint in a different colour can be applied on top and then scratched into again to reveal both layers underneath.
Merz
Collage
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! REMEMBER: Create a library of these techniques. Add a short written definition elaborating on the methods and history. Add written notes explaining the pros and cons of the techniques! Be daring and experiment even further with these techniques. If possible you can even document your findings by engaging in a photo-documentation process!
Dip & Dunk

Now that you have physically participated in recreating these unconventional techniques and methods, we sincerely hope that you are fearless and able to progress towards the Dip & Dunk technique*! Please follow the activities closely to maintain a disciplined work ethic and, ultimately, to create a desirable final product!
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An art term used by many artists at the start of the 1900s. The term refers to the French word paper coller (meaning to cut out and glue). The technique implies the use of various materials, such as photographs, pieces of paper or fabric, that are cut and pasted to a backing. The term has strong links with photomontage and assemblage. Some of the best-known artists using the collage technique are Picasso, Braque, Hanna Hoch, Matisse, etc.
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The term originated in 1919 and was given by Kurt Schwitters. Merz stands for freedom from all fetters, for the sake of artistic creation. Freedom is not lack of restraint, but the product of strict artistic discipline. This is what Kurt Schwitters had to say about his unconventional technique: I call[ed] my new manner of working from the principle of using any material MERZ. That is the second syllable of Kommerz [commerce]. It originated from the Merzbild [Merzpicture], a picture in which the word MERZ, cut out and glued on from an advertisement for the KOMMERZ UND PRIVATBANK [Commercial and Private Bank] could be read between abstract forms ... When I first exhibited these pasted and nailed pictures at the Sturm [Gallery] in Berlin, I searched for a generic term for this new kind of picture, because I could not define them with older concepts like Expressionism, Cubism, Futurism or whatever. So I named all my pictures as a species MERZbilder after the most characteristic one.
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! Important to know * Direct paper engraving: This is an art technique that is very similar to etching except you are not using a copper plate but instead you are engraving directly into paper. It is an easy technique to conquer. All you need to do is to scrape or scratch directly onto the paper surface (similar to the traditional engraving technique done on a copper or metal plate). Your last step is to dip the area where you have engraved in ink. The main difference between traditional etching and paper engraving is that the effect is immediate and not as laborious as the traditional etching technique. This technique is used in conjunction with the Dip and Dunk technique. * Dip & Dunk: The South African artist Wilna Coetzer developed this technique during 2000. The idea behind this technique was to help learners to draw with more confidence and to create spontaneous marks and link the act of drawing with consistent experimentation. The technique is linked with Automatism used by the Surrealists and Dadaists.
Step 2
Preparing the work area for the Dip & Dunk technique:
TIP: Cover your work area, table, chairs and floors, with plastic or newsprint. This is a very messy technique! Keep old cloths or towels nearby and protect your clothing. It might even be a great idea to wear a black plastic bag just cut two holes for your arms!
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Step 3
Making a list of possible conventional & unconventional drawing tools: Briefly define the words conventional and unconventional and then make a list of tools associated with each: 1. Conventional tools: HB pencil, colour pencil, ballpoint pen, Koki pen, brushes, etc. 2. Unconventional tools: Used toothbrush, hairbrush, broom, sandpaper, cheese grater, ruler, hairpin, nails, syringes, etc. ! REMEMBER Anything can be used in creating exciting marks on the paper. Make marks with things lying around you and decide if you like the mark quality! Focus on choosing a variety of tools that can create a sharp, hard-edged line quality as well as tools that create softer lines! Have all your tools ready and in reaching distance!
Preparation: Use a basin or any other container to dip an A4 or A3 size paper. Put the ink in your dip container and add water. You can also create different strengths of ink in different basins or containers. You can use any brand of ink although Dala Acrylic inks work better as they create a waxy quality on the paper. Other materials can be substitutes for the ink, e.g. food colouring, coffee, tea, wine, wood stain, etc.!
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An old, hard brush
Conventional tools versus unconventional tools
Small household brush/broom
Have TEN sheets of paper ready ...
Step 4
Using the Dip & Dunk technique and work method:
Follow the FOUR simple steps demonstrated in the photos below and on the next page:
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1. Dip
! REMEMBER The Dip & Dunk technique is a simple technique and process, and there is no right or wrong! Allow yourself total freedom and to make mistakes! By allowing this to happen, you will discover new and innovative possibilities within this unconventional technique!
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2. Dunk
! IMPORTANT Choose a thicker paper of approximately 205 250mg. You need to experiment with different types of paper, cardboard and chipboard and then choose one that is best suited. Remember: a thin piece of paper tears very easily and it cannot be re-dunked as many times. You can re-dunk thicker paper up to 20 times!
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3.
Immerse fully or just a section
4. Remove
NOW you are ready to start drawing!

Searching for meaning in ink spatters and blobs Without any preconceived idea or theme, start making random marks on the paper that you have dunked! Allow yourself to activate your paper and to discover what quality marks your tools can create, whilst simultaneously finding images hidden in the ink spatters and blobs ...
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FURTHER SUGGESTIONS 1. If you add oil to the ink, you will be able to simulate a marbled effect. 2. If you angle your paper, the ink will run and simulate an element of chance effect! 3. If you place two sheets of paper on top of each other (the bottom one undipped), and you draw on the top sheet, the image will trace onto the bottom sheet of paper see decalcomania in glossary. ! REMEMBER: Not one page will ever be the same! By now, you should have discovered that every time you draw into the dipped area, the ink would penetrate into that scratched part. By re-dunking the paper into various ink colours, the drawn image will resurface in those colours. This is certainly a wow technique where ghost images do come alive!
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DESIGN GRADE 12
Step 6
Useful drawing/illustration techniques in Dip & Dunk:
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The example above is an astonishing example of starting with a simple line sketch (clearly still unsure about the construction of the face) and 5 minutes later being able to create a second thumbnail or preparatory drawing clearly showing a marked improvement, even managing to create a tonal value simulating a 3-D quality.
(A) Taking the ordinary line sketch to the next level Another bonus and aesthetic quality of the Dip & Dunk technique is that even rough, thumbnail or preliminary drawings can now also end up looking skilful, creative and professional!
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Similar to this technique is the laborious etching technique. We can describe the drawing and inking of the surface as a direct paper engraving technique, similar to the print of a traditional etching! The beauty of this Dip & Dunk technique, is that it is cheap, quick, instant and safe!
Line drawings, thumbnails or preparatory drawings never looked so good!
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(B)
Carbon etching technique
! NOTE: This is not cheating your way out of observational drawing skills! On the contrary, the whole idea behind the use of carbon or tracing paper is to train your hand and eye to create a very specific line and mark quality, similar to that of Victorian etched illustrations and the vintage print quality of the 1950s and 60s.
Above and right Lisa Glossip (Grade 11)
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Above done by Zandr Cowley
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Above carbon paper is inexpensive and is available in blue, black and grey.
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! SUGGESTIONS: Choose an image/copy with clear detail. Focus on the compositional layout of both left and right page. Use masking tape to secure the position of your image and carbon paper. Draw with a sharp pencil or dry fine liner.
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Zandr Cowley (Grade 11)
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BRIEF: Dear diary...

Most artists/designers keep a visual diary or journal. Pablo Picasso once said: A painting or drawing is just another way of keeping a diary. The Education Department, with the help of the Art Departments in the schools, has launched an initiative to get as many high school learners involved in changing perceptions regarding a specific (1) social, (2) environmental, or (3) cultural issue in their community. Learners have to identify a specific issue and then produce a creative visual or illustrated diary/journal in relation to the chosen issue. ! IMPORTANT: If your teacher feels that you are able to use any of the themes related to your 2-D or 3-D project for Term 1, you can use these images for your visual or illustrated diary/journal and trace your personal observations and reflections in regard to the specific social, environmental, or cultural aspect you have chosen.
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Drawing done by Zandr Cowley
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DID YOU KNOW
The most obvious definition for a diary or journal is: a daily written record of personal happenings, experiences, observations and reflections kept usually in a beautiful hand-bonded book. Many people use their journal in an effort to help them cope with private and emotional feelings or issues.
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Planning the layout of your book When illustrating your book, it is important to plan the layout of your pages. Not every page needs to have drawn images. Another bonus of the Dip & Dunk technique is that the variations in the colours and textures can be sufficient! You do have a few options to explore whilst busy with the carbon tracing technique:
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(1) Above carbon tracings done whilst the paper was still damp from the Dip & Dunk technique. This specific technique or method has similar links with the Surreal and Dada technique decalcomania.
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(2) Carbon tracings done on a dry Dip & Dunk paper surface.

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Some might prefer the wet-method as the drawing is embedded into the fibres of the paper. With the dry-method, the drawing tends to stay on the surface of the paper! Use a combination of the methods suggested in (1) and (2). On the right, household bleach was used for a more refined line quality. Below, a Grade 11 learner, Lizelle van Dijk, used the household bleach to whiten certain areas in her drawing. ! TIP: The most effective bleach is the normal liquid brands. The gel formulas are not so effective!
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Drawing done by Nina Smit (Grade 11)
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Tonal drawings with a refreshing outlook Another quality of the Dip & Dunk technique that is a bonus is that you can progress with ease from rough thumbnail or preliminary drawings to detailed tonal drawings. Being more confident, you will be able to combine various mediums, such as ink and watercolours, and skilfully create beautiful observational drawings. To prove the point: The general feedback from learners was that the Dip & Dunk and carbon etching technique made them more relaxed and confident to tackle a detailed observational tonal drawing. They also became aware that their pencil mark quality hugely improved! On the next page are a few of their tonal drawings:
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Drawing done by Megan Laughton (Grade 10)
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Drawing done by Nina Smit (Grade 11)
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Drawing done by Amor Lessing (Grade 10) Drawing done by Lizlle van Dijk (Grade 11)

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Drawing done by Carron Schneider (Grade 11)
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With the Dip & Dunk technique, we hope that your work never becomes a recipe and that you always keep your options open. The more you practise and experiment, the more you will discover! The next few pages are copied from some learners visual diaries where the Dip & Dunk technique has been mixed with various other techniques, from Collage, Cut-outs, Element of Chance, and Automatism, etc. Most of the illustrated visual diaries shown below dealt with the theme of nostalgia and memory.
The greatest fear that any artist or designer should have is creating a recipe for their work. In becoming complacent your work becomes stagnant and you do not allow any improvements or alternative ideas to enter. After all, if we confine ourselves to a recipe , we delete any innovative and original characteristics in our work. Wilna Coetzer
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Lara Doubell (Grade 12) was inspired by scientific, medical, and old Victorian illustrated books. She would fully submerge or dunk her cardboard pages, then use a sewing machine and refine certain sections, almost like a plastic surgeon. Her drawings were detailed observations drawn on Reviva white paper, then cut out and lastly collaged on the Dip & Dunk surfaces.
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Zerena Pillays (Grade 10) journal illustrations are inspired by the Vintage Victoria Era and nostalgic memories of her granny.
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The flavour and colour of the cinnamon spice are symbolically used as a cultural link with the Indian spice trail and her own Muslim background. Zerena Pillay used a realistic but delicate style to portray her fragile memories of the past. She uses a white candle to block the ink in certain sections of her Dip & Dunk-inspired illustrations.
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Zandr Cowleys (Grade 10) illustrations are inspired by her childhood memories, books she read as a child and sentimental bric-a-brac she discovered in her home. For her it was important to remember her past, as it makes her present more bearable and her future filled with hope and love!
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You might even decide to use a different approach or angle and create a more controlled approach. Anel Dippenaar (Grade 12) right used a grid paper for her background and then she systematically created splats of ink to find images in them similar to watching clouds and seeing images in them. She also used the technique of collage and watercolours to refine images more clearly. Paper dolls from the Victorian Era symbolise her nostalgia in her visual diary. The colour quality of printed images of the 1950s was also a huge inspiration to her as it reminded her of the educational poster collection of her mother. Rhymes and riddles from her kindergarten school days are often quoted in her illustrations. She remembered how she and her mother would bake cupcakes. Instead of using ink, she opted to use food colouring, coffee and tea as these unconventional mediums were more appropriate for what she was trying to say.
Done by Anel Dippenaar
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Lizelle van Dijk (Grade 11) drew her inspiration from a wide eclectic range of sources, from old Victorian paper theatres, paper dolls, sentimental letters, envelopes, South African stamps, family photos, vintage furniture and tools. She then staged her images in a fantasy and dramatic world reminiscent of the industrial and mechanised world of the Victorian Era. She created a variety of Dip & Dunk surfaces. She then carefully selected sections from these surfaces for their specific line, textures and tonal values. She created her drawings using a cut-out technique to create these amazing mixed media collages.
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Done by Lizelle van Dijk
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SUGGESTIONS: Use glue that is not too liquid and that will not create a bubble or ripple effect at the back of your images. Pritt glue or similar brands are still your best option for collage techniques. Before you glue the images onto the Dip & Dunk background, first arrange the images to observe the compositional layout. Another good tip is to put some Prestik at the back of your images. This way you can still move your images before gluing them permanently to the background/support. We end our activities by binding our Dip & Dunk diary and presenting it in a 1. professional, 2. aesthetic and 3. functional manner.
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Creating an old-fashioned hand-bound diary Make use of the following guidelines: ! TIP: Before you start creating your diary, do research on old handmade diaries and books.
Materials and process: (1) Use six to ten of your A3 dip & dunk pages. (2) Group 2 to 3 pages together to form a section. (3) Fold each section in half (A4 format). (4) After completing the drawings and re-dunking, use a needle and thread to first sew the pages together, and then each section. (5) Use any old strip of cloth to glue and strengthen the spine of your book. (6) Glue 24 A4 size chipboard pages together to form the front cover. REMEMBER: Bind your diary after completing the drawings and re-dunking! Incorporate a title and your name on the front cover of your diary or journal. Carefully select a typeface suited for your style and concept. See examples below.
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brief of the 2-D or 3-D project. Technique/craftsmanship/method. Professional presentation and functional.
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For your diary, make use of the following assessment criteria: Creativity/Originality/Interpretation in terms of the concept and solution are relevant to the Appropriate use of design elements and principles.
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There are many variations on traditional bookbinding techniques. Study a few techniques and choose one that best suit the style of your book.
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ADDITIONAL, OPTIONAL ACTIVITY

Are you ready for a HUGE creative challenge? For those of you who are interested in taking the above techniques even further, ask your teacher to show you the two animated short films: Invention of Love and The Mysterious Geographic Explorations of Jasper Morello - The First Voyage - Jasper Morello and the Lost Airship.
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Automatism: The term refers to an art technique that was first used by the Surrealist and Dadaist painters and poets to express the creative force of the unconscious in art. The term also refers to an act of creation which either allows chance to play a major role or which draws on the unconscious mind through free association, state of trance, or dreams. Typical characteristics would be splatters and doodles in art that were later taken further by the Abstract Expressionists, e.g. Jackson Pollock. Collage: An art term used by many artists at the start of the 1900s. The term refers to the French word paper coller (meaning to cut out and glue). The technique implies the use of various materials, such as photographs, pieces of paper or fabric, that are cut and pasted to a backing. The term has strong links with photomontage and assemblage. Some of the best-known artists using the collage technique are Picasso, Braque, Hanna Hoch, Matisse, etc.
Decalcomania: An art term that comes from the French word decalcomanie, it is a decorative technique by which engravings and prints may be transferred to any materials. Simon Franois Ravenet, a French engraver, invented the term in 1750. He perfected the process and called it decalquer, which means to copy by tracing. The technique become popular with the Surrealists and Dadaists, e.g. Max Ernst. Direct paper engraving: This is an art technique that is very similar to etching except you are not using a copper plate but instead you are engraving directly into paper. It is an easy technique to conquer. All you need to do is to scrape or scratch directly onto the paper surface (similar to the traditional engraving technique done on a copper or metal plate). Your last step is to dip the area where you have engraved in ink. The main difference between traditional etching and paper engraving is that the effect is immediate and not as laborious as the traditional etching technique. This technique is used in conjunction with the Dip and Dunk technique.
GLOSSARY
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Andrei Shushkov, Invention of Love:
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Dip & Dunk: The South African artist Wilna Coetzer developed this technique during 2000. The idea behind this technique was to help students and learners to draw with more confidence and to create marks spontaneously and link the act of drawing with consistent experimentation. The technique is linked with Automatism used by the Surrealists and Dadaists. Element of Chance: To create marks randomly and not having control over it, e.g. dripping or running paint. The Dada artists embraced this technique as a means to create art and anti-art. Many Abstract artists followed, e.g. Jackson Pollock with his drip cans and the use of action or motion. Fumage: A Surrealist art term invented by Wolfgang Paalen, in which impressions are made by smoke trails using a candle or lamp on a piece of paper or canvas. Salvador Dali also made use of the technique and called it sfumato. Also see Diane Victor who uses Fumage as a direct link with burn victims. Frottage: The term comes from the French word frotter which means to rub. It is a Surrealist/Dadaist and Automatic method developed by Max Ernst in 1925. An ancient wooden floor inspired him. He placed a sheet of paper on the floor and started to rub over the surface with a soft pencil. The texture was transferred to the paper. Grattage: Is an art method of drawing by scratching paper or cardboard that has been covered with ink. A pen or a sharp instrument is used to scrape or engrave into the surface. The grattage process is reminiscent of scraping an oiled surface in lithography. Works done by the grattage technique have a black background on which the drawing is traced in contrasting white lines, resembling a woodcut or linocut in appearance. Grattage is used in 20th-century graphic art. In Russia, grattage, under the name of grattografiia, was first used by M. V. Dobuzhinskii in his works in the 1920s. Merz: The term originated in 1919 and was given by Kurt Schwitters. Merz stands for freedom from all fetters, for the sake of artistic creation. Freedom is not lack of restraint, but the product of strict artistic discipline. This is what Kurt Schwitters had to say about his unconventional technique: I call[ed] my new manner of working from the principle of using any material MERZ. That is the second syllable of Kommerz [commerce]. It originated from the Merzbild [Merzpicture], a picture in which the word MERZ, cut out and glued on from an advertisement for the KOMMERZ UND PRIVATBANK [Commercial and Private Bank] could be read between abstract forms ... When I first exhibited these pasted and nailed pictures at the Sturm [Gallery] in Berlin, I searched for a generic term for this new kind of picture, because I could not define them with older concepts like Expressionism, Cubism, Futurism or whatever. So I named all my pictures as a species MERZbilder after the most characteristic one.
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Sgraffito: The term sgraffito comes from the Italian word sgraffare which means (literally) to scratch. Sgraffito is a painting technique where the artist scratches into the top layer of the paint to reveal areas of the surface underneath. This method is best suited for oil paint as the paint stay wet longer, but acrylic paint mixed with a retarder can also be used. The image is built up by applying thick layers of paint, and then using a blunt tool to scratch into the top layer to reveal the white background surface or another colour underneath. The background can be painted simply white or monotone colour, or a variation of colours and patterns can be created as a painting surface. For a more complex pattern, a third layer of paint in a different colour can be applied on top and then scratched into again to reveal both layers underneath.
Shadow Theatre: The origin of Shadow Theatre can be traced back to India and Southern Asia (Singapore, Thailand and Malaysia). The stories, which the puppeteers used were based on a long-standing oral tradition and inspired by each cultures gods, spirits, and ghost. Shadow Theatre delighted all social classes, and especially the children! The story or dialogue in these performances is sung and the movement of the characters is exaggerated and grotesque.
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in a socio-cultural/environmental and sustainable context
There is an image, an idea of Africa that lives deep in human imagination. Its form often transcends the power of the word and its profile lies under layers of conscious retrieval. It is alive within each one of us on a primordial level, inexplicable yet undeniable
Maya Angelou
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Introduction
Much of Africas history exists in storytelling, images, signs and symbols, which manifested in the objects and materials used every day, such as richly woven or wax resist fabrics. These crafted objects and materials speak of rich and diverse cultures. The African continent is extraordinarily rich in creativity, materials and ideas that are sources of inspiration to designers across the world.
What is craft?
There are many ways in which we can define craft we can consider crafts as the designing and making of individual items by encouraging the development of skills, such as: intellectual, creative, practical, visual sensitivity and a working knowledge of materials and tools. Crafts can also be defined as a series of useful and/or decorative objects created mainly by hand, using specific materials and developed skills. According to some sources, the craft person will usually choose the material and technique first. An artist, for instance, will begin with a concept first and then choose the material to suit it. Traditional crafts are made with traditional materials and techniques using hand tools. Crafts have closer links with design.
Traditional basket weaving
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Traditional beading
What is design?
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In design, however, the designer strives to improve something or come up with something new that would improve the quality of our lives. Designs are constantly changing and designers are looking towards new methods or reinventing old methods to come up with something new and innovative. According to some credible sources, design only started with the Industrial Revolution, when products started to be mass produced by machine for the first time. But this is debatable, because a lot of products not mass produced are certainly still designed. One can probably say that the Industrial Revolution was the start of consumer products, because even a design discipline like architecture existed long before the Industrial Revolution. Many ancient civilisations, e.g. the Romans and Greeks, designed very sophisticated social structures, amphitheatres (pioneered architectural structures of what we know as stadiums today), ceramics, clothing, jewellery, furniture, road structures, urban planning of their cities and agricultural systems to mention but a few, that can certainly be compared with modern designed structures and objects of today. Even the tools used during the Stone Age are early designed examples of modern tools in use today. You also learned in Grade 11 that the Bauhaus strived to design prototypes for mass production. The Bauhaus was also the first movement who strived to put architecture, arts and crafts under one umbrella. It was necessary for a designer to learn a craft and therefore they professed an integrated course.
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It is important to know that over time the boundaries between design and craft started to blur and not all designs were mass produced since the Industrial Revolution started. Many designers started to create hand-crafted works during the Arts and Craft and the Art Nouveau movements, as we have seen in the Grade 11 textbook. Once-off designs for the rich were crafted by many designers, for example, for the rich during the Postmodern period. They often included that handmade feel to their designs. So now the question is: if the development of a craft product includes the design process, aimed at a specific target market, can we assume that it is also design? We have seen in the definitions that craft is entirely handmade and it has existed for a very long time. Crafters do not necessarily aim to invent something new and revolutionary that would change or improve our lives, like an aeroplane that uses less fuel or a smartphone that has been designed to streamline your busy life. But there are design disciplines that use craft techniques during their development and manufacturing processes. A designer can, for instance, develop new fibres that would be heat resistant or have the ability to generate heat from the body to keep a person warm.
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Recently, we have seen a revival of many craft techniques and products, especially in interiors, such as knitting, crochet, macram and mosaic work. The well-known trend forecaster Li Edelkoort recently pronounced that there is a longing in people for the home-made, especially in todays hectic technological world. We long for the smell of homebaked bread, the aromas of home-brewed coffee and the intimate gathering of friends. There is also a worldwide trend of people search for their roots, so that they can experience a sense of belonging. Many contemporary designers either integrate the craft handmade feel into their work or work in collaboration with crafters to create uniquely designed products. In African societies, no distinction is made between the object for use in the home, for cultural ceremonies and the decorative surface of the object, as it usually contains symbols relating to their culture and rituals. Africa and particularly South Africa is rich in indigenous traditional crafts such as pottery, wood carving, beadwork, basket weaving, woven textiles as well as the surface decoration of textiles and houses. It is also rich in other cultural influences brought here through trade and settlement from Europe, India, Malaysia and Indonesia. The indigenous crafts of Africa and South Africa have always formed an integral part of their culture and beliefs, such as marriages and other important community events.
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Wax resist cloths from Africa which have inspired designers such as Ron Arad in the Do-Lo-Rez blocks at the bottom.
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African people make no distinction between art and culture and all objects serve a specific purpose and are often only seen or used by some members of the community. These objects become a way of communicating without words. Because of the cultural connotations, the making of these objects used to be very gender specific. Today, especially because of the jobs scarcity, there are many individuals and groups who train communities of crafters and channel this knowledge into projects aimed at the tourist market, as well as using craft practices as a vehicle for Aids awareness campaigns and at the same time opportunities for job creation. The onset of industrialisation caused many to leave rural areas to seek jobs in the mines or in the cities. This alienated many from their roots and cultural heritage. As indigenous crafts fulfilled a cultural role in communities, there will always be a debate about the exploitation of these rural crafters and their craft. It is necessary to preserve culture but also to create empowerment and employment without losing the skills involved in making these cultural objects. For this the crafters need to know how to market their skills and adapt to the ever-changing demands in the market. Craft is one of the largest employment bases in South Africa. For us as a country with a high unemployment rate, poverty and unskilled people, it is extremely important to preserve indigenous knowledge and skills as this is a way for creating jobs for those in need. This, however, should not be the prime reason for preserving traditional skills. For the sake of our having a national identity in the face of the rest of the world, it is also important to preserve these skills and knowledge. Indigenous knowledge is a reflection of the traditions and history of human development of a country and should play a vital role in understanding the past and the present.
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This Imbenge was made in 1960 using grass and beads as materials. An Imbenge is used to cover a beer pot and is considered the valued property of men. This specific piece was designed by an unknown crafter and comes from the Msinga region in KwaZulu Natal, South Africa.
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A contemporary basket woven by Roseline Khanyile in 1998 made from telephone wire, a modern material. This basket tells a story of the local people of a specific communitiy.
As noted before, South Africa has a very high unemployment rate and levels of poverty and it is therefore important to create jobs. The craft industry happens to create many opportunities and has provided many jobs for the unemployed. It is also interesting to note that South Africa has much to offer the tourist and the export market in terms of crafts. Craft seems to be considered old-fashioned in most First World countries, and young people who are so used to the speed of contemporary technology think it is far too hard to even begin to train in different craft techniques.
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And of course doing something by hand is far too time consuming in comparison to what is on offer by the latest technology. It is mostly in Third World countries where ancient traditional crafts that show a high level of skill are still practiced today. Sweden, for instance, used to develop highly skilled craft that, later in the 1950s, inspired the development of the beautiful furniture, characterised as Scandinavian design. In countries like Indonesia, the ancient craft of hand-drawn batik (wax-drawn textiles) is still practiced today, but even here the young people dont want to practice this ancient craft any more. Craft centres, individuals and NGOs have done much to channel the skills of skilled bead workers, weavers, basket makers and traditional potters into producing products for the export market and addressing Aids awareness by selling crafts created by Aids sufferers. Communities can use their traditional skills to produce works for the corporate world and the hospitality industry and in this way receive an income and make a valuable contribution to the economy of our country.
So how do I know which craft is of a good quality?
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You as a design learner should always trust your instinct and the knowledge you have gained through studying various design examples. It is safe to say that good craft is original, not copied, entirely made by hand, shows a high level of skill and knowledge in the use of materials, techniques and tools, is well finished and aesthetically pleasing and could be functional or decorative. You may argue that it sounds pretty much like design!
Traditional crafts in Southern Africa

Many people in South Africa still believe in ancestors, who, they believe, can see everything, travel everywhere and have powers to help them. People and ancestors are believed to communicate through dreams. They can also bring messengers through animals. Many of these beliefs are portrayed or enacted through ceremonies or in their art/crafts. For these ceremonies, these people make traditional items, such as vessels or special clothing, that would communicate certain ideas or would tell us something about the specific community. These objects or clothing items become traditional.
Traditions* seldom stay the same and may change or adapt over time, for example, religious holidays or ceremonies, e.g. a wedding. Communities may change or stop doing traditional practices for certain reasons. Some may cling to tradition in reaction to ideas forced on them by others.
Traditions are commonly used to describe beliefs or ways of doing things that are passed on from one generation to another.
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During the 13th annual Jazz Festival held in Cape Town, the Cape Craft and Design Institute (CCDI) invited 9 crafters from across the country to sell their products at this event. These crafters had a huge success and managed to increase their sales to over R47, 000 over the two days. Festivals countrywide are a great opportunity for crafters to exhibit their work. The annual Design Indaba is especially of value as it is a showcase of the best of South African talent. Another business development consultancy making an impact nationally is called Fetola (Fetola is a Sotho word meaning change). They specialise in helping entrepreneurs improve their business skills especially creative people, who are usually more concerned with the creative side of their enterprises than the buisness side. They aim to reduce poverty, create jobs and develop skills amongst their beneficiary network.
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In Africa, seeds, nuts, shells, bones, claws, tusks, teeth, wood, metal, stone and gold have been used to make beads. Glass beads from the East were brought to Southern Africa by Indian and Arab traders in about the 2nd century AD. These were traded for horns, oil, timber, iron, gold and slaves. The seed beads, used in beadwork, were brought to S.A. via Europe in the 16th century when the regions south of the Sahara became colonised by European countries. The earliest known African beads are 10,000-year-old examples made from ostrich egg shells found in the Sudan in 1921 and date from 700500 BC. Beadwork is made by women for themselves and their families. Beadwork is a way of communicating without words. This is done through patterns, styles and colours and each is particular to a specific group. Red is often associated with power and used among the Oba of Benin. So a red bead in this culture represents the deadly potency of the king. This can make us understand many things about the wearer, such as age, where they come from, marital status and status in the community. Colours have symbolic meaning and vary from region to region. It is impossible to discuss all the different intepretations here.
Traditional objects
Do traditional objects have special meanings, uses or forms? Do these meanings, uses or forms stay the same or do they change over time? Beadwork Beaded objects form an important part of traditional African dress. It is worn for special occasions, such as weddings and festivals and to tell others something of the spiritual power, status or stage of life of the person wearing it.
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isiZulu neckpiece. 19th century
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Today, many pieces are made for the tourist market, for export purposes and are sometimes even incorporated as part of handbags and shoes. Most designs therefore deviate from their original meaning and role and are done in modern colours. A variety of beaded techniques and beaded objects are found amongst all indigenous people of South Africa and Africa. Patterns are usually geometric or could be stylised depictions of objects or animals that have meaning to a specific group. Today, beads are bought in shops and are very expensive. Therefore found objects and plastic are also included in modern pieces. It is impossible to discuss all the different types of beadwork. We did include different examples although all are not discussed.
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Above, trade beads made from bone and shells and on the right, beads from ostrich eggs dating back to about 700500 BC
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South Sotho leather panel, 19th century Above you will find a beaded gourd: babys teething ring; baby boys apron and beaded pipe. Designed by the Sotho in 1952 who are from the Eastern Free State in South Africa. Traditional isiZulu wedding necklace

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isiZulu Beadwork
Port Natal (now Durban) was one of the first areas where trading between the North AbaNguni (amaZulu) and the British took place around 1824. Most of the trading was done with amaZulus living outside the kingdom of the amaZulu. Both Chaka and Dingaan controlled and determined the trade of beads inside the kingdom. Dingaan had a particular liking for red beads or otherwise white and dark blue. IsiZulu beadwork is closely integrated with their social organisation, the technology of specialised craftsmanship, religious beliefs, educational objectives and communication. Beading is also recreational and usually done in groups as a social activity. What makes isiZulu beadwork unique is the code by which particular colours are selected and combined in various ways to create messages. These messages are woven into decorative geometric designs, which have particular significance. The craft itself forms an intricate communication system devoted entirely to the expression of ideas, feelings and facts related to behaviour and relations between the sexes.
isiZulu beadwork has a close relationship with weddings and engagements as well as court cases where marriage contracts are in dispute. All the major role players were identified by their beaded finery.
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isiZulu love letters
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Beads can communicate everything a person needs to know about the other person to avoid any discomfort or uncertainty about someones social status, marital status and even how many children a woman has. This can be seen by the colour symbols and patterns. The meaning is affected by the combination or arrangement of certain colours.
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Rolled isiZulu neckbands, 19th century
isiZulu neckpiece, 19th century
The Umbhama is a beaded band worn above a married womans forehead. It has a central segment of large beads symbolising eggs. It shows that a woman has children, along the lower edge it has some tiny triangles pointing downwards.
The beaded love letter was used by women to communicate with their men. Interpreting it is almost like understanding isiZulu. The code is however deceptively simple. It uses the basic geometric figure of the triangle and usually a maximum of seven colours. The three corners represent father, mother and child. Social conventions often influence the combinations or arrangements, which determine the meaning of colours and the geometric figures. White usually represents spiritual love, purity and virginity. Red is especially an important colour and amaZulu girls include this in the beaded love letters they send to their boyfriends.
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isiZulu love letter showing typical triangle motif
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isiZulu love letters KwaZulu-Natal
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Cape pin piece KwaZulu-Natal, South Africa
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The amaNdebele The AmaNdebele are known for their beautiful beaded works, such as the marriage blanket, the apron worn by both married and unmarried women as well as the train worn at weddings. Other items include the thick beaded coils representing fat rolls worn around the legs. Patterns are similar to the geometric patterns found on their beautifully decorated houses.

AmaNdebele women in traditional dress. Vaalplaas, Gauteng 1986
The IBHEQE (love letter sold in souvenir shops) has a simple interpretation of colour. It consists of a narrow beaded band with a flap worn around the neck. The flap contains a geometric design composed of triangles in various combinations which relates to male/female relationships.
isiZulu love letter sold at curio shops
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An umNdebele woman in apron and neckpiece
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isiNdebele marriage blanket and train
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isiNdebele neck coils and head bands
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Very old isiNdebele fertility doll
This Nceka (beaded wrap), from the Northern Province, was designed by artists Letisa Nwa-Hlengani and Thirayisa Mashawu, c.1960
An isiNdebele beaded apron for a young unmarried woman, designed and crafted in 1960
IsiNdebele dolls Original isiNdebele dolls were usually hooped and presented to young nubile (ready for mariage) girls as fertility charms. Similar dolls are also used by sangomas. After 1970, cross-cultural influences came into play and these dolls underwent significant changes and became more representational of a human figure.
Original isiNdebele fertility doll
Contemporary doll
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isiXhosa beadwork
In the Eastern Province, the amaXhosa, amaMpondo and abaThembu people had contact with the British since the 1820s. Beads were a common item offered by traders. IsiXhosa beadwork differs somewhat from that of the amaZulu and isiNdebele but is certainly not less spectacular. In many African societies, elaborate beadwork is worn only by kings and diviners. In amaXhosa society, however, this is different as all members of the tribe have been wearing it for the last hundred years. As with other groups, beadwork allowed for social identities, a persons gender, age, marital status, social rank and spiritual state. Beadwork has always been a vehicle of self-expression. Diviners wear mostly white beads as they symbolise purity and the special connection they have with the spirit world. A diviner is a person who claims to see the future through a connection with the spirit world.
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In later years, beads became very expensive and beaded dress fell out of favour during the Apartheid years as these traditional leaders were seen as puppets of the Apartheid regime. During the Apartheid years, the country was divided into homelands by the then Apartheid regime. Many of the leaders of these homelands were seen as favouring the Government at the time. Today, traditional leaders are wearing their beadwork and traditional dress again as a sign of pride and liberation.
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Former president Nelson Mandela in his ceremonial isiXhosa costume
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Traditional isiXhosa skirt for a woman with rows of stitching and beads to create a border
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Beadwork has always been a means of self-expression among the indigenous people of South Africa. Nelson Mandela wore his full beaded abaThembu outfit during his court appearance and sentencing in 1962 as a sign of pride in his own culture and his rejection of the apartheid justice system.
Young men in traditional beaded costumes
Traditional beaded finery of a umXhosa man
Modern applications of beadwork
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Paper beads made from recycled magazines are the beads of this necklace inspired by traditional beadwork designed by Hanan Yanni. Hanan Yanni also gives skills training to unemployed people.
Another example of recycled magazine paper, where paper beads are used to shape a neckpiece, designed by Hanan Yanni. This piece is clearly inspired by traditional neckpieces from Africa.
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Chandelier designed by Mud studio from the eastern Free State
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Michael Chandlers Serpentines beaded containers
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Traditional vessels

Many different kinds of traditional vessels are found all over Southern Africa, mostly used for storage of some or other kind. Some are for domestic use and others are used to store medicines and are used by sangomas (traditional healers). These are usually made from gourds, horns and bottles with a stopper. Some stoppers are made from carved wood. Pot making (pottery) was traditionally seen as the domain of women. According to traditional beliefs, pot making and the firing of pots form close links to womanhood and a girls entry into puberty. (A woman, for instance, may not make a pot while menstruating). An arc on a isiZulu pot can represent the entrance to a great hut that, in turn, represents the womb. Among Shona pots, we find a special design on the neck or shoulder junction of a jar which represents the beaded belt worn around a womans waist to protect her fertility.
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Africa collection beaded neckpiece by Corinne Hamak inspired by the triangular shapes found in traditional beadwork interpreted in a more contemporary way
A beaded animal from MonkeyBiz in Cape Town is a good example of a job creation initiative for traditional beadworkers
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Clay pots
Clay pots are made for cooking, brewing beer, storing water and for honouring ancestors. They are usually made by women. The clay is dried and grinded into a powder, sieved and then mixed with water and grog. Clay pots can be made in different ways. To follow are a few examples of different construction methods and finishes.
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Mozambican medicine vessel from the early 20th century
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A coil pot is made up of a number of clay sausages placed on top of each other and joined with muddy clay A completed coil pot being smoothed off on the outside. Once it is leather hard, it is burnished with the back of a metal spoon to a shiny surface.
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Large spouted pot, found at the Mapungubwe national heritage site
Coils placed one on top of the other to make a shape, then smoothed down and burnished. Designs can be scratched into the surface or built on. When dry, it is fired in a shallow pit in the ground. It is later polished with animal fat. Some women decorate their pots with paint, or nowadays blacken them with shoe polish.
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Large spouted pot, found at the Mapungubwe national heritage site
Nesta Nala pot with raised decoration, made in 1995. The rounded shapes represent cows.
Nesta Nala Ukhamba/vessel (isiZulu beer pot), made in 1994
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Modern vessels
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Contemporary vase designed by Imiso Ceramics
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A collection of works done by Mustard Seed and Moonshine run by Kate Carlyle
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Modern ceramics called Bambani designed by the Zizamela group of ceramic artists. (A group that was previously disadvantaged).
Double turkey jar done by Elizabeth Mbatha from the Rorkes Drift Craft Centre in KwaZulu-Natal, South Africa
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Woven baskets
Traditional baskets are used all over Africa and especially Southern Africa. They are used for carrying and gathering crops or for bringing produce from the market. The lidded variety is used mainly for storage and the flat ones for chaffing. Almost any pliable material is used, e.g. soft branches, grass, palm fronds and lately plastic and telephone wire are also used to give a more contemporary feel to the product. Various techniques determine the shape and size of the basket, which is often dictated by the customs and needs of the community. Tzonga marriage baskets are, for instance, made to keep ceremonial food warm and are decorated with beads. The lid is made by one family and the bottom part is made by another. KwaZulu-Natal is certainly the leader in basket weaving because of its abundance of suitable grass types and the palm fronds of the ilala palm. The ilala palm, which grows in the north-eastern coastal areas of KwaZuluNatal, is the main traditional source of weaving materials. Designs are created by using different colours that are woven in zigzags around the basket. It is a timeconsuming and labour-intensive work, as thin strips of the ilala palm have to be coiled around coils of grass and sewn together in a spiral form. Colours for dyes are traditionally obtained from berries, roots, leaves, bark, rusty tins and old family recipes. The patterns are geometric in character, as seen in many African designs.
umZulu woman weaving a basket
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A basket designed and woven by Sabina Mtetwa for the exhibition called Views from within that took place in 1994 Traditional beer pot cover, Northern KwaZulu, Msinga area, KwaZulu-Natal c.1950
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Traditional woven basket with natural fibres, from northern Botswana
Basket from northern Botswana, 1995
Traditional baskets woven by the master weaver Reuben Ndwandwe using only natural colours
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Geometric-patterned baskets in more modern colours
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Three contemporary baskets using waste materials, such as tins and waste fabrics, addressing the ever-increasing problem of waste materials in our environment crafters unknown
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Tutsi peace baskets used for forgiveness and reconciliation by teaching Hutus to weave these delicate baskets as part of the peace process after the Rwandan genocide. We see here that crafts can be used as a way of therapy and coming to terms with terrible things that happened in a country such as Rwanda in Africa. We also saw the same in the Aids dolls, how a community can communicate their feelings through their craft.
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Basket woven by Barber Osgerby using basketmaking techniques from the Hlabisa area in KwaZulu-Natal
DESIGN GRADE 12
HALDANE MARTIN
Furniture Designer
Haldane Martin is a well-known South African furniture designer with a conscience. He believes that furniture designers should look more at using fewer materials, avoiding materials that are toxic altogether, as well as materials that can be reused, or that have a recyclable content. The simple code to follow is Reduce, Reuse, Recycle, Avoid. Haldane, who designed the isiZulu Mama caf chair, began by collecting woven baskets from all over Africa to use as inspiration. He then worked with Ester Makzato to develop a weaving technique suitable for the shape of the chair. He replaced the traditional weaving material (ilala palm) with plastic, so that the seats would be more durable and have a more contemporary feel. The chairs are made from recycled plastic, and could originally only be made in black due to limited recycling in SA. SA produces only low grade recyclable material and the quality is inconsistent. The plastic for the isiZulu Mama chair was melted and extracted in long flat tubes ready for the weaving process. The frame of the chair is manufactured using 304 g stainless steel, made from at least 60% recycled materials, and is 100% recyclable. The seats are woven by 6 women in rural Limpopo, which is not ideal as the cost in fuel of supporting rural crafters is enormous.
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Bibi Seck and Ayse Birsel
Furniture Pieces
Bibi Seck and Ayse Birsel weaving one of the Madame Dakar furniture pieces as part of the M-Afrique series they produced for the Italian firm Moroso in Milan. These pieces are Postmodern in design, but traditional weavers from Dakar used their traditional weaving skills in this fusion of European contemporary furniture and African traditional weaving. In this project for Moroso, they started using a hand-weaving technique employing the plastic threads traditionally used for making fishing nets.
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Madame Dakar chair
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TORD BOONTJE
These two chairs make up part of the Shadowy collection by the Dutch designer Tord Boontje, which he designed for the Italian company Moroso in Milan, Italy as part of their M-Afrique series of furniture. We can see in the Madame Dakar chair and this example by Tord Boonje that it is possible to fuse traditional and modern techniques from two separate cultures to design something that is relevant for the contemporary international market. In this way, indigenous craft can be preserved.
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Nigeria
Bayo Adegbe
Bayo Adegbe is an award-winning Nigerian designer who is proud of his cultural heritage and strives to celebrate his cultural heritage by incorporating it into his exciting and very unusual fashion designs In the three examples (one on the right and the other two on the following page) by Adegbe, we can see how designers can sometimes be inspired by indigenous crafts to create unusual designs with a truly African feel, unlike anything you will ever find in Europe, for instance.
It is clear that Bayo Adegbe approached his designs in a completely new way while trying to incorporate his countrys unique crafts. We see here a fusion of crafts and design. In this way, he recognises the importance and uniqueness of indigenous craft and how it can be nurtured and preserved in a different way, opening our eyes to new possibilities as prospective young designers.
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A traditional Kente cloth woven by the Ashante people in Ghana and Senegal. It is clear where the inspiration for the chairs in the previous two examples came from.
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DESIGN GRADE 12
Textiles
Africa is well known for its colourful textiles in wax prints; resist dyed cloths, the kanga, the woven kente cloths from Ghana and our own traditional shweswe print (originally a wax printed cloth) which was introduced here by the Dutch through their connections with Indonesia (which used to be a Dutch colony). Indonesia is known throughout the world for their high-quality batik cloths. As the Cape used to be a trading post of the then Dutch East Indies Company, many trading ships stopped at the Cape for fresh produce and trade on their way between Europe and the East. The colony was often first to receive the beautiful cloths from India, China and Indonesia. These fabrics had a large influence on the textile designs of Europe and were often copied or reinvented. The Shweswe is almost synonymous with many rural people in our country. Another cloth that is associated with Africa is the kanga, a rectangular cloth worn by men and women. It often celebrates well-known African personalities and you may have seen them on national gatherings. Many African women can be seen wearing boldly printed wax fabrics from Africa on the opening of parliament each year.
Above are two more pieces designed by Bayo Adegbe
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Detail of an antique Indonesian hand-drawn wax batik dolls dress, which had an influence on African wax cloths Sample of Shweswe print
DID YOU KNOW

that Shweswe fabric dates back to as far as early Arab and Phoenician trade along the eastern seaboard before 2400 BC? The arrival of the indigo cloth emerged after the 1652 establishment of a seaport at the Cape of Good Hope. Slaves, soldiers, Khoi-San and Voortrekker women were clothed in indigo, and there is also evidence of floral-printed indigo. Much of the early indigo cloth at the Cape was from India and Holland. It was named after King Moshoeshoe after he was presented with some of the cloth by missionaries, hence the name isiShweshwe.
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Girls in Zanzibar wearing their colourful kangas
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A Kanga, silk-screen printed for the ANC, commemorating former president Nelson Mandela
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The South African fashion designer Marianne Fassler wearing a liberation cotton print overlaid with glitter-spot tulle (Christmas of 1995)
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Boeren Zakdoek from the Dutch Flisco company clearly had an influence on Swazi Kangas
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Swazi women in traditional red and white Kangas

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A dress by J.J. Schoeman influenced by traditional isiXhosa dress but somewhat altered if compared to the traditional skirt
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Crochet floor coverings by Maymott Designs on display at Design Indaba 2012. This crochet business was started by Kate Carlyle and her friend, Danny Myburg. They outsource the work to anyone over 65 who is already skilled to crochet their wacky designs. These designs are made on commission and act as an alternative to our throw-away society.
In the three fashion pictures above, the designers have been inspired by either traditional dress or traditional fabrics. These examples project the rich heritage of our country and even the rest of the continent we have a lot on offer that can inspire designers from the rest of the world.
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A dress designed by Bongiwe Walasa using traditional Shweswe print and showing influence of traditional isiXhosa dress at the hemline
A dress using African fabrics such as wax prints and the kanga, designed by Karin Monk-Kleynstra
Project Knitted Cacti by Peta Becker displayed at Design Indaba 2012. These objects interpret the age-old craft in a new and interesting way.
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Craft centres, studios and individuals who make a difference through crafts
Mapula embroiderers Initiated in 1991 by Professor Karin Skawran from the University of South Africa and based at the DWT Nthathe Adult Centre north-west of Pretoria. The project aims to create employment and income for the many unemployed women in the area. These women embroider scenes from their lives and history with needle and thread. They provide future generations with a record of their history and stories and are therefore providing future generations with social commentary on South Africa. These embroidered pieces are colourful pieces that have been displayed internationally and are sold throughout South Africa.
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Lets work together to fight Aids by Mapula Zebra Rhino Platter; sculptor Alex Sibanda; painter Octavia Buthelezi
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Ardmore ceramics Started by Fe Halsted-Berning, in the Winterton district, KwaZulu Natal
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Sculpted by Sabelo Khoza and painted by Mthokozisi Dlamini
Ardmore ceramics provide work for farm workers on the Berning farm as well as others. It started off with Bonnie Ntshalintshali, a polio sufferer who could not be otherwise employed. She proved to become one of South Africas most well-known ceramic artists.
Schoolchildren by Mapula
Their inspiration comes from their own traditions, biblical stories, nature and illustrated books on animals and plants. They use a range of techniques and products meticulously painted by hand. Faye has trained some 60 craft artists in two different locations, namely Springvale and Champagne Castle, managed by Moses Nqubuka.
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Case Studies
South Africa Laduma Ngxokolo
Port Elizabeth, Eastern Cape Knitwear influenced by isiXhosa beadwork Laduma was born in Port Elizabeth and first learned knitwear from his late mother who made machine knitwear garments for sale. His flair for knitwear earned him a bursary from both Cape Wools and Mohair South Africa to complete his B Tech studies at Nelson Mandela Metropolitan University in 2010. Target market Every year, hundreds of amaXhosa boys between the ages of 18 and 23 attend circumcision schools to be initiated into a manhood ritual. Following this, they are guided through a six-month period of protocol. After this they will be called amakrwalas. Their parents are obliged to buy them a new range of clothing, which includes quality mens knitwear from brands like Pringle, for instance. As this knitwear bears no resemblance to the isiXhosa tradition and patterns, Laduma saw an opportunity here to develop knitwear for amakrwalas sourcing locally for spun merino wool and mohair. Inspiration
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Above are examples of traditional isiXhosa beadwork items and a close up view of the beadwork
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As beadwork forms such an important part of isiXhosa culture and of his culture as a young umXhosa man, Laduma explored isiXhosa beadwork as a source of inspiration, which translated easily into patterns for his unique knitwear product resulting in something unique and very South African. For this product, he was chosen as part of a few international graduate students to talk about his work at the Design Indaba Conference in 2010. From all the brilliant designers in South Africa, Ladumas work was selected as part of the collection of top South African designs to represent South Africa at the showcase in Helsinki during their World Design Capital celebrations in 2012. Materials He uses locally sourced merino wool and mohair and at the same time supports small black community farmers. Most of South Africas mohair is exported overseas due to a lack of local textile industries. By utilising local mohair in his products, he aims to indirectly contribute to the market share of locals.
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Colour and pattern isiXhosa beadwork is one of the most important practices of the isiXhosa culture and essentially consists of geometric motifs such as the arrow, axe, diamond and zigzag, which were all easily translated into knitwear patterns. Colour also plays an important role in the isiXhosa culture so he had to consider the colours carefully so that it would truly represent isiXhosa culture. For this he created colour samples so that the wool and mohair could be dyed to the correct specifications. In the examples of his knitwear, you can clearly see his careful attention to pattern and colour in creating these authentic South African designs.
Some examples of the completed knitwear Laduma designed for his amakrwala series
The result is a range of beautiful mens knitwear that captures the spirit of the amaXhosa.
The Mielie brand was born in 2002 around Adri Schutzs dining room table. Today, this business has grown into a family of fifty South Africans, of whom many are from townships around Cape Town.
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Adri Schutz
The name Mielie was chosen because of the texture of the bags after completion, which resembles one of South Africas staple foods, the mielie. Their aim is to design and produce innovative, quality products for the export market using locally sourced reclaimed materials which are hand crafted. They aim to keep their products environmentally friendly but still retain high standards. They are also committed to deliver design excellence and must create jobs because of quality and beautiful design and not out of pity.
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The mielie
Mielie Design Montebello Design Centre, Cape Town
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Job creation and sustainability This knitwear had to be trendy, appeal to the amakrwala, who are influenced in turn by urban style, but could still be identified as part of the isiXhosa culture. He foresees the opportunity for employment and business ventures in the mohair, wool industry and knitting mills. There is great interest in his designs by industry and the possibility of exporting to other countries.
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The texture resembles the knobbly surface of the mielie

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Target market Mielie Design aims to create quality hand-crafted products for women locally and internationally. Before being sent out into the world, every Mielie product is labelled with the name of the weaver who made it creating the opportunity for a connection between the buyer and the maker. Inspiration Flowers, geometrics and abstracts appear in their designs. Products Products include hand-crafted bags and products for the interior such as poufs, floor covers and seat covers. With the motto that anything is possible, Mielie is pretty open to suggestions from their customers.
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Carpet with circular pattern
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Heart bag Ball with octagon pattern
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Notebook bag
Octagonal pattern
Fluff ball
Materials and techniques Mielie reuses pre-consumer textile waste, such as off-cuts and end of rolls, up-cycling and reclaiming the unwanted into beautiful products such as bags and items for the home. Mielie buys these by-products by the kilogram from local factories once every week. The shades vary every week and also seasonally they never know what they will get. The solution for this was to work with broad colour ways i.e. lagoon = dark blue to aqua, emerald to bottle green. The bags are made using techniques such as hooked rugging, crochet and knotting, which gives them the characteristicly rough texture and unique look. All bags are made from recycled locally produced materials which are strips of cotton, a by-product from cotton mills. The strips are woven into hessian bags and each time a completed bag is returned, the weaver gets issued with the next design. The fabric of the Mielie range is reclaimed, and the finishes (cotton thread, needles, genuine leather handles, etc.) are all locally produced.
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Women busy working on some projects in the loft at the Montebello Craft Centre where Mielie has its headquarters
ZenZulu Durban, KwaZulu-Natal
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ZenZulu was established by the designer Marisa Fick-Jordaan in 1995. Her interest in transitional craft forms led her to start a weaving project with telephone wire in an informal settlement outside Durban. The original aim was to create a fusion of traditional techniques and modern materials to create cutting-edge modern designs of African accessories and home products that will have global appeal. The works are original, innovative, handcrafted, eco-friendly and sustainable. It is traded fairly to sustain community development. Target market ZenZulu produce quality products for corporate and private interiors locally and internationally for the high end of the market. Designs are regularly updated and manufactured to very high standards to meet the demands of an evergrowing market. Among their clients are well-known designers like Oscar de la Renta and the design store of the Museum of Decorative Arts in Paris. Inspiration Some works are inspired by natural forms such as leaves. Others are inspired by lace as well as the basket-weaving techniques of the amaZulu people. Products ZenZulu make handcrafted products that include bowls and vessels of various shapes and colours. These are handwoven decorative artworks which include specialty ranges and custom-designed products. They also produce fashion accessories and holiday ornaments in which they combine beads with telephone wire.
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Job creation and sustainability The ladies who weave the bags are allowed to work from home and are ensured in this way that they are also home for their children and can strengthen their family lives and bonds. The aim of creating employment for these women was to restore dignity and financial independence to these South Africans.
DESIGN GRADE 12
Red wired Jungle vessel designed by Marisa Fick-Jordaan of ZenZulu
Wired giant lace platter by Marisa Fick-Jordaan of ZenZulu
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Variety of Original range of ZenZulu vessels
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Woven cuffs with beads done by ZenZulu
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Materials and techniques Traditional basket-weaving techniques are used with telephone wire. As the products are handcrafted, there are slight variations in size, shape and colour. The bowls and vessels are handwoven from PVC coated copper or mild steel wire. The products need to be cleaned with a damp cloth or gently washed with a mild soap and kept away from direct sunlight. Instead of using the traditional weaving materials of the area, they use modern materials and fuse them with the technique used by master weavers namely a coiled basket technique. The products are all eco-friendly.
One of the umZulu ladies busy weaving around a mould
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Close up view of weaving
Underside of vessel
Job creation and sustainability ZenZulu started off with only two master weavers, a group of skilled beaders and a couple of Zimbabwean refugees. When funding was eventually secured, Marisa started with skills training and had to find someone to create more basket moulds and coerced a wire manufacturer to supply wire in different colours. Today, ZenZulu provide sustainable jobs for more than 350 home-based craft producers in four different communities. To ensure sustainability, their products are constantly updated and fair trade is always adhered to.
A cti v it y
Explore the differences between for instance Monkeybiz, Laduma Ngxokolo or Maymott design and a group of friends or a church group getting together to knit for charity. Use your findings in a class debate about craft vs art vs design vs hobbies. Ask questions like: Who is the final product intended for? Who is making it? Is it original in design or copied from an existing pattern? Does it create jobs and alleviate poverty? Is it a charity? Is the creation for the sake of enjoying an interest in a hobby or more income generated? Does the activity or design of the product aim to preserve existing knowledge systems and even explore the possibilities to go beyond that? Would you be able to exhibit the product on a large-scale exhibition like the Design Indaba, where the top designers and crafters are showcased?
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These are one of many church groups who get together and knit scarves or jerseys for charity
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Maymott design, inspired by sea life, using the crochet technique as their construction method
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Glossary
Amakrwala: Young initiated amaXhosa men. Diviner: A person who claims to see the future through a connection with the spirit world. Hooked rugging: Refers to a craft where rugs are made by pulling loops of wool, yarn or fabric through a stiff woven base such as hessian or burlap. Ibheqe: isiZulu beaded love letter. Indigenous: That which is true to a country, such as plants, animals, people and customs. Mapungubwe: National and world heritage site in Limpopo province. It is a well-known archaeological site. Shweswe fabric: A cotton fabric dating back as far as early Arab and Phoenician trade along the eastern seaboard before 2400 BC. The arrival of the indigo cloth emerged after the 1652 establishment of a seaport at the Cape of Good Hope. Early indigo fabric came mostly from India.
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Traditions: Traditions are commonly used to describe beliefs or ways of doing things that are passed on from one generation to another.
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Design in a business context

The fact that you chose Design as a subject makes us believe that you want to connect with the discipline on some level. Of course, taking the subject at school does not mean that you have to follow a formal career in design, but we would like to start a bit wider and look at Design as a state of mind. In 2005, Daniel Pink, a former White House speechwriter, wrote an amazing book. It is called A Whole New Mind. The book is a long-running New York Times and BusinessWeek bestseller that has been translated into more than 20 languages. The book was named Best Business Book of 2005 by Strategy + Business, The Miami Herald, 800-CEO-READ, and Fast Company.
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In the introduction, Daniel writes:
The last few decades have belonged to a certain kind of person with a certain kind of mind computer programmers who could crank code, lawyers who could craft contracts, MBAs who could crunch numbers. But the keys to the kingdom are changing hands. The future belongs to a very different kind of person with a very different kind of mind creators and emphasizers, pattern recognizers and meaning makers. These people artists, inventors, designers, storytellers, caregivers, consolers, big picture thinkers will now reap societys richest awards and share its greatest joys.
He further argues that a change is coming as a society, we are moving from an Information Age (where the economy and society are built on the logical, the linear and computers) to the Conceptual Age (where the economy and society are built on the inventive and emphatic, bearing the bigger picture in mind). Before the Information Age, we had the Agricultural Age (farmers) and the Industrial Age (factory workers). After this followed the Information Age with what Pink calls knowledge workers. These workers simply applied the knowledge they were taught without asking any questions. Now the curtain is rising on the last act, which is the Conceptual Age. The main characters of this age are the creator and the emphasiser.

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Traditionally non-creative area which you have identified
Write down five areas that are traditionally non-creative where Design thinking can make a difference. Be careful not to be too casual about this, search for concrete reasons why you made your choices and remarks and ask people who currently operate in these areas! Write down your 5 identified areas in column one and then motivate your answer in column two.
Motivation for your suggestion
1. 2. 3. 4. 5.
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Daniel Pink, a former White House speechwriter, wrote an amazing book. It is called A Whole New Mind.
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So, as you can see, thinking, and more specifically Design thinking, is not limited to a formal career in design. It can be, and should be applied in all sections of society. Pink goes on to lead the traditional left-brain thinkers (knowledge workers) through six aptitudes, which could help them to learn a new set of skills so that they can adapt in the Conceptual Age. These skills, like holistic thinking, synthesis, intuition, estimation, and emotional literacy, are usually thought of as right-brain characteristics. The following paragraph from the book is a good summary:
The capacity to detect patterns and opportunities, to create artistic and emotional beauty, to craft a satisfying narrative, and to combine seemingly unrelated ideas into something new. The ability to empathize with others, to understand the subtleties of human interaction, to find joy in ones self and to elicit it in others, and to stretch beyond the quotidian or commonplace in pursuit of purpose and meaning.
2. Story (not just argument). Create compelling narratives, enriching what most people in the business world see as dry facts with emotion. 3. Symphony (not just focus). Synthesise and put pieces together, combine seemingly unrelated ideas and be able to see the big picture. 4. Empathy (not just logic). Be in the other guys shoes and learn to sense feelings and read emotions. (User-centred design).
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It honestly is a good read!
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5. Play (not just seriousness). Blur the solid line between work and play and embrace well-being, lightheartedness, laughter, games and humour. 6. Meaning (not just accumulation). Transcend the quest for material accumulation and pursue desires that are more significant. Find meaning in life and develop your intuition.
So, what have we learnt so far? The world is changing, and while it is becoming more human/user-centric, we as designers and design thinkers have to continuously change with the tide. Not only do we have to develop our sensory awareness towards different users so that we can provide spot-on solutions for their needs, but we also need to be flexible enough to fit the elastic nature of design as a catalyst for continuous change. In the past, designers were usually relegated to the end of the decision-making line, only entering the process when all the other
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Here are the six aptitudes: 1. Design (not just function). Create solutions that go beyond providing the desired utility, but that are enriched with significance and pleasantness.
The good news is that these right-brain skills or abilities are already present in all humans; it is the Information Age that did not consider these skills to be of any importance.
business decisions had already been made. They were only considered useful to add value to the aesthetics of the product at hand (to make products pretty). Fortunately for us, this landscape is busy changing but as designers we still need to ensure that we train ourselves to be holistic thinkers: we should be excellent problem solvers, we should understand and embrace sustainability and always design responsibly. For those amongst you who understand the critical importance of thinking especially in terms of people (human-centred design) rather than in terms of stuff , there is a great and bright future ahead of you, whether in a mainstream design career or not! Even though some of you may have already made the decision to pursue a career in design, we still want to share the following points that will certainly reinforce your decision. And for the rest of you that are still deciding, these points might just assist you in making your final decision. There are many good reasons to study design; here are some: Design is not something distant or foreign; we are completely surrounded by it every day. Everything we use, touch or wear has at some point been designed. The places where we work, stay and relax have all been designed it is an almost impossible task to separate ourselves from design. In fact, it is design education that will inform you how the world functions and the role that design plays within that context. As we saw earlier in the book by Daniel Pink, the world is changing to an environment of innovations, creativity and ingenuity. The worlds demand for innovation is insatiable and spans the fields of government, industry, business and non-profit work. An education in design is like exercising your creative muscles, and by persevering with this creative exercise and activity you eventually develop your unique potential and creative ability. Design can never be seen in isolation. You will find that design has the powerful ability to complement other subjects you may be interested in, from the sciences and technology to mathematics and business. Design strengthens our ability to observe, helps with tasks that involve critical thinking, problem solving and also interpersonal skills and communication. Design demands you to investigate, explore, evaluate, invent and contributes to your ability to understand, develop and communicate systems, processes and environments in a visual manner. Furthermore, to have a good education and understanding of design helps you gain insights into the fields of marketing, business, entrepreneurship and ergonomics. An education in design will help you make sense of the world we live in. Millions and millions of symbols, signs, pictures and messages confront all of us every day. We have to sort through these, make sense and understand them in order to correctly respond to them. Life has become really complicated, and without the aid of organisational systems, we would be lost, or at least severely disadvantaged. We can also say that an education in design builds our visual literacy and expands our perceptions in how we see and analyse the world; it enhances our abilities to function and interact fully in society and the economy. The young people of today (yes, thats you) are the leaders, workers, decision makers and problem solvers of tomorrow. We all know about the many problems staring us in the face: global warming, climate change, global recession to name but a few. Scary stuff, but instead we prefer to rather see the world with all its problems as a classroom full of opportunities, and design education can provide you with skills to help find solutions to our social, environmental, political and economic problems. It is a known fact that creative thinkers and designers are optimists, so it is up to you if you want to join this club of optimists!
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PROJ EC t S
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Write an essay on the topic User-centred design. What is user-centred design? How do you think this approach is or will be changing the way we live, how we choose, when and what we buy and how we understand our role as both designers and consumers in our world? Already the principles of user-centred design have altered the way in which we as designers relate to our work, our clients as well as our environment. In this essay, make sure you completely understand why this approach to design has been so radical and why it is so important.
What exactly is the role and importance of design education?
Here is A broad understanding of different design career options
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The first category is Visual Communication Design. This category is also sometimes referred to as the commercial side of design. This is where you will find graphic design, but also advertising, animation, digital design, film and video, brand communication design, illustration, information design, packaging design and applied photography. The next category, Surface Design, pertains more to two-dimensional end results. Skills like embroidery, stained glass, beadwork, mural design, appliqu, tapestry, textile design, weaving, flat ceramics (e.g. tiles), graffiti, mosaic, gift-wrap design, wallpaper design, fibre design and fashion can be included in this category. Lets move onto number three Product Design. When we talk about product design, it usually refers to functional or desirable, aesthetically pleasing objects, which are normally three-dimensional. This includes basketry, beadwork, carving and woodturning, ceramics, fashion and costume design, industrial design, jewellery design, paperwork, puppetry, wirework, furniture design, and glass-blowing. The last category, Environmental Design, embraces fields such as architectural design, urban and landscape design, display design, event or exhibition design, interior design, theatre and set design, interior decorating, public sculpture and land art.
Design education covers a wide spectrum of different fields and we will now discuss them in more detail. Most learners know about graphic design, and maybe this is the path you would like to follow, but there are other options besides graphic design, which you could consider. Broadly speaking, there are four categories that fall under the term of Design.
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Hand in the essay to your teacher.
How do you choose your design career path?

The collection of design-related career paths is quite impressive, dont you think? So how do you choose? As we stated in Grade 11, your choice of career is very important, and one of the most important decisions you will make in your lifetime. The fact that you may be very successful with something, or you have a natural talent for something may make it easier to make that decision, but being good at something does not always translate to making it your career of choice. In other words, you may be good at something, but if it is not your PASSION as well, you will never truly be happy in such a career.
Skills and qualities of a great designer

A misconception that often arises is: to be a designer, all you need are talent and skills to express your creativity. Unfortunately, this is far from the truth. What sets successful designers apart from the rest is a combination of different characteristics that help them to be effective in a wide variety of working situations and environments. Here is a set of qualities that you may already have, but if you know of areas where you can improve, dont worry, all of us are continuously working to improve some aspect that we feel can do with a bit of fine-tuning! Self-discipline and self-motivation are really important in the industry. Design is in most cases a deadlinedriven discipline and you need to discipline yourself to stay on track. No one else is going to do it for you! Perseverance is key for a designer as deadlines may loom and long working hours may make you very tired. Not to talk about difficult and demanding clients Draw on your perseverance to meet those deadlines! This is exactly when the passion for the job is vital to comfortably carry you through long nights of endless deadlines and frustrations. Planning makes your life so much easier. With good planning skills you will never be caught unprepared or running out of time. Designers should adhere to a work-flow and function effectively as part of multidisciplinary teams. It is important for a designer to see the bigger picture and think holistically, but equally important to focus on minute detail if and when needed. They should be able to understand and interpret briefs, and be able to engage with and expertly advise a variety of clients. Strong communication skills are needed and the designer needs to be able to effectively communicate ideas, concepts and visual solutions to clients or members of his or her team. A designer needs to understand what a wide variety of target markets really need. A designer needs a developed intellect so that he or she can reflect, review and revise ideas. They should solve problems by thinking conceptually and creatively. Focus on high quality, sustainable solutions. Be able to evaluate and test solutions and then offer the best solution for a final product.
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Can you answer the following questions about yourself?

In addition to the qualities mentioned above, you also need to know and understand yourself. How well do you understand your own personality? Are you an introverted or an extroverted person? Do you have high levels of energy and just love to be in the centre of things, or do you prefer to work in a quiet environment? Are you an active person, or can you tolerate long periods of inactivity? Are you sociable or do you tend to be unsociable? Do you tend to be impulsive or is it very important to stay in control? Do you stress easily or can you work well under pressure? Are you confident and independent or would you feel more secure if you were part of a team or working with a mentor? Are you a person who loves detail or do you prefer and understand the bigger picture? Are you a person who finds it very difficult to handle criticism? Would you like to specialise or would you like to be involved across a range of activities?
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All of these questions have to do with your character and personality. There is not much that you can do to change who you are, but you could certainly find ways around aspects that would make it difficult for you to pursue a career in design. A good example here is someone who may get very stressed in pressure situations, such as when you need to work flat out for a deadline. If this person understands him or herself well, they may want to plan their workload differently so that they can altogether avoid situations like that. Knowing yourself may also play a very important role in your decision of where to study.
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In the section above, many characteristics that are necessary for a successful career in design are mentioned.
Characteristic that could be seen as an asset for a career in design
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3. 4. 5. 6. 7. 8.
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A great designer is a life-long learner, aware of what has worked before, conscious of what is working now and thoughtful about what will work best in the future.
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Motivation
In a column, please make a list of eight character traits of yourself, which you think will be strong assets to you as a designer, and then also, from the list above, or even other traits that you are aware of, choose another eight that may need a little polishing and fine-tuning before they will be able to help you in your future career. Remember, although we all have areas we perform strongly in, we all have other areas where we can improve and the areas where you or someone else may need some improvement should not be seen as criticism. As designers, we rather try to keep on adapting and improving our skills over the course of our whole career. A great designer should never stop learning!
Characteristic that could be seen as an area for improvement for a future career in design
Motivation
1. 2. 3. 4. 5. 6. 7.
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In Grade 11, we discussed the differences between the options you have on offer for tertiary study and you also did some exercises and a project to help you understand. Here are a few web sites to go back to where you will also find a list of the different tertiary institutions that are available.
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Design Schools in SA
Source: SABS Design Institute: Design for Development This is a list of design schools and faculties accredited by the South African Qualifications Authority (SAQA). Please note that as courses, and even institutions, may come and go, and contact details may change, it is not possible for the list to be comprehensive at any given time. It is therefore always a good idea to confirm directly whether a course is still offered before you plan further. This information is made available to help you to plan further studies in Design and does not constitute a recommendation. The list is arranged by province and includes Colleges, Universities of Technology, Universities and Independent Schools. Please find the list of tertiary institutions here: https://www.sabs.co.za/index.php?page=dapplieddesignstudy For further information, please also look at the following sites: https://www.sabs.co.za/index.php?page=dapplieddesigncg https://www.sabs.co.za/index.php?page=dapplieddesigncareer
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What can a prospective employer be looking for?

Thinking about employment may seem a long way away; you are only just completing Grade 12, for heavens sake! However, as any graduate will tell you, the time you spend studying something you love flies past and before you realise it you have to make even more difficult decisions. What job will be perfect for me? What do I need to do to land that dream job I really want? It is interesting that, apart from the obvious skill set and a great portfolio you need to be a functioning designer, a prospective employer will also be looking for the following characteristics in you as they interview you for that position. Things a prospective employer will be looking for: Strong work ethics Employers value an employee who understands and possesses a willingness to work hard.
Possess a positive attitude Employers seek employees who have initiative and the motivation to get the job done. A positive attitude gets the work done and motivates others to do the same. It is the enthusiastic employee who creates an environment of goodwill and who provides a positive role model for others.
Honesty Employers value employees who maintain a sense of honesty and integrity above all else.
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Self-motivated Employers look for employees who require very little supervision and direction to get the work done in a timely and professional manner. Motivated to grow & learn In an ever-changing workplace, employers seek employees who are interested in keeping up with new developments and knowledge in the field. Strong self-confidence Employees who recognise their skills and strengths are able to utilise them in the workplace and require little prodding or supervision to get their work completed. Professional behaviour Employers value employees who exhibit behaviour that is professional at all times. Loyalty Employers value employees they can trust and value their loyalty to the company.
Adaptability Employers seek employees who are adaptable and maintain flexibility in completing tasks in an ever-changing workplace.
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Dependable & responsible Employers value employees who come to work on time, are there when they are supposed to be, and are responsible for their actions and behaviour.
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In your Grade 11 year, you were required to write a CV for possible employment or further study. We would like you to go back to your CV and rewrite it. The changes will not be radical as a CV is a factual piece of work, but you may want to add extra information and bring it up to date.
Your letter of introduction should include at least the following:
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Introduction of yourself. Why you are writing this letter and submitting the CV. Motivation why you would like to pursue the career of your choice. Clarify your personal skills and strengths. Tell them about extra activities (you may be a sport coach or may have completed a first aid course). Include a very short summary of your academic achievements (they will see a full version in the CV). Explain interest in specific areas of the course or job if there are any. Strong closing of letter again expressing your interest. Statements about your current relationship, your medical problems (unless they are relevant e.g. a disability), the current state of your finances and other information such as this are too personal and should not be included. The point of the letter is to give an insight into the personality and the strength of desire to proceed with the course or application for the job. Once completed, please hand in both the reworked CV and the letter of introduction to your teacher.
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In addition, we would like you to write a cover letter that will be attached on the front of your CV when you send it away. This letter is your introduction of yourself, to someone who has yet to meet you and will most probably influence a decision whether to invite you for an interview for employment or place in a course all based on what you write about yourself together with a great portfolio, of course. The introduction can be more informal and personal than the actual CV and should say something about the qualities that will not be so obvious from your CV. Look at the points above for guidance! Remember to be honest; if your introductory letter states that you are an outgoing, fun-loving, extroverted person, this needs to be confirmed at your appointment. If you sit there with nothing to say, chances are the interviewer may wonder what else was not so accurate in your statement!
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Changing the world can be fun too!

This is Monarchy
The design industry as a whole sometimes still suffers from the misconception that it is impossible to have a resoundingly successful business and also make a difference in the world. In past years, it also had a reputation of being a soft career option and not much value was attached to it. Thankfully, these misconceptions have all but disappeared. Let us introduce you to the husband and wife team from Monarchy, who has defied the odds to, in a very short few years, turn their industry upside down. They have achieved national and international success, winning many an accolade, while at the same time trying to make a difference and having loads of fun! From their office in Bryanston, Nicci and Delarey Hattingh have answered our questions about their way of working, how it all started, and how they see their future in this wonderful industry.
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Nicci:
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Tell us a little about yourselves, where you attended school and where/what you studied.
I was born in 1981 in Vereeniging as a surprise late arrival, the youngest and 3rd of three girls. I grew up partly in the Vaal Triangle, where my father was a minister, and on our citrus holiday farm in the Magaliesburg mountains. When I was still in primary school, I had lot of free time to enjoy life on the farmlands, and this resulted in many opportunities for invention, creation and imagination from selling creations to the principal, breeding any imaginable animal that could survive out there, creating a nursery complete with designed catalogue, creating stories, drawing and writing. Eager to get out of a small town and to conquer the world, I sought out a degree that resonated strongly with my passions for both music and arts.
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Where all the magic happens!
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Nicci and Delarey Hattingh, dynamic owners of Monarchy
My parents raised me to be an independent thinker and with their strong support in my endeavours, I set out to study Information Design at the University of Pretoria. Little did I know then that the entire universe was about to unfold in front of me. In those days, design as a profession was quite a foreign concept and while I didnt quite know what I was getting myself into, all that I knew was that this was my calling and that I was at the right place at the right time.
Delarey:
I was born in 1980 as the third of four boys (yes, no sisters)! I grew up in Pretoria where I completed my school education as well. I have very supportive parents, and we were always encouraged and supported to follow wherever our passions lead us. With a wide field of interest, anything from technology, medicine, maths, the arts, obscure sports and cinema, I was originally planning to study medicine. I realised it wasnt my calling, so I decided to seek my destiny at the then Rand Afrikaanse Universiteit (RAU) and entered into B.Com Accounting (with a major in marketing). However, I quickly realised that it was incredibly limiting for myself and understood that to be happy, you have to follow your passion. My passion has always been to create and to inspire, and with my love for cinema and TV, I changed to studying Audiovisual Production Management, with another major in Psychology at RAU. Wherever you study, whatever your course and passion, it will not guarantee anything, except if you put in a lot of work and effort making it a success.
Why did you decide to start your own business and what type of services do you deliver to your clients?
Nicci:
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Delarey:
After completing my degree in 2003, I knew that the professional television industry was where I wanted to make my mark. I applied to the top agencies in the country which were then in Johannesburg. Because of a strong portfolio and freelance experience while still at university, I was fortunate enough to be able to choose between quite a few opportunities. I picked the one where I felt I could really come to my full potential and grow, and where it was all about the quality of the work. I was really in my element and immediately was responsible for directing 2-D animation, 3-D animation, animating some elements myself as well as conceptualising design projects assigned to me. I really enjoyed it. Hard and demanding work as it was, to see your work on TV was really rewarding and I was starting to realise all the endless possibilities that motion design had to offer. I was promoted to Junior Creative Director after less than 4 years, moving on to becoming one of the youngest Creative Directors in the country at age 25. I loved every minute of it. When you have great clients to work with, as we did, the only limit is the infrastructure. After working at the company for nearly 7 years, the time came for me to leave. I took a sabbatical for a few months, married my soulmate and then an amazing opportunity came our way in March 2010. It was to pitch on the first ever HD Movie Channel of the country M-Net Movies HD. We knew that our time had come and that it was now or never. We pitched against all the best companies in the country, including my previous employer, not even having a company name at that stage! We worked from our dining room table, stopped all other jobs, with no income at all and we gave it our all. We won the pitch and it launched our company, Monarchy, into the big league. We provide a full service from receiving the brief from our client straight through to delivering and arranging for scheduling on air. We specialise in on-air branding and strategy, where we provide a complete creative solution to the brief depending on the needs, ranging from design, illustration, copywriting, music composition, 2-D animation, 3-D animation, direction, production, compositing and editing. Whatever the specific creative challenge requires! We dont stick to formulas and we solve problems as they arise.
After completing my degree, I started out as a radio producer and later had the opportunity to get into on-air marketing and directing for the biggest network in South Africa. Specialising in the directing, production, and the
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post-production of mostly live-action pieces, I had great opportunities doing very interesting things with great people locally and from international companies like Sony (Japan), FIFA, and Suze Orman. We then started our company, as Nicci described it earlier.
Is there a big difference between when you are working for someone else and owning and operating your own company?
Nicci & Delarey:
If youre passionate about what you do, which you really need to be if you want to make a success out of your career, you end up putting a lot of time into your work and burning the midnight oil. This happens when working for someone else or when you are the owner of a company. All of this improves your skills and makes you better. No experience is a wasted one. The more responsibility you are given and bigger projects you are allocated, the quicker you can move up to even bigger challenges (and in the case of working for someone else, a much bigger salary!) The difference when owning and operating your own company is all the non-creative work that you have to deal with on top of what you love, like making sure there is a profit to be able to pay everyones salaries, all the office admin, all the types of legalities and company tax you have to adhere to, getting the office and working environment the way you want it to be, actually sourcing the work in and having lots of client meetings. Go international and youre working in different time zones across the globe as well and youre doing this 24 hours of the day! This all happens while maintaining a healthy and happy working environment where everyones moods and problems become yours to deal with as well. Add a stressful industry with lots of demands and deadlines into the equation, and it becomes quite challenging to deal with while at the same time soaring above the competition. So to answer the question, yes. Working for someone else is much easier as you have a lot less to deal with. And if youre really good at what you do, you still get to do your own thing in your own way even while working for someone else. However, having your own company is very rewarding and the sky is the limit because you make the decisions while taking full responsibility. In both situations, you will have clients that need to be ecstatic by what you deliver to them and you need to give them more than they expected to keep them coming back.
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Nicci & Delarey:
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Why do you think your company is so successful?

If we have to sum this up in one word, it would be passion. If you are excited about a clients project, they get excited too and together there is no stopping it. If you just treat it like a job that has to be done, the work will show it as well. When we started Monarchy, the motivation was not to be better than any other company, or to be competing against everyone else. It came from the fact that we wanted to do the best possible work that we could do, without having the limitations, that we felt was previously there in other companies. The drive to live up to our own potential, to come up with ground-breaking and never-seen-before pieces of work, we felt was not only a responsibility that we had, but also a lot of fun as well! Why would anyone want to do something that has been done before in the same way, why not come up with awesome new ways to inspire and entertain? This want means nothing if you dont put in incredible hard work, and many, many hours. We do the best we can, and always want to give our clients more than they expected, give them exactly what they needed, and that sometimes mean something they didnt know they wanted. At Monarchy, idea is king! Our projects always come from a place that has to have meaning. Something that only looks beautiful, is empty of meaning, has no emotion behind it, no communication and purpose and doesnt have a long shelf life, will show and people out there feel it, even if it is subconsciously. If you are going to constantly compete with other peoples/companys work (no matter what industry you are in), you will only try to be better than other people, not be able to focus on what is really great, what is really unique out there. Do it for the right reasons. We put all our energy and passion into all our projects, and have fun while we do it.
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With all your successes, you could be seen as wonderful role models for future generations of designers in this country. How important is it to you to fulfill that role?
Nicci:
Like in any other industry, if you follow your passion, together with hard work, you will become one of the best. If you are one of the best, the money and fame will follow. If you do it for the last two, it will not be easy, but if you do it because of real intuitive passion, you cant go wrong. What people dont understand at first is that we work with ideas and shaping perceptions in peoples minds. When a career like this is compared to, for example, that of a doctor saving lives, it often is frowned upon as not being important in society. This is not the case. To us, this is a powerful tool to give something back to the world and inspire positivity. If you can instill the fact that anything is in fact possible, which we truly believe, imagine what the world can be like. If you can inspire a nation, you can conquer the world.
What advice could you give learners who are just about to embark on a career in design?
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Nicci: Nicci & Delarey:
Make sure this is a direction you want to go in. This industry is one of the most interesting, rewarding and fun you can ever be in, but also one of the most energy and time consuming you can ever imagine. Always be aware what is going on in the world and what is new and trending, live life and those experiences will fuel your creative drive. If this is your talent and you have a passion for this world, it still is going to take a lot of hard work to make a success of it. As much it is about talent and hard work, it is about people as well, and the relationships you make and build mean just as much. Be nice to people, work hard, have a drive always to be better than your best and youll see how rewarding this incredible industry can be. Be ethical and positive, youll be surprised even in the world we live in today how important this is.
How does a typical project evolve from when you are briefed until completion?
The process can either start with a need from a client, in the format of an existing brief, or it can be a proactive idea from our side that we feel they will benefit from. Or, it could be a situation where a few invited companies pitch against each other for an account. In South Africa, whether you win the pitch or not, the pitch process isnt paid for. Whereas internationally there is a small pitch fee, which at least helps to cover some of the costs incurred during development.
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We have been incredibly blessed to have had the wonderful opportunities that have come our way, but it was the result of incredibly hard work and a passion for what we do. It is very humbling to be seen as role models, for something that we feel is a calling for us. Design and production are not very well known in South Africa, but we have an incredible talent pool that is just waiting to be realised into globally trend-setting platforms. South Africa has one of the most progressive design industries and the global market not only loves our work ethic, but also our unique view on design/production as a whole. That comes from our diverse communities, our fascinating view of the world and ourselves. This industry is ever changing and expanding exponentially internationally. Design is seen as one of the top emerging careers for the future. Traditionally, design is seen as just another arts degree or industry, but the world has changed so much that design is the compass for the new zeitgeist out there. Living in a globally interconnected world, design is playing an ever-greater role in the global consciousness. Designers are seen as the new leaders in many industries, the rock-stars of what is culturally accepted, the gurus of strategy for multinational companies and the authorities of where the world is heading technologically, socially and sometimes even economically.
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After a brief (which is either a conference call if its an international client or a face-to-face meeting and discussion with a local client), we then research the project and the client extensively. After we understand both the project and the client, we come up with a strategy of what we think would be the (and not a) solution for this project. Looking into brand strengths and weaknesses, target markets, mediums and outcome for the client is all part of the strategy and research. This might take a lot longer than most people think because it is the starting point for absolutely everything going forward with the project. The idea behind the execution will always be the driving force. The more you research and strategise about it beforehand, the better, more streamlined and more effective the execution will come together. Mostly we will come up with feel-boards and storyboards for our clients and they will sign off or collaborate with us with changes. When these are finalised, we go into preproduction and production on the various elements of the very complex process of what these projects would entail. This might include 2-D design and illustration that has to be directed and translated into 3-D animations that has to be composited and rendered on render farms locally and sometimes internationally. It could also include having all those elements being seamlessly incorporated with live footage, that had a whole process of casting, location-scouting, shooting and edited with original composed music and sound design. These processes are almost always unique to the project we are working on. Sometimes, if there are serious time constraints which there often are, we have to go straight into production and tweak things from there. This can be done but is obviously not ideal.
Nicci:
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Could you tell us more about your involvement with Richard Branson and his Branson Centre of Entrepreneurship?
The Branson Centre of Entrepreneurship has been doing incredible work in South Africa by uplifting and training young entrepreneurs who are talented and passionate about what they are doing. It is one of the Virgin groups many socially responsible endeavours, but it is only one of two that have the Branson name directly linked to it. We wanted to be part of this inspiring and uplifting movement and we have been able to send some entrepreneurs to the UK to get incredible training and insight from Richard Brandon directly, as well as other international leaders in their fields. In supporting this very important movement, we have been very fortunate to meet Sir Richard Branson as well, and his energy and insight is only outshone by his incredible humbleness and humanity towards everyone he meets. He truly is an inspiring individual and we will keep on supporting and contributing to his noble causes in whichever way we can.
We have been very fortunate in being the most awarded South African company that specialises in what we do over the last two years. We won 32 international and local awards in our first 2 years of existence and have had the incredible honour to be awarded The Best Creative Agency International at the 2012 PromaxBDA awards in Los Angeles. We look forward to what the future might hold! It meant the world for us to be able to represent South Africa and the immense potential that we have in our country. This gave us a platform not only as a company, but as part of a country, to know that we dont have to stand back for anyone else in the whole world when it comes to something that you love doing.
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Please tell us about all your awards and accolades! What does it mean to you as South Africans to be internationally recognised in this way?
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Could you include some examples of your work?
Title sequence Supersport
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M-Net movie channel brand piece
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Africa Magic World Channel identity
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M-Net movies
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In closing
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M-Net movies adventure
More information available at http://www.thisismonarchy.tv
To illustrate a point made earlier in the module, namely:
You will find that design can complement other subjects you many be interested in, from the sciences and technology to mathematics and business.
Two examples where design has played an integral part in creating a new way of approaching an old problem will be discussed. The first example is called Biomimicry, and the second example is Universal Design.
Biomimicry
Designboom.com describes the discipline of biomimicry as follows: Biomimicry takes its name from the Greek words bios, meaning life and mimesis, meaning to imitate. As its name might suggest, it involves the study of natures designs and mimicking them to solve human challenges. Janine Benyus, one of biomimicrys pioneers defines it as, innovation inspired by nature. An early and well-known example of this process is evident in the invention of Velcro. The products inventor, George de Mestral, stumbled upon the idea by observing how burrs stuck to his dogs fur and his clothing. By mimicking the small hooks of the burrs, he was able to develop the product we now know as Velcro. While this new field may seem very scientific, it is of great use and importance to todays designers. Biomimicry operates on the principle that, in its 3.8 billion-year history, nature has already found solutions to many of the problems we are trying to solve. Based on the ideas and designs which nature has demonstrated to be successful, biomimicry is able to provide a wealth of inspiration for those solving problems, something designers do everyday. http://www.designboom.com/contemporary/biomimicry.html
A close-up of a geckos setae on the bottom of its feet
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Universal Design
Gecko tape is a new material which found inspiration from the gecko lizards ability to climb vertical surfaces and even move around upside down. Gecko tape is an adhesive that uses weak intermolecular attractive forces to be incredible sticky at one moment and not at all on the next. The adhesive mimics the setae on the bottom of the geckos feet. The material was integrated into a robot gecko at Stanford University named stickybot to demonstrate the tapes sticking ability. For a wonderful lecture on biomimicry, given by Janine Benyus for TED.com, please check out http://www.youtube.com/watch?v=n77BfxnVlyc&feature=player_embedded#! .
The term universal design was first used to describe the concept of designing all products and our surrounding built-up environment to be both aesthetic and usable for all people, regardless of their age, ability, or status in life. But it was the work of Selwyn Goldsmith, author of Designing for the Disabled (1963), who really pushed the concept of free access for disabled people to the forefront. His most significant achievement was the creation of the dropped curb now a standard feature in our environment. The 7 Principles of Universal Design were developed in 1997 by a working group of architects, product designers, engineers and environmental design researchers. The purpose of the Principles is to guide the design of environments, products and communications. According to the Center for Universal Design in NCSU, the Principles may be applied to evaluate existing designs, guide the design process and educate both designers and consumers about the characteristics of more usable products and environments. Because it starts with users in mind, this is also a good example of human-centred design.
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Gecko tape integrated into a robot gecko
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Principle 1: Equitable Use
The design is useful and marketable to people with diverse abilities. Guidelines: a. Provide the same means of use for all users: identical whenever possible; equivalent when not. b. Avoid segregating or stigmatising any users. c. Provisions for privacy, security, and safety should be equally available to all users. d. Make the design appealing to all users.
Principle 2: Flexibility in Use
The design accommodates a wide range of individual preferences and abilities. Guidelines: a. Provide choice in methods of use. b. Accommodate right- or left-handed access and use. c. Facilitate the users accuracy and precision. d. Provide adaptability to the users pace.
Principle 3: Simple and Intuitive Use
Principle 4: Perceptible Information
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The design communicates necessary information effectively to the user, regardless of ambient conditions or the users sensory abilities. Guidelines: a. Use different modes (pictorial, verbal, tactile) for redundant presentation of essential information. b. Provide adequate contrast between essential information and its surroundings. c. Maximise legibility of essential information. d. Differentiate elements in ways that can be described (i.e. make it easy to give instructions or directions). e. Provide compatibility with a variety of techniques or devices used by people with sensory limitations.
Principle 5: Tolerance for Error
The design minimises hazards and the adverse consequences of accidental or unintended actions. Guidelines: a. Arrange elements to minimise hazards and errors: most used elements, most accessible; hazardous elements eliminated, isolated, or shielded. b. Provide warnings of hazards and errors. c. Provide fail-safe features. d. Discourage unconscious action in tasks that require vigilance.
Principle 6: Low Physical Effort
The design can be used efficiently and comfortably and with a minimum of fatigue. Guidelines: a. Allow user to maintain a neutral body position. b. Use reasonable operating forces. c. Minimise repetitive actions. d. Minimise sustained physical effort.
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Use of the design is easy to understand, regardless of the users experience, knowledge, language skills, or current concentration level. Guidelines: a. Eliminate unnecessary complexity. b. Be consistent with user expectations and intuition. c. Accommodate a wide range of literacy and language skills. d. Arrange information consistent with its importance. e. Provide effective prompting and feedback during and after task completion.
Appropriate size and space are provided for approach, reach, manipulation, and use regardless of users body size, posture, or mobility. Guidelines: a. Provide a clear line of sight to important elements for any seated or standing user. b. Make reach to all components comfortable for any seated or standing user. c. Accommodate variations in hand and grip size. d. Provide adequate space for the use of assistive devices or personal assistance. From: http://www.universaldesign.ie/exploreampdiscover/the7principles
Principle 7: Size and Space for Approach and Use
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The Principles of Universal Design
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I must study politics and war that my sons may have liberty to study mathematics and philosophy. My sons ought to study mathematics and philosophy, geography, natural history, naval architecture, navigation, commerce, and agriculture, in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry, and porcelain.
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This is the last module where you can show us what you are made of before we hit the preparation for the end of year examinations. You will have the opportunity to show us how you can operate within a group context and put all the skills you learnt during your Grade 10, Grade 11, as well as your Grade 12 year up to now, into practice. Just to remind you of the importance when selecting your group members, here are some pointers you learned about in Grade 11: Identify learners who will complement your skill set. Each member of the group must play to their strengths so the best possible outcome is virtually guaranteed. The group needs to make decisions as a team and consensus should be aimed for at all times. Should this not be possible, members should also be prepared to compromise and then still give their best, despite the decision not being their first choice. Every member of the group should conceptualise their own ideas to bring to the table. As a group, you will discuss the proposals and narrow them down to three strong contenders. Please document everything in detail.
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SECTION 1 2-D
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DESIGN GRADE 12
Your first task is to assemble your own powerhouse team, a creative team that will be able to design the most exciting, original, and mind-blowing campaign. Each team must consist of no more than 5 members, so please make sure that your team is well balanced, where the group members have a variety of skills in various creative fields, including 2-D and 3-D applications. Look out for characteristics like creativity, imagination, innovation, humour, fun and energy, dedication, passion, loyalty, confidence and resourcefulness! Members of the team will need to communicate well, so look for strong communication skills. The team members will all need to do solid research, so look for strong research and analytical skills; they need a good understanding of the design process, and they need to be able to work under pressure. Every group should choose a leader and each member should be assigned certain responsibilities and these need to be stipulated in the documentation. When the group presents their project at the end, each member will have to report on the areas he or she was responsible for. Marks will be allocated for participation and how successfully the individual group members performed their duties. The completed project will also be evaluated.
But first some background
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If you think about it, we in the southern hemisphere have a special relationship with textures because of our environment and weather and the abundance of light. It is very difficult to appreciate textures when you do not have light. In the northern hemisphere, you would rather find glossy surfaces compensate for the lack of light so that enough light can be reflected to make spaces, for instance, appear lighter and bigger than they really are. In South Africa, we do not have to include glossy surfaces to reflect light in our houses or any other environment, because we have more than enough natural light as it is. The use of texture has become a wonderful extension of who we are and where we live. But texture and how we use it can also have a metaphorical meaning. For this project, you need to think specifically about weaving and patchwork as two specific applications of texture, line, colour and shape. A very basic definition of weaving is as follows: Weaving is a method of fabric production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Patchwork or pieced work is a form of needlework that involves sewing together pieces of fabric into a larger design. Wikipedia
As you saw earlier in this module, much of our history and traditions were expressed in everyday objects, which were handmade from available materials. Our continents rich culture of creative interpretation and ingenious ideas is sometimes overlooked by locals but used increasingly as inspiration by many international artists and crafters. Happily, we are starting to appreciate what a wonderful heritage we have and we are embracing it in our everyday lives. In shops and magazines we see evidence of the textural appreciation we have in the wonderful displays and products we appreciate and buy. How many times have you walked up to a wall hanging, a textured lounge suite or a carpet and touched or stroked it? We all love textures and textured materials!
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Weaving and patchwork
But this definition just covers the physical attributes of weaving and patchwork. If you think about it, in both these cases you could say that the whole is bigger and better than the sum of its parts (does this sound familiar? Yes we are talking Gestalt theory!! Go and take another look at what you learnt in Grade 10 and 11 about Gestalt theory). In the case of weaving, the loose threads, which do not mean a lot individually, can be woven into a beautiful and functional piece of art or a functional item. Of course, the type of material used to weave will definitely determine the character and use of the piece. The same applies to the patchwork! Small pieces of often-leftover fabric, that have no purpose whatsoever, are given a new purpose and lease of life as part of a patchwork. Again, the choice of fabric or material will determine the character of the final piece. In fact, if you choose your materials well and appropriately, it could almost become like a painting representing you, or your subject, offering some understanding as to who you are and what you stand for! For this project, you need to think of weaving and patchwork in its widest sense. Traditionally, you would use thread or wool when you weave, concentrating on organising the pattern and colours until you end up with a neat, traditional piece. Traditional patchwork would follow much the same technique, using matching fabrics and colours to create a co-ordinated organised piece with an organised pattern. But when you go off the traditional route, you see that by using interesting shapes, techniques, and directions of weaving, and adding specific items, it becomes a unique, individual piece which can be loaded with symbolism and meaning. Think of non-traditional materials, and unusual combinations of material. The possibilities are endless. Here is a quote, which may inspire you as you are setting out to make your designed piece.
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Stunning examples of woven and patchwork pieces
The following images are really beautiful examples of woven and patchwork pieces, which should serve as inspiration and teach you how you should work towards completing your own designed piece! They range from quite traditional weaving with paper and fabric, to very unusual designed pieces using a wide variety of unexpected materials. Every part of these pieces tells a story and every little piece of material was chosen with great care.
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Louisa May Alcott
We all have our own life to pursue, our own kind of dream to be weaving, and we all have the power to make wishes come true, as long as we keep believing.
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Stunning examples of woven and patchwork pieces
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Your goal is to develop, design, and produce a multifaceted campaign for the launch of an imaginary event. As a group, you should be able to identify with this event, if possible you should fall in the target market at which this event is aimed. It can be on any topic, but choose carefully! Sometimes the simplest of topics can make the most stunning projects while over-complicated topics can become clumsy and fragmented. So, your first task is to brainstorm different ideas as a team and select the one that will best offer enough scope to allow you to complete this challenge successfully. Your campaign will have to include a variety of different applications more about that later, but always remember that every application, whether it is a logo, advertising, merchandise or venue design, will have to stay true to the campaigns original concept and remain relevant to your target market. At this stage, you need to research and analyse your target market until you understand how to represent them and to find the voice with which you will speak to them. Because such an emphasis has been placed on responsible design, sustainability, the environment, and user-centered design, and seeing as this is the way forward in design, you are required to show your support for this by adding aspects of this mode of thinking to your approach.
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Examples of woven and patchwork pieces
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Part one
You are required to create a woven or patchwork piece (or combination), which will physically and conceptually represent your target market or group. You have absolute free reign in the size and choice of materials, with the exceptions of: It has to be legal, and no animal or person must be disadvantaged or hurt in any way in the manner in which you source, use and display your work. As you learnt from user-centred design in the last module, you need to start with your target market in mind. You have the skills to do a wonderful mind map to help you and by this time you should have a great insight of whom you are dealing with, thanks to all your research. Think of the woven and/or patchwork piece as a work of design, which should be able to stand on its own, but it will also serve as design reference for the latter part of the project. Some of your pieces may serve only as visual pieces, but others may also include other functions, such as becoming clothing, tablecloths, bags or any other appropriate functional item. All of these decisions are yours to make, and the motivation for all of them should be: Is this appropriate for my target market or group?
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Part two
Events planning
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Once you are satisfied with your piece, please document it by taking photographs of it. You could also place the piece onto a photocopier machine and make copies of select areas of the piece. The copies will probably amaze you, as the photocopier accentuates the textural value and creates beautiful images. Do not worry if you dont have access to a colour photocopier machine sometimes the most dramatic and beautiful images are created on a traditional black and white machine. It is always easy to add colour later with markers, watercolour, or adding pieces of coloured paper in your design. Please hand in the piece to your teacher in a neat and professional way. Keep the photos and copies, as you will need them soon.
Taking your target market into consideration, you are required to plan an event. Broadly speaking, an event can be described as a public assembly for the purposes of celebration, education, marketing or reunion. Events can be classified based on their size, type, and context. Events can be: 1) Social or life-cycle events These include events like birthday parties, graduation parties, engagement parties, weddings, anniversaries and funerals.
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If you turn back the pages to the theory component, you will see that one of the aspects of craft is that it is made and constructed from available materials. This is translated into the situation where each area or section in the environment started to develop a specific identity. Using similar available, appropriate materials and the skills that were handed down through the ages caused this to happen. An aspect you could also consider, providing it reflects your target market, is to make use of found or recycled objects. This then also subscribes to your environmental sensitivity.
2) Education and career events Career events include education fairs, employment fairs, workshops, seminars, debates, contests, and competitions relating to education or careers. 3) Sports events These events tend to be very large and include the Olympic Games, the Football World Cup, marathons and Wimbledon tennis tournament. 4) Entertainment events Events like music concerts, fairs, festivals, fashion shows, award functions, celebrity nights, beauty pageants, flash mobs and stage shows are included in this category. 5) Political events Events like political conferences, demonstrations, rallies and political functions will fall into this category. 6) Corporate events These include product launches, road shows, corporate fairs, internal conferences and client presentations. 7) Religious events All religious festivals or fairs and religious processions fall in this category.
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Decide on the type of event you would like to plan. It goes without saying that it should be appropriate and believable for the type of target market you will entertain or host. You need to create an entirely fictitious event, the size and scope is open but you should define it really well before you start. The marketing and promotion for events change radically from event to event and you need to show insight into what you are working with and what you are trying to achieve. Planning an event is not as simple as it sounds some events take literally years to plan (think Soccer World Cup and Olympics) and there are many things to organise. But for the scope of your project we do not want you to concern yourself with detail like liquor licenses, funding and the administrative things, important though they are. You should only be concerned with the advertising of the event, all the designs that relate directly to the event and the look of the venue itself. Once the first decision is made (What type of event will this be?) all the other decisions will follow suit and will be made in conjunction with that initial decision. Will it be big or small? Will it be open to the public, or will it be aimed at a closed group e.g. invited cyclists? Will it be indoors or outdoors?
8) Fund-raising/cause-related events Any type of event can be turned into a fund-raising or cause-related event a fun run, which is actually a sporting event, can be changed into a fund-raising event if your aim is the collection of funds.
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Once you have confirmed the type of event, next you need to give it a name! Because you used your target market as reference for your woven and/or patchwork piece, the logic follows that if you use the piece as a design inspiration and reference for your event, it should be spot on for your target market! Now that you have decided on the event itself as well as a suitable name for the event, you also have at your deposal a wonderful set of images that will serve as your design inspiration.
Step 1 Identity
Your first task is to design an identity. Your identity should include a logo, a business card, a letterhead and an envelope. Here are some pointers for a successful logo taken from your Grade 11 book! It should be simple! This is by far the most important rule. Complicated logos age very fast, are very difficult to reproduce and chase up costs when you need special techniques to e.g. embroider or print a logo on a baseball cap. This rule applies to the use of typography in a logo as well. Fashionable type, which may be the frenzy right now, will be old news next month. Keep it simple! It should always reflect the positive of the company, product or service! This seems obvious, but if you want to beautify a city by clearing up all the rubbish in the streets, you may not want the rubbish you are about to remove as part of your logo. Rather use the promise of a pristine city as a much more positive approach. It should be unique and recognisable. Some logos in specific industries often start to look the same e.g. music download web sites or the computer industry often make this mistake. Make your logo stand out by being different but not so different that there is no relation between the logo and the industry it represents. So ensure that it is relevant to the industry in question. You wouldnt want your customers confusing your computer shop identity with that of the ice cream shop on the next corner! It should be memorable. If people forget the logo or the name of the company, it would be money wasted, dont you think? It should be versatile and be able to adapt to lots of applications. Many companies have 30 or more different pieces that form their corporate identities, anything from stationery to key rings, clothing, carpets, signage the list goes on. It should work in both colour and black and white. The reason for this is that sometimes, because of cost restraints, certain items such as an invoice book can be printed without colour. The logo should also be able to work as a fax. A logo used for faxing needs high contrast otherwise it will become unrecognisable - and therefor come accross as unprofessional. It should be scalable. Your logo may have to work on a badge worn by employees, or on the side of a bus! It needs to work equally well on all scales and the typography you use should be legible at all sizes. The best logos in the world are timeless. Fashions change every season, but your logo should stand the test of trends and do its job for a number of years.
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Step 2 Poster
Design a poster for your event. There are many reasons for designing a poster for an event. You may be looking for sponsors, you may be creating awareness about the event, or you may even have posters to thank your sponsors for their participation in the event. For now, the poster you need to design is one that will create awareness about your event. Can you remember what makes a poster successful? A poster is generally a simple method to attract attention and communicate basic information about an event or a product. It should be: Original eye-catching to make the public want to stop and read it! Quite simple. If it is too complex, your audience will walk away and you will have done all the effort for nothing. Organised if you want to convey specific information, especially if it is about a new product. Free from too much information; one strong single message will normally do the trick. Readable this does not mean predictable or boring, but make sure the important message gets across. Able to mobilise and encourage! You want consumers to change the way they think!
Step 3 brochure
Like all things in the field of design, to just start a brochure without a plan is inviting disaster. Part of the planning includes thinking through how you will be using your brochure and who your audience will be (who is your target market?).
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For your brochure, you may decide to focus on one area for a specific event, or have a more general approach for everyday use, but whatever the purpose, your brochure needs to be designed with that specific audience in mind. Everything information, the format, the layout, the size, and the type of fold should be matched to their needs, likes, desires and expectations. Format choices for now will only pertain to size and orientation. Make sure all the necessary information and images will fit on your brochure. Paper wasting will come across as irresponsible, so efficient use of the layout of your brochure is highly advisable. If you need to post your brochures, too big a size will be costly and impractical, but a bigger size might also be a strategic move to make a bold statement at an event so it really depends on your strategy. You need to give attention to all detail and strategise accordingly. Choose a good-quality paper with a bit of weight this immediately makes a statement about the company or event. You may even choose paper that will illustrate your sensitivity towards environmental issues and your responsible design approach.
Design a brochure with key information about your event. Brochures are an essential part of most businesses and events and, because they are so versatile, they can often operate in the place of more expensive media if you do not have a large budget. They are also portable and serve as mini-advertisements and as a reminder to the person who has pinned one on his or her notice board! Brochures come in all shapes and sizes, depending on the type and amount of copy you need to put in them.
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Here are some different examples of good brochure design. Take a good look at the examples. Some are very traditional and conservative while others are unusual and unexpected. As young adults, you are probably drawn to the more interesting examples, but the thing you need to realise is that sometimes you NEED a traditional or conservative solution because your target market demands it. This does not mean that it has to be boring ... just appropriate!
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Some great tips when you are designing a brochure: Start with a great headline (the body copy of your brochure for this project may be nonsensecopy but the headlines and sub-headings need to be powerfully in place). Your headline should be very interesting and informative, inviting readers to find out more. Make sure the information reads the right way when you unfold the brochure. Mistakes like these are easy to make. Dont go over folds with text or type! In some instances, it could be fine if you take images over a fold, but you really need a trained eye to make this decision. Use photographs that reinforce your message, such as pictures of customers using your product or participating in your event. Sometimes, and depending on your event, special effects images can be used to communicate the atmosphere of your event so that you attract the correct target market. Because a brochure is a form of advertising, you need to make sure that everything about your product or event is positive! Graphics include artwork, your company logo, charts, and graphs, if they are applicable. Of course, different brochure formats differ in their layouts, but there are some general layout tips to follow for any brochure type: The first is to break up long paragraphs of text into bullet points and use images to illustrate your point, if appropriate. Use white or negative space to create a natural flow from section to section. People are lazy; they want to be guided to the next section. Be careful when you create confusion in an attempt to be different or unique. There is a fine line; you still need to get the information across! Use headers and sub-headers to make it possible for your reader to skim your brochure, since some readers wont have the time or patience to read long blocks of text. Most importantly, keep your design simple. Too many charts, boxes, or pictures and too much information make a brochure appear cluttered and confusing. Colours can attract a lot of interest and also make the brochure memorable, but try not to use too many as this could also detract from the main message. Try to use the colours from the logo so that a set of corporate colours emerges this will also make it more memorable because of the association.
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Once you have designed all the above pieces, you need to design three extra pieces, which will be specifically suited to your event. Because you want the most exposure you can get, these need to be promotional pieces. You can design and include a web site, radio advertisement, magazine advertisement, billboard, VIP passes, T-shirts, CD covers or any other promotional pieces you think may be applicable. This is a time when you could probably get away with doing the minimum of work if you wanted to, but the most sensible would be to make the absolute most of this opportunity! You are the event planners and you have to decide how great it is going to be and look. Make use of all the skills you have developed and impress with your innovative thinking and excellent execution!
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More about the media

The following information will help you in making a decision about your promotional pieces and the media in which they will appear. Broadly speaking, there are five categories of media. They are: Print, Electronic, Outdoor, Transit, and Miscellaneous media. Print media is quite obvious and includes newspapers, magazines, press releases, tickets, passes, invitations, banners, posters, etc. Promote your event, sponsors and clients through newspaper ads, magazines ads, trade journals, press releases, tickets, passes, invitations, banners and posters. If you make use of printed media, you need to make sure that there is a thread of continuity running through all the media applications. If this does not happen, the whole campaign could easily fall apart when your target market fails to understand that the advertising in the different media belongs to the same event. Again, the design of a solid identity for your event and your understanding how this will translate into different formats is important. Electronic media includes TV, radio, Internet, telephone, electronic signage, etc. You could promote your event, sponsors and clients through TV and radio commercials, or you could provide free ad space on your companys web site, where your sponsors and clients can promote their products and services for particular period of time. Another idea is to develop an event web site just to promote your upcoming event and provide a facility for online registration. All the details regarding the event must be available on the web site. You could also use electronic signage like visual display signage, plasma screen, LCD screen, LED screen, projection screen, and video walls to promote your sponsors and clients. E-mail is also widely used, and what about cellphone technology? According to those in the know, 75% of ALL people on earth have a cellphone makes sense to use it! So maybe your interest in technology and your event presents the opportunity to develop something spectacular for cellphone technology. Why not! Outdoor media includes billboards, balloons, and any media situated outdoors. There is more than one type of billboard you even get scrolling and mobile billboards. They can be very dramatic and you could make them look spectacular with excellent lighting at night. Promotion can also be done through kiosks, canopies and giant balloons. Transit media includes promotion through signs on cars, cabs, buses, trucks, trains, and planes. Mobile billboards, mobile LED displays, and caravans are also used very successfully as part of promotion campaigns. Depending on your campaign, you might just find a specific vehicle style that can enhance the look and feel of your event. Something to consider! Miscellaneous media includes everything else, e.g. word of mouth publicity. Publicity (posters, flyers, brochures, programmes, printing and mailing invitations): Publicity prices can vary drastically; determine your needs while keeping cost in mind. Publicity printed in black and white is the most cost-effective but for larger events publicity printed in colour may be more appropriate, except, of course, if the black and white theme is all part and parcel of the identity of your event.
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Your checklist
PIECE
BREAKDOWN
IDENTITY
logo business card letterhead envelope
poster
brochure
2. 3.
Environmental impact of your event
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As we have been repeatedly discussing the topic of our personal and professional impact on the world during Grades 11 and 12, you have hopefully become aware that it is not something of a passing nature, it is not a fad or trend, it is very serious. Your generation will be the generation that either fixes the problems of the past, or helps the degeneration of the earth along at an even more rapid rate. We hope that, as you have been armed with plenty of information, you have consciously been trying to make adjustments to your daily routine to reduce consumption and decrease your impact on the Earth. Event organisers across the world are also looking for a way to green things up, do more with less waste, and in the process, increase event prestige and appeal among a growing crowd of socially conscious participants and target markets. Here are a few tips on how you can make a difference in the choices you make for your event.
Tell people of your eco-friendly intentions. You could include a section on your web site (if you have one) which shares with the public all of the things your event staff is doing to reduce the events environmental footprint. Tell them in your brochure that you are using primarily recycled materials; you are minimising electricity consumption or planting trees in the local environment. Make people aware of what you are trying to achieve. Consumers respect principles that are grounded in a strong and valuable moral system. Why not try to go paperless? Does this seem impossible? Things like online registration for your event will eliminate the largest source of wasted paper for any event. See how many things you can achieve without paper. You will be surprised! Do your event marketing campaign online. There used to be a time when direct mail and print advertising were used to market all events. (Direct mail is a form of marketing and is the process of sending out sales letters or other materials through the mail to potential customers or clients. Because it is quite an expensive exercise, marketers compile lists of possible customers by studying their behaviour and sometimes even resort to buying mailing lists from magazine subscriptions etc.) Today, more and more event organisers are opting to focus on paperless channels to get the word out. E-mail can be a really effective tool for advertising and in many cases offers the event organisers feedback, which makes it possible for them to track the effectiveness of a campaign and then, the added bonus, it is also less expensive and saves paper.
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THree additional pieces your own choices
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Eliminate excessive automobile emissions. If you have many people traveling to your event, it could be a great idea to hire a shuttle, departing from various points, so that attendees can share a ride. Not only will this reduce the carbon footprint of the event but also give the attendees a stressfree arrival and the chance to make new acquaintances on the shuttle! Reuse, reduce or recycle! If you have to have printed media, see if you can design them so they will be useful for the next event! Posters and flyers could be printed on paper with a high percentage of recycled pulp. Shout to the world! It wont matter what the aims and objectives of your event are, a green approach will do no harm. You could use your event as a platform to educate and inform and your attendees will leave the event not only proud of their accomplishments but feeling that they were a part of something larger.
Part three
Spatial or venue design Environments are designed to create impactful experiences and to enhance brand engagement. It is multidisciplinary and can include exhibits, events, interiors, mobile marketing vehicles, displays, and trade shows. Environments offer visitors the unique ability to engage multiple senses sight, sound and touch all of which creates an immediate brand impression on your target market. Successful spatial designers bring an architectural and theatrical approach to the composition and layout of a space as well as the objects that are placed within that space. Environments have the ability to encourage you to explore, interact and utilise a range of elements such as graphics, digital media, web media, furniture, lighting, materials, and finishes. This can enhance the whole experience in that space. These elements will also help the customer or consumer to navigate through the spatial sequence of events, which will create a lasting experience. You need to have the ability to think holistically so you can foresee any possible scenario that might happen or be experienced in that space while, at the same time, focusing your attention to detail so that you can ensure that every little detail supports the overarching plan. What do you need to do? For the last part of this project, you are required to prepare a 2-D presentation of the proposed venue for your event. Every group will have a completely different venue and should therefore all be treated differently. Even though you are the creator and organiser of this event, we would like you to pretend that you are the designer who needs to convince the event planner that your spatial solution will be best suited to their needs. Apart from being well researched and appropriate, your presentation should be completely professional. In short, you really need to blow their minds! Your approach should be sensitive to the way in which spatial design can be used to reinforce or challenge social, cultural, environmental, and ethical issues. The venue for the event should be completely appropriate for your target group and emphasis should be placed on responsible design decisions relating to the environment, sustainability, and design ethics. The scale and medium of your execution is up to you, but remember, you are trying to sell an idea! Be bold and innovative! The following are the minimum requirements for your presentation: A floor plan. Two different angles of the interiors, which should indicate the overall look and feel of your proposal. It will be great if you can use one or two point perspective drawings to present the two angles.
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At least three different interior and exterior drawings or presentations of where the branding of the venue will be here you could think of a dramatic entrance and a proposal for the foyer, with the last presentation focusing on a stage or podium. The scope is endless and it is your job to tailor the requirements to your specific venue and concept. A clear indication of how your way-finding system should work. During an event, people are constantly moving. There may be food and seminar areas, bathrooms, private sitting rooms, large conference halls, registration/information booths or shops and kiosks. Your attendees must be able to navigate from one place to another without any hassles. Make the presentation of a few basic signs and indicate how they will work. In many venue designs, signage is removable and not fixed to the walls, floors, or ceilings. Make sure that you take this into account when you decide the method you will use to fix signage in and around the venue. Remember to carefully consider materials for signage, especially for an outdoor event overall signage needs to be very durable (you do not have to make the signs out of the specific materials, but be sure to indicate that you considered this aspect). Also, make sure that the size is appropriate in relation to the scale of the venue and the space in which you will place it. Here are some guidelines for designing successful way-finding systems in case you dont remember: Be consistent with type and the location of signage throughout the system people should know where to look for signs and there should be consistency and continuity in your approach. Use upper and lower case letters for highest legibility except in the case of single-word signage when using a single-word sign, you may use only capital letters, but you do not have to. To increase legibility, avoid single-line spacing the leading should be of such size that it reads easily. Try to group information on complex signs to increase comprehension. Design your type so that it aligns on the left; to align on the right or to use centred alignment will make your signs difficult to read. In signage, use colours that are different enough so as not to confuse your viewers (two shades of green indicating two different floors in a building may just be too difficult to distinguish). Reserve the colours red, yellow, and green for communicating public safety uses. Avoid blocking signage with building elements such as lights and air vents. Add at least one aspect which you feel will specifically benefit your particular venue and target market. This may take the form of lighting, sound, moving images, a bar, and uniforms for the personnel, etc. This will give you an extra opportunity to show what you are capable of and where your specific interests lie. In conclusion You should have all your research and drawings, all your planning and inspiration very neatly documented in your workbooks. If any questions should arise about your choices with regards to how you treated the venue, the explanation and motivation for your choice should be in your documentation. You may even think of adding a type of mood board which would give your clients a better idea of your approach and style. Remember, many clients cannot imagine or visualise and the more you can show and visually explain, the better they will understand. When you have all three parts of your project completed, you need to plan a presentation, which will start at the woven/patchwork piece you created, moving on to all the design applications that used your designed pieces as a point of departure. Always explain the relevance to your target market (group) and sell your idea to the rest of your class. Be as prepared as you can possibly be because many a good idea has faltered because of bad presentation!
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PRACTICAL projects
SECTION 2 3-D
Introduction
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Today, it seems that the Greek myth of Penelope is responsible for the powerful return to various handcrafts. These days, you need only open a fashion or interior dcor magazine to be invited to indulge in a bygone era of vintage and nostalgic handmade crafts that include beautifully crafted doilies, lace, crochet, tapestry, quilts, knitting, braiding, weaving, beading, and many more. In shopping malls, interior and lifestyle shops, we are confronted by a resilient display of knitted duvets, crocheted cushions and beaded lampshades.
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Since 2012, there has been a passionate return to various handmade and traditional crafts both locally and internationally. With Li Edelkoort predicting that handcrafts would become an important fashion trend and given the red carpet treatment, the artist/designer Tatiana Blass from Brazil decided to honour these predictions and created an installation dedicated to the Greek myth of Penelope, who was responsible for the power, love and the praxis (the interconnectedness and bringing together of people) through weaving.
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This is truly a vintage and nostalgic time that celebrates quality by going back to the traditional, heritage crafts and decadently handmade objects. After all, it is believed that if we ignore our background or past, we have no way of finding our tomorrow! Man is a product of his circumstances. We owe our being of today to the influences from the past and our upbringing. This also means that, if we revisit our historical and cultural background, we should get closer to our true identity and ultimately stand a much better chance at finding our way to a more harmonious future ... With the return to handmade and traditional artefacts, people find it easy to relate to the simple idea of
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Home is Where the Heart is by Lisa Grobler
She fringed the blanket with drawings by primary school learners and thereby ultimately challenged the ideas of a house as not just a sentimental tuiste or home. Oos Wes Tuis Bes or Home is Where the Heart is also comments directly on the ongoing art/ craft debate and, even more important in context, raises womens handiwork and traditional craft into a high craft and an art form. The work simultaneously links handmade and traditional craft with emotional and nostalgic feelings for the home. As the title suggests,
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no matter where you are in this world, your home will always be the best place in the world to return to! In this spirit of using crafts to return home, we have included both local and international case studies featuring designers who have all returned to traditional crafts in order to weave themselves back within their own culture and ultimately to reclaim their own personal identity! http://elizabethrossmx.blogspot.com/2007_05_01_ archive.html/http://www.artthrob.co.za/99apr/ images/ooswes-grobler.jpg

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This Wendy house by Lisa Grobler entitled Home is Where the Heart is was covered in hundreds of knitted and crochet wool squares made from scraps of leftover wool. These scraps were then sewed into a multicoloured laslappie, house-shaped blanket or quilt and then used as a a protective covering for her house.
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BRIEF: CULTURAL SKIN
All over the world, every culture displays an inherited and traditional craft that has been passed on from generation to generation. Today, the sad reality is that many members of the younger generation are not interested in the old ways and customs. Therefore many cultural knowledge systems are lost forever. This is an alarming situation for most designers and educational institutions. A local group of designers called Design 24/7 was founded to support and promote homemade/home grown traditional handcrafts used in strengthening cultural identity. They have decided to invite various designers from different cultures to design any two- or threedimensional product that nurtures the traditional handmade quality. The beautiful Art and Craft magazine Hand/Eye will be creating a special edition that will celebrate these designs dealing with the theme of Cultural Skin.
It seems that we are returning to hand-made and traditional crafts that re-unite us with our ancestors, historical background, cultural and social traditions, customs and ultimately taking us back to our own identity, roots and skin... Wilna Coetzer
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STEP 1
Finally, an extra bonus will be awarded to ten South African designers who will have the opportunity to become part of the Proudly South African Campaign. Their products will then be used in a social outreach programme with the sole aim of strengthening cultural identity in the community. With the aforementioned brief as your starting point and motivation, the organisers have asked you to draw up a short written proposal wherein you highlight your ideas for the design event Cultural Skin. In your written proposal, you need to address the following aspects: 1. Discuss and elaborate on the traditional inherited craft from any local culture you are using to create your two- or three-dimensional product. Elaborate on the symbolic meaning of colour and pattern where applicable. 2. Briefly explain which contemporary fashion trends and styles you are considering fusing or eclectically mixing with the traditional handcraft techniques.
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The brief from the organisers is short and clear: (1) Design any two- or three-dimensional product in any ONE of the design categories below. (2) Use any traditional handmade craft technique (from any local culture) and combine it with a contemporary trend or fashion. Communication/Information Design and Digital Design Surface Design and Two-dimensional Craft Product Design and Three-dimensional Craft Environmental Design
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3. Explain and justify which attributes your product may have with regards to qualifying for the Proudly South African Campaign. Make brief references here to the use of: 3.1 Environmental/sustainable products and practices. 3.2 Ethical issues addressed in the community, e.g. stereotytyping, bias and prejudice. 3.3 End your proposal with a short paragraph highlighting a specific social outreach programme streamlined for your community that might ultimately strenghthen cultural identity.
STEP 2

Do thorough research on the background of traditional crafts. Look at the origins, meaning, and application of traditional crafts. Remember to focus on contemporary 3-D applications of your technique, both locally and internationally. Find at least THREE local and THREE international case studies.
! TIP: The case studies should be grouped according to a specific craft. Within each specific craft, references should be made to both South African and international designers.
STEP 3
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For your final product, make use of the following assessment guidelines Creativity/Originality/Interpretation in terms of the concept and solution must be relevant to the brief. Design involvement should be evident, as well as the appropriate use of design elements and principles. Technique/Craftmanship/Method. Professional presentation and functionality of the final design solution. Please remember that much of what we today believe to be traditional South African crafts were first practiced in Europe and over many years, with the migration of Europeans to South Africa, crafts such as French knitting, lace, crochet (to name but a few) became traditional to South Africa. The origins of most crafts are unclear and many traditional crafts are used in religious ceremonies such as weddings, christenings and funerals. We should therefore never underestimate the cultural, social, political and historical value of these age-old domestic handcrafts!
! REMEMBER Your final product should: be able to address environmental/sustainable issues be able to address ethical practices be able to be implemented as a social outreach programme in your community have enough to qualify for the Proudly South African Campaign.
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Interview someone from the specific community you have selected as a focus and find someone who can teach you the craft. First, learn the very basics of your selected traditional craft and then start to experiment with unconventional materials. Make a list of alternative materials that can be used, e.g. copper, paper, plastic rope, etc.
Stunning local and international examples of contemporary craft design

Traditional isiZulu beadwork with a modern beat
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Story Vases
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http://www.core77.com/blog/salone_milan/salone_milan_2011_story_vases_by_front_at_spazio_rossana_ orlandi_19018.asp
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These vases are beautiful examples of an eclectic fusion between traditional isiZulu beadwork and contemporary glass design. The Story Vases form a rare written document of beadwork on glass, reporting on the daily life of amaZulu women in rural, post-apartheid South Africa amaZulu women are telling their personal stories that deal with their dreams and hopes for self and family and refer to other stories of poverty, gender related issues, HIV and unemployment. These Story Vases are a collaboration project between the Siyazama Project, which is a South African womens organisation that empowers traditional craftswomen in the KwaZulu-Natal province to address concerns about Aids through their beadwork, and Front, a Swedish design company who collaborated with them and recorded the event.
Each woman transposed her own story into text by threading glass beads onto metal wires. These wires were made into vase-shaped moulds, into which glass was blown, explains Front.
The Story Vases project was organised by Editions in Craft, an organisation that seeks to merge traditional craft with contemporary design practice. Other projects include collaborations with BCXSY and Siyazamas coiled bead vases.
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DID YOU KNOW

The craft of beading is an important part of isiZulu tradition, not only as a means of expression but also of communication and story-telling. In the past, patterns and colours were woven into beadwork, symbolising feelings and ideas to lovers and friends, in a way similar to written languages. A good example of these is the isiZulu love letter:
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As you already know isiXhosa beadwork aspires to reflect young amaXhosa mens identity through knitwear. Still a great local example. The umXhosa designer Laduma Ngxokolo become known for his collection of mens knitwear inspired by the (1) traditional colours and shapes of isiXhosa beadwork and (2) the clothes young amaXhosa boys wore after being circumcised and initiated as maturing young men into the isiXhosa culture. He was determined to create a series of knitwear inspired by geometric shapes that would better reflect his traditional identity. Having experienced the isiXhosa initiation ritual himself, Ngxokolo felt that there were no knitwear brands that bore any aesthetic resemblance to isiXhosa traditions, and so he decided to develop a range of knitwear garments specifically for amakrwala. Each year, hundreds of amaXhosa boys aged eighteen to twenty-three attend the circumcision schools for their manhood initiation ritual. During this six-month period, amaXhosa initiates are traditionally called amakrwala. As part of this process, amakrwalass old clothes are given away as a sign of the end of their boyhood. At this time, their parents are obliged to adhere to the custom and buy them the high-quality geometric knitwear imported from the West.
Fashion shoot featuring a variety of knitwear designs by Laduma Ngxokolo

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The influence of traditional isiXhosa beadwork is clearly seen in Ngxokolos geometric knitwear designs. He sourced locally for mohair and merino wool for his knitwear.
Also see another article on page 156 of the online design publication Design>Ed: http:// issuu.com/designinformation/docs/design_education_no_3?mode=embed&layout=http%3A%2F%2Fskin.issuu. com%2Fv%2Fdarkicons%2Flayout.xml&showFlipBtn=true (Design>Education)
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DID YOU KNOW

South Africa produces more than 75 percent of the worlds mohair, but due to a lack of sufficient textile industries in which to convert mohair into manufactured products, a majority of the fibres are exported and the products manufactured outside South Africa. Ngxokolo wanted to utilise mohair in his knitwear as a means of indirectly contributing to the market share of locals, particularly that of the black communitys small farmers.
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Laduma Ngxokolos beautiful knitwear seen on the catwalk during a fashion show in Europe.
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Imbenge - Small isiZulu Wire Basket.
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Are conventional weaving materials (con)fused with telephone wires? Many traditional amaZulu weavers from South Africa take their inspiration from the natural woven textiles that come from neighbouring countries such as Zimbabwe, Kenya and even so far as Columbia in South America.
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The craft and qualities of South African weaving

For centuries, South Africas amaZulu people have been famous for the sturdy and beautiful baskets they weave from grass and palm leaves. The weaving was so tight that the best ukhamba baskets could actually be used to store beer! Today, these baskets are still woven in the countryside, but the amaZulu crafters living in urban areas have reinvented their approach by combining traditional basket-weaving techniques with modern materials into what is now called imbenge basket weaving. The baskets are entirely made from recycled telephone wire, also known as scooby doo wires. The multicoloured qualities of the telephone wires results in bright, colourful, and very sturdy designs. Due to the plastic-coated outside layer of the wires, the designs are also completely washable. In Zimbabwe, crafters have developed their own distinct style of telephone wire basket. Each basket is truly one-of-a-kind! These baskets are characterised by a fine, even texture and by colourful, intricate, swirling designs. Today, the imbenge baskets stand firm as an exceptional example of the use of traditional grass basket-weaving techniques that have been beautifully adapted by both male and female weavers, to fit into a contemporary isiZulu and Western society.
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With the use of the telephone wires, traditional weavers and ceramists are currently presented with endless creative opportunities
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Challenging you! Here is a quick weaving activity
Collect any type of mesh, shade cloth, fishing net, orange bags or use the non-slip plastic underfelt of carpets to be the backing of your weaving surface. Use a large threading needle. Make a list of possible materials you can use to weave with. A few suggestions for weaving materials: plastic strips, telephone wires, wool, old dishcloths cut into strips, shredded paper, etc.
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Michelle Moller (18) explored a variety of weaving patterns above. She used the traditional weaving techniques and patterns of the Zimbabwean, Kenyan and Columbian weavers, but interweaved her design with the plastic underfelt of carpets. Not only is this a nonslip, durable, washable and highly plyable medium, but it is also very cheap and can be ordered in a range of colours, from beige or brown to black. She is currently exploring various product options, from indoor products, such as carpets, cushions and lampshades, to outdoor furniture, e.g. table cloths, cushions, tents, hammocks, etc.
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In our Postmodern context, the use of telephone wires as weaving medium is applied both locally and internationally to create a multitude of designs, from bowls, bags, carpets, toys, shoes, jewellery to sturdy furniture!
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The Shadowy Chair by the Dutch designer Tord Boontje consists of shapes mimicking the beach furniture found at the North Sea in Northern Europe in the nineteen-twenties The chair design has become contemporary due to the use of digitally drawn colour patterns and the Zimbabwean weavers use of multicoloured telephone wires or threads. The structure is made from steel with a robust, surreal or whimsical shape. The structure of the Shadowy Chair is reminiscent of a childrens world similar to the alternate, dream-like reality portrayed in Dr.Seusss books.
Lace & crochet techniques prepare a city for a new face-lift With continuous development in the textile industry, the delicate nature of these age-old domestic crafts can be structurally strengthened by the integration of contemporary technology. The idea of using lace or crochet outdoors is creating an interesting opportunity for both artist and designer to fuse the cold and hostile, industrialised cityscape with the translucent, delicate and feminine quality of lace and crochet. The efforts of both artist and designer here are forcing us to look differently at our man-made environment.
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The most familiar place to find the use of lace and crochet is in folklore and modern clothing and accessories. However, in our contemporary society we find more often clear references used in art, architecture and even in landscape design.
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An interesting and challenging class debate: Championing Opposites

Make use of the included examples (see below) and find possible meanings for the use of lace and crochet in the different contexts and environments. Compare the works of Marcel Wanders, Henry Sgourakis and the Dutch design house Demakersvan and Joep & Jeroen Verhoeven, and focus specifically on the use of contradiction and dualism or opposition in their lace and crochet works. REMEMBER: Contradiction and dualism are important elements within postmodern philosophies and designs. Choose any TWO contradictory topics (as listed below) and discuss how the artist and designer are balancing out these dual relationships within the included works. Nature versus natural Culture versus nature Industrial versus domestic life Industrial versus craft Masculine versus feminine Realism versus frivolity or playfulness Ornament versus functionalism Craft versus design
Marcel Wanders
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The Dutch designer Marcel Wanders reinterpreted the beautiful handcraft of crochet into postmodern furniture and dcor. Crochet chair, table and light are all part of a playful vision and rebirth of this traditional means of decoration. The elegant moulded shape and detail of this collection are made from white cotton and coated with epoxy resin.
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Marcel Wanders Crochet chair and lamp collection
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Wanders uses the see-through quality to critically and perhaps ironically comment on Phillip Starck Ghost chairs. This collection offers new applications for traditional crochet, enlarging the decorative possibilities of this beautiful, age-old, handcraft.
DID YOU KNOW
The most familiar place to find the use of lace and crochet is in folklore and modern clothing and accessories. However, in our contemporary society we find more often clear references used in art, architecture and even in landscape design. With continuous development in the textile industry, the delicate nature of these age-old domestic crafts can be structurally strengthened today. The idea of using lace or crochet outdoors is creating an interesting opportunity for both artist and designer to fuse the cold and hostile, industrialised cityscape with the translucent, delicate and feminine quality of lace and crochet.
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Nook Chair by Henry Sgourakis
The Nook Chair and close-up views of the lace and crochet technique. The Nook Chair was designed by the Australian Henry Sgourakis and can only be described as a whimsical chair. The chair was inspired by nostalgic memories of his childhood and afternoons spent at his grandmothers house, where lace doilies covered and decorated the interior of his grandmothers home.
The Nook Chair is a homage or tribute in the The Nook Chair wake of these nostalgic emotions and memories, recalling his childhood when life was simpler, more natural and less complicated. In a world where technology seems to almost dictate our existence, Sgourakis chair was intended to remind people of the simplicity of life as it was in the 1950s.
http://www.home-reviews.com/the-nook-chair-foot-stool-by-henry-sgourakis http://www.henrysgourakis.com/Henry_Sgourakis/henrysgourakis.com.html
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In memory of his grandmothers house, the designer created a fifty feet crocheted rope. The model was created by knitting with a strong frame in a circular pattern, mimicking a spiders cobweb. The handcrafted chair looks fun, creative and sturdy. The crocheted rope used is UV protected, so it is suitable both for indoor and outdoor. Sgourakis chair is not only a beautifully crafted and decorative chair, but becomes a conversation piece echoing nostalgic memories and feelings.
Joep & Jeroen Verhoeven

The Faade Apartments The scale is breathtaking: The faade consists of 150 panels that are seamlessly put together as a total of 3000m2.
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Close up views of the Nook Chairs lace and
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The Lace Fence was developed by the Dutch design house Demakersvan and Joep & Jeroen Verhoeven
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This range of Lace Fences can certainly be described as beautiful, whimsical and even surreal
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The image on the left is from the 2009 Faade Apartments project in The Hague, Holland. It is incredible how they are constructed from Beta fence white PVC-coated wire. Faade Apartments Project, designed by Joep & Jeroen Verhoeven.

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Demakersvan describes their design philosophy:
It is a high-end metal fabric that gives new insights in how you can create unique environments. It combines the ancient craft of lace making with the industrial chain-link fence. Every fence is unique in its design by its craft and assembled patterns, which come in a variety of themes, from antique lace floral to contemporary designs and custom art patterns. Lace Fence shows how something that was meant to be purely functional can also be decorative. Hostility versus kindness, industry versus craft.
Traditional French braiding twisted, coiled & rolled in the Afrikaans mother tongue as tolletjie brei
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The evolution of the French knitting mechanism from the (1) most, beautifully crafted, to the (2) vintage and handmade versions, to the (3) plastic variation we find in handcraft shops today French braiding / knitting or, as we know it in South Africa, tolletjie brei, is an old domestic craft that most of us were taught somewhere along the line
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About the French braiding technique It is a simple method of weaving wherein an old cotton reel crowned with a few nails functions as a loom. By winding your wool methodically around the nails, you soon find a length of plaited cord emerging from the hole in the cotton reels centre. If you persevere long enough, you can produce a cord long enough to coil into various products, e.g. carpets, placemats, and bowls, etc. Your creative opportunities when using this technique are endless! You may even decide to add more colours, enlarge the proximity of your reel or tolletjie and ultimately expand the idea to monumental proportions.
DID YOU KNOW
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Alan Alborough conceptual work entitled: Work(in/ing) Pro(gress/cess)
Alan Alborough has chosen to work with the circular aperture in the museums first floor. He has cable-tied a series of spindles to the balustrade that encircles this aperture, and intends to use these for a little bit of French knitting. The spindles, which function as the nails, are equally part of moms sewing box and dads workshop. An educational component is central to the project when primary school children are taught to do French knitting. The results of these efforts are gradually filling up the walls on the sides of the museums staircase. Alboroughs in progress French knitting work is aimed at encouraging younger viewers to visit the museum more than once.
The worlds largest reel or tolletjie design was created by the South African artist Alan Alborough at the Sasol Art Museum.
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Ray and Matt from Illot Ilov

Two European designers Ray and Matt from Illot Ilov create playful, environmentally friendly and energy saving lamps using the French knitting craft. Every knitted lamp style comes in a variety of colours.

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Vietnamese crafters collect the tyres and make the transneomatic bowls
French knitted lamps by Ray and Matt
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The designers have given these new colours names, Day, Night and Rock, and added them to their cotton range. Their cotton range comes in thick and tight yarn, so the knitting structure is far more defined. You can hang these playful lamps, even arrange them in a creative way on the floor or table. These lights can be kept on all night as the light bulbs do not heat up at all and save energy as well! Also have a look at the following weblinks:
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Campana Brothers Transneomatic Bowl
The Campana Brothers, inspired by street life, designed the Transneomatic container bowls as part of their Design with Conscience. The bowls show that junk can be aesthetically pleasing while re-adapting and up-cycling its function. The Transneomatic bowls clearly show a link with French braiding in that the tyres are used as the braiding tool. The bowls are made by traditional wicker weavers in Vietnam who recycle used scooter tyres from the countrys dumps.
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http://www.llotllov.de/index.htm http://www.renee-marie.com/2010/02/illumikniti-playful-knitted-lights.html
Also see an article on LIV design published in Design>Ed on page 26: http://issuu.com/designinformation/docs/design_ed_1/4 5?mode=embed&layout=http%3A%2F%2Fskin.issuu. com%2Fv%2Fdarkicons%2Flayout.xml&showFlipBtn=true
Designed by the Campana Brothers
Spazio Gianfranco Ferr

The designer Spazio Gianfranco Ferr, born in London, used a combination of French knitting and crochet to create oversized products. He would turn an ordinary placemat into a beautifully crafted and intricate crochet carpet, or roll up French knitted coils as a gigantic yarn of wool to become comfortable chairs. Here one can clearly see the Postmodernist play with ambiguity or double-coded meanings. The designs become complex and layered with playfulness and humour!
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Spazio Gianfranco Ferr
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Traditional Brazilian wicker used for its structural properties in environmental architecture Generally, the wicker weaving technique is used for the manufacturing of small utilitarian or functional objects, such as lampshades, baskets, and furniture.
http://www.dezeen.com/2007/08/30/transneomatic-by-campana-brothers/
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DID YOU KNOW

According to most historical records, the age-old technique of wicker weaving originated in Chilete, Brazil. Reed wicker refers to the material used in making wicker furniture, baskets, and other items. These reeds come from any of a number of different tall plants, which grow in wet areas, such as marshes and the banks of ponds and rivers. Wicker is a natural material that is woven from rattan palm, reeds, willow, bulrushes, cat-tails, mace, rush, distaff, and flag. Any of these are also known as reed wicker. They grow in wet areas in North America, Asia, Europe, and Africa and are described in many languages. The material is dried, soaked in water, and hand-woven to make baskets, furniture, and other products. A recent development that has introduced itself to the market is a man-made weatherresistant plastic wicker resin.
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Porky Hefer from South Africa
The South African designer and creative consultant Porky Hefer is a colourful personality who explores the manufacturing of the weave, in relation to architecture. Porky Hefer is interested in solving world problems by creating sustainable solutions through biomimicry. He has produced a series of large-scale nests influenced by the weaver birds building techniques and the structural characteristics in wicker weaving. Porkys
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FOUR elements determine the structural qualities of wicker: 1. The thickness of the wicker fibre 2. The geometry that arranges the weave 3. The way that it is structured, and lastly 4. The handmade weaving technique used. It is these elements that provide the design tools for optimal performance of the natural materials according to use and scale.
The fibres of the wicker reed are both flexible and rigid, enabling designers to shape complex and resistant shapes. Local and international architects are currently exploring the manufacturing of the weave, in relation to its structural qualities in building methods.
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Porky Hefers Weavers nest
series of weavers nests have no real inner-steel framework. Each structure is meticulously crafted out of natural bark and branches, and woven in such a way that the final form is sturdy enough for at least two adults and definitely fit for the weaver birds critique and judgment!
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Prototype sketches clearly showing the inspiration and progress towards the final product
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Traditional wicker weaving techniques used for creating the structures for his weavers nest
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Andrea von Chrismar from Chile, South America

Designed by Andrea von Chrismar, this project explores the manufacturing of the weave in relation to the field of architecture.
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The Mimbre Shell is a project based on recent research exploring the spacious and structural potentials hidden within woven natural fibers and the application on a monumental architectural scale. The name mimbre was the name used during the colonial period in Chile for the wicker weaving technique. Andrea von Chrismars proposal for Mimbre Shell was to create three lightweight woven-fibre membranes that would ultimately create living spaces. The wicker woven membranes were produced in Chile by local craftsmen, and then transported to New York and later attached on-site to their wooden support. This project is an excellent example where designers utilised the potential within woven wicker structures and combined it with contemporary technology. The project will put these earlier experiments into a real case scenario, as well as supporting an initiative that aims, on the one hand, to rescue and stimulate local manufacturing production and, on the other, to explore the potential of engaging new digital design tools with traditional craftsmanship. http://www.archdaily.com/201304/wicker-membranes-andrea-von-chrismar/img_11-10/
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Andrea von Chrismars Mimbre Shells building
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IN CONCLUSION

Traditional crafts have developed within a revolutionary context of the Postmodern movement. Crafters, designers and architects are now re-engaging with their roots, heritage, and identity! It is truly remarkable to witness how these simple domestic crafts, once only practiced by women, are now woven into the fibres of future technology and urban infrastructure of the world. The Greek myth of Penelope has indeed rekindled our love and passion for the traditional crafts, and has without a doubt been instrumental in bringing people from all cultures together
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Module 2 D RAW I NG
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1. draw spontaneously 2. create better quality marks 3. use your drawing to freely experiment 4. find new and exciting drawing methods 5. see hidden images
Let us quickly recap on what you have learned from the drawing activities during term 1.
With your introduction to unconventional techniques related to Automatism and the Dip & Dunk technique, numerous drawing exercises were used to improve your ability to:
Introduction
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6. further develop the ability to compose or to create a creative layout on a page, and ultimately 7. be able to create an illustrated book through hand-binding. The question however is: What is the single most terrifying part in the drawing process? Most of you would probably answer that it was creating that very first mark on a clean sheet of paper ... and yes that can be pretty intimidating. A clean sheet of paper should never intimidate you because the first intuitive step in creating a mark on paper is to start with a scribble!
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SCRIBBLING RECONNECTS US WITH OUR CREATIVITY!

BUT what other characteristics are linked to a scribble?
If you want to find an answer to that question, let us look at similar words and their meanings: Scrawl: Draw: Mess: write, jot, pen, scratch, doodle, dash off write, scrawl, doodle state, jumble, confusion, hash, mishmash, chaos
The online Etymology Dictionary gives a fairly reasonable and arguable definition explaining some of the typical characteristics of a scribble:
A scribble is to write, to make marks or to draw with no real meaning...

Below are a few interesting facts relating to the act of scribbling ...
DID YOU KNOW
1. Our first attempts to draw were the scribbles we made as babies.
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All of the above information confirms that scribbling improves our lives in more positive and constructive ways than we imagined ... Lets reconnect with scribbles for the sake of developing our drawing skills. With such overwhelming proof that our scribbles reconnect us with our natural skill to draw, let us return to scribbling as a direct method in finding a natural pathway back to our creativity. For term 2 we will therefore go back to the use of HB pencils and white paper ... Bearing this in mind, we will use two activities that are based on the online Etymology Dictionary definition that referred to scribbling as being able: to write, and to make marks or to find images with no real meaning ...
2. Every person on this planet is born with a natural ability to scribble.
3. As we grow older, we continue to scribble whilst frustrated, bored, or perhaps anxious. 4. Some of us use our scribbling to concentrate and focus. 5. By scribbling, we reconnect with our playful and creative side! 6. We also use the act of scribbling to make sense of our emotional chaos.
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Our scribbles mean to write ...

Use the following steps as your guideline: Use any A4 sheet of paper. Use ONLY a sharp HB pencil and write continuously to fill the whole of the A4 paper. Whilst writing, use your pencil to press hard and soft to create a variety of tones as seen in A.
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A B ! REMEMBER: The eraser has been given a higher status in this activity! Just as you would draw with HB pencils, you now use the eraser as a drawing tool!
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Our scribbles are to make marks or to draw with no real meaning ...
Most of us produce scribbles with no real meaning when we are preoccupied on the phone, in class and our attention is elsewhere ... BUT whilst engaged in a mental activity, we allow ourselves to freely express the ideas that are locked in our head and our scribbles seem to take shape of their own accord. You may suddenly find an encircled word transformed into a flower or a sun, or numerous punctuations turned into arrows. If you allow yourself to become conscious of your scribbles, you can turn your slapdash, childlike efforts into precise and complex forms with real meaning! On the next page are examples of two learners who used scribbling as a starting point to find images with real meaning ...
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Scribble randomly over the text with a 2B, 4B, 6B pencil or any darker drawing medium, e.g. charcoal or pastel. Use the flat or long side of the eraser and smudge the whole text. Use the sharp end of the eraser and randomly erase lines to create yet another tone. Use the eraser in the same fashion as you would use the pencil to create tonal shades.
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Above drawing project done by Eric van Renssen
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Make use of the following steps as your guideline: Sanding your paper surface If you prefer you can start by sanding down the paper surface as Erik van Renssen has done in his first drawing (see previous example). Make use of any grain of sandpaper to simulate the etched quality. (See Grattage and Sgraffito in glossary). You might even want to use a combination of Frottage with the scribble technique. This end result would greatly differ from Bianca da Matas first example (above), which is an unsanded surface. Use any A4 sheet of paper. Use a sharp HB pencil and cover the whole page with scribbles. Scribble randomly over the page with either an HB, 2B, 4B or 6B pencil. Use the flat or long side of the eraser and smudge over the whole scribbled surface. Use the sharp end of the eraser and randomly erase lines to create yet another tone. Use the eraser in the same fashion as you would use the pencil to create tonal shades. Start consciously searching (as seen in the examples above) for lines and shapes to reveal themselves in your scribbles. ! NOTE: As in activity 1, the eraser is now not only used as a drawing tool but also used as a tool that reveals locked up images within the chaos of the scribbled lines! In this project, you are therefore applying the qualities and values of the technique of Automatism!
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Above drawing project done by Bianca da Mata
Module 2 D RAW I NG
PROJ EC t S
BRIEF
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Compose a drawing that will celebrate DIVERSITY.
Drawing technique: use the scribble and erasure techniques you have just experimented with. Your interpretation How you interpret the theme DIVERSITY is really up to you, but the main thing you need to understand and identify are the many contrasts between things in the world around you. As a designer, diversity should intrigue you and motivate you to investigate and identify the visual and tactile contrasts of your objects, cultures or environments that are communicated through the use of colour, textures, line, shapes, and the overall look and feel of the style or environment at hand.
Scribbles also our link with our cultural past, present, and future ...
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In this illustrated drawing by Bianca da Mata (Grade 11), she has successfully integrated both writing and scribbling to reveal hidden images. She has also shown great skill in using scribbling to create a variety of marks and tonal values.
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DESIGN GRADE 12
Where to focus Might it be the contrast and diversity between two sub-cultures, like the style of the local hiphop group vs the style of a group of surfers or Harley Davidson bikers? OR the contrasts between different pieces of furniture, OR pairs of shoes, like a pair of sleek and stylish high heels that symbolises the city dweller vs a pair of sneakers that reflects the culture of the streets? Symbolic/metaphoric reflection Objects in your drawing may suggest symbolic or metaphoric interpretations, and incorporating words, poems or pieces of storytelling could add a very interesting dimension to your final drawing. Use what youve got! Since Grade 10, you have certainly developed your attention to detail and observational skills and you have experimented with a number of different techniques. Use these skills and experiences to your advantage and carefully decide how you will approach this, and on what you want to focus in order to best reflect your interpretation of DIVERSITY. Where to start You have the freedom to contradict any object, any environment and any culture. Use your observational and research skills to your advantage and collect relevant information and real objects to work from.
To succeed in this project, it is really important to understand the contrasting qualities, textures, colours, shapes, lines, etc. of your selected objects/cultures/environments and how you can manipulate the scribble and erasure techniques to complement the contrasting elements. Here are some interesting reasons why other people used the scribble technique as a starting point ... Some use the scribble technique as a map in order to find a cultural link with images locked away in their past
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Some think that the scribbling method creatively mimics or simulates the very act of knitting and crocheting ... Some decide to use the scribbling effect as it creates a similarity with traditional scarring and cutting rituals in some cultures ... Based on the above information, what qualities of the scribble technique do you believe can contribute greatly to the drawing process and finally to the quality and outcome of your final piece? Something to add: The needle-poking drawing technique This technique refers to the use of a needle to make or poke holes in paper. Have a look at the example that follow. You might just find this quality and texture to be adding a great dimension to your final drawing.
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Module 2 D RAW I NG
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Anel Dippenaar discovered a link between using scribbling, knitting, and crochet. The needle-poked fork and knife symbolise ghost tracings related to woman and typical domestic activities.
We have included some great 2-D and 3-D examples that were all inspired by scribbles. To follow are some great examples where the illustrators all used the scribble technique.
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In the above illustration, Bianca da Mata is asking What makes us different from you? After all, you wont remember my face ... Is our culture only skin deep? Her illustration confronts her mixed racial background (Black and Portugese) and truthfully exposes her inner emotions and feelings related to a long history of being perceived as invisible and cheap. In her reference to herself as a little girl and as a paper doll dress-up in her best Sunday outfit, she shamelessly asks if our culture is still so shallow that we only focus on the colour of peoples skin or did we move forward ...?
Fascinating how Bianca da Mata used lettering and even perhaps storytelling or a poem to add texture and an extra dimension to her drawing in the illlustration above.
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DESIGN GRADE 12
Above is another example done by Bianca da Mata, using the scribble technique. Also note how she has divided the composition of the final drawing to show different and contrasting sections.
You should consider how you are going to plan your composition so that you can communicate the contrasting aspects of your theme. Are you going to divide your piece of paper into different sections, similar to the illustration of Bianca da Mata above? Or are you going to weave all the contrasting aspects into one? Really depends what you finally want to communicate.
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Eric van Renssens illustration above and on the right are another great example of the use of the scribble technique. He and his family are originally from the Netherlands, but are now living in Cape Town, South Africa. He is an illustrator whose images are still strongly rooted in his Dutch past. When asked about his idea and choice of images, he answered that it was important for him and his family to acknowledge their past as it secured their future in a new country.
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Module 2 D RAW I NG
This drawing, done by Eric van Renssen, clearly shows his interpretation of an environment/room/space.
Next up are a number of brilliant and inspirational 3-D examples that were all somehow inspired by the very act of scribbling and sketching on paper.
All our designs started by scribbling and sketching on paper.

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Italian duo Andrea Mancuso and Emilia Serra
Andrea Mancuso and Emilia Serra
DESIGN GRADE 12
The Italian designers Andrea Mancuso and Emilia Serra have been friends since their days at the Royal College of Art. They decided to collaborate once again and designed the Analogia #003 Furniture Project. Using variably sized Merino sheep wool set on a grid of fishing lines, the two have recreated a rough and scribbled sketched idea of domestic objects, not on a sketch pad but rather in the physical world. Yet the result clearly communicates that sketched look and feel. Most people commonly act surprised and are mostly confused and disoriented by what they see when looking at their work. The final product can be described as ethereal or surreal, whimsical, and cartoonlike ...
Lucy Merchant
The Mommys chairs were created from hand-bent recycled steel, and the white seats represent the spontaneity of a rough scribbled sketch. The chairs are produced in the 3 primary colours.
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http://www.lucymerchant.com/http://de-sign-mi.blogspot.com/2008/08/lucy-merchant-mommys-chair.html
The London designer Lucy Merchant based her Mommys chair and table collection on the sketched scribbled lines and warped perspective found in childrens drawings. Even though the designs look like a childs drawing, they are fully functional and 100% 3-D.
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http://www.hallucinate.com.cn/blog/?p=4053 http://www.core77.com/blog/salone_milan/salone_milan_2012_analogia_003_a_sketch_of_home_in_3d_at_ ventura_lambrate_22339.asp http://yanondesign.com/2012/05/analogia-003-by-andrea-mancuso-emilia-serra.html
Module 2 D RAW I NG
Below are TWO product designers who created light designs inspired by the scribble...
http://www.thatunreliablegirl.com/2009_09_01_archive.html
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DID YOU KNOW
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Above: Covello Reesor created these quirky and fun little energy saving neon lights. They remind one of Paul Klees work especially that he defined a continuous line drawing as: Taking a line for a walk ...
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This might sound like a Ripleys Believe It or Not story, but in 2006 the well-known New York artist Sol Lewitt (one year before his death in 2007) hired 16 artists for a mural project. He left the following instructions: For 7 hours a day for a total of 5,026 hours over 54 days, using 1,717 pencils create a 2,200 m2 mural using only scribbles ... The brief to the 16 artists was equally cryptic and puzzling: Line. Continuous gradation and feel of steel.
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Thout Scribble Lamp: Thout created a chaotic entangled lamp using the extended electrical cord and a bit of steel to create a chaotic scribbled effect ... This lamp reminds one of the German philospher Nietzsche who strongly believed that choas creates order.
DESIGN GRADE 12
The above 3 photographs indicate the start of Sol Lewitts mural, Wall Drawing: Scribbles: Staircase. The sad reality is that before the mural was actually started, Lewitt died. Under the direction of five master draughtsmen from Lewitts studio, and the original 16 artists Lewitt hired, the mural was eventually completed in 2010.
Above is the final product Wall Drawing In 2012, the 16 artists who were originally used in this monumental project finally earned their recognition when Sol Lewitt Design was acknowledged and credited in the Wallpaper magazine with the Best Mural Award!
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IN CONCLUSION
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We can only sit back and marvel at the remarkable creative efforts designers made in taking our youthful scribbled drawings and morphing them into evolutionary, mature, professional and thought-provoking 2-D and 3-D designs.
Architecture: 19th to 21st Century

Technology & New Materials World Events
1851 Great Exhibition in London. 1867 Diamonds discovered at Kimberley. 1876 Alexander Graham Bell invents telephone. 1889 Eiffel tower completed. 1890 London Subway opens. 1913 First Ford motor factory. 1914 WWI starts. 1910 Union of South Africa formed. 1925 Television demo in Germany & UK. 1918 WWI ends. 1920 Woman granted vote in Britain.
Social Impact 1840
1865 13th Amendment in USA abolished slavery.
1870
1900
1920
Neo Classicism
1850 - 1900
1914 - 1924
De Stijl
1837 - 1901
Arts & Crafts

1850 - 1885
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Art Nouveau
1885 - 1910
Industrialisation & the Victorian Period
Bauhaus
1919-1932
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Industrialisation & Victorian Era
The Crystal Palace exhibition space was designed by Sir Joseph Paxton in 1851, in London. The Red House residence was designed by William Morris and Philip Webb in 1859, in England.
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Neo Classical Arts & Crafts
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The presidential residance, The White House, was designed by James Hoban in 1792, in Washington D.C.
The residance Schrder House was designed by Gerrit Rietveld in 1924, in Utrecht.
De Stijl
The Bauhuas building was designed by Walter Gropius in 1924, in Dessau.
Bauhaus
Art Nouveau
Casa Batll residence was restored by Antoni Gaud in 1877 in Barcelona.
Timeline Module 3
1947 Polaroid Cameras Invented. 1939 WWII starts. 1945 WWII ends. 1959 End of Cuban Revolution. 1954 First colour television broadcast in USA. 1973 First cellphone demonstrated by Motorola. 1969 First man on the moon. 1972 First UN Environmental conference in Stockholm. 1985 Congress of South African Students was banned in SA. 1981 IBM produces first personal computer. 1995 Internet commercialised.
2004 Facebook launched.
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1960
1980
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International Style & Modernism

1932 - 1950s
Deconstructivism
1980s - Today
The Villa Savoye residence was designed by Le Corbusier in 1928, in France.
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The HSBC Main Building was designed by Lord Norman Foster and Partners in 1983, in Hong Kong .
High Tech
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Arcitectural Style Keywords
Guggenheim Museum Bilbao was designed by Frank Gehry in 1997, in Bilbao, Spain.
Industrial & Victorian - new materials, prefabrication | Arts & Crafts - Gothic influence, hand made, quality | Art Nouveau - natural inspiration, experimental, youthfull | De Stijl - geometric, simplified | Bauhaus - industry focussed, universal | Modern & International - skyscrapers, glass cutains, prefabrication | High Tech - technology, exposed | Post Modernism - eclectic, humour, culture | Deconstuctivism - analysis
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Modernism & International Style
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1970s - Today
Post Modernism
Late Modernism and High Tech

1960s - Today
Post Modernism
The Disney Building was designed by Michael Graves in 1987, in Burbank.
Deconstructivism
Modul e 3 T heo ry
A quick historical overview of architecture
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ROMAN FORUM VS THE MODERN SHOPPING CENTRE THE COLOSSEUM VS THE MODERN STADIUM
ROMAN BATHS VS THE MODERN AQUATIC CENTRE Architecture can be seen as a mirror of historical periods, its level of technological knowledge and development, material culture of a society, political and social aspirations. It is also possible to see what interested a particular nation at any given period as well as the moral high or decay at any particular time. There are some civilisations that were highly inventive and historical periods when little changed and no new technology developed.
using the following comparisons as guidelines for discussions
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The style of architecture is determined by wide social, political, cultural and climatic influences as well as materials, technology and individual creativity available at a certain time. Architecture exists for various reasons and it is strange that more effort was spent on buildings that represented power or honoured gods than the dwelling of the ordinary man. Architecture is one of those design disciplines that you simply cannot ignore as it is all around you, and if a new building is erected in your neighbourhood, you will notice it immediately. Many such buildings became the topic of heated debate and controversy in their time. Architecture communicates through a whole range of senses to stimulate us, e.g. cultural, visual, aural, sensual, tactile, atmospheric and spatial. Buildings can therefore make us feel intimidated, protected, at home, luxurious, uncomfortable and even scared and lonely.
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Both Greek and Roman architecture had a significant influence on architectural styles through the ages from time to time. These two periods became known as the Classical period which means they became ideal or timeless styles. This module is not intended to give you an in-depth coverage of architectural history, as you have already been exposed to a number of important historical styles in your Grade 10 and 11 textbooks. This will refresh your memory and give you a brief overview of the most important technological developments and development of new materials.
Brief architectural overview on styles that introduced new technology
Greek 3000700 BC
(Start of the Classical period)
Greeks had a humanistic philosophy, whereby man could make his own decisions. Their intense interest in maths is visible in the architecture they left behind. Philosophy had an important role in Greek thought. They were known for their dramas, tragedies and athletes (Olympic Games). As Greece is a mountainous country with many islands, most of the important buildings were built on hills. It had a mild sunny temperature which promoted outdoor life. Their cities were mostly protected by sea.
Building systems used
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Post & lintel: 3 orders can be seen: Doric Ionic Corinthian
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The Parthenon temple dedicated to the goddess Athena
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Doric order Ionic order
Corinthian order
masculine, resembling tool marks on wooden posts slender, graceful, female, based on organic forms treelike, top resembles acanthus leaves
Buildings were done in rough stone and finished off by masons. Structures Palaces containing workshops and factories for exporting goods The ancient Greeks built their temples on a hill or acropolis, but their religion was personalised. Temples evolved from primitive timber post and lintel models.
Modul e 3 T heo ry
The Agora
The agora formed the centre of the city and consisted of a council chamber, theatre and gymnasium. The orders were perfected over generations, combined and varied according to rules and adjusted to any size or type of building. They also built ancient swimming pools. Materials Buildings were painted in bright colours. They used marble and sandstone to build with. Pros & cons Buildings were mathematically planned. They used optical illusion to create the idea of perfection. Structures/buildings had miraculous sense of proportions. The Greeks had an incredible knowledge of mathematics. The buildings had roofs. They were symmetrical. A modern critic remarked that this architecture lacked passion. It had too many pillars. Too little floor space. The size of the Greek arch was limited to the size of the stone used for the lintel.
(Part of the Classical period)
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Barrel vault
The Romans liked to conquer and enslave other countries. Their empire included a vast number of countries in Europe, the Mediterranean, Africa and Asia. They were great engineers. They took over Greek ideas and inflated them into massive vulgar buildings that could benefit the state. They steamrolled over many countries, destroying their cultures, and imposed their will with military rule.
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Cross vault
Roman 509 BC5th century AD
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Dome over a round shape
The round arch and the vault system Barrel vault: a row of round arches joined together. Groin/cross vault two intersecting barrel vaults. Dome over a round shape. They used the Greek orders placed on top of each other, but Romans favoured the Corinthian. Structures Aqueducts, triumphal arches, public baths, temples, Colosseum for games; roads, monuments, theatres and the forum. The Roman architect was by rule a military architect. The front of the building was usually the most imposing and borrowed heavily from the Greeks.
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Triumphal arch of Titus
The Pantheon had a significant influence on many state buildings built centuries later in America and elsewhere
Interior view of Pantheon
Materials They used bricks, concrete, wood, sand and stone for concrete. The Roman invention of concrete allowed them to erect massive engineering structures such as the Colosseum. Pros & cons Concrete allowed the Romans to erect massive engineering structures. The groin vault allowed for large window openings where the four vaults supported each other. Bricks allowed for larger and higher arches to be built over a framework of wood, which was then later removed. It limited the danger of fire. The barrel vault was very dark and the walls had to be thick to support all the weight. (End of the Classical period)
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Structures Mostly visible in religious buildings
Hagia Sophia in Istanbul by Isadore of Miletus & Anthemius of Tralles, 532537
When the Roman Empire crumbled, Christianity became more dominant but because both entities still needed each other Rome was still the administrator. They used a combination of the Roman temple and the centralised Christian temple. They therefore adapted the centralised dome of the Romans to create more space for a congregation looking towards the altar.

Dome on pendentives (erecting a dome over a rectangular structure), something never achieved by Rome. The upwards direction towards the dome was vertical and calm. It reflected the Eastern idea of time as an unchanging and eternal whole.
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Interior view of Hagia Sophia
Byzantine 4001200 AD
Christianity in the East
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Sultan Ahmed Mosque in Turkey by Mehmed Aga, 16091617
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Materials Stone, marble and mosaic Pros & cons Vertical space achieved lots of space for windows. They were able to erect multiple domes. It had a large influence on Western architecture. It was a complicated method for the West to copy. No architect had the courage to revive this method.
Romanesque
8 12th century
During this period, the Christian church first merged with the Roman Empire and then became dominant. It later did the same with the barbarians. The pope and the emperor divided Europe into separate countries, each ruled by their agents. Monastic churches used the Roman basilica model. Each region combined Roman forms with local building methods and materials and local climates. The plan was based on a cross. It was still under the Roman Empire, but ruled by agents. Roman building methods were combined with local materials.
They combined the dome, arch and barrel into the RIBBED vault. It was basically two crossed arches with infilling, using small stones built up on a temporary timber structure. Structures Mostly known for its churches
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The Romanesque arch
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Basilica Ambrogio in Milan, 379386 AD
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Interior view of Basilica Ambrogio in Milan
Materials Stone, smaller stones and local materials Pros & cons Stone was more fire-proof than the old timber roofs. Buildings were adapted to local climate. The round arch was replaced by the pointed arch. Walls were heavy which made buildings dark and mysterious. Decorations were often grotesque and surreal.
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Gothic
11 & 12th centuries

Gothic symbolised a new synthesis of humanity, God and nature. The church building became an image of nature, imitating plant forms, ribs, stems or fronds, growing out of the earth like a tree. The church had to tower above the village reaching towards heaven.

The pointed arch, flying buttress, ribbed vault, the skeleton structure with thin non-weight-bearing walls. Pointed arches could be steep or shallow as required.
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Flying buttresses used in Chartres Cathedral
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Section of weight distribution through ribbed system
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Chartres cathedral in France, built 11941220
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Amiens Cathedral, built 12201288
Structures Mostly visible in cathedrals across Europe
Ribbed vault
Westminster Abbey, built 1903
Materials Stone, multicoloured glass and lead for lancet windows and large rose windows. Pros & cons Thick walls disappeared. Free standing walls on the outside carried the weight of the roof via bridges (flying buttresses). Lots of windows could be used for light, e.g. lancet, and large rose windows. It took a long time to build. The buildings were very tall and reached towards heaven and dominated the small towns.
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Renaissance, Baroque, Rococo and Neo Classicism

The styles such as the Renaissance, Baroque, Rococo and Neo-classicism did not really contribute anything significantly new. Many were influenced by the Classical period but varied in adornment. Baroque buildings changed the rectangular plan to a slightly more rounded shape. Rococo was overly decorated inside whilst Neo-classicism is a revival of Classical elements and shows clean lines and simplicity.
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Berlin Cathedral designed by J Baumann, 1750 Renaissance 14th16th centuries. This style was a revival of the Classical world. It was balanced and harmonious using rounded arches and slender Corinthian pillars.
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Baroque 17th century. The Baroque is characterised by austerity and was intended to impress. It was also structured and had a hidden order about it.
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New York Federal court designed by Guy Lowell, 19191925 Neo-classical 18501900. This period was characterised by clean elegant lines, an uncluttered appearance, free-standing columns and massive buildings.
Saint Maria del Fiore designed by Arnolfo di Cambio, 1438
Inside the Paris Opera House, designed by Jacques Le Mercier, 18611875 Rococo 17101760. Rococo was characterised by an energetic beauty, playfulness and ornamentation with a lot of surface decoration.
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19th and 20th Century

The Industrial Revolution imitated the crude styles of the lower classes. Skyscrapers started to appear towards the end of the 19th century. New types of buildings were needed to accommodate the new industrialised world, such as factories and railway stations. The Eiffel Tower and the Marshall Field warehouse (Chicago) are some further examples built during the 19th century.
Crystal Palace in London was built for the Great Exhibition of design. Designed by Joseph Paxton in 1851.
Guaranty building, designed by Louis Sullivan & Adler, 18941895
Arts & Crafts MOVEMENT

18501885
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Red house designed for William Morris by Philip Webb in 1859
The Arts & Crafts movement was started by William Morris as a sort of ideal way to provide proper housing and working conditions for craftsmen. They believed in quality handmade products that were aesthetically pleasing. They were influenced by the turrets and arches found in medieval architecture and combined them with a rustic cottage style in housing.
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Blackwell designed by Baillie Scott in 1897
19th-century warehouses with street level restaurants can be found at the corner of High Street and Thomas Street

A mix of diverse elements such as turrets, pointed arches, Georgian windows and available standard components were used. Structures Factories; houses; stations; bridges; exhibition spaces; railway lines.
Materials Standard cast iron parts; natural untreated materials; local red brick, tile timber, glass and steel were the basic materials used. Pros & cons All the new materials and construction methods made it possible for buildings to be erected much faster. Houses were economical and simple. Larger areas of floor space could be covered once steel came into use in 1860. Unfortunately, all this also resulted in rapid urbanisation, which often resulted in slums. Factories also proved to be serious health risks.
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Art Nouveau
18851910
Art Nouveau rejected the styles of the old order. It was an ornamental style, inspired by nature.

They exploited the possibilities of cast iron and plaster that could be moulded into organic shapes. Structures They erected flats; hotels; churches; art galleries; art schools and restaurants.
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Casa Mila designed by Gaudi, 1907
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Paris Metro designed by Hector Guimard, 1912
Materials Cast iron, plaster, mosaic.
Casa Batllo designed by Gaudi, 1905
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19141924
Materials Precast concrete, glass and steel were mostly used. Structures Houses; cafes; offices.
The start of the machine age De Stijl

De Stijl is a simple abstract style based on Cubism. It also had an influence on the Bauhaus and Modernism. As in the paintings, architects made use of simple block shapes in white and primary colours and accentuated with black used in balcony railings. These block shapes were arranged according to mathematical laws of balance and harmony.
Pros & cons It was not a uniform style. It was short lived. It was too decorative and expensive.
De Stijl 19171931 Schrder house designed by Gerrit Rietveld, 1924
Pros & cons Although it was easy to erect and had a simplicity about it unlike the decorative styles of the past, it easily lost its pristine looks and needed regular repainting and was too blocklike and impersonal to remain popular.
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Modernism 19321955 Villa Savoye designed by Le Corbusier, 19291931
Deutsche Werkbund 1907 & the Bauhaus: 19191932
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The Bauhaus was the first to design prototypes for mass production. Buildings were painted mostly white and had a blocklike appearance.

Precast parts, movable walls, pilots, skeletal steel structures and glass curtain walls were the systems mostly used. Materials They mostly used steel, precast concrete, standard parts, machine-made components and reinforced concrete. Structures High-rise buildings; houses; public buildings; flats; Bauhaus school. Pros & cons Buildings were easily erected. Parts could be prefabricated which also made everything very cost-effective. A simple undecorated structure made it easy to maintain. New structures and materials made it possible to do away with supports so they managed to gain lots of floor space. In totality, everything was very cost-effective and cheap to deliver and produce. Unfortunately, this put some people out of work. Buildings easily fell into disrepair. The Nazis hated its smooth, undecorated and precise machine-produced quality, preferring the rustic quality of the German traditional building style.
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Bauhaus 19191932 Apartment block in Stuttgart designed by Mies van der Rohe, 1927
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Modernism & International style

19321950s developed out of the Bauhaus and spread worldwide
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Hong Kong city hall, in central Hong Kong Island, designed by Ron Phillips and Alan Fitch in 1956
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Olivetti building in New York by Skidmore, Owings and Merrill in 1960
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Texaco building in New Orleans, designed by Claude E Hooton in 1951
Prefabricated units; reinforced concrete; cantilevered floors and balconies; skeletal structures with thin walls; curtain walls of glass; regularly spaced elements can be seen. In skyscrapers, the windows covered the entire exterior in a grid pattern. Materials Steel; reinforced concrete; reinforced glass; movable light materials for interior walls. Structures Skyscrapers; houses; factories; opera houses; airports; public buildings; churches. Pros & cons Quick to erect, cheap, cantilevered parts allowed for uninterrupted space with no support; buildings could go vertical. Concrete allowed it to be moulded into any shape. It was, however, expensive to heat in winter and keep cool in summer due to the large expanses of windows covering skyscrapers. As the skyscrapers built during this time created a concrete jungle which appeared cold and impersonal, it eventually fell into disfavour.
DESIGN GRADE 12
Late Modern and High Tech

(+/ 1960s present)

Reinforced concrete; insulated wall panels; steel and aluminium frames. Based on aeroplane technology. Materials Reinforced concrete; insulated wall panels; steel and aluminium frames; mirror glass in neoprene gaskets. Structures Banks, factories, exhibition halls, hospitals, laboratories, houses. Pros & cons They freed up the inside space, all services were located outside the building, which resulted in very busy looking and unattractive exteriors of buildings. It was also very expensive to build this way.
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Postmodern
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Late Modern Lloyds building, London, designed by Richard Rogers, 19781986
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(1970present)
Materials Concrete, paint, bricks of different colours.
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Deconstructivism
American Disney Building, designed by Michael Graves Burbank, 1987
Guggenheim Bilbao, designed by Frank Gehry, 19931997
At first, they borrowed from past styles including Classical, Art Deco and Modernism.

At first, Postmodern architects borrowed elements from different periods: classical features as well as modern.
Structures High-rise buildings, lower buildings such as sports facilities & houses. Pros & cons It was more human-friendly by bringing back decoration and colour. Though it did not bring anything new, they combined elements differently than before. They did start to experiment to see how far they could push the materials, for instance, something that is still popular today is to transform cement to look like a different material, e.g. to resemble stone or sandstone.
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PostModern
Contemporary (including Deconstructivism)

Complicated structures used as well as older environment-friendly methods such as sandbags, straw bales, often in combination with hightech methods. Often use recycling to consider environmental impact of buildings on different environments. Buildings are often designed to generate their own power and water purification. Materials Completely new materials, never used before, such as Teflon, foil panelling, steel mesh, weathered steel, titanium, sun panels and photo voltaic glass, combined with older materials, such as reinforced concrete or sandbags, straw bales and clay. Structures They built high-rise, low-rise buildings, buildings generating their own power and clean water.
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Aerial view of the Doha Grand hotel in Doha, Qatar. Designed by Thomas Heatherwick, 2012.
Examples: James Laws Egg building situated in Mumbai; the Spanish Pavilion designed by Miralles Tagliabue; Taichung convention centre situated in Taiwan; Beijing stadium and Aquatic Centre.
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Taichung convention centre designed by Design Mad, Taiwan
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Cybertecture (Egg building) designed by James Law, Mumbai, India, 2010
Pros & cons Mostly concerned with the impact on the environment; using unusual shapes; many buildings are self-sufficient. Some buildings can rotate to maximise sunlight; wind turbines are added to provide an alternative energy source for the building; safety is considered as well as the environmental impact; natural light, heat and grey water treatment is often used. As many of the materials and some methods are still very new, it is not certain what the long-term impact of some of the materials will be. At least designers, scientists and engineers are trying to turn around the impact man has had on global warming. They can determine many structural and safety problems with specialist computer programs used today.
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Buildings of power and identity

Over the centuries, architecture and urban design have been manipulated in the service of politics. We have seen countries, nobility and political powers being reflected in buildings of power to show some tangible way by which a king, political leader, or ideology could be honoured. This is mostly noticeable in monuments and architectural structures built to honour them. As government buildings serve as symbols of a particular state, we can learn a lot about a political regime by carefully observing what it built during its reign. The ancient Roman Empire is a good example and we only have to look around us to find good examples of more recent history. Today, capitalism is shown through the many banks, luxury resort hotels, property developers and not forgetting the architectural structures of the oil-rich countries. Often these buildings of power that honour some political party come at the cost of poor delivery in housing for the poor.
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The White House, in the USA, designed by James Hoban, c.17921892.
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The US Capitol building, designed by William Thornton, Benjamin Latrobe & Charles Bulfinch, 17921827. It looks remarkably like a mixture of the Pantheon and St Peters in Rome.
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That throughout history political buildings often use Classical influences from Ancient Greece and the Roman Empire to honour some or other leader, bank or state building. There are many examples e.g. The White House, the US Capitol Building, the Metropolitan Museum of Art, the German Reichstag in honour of Hitler, the Jefferson Memorial, our own Union Buildings and many older banks show Classical influences.
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Chteau de Blois, Palace designed by Franois Mansart, 163538.
Other buildings of power are often seen in modern hotels and banks, of which the first offer luxury accommodation for the rich and the latter show the powerful language of capitalism. We also see that casinos and property developers have the largest and most expensive buildings.
A sketch of the Reichstag at the time of its opening in 1894. It was designed by Paul Wallot, 18841894. The dome, which was damaged during the war, was replaced in the 20th century by Norman Foster.
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In the 30 St Mary Axe building, designed by Norman Foster and ex-partner Ken Shuttleworth, the building uses energy-saving methods which allow it to use half the power that a similar sort of tower, such as the Hong Kong bank, would consume. The Dubai rotating towers again rotate so that each apartment gets the full benefit of sun and light. None of these are however cheap constructions. In the Dubai rotating towers, each floor can rotate a maximum of one full rotation in 90 minutes. The towers are powered from turbines and solar panels. Many of these buildings rely heavily on engineering. The High Court in Chandigarh, India, forms part of the city of Chandigarh, the only complete model city built according to Le Corbusiers ideal city.
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The Union Buildings designed by Sir Herbert Baker, Pretoria. It features Classical pillars and a variation of the dome. Built: 19101913.
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Houses of Parliament, Cape Town, designed by Charles Freeman in the 1800s and completed by Henry Greaves in 1885
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Hong Kong Bank designed by Norman Foster, 1985
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High Court in Chandigarh designed by Le Corbusier India, c.1953
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Dubai rotating apartment buildings designed by David Fisher, 2010
The Hyatt Hotel in Abu Dhabi designed by the international architecture firm RMJM in 20072010
The Gherkin in London designed by Norman Foster, 2003
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Buildings of pleasure & retail

Comparisons between ancient and modern retail spaces
During the classical Greek and Roman times, there were already examples of sport centres, theatres, swimming pools, gyms and the Roman Forum, a forerunner of todays modern shopping centre.
The Roman Forum
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The Roman Forum formed the centre of the city. The Forum was designed by Vitruvius and was for a long time the centre of activities in the city. In this example, the long sides are flanked by Basilica-type churches. A sketch of the Forum which appeared in the book The Roman Forum, by Francis Morgan Nichols, 1877
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Charriot races were often held in the Forum, as seen in this fresco
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An impression of daily life at the Forum by an unknown artist
The Forum is believed to be the result of a large landfill project, as it was originally a marshy area with cattle paths. It gradually filled up after the original, low-lying, grassy wetland of the Forum was drained in the 7th century BC with the building of a giant covered sewer system that emptied into the Tiber River. Rome, as a city, developed around the Forum. Commerce, business, prostitution, cult and the administration of justice took place here as well as voting. There was space where religious activities were conducted in what was known as a Basilica, on which the later Christian churches were based. The Roman Forum was basically a rectangular open space, almost like a large courtyard surrounded by important buildings and entered through a triumphal arch.
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The site of the Forum Romana included the triumphal arch of Titus, the church of San Luca e Martina as well as two temples, of Vesta and Saturn, that were added later. These are all linked by the main road. The Forum developed from the original Greek town square but was tidied up over the years to become more orderly and was smaller and paved with travertine during the time of Augustus. Both long sides were eventually flanked by basilicas. The Forum was often used for military parades called Triumphs. At first, the Forum served as a marketplace, but became the economic, political, and religious hub, town square, and centre of all Rome. As the Roman Empire expanded, these activities became completely overshadowed by military marches. Additional Fora appeared in different locations all over the city to serve as marketplaces for the sale of cattle, pork and vegetables. As Roman power grew, private houses and property around the original Forum was bought up to expand the Forum. There was also a roster or platform erected for public speeches. When the Roman Empire collapsed, the Forum became pasture-land again.
The modern shopping centre

The shopping centre or mall is a global phenomenon which was born at the beginning of the 20th century. The shopping centre as we know it today has its roots in the ancient Roman Forum, old market squares, covered marketplaces popular between the 10th and 15th centuries, bazaars, seaport commercial districts and therefore dates back more than a thousand years. It is found in cities all over the world in different shapes and sizes. It has not only become a place to purchase and find goods, but it has become a cultural hub where people of all ages and races can interact, enjoy food, and be entertained.
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The concept of shopping centres developed when large scale residential areas developed away from the central business districts, especially after the 2nd World War and during the boom of the automobile industry. It started off as small convenience stores that usually included a small grocery store, drug store and a few other types of stores. This later developed into a single building with shop fronts facing inwards. The first two-level, fully enclosed mall opened in 1956 as the Southdale Centre in Edina, Minnesota. It had central air-conditioning and heating and had connections with two big department stores. Our modern shopping centre has replaced much of the older trading models, offering the shopper everything under one roof where the shopper is protected from the weather and other dangers. Most shopping centres also offer child-care facilities so that parents can shop in peace. Centres are monitored by closed-circuit television and round the clock security. In the early 1990s, entertainment quickly became a hugely popular part of shopping malls and malls were developed to foster the magical experiences seen before in amusement parks.
A shopping mall or centre is basically one or more buildings which form a complex of shops representing merchandisers, with interconnecting walkways. These walkways enable shoppers to easily walk from shop or unit to unit. It usually has a covered or uncovered parkway. So it is basically a modern, more upmarket version of the old covered marketplaces of the Roman Forum.
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Multi-storey shopping mall in Kuala Lumpur
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Under one roof, consumers can enjoy childrens play-spaces, virtual reality games, live shows, movies and food in an informal food court or themed restaurant. Many centres also offer exhibitions, fashion shows, demonstrations of various sports, new equipment, bridal fairs and talent shows. Many centres also provide a variety of services, such as shoe repairs, postal, banking, internet cafs, security, information, travel agents, health and beauty, eye care and emergency medical help to consumers. With online shopping becoming increasingly popular, shopping malls now have their own web sites. Consumers can now do research online about products before going into the mall to buy and are therefore far more informed about products.
Westgate Shopping Centre in Roodepoort, 1985.
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Menlyn Shopping Mall in Pretoria showing a large open area where shoppers can look down onto the lower area. It was built in 1979 and refurbished in 1998.
The shopping centre is the one place where you can find examples of the four design categories: communication design, product design, environmental design and surface design. A mall is a place that speaks to most of your senses: Visual colour, posters, textures, shapes and forms Tactile different surface textures of the materials and goods on display Aural sounds Taste food Smell different aromas of food and perfumes Spatial you experience different spaces from small, warm and intimate to larger spaces inside, and outside in the parking garage.
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You will find images in posters, book covers, signage, menus, labels and packaging, an abundance of pattern and textures in fabrics, wrapping paper, visual merchandising, interior design and displays in the different stores and the mall itself, different shapes and forms in the various products on display. A shopping mall dates very quickly and its look and feel is periodically updated. This is often a great expense for shop owners as not only do they have to replace all tiles and fittings in accordance with the new regulations but the rent also goes up accordingly, forcing many to close shop.
Of course, it is absolutely appropriate to question this huge waste of materials, time and overall spending during a time of economic crisis worldwide. Perhaps this could become an interesting topic for a class discussion. The most common feature of a modern shopping complex is the food court, usually located in the entertainment zone, which is surrounded by restaurants and various fast food vendors around a shared seating area. Cinemas are also located on the same floor or one above this area. Enclosed shopping centres are controlled areas with lighting to resemble daylight, all designed to keep the shopper inside as long as possible by confusing them with the false daylight, together with all the entertainment, and luring them into staying longer than they intended.
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Many shopping centres are theme based but this could become controversial if it is not handled with sensitivity. Therefore, when the management of a shopping mall considers using a theme, they have to be sensitive to cultural and racial preferences in the area where they are located. It is also important to consider the physically handicapped customer and make provision for special parking bays and for easy wheelchair access to the whole centre and its facilities. New trends in malls either favour malls built vertically for those who favour weather protection or an open mall with shops surrounding a courtyard. The vertical mall became necessary due to the high prices of land. It is however difficult to introduce this concept to shoppers as the majority tend to favour moving on ground level when they shop and not to move up and down from level to level.
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The food court in Canal Walk Shopping Mall, Cape Town, is a busy hub of activity that attacks the sences. Completed in 2000. Although it has many shops, it is surpassed in size by the Gateway Shopping Mall in Durban.
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Visit a shopping centre in your area and take notes down of the following: Basic layout/plan of the centre. What services are offered? What kind of entertainment takes place? Overall theme and colour scheme used throughout the centre? Signage is it clear and easy to read? How is it displayed? Which font is used? What would you change or add to the centre to make it more effective in attracting more customers? Is the centre an upmarket centre, or for medium to lower income groups? Is the centre sensitive towards cultural and racial differences in the community? Does the centre make provision for the physically handicapped person? How do you feel inside the centre? Describe how the space makes you feel. How often have you seen renovations take place inside the mall in your area? Is it in tune with modern interior trends? Discuss your findings with fellow students in a class discussion.
The Colosseum in Rome
Ancient Greek and Roman theatres possibly influenced the design of the Colosseum.
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Ancient theatre of Epidauros by Polykleitos, 400 BC
Ancient theatres vs modern stadiums
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Ancient Roman theatre
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The Colosseum still remains one of the most impressive Roman buildings even today. It was originally designed as an amphitheatre and part of Emperor Neros huge park in the centre of Rome, which included the Colossus statue of Nero after which it was named, hence the name Colosseum. It was built for the Emperors Vespasian and Titus.
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Interior view of the arena revealing the very sophisticated cellar structures underneath
The exterior view of the Colosseum
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Mosaic showing Roman gladiators
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Theatre of Marcellus The Colosseum resembles the theatre of Marcellus
The Colosseum is an immense oval-shaped, four-tiered building, which measured 188 by 156 metres in diameter and more than 48 metres in height. It had 80 entrances through which about 55,000 spectators could enter. The fourth level had seating for women and the lower classes.
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A mosaic showing Roman gladiators
The Colosseum in Rome was an arena where the Romans were entertained by bloody battles between man and beast and where many people lost their lives to satisfy the bloodthirsty Romans. It was completed in 80 AD.
citizens. Below ground, there were rooms which had mechanical devices
The lowest section was reserved only for the emperor and prominent
and cages which contained wild animals. The cages could be hoisted up to enable the animals to appear in the middle of the arena when required. The Colosseum was originally covered with a huge awning during games. This awning was known as a velarium which protected spectators from the sun. The velarium was attached to large poles on top of the structure. These poles were anchored to the ground by large ropes.
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The Colosseum was used by the Emperors of Rome to entertain the public with games. These lasted from one to often several days in a row. These games were a symbol of prestige and power and a way for an Emperor to increase his popularity among the people. The games usually started off with comical acts and displaying exotic animals acquired by the Emperor. This was followed by gladiator contests and public spectacles, which could include anything from mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The fighters included slaves, war prisoners, condemned prisoners and sometimes free Romans and even emperors. During the 100-day games held by Titus to celebrate the inauguration of the building, some 9,000 animals were slaughtered! Massacres were on a huge scale and many Jewish prisoners lost their lives. One combat would be staged after the other until the ground became so soaked in blood that a fresh layer of sand would be thrown over it. The bloody games continued until Christianity put a stop to the parts that included the killing of humans. The huge crowds attending games at the Colosseum made it essential that the venue needed to be filled or evacuated quickly. The architects of this amphitheatre adopted solutions very similar to those used in modern stadiums faced with the same problem, by using multiple entrances. Entrances and staircases were all numbered and spectators received tickets in the form of broken pottery shards. About 75 of the arched entrances were kept for spectators to evacuate the building, whilst the other was reserved for the Emperor and important citizens. Materials: travertine stone which was set without mortar and held together by 300 tons of iron clamps.
The Modern Stadium
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Thankfully, today our modern stadiums are only used for organised sport and large music events. The modern stadium retained the oval shape, similar to the arena of the Colosseum, and similar tiered seating arrangement but is designed in such a way that every area has a good vantage point. Architects of modern stadiums also consider the environmental impact, sustainability and maintenance costs. We have seen a number of good examples erected in recent years, especially those that were built for the Soccer World Cup in 2010 as well as the Olympic Games in Beijing and more recently in London.
That the Soccer City stadium has some historical significance for us as South Africans as it was the site where former President Nelson Mandela gave his first public speech in this province after his release from prison. It is also the place where the funeral of Chris Hani was held. It was then known as the FNB stadium. The 2010 FIFA World Cup Final was also played here.
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The Colosseum is an oval-shaped free-standing structure, unlike Greek theatres that formed part of a hill. The exterior and interior appeared as if formed by putting two Roman theatres back to back. The oval-shaped central arena is surrounded by a 5 m high wall. Above this wall rose the levels of seating. The outer wall consisted of three tiers of arcades which were framed by half-columns of the Tuscan, Ionic and Corinthian orders, while the fourth one was decorated with Corinthian pilasters.
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Soccer City
is located in Nazrec, near Soweto, Johannesburg, in South Africa

The stadium is able to accommodate 95,000 people and is the largest soccer stadium in Africa. It is nicknamed the Calabash because it resembles an African clay pot or gourd (hard-skinned fruit). The reddish colour was obtained by cladding the exterior with fire- and earthen-coloured mosaics. It has a ring of lights around the bottom which, when lit, resembles the fire beneath a pot. The seating inside the area is arranged in such a way that no spectator is ever further away from the field than 100 metres. The stadium underwent major upgrading for the FIFA World Cup and several additions were made to increase the capacity of the stadium. This was achieved by adding an upper level, changing rooms, executive suites and an encircling roof. Inside, the seating area is accentuated by 10 black lines of which 9 line up with the other soccer stadiums in SA.
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Soccer City in Johannesburg designed by Boogertman & Partners as well as HOK Sport, 2009
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Seating inside is accentuated by 10 black lines radiating out from the field
Materials used: concrete, tiles, plastic seating and the field is of grass and not of sand as it was in the case of the Colosseum.
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It originally had 9 lines (for the 9 SA stadiums) but, as this number is considered an unlucky number in African culture, the 10th one was added to line up with the Berlin Olympic stadium where the previous World Cup Final took place in 2006. When upgrading of the stadium started, part of the original structure was retained in the west upper level. The entire lower part was rebuilt and divided into two segments which enabled the architects to create a new lower embankment linked to the existing ground level concourse. The colours of the seating echo the same colours of the tiles used on the outside. The stadium is now the official stadium of Kaizer Chiefs soccer club. It functions chiefly as a soccer stadium but is also used for music shows and religious functions.
The award winning stadium, Soccer City (the Calabash) designed by Boogertman & Partners as well as HOK Sport in 2009, showing the tiled outside of the stadium
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Other stadiums with unusual forms of construction include the Beijing Olympic Stadium, commonly referred to as the Birds Nest, and the Olympic Stadium in Montreal, Canada. The inspiration for the Beijing stadium came from two sources, namely that of the bird nest, a rare delicacy in China, and the Chinese ceramic bowl on which the idea of the inner bowl was based. The inner bowl, which is red, houses the seating. Red is a symbolic colour of China as it is also the colour of their flag and the preferred colour of many traditional brides. The stadium features a maze of criss-crossing steel and concrete beams to create the idea of the outer nest. The one side is also slightly higher than the other to increase sight lines of spectators. It addresses several green and sustainable issues, e.g. rainwater is collected outside and pumped to the inside to cool and heat the building.
Moses Mabhida stadium in Durban is a multifunctional stadium, designed by the German firm of architects: Gerkan, Marg & Partners
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Beijing Olympic Stadium, designed by Herzog & De Meuron, 2008
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Olympic Stadium designed by Roger Taillibert in 1976, Montreal, Canada
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Ancient swimming pools & public baths vs the Beijing Aquatic Centre
Swimming as an organised activity dates back almost 2,500 years as it was practised in Ancient Egypt, Greece, Rome and Assyria. Greeks and Romans were known to practise swimming as part of their education. The Romans built the first swimming pools separate from public baths in the first century BC. Swimming pools did not become popular before the mid 19th century. Only after the modern Olympic Games began in 1896 and swimming races were among the events did the popularity of swimming pools begin to spread. By 1836, Britain had six indoor pools with diving boards. Competitive swimming only became popular after WW1. The first swimming pool, called the Great Bath, can be found in modern day Pakistan and dates back to the 3rd millennium BC. It had a tar-based sealant.
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The Ancient Greek baths at Olympia, 480 BC Ancient Roman pool and baths at Bath in England. It underwent several modifications over the centuries. The spring and baths are now housed in the building designed by John Wood & Son, built around 189497.
The Ancient Greeks and Romans built pools to train for athletics, for naval games as well as for military exercises. Emperors had their own private pools in which they also kept fish. The first heated pool was built in the first century BC by the Roman, Gaius Maecenas. Public baths kept different visiting times for men and women they were not only used for cleansing the body but also for discussing daily events, politics and business. The pool and baths at Bath in England are well-preserved examples. They feature colonnades around the open pool area. These baths underwent several changes and upgrades over the centuries. The spring and hot baths are now housed in the building designed by John Woods the elder and his son in 1894. The baths at Olympia had beautiful stone mosaic floors. The materials used were mostly stones, concrete and travertine stone, often used in cladding walls.
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An Ancient Roman swimming pool at the village of Bagno Vignoni in Italy, 6070 AD. Pool built in the 16th century.
This ancient pool at Angkor Wat in Cambodia is more than a thousand years old and is one of six pools at the site
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The Beijing Aquatic Centre

(the Water Cube)
Arup & PTW architects in collaboration with China State Construction & Engineering Co.
This is a unique building and one of the modern marvels of the 21st century. It is a unique greenhouse building which regulates its own temperature and can put out its own fires. The structure is so strong that it can stand on its side and can withstand an earthquake. The materials and construction used have never been used before in architecture nor in the building industry. The structure of the pool was based on the natural structure of soap bubbles. This created quite a challenge to the design team as none of the structural elements were exactly the same length. Each had to be computer analysed, created, cast and marked with a number so that the construction workers would know exactly where each part would go in the structural maze of the centre. The entire design, the casting, planning and cutting of the bubbles and the safety analyses were done using special computer programs.
The Water Cube on the right showing the entrance and above the Teflon bubbles filled with air
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The swimming pool
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The use of a bubble structure was intended to combine the lightweight, insulating and light-diffusing qualities of a greenhouse. To achieve this, they used an ethylene tetra fluoro-ethylene (ETFE) outer skin covering, commonly known as Teflon. This material was an efficient and lightweight membrane pillow-panel construction, which did not require a secondary structure for support. It provided far better insulation over the use of conventional glazing methods used in other buildings. This material also proved to be much safer in the case of fire, as it merely melts away and does not spread to other areas of the building. This made it a very safe material to use. Simple circular tubes (selected by a special computer program) were used for the structure, which were then welded to spherical nodes at each end to form the frame for the bubble structure. The bubble cladding, of which some are over 9 metres in size, insulates the whole building. The roof has 7 different sized pillows. All these bubble pillows were computer calculated, cut, numbered and stored to fit each bubble structure on site. Here it was unfolded, positioned and slot into place and then filled with air. These inflated ETFE pillows offered far better insulation than glass could to the building. Because of its thin lightweight structure, it could span large areas.
The unusual structural elements are clearly visible at the bar area where the pillows are smaller and the fritting denser to keep the area cool in summer
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The high level of natural daylight allowed into the building by the ETFE pillows slowly heats up the building and pool water and in this way maximises energy efficiency. The pillows create a variation in shading of the exterior walls. This shading was achieved by screening the membranes with what is known as translucent fritting (round flat discs printed on the membrane). This fritting is denser in areas where people would gather, making the area cooler. To protect the exterior surface of the membrane from corrosion due to condensation and evaporative chlorine, air nozzles have been placed around the perimeter of the building, spraying air up the walls to regulate temperature and provide constant air movement. Heat is able to escape in summer, and in winter it is trapped inside making it warmer and more energy efficient. ETFE is also a non-stick material and the building does not need any cleaning. Materials: 2, 0000 steel beams and ETFE, a thin type of non-stick plastic, which weighs only 1% of glass.
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Places of worship
Throughout the ages, cultures have spent considerable resources to built places of worship, of which some structures are ornate and magnificent. These structures were either in the service of pagan gods or for a particular faith. The structures vary from churches, stupas, mosques, shrines to massive temples and cathedrals. Many Christian churches followed similar styles over the centuries and imitations of older styles were often repeated. Sacred, religious or holy structures often evolved over centuries and were the largest buildings in the world, prior to the modern skyscraper. The various styles used in constructing sacred architecture sometimes reflected trends used in other structures, but often the styles used for sacred architecture also remained unique from the contemporary architecture used for other buildings. As there are so many to choose from and there are already some older examples included in the overview on architecture, we will only look at a few.
Teflon was first used during WW2 to coat gaskets in the first atomic bombs to prevent corrosion. After the war, it was used to coat frying pans for household use. It became very popular among housewives throughout the fifties and sixties. During the 1960s and 1970s, Du Pont and NASA tweaked the chemical structure of Teflon to use in space exploration. It was used to protect astronauts from radiation. It is clearer than glass and weighs a fraction of glass. It has appeared in quite a few buildings in the world, such as the Eden Project in Cornwall, England, and the Allianz Arena in Munich.
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During 1938, a group of American scientists at the Du Pont Company were experimenting with gases and accidentally discovered a new substance called ETFE, commonly known as Teflon.
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The Greek temple of Athena dedicated to the goddess Athena
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Greek temples were simple rectangular structures with a triangular pediment and supported by columns right round the building. The Romans built the first model for Christian churches in the form of basilicas, simple rectangular structures with three aisles, with the main one in the centre built higher than the sides and including windows above the side aisles. A further development included a cross aisle found in Gothic times. Byzantine architecture had an influence on early Islamic architecture again. The style is often determined by the culture, religion, area and crossinfluences due to trading and migration.
A model of the Roman basilica-type church
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The Vatican in Rome Renaissance Baroque 15031605. Several architects worked on it including Michelangelo and Bernini. Cathedral of St Michael in Grahamstown has only one tower but shares similarities with the old basilica churches and the Gothic styles
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Milan Cathedral in Italy, designed by Simone da Orsenigo in 1380
St Nicholas church of Mal Strana, Prague shows the ornate style of the Rococo. Designed by Dientzhofer in 16731752.
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20th and 21st Century structures
The Notre Dame Du Haut Ronchamp by Le Corbusier
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Interior of of the church showing the three-dimensional wooden drapes inspired by Baroque paintings
Interior of the chapel showing the interesting array of windows and the beautiful light-filled interior space
The Notre Dame Du Haut Ronchamp was designed by Le Corbusier and constructed in 1955 in Lure, France. This chapel is dedicated to the Virgin Mary and is very sculptural. The chapel is not given away as a place of worship but the shapes used in this design evoke the earliest shapes used for ancient deities. Many architects were shocked and saw this chapel as an irrational, expressionist abnormality. The roof is slightly raised and from inside appears to be floating above the walls. The windows are deeply set in different sizes and colours and create a meditative atmosphere inside.
Vaaler kirke in Copenhagen, Denmark

(a contemporary sacred structure)
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The Vaaler kirke in Copenhagen, Denmark, designed by Architects Ivar Heggheim, Jon Andersen, Rasmus Mller, & M. Andersen
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Notre Dame Du Haut Ronchamp designed by Le Corbusier in 1955
For this unusual religious structure, the architects focused on designing a contemporary sacred space. They had to consider social, cultural and historic proportions for this project. They transformed the drapes found in the Baroque painting style to three-dimensional wooden drapes connected to the ceiling inside the church. The exterior of the church is a simple geometric structure combined with the texture of the wooden shingles. By doing this, the architects managed to create an ambience, rhythm and playfulness in the building. Daylight emphasises the heavy three-dimensional wooden drapes of the ceiling to create a beautiful play of light and shade. The building is entirely constructed out of wood and both the inside and outside speak of simplicity.
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Temples and mosques from the East
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The Hagia Sophia in Istanbul, a magnificent dome structure never surpassed in the West. It was built by Constantine II in 360 AD, rebuilt after it was destroyed in a fire and completed in 537 AD. One of seven temple structures making up the Prambanan temple complex near Solo city on the Island of Java, Indonesia.
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The ancient Borobudur temple near Magelang in Central Java is one of the largest Buddhist structures in the world. The different levels portray the life of Buddha and become a spiritual journey to the top of the stupa. Completed in 850 AD. It took a hundred years to build.
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Bait-ur-Rahman Mosque in Singapore was one of the first examples of a domed mosque in Southeast Asia. It was built by the Dutch in 1879 and completed in 1881.
Taj-ul-Mosque in Bhopal literally translates as The Crown of Mosques. Designed by Shah Jahen Begum, 18881901.
The style of the Lotus Temple is very expressionistic and consist of a nine-sided circular structure in accordance with the scriptures of Bah. No pictures or sculptures are allowed inside the building. It has no pulpit or stage inside which is according to prescriptions of this ancient religion. It was inspired by the lotus flower and has clusters of three petals to form nine sides. The temple consists of 27 marble-covered petals which rise up from the base. It is surrounded by 9 ponds to form a kind of mandala.
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An aerial view of the Lotus Temple in Delhi, India
The Lotus Temple in Delhi, India
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Lotus Temple in Delhi, India, surrounded by a number of ponds
The central hall is slightly more than 40 metres high and can accommodate about 2,500 people. It has 9 entrances. The temple is open to visitors from all religions. The surface of the temple is made from white marble from the Penteli Mountains in Greece.
Lotus Temple in Delhi, India, designed by the Iranian architect, Fariborz Sahba in 1986
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Centre for Religious Studies in Albania designed by BIG, 2011

This beautiful complex consists of a mosque, an Islamic centre and a museum of Religious Harmony. Scandia, Albanias capital city, is undergoing a transformation and Scandenbeg Square is being upgraded. This square is the site of this new cultural complex. Albania forms the crossroads of three major religions, that of Orthodox Christianity, Catholicism and Islam.
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The outer walls have windows placed in a pattern that was inspired by Islamic screens
This award-winning complex is able to create an inviting public space that is flexible enough to accommodate large religious events as well as daily visitors. It also connects harmoniously with the Scandenbeg square and Scandia citizens from different religions. The beautiful surrounding gardens symbolise the rich vegetation which is described in Islamic literature. The mosque can accommodate about 1,000 people but could also expand into the surrounding plazas to accommodate up to 10,000 people on special days. The front of the building contains a multitude of regularly placed diamond shaped windows inspired by Islamic screens. This placement of windows allows for privacy as well as for a view outside. The light filtering through the windows changes dramatically in quality throughout the day. The light-filled interior spaces create a contemplative atmosphere. The centre consists of a number of curved blocks with the main wall of the mosque facing towards Mecca. Although the placement of the centre follows the city grid of Tirana, the ground floor is rotated in such a way that both the plaza and the Mosque face the holy city of Islam.
Three new churches have been built to accommodate these religions. The complex will serve the Muslim community of surrounding areas and serve as an information centre about Islamic values. It will also be a beacon for religious tolerance in the area.
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Centre for Religious Studies in Albania designed by BIG, 2011
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Find examples of different religious buildings in your area and compare them with similar examples from the text. Look at materials, specific features of the building, who is it for and who built it and when was it built. Can you find some common features across religious boundaries? Here are some examples to help you.
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Hindu Temple of Understanding in Durban built by architect Rajaram Dasa in 1978 Synagogue in Kimberley designed by D.W. Greatbatch in 1902
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Boorhaanol Islam in the Bo-Kaap, was built in 1884. The original was of wood.
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Twin tower Dutch Reform church in Bloemfontein built in 1849 designed by T A W Wocke
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GLOSSARY
Agora: In Ancient Greece, an open space in a town where people gathered, especially a marketplace. Basilica: Roman-style church on which many structures of Christian churches were based. It had a main aisle higher than the side aisles allowing for windows above the side aisles, commonly referred to as clerestory windows. Bah Faith: A religion which started in the 1800s by Bahullh. He was born in Tehran, Iran. Followers of this religion call themselves Bahs. The name Bahullh is Arabic for The Glory of God. Glory is a word that means importance, power, and beauty. Bahs believe Bahullh is a representation of God, or speaks for God, and he shows people Gods importance, beauty, and brightness. Colonnade: A row of pillars used in Roman building and again in the Baroque period. St Peters church in Rome features this like two encircling arms sprouting out from both sides of the church to almost surround the open area in front of the church. Corinthian: Relates to the ancient Greek city or modern Greek town of Corinth. In architecture, it describes a slender architectural column with an ornate capital. Doric: Relates to the Dorian people of Ancient Greece, a less refined group of people. In architecture, it relates to a built style characterised by fluted columns with a rounded moulding at the top and no base. ETFE: Ethylene Tetra Fluoro-ethylene, a thin durable flexible plastic membrane known for its great insulation qualities. It weighs only a fraction of glass and is much clearer. Fora: Marketplaces for the sale of cattle, pork and vegetables in Roman times when the Forum became more for the use of military victory marches. Gladiator: In Ancient Rome, a professional fighter who fought another combatant or a wild animal in public entertainments set in an arena. Often gladiators were criminals or slaves who were equipped with nets, nooses, swords, or other weapons. Glass curtain walls: Outer glass skin of Modernist buildings which does not fulfil a supportive function. Ionic Relates to or is typical of the order of architecture characterised by fluted columns and capitals with spiral scroll-shaped ornaments. It also relates to an extinct dialect of Ancient Greek that was spoken mainly in Ionia. Ionic people were refined people interested in literature and the arts. Mosaic: A picture or design made with small pieces of coloured material, such as glass or tile, stuck onto a surface. Mandala: A concentric or circular design that has spiritual significance in Buddhist and Hindu religious traditions. It also serves as a religious teaching tool. It could be a geometric or pictorial design enclosed in a circle that represents the entire universe. It is used in meditation and ritual. Neoprene: A synthetic material resembling rubber, but slower to deteriorate and more resistant to oil. Used in the manufacture of equipment for which waterproofing is important. Pendentives: Erecting a dome over a rectangular edifice. Photovoltaic glass: PV glass is a special glass that is used to generate PV power. The solar cells are embedded between two glass panes and, when used in PV glass application, they are either crystalline silicon or thin film. When applying crystalline silicon solar cells, the ultra-clear figured glass is used as cover of solar PV cells while super clear float glass is for thin film solar cells. Pylons: Rather large pillars found in Modernist buildings. They often support a multi-storey overhang to allow for parking underneath. Reinforced concrete: Concrete made with metal wire or rods embedded in it to increase its strength. Reinforced glass: Glass strengthened with steel wire. Teflon: A type of plastic often put on pans to prevent food from sticking to the surface of the pot or pan. Trademark for polytetrafluoroethylene. Titanium: Titanium is a chemical element with the symbol Ti and atomic number 22. It has a low density and is a strong, lustrous, corrosion-resistant transition metal with a silver colour. Travertine: A hard white or light-coloured limestone precipitated in hot springs and caves. Use: facing material used to cover the outside surface of a building either as a decorative or protective means.
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CASE STUDIES
Award-winning designers, whether from South Africa or abroad, share a focus on experimentation and pushing traditional boundaries. Social and environmental factors influence the way we live and contemporary designers comment on these universal concerns through their designs. Their aesthetic and material choices as well as selected manufacturing processes reflect their dedication to the environment and their communities. With all the extraordinary creatives and innovators the world presents to us, it is really difficult to select less than a handful for this discussion. British designer Thomas Heatherwicks work reflects a deep understanding of form and space. His body of work stretches from smaller community-based projects to the redesign of an icon the red London Bus. Tokujin Yoshioka, born in Japan, shares Heatherwicks passion for experimentation, but his work also reflects a strong focus on nature. Although Mokena Makeka is South African, his work shares the international design platform with designers like Heatherwick and Yoshioka. The work of these three designers reflects an understanding of the ever-changing social and environmental conversation of the world and international complexities.
Thomas Heatherwick
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Thomas Heatherwick is an English designer and architect known for his original use of materials, processes and engineering to create public spaces, sculptures and environments. He comes from a family of creative individuals his mother was a jeweller and enameller while his father was a musician. Heatherwick studied three-dimensional design at the Manchester Polytechnic after which he completed an MA in furniture design at the Royal College of Art. In 1994, he graduated from the Royal College of Art and founded Heatherwick Studio which specialises in product and environmental design. Heatherwick has kept contact with academia by being a fellow of the Royal Academy and being an external examiner for the Royal College of Art. He has been awarded four honorary doctorates from Manchester Metropolitan University, Sheffield Hallam University, Dundee University and Brighton University.
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Thomas Heatherwick
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Bus design for London Transport, 2010
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Heatherwick Studio today employs designers, engineers, architects, sculptors and landscape designers in a multidisciplinary working environment. The studio aims to produce unconventional environments and objects which combine the artistic nature of sculpture with design and engineering. The multidisciplinary teams allows for more creative and innovative solutions. Heatherwick has commented that:
...the things that capture peoples imagination in arts or architecture or fashion are the most inventive things. The best entrepreneurs have invented new ideas for business. And for me, the art of something is very often in its invention.
Heatherwick views the process of design as problem solving rather than finding a single moment of creative brilliance. Through research and contextual studies, he finds the most suitable solution which acknowledges people, environment, technology and business. Most of the designs produced at the studio are meant for public spaces. Projects range from a curling pedestrian bridge in London to Longchamp handbags, cafs and furniture pieces. Heatherwick is inspired by the world around him and bases his designs in social and environmental contexts. His first major commission was for the London-based department store Harvey Nichols during London Fashion week, for which he designed a temporary shop facade out of ribbon-like sections of wood and polystyrene called Autumn Intrusion. The illuminated sections moved between the store facade and the street creating a dynamic composition and challenging the conventional notion of interior and exterior. The design proved to be a huge success and won him the 1997 D&DA gold award. From then, Heatherwick received many accolades including the 2010 Civic Trust Award, the 2010 London Design Medal, 2010 Designer of the Year: Tokyo Design & Art Environmental Awards and the 2011 Designer of the Year: Wallpaper Design Awards. Highlights of public spaces and products designed by Heatherwick 1997 | 2004 | 2005 | 2005 | 2006 | 2007 | 2007 | 2008 |
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Title: Autumn Intrusion, Detail: Window installation for Harvey Nichols Title: Zip Bag, Detail: Designer for Longchamp Title: B of the Bang, Detail: Commemorative sculpture, Manchester later dismantled Title: Rolling Bridge, Detail: Opened Paddington Basin, London Title: La Maison Unique, Detail: New York flagship store for Longchamp Title: East Beach Caf, Detail: Caf in Littlehampton Title: Boiler Suit, Detail: Faade for Guys Hospital Title: Piggyback Table, Detail: Table produced with Magis exhibited at Salone del Mobile, Milan and the Design Museum
East Beach Caf, Littlehampton
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Thomas Heatherwick, East Beach Caf, 2005

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The East Beach Caf is located on the West Sussex seafront in Littlehampton. The redesign of the existing kiosk was commissioned in 2005 and needed to address the duel function of the space: caf during the day and restaurant at night. The owners wanted the design to be unique and iconic while acknowledging the seaside environment. The structure is made from steel which was allowed to rust to deepen the colour and add surface texture before being sealed with a clear oil. Heatherwick encouraged local participation in the construction by employing a local Littlehampton company to fabricate the structure. The encouragement of community involvement, a strong sculptural quality and an innovative approach to working with steel are characteristic of the building. The structure won the 2008 Royal Institute of British Architects regional award.
Paperhouse, Kensington and Chelsea, London
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Thomas Heatherwick , Paperhouse Kiosk, 20032009
Heatherwicks studio was commissioned to redesign the traditional street newsagent in the Royal Borough of Kensington and Chelsea. The project addressed a social and environmental challenge. The impact of the street vendor and newsagent in British culture has historically been enormous. With the rise of Internet publications and electronic media, the traditional role of newsagents changed. The council approached Heatherwicks studio to create new newsagent kiosks which celebrate the importance and heritage of British newsagents while enhancing the beauty of public spaces. The resulting design features a stepped shape instead of the rectilinear shape of previous kiosks. The shape added an interesting ergonomic form to public spaces. Similar to the East Beach Caf, the structure is steel, however the exterior is wrapped with painted brass. The interior uses wood to complement the warm tones of the brass exterior.
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United Kingdom Pavilion, 2010 World Expo Shanghai
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Spun seating
At first it is not quite clear what the Spun is. The design has a strong sculptural quality and resembles vessels of some sort. It is only when you turn it at an angle that the Spun begins to resemble a seat. The research behind the design is based on geometric studies of traditional forms and whether such a shape could be adapted into seating. The large structure, 20 metres high, was covered in 60,000 clear acrylic optical stands, or rods, giving the surface an almost hairy texture. The end of each 7.5 metre rod housed a seed. The concept tied into the need for conservation and comments on the destruction of plant species in the modern world. The Seed Cathedral stood as a reminder of mankinds responsibility to preserve, and referenced the Royal Botanical Gardens at Kew and their Millennium Seedbank. The interior also featured a pin-like texture created by the rods and is illuminated by natural daylight filtered through the rods. The space was designed to be functional and housed a number of events and more than seven million visitors during the six months of the expo. The pavilion won the BIE Gold Award for Best Pavilion 2010.
The United Kingdom Pavilion for the 2010 Shanghai World Expo has been one of Heatherwicks most talked about designs, consisting of the main pavilion building and a layered zone under the structure that housed installations exploring the problems and opportunities of nature within cities of the United Kingdom. The theme of the 2010 expo was Better City, Better Life. The pavilion is a development of Heatherwicks previous work called Sitooterie II and has become known as the Seed Cathedral.
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Thomas Heatherwick, UK Pavilion at the Shanghai Expo 2010
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The result is playful as well as sculptural. Through ergonomic testing, a sizing and shape suitable to human proportions was developed. The user can sit, rotate or even spin around, creating an interactive user experience. The seating enhances public spaces with a sense of play. The production process for the project used rotational plastic moulding which was cost-effective. The process creates a textured surface which communicates an almost hand-produced quality. Plastic is the main material used, which keeps production cost down even more and produces a hardwearing, weatherproof seat. The seat was launched in Milan in 2010.
Thomas Heatherwick, Spun seat, manufactured by Magis in Italy, 2010
Heatherwicks focus on the balance between urban and natural, explored in the Seed Cathedral has inspired an unusual building style for a proposed apartment building in Kuala Lumpur, Malaysia. The traditional rectilinear nature of skyscrapers and apartment towers with square bases is turned upside down in Heatherwicks proposed design. The reduction of the buildings footprint is made possible by tapering the building towards the ground. A balance is achieved with regards to optimised number of units and optimised space for landscape design.
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In Malaysia, Heatherwick has proposed that the space gained by lessening the buildings footprint can be used to regrow natural rainforest. The design proposes that natural resources should carry equal importance in the design of buildings and urban environments. The stability of the structures is one of the aspects that would require additional research.
Upside down design, planned apartment building, Malaysia
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Thomas Heatherwick published Making in 2012 a book that reflects on his studios past projects (over 170 of them). The books publication co-incides with an exhibition of his work at the V&A Museum in London called Heatherwick Studio: Designing the Extraordinary.
Rendering of planned apartment complex in Malaysia
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Store for designer Issey Miyake by Tokujin Yoshioka
Tokujin Yoshioka was born in 1967 and graduated from the Kuwasawa Design School in 1986. He has worked with a number of todays most iconic designers including Issey Miyake. From the early 1990s, Yoshioka has worked as a freelance designer in a number of professions including product, furniture and conceptual design. Yoshioka founded Tokujin Yoshioka Design in 2000. The firm has established itself as a leader in conceptual space design and has conceptualised stores for companies like Swarovski and Issey Miyake, Camper, BMW, Lexus and Peugeot. Other projects include product, packaging and furniture design.
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Tokujin Yoshioka
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Swarovski store in Ginza by Tokujin Yoshioka
Camper store in London by Tokujin Yoshioka
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Water Block bench at the Muse dOrsay
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Yoshiokas furniture has a strong link to nature and natural patterns like crystallisation. His Waterblock bench is a key interior feature in the Muse dOrsay and looks as though it has been sculpted using flowing streams of water. The bench is placed in the Impressionist section of the museum and reflects the use of water in the paintings. The bench is part of a continuous theme of water, crystal and light in his work from 2002. The unusual character of the bench represents Yoshiokas design ethos of experimentation and surprise. In an interview with Designboom he explained that he wants to: ... surprise people in a simple way. The reason why I select materials is not because they are interesting or new; my constant research is how to make materials even more interesting. This goes for colour too and Im integrating gravity and the surrounding space in my designs.
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Yoshiokas passion for exploring materials and visualising water can also be seen in examples like his table titled Waterfall. The table is one of the largest glass tables in the world and is designed to resemble water as it runs down the side of a transparent surface. The table resembles a solid block of frozen water and at over 4.5 metres long creates a dramatic impression. In 2008, Yoshioka further explored natural subjects in his Cloud installation at the Tokyo Second Nature exhibition. The theme of the exhibition was the inclusion of natural laws and principles in design. The Venus chair, shown at the exhibition, is also known as the Natural Crystal Chair and is grown according to natural crystallisation processes. The chair has a polyester elastomer foundation which is submerged and upon which crystals develop. The concept of allowing nature to co-create the chair is unique and represents a true respect for natural elements in man-made interior spaces.
Production and growing of the Venus Natural Crystal Chair above and on the left
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The Venus Natural Crystal Chair
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The cloud theme was again used by Yoshioka at the 2009 Milan Design Week when Moroso launched the new sofa and seating range he designed for them. The exhibited sofa was created from tensioned paper and was designed to represent a lightness and playfulness. The final production sofa uses more traditional fabrics to make it more functional.
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I have pondered on expressing the texture of material in nature through industrial product. This new product for Moroso might be a reminiscent of clouds in the sky and flow of water, which are breathed in ones memories. For the prototype, which will be presented this years Salone, I decided to use paper in order to make it conceptual. Later on, they will be developed with fabrics and other materials for daily use. I am fascinated by the elements of nature, because they are not deliberated on purpose but they have the beauty born of coincidence beyond human imagination.
Tokujin Yoshioka
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Cloud sofa by Tokujin Yoshioka
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The Bouquet chair by Yoshioka Tokujin for Moroso, inspired by the Cloud chair
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Yoshioka has also designed chandeliers for the Swarovski Crystal Palace and furniture pieces for leading Italian producers, including Kartell and Driade. Many of his pieces have been designed to represent conceptual ideals. The 2010 retrospective exhibition called Tokujin Yoshioka Spectrum in Korea included the partially completed Rainbow Church installation. The 9-metre-high installation consists of a crystal curtain of almost 500 crystal prisms. As the light hits the surface, rainbow colours appear. Yoshiokas focus was to create an installation which would allow the viewer the experience light with all of their senses.
Rainbow Church exhibition
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The 2010 Sensing Nature show, held at the Mori Art Museum in Tokyo, was a platform for three prominent Japanese designers and artists, Takashi Kuribayashi, Taro Shinoda and Tokujin Yoshioka, to rethink the Japanese perception of nature. The works produced represent a relationship between the human world and the natural world. Yoshiokas contribution, titled Snow, was a 15-metre installation made from hundreds of kilograms of feathers blowing in a contained space. The movement of the feathers resembled a snowstorm.
Luminous by Tokujin Yoshioka for Glas Italia
Tokujin Yoshiokas Snow installation
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Selected awards and achievement of Yoshioka
Yoshiokas work moves from conceptual to functional and explores elements of nature and mans perceptions. His designs incorporate natural elements and principles to produce unique items and experiences. Many of his pieces form part of permanent collections in leading museums like the Cooper Hewitt National Design Museum, the Vitra Design Museum, the Museum of Modern Art, the Paris Pompidou Centre and the Victoria and Albert Museum.
In 2012, Yoshioka launched the Luminous table, produced by Glas Italia, at the Milan Salone del Mobile. The table is a transparent solid structure which seems to defy natural laws through the refraction of light. The solid table top seems to float above the ground. Coinciding with his 2012 Creator of the Year award from Maison & Objet, Yoshioka exhibited examples of his crystalised projects. The exhibition featured some of his earlier pieces that were selected because they represent his reflection on the connection and balance between nature and the human environment. The exhibition also included a new piece of crystallised furniture and crystal paintings, which were grown through the vibrations of music.
2002 | Mainichi Design Award 2007 | Good Design Award Golden Award and Design Miami Designer of the Year 2007 | One of the 100 Most Respected Japanese in the World, Newsweek, Japan 2008 | Best Furniture Designer, Wallpaper Design Awards 2009 | Designer of the Year, Elle Deco International Design Awards 2010 | Artist of the Year, Tokyo Designers Week 2011 | Designer of the Year, A&W Architektur & Wohnen 2012 | Creator of the Year, Maison & Objet
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Mokena Makeka
Being included in the Ordos 100 project an international collaboration of 100 architects from around the world and sitting on the World Economic Forum's Global Agenda Council for Design truly positions Mokena Makeka as one of our international examples of great designers who participate in the global conversation.
Mokena Makeka is the founder and creative director of the successful Cape Town-based architectural agency, Makeka Design Lab, which opened in 2002. He prefers to refer to himself as an urban thinker and philosopher rather than just an architect. He grew up in Matatiele in the Eastern Cape and studied Architecture at the University of Cape Town. Originally, Makeka enrolled for electromechanical engineering, but he was persuaded to change to Architecture and has since never looked back. When he completed his studies, he was awarded the South African Council for the Architectural Profession medal for the best work over his six years of academic study.
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Mokena Makeka
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New forecourt and retail area of Cape Town Station designed by Mokena Makeka
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Makeka views urban design in South Africa as the result of economic and socio-political factors. Mokena sits on the board of the Isandla Institute, which does innovative research on urban expansion and renewal within the South African context. According to him, cities influence the people living in them more than one may think, establishing a hierarchy and reflecting the history of the people who inhabit them. Cities can limit or enhance the potential of their inhabitants.
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Today, he is a two-time winner of the Award of Merit offered by the Cape Institute for Architecture, the 2010 Johnnie Walker Celebrate Strides in Design Award and a 2011 Gold Loerie Award for Communication Design in Architecture. Makeka is deeply involved in the business and academic world around him, working towards a truly South African aesthetic, which acknowledges the people of South Africa through the creation of dignified and beautiful spaces. Makeka stays in contact with academia through lecturing at UCT and examining at universities like the Columbia University School of Architecture. Mokekas MoDILA project is a revolutionary look at the role and design of traditional museums and learning centres. MoDILA is a modern and contextually relevant museum focusing on design, innovation, leadership and art. The museum will be a platform and showcase of South African design and ingenuity and hopes to establish the relevance of South African design at an international level.
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One area of focus for Makeka is townships. He explores the intentional and physical separation of individuals during the Apartheid era and the poor services and often hostile environments that townships were subject to, as well as the reinterpretation of the townships as areas of beauty with services and a strong community presence. Makeka embraces the challenges and layers of meaning found in South African cities and believes that designers can make a difference beyond the traditional build environment. In an interview with Cape Town Magazine, Makeka spoke about the positive change design can facilitate in cities: Believe it or not, other cities have done this. We are unique in that we can achieve change if designers are located properly in the hierarchy of decision making. We dont just make things pretty. We make things work better. That is design. Makeka does not only focus on the creation of new spaces, but also the celebration and preservation of existing spaces and for this purpose also serves on the board of the Cape Town Heritage Trust. Makeka prefers working on public projects, which he believes have a positive impact on the place and setting. Historically, public and community spaces were restricted to discourage large groups of individuals from gathering. He explains that it is essential for architects and urban designers to remain grounded in the culture and historic context of the specific country, in his case South Africa, if new appropriate spaces are to be created. Makeka also champions a focus on local projects which uplift communities: We need to do ordinary things with as much skill, passion and flair as we apply to showcase projects. And we can, but we need more focus. If we can build stadiums, then we can build houses, install toilets and plan streets to serve people first. Whats good for tourists should be good for us too. Mokena Makeka also works, unashamedly, within the constraints of the economy. This characteristic of his work addresses the honesty and awareness with which he approaches projects. One example is Makekas support of the hot-dip galvanising process which produces a strong material that is affordable. The Mitchells Plain Interchange project is a wonderful example of using hot-dip galvanising. Makeka was the chief designer of the project which won the Architectural Category of the 2006 Eskom HDGASA Awards.
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Ordos Villa, China designed by Mokena Makeka
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Ordos 100 project in China an international collaboration of 100 architects

Ordos Villa, China One of Makekas career highlights was being selected as one of the architects involved with the Ordos 100 project. The Ordos project is an ambitious international collaboration of 100 architects to build 100 homes in Ordos, China. One of the key elements of the Ordos project is the review of public and private spaces and how the relationship between the two can be achieved in a domestic setting, as well as in a larger social environment. Makekas design focuses on three essential elements, namely line, solid and void, as well as the interaction between the elements.
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The elements relate to components of the design: the courtyard represents the void while the defensive wall links to line and the dwelling to solid. Makeka uses the elements to weave a complex interaction between the spaces and the cultural and social influences. Makeka is a keen writer who explores concepts of sustainability, culture, the narrative of urban spaces and the development of a true South African style, in articles and as a contributor to publications like the Sustainable Waters Handbook, Counter Currents: Experiments in Sustainability in Cape Town and the Transport and Mobility Handbook. Makeka also speaks out about these topics at national and international conferences including the Green Building conference, Public Design & Consumption Symposium and the Seminar of Social Innovation and Sustainability. His commitment to sustainability and social upliftment is evident not only in his writing and talks, but also in the buildings he creates.
Retreat Police Station

The upgrading of the Railway Police Station in Retreat was Makekas first public project. The police station is one of four stations found at major railway junctions. The project had a limited budget, but Mokaka wanted to create a structure which represented safety and security in a new context, opposed to the Apartheid era's police station legacy of fear and oppression. The design team's response to the brief linked to the belief that design can:
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Railway Police Station, Retreat. Won the CIFA Award of Merit 2007 and Inaugural recipient of the Gold Loerie Award for Three-Dimensional & Environmental Design Architecture.
The building is a basic cruciform (cross) plan with a mainly white colour palette. The day to day functioning of the building was taken into account, resulting in a highly functional design. The main materials include steel, timber (SA pine) and lexon sheeting. The limited materials link to a limited budget and minimalist design ethos. The faade consists of box-like structures with design features at the ends on one side an informal courtyard and on the other a slatted formed generator room. The resulting faade reflects elements of symmetry and asymmetry creating a dynamic composition. The structure speaks a language of dignity and humanity it won the 2007 CIFA Award of Merit.
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"... foster a sense of pride depending on different contexts and so we wanted to design a building that would encourage dignity and self-respect.
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The Provincial Transport Shared Services Centre (PTSSC)

The buildings function is linked to the taxi industry and creates a space where licences can be obtained, vehicles can be inspected and conflicts can be resolved. Besides the functions linked to the taxi industry, the building also serves as a hub for government services. The building is situated in an area characterised by historic racial and class division and facilitates the interaction and eventual integration and dignity of the surrounding community and the taxi industry. Makeka refers to the structure as the first level of sustainable intervention in that the design of the building acknowledges existing patterns of pedestrian movement and focuses on equal access and universal accessibility.
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Public Transport Shared Services Centre (PTSSC), Athlone
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The building incorporates a number of sustainable features including solar chimneys, shadow reductive design and an HVAC system. HVAC refers to heating, ventilation, and air conditioning and is the technology of indoor environmental comfort and safety in medium to large industrial and corporate structures. The building is completely water self-sufficient and water is recycled and heated by solar geysers. The building also reflects a strong social contribution, as the construction considered the role of women, young adults, and labourers from local communities. The inclusion of communities in the construction and use encourages local pride and social upliftment.
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Community Centre in Khayelitsha Thusong Service Centre

The service centre challenges the traditional notion that buildings in poor areas or townships do not have to be aesthetically pleasing and that it does not warrant a substantial investment. The Centre forms part of an urban renewal project and established a benchmark of quality and considered function. Extensive research conducted for the design of the building gave Makeka the ability to create a space that spoke to the people and environment. The space encourages multiple functions and creates a point for community interaction.
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Khayelitsha multi-purpose Community Centre, 2007 Rendering of Khayelitsha multi-purpose Community Centre, 2007
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in a business context
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Module 1 Module 2 Activity 1 Project 1 Activity 2 Project 2
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For the third module, you are required to revisit and fine-tune all the research projects you have done so far this year in Modules 1 and 2. You have additional insights, a better understanding of the relevant issues and also much more knowledge, so be critical and see how and where you can improve your projects. Once they are complete, they may be handed in for a re-mark.
Activity 1 Discovering of different packaging on shop shelves, made with typical packaging materials Activity 2 Over-packaging Project 1 Packaging questionnaire and feedback Activity 3 Parity products Project 2 Analysis of an advertisement
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Areas where design thinking can make a difference Essay on user-centred design Characteristics of a designer CV and cover letter/letter of introduction
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DESIGN GRADE 12
Practical Trial
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INTRODUCTION
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Preliminary Examination
During Term 3, you are presented with a trial or mock practical examination. This practical can be compared to the externally set final practical Paper 2 you will need to complete for the end of the year.
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NOTE
1. Know that your practical examination paper consists of TWO parts:
TOPIC 1: PROCESS [50 marks]
(The examination workbook/sourcebook)
TOPIC 2: PRODUCT [50 marks]

(The final practical examination product)
2. As Topic 1 (preparation) has the same weighting as Topic 2 (the final product), it is important that you spend equal time and effort on both your preparation and final product. 3. Your teacher may be involved in the preliminary preparatory session. Due to the preparatory nature of Topic 1, you are allowed to work at home. However, at least 60% should be done in the classroom. 4. Please use the Topic 1 workbook/sourcebook as your point of reference for Topic 2 or the final practical product. 5. Your teacher may NOT assist you in any way during the final production of the design product (Topic 2). 6. Any form of direct copying/plagiarism or work that is not your own original work will be penalised and ZERO marks will be allocated.
8. Topic 2 must be completed at the school under the supervision of the teacher. You may NOT complete Topic 2 at home. You may NOT remove your Topic 2 from the school or exhibition space.
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9. The preparation for Topic 1 should be professionally presented in a workbook/sourcebook or in an album format. If it forms part of the workbook/sourcebook used during the year (PATs), it should be clearly labelled. 10. Please remember to label Topic 1 and Topic 2. Please do this neatly and clearly. Writing should be legible. 11. Please ensure that you attach Addendum A securely to Topic 1 and Topic 2. 12. Do not confuse Topic 1 and Topic 2 (examination work) with any of the yearwork (PATs 1 and 2 and the trial or mock examination). To follow is a detailed version of the requirements and criteria for both the preparation and final product included.
Please ensure that you know what is required from you!
7. Topic 2 should be done on a continuous basis during contact time with your teacher. The teacher will draw up a timetable to ensure that an estimated time of 24 hours (under controlled circumstances) is allocated for Topic 2.
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REQUIREMENTS
PART 1 (Topic 1)
PROCESS 1. All process/preparatory work for your design must be shown in a sourcebook/workbook. 2. This will involve the processes from conceptualisation to realisation. 3. Thorough investigation of problems presented by the design brief should be shown. 4. The design process could be captured in any format. 5. The workbook/sourcebook is to be presented in the form of an album (that is, preferably in a book form). 6. It must open easily and have pages that turn easily.
8. Ensure that the workbook is presented professionally. REQUIREMENTS OF THE DESIGN PROCESS You should represent the following criteria:
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PART 2 (Topic 2)
PRODUCT CRITERIA FOR THE DESIGN PRODUCT You should use the following criteria:
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Expression of intention and rationale Evidence of research, experimentation and reflection Evidence of detailed planning and presentation related to the final concept
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7. The workbook/sourcebook must be made of light material to facilitate transportation in provinces where necessary.
A two-dimensional design should not be larger than A2 size. The size of a three-dimensional design will depend on the function of the object being made. Bear in mind that the final product will need to be transported to a central marking venue in some provinces.
Creativity/Originality/Interpretation in terms of the concept and solutions that are relevant to the brief. (10) Evidence of design involvement: the appropriate use of design elements and principles. (10)
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(10) (10) (30) [50]
Technique/Craftsmanship/Method. (10) The design solution should show evidence of at least 18 hours work under controlled circumstances. (10) Professional presentation and functionality of the final design solution. (10) [50] TOTAL: (TOPIC 1 AND TOPIC 2) 100
VERY IMPORTANT TO REMEMBER!

Continue with your main field of specialisation do not venture into something that you have never done before! Use the practical examination as a reflection and culmination of what you have learned from Grade 1012. Use this practical examination as a trial examination and follow the instructions and assessment criteria carefully.
DICHOTOMIES WITHIN DESIGNS
The meaning of the term dichotomy is related to several other words with more or less the same meaning: opposites, antonyms, binary, dualism, etc. The last word, dualism, provides us with a workable definition.
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The term dualism comes from the Latin word duo meaning two. The term is used to indicate two parts representing a co-dependency on binary opposition. When designing anything, its easy to think of the process in terms of opposites up/down, male/female, chaos/order, construction/deconstruction, organic/geometric, inside/outside, figurative/abstract, machine-made/man-made, private/public, good/bad, etc., ad infinitum. The fascination with dichotomies follows an inescapable need we humans have: to categorise almost every experience of the universe into opposing forces. This universal concept is referred to as the polarity principle or dualism, or more frequently described as the Yin-Yang principle. In ancient Chinese philosophy, Yin and Yang are explained as two main forces that are always opposite, but always complementary, and dynamic. Each part needs the other to exist and indeed a little of the other exists within each. Yin can symbolise feminine, black, and passive, while Yang symbolises masculine, bright, and active. Both are elements that complement each other.

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We always think in terms of opposites. Everything we know is within the terminology of the concepts of being and not being, many and single, true and untrue Joseph Campbell
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Finding the right balance between the two can be tricky. Go too far in one direction and your design becomes static and boring. So, the short answer to your problem is finding a balance to unify any chosen dichotomies or binary systems. You have to choose any ONE dichotomy from the list below and create EITHER a 2-D OR 3-D design: List of possible dichotomies or dualisms: Order/Chaos Inside/Outside Construction/Deconstruction Machine-made/Hand-Made Figurative/Abstract African/European Male/Female Ornate/Minimalist Art/Design Vintage/Contemporary Past/Future Private/Public
To follow are a number of guidelines and enough tips on how to interpret and approach any practical exam. The brief will always be flexible enough to allow for many different personal interpretations and a number of possible topics.
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For the sake of having a structured discussion we will be using DICHOTOMIES WITHIN DESIGNS as our preferred brief and focus of this discussion. TIP ONE A thorough read is of course compulsory! Pay specific attention to the requirements asked to complete your practical processes for this exam. Make sure you understand the brief, if necessary re-read it so there is no chance for misinterpretations or crossed wires! TIP TWO The theme for this mock-exam is DICHOTOMIES WITHIN DESIGNS, and the basics of a dichotomy and dualism have also been discussed. In the discussion to follow, we are not going to focus on the type of project that you are going to deliver (communication design, craft, etc.). Instead, we are going to investigate the decisions you will have to make with regards to your focus and topic. Many of you wont have a problem understanding the expectations and following the brief up to a specific point. But deciding which topic to focus on might not be so obvious and many times this may lead to you second guessing yourself. You may also find it difficult to proceed beyond the making of a decision regarding the theme - a type of creative block! The trick is to always approach the theme with a plan, otherwise it can
TIPS ON APPROACHING YOUR MOCK PRACTICAL EXAM
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Create an original design in ONE of the following design categories: Communication/Information Design and Digital Design Surface Design and Two-dimensional Craft Design Product Design and Three-dimensional Craft Design Environmental Design
become a bit like the white paper syndrome! When you are presented with a large white paper and endless possibilities on what to paint or draw on it, it can frighten any one of us. There is a very true saying:
The absence of alternatives clears the mind magnificently

which means, in this context, that if you only had one topic to work with, the agony of decisionmaking and dealings with any doubt later would have been taken out of your hands. TIP THREE In the case of DICHOTOMIES WITHIN DESIGNS, you are presented with a number of choices so your initial decisions will have to carry you through the rest of the process and ensure a great final outcome. While reading through the topics the first time, there may be one or two, or even more that somehow seem more exciting to you than others. This is very natural and has to do with your prior knowledge, experience and preferences. Remember, you will always feel safer with a topic that you know something about, or a topic that you have dealt with before. But also try not to fall into the trap of repeating something you have done before just because you feel safe with that choice. You will be limited by what you did then and you will close yourself to some really exciting topics, which could allow you to show a good variety in your portfolio. Now is not the time to be safe, but by the same token, as was stated in the brief, continue in your main specialised field do not venture into something that you have never done before! SOME TOOLS FOR YOUR EXAM TOOLBOX Because we would like you to make an informed decision, we decided to provide you with some tools that may help you for this journey to decide on a topic. To illustrate what we are saying, we will be making use of a dichotomy that could easily have been listed with the rest of the topics given to you. If you proceed to investigate a few possible topics from the given list as we are going to do here, you will be able to make the decision in choosing a topic with much more clarity and confidence!
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Our DICHOTOMY topic will be: Organic/Geometric The reason for choosing our topic is because we think all of you will immediately understand the literal meanings of the above two words. They are words that all of you have come across and can be easily defined organic [awr-gan-ik] adjective 1. noting or pertaining to a class of chemical compounds that formerly comprised only those existing in or derived from plants or animals, but that now includes all other compounds of carbon. 2. characteristic of, pertaining to, or derived from living organisms: organic remains found in rocks. 3. of, or pertaining to, an organ or the organs of an animal, plant, or fungus. 4. of, pertaining to, or affecting living tissue: organic pathology.
http://dictionary.reference.com/browse/organic
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geometric [jee-uh-me-trik] adjective Also, geometrical. 1. of, or pertaining to, geometry or to the principles of geometry. 2. resembling or employing the simple rectilinear or curvilinear lines or figures used in geometry. 3. of, or pertaining to, painting, sculpture, or ornamentation of predominantly geometric characteristics.
http://dictionary.reference.com/browse/geometric
LIST YOUR OWN DESCRIPTIVE NOUNS Simply put, a basic understanding of the terms organic and geometric is that organic means from nature and geometric is derived from geometry and is characterised by regular lines and shapes. If you ask someone to describe what organic means, they will probably answer with words like green, earthy, clean, healthy, flow, pure, soft, natural, whole, integral, biotic and living. When asking the same question about geometric, you will most probably get answers like squares, triangles, rigid, linear, relying on geometric shapes, neat, tidy or manmade. This is what we would call the first or initial interpretation of our chosen dichotomy topics of the terms organic and geometric. One term comes from nature, living and growing, and the other from mathematics, cold and predictable. ALWAYS GO BEYOND THE OBVIOUS But the question is, is this necessarily true? In answering a brief, you do, of course, have the choice to end it right here. Having a general or basic understanding of what the terms mean should be enough, right? Wrong!!
look beyond the obvious so that you can find the best solution rather than working with the most obvious one.
Motivate yourself to always
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USING A DIFFERENT DICTIONARY When looking at how the Oxford Thesaurus defines both terms, we start to realise that the meaning of the terms are more complex than previously believed and that differences are sometimes less clearly defined than what we originally thought. The Oxford Thesaurus describes organic as: (adjective) 1. living, natural, biological, biotic, animate, breathing: Though coal may seem to be a mineral, it is organic, for it was formed from plants. 2. basic, elementary, essential, innate, inborn, natural, native, ingrained, primary, fundamental, visceral, constitutional, inherent, structural, integral: The organic differences between the styles of writing are obvious. 3. organised, systematic, coherent, co-ordinated, integrated, structured, methodical, orderly, consistent: The various elements of the painting blend into an organic whole.
The Oxford Dictionary notes some historical and architectural facts relating to the term geometric that further explains it. Geometric: Archaeology relating to or denoting a period of Greek culture (around 900700 BC) characterised by geometrically decorated pottery. Geometric or Geometrical: Architecture relating to or denoting a style of Early English tracery based on the geometry of circles.
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DISCOVER THE MEANING, REFERENCES, SYNONYMS, LITERAL AND METAPHORIC MEANING After discovering the literal meaning of the two terms as well as some synonyms and references in history and architecture that is already a lot of information! What if we used the words in a metaphoric way? When you make a direct comparison between two unrelated or indirectly linked things, it is called a metaphor. Metaphors can create very strong images that can be used to huge effect in our everyday thinking and communications. The English language is littered with metaphors, and they are used to create powerful messages. Metaphors can improve communications:
I enjoy working with Charles, he has a very organic way of thinking; but I steer clear of Mandy her managerial style is so aggressive and geometric!
WHATS IN THE POWER OF METAPHORS? Can you figure out why the two terms were used to describe two different personalities? Why is it more impactful to use these words to describe the people when you could have used other words like freethinker (for organic) or rigid/unyielding (for geometric)? The point is a metaphor is yet another wonderful way to interpret a theme and to produce a thought-provoking answer to the problem you were set. TURN TO HISTORY OR LITERATURE You could also, as another train of thought, turn to art history or literature to provide you with inspiration for your project. You have come across styles like Op Art where the play of geometric and organic solutions is used to great effect. Look at the following two artworks. Using only line in a nonfigurative way, the different ways in which lines have been used had very different results.

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Victor Vasarely, Blue-Black Bridget Riley, Intake
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Both of the featured artists are considered to be Op Artists. By now you know all about Op Art, the characteristics and underlying philosophies from the work you did in Module 1. Using these two examples, we would like to illustrate a few points, by just looking at the artworks at face value as images. The artworks depicted here are not viewed at their correct scale or in the correct context, but to make a point please view the images purely as visual examples of interesting use of line. Obviously, when delving into historical references you should never attempt it without a sound conceptual base, context or idea. Remember to always be appropriate. Firstly, you can see that the first image by Victor Vasarely has a very geometric approach. It certainly has a dimensionality that is very appealing, but there is a very pronounced tension or stress in the painting. Can you see what we mean? Now, compare it to the second painting by Bridget Riley. Even though it is of the same style, and subscribing to the same set of rules, it is vastly different in message. It has an organic, relaxed message and even though it is high in contrast it seems friendlier than the first image. Both are abstract and completely non-figurative, but you can interpret many things from the images without specific descriptive information. So why have we used these images? Once you know more or less what the terms or words mean, it is so easy to grab an image or photograph of leaves, twigs, tree bark, etc. to show a visual representation of organic, and likewise with geometric: stairs, architecture, geometric (based on basic geometric shapes) patterns, etc. We are not saying that you cannot make a beautiful design by using general references, but
different angle!
GENDER DIFFERENTIATIONS? You could even decide to attach a gender to these images, if appropriate of course.
If you had to make this kind of decision, which do you think would be male, and which would be female? Can you explain why? To follow are some examples when the geometric and organic designs used on the packaging are communicating something about the product, target market and the message. Just by using abstract references that could easily have started out started out as an art historical inspiration, you can say so much without using figurative reference or obvious images to indicate the difference between product, message or target market. The end result is something that is subtle, clever and memorable.
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Two examples where geometric-inspired ranges say something about the type of product it is and who its for. It could easily have been inspired by something like the Vasarely painting. These two examples are for men. If you had to design a matching set for females, a good approach could be to use the same palette but use more organic-inspired patterns. It certainly is not the only solution that could work, but we are sure you get the point!
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why not be brave and look at the topic from a
Here are two examples where the design of the packaging was inspired by organic use of line
In summary, the above exercise is to illustrate that we do not have to resort to typical, or overused references to bring a point across. By using only line in different ways, the same message can be communicated as you would with figurative or representational references. There are many tools in your design toolbox that you could use with similar successes. GOING 3-D AND CHOOSING THE CORRECT MATERIALS You could also consider your canvas or surface to bring across the contrast between geometric and organic. Painting a geometric three-dimensional shape, such as a square cube with an organically inspired pattern, could easily be the start of a very interesting project that refers to dichotomies! Inversely, painting a rock with geometric shapes will achieve the same message. So, there is another tip think carefully about your materials. In this instance, the materials you choose could have even more meaning than usual. It is never a good idea to use something because it happens to be available or some reason that has nothing to do with the concept. Think these decisions through! LETS UP THE LEVEL OF THIS GAME! At this point, we would like to take a few steps back from where we began. Just as we can describe forms and shapes as twodimensional or three-dimensional, we can also describe them as organic or geometric. The snow-covered boulders in the image alongside should be considered to be organic. Their outlines are irregular, they are mostly asymmetrical and they occur in nature. No one is going to dispute that they are organic shapes. Yet if you zoom into the individual snowflakes, this is what you will see!
Here you can see the snow-covered boulders that are considered to be organic, but very close up you can see each individual snowflake is symmetrical and geometric!
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Each individual snowflake is symmetrical and geometric! So now we have come to a point in our research where we realise that just because something is considered to be organic does not mean that it cannot be geometric as well. There are some great examples of geometric shapes in nature. Beehives and soap bubbles are more examples of this. This surprise element could now make for a wonderful approach to a project, dont you think?
The symmetrical and geometric nature of snowflakes
Blurring the line between organic and geometric
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As human beings, we often use materials to create objects in, amongst other things, craft projects. We often use geometric shapes to build exciting projects that, as we complete them, become more organic in nature. A case in point is mosaic. The next two examples of mosaic are by mosaic artist Sonia King. The following is an excerpt from her web page:
FABULOUS EXAMPLES FROM DIFFERENT DESIGNERS
Well-loved American contemporary mosaic artist Sonia King truly cares about the intricacies of tile, form and texture. When looking at her composition and use of shapes, you can see she enjoys juxtaposing high contrasting forms and shapes: organic vs. geometric, ridged vs. smooth, complexity vs. serenity. Her works have the amazing ability of capturing a natural flow and softening the traditional geometric nature of mosaic. Her execution is pristine.
www.artaic.com/sonia-king/
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Two beautiful and evocative mosaics by Sonia King
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The Reeding lamp by Myan Duong
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The fabulous furniture crafted by Brent Comber
Here is the work of another inspirational designer. Brent Comber makes innovative furniture from wood collected in the wild. He dries it, fastens the pieces together with nails and glue and then carves the wood into stunning geometric shapes. The combination of organic materials and the geometric lines results in this wonderful aesthetic. In his case, he is using organic matter to create geometric furniture.
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The Reeding lamp is another exploration in material and light and utilises ambient light emitted through the spaces between the reeds. It is a beautiful marriage between organic and geometric elements.
By looking at her work, we can see the line between the organic and geometric blurring. Using the one to create the other (using geometric material e.g. tiles to create a product that could look organic) could also be a wonderful point of departure for this project!
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OUR DISCOVERY TO THIS POINT? Well, we hope that you have become aware that there is a superficial way to interpret a (any) brief and it really depends on how far you are prepared to push your research and investigation into the topic at hand, as the sky is literally the limit. It is our hope that you will never be happy with the road of least resistance, which usually reflects the initial literal, first interpretation of a topic. We also hope that the few examples shown will motivate and inspire you to think whether there are areas of your selected topic that you have not yet explored.
Curiosity and an unwillingness to be satisfied with the mundane will always have exciting results. Dont ever settle for the mediocre. Always strive to do the exceptional and deliver the iconic!
In summary We have seen that there is always a literal meaning to the topics you were given. But there are more ways than one to interpret the topic. Metaphors are a great way to rethink the meaning. You could use vehicles like irony, parody or references from literature or history/history of art as inspiration. Ask yourself if there are any sayings or nursery rhymes that refer to this topic? A lot of thought should go into the choice of material used. Instead of thinking only what you want to put ON your canvas or product or craft, think of the canvas itself! You can attach a gender to a term, which takes it to a whole new level. We have looked at discrepancies in the definition we discussed right at the beginning. Sometimes nature does throw up a geometric shape, and these discrepancies could be the concept for your project. You could use one of the terms to create the other, as in the example of the mosaics or the stunning wooden furniture! These are but a few examples to broaden your horizons and make you look beyond the obvious. There are many more devices and plans you can make, but the most important ingredient of all is your desire to create something significant and memorable with sound ethics and integrity.
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BUT WHAT IF YOU ARE NOT GETTING TO THAT GREAT IDEA? Sometimes, despite your best effort, that brilliant and memorable concept remains just beyond your grasp. There are certain tricks you can use to help you reach that brilliant idea. Just like muscles in your body, the brain needs to train to stay in peak condition. You could do concept exercises when you are jogging or walking or just lazing about, and the more you do, the better you will get at it. CONCEPT EXCERCISES Here are some exercises you could start with, but there are many others you could do, and be sure that you could even conceptualise a few of your own. Doing a mind map is one exercise you should already be familiar with. It is an excellent way to plot your knowledge about a certain topic on paper. It could also be used to show any voids in your knowledge. Always force yourself to look at your topic from as many angles as possible and dont skimp on your research.
No research equals superficial solutions.
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Some other exercises you could try are the following: Brainstorming This entails working with other people and coming up with as many ideas as possible to solve a certain problem, usually in a short period of time. Many ideas will be weak, some downright bizarre, but there should be no censorship as combinations of ideas or ideas flowing from initial weaker ideas might very well be brilliant! Break the pattern! Often, solutions to problems all follow the same predictable path dressed differently, but in essence very similar. Try thinking of a new angle, and instead of Why? ask Why not? Challenge those preconceived ideas! Use all your senses If an idea could work but it lacks a bit of punch, focus on the idea with a different sense. You may have focused on how it looks, but what will happen if you had to experience it with your touch sense or with your hearing sense? This creates a completely different angle and could end up being an outstanding concept. Make random associations! In this project, you need to work with dichotomies. To use our example of Organic vs. Geometric and associate it with a random object say, a reading lamp, could seem quite ridiculous. The following product could very well be the answer! Without the random association, you would probably never have thought of this idea. The random object could also be a word. It could be a place or a celebrity. When you make the conceptual connection between your brief and your random word, item, person, etc. it needs to make conceptual sense.
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Final word!
Often, these types of solutions are very humorous and engaging, as it often needs prior knowledge. These ideas are often very successful! Remember, it get easier the more you exercise your brain.
When working in the design industry, whatever branch of it you may venture into, you will always work with ideas and the generation of ideas. There is no way of getting away from it. Exciting and wonderful ideas are what make this industry so enjoyable, entertaining and fulfilling to work in, but it also has the power to change hearts, minds and history! After this section, we hope that whatever mistakes you may make in the future, being happy with a mediocre idea is not one of them. One of the main principles of idea generation is to open your mind to as much information as possible, to research, understand, edit through it all and to then end up with the best solution or idea to solve a problem. If you only have one idea, how will you ever know that this is the best one if you never allowed yourself to test it or explore other possibilities? Of course, a designer always has to remember the brief, and always has to remember for whom he/she is designing. Without using these two components as a compass, one can easily steer off course.
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A lamp where organic and geometric work together in a humorous and unique way! Happy days Blue table lamp by Aoki Interiors.
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Dont forget the basics still count no matter what!

As you have also learnt in previous modules, you have to be aware of current aesthetic understanding, the importance of functionality as well as current trends and markets. Understanding the importance of working and designing in a responsible manner is crucial to the Earth's and mankinds future. Then lastly, when you understand all the above-mentioned aspects and truly live and work by them, you need to fulfil your part of the bargain too. You will need self-discipline and perseverance; you will need to revisit your work many times without becoming bored or fedup and keep at researching the same topic until you find that fantastic concept. You also need to take care, not only of yourself by being careful when working in different situations, but also working in your environment and the wider world out there. Planning and organisation is crucial as our industry is deadline driven. But the rewards are many and very fulfilling.
Good luck!
THREE BASIC STEPS:
STEP 1 Intention/rationale
(A) Choose a dichotomy and (B) express your intention and rationale in relation to the brief:
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_______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ _______________________________________________________________________________ ___________________________________________________________________________ (10)
STEP 2 Evidence of research experimentation and reflection:
REQUIREMENTS OF THE DESIGN PROCESS
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As we have said before, there is no better industry that we can think of!
COMMUNICATION/INFORMATION DESIGN AND DIGITAL DESIGN Peet Pienaar and his company The President designed the Coco Joe magazine as two separate magazines. The Joe magazine tackles male interest, and the Coco magazine concentrates on female related issues. ! CLASS DISCUSSION: Look for elements, principles, and images that create clear gender segregation between the two magazines. Also search for references between a fusion of African and European images!
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SURFACE DESIGN AND TWO-DIMENSIONAL CRAFT DESIGN In 2000, Nigerias Fati Asibelua launched her fashion collections featuring African-inspired pieces with European fabrics. She mixes traditional African patterns with modern shapes, creating a fusion of African culture with contemporary style.
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I try to combine these twin passions, interpreting elements of African art with couture fabrics and silhouettes.
Fati Asibelua
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The art/design or art/fashion fusion is not a new venture for many artists or designers. During the 1960s, many prominent artists and designers borrowed ideas from each other. Having a quick look at fashion history, the art/designs of the Japanese artist/designer Kusama reveals the influences of leading designers such as Courrges, Rabanne, Cardin and Gernreich. Kusama plays with ways to reveal and conceal the body. She created clothing and a textile line that heavily promoted plastic see-through clothing and paper dresses. Other Op and Pop Art was adopted by Kusama for her polka-dots years. Louis Vuitton too has worked with fine artists such as Sol Lewitt, Takashi Murakami, and the designer and artist Stephen Sprouse to name only a few. He admittedly said:
Im always happy to find dress spill over into the arena of fine art and vice versa.
In a current collaboration venture between Kusama and Vuitton, one can clearly spot the heavy appropriation or eclectic borrowing from Kusama. Her use of Op and Pop Art influences can be seen in Vuittons window display and materials used.
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Louis Vuitton Flagship Store, 5th Avenue & 57th Street, New York City
! VERY IMPORTANT: The window display designs by Louis Vuitton also fit within the Environmental Design category. Another well-known example from the 1960s is the notorious Pop artist Andy Warhol who designed a High-Fashion Paper Dress covered with multiple images of his famous Campbells Tomato Soup Can art.
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! CLASS DISCUSSION: Yet, looking at both Kusama and Louis Vuitton fashion displays, many people still tend to view their works as fine art more so then design. Discuss whether their works are art or design and justify your opinion with valid reasons.
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Below are other excellent examples of how art influenced design!
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! CLASS DISCUSSION: Can you recognise the art motifs or styles used as the main reference above?
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The Evolution dresser by Ferruccio Laviani shows indeed an evolutionary development by fusing two opposing styles and eras. In the Evolution dresser, Laviani combines the extravagant, ornate Rococo and Late Baroque style with the minimalist Less is More style of the Modernist Era with strong links to the De Stijl and Bauhaus movements.
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! CLASS DISCUSSION: Study the use of materials in relation to the concept of evolution and find other dichotomies to discuss in this work.
The Yin and Yang Sofa design by Nicolas Thomkins is obviously designed to express the dual nature of two dynamic opposites that indeed co-exist by having some characteristics of the other. Thomkins carefully created a sofa that creates a balance or equilibrium between male and female, active and passive, black and white, rough and textured, etc.
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Amazing table designs entitled Bloom Tables by MTH Woodworks. These tables show a clever play between nature and machine-made, natural and artificial. The designs embrace the better of two worlds combining unique chunks of rough beautiful wood with smooth solid white resin table tops.
! CLASS DISCUSSION: Think of other dichotomies that can be applied to the Bloom Tables above.
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! CLASS DISCUSSION: What do you think is the function of this split in relation to the theme of opposites or dichotomies?
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Christine MeyerEaglestone designed Opposites and combined a circular pattern with a striped pattern in her furniture piece. She created a clear split between the two sides.
The German artist Cordula Kehrer designed these whimsical waste baskets. The indigenous Aeta people of the Philippines make the baskets using traditional basket-weaving techniques. These baskets combine hand-woven, sustainable rattan reed with colourful machine-moulded plastic. By creating this fusion of two different materials, the designer is asking us to consider larger questions about the nature of design, the role of the handmade, and the place of craft-based cultures in a globalised economy.
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! CLASS DISCUSSION: Kehrer fused natural with artificial by combining wicker reed with plastic ... What other dualities can you apply to these designs?
ENVIRONMENTAL DESIGN
Wang Shu is a Chinese architect known for fusing the old and the new, the Eastern with Western. His Ningbo Historic Museum is built out of rubble as a way of preserving or honouring old and traditional construction methods. This Museum is indeed devoted to tradition, history, and a sense of place, sustainable use of materials, and the people who will inhabit it.
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STEP 3 Evidence of detailed planning and presentation related to the final concept. Make thumbnail sketches, tonal drawings and prototypes of your design in the provided space below:
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Introduction
We hope that you have noticed that the drawing projects from Grade 10 to 12 were carefully considered to make you realise the value of drawing as an essential part of your technical, exploratory and investigative process. Drawing is for these reasons our most direct pathway in becoming technically equipped in handling elements and principles and to become experts in the art of making marks and using different media. Drawing is the crucial key in recording visual information and defining or discovering two-dimensional surface qualities and three-dimensional structures. The only means to find these qualities and structures are by making numerous thumbnail sketches and exploring through observational drawings a wide range of ideas and compositional structures.
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Always remember the words of the famous Post-Impressionist artist Camille Pissarro:
It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.
Camille Pissarro
DRAWING AS FURNITURE OR FURNITURE AS DRAWING? Brief: Create a furniture piece for an up-and-coming avant-garde gallery. Choose any new or old (dilapidated) piece of furniture and play with any one or two dichotomies such as real/surreal, inside/ outside, craft/design, old/new, male/female or 2-D/3-D, etc. The gallery owner had only one request: The drawings should all be wall papered, cut-and-pasted or decoupaged onto the piece of furniture! Below are a few suggestions that you should follow ...
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Carefully select your piece of furniture. Give the piece of furniture 2 to 3 layers of base coat, preferably in the dominant colour you would like the furniture piece to be. Expose some of the wood by sanding it down. Try to use either a cabinet or a closet, a chair, a shelf, a clock or a table for this project. REMEMBER: You do not have to paint the furniture piece if you are planning on using the decoupage technique all over!
For the drawing technique, you have a variety of mediums to choose from and to explore further. Choose a medium that you think you have mastered the best, e.g. Dip & Dunk, direct paper engraving, scribble technique, etc. It is suggested that you limit yourself to a maximum of two techniques for this project! Suggestion: If you want to keep the original drawing/s, you can copy them onto a good quality and slightly thicker paper. While you are copying the drawing, set the printer to sepia or other colours and try copying your drawing/s on other paper colours. If a copier is not available, you can trace them with carbon paper or simply use the original drawings.
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Below is an idea for you to explore ...
The aim for Term 3 is not to introduce any more new drawing techniques, but instead to encourage you to continue experimenting with the techniques you were introduced to and preferred the most. However, you are strongly encouraged to look at your previous drawings and to reapply or adapt them.
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Decide where you would like to place your decoupage drawing/s. Decoupage is actually quite a simple technique. If you can cut and paste, you already know most of the techniques involved. Basically, you cut out pictures; you glue the pictures onto an object; and then cover the object and pictures with a few coats of glue/decoupage medium to protect it. Take note: Make use of one small packet of wallpaper paste as it is cost-effective and it goes a long way! If you are satisfied with the end result, seal the work with 2 layers of construction or wood glue. Your end result would be looking more or less like the included Cabinet Bookcase by Ponti and Fornasetti below.
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DEFIN ITION
Trompe-lil is A term meaning trick of

the eye. They wHere based on knowledge of printed books and engr avings, r ather than the observation of real buildings.
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Gio Ponti and Piero Fornasetti designed this Cabinet Bookcase. In Italy, this type of cabinet was known as a trumo or trumeau. Its origins can be traced back to the 1700s. Piero Fornasettis unique style of decoration has transformed Gio Pontis modern version into a striking piece of furniture. The technique used was unusual. Lithograph prints were created for each section, printed onto transfer sheets, and then applied to hardboard panels. These were fitted to the cabinet and varnished. Fornasettis trompelil schemes were inspired by 16th century Italian Mannerist art as well as by 20th century Surrealism. This is an excellent example of a design that combines the old with the new, real with surreal, classical with avant-garde, etc.
DESIGN GRADE 12
Read the instructions and tips carefully before you start with the decoupage technique.
Step-by-step decoupage instructions and tips

Once you have all of your decoupage supplies gathered, follow these step-by-step decoupage instructions to create your masterpiece. You will be surprised how easy it is. Make sure the item you will decoupage is clean and dry. If you are going to paint your item before you decoupage it, make sure the paint is totally dry before you decoupage. Cut out the pictures you are going to decoupage. Arrange the pictures onto the item you are to decoupage before you add glue. The pictures can be in any placement or position you like and can also overlap. Work on a small section at a time, remove the pictures and apply a generous layer of decoupage medium onto the item you are to decoupage. Make sure you completely cover any area the picture will touch. If you prefer, you can spread the decoupage medium onto the back of the picture. Stick the picture on the decoupage medium. Use a finger to gently push down the picture (for a large picture, start from the centre and work your way out) and push out any wrinkles and excess decoupage medium. You can also use the back of a spoon to do this, or a sponge. Continue with the previous 2 steps until all your pictures are glued down. Let the decoupage medium dry. Once the decoupage medium is dry, coat your item completely with decoupage medium. Let this dry. Now you can continue to add coats of the decoupage medium until you get the desired results. You should keep adding coats until the edges of the pictures are all smooth.
Tips
Ink-jet printed material or photocopied images can be used for this technique. Let the ink dry and spray it with cheap hairspray. It sets the ink and then you can use the print. Make sure both are completely dry before using the medium of your choice. Decoupage can get messy. Keep a damp cloth nearby to wipe up extra glue and keep your fingers clean. Be patient and let each layer of decoupage medium dry completely before applying the next layer. While decoupage is known as a cutting craft, sometimes you might want to tear your pictures instead of cutting them. Torn edges lie a little flatter and blend a little better. Do not try to decoupage pictures printed by an ink-jet printer. The ink will smudge and run. Instead, print out the desired picture and photocopy it. Consider making photocopies of photographs and other original papers so you can save the originals. It you are using pictures on thicker paper, such as photos or greeting cards, give your decoupage project plenty of time to dry. Use a tile knife or NT cutter to cut pictures with detailed edges. Make sure the item you will decoupage is free of dust and dirt. When it comes to decoupage on plastic, experiment before you commit! For rougher surfaces, the pictures should adhere okay but take a little longer to dry. If the surface is very smooth, consider roughing it up with a little sandpaper. Watch for bubbles as your decoupage dries. If a bubble forms, use a pin or utility knife to pop it and then use your fingers to smooth it down.
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Module 3 D RAW I NG
The drawing technique used by Fornasetti is very similar to etchings or the typical Victorian illustrations at the beginning of the 1900s. If you love this, first make a study of the technique before starting. A pencil and/or fine liner can be highly effective for this technique. The Dip & Dunk and direct paper engraving technique will also do justice to this style of drawing!
Fornasetti became known for his pop designs during the 1960s. He loved to mix classical and contemporary images and just for fun he would add some wit and humour to his designs.
These chair designs clearly show the etching quality mentioned above. A strong linear quality is used to build up darker tonal areas.
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The two chair designs below by Fornasetti are designed for males. Look at the detail and modulation that he applied to the male chairs. Both these chairs suggest that males are the pillars of strength in society. Classic and predictable!
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DESIGN GRADE 12
Piero Fornasetti decoupage furniture pieces
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CONCLUSION
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http://thewhitedresser.com/wp- content/uploads/2012/10/Fornasetti-41-500x459.jpg
From an exceptional designer, it is expected to think outside of the box, to be innovative, to be adaptable, to be unconventional and then, to top all of that, also address social, cultural, sustainable and environmental issues through design. A tall order, but through this project you can be successful in allowing yourself to do just that! Be daring and, for once, push the boundaries of drawing even further! This can also be an opportunity to create wallpaper designs ...
Enjoy!
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Introduction
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The world is a complex system. We have achieved so much more than what our early ancestors could have dreamed. Our world is filled with gadgets connecting us to an invisible blanket of information and data, we are able to speak to family and friends hundreds of kilometres away, and we control our environment and shape it to our needs. These are only a few characteristics of modern life, which reflect our dominance over natural systems. Life on Earth is no longer based on maintaining the natural balance; instead it is shaped by our desires to own and have more. The human obsession with consumerism and resource consumption has left our world in a dangerously unstable situation. Overpopulation, climate change, famine, poverty, rising water levels and disease are all prevalent. Gandhi once said that, Earth provides enough to satisfy every mans needs, but not every mans greed. The design profession has a large part to play in addressing the environmental and social challenges that we face today, mostly because design contributed to the situation. From the early product designs of the Industrial Revolution, which encouraged people to prove their wealth through the homes and the items they possessed, to the countless modern advertisement campaigns that try to sell you items that you dont need. The history of design is not one of innocence. Yet, designers locally and internationally have begun to focus on nature and the business of design. Instead of creating unnecessary objects, they focus on improving the lives of those in need, and instead of simply following the brief they actively address social and environmental concerns through their design process. These designers are proving that good design can lead to change.
Social & Environmental Case Studies
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Haldane Martin
Designer overview
Haldane Martin is an award-winning designer who qualified as an Industrial Designer in 1992. Since then, he has established himself as a furniture designer based in Cape Town, South Africa. The Haldane Martin collection consists of more than 50 unique items of furniture which have been exhibited in cities like London, Paris, New York and Madrid. Martin stated that: As a contemporary designer, I try to meet the needs of the whole human being by designing furniture that is simultaneously meaningful for the spirit, beautiful for the soul, and nurturing for the body. This view (referring to spirit, body and soul) represents a holistic approach to design, which acknowledges both the physical and non-physical elements in a piece of furniture. Martin is inspired by the materials, cultures and context of South Africa, which can be noted in his design choices. The concept of spirit, soul and body is repeated through Haldane Martins work and forms the foundation of his design manifesto, which reflects his views and beliefs regarding design. When referring to spirit, he comments that:
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Fiela feather lamp by Haldane Martin Polyhedra modular coffee table system by Haldane Martin
Finally, through the concept of body, Martin refers to the links between systems and focuses on establishing a balance between man, man-made and the natural world:
By striving to meet the needs of the whole human being in an integrated way, my work creates a sense of belonging for all those that come into contact with it.
Martin has won a number of awards and accolades including the Birmingham Furniture Fair, Award for Best Dining Furniture and Elle Decor Award for Furniture Designer of the Year.
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I believe that discovering this kind of intelligence in what surrounds us brings light to the human spirit. Through the concept of soul, Martin refers to the concept of beauty, and explains the importance of aesthetics: We are all sensitive to a universal sense of balance, harmony, movement and proportion. We can be easier at peace with ourselves when beauty is present in our lives.
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We need our environments and the objects that populate them to reflect our deeper intelligence and wisdom as human beings. Referring to our shared cultural history has been a way that I have incorporated meaning into my work. Personifying objects is another way of expressing myself as a creative human being.
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The target market

The furniture pieces designed by Martin can be found in both private and business environments. His chairs and tables are often featured in high-end domestic interiors and in retail and hospitality environments. The target market thus varies from individual clients to corporate representatives. Projects which represent the diversity of his work include: Menzies Aviation (Johannesburgs OR Tambo Airport), Little Kulala (Namibia), the Arabella Sheraton hotel and his private residence in Observatory, Cape Town.
Songololo couch by Haldane Martin
Design style characteristics

Haldane Martins work represents a sophisticated simplicity. He uses clean lines and a limited combination of colours to produce furniture pieces which have a classic quality. Materials used vary from recycled plastic and stainless steel to natural materials, such as feathers and leather. One product which represents his ability to combine man-made materials with natural materials is the Fiela light. A light, feathery shade is placed at the end of a curved stainless steel arm which can extend over existing pieces. The light is elegant and simple, with a strong curved line. Another example which blends steel and natural materials is the Songololo Couch. This seating system uses leather upholstery over a powder-coated steel frame. An organic line is created when the seating system is curved. A high level of adaptability can be noted in this design. The Polyhedra coffee table represents Martins sense of experimentation. The modular system contains 5 shapes which can be assembled in different ways through neodymium magnets. The resulting structure is complex and organic.
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A case of social and cultural celebration The isiZulu Mama chair and the Riempie collection: Martins isiZulu Mama chair and Riempie collection are examples of work which acknowledges the importance of culture while responding to global environmental concerns. Both examples represent Martins simplified and sophisticated aesthetic.
Craftsmen creating the isiZulu Mama chair, designed by Haldane Martin
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Woven detail of isiZulu Mama chair, designed by Haldane Martin
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The isiZulu Mama chair

Design The isiZulu Mama chair is a stylish and comfortable caf-style chair with a stainless steel frame and woven seat. The woven seat takes inspiration from indigenous amaZulu basketweaving techniques, combining contemporary design ideals of beauty and function with heritage and traditional craft. The stainless steel frame uses curved angular lines to create the chair legs and armrests from a single section. The chair is available in a range of vibrant colours. The social and environmental effect The celebration of traditional craft methods has already been mentioned, but the production of the isiZulu Mama chair addresses environmental and social issues. Through the use of 100% recycled materials, the chair shows that recycled and beauty can go hand in hand. Women from a township produce strips of plastic from recycled milk bottles that can be used for weaving. This contributes to the economic development and empowerment of individuals within the townships. Craftsmen from the Mogalakwena Craft Art Project produce the chair by adding the woven seat to the recycled stainless steel frame. Martins vision of a chair which combines recycled materials and functional design resulted in an object of beauty which celebrates the people and culture of South Africa.
isiZulu Mama chair, designed by Haldane Martin
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Laurie Owen Interiors designed the interior of Little Kulala in Namibia in 2006. The interior features the isiZulu Mama chair.
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Design success The isiZulu Mama chair is sold internationally and can be found in a number of elegant interiors, such as Little Kulala in Namibia. The chair has received very positive press, nationally and internationally. Martin won the 2007 SABS DISA award for the design of the isiZulu Mama chair.
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Riempie bench and New Slant shelving system designed by Haldane Martin, in his retail showroom
Dakota Interior Architecture designed the interior of Lamunu in Johannesburg in 2010. The interior features the isiZulu Mama chair.
The Riempie chair and bench
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Riempie chair by Haldane Martin Riempie chair detail, designed by Haldane Martin
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Design The Riempie chair is a celebration of traditional South African furniture production. The heritage of the riempie can be traced back to the early Cape Dutch style. Originally, riempie referred to a thin leather strip, which was woven into complex geometric patterns to form the seat or backrest of a furniture piece. Martins Riempie chair consists of a kiaat wood frame (a South African hardwood) and a woven seat made from recycled plastic strips. Although the basic design is simple and reminiscent of traditional riempie chairs, Martins interpretation uses unusual colours, such as pink, creating an interesting play between traditional and contemporary styles. The pattern used for the woven seat is inspired by traditional Malay designs, as Martin describes: When it came to the riempie seat, I wanted to honour and embrace our Malay cultural stream with this beautiful, almost sacred, mandala weaving pattern that originates from there. It is the interweaving and integration of these three energies in our land: the primal feminine African roots, the wide awake European masculine consciousness and the sensual, spiritual impulse from the east that makes South Africa such a powerfully attractive country. The backrest has a slight backward angle to ensure back support and comfort. Other pieces in the collection are produced in a variety of colours and styles, but every single item is produced to the highest quality. The social and environmental effect The Riempie collection is produced in collaboration with the Cape Town Society for the Blind. Partially sighted individuals produce the woven riempie sections before they are incorporated into the furniture pieces. The strips of plastic used to create the woven sections are made from recycled plastic collected and sorted by the homeless. The use of recycled plastic and uplifting communities through the production of furniture are two characteristics shared by the Riempie collection and the isiZulu Mama chair.
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Haldane Martins furniture is a celebration of traditional South African heritage produced to international standards. His dedication to his fellow human beings is evident in his eagerness to collaborate with communities in need. His choice of materials reflects an understanding of resource scarcity and commitment to making a difference through the use of recycling. Martins furniture proves that socially and environmentally conscious design can be sophisticated, beautiful and internationally desirable. To hear Haldane Martins talk Design with a Conscience visit http://www.haldanemartin.co.za/talks.php#
...XYZ (dot dot dot XYZ)

Corporate overview
...XYZ is an internationally recognised South African product design firm that was founded in 1999. Even from the firms early history, there has been a focus on producing socially and environmentally conscious products. The windup radio, which was designed for the Freeplay Foundation, was one of the firms early success stories and earned them international recognition. Today, under the watchful eye of Managing Director Roelf Mulder, the firm is much more than just a product design firm, bringing together professionals and academics from a number of fields to create products and services which address the needs of their clients as well as social and environmental concerns. Research and innovation have become prominent focus areas at ...XZY to ensure that their design solutions are inventive, appropriate and responsible. The firm works in the fields of business design, engineering design, graphics design, interaction and interface design, service design, sustainable design, packaging design and industrial design. The firm also focuses heavily on design solutions for Africa, bringing together professionals from business, information technology and design. Mulder, along with a number of other prominent designers, founded DWA (Design With Africa). DWA, as a platform, focuses on the promotion of human-centred design solutions for Africa with the goal of encouraging social and environmental development. Roelf Mulder, when discussing an innovative African Community Cooker project, commented that designers should: ... take a holistic approach, creating discussion between partners. We need to find solutions that involve a process that is equal and understanding of the needs of communities and professionals. When these partners come together, there are skills from the professional and originality from the community. There are a number of ...XYZ products in permanent collections and museums all over the world, including the Smithsonians Cooper-Hewitt National Design Museum and the Museum of Modern Art, both in New York. The firm has received, amongst others, more than 15 awards from the SABS Design Institute and the 2007 Design Indaba Most Beautiful Product in South Africa award.
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The target market
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...XYZ clients range from individuals to large corporations, always taking into consideration the complexity and uncertain nature of the modern world. The firm has produced products ranging from medical instruments to rural transport to products for telecommunication. The firms design philosophy places people at the centre of every design process to ensure all designs, services and products are human focused and take into consideration the social and environmental context and impact of those designs. The firm refers to this as a Design Innovation Process. Besides working with clients, designers at ...XYZ also develop products within the firm, thus addressing social or environmental problems through their own initiatives.
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Design style characteristics

The range of projects and services offered at ...XYZ is vast and cannot be analysed as a whole. Design elements, such as a focus on quality, responsible material choices and the use of clean lines, can be notes in the firms designs; however, each product has its own unique aesthetic. An element of the firms design which is consistent is the focus on ergonomics and functionality both representatives of user-centred design principles.
A case of social and cultural celebration: Modular Bicycle Frame and a Ritual Circumcision Device
The firm has a number of products which represent a commitment to the development and upliftment of individuals and communities in South Africa and across the continent, including the wind-up radio, baby monitor, condom applicator and the electric soccer ball. The firms designs for a modular bicycle and a circumcision device combine social heritage and environmental challenges with a modern design process to produce positive social change. Modular bicycle frame
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Design
The modular bicycle was developed at the 2005 Interdesign workshop initiated by the International Council of Societies of Industrial Design. The aim was to create a way for individuals in South African rural communities to travel. A substantial amount of research was done to investigate the requirements of community members and to establish the terrain in which the bicycle would be used. A huge design factor was the ease with which the bicycle could be assembled and repaired, as resources are limited in rural communities. Following the Interdesign workshop, the SABS approached ...XYZ to develop a prototype of their design solution. The design team for this project included Roelf Mulder, Byron Qually, Richard Perez, and Ryan Fowler. The unique quality of the ...XYZ design was modularity. The bicycle would be assembled into a number of different ways to ensure that it was appropriate for the user and the users needs. The unisex bicycle could be assembled to use as a traditional two-wheel bicycle or it could be transformed into a transportation vehicle with two bicycles on either side of a platform. Assembly and disassembly of the bicycle are simple and do not require special tools, which ensures that any person in the community can use and change the bicycle components. Roelf Mulder commented that: We have put a lot of thought into designing this bicycle, but it lends itself to further ingenuity by users as they adapt it to their conditions and needs. This is why it is modular, made from metal, and held together with roofing bolts or pieces of wire.
The main feature of the bicycle is its modularity meaning that it can be adapted to fulfil different purposes
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The community was involved in the research and design process to ensure the final design addressed the real needs of the community
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A female community member tries out the modular bicycle
Design success
The ...XYZ modular bicycle was included in the 2011 Design with the other 90%: Cities exhibition hosted by the Cooper-Hewitt Design Museum. The success of the design relates to the DWA (Design With Africa) principle of user inclusion and responsible design practices. Instead of creating a design for the community, ...XYZ designed with the community.
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The social and environmental effect

The modular bicycle fulfils two basic needs within a community. The first is the basic need of transporting individuals and goods from one point to another. There is almost no public transport or mechanised vehicles in some rural communities, making transport a vital need. The second need that the bicycle addresses is employment and entrepreneurial potential through the possibility of bicycle shops, repairs and adaption. The simple construction of the bicycle and the possibility of using existing materials in the assembly ensures that minimal new materials are used.
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Mitchell Joachim
Designer overview
(and Planetary ONE, Terreform ONE)
Mitchell Joachim, born in 1972, is a designer and innovator. His main design focus areas include architecture, urban design and transport fused with principles from socioecology. His love for design and innovation was supported from a young age by his parents, especially his father who was a furniture manufacturer. Joachim has worked at a number of prestigious education institutions and is an active researcher. He is a partner at Planetary ONE, a design agency which encourages multidisciplinary working groups. The main aim of Planetary ONE is to offer solutions to existing problems that go beyond traditional design. Planetary ONE projects are large scale, often reviewing entire systems, like public transport, parks, cultural spaces, etc. The design vision behind these projects aims to unite human and natural elements in a symbiotic manner (symbiotic implies that both parties benefit from the relationship). The importance of our natural world and the limits of its natural resources play a key role in design decisions at Planetary ONE. Joachim in one of a number of partners at Planetary ONE who contributes to projects based in ecological design and sustainability. Although Joachim does not approve of the term sustainable, as he describes: I dont like the term. Its not evocative enough. You dont want your marriage to be sustainable. You want it to be evolving, nurturing, learning. Joachims passion and dedication to responsible design led to the formation of Terreform ONE (Open Network Ecology) with Maria Aiolova. The group is a non-profit organisation which focuses on developing and supporting environmental designs. The main city in which the group operates is New York, America, but the implications for design are international. The purpose of Terreform ONE, as described on their web site, is stated as: The group develops innovative solutions and technologies for local sustainability in energy, transportation, infrastructure, buildings, waste treatment, food, and water. These solutions are derived from the interface of design, science, engineering, and synthetic biology. Joachim has been given a great number of awards and accolades for his work which celebrates and champions ecological and progressive design. In 2008, Wired magazine listed him among the 15 People the Next President Should Listen To, and Rolling Stone magazine named him one of the top 100 people who are contributing to change in America. In 2011, Joachim was awarded the Victor Papanek Social Design Award and the prestigious TED Senior Fellowship.
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Fab Tree Hab by Mitchell Joachim, Lara Greden and Javier Arbona. The house is grown from native trees using CNC reusable scaffolding. The human habitat becomes part of nature instead of being placed in nature.
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A case of social and cultural celebration: The MIT car

Mitchell Joachim has contributed to a number of revolutionary design projects in his own capacity or in collaboration with Planetary ONE or Terreform ONE. His designs for the Fab Tree Habitat and the MIT car have received extensive publicity. His vision for a new method of transport, which is responsible in its energy consumption and size, may change the way the world drives.
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The target market and design style

It is difficult to define Joachims target market or his design style as he works privately and within a number of agencies. There is, however, a strong element which connects all of his projects and designs the need to produce green, environmentally friendly and socially responsible designs. The selection of materials and design of Joachims products and services place people and the planet on the same level to ensure balance. Both the Planetary ONE and Terreform ONE groups work with private, corporate and government agencies.
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Design
Since 2003, researchers have been studying how individuals travel and commute in urban environments. Given the high population densities in cities, it has become necessary to re-evaluate how we move through those cities. The MIT car, or CityCar, is a two seat, electric vehicle created for urban spaces, designed by the Media Lab at MIT (Massachusetts Institute of Technology). The car is powered by a lithium-ion battery which can be charged in under 15 minutes. The concept car is envisaged to give off no emissions and will weigh approximately 450kg. The CityCar features wheels which are independently controlled by a digital system. This allows for great accuracy and manoeuvrability both important in a city environment. The car has one truly unique feature: passengers get in from the front. Eliminating side doors means that CityCars can park closer together, thus using less space. Added to the front entry, the CityCar is also designed to be collapsible, which means it takes up even less space when stored.
The CityCar, or MIT car, by Mitchell Joachim, is a concept car project launched at MIT to explore the concept of urban vehicles and mobility
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MIT Smart Cities sketch of the CityCar concept

Cars have had a tremendous impact on society and the environment. We have become emotionally attached to our cars, often feeling that they contribute to our identity and represent a mobility of our freedom. However, as we have become more aware of the problems facing our planet, the use and production of cars requires further investigation. The fuels cars use, along with the emissions from production and operation, have been linked to health risks like asthma and natural risks such as global warming. The Hiriko, an evolved version of the CityCar, is designed and produced to be an environmentally friendlier mode of transport for urban environments. The debate regarding carbon emissions and how badly traditional petrol cars contribute to environmental pollution is still raging.
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Hiriko folding electric microcar in Vitoria-Gasteiz, Spain
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In 2012, the Spanish consortium Hiriko Driving Mobility began producing 20 pre-production cars based on the CityCar, called Hiriko, to be tested in a number of cities across Europe. The Hiriko will form part of car sharing initiatives to alleviate the pressure of traffic in European cities.
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The Hiriko Fold, designed to take up less space in cities
In 2007, Time magazine named Mitchell Joachims design for the CityCar as one of the Inventions of the Year.
HOK agency
Designer overview
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HOK is an international design and engineering agency employing over 1600 individuals working on design problems ranging from corporate design to design for a sustainable future. The firm was founded in 1955 by three graduates from the School of Architecture at Washington University: George Hellmuth, Gyo Obata and George Kassabaum. The name HOK, is derived from the names of the founding members. The agency focuses on collaborative design projects with multidisciplinary teams of professionals. The agency states on its official web site that: HOKs mission is to deliver exceptional design ideas and solutions through the creative blending of human need, environmental stewardship, value creation, science and art. The firms first few projects were mainly architectural, but by the 1960s HOK was receiving commissions across the United States and opening offices in a number of American cities. By the 1970s, HOK was working on international projects ranging from architecture to interior design and urban planning. In 1984, the first international HOK office was established in Hong Kong and by 2007 almost half of all HOK projects were international. In 1993, the managing partners of HOK implemented sustainability as a key component of all design projects undertaken by the agency. Today, HOK offers clients service of the highest quality while ensuring design solutions take into account social and environmental factors. The agency focuses on four main values which are integrated into every project.
These are: To create unique and outstanding environments which reflect the needs of the clients. To inspire and respect people through their projects and designs by acknowledging cultural, organisational and personal value systems. To connect individuals and places through creative exploration and varying viewpoints. To care, improve and protect the clients and the environment through responsible design decisions.
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Design success
If we continue to purchase cars at our current rate, there will be an estimated 1.2 billion cars on the roads of the world by 2020. Cars like the Hiriko will only be environmentally friendly if the production of electricity, which the car uses instead of traditional fuel, is green. Even though an electric car may result in zero emissions, they arent necessarily carbon neutral. As electric cars are produced in factories which use electricity from coal and run on electricity generated from coal, they cannot be carbon neutral. The Hiriko is, however, a step in the right direction. Combined with cleaner energy sources and a more responsible driving culture, the Hiriko offers an environmentally responsible way to get from one point to another.
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HOK has been named the No. 1 Role Model for Sustainable and High-Performance Design by Design Intelligence for three consecutive years (20102012). James Cramer, the founding editor of Design Intelligence described the agency as follows: HOK is a firm often cited for making a difference. HOK is recognised for breaking new ground with clear, practical and informational leadership. HOKs staff is admired for its compelling case studies, engaging thought leadership and insights that lead to making wise decisions to benefit the planets future condition. The agency has also been a keen supporter of biomimicry and has adopted many of the principles associated with biomimicry in design projects. HOK Sustainable Design Director Mary Ann Lazarus stated that: We believe biomimicry will not only help us significantly reduce the environmental impact of our projects, but also has the potential to help define a whole new sustainable standard for our profession. HOK focuses on achieving LEED certification for the structures they design. LEED stands for Leadership in Energy and Environmental Design and redefines the way designers and users think about the spaces we live and work in. LEED certification represents a dedication to the highest standards of sustainability and ecological design. HOK currently has more than 120 LEED and Green Mark certified buildings.
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The redesigned play area and soccer field at the La Ballona elementary school
The Impact projects promote sustainable social and environmental design at a professional level but also include volunteers and donors bringing designers and the communities together. One HOK Impact project was the Culver City La Ballona elementary school refurbishment and playground design.
More than 170 staff members and designers contributed to the design and developed a new soccer field, irrigation systems and a play area featuring a world map, which represents the diverse student body.
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HOK staff working at the La Ballona elementary school in 2008
From the mid 2000s, HOK implemented an agency-wide challenge to engage in meaningful ways with their local communities. The challenge led to a firm wide strategic approach to social responsibility under the banner, HOK Impact. HOK Impact focuses on acknowledging a triple bottom line in projects which places social and ecological factors on the same level as economic development. The goal of HOK Impact is to ensure a promising future for local communities through their design practices.
Working on the La Bollona playground featuring an image of the world
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HOKs commitment to the environment and social development are summarised in two mission statements from the agency: Human need is the foundation of our creative process. Everything we do responds to the needs and aspirations of our clients and our communities, and HOKs global practice compels us to be responsible stewards for the environment. HOK has introduced a number of sustainable practices to industry and continually strives to contribute to responsible design practice. A number of their initiatives and sustainable accolades include: 2012 | 2010 | 2009 | 2008 | 2006 | 2001 | 1999 | Voted as one of the Top 100 Green Design Firms in Engineering News. HOK and the Biomimicry Group develop the Fully Integrated Thinking (FIT) business tool, which is based on a triple bottom line ensuring business decisions take people and the planet into account. Implements a Sustainable Operations Plan throughout the agency. HOK joins forces with the Biomimicry Group to establish how biomimicry and Life Principles (refers to natural systems, patterns and methods which have developed over time) can be used in design. Received the American Institute of Architects and International Interior Design Associations Sustainable Design Leadership Award. Received Global Green USAs Designing a Sustainable and Secure World Award. John Wiley & Sons publishes The HOK Guidebook to Sustainable Design (2nd edition published in 2005).
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HOKs Guidebook to Sustainable Design published in 1999, with 2nd publishing in 2005
The target market
HOK works with a number of clients, ranging from individuals to corporations and government agencies. The agency works with clients from Canada, America, India, Latin America, Europe as well as the Middle East and Africa.
A case of social and cultural celebration:
Process Zero: Retrofit Resolution, and the King Abdullah University of Science and Technology in Saudi Arabia
To analyse HOKs dedication to social and environmental design, two examples of their work will be discussed. The first example showcases the agencys retrofit process called Process Zero: Retrofit Resolution, which focuses on decreasing the energy consumption of a building. The second is the KAUST project (King Abdullah University of Science and Technology) in Thuwal in Saudi Arabia. At KAUST, a number of celebrated scientists from all over the world work to find solutions to the energy and environmental challenges facing modern society.
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Washington D.C.s Union Station renovations designed by HOK in collaboration with Parsons Brinkerhoff. The design will turn the station into a multi-use eco development and preserve the historic character.
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Federal office building: Process Zero: Retrofit Resolution
Redesign of a federal office building in Los Angeles owned by the U.S. General Services Administration. Project was titled Process Zero: Retrofit Resolution
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The design team developed another way for the building to generate its own power, using an innovative and revolutionary idea algae. A system of tubes containing algae wrap around the building. As the sun shines on the tubes, the suns radiation causes a reaction which creates fuel for energy production. The algae tube system produces 9% of the buildings energy while also being a natural shading system for the buildings interior. The various energy-saving and energy-producing systems found in the building were applied to the existing elements of the building. Visually, the structure still has a traditional appearance of an office building with stacked horizontal floors on a pillared ground floor. The added design elements were seamlessly integrated into the overall design of the building, resulting in a unified exterior look. The roof features new organic-shaped solar generators, while the algae tubes and louvres around the building have a strong linear appearance.

The redesign of the Los Angeles federal building represents a new responsible way of building structures. Large buildings consume vast quantities of electricity which impacts on use of natural resources in the process of electricity generation. The Process Zero: Retrofit Resolution redesign offers a new creative way of designing mostly self-sufficient structures. Through the use of algae tubes, a photovoltaics film and additional solar panels, the team from HOK and Vanderweil proved that green design can be beautiful, functional and uncompromising. The environmental impact of buildings like this is immense, as it dramatically decreases the pressure on our natural resources. Natural ventilation, shading and cooling systems all contribute to the buildings tranquil atmosphere, offering employees a better work environment.
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The redesign of the Los Angeles federal building was a collaboration between young designers from HOK and Vanderweil. The project formed part of the 2011 Next Generation Design competition, supported by Metroplis Magazine. The HOK and Vanderweil team won the competition with their design solution called Process Zero: Retrofit Resolution. The aim of the competition was to design a zero-energy building. A zero-energy building, also known as a net-zero energy building (NZEB), is a structure which has a zero net energy usage and zero carbon emissions on an annual basis. To achieve this was a particular challenge, as the federal building is almost 50 years old. The final design reduced the building energy requirements by 84% and produced the remaining energy within the building making the building energy self-sufficient. The reduction of energy use impacted on the design of the 70,600 square metre building through the inclusion of louvres for ventilation and solar power collectors on the roof. The buildings faade was covered with a photovoltaic film. Photovoltaics is an exciting new method of generating electricity directly from solar power.
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Design success
Susan Szenasy, editor of Metropolis Magazine, had the following to say about the federal buildings winning redesign: What is particularly remarkable about this solution is how a large, interdisciplinary team collaborated on a comprehensive plan that not only achieves net zero, but also deploys its design and technical solutions in a humanistic and contextually integrated way. Besides winning the Metropolis magazines Next Generation Design competition, the building has also been identified as a finalist for the Katerva Best Sustainability Idea of the Year award and achieved first place in an International Algae Competition. KAUST
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KAUST, or King Abdullah University of Science and Technology, contains the worlds largest collection of scientific equipment, laboratories and testing venues and opened its door in 2009. HOK designed and constructed the campus in a record time of 30 months! The 27 buildings which make up the university are located on the coast of the Red Sea in Thuwal, Saudi Arabia. HOK was responsible for the complete design of the 511 000 square metre project. Their design contributions included architectural design, construction, facilities programming, interior design, graphics, landscape design as well as lighting design and structural engineering requirements. The buildings designs took into consideration the need for adaptable space and resulted in shell-like structures with flexible interiors. The overall design of the buildings aims to combine urban elements of concrete and rectangular structures with natural elements like water and plants. The combination of urban and natural gives the universitys design a tranquil quality. During the design and construction of the building, attention was paid to a number of sustainable elements, including the use of renewable energy, conservation of Red Sea coral and mangroves in the area, water conservation, recycling, and the use of natural ventilation and lighting.
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The environmental impact of KAUST is two-fold. Firstly, the design and construction of the building employ various energy-saving techniques and aims to use green design solutions where possible. Creative design solutions regarding water use reduced the amount of water used at the university by 42%, and 100% of the buildings wastewater is reused. Other sustainable design solutions led to a 27% saving on energy costs and self-generated energy through solar panels. These design considerations have resulted in a platinum LEED (Leadership in Energy and Environmental Design) certification. The building was Saudi Arabias first LEED certified project. The second aspect of the university, which links to social and environmental development, is what the staff and students of the university are trying to achieve. This is described by the HOK web site: The mission of KAUSTs internationally renowned scientists is to address humanitys most urgent scientific challenges related to energy and the environment. Interdisciplinary research being conducted at KAUST includes pursuing sustainable solutions for water, energy and food.
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The design of KAUST has been recognised internationally and has won a number of accolades, including the 2010 International Sustainable Campus Network (ISCN) award. Dr M. Garder, the ISCN awards manager, stated that: The International Sustainable Campus Network is dedicated to fostering the planning, development and operations of campuses around the world that are committed to the principles of sustainability. With our award program, we seek to recognise the thought leaders, examples of best practices from around the world that we all can learn from. What KAUST has accomplished is truly marvellous, and a great example for not only sustainable construction, but for community engagement as well. Another great achievement was being selected for the American Institute of Architects Committee on the Environment as one of the 2010 Top Ten Green Projects and for receiving the Green Good Design Award from the European Centre for Architecture Art Design and Urban Studies. KAUST has received more than 15 local and international awards.
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Design success
DESIGN GRADE 12
PREPARING FOR THE FINAL EXAMINATION

HOW TO LOOK AT A DESIGN
This is a guide towards visual literacy a guide to help you to think and write about design. Titles
1. Designer, title, date and media e.g. Gerrit Rietveld, Red and Blue Chair, (1918) painted wood.
Sometimes the design will be under a company name or studio and the particular work may be untitled. Then write for example: Mila Designs, Table, (2005) Cut and painted wood.
3. Formal analyses (discussion)

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How and where were the formal elements used in the design? Line: what kind of lines are used e.g. contour lines, organic lines, straight or expressive lines. Colour: cold colours, warm colours, muted colours, complementary colours, neutral colours. Shape (2-dimensional): regular or irregular, organic, geometric. Form (3-dimensional): organic or geometric. Texture: hard, soft, hairy, silky, smooth, rough, etc. Space: (if used as in architecture or illustration). Is it a 2-dimensional image (flat) or a 3-dimensional object? (the information accompanying the visual source should give you a clue) If 2-dimensional, does it have a focal point? (where your eye stops or the area that stands out) Is there any space/depth in the work, and how is it arranged or used? This will depend on the type of work. (linear indicated by receding lines) Is there balance? (symmetrical, asymmetrical or radial) What kind of materials were used? Is it man-made or natural? (wood, plastic, metal, concrete, rubber, linen, cotton) Look at the style of the work. Is it naturalistic, figurative, stylised, organic, geometric, sleek, expressive, decorative, humorous or impersonal? The layout of the work: Dominant shapes, lines, colours and lettering used?
4. Who is it intended for? (Target market)

Is the design intended for: Poorer communities to address an environmental or social problem? A higher income group as a luxury item? The general public to make them aware of something, etc.? Older people/younger people/small children? A specific gender: male or female? A specific cultural group?
5. Purpose of the design (What is it supposeD to do?)

Does it convey a message? E.g. social or environmental? Function of the design. (What must it be able to do?)
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2. A brief description of what you see: What do you see?
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6. EVALUATION
Context (time and place the work was produced. Is it innovative for the period?) Functionality (How successful is the design in terms of the purpose for which it was designed? A kettle must be able to pour without spilling and burning you.) Craftsmanship (the degree of finish or skill that the designer displays in his use and choice of materials to achieve the general appearance of the work). Design quality (the degree of visual organisation of materials and elements that make up the work). Originality (degree of uniqueness, imagination and freshness). Social and environmental awareness (Are social and environmental factors considered, such as poverty, Aids, gender equality, alcohol abuse, child and women abuse, or pollution, reclaiming wasteland, green and sustainable building and manufacturing?) Monetary value (value or price that the consumer will pay). Comparison (How does the work compare with other similar works?) You should always substantiate what you say what, where and how. All language rules should be followed e.g. full sentences, etc.
in the front of this book (p.4 70)
Arts and Crafts/Art Nouveau/De Stijl/Bauhaus/Art Deco/Modernism/Scandinavian design What do you need to know about these styles? Identify the styles in the visuals and provide reasons why you link a particular style to the visual. Always use full sentences. You may be guided in the question to refer to influences, aims, characteristics and provide a designer and a work by the designer. When discussing examples, provide the following information depending on what the question requires: a. More or less when did the movement occur? b. What was their main purpose/aim with design? c. Which influences on the style are visible in the example? d. How do you know that the example is from the period you placed it under? (Provide proof by looking at the characteristic use of elements and principles) Refer to the following: Line Shape/form Balance Texture/pattern Repetition Subject
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What does the work say about the period it dates from? NB. Never give vague answers such as: they used a lot of lines or a lot of colour. You can rather say that the lines are organic or straight; they used soft colours, or natural, or warm, or cold colours, or contrasting colours. Always explain what, why, where and how something was used.
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REVISION OF DESIGN MOVEMENTS DONE IN GRADE 11 Dont forget to also revisit your design overview
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SAMPLE QUESTION Identify the styles in the sources, marked Figure A and Figure B. Explain why these examples are typical examples of each style you identified. Refer to characteristics visible in the examples to justify your answer.
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Figure A
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Arts and Crafts/Art Nouveau/Bauhaus/Art Deco
1.1 Identify the styles in the visual sources below marked Plates 14. 1.2 Match the correct influences with the correct plate. A Nature/Gothic & medieval crafts. B Angular shapes of Cubism/Futurism/bold colours of Fauvism/ Russian ballet/speed/technology/ancient cultures/outdoor life. C Nature/Romanticism/Japanese prints & fashion. D Angular shapes of Cubism/De Stijl/new technology/new materials.
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Plate 1
Plate 2
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Plate 3
Plate 4
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A. Antoni Gaud Church of Sagrada Familia C. Cassandre Normandie E. John Henry Dearle Compton G. Lloyd Triestino Victoria I. Peter Behrens The kiss K. Phillip Webb Red house M. Alphonso Mucha Pen poster
1.4 Who belongs to which movement?
1.5 Aims of these movements. What did they aim to achieve? Place the correct movements in the open blocks. Aims Arts & Crafts/Art Nouveau/Bauhaus/Art Deco They believed that decoration should not be merely a surface decoration but should be a direct result of the materials used and the function of the design. They were fascinated by speed, technology and ancient cultures. Movement
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1.3 Match the correct characteristics with the corresponding style. Explain how the characteristics were used in the examples. A Bold flat colours and simple lines; eclectic style (combination of styles); stepped shapes/lines; angular shapes & diagonal lines and sunbursts. Used smooth, elegant lines and stylised shapes. Shapes were often simple and angular with trains, boats and cars in strong perspective. Individuality and craftsmanship were praised. Minimalist designs of trains, motorcars, stylised animals, flowers and people. Asymmetrical as well as symmetrical balance used. Forms/shapes were often sleek or streamlined in appearance. Often exotic materials were used. B Natural colours, portrayed nature. Products are handmade, hand-printed, using skilled crafts such as block printing, embroidery, stained glass. Simple furniture with little decoration and wood left in natural state. Printed books but put emphasis on medieval adorned fonts and decorative borders. They stayed true to materials in domestic arts (they kept materials unadorned). There was an honesty of form and integrity of decoration in their work. They used locally sourced materials. Buildings often feature turrets. C Products were simple and unadorned. Rule of form follows function. Geometric/abstract shapes. They did experimental work in basic form, colour and composition. They designed complete new font in graphics. Typography was conceived as an important means of communication. The emphasis was placed on examining the formal and physical properties of materials. Photography and photomontage were used in graphics. They experimented with different materials. They developed reinforced concrete resulting in cantilevered balconies. They used prefabricated units and glass curtain walls. D Used organic shapes and lines and especially recognised by the use of meandering languid and whiplash lines. Colours were muted or dusty in appearance with no strong contrasts, applied flat without any shading; colours had strong defining outlines. Often used sensual women with long flowing hair and soft garments placed against a round or oval frame. Frames are often decorative. They do not render any space in posters. Designs are often ornate and decorative. Make use of asymmetrical balance in products and posters. They used expensive materials such as velvet, silks, precious stones and metals. Buildings had an organic quality. They used decorative ironwork as well as mosaics. They portrayed mostly nature and sensual women in their work.
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B. William van Aalen Chrysler building H. Marianne Brandt Tea-extract pot Aubrey Beardsley The Peacock Skirt L. William Morris Strawberry thief N. Walter Gropius Masters house
D. Clarice Cliff Fantastic Conical Early Morning Tea Set F. Marcel Breuer Wassily chair
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This movement revived an interest in handicrafts and sought a spiritual connection with their environment, both natural and man-made. Their ideas of good design were linked to their ideas of a good society. They wanted to influence the design of utility objects and to put a strong stamp on interior design. This movement can be seen as a bridge between the eclecticism of the 19th century and the modern movements. This movement advocated nature as the true source of all good design but was very ornate. They wanted to give the artists a meaningful and practical place in society by allowing them to experiment with form, colour and materials, as well as receiving training as craftsmen and industrial designers. They tried to find a solution to master the modernisation process by means of design. They tried to solve the social problems in an urban context.
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DE STIJL/MODERNISM/SCANDINAVIAN DESIGN
Plate A
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Below and on the next page are 3 plates marked A, B and C. Can you identify the movements?
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Plate B
Plate C
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Unscramble the influences and characteristics given below and, using full sentences, use them to discuss why the examples are typical of each movement in Plates AC. Abstraction and simplification/ Believed in balance, harmony/ Block shapes of Cubism/ Designed totally new forms/ Explored new materials/ Form follows function/ Forms had a smooth teardrop shape/ Forms were simple and undecorated/ Grid windows covering building/ Horizontal and vertical lines only/ Influenced by Cubism/ Influenced by Bauhaus/ Influenced by Dutch tradition of logic/ Influenced by materials developed during World War II/ Influenced by the mathematical philosophies of Schoenmaekers/ It showed a culture of convenience/ It was consumer driven/ Only primary colours, black, grey and white/ Objects and buildings were undecorated/ Believed in order, logic and purity/ Reinforced concrete/ Objects had severity and clarity/ Skeletal frame in building/ It is synonymous with simplicity and elegance/ Works were impersonal/ Organic forms/ Skyscrapers/ Combined biomorphic forms with harder-edged geometric tendencies/ Smooth textures/ Textiles were influenced by Abstract Expressionism and Surrealism/ Uninterrupted spaces/ Created bright, light and practical environments with clean lines/ Influenced by Scandinavian designers/ Light-coloured wood/ Used acrylic paints/ Used new materials such as Bakelite and tubular steel/ Characterised by functionality and affordable mass production/ Used nylon and PVC/ Inspired by the Surrealist movement/ Used tufflex, aluminum and different alloys or mixture of metals; Influenced by the machine, new technology and new materials that were available after World War II/ Long winters and few hours of sunlight had direct influence on design/ Materials included fibreglass, wood, rubber, plastic, vinyl and plywood/ Used form-pressed wood, anodised or enamelled aluminium or pressed steel/ Developed stacking chairs. D. Match the designers with the correct movement.
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Find the correct movements and designers to complete the word puzzle on the next page.
DOWN 1. He was famous for his Art Deco posters. 2. A type of light weight steel used for chairs by Bauhaus designers. 3. A designer and leader of the Arts & Craft movement known for his beautiful wall paper and textile designs. 4. First name of a distinguished textile designer from the Bauhaus. 5. A mixture of metals. 6. Surname of the first Bauhaus director. 9. An early 20th Century Design movement known for their use of whiplash lines.
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Maija Isola Unikko; Theo van Doesburg Architype; Ludwig Mies van der Rohe Barcelona chair; Verner Panton Heart chair; Le Corbusier Villa Savoy; Marimekko design; Mies van der Rohe Seagram Building; Aalvar Aalto House of Culture; Lester Beall Slums Breed Crime poster; Arne Jacobsen Ant chair: Gerrit Rietveld Red-Blue Chair; Roberto Grippa Giotto textiles; Gerrit Rietveld Schrder house; Ettore Sottsass Valentine typewriter; Arne Jacobsen Egg chair
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(9) (7) (6) (4) (5) (7) (3/ 7)
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11. Surname of a well-known Marimekko textile designer. 18. Known for his paintings and posters of sensual women with long flowing hair. 19. An art movement based on the dream world and the subconscious mind which influenced some modern furniture designs. 20. A kind of hard plastic used in the manufacturing of telephones. ACROSS 1. A type of material used in architecture which allowed for cantilevered balconies and floors. 3. An early 20th century painting style which had a large influence on major 20th century Architecture styles. 4. The creator of the Red-Blue chair. 5. A movement which created proto types for mass production. 6. The Art Deco movement created these kind of shapes in cars, trains and dogs. 7. A group of North European countries known for brands like Bang & Olufsen, Electrolux and Ikea. 9. A 20th century movement in design often referred to as Popular Modernism. 10. A 20th century design movement which was driven by consumerism and modern conveniences. 16. A kind of material used for raincoats during the 1950s.
1 C S 2 T G G 3 4 5 6 7 S 8 9 10 11 12 I 13 14 15 16
(5) (5) (10) (8)
(10/9) (6) (6/8) (7) (11) (11) (3/4) (9) (3)
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17 18 A T G R I D N U S O A N P D O S C C E M I C H A S D B U C
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Pop Art/Op Art/Late Modern/Post Modern/Deconstructivism
Circle the phrases and words that you think best describe the influences and characteristics of the movements in each of the plates, marked A, B, C, D & E. Using full sentences, give a brief discussion on each movement referring to the images given to support your discussion.
Plate A Pop Art
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Natural materials/ popular culture/ only used geometric patterns/ Art Nouveau/ space exploration & film/ music & screen heroes/ junk food/ pale colours/ fantastic plastic/ bright colours/ repetition of images/ dull colours/ miniskirts/ sex industry/ design was often aimed at the new youth/ strong outlines/ novel, cheap and disposable/ abstract/ rejection of materialism/ streamlined/ images were flat, often mechanically reproduced/ psychedelic colours/ contrasting colours/ fibreglass/ movie idols, consumer goods, fast cars and neon signs/ used only straight lines/ moulded plastic forms were designed to save space/ aimed at older people/ used tiny grid-like marks called Ben-Day dots/ influenced by images from magazines, newspapers and popular media/ collage. Circle the appropriate designers Bonnie Macclean/Ettore Sottsass/Andr Courrges/Frank Gehry
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Plate B Op Art
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Recognisable images/ abstract/ optical illusion/ used soft and subtle colours/ closely spaced lines created a moir effect/ only used neutral colours/ used contrasting colours/ influenced by work of Bridget Riley/ used only natural organic lines/ uses only geometric shapes and colour/ static/ movement created/ lines vibrate and bulge/ lines and shapes are smooth and precise/ lines are rough with strong texture/ used lots of texture/ applied this to products and surfaces/ bold geometric patterns, dots and stripes used. Circle the appropriate designers Emillio Pucci/Jamie Reid/Aldo Rossi/Mary Quant
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Plate C Late Modernism
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Busy interiors/ large open interiors/ simple exteriors/ busy exteriors in architecture/ used high-tech materials in architecture/ services are housed inside the building/ outside the building/ extension of Modernism/ Punk formed part of it/ anarchy among young people/ piercings/ photography used more in communication design/ strong colours/ pale colours/ celebration of technology/ industrial lights for the home and locker-style cupboards for the kitchen. Circle the appropriate designers Jamie Reid/Richard Rogers/Renzo Piano/Roy Lichtenstein
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Plate D Post Modernism
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Eclectic/ borrowed from past styles/ less is more/ less is more is a bore/ brought back colour & pattern/ used neutral colours/ tried to make cheap materials look expensive/ only used expensive materials/ used pattern/ did not use pattern/ influenced by Classic styles/ influenced by Las Vegas/ used different windows in the same building/ combined old and new/ used decoration/ used no decoration/ believed in truth to materials/ form follows function/ influenced by popular culture/ were against popular culture/ used humour in their work/ were daring, unconventional and often ironic/ gave everyday objects a new life/ asymmetrical balance/ mixed materials/ used surface pattern/ did not use any surface pattern/ organic and eco-friendly/ used decorative elements outside the buildings/ buildings were plain. Circle the appropriate designers Michael Graves/Zaha Hadid/Gaetano Pesce/Terry Jones/Emillio Pucci
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Plate E Deconstructivism
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Odd angles/ influenced by writings of Jacques Derrida/ irregular pulled apart look/ asymmetrical/ symmetrical/ regular shapes/ concentrates on the invisible relations between opposing components/ discomfort/ fragmented/ distorted shape/ visual harmony/ use of non-rectilinear shapes/ visual chaos/ visual order/ created comfort in looks/ unfinished seams in garments/ explores alternative materials/ uses traditional materials. Circle the appropriate designers Frank Gehry/Mies van der Rohe/Neville Brodie/Issey Miyake/Ron Arad/Michael Graves
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In preparation for your final matric Design Theory exam

The following questions are examples of what you could be expected in your June or end of year theory exam. Try and answer each question to the best of your ability. Make sure that you understand the details of the question before you structure your final answer. Answer the questions and then ask your teacher to share the memo / answers we have included in the Teachers Guide with you.
Exemplar PAPER
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Module 4 EXeMPLARPAPER
EXEMPLAR PAPER 1
SECTION A: DESIGN LITERACY
Unseen Examples
Question 1 1.1 Analyse and discuss the use of the following elements and principles of design in relation to FIGURE A above. Colour Contrast Form (6) 1.2 In the above design, recycled plastic was used. This is also called up-cycling. Briefly explain the term in relation to the design in FIGURE A above. (2)
Question 2 (Communication through design)
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Figure A A press and outdoor campaign for the Drive Dry Initiative designed by Agency FoxP2 (Cape Town), 2012
1.3 Although Heath Nash was trained as a sculptor, he is known today as a designer. Provide TWO reasons why FIGURE A is not seen as a sculpture, but as a design. (2) [10]
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FIGURE A The Laurel Lamp by Heath Nash, made of recycled plastic bottles and containers (South Africa), 2012
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The above image (FIGURE A) formed part of a campaign using shock tactics to try and convince especially young people not to drink and drive. 2.1 What message is being communicated here? How will young people be deterred from drinking and driving? 2.2 The advertising agency made use of a stereotype to communicate the message. Name the stereotype by referring to at least three typical characteristics and explain each briefly. 2.3 Explain in a short paragraph whether you think making use of a stereotype in advertising is justifiable. Do you think using a strong stereotype as in FIGURE A was successful? Motivate your answer. (2) (3) (5) [10] Question 3
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FIGURE A Shadowy chair by Tord Boontje for Moroso (The Netherlands), 2009
During Post Modernism, there is a nostalgic return to age old traditional handcraft techniques, such as knitting, crochet, weaving, lace, beadwork, etc. 3.1 In reference to FIGURE A, provide TWO possible reasons for the return to traditional handcrafts. (4) 3.2 Analyse and discuss the use of the following elements and principles of design in relation to FIGURE A above. Colour Contrast Pattern (6) [10] Total for section A: 30
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Question 4
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4.1 Choose TWO styles from the following list and for each style discuss two influences, aims and five characteristics, with reference to a designer and one or two of his/her works. Arts and Craft Movement Art Nouveau Bauhaus De Stijl Art Deco Modernism Scandinavian design Op Art (2x10)
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4.2 Choose TWO of the styles marked Fig A, Fig B and Fig C and answer the questions that follow. You may refer to the examples or any others you have studied.
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4.2.1 Aims of these movements. 4.2.2 The characteristics of these movements.
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Post Modernism
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Fig A i-D magazine cover designed by Terry Jones, 1982
Fig B Bob Dylan poster designed by Milton Glaser, 1957
Fig C Reduce your carbon footprint designed by David Carson, circa 1990
(2) (4x2=8) [10]
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Question 5 5.1
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Explain briefly your understanding of what the difference between craft and design is. (2) (8)
5.2 Discuss any ONE traditional craft you have studied this year. Clearly focus on its traditional history, social role, its contemporary use, materials and one example.
5.3 Write a paragraph of approximately 100 120 words on any ONE South African or African designer, who uses traditional techniques and/or materials to address social and/or cultural issues in his/her work. Consider the following in your discussion: Name and discuss at least ONE of his/her works. The use of traditional techniques and/or materials in his/her designs. The application of his/her designs within a social and/or cultural context. (10) You may NOT refer to any designer(s) that you have used previously. [20]
Total for Section B = 30 marks
Question 6 6.1 Discuss any ONE South African design group or centre concerned with environmental issues. Concentrate on the following: their aims, products, inspiration and contribution towards the environment and sustainability. 6.2 Write a paragraph of approximately 100 120 words on any South African or international designer / design agency or studio you have studied who deals with environmental issues in his / her / their work. In your discussion you must refer to the following: The name of the designer / agency or studio. How the designer / agency or studio addresses environmental concerns in his / her / their design process. The title and a brief description of at least one major project undertaken in this field by the designer / agency or studio. You may NOT refer to any designer(s) that you have used previously.
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We wish you all the best in preparation for your final Design Theory exam as well as your end of year practical moderation.
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After you have worked through the exemplars we have provided you, ask your teacher to assist you with the memos we have supplied in the Teachers Guide.
Total for section C: 40 GRAND TOTAL: 100
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EXEMPLAR PAPER 2
SECTION A: DESIGN LITERACY
Unseen Examples
Question 1 1.1 Write an essay on the use of the following elements and principles of design in FIGURE A above: Focal point Contrast Form Texture (8) 1.2 She (Katie Thompson) is known for creating an eclectic combination of styles, materials and finishes. Define the word eclectic and refer to ONE such reference in FIGURE A. (2)
[10] Question 2
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FIGURE A ReCreate chairs by Katie Thompson (Woodstock, South Africa), 2011
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Figure A An outdoor campaign for Allan Gray long-term investments (Agency King James, Cape Town), 2012
The image on the left (Figure A) forms part of a series of billboards for Allan Grey longterm investments. The slogan on the billboard reads: Growth takes time 2.1 What message is being communicated here? What is the conceptual relationship between the growing plant and the company, Allan Gray? (3)
2.2 When you compare this billboard with many other colourful and flashy billboards along our roads, the advertising company took the right approach. Why? 2.3 Do you think by using a growing, living plant as part of a billboard, reflects well on Allan Gray? Motivate your answer.
(3) (4)
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Question 3
The Roman Empire will be remembered for the remarkable legacy they left behind in Architecture and Engineering. Many of the examples can still be seen today and serve as proto types for similar contemporary structures we use today.
Study the visual sources marked Figures A, B, C, & D below and answer the question that follows.
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FIGURE A The Roman Forum in the time of the Roman Empire designed by Vitruvius (c. 7th Century BC) FIGURE B ION Orchard Mall in Singapore designed by Benoy in 2009
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FIGURE C The Blue Volcano Stadium in Zagreb,Croatia designed by Njiric and Arhitekti, 2012 FIGURE D The Roman Colosseum completed in 80 AD
Write an essay in which you compare any of the two ancient Roman structures featured in Figure A or Figure D with a similar modern example you have studied during your grade 12 year. Use the following as a guideline in your essay: Purpose Materials Technology Target market [10] Total for section A: 30
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SECTION B: HISTORY OF DESIGN

Question 4
Great design is all about details. With innovative material selection, sensible construction techniques and modern aesthetics one can craft a unique design language that sets a new standard. James Roi
4.1 In light of the above statement choose two of the following movements and discuss them by using the information below as a guide. Arts and Craft (1860 -1900) / Art Nouveau (18901905) / De Stijl (19171931) Bauhaus (19191935) /Art Deco (1923- 1940) Pop Art (1955-1975) / Scandinavian design (1950-present)/ Deconstructivism (1980-present).
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Your discussion should include the following: Name a designer and a work by the designer from each movement. Two influences on each movement. The characteristics of each movement. Explain why you feel these movements made a difference in design at their time. (2x2=4) (2x2=4) (2x5=10) (2) [20]
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Less is more Less is more is a bore
Ludwig Mies van der Rohe Robert Charles Venturi
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Figure A
4.2 Which quote best describes Fig A and Fig B? Give reasons for your answer by discussing the characteristics of each movement.
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[10] Total for Section B = 30 marks
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SECTION C: Sociocultural / Environmental and Sustainable Context

Question 5
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FIGURE A Campaign from the Chilean Corporation against Cancer (left) and Kelly Ashcrafts design for a series of anti-smoking posters (right)
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5.1 Discuss in a paragraph of approximately 100 120 words how the two posters in FIGURE A address the issue of smoking. Do they convey the message? Give reasons for your answer by referring to the use of design elements and principles such as contrast, use of colour, digital manipulation and use of typography.
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5.2 Write a paragraph of approximately 100 120 words on any ONE South African or African designer, who uses traditional techniques and/or materials to address social and/or cultural issues in his/her work. Consider the following in your discussion: Name and discuss at least ONE of his/her works. The use of traditional techniques and/or materials in his/her designs. The application of his/her designs within a social and/or cultural context. (10) You may NOT refer to any designer(s) that you have used previously. [20]
Question 6 6.1 Today viral campaigns spread across the globe in a matter of minutes through social media platforms. Environmental activist group Greenpeace posted a hoax video on YouTube and in less than two days the clip, with the tag #ShellFAIL was watched 500,000 times.
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A viral campaign uses existing social media platforms and the internet to spread globally from one person to another (very much like a virus does). For which threat is this campaign raising awareness? Give two reasons. (2) How did this campaign benefit from social media and the internet? (4)
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FIGURE B Award-winning awareness campaign for BUND (one of the largest environmental organisations in Germany) by Peppermill. The campaign highlights the vulnerability of animal species and reminds viewers that every minute counts.
FIGURE A A fake Shell website called ArcticReady.com by Greenpeace where users can create their own anti-Shell posters by combining images and slogans.
6.2 Do you think this campaign is successful in its communication? Give reasons for your answer.
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6.3 Discuss the work of any South African or international designer / design agency or studio you have studied who deals with environmental issues in his / her / their work. In your discussion you must refer to the following: The name of the designer / firm. How the designer / agency or studio addresses environmental concerns in his / her / their design process. The title and a brief description of at least one major project undertaken in this field by the designer / agency or studio. (10) You may NOT refer to any designer(s) that you have used previously. [20] Total for section C: 40 GRAND TOTAL: 100
After working through the examples that we provide for you, ask your teacher to help you with the memos that we provided in the Teachers Guide. We wish you all the best for the preparation of your final design theory exam and your practical moderation at the end of the year.
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Module 4 ex hi b i t i o n
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YOUR exhibition
During Term 4, it is expected of you to display/exhibit your year work and your final practical exam (PAT 4) in a professional and creative manner. For that very reason, it is important to have specific knowledge and insight into the workings of (1) window display, (2) store or shop display, and to be aware of (3) current museum exhibition techniques and trends. It is important to know that a successful exhibition / display of your work, is determined by the same basic rules that are applied to secure a successful display of a billboard, advertising a new product or event or that of visual merchandise thats displayed in the windows of many retailers. No matter if the display is for your matric final exhibition or the window display for a major retailer - you ultimately need to understand the same rules of the game so that you eventually attract and draw the attention of the viewer or consumer to that display.
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Although it might seem that we are bombarding you with information, it is vital for the success of your final expo to understand a little more about the science behind great displays and exhibitions.
DID YOU KNOW

Design companies, such as Prada, Rolex, Louis Vuitton, Chanel, Gucci, Hermes, Yves Saint Laurent, clearly understood that, by creating inspiring and creative windows and store displays and exhibitions, they were able to brand themselves as the top 10 most luxurious, influential and creative companies in the world! They achieved this by looking holistically at their brand and regularly re-evaluating and updating their visual merchandising, focusing on creative advertising, using interactive and memorable promotions, demonstrations and entertainment, but most importantly, spending extravagant amounts and time on recreating artistic window displays and store designs ...
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Since the 1960s exhibition design has evolved as a new visual discipline, as an apex or high point of all media and powerful communication. Exhibition design has evolved into a remarkable complex language that uses numerous visual media, such as typography, pictures, photographs, symbols, paintings, designs and sculpture, but also sound, light, movement (of the display as well as the visitor), films, diagrams, and charts. The total application of all these plastic and psychological means makes exhibition design an intensified and new powerful language...
Frederick Kiesler is one of many artists, designers and architects who considered exhibition design to be an important but in a contemporary context, more people are convinced that it is the customer who actively constructs meaning of an object. Kieslers conclusion is that the specific meaning of the artwork or design is determined by context and meaning. The environment in which the work of art or design displayed, further meaning (s) who in turn informed by the specific time, place and function. In a contemporary context, more people are convinced that it is the customer who actively give meaning to an object.
The Austrian-American graphic designer, painter, architect, photographer, sculptor, art director, environmental & interior designer Herbert Bayer
The environment becomes equally as important as the object,

says Frederick Kiesler
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Retail environments will become places for people and the emerging brand culture rather than only places for product ...
according to Ron Pompei, the founder and Creative Director of Pompei A.D.
! VERY IMPORTANT Your teacher should now take on the role of curator: (1) an exhibition organiser that can assist in suggesting the best possible space for you to exhibit, and (2) he/she can also give guidance in creating an effective layout for the overall exhibition of all the matric candidates.
Planning is essential and all learners should be involved in the decision-making process.
POSSIBLE CRITERIA FOR LAYOUT/DISPLAYING/EXHIBITING OR PRESENTING YOUR DESIGNS OR PRODUCTS:
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STEP 1 STEP 2
You should make use of the following criteria: Creativity/Originality/Interpretation in terms of the concept and a suitable or appropriate solution that is relevant to the brief. (10) Evidence of design involvement: the appropriate use of design elements, principles, and materials. (10) Professional presentation/layout and functionality of the final design solution. (10)
INSTRUCTIONS TO MATRIC CANDIDATES REQUIREMENTS FOR THE LAYOUT OR DISPLAY/EXHIBITION PROCESS Become informed about window/store display, and museum exhibition styles. Build up a visual library of images. Make use of the included examples and the class discussion below to help you choose the appropriate exhibition style in relation to the practical brief in PAT 4.
Show evidence of planning the layout and progress of your exhibition/display. Make use of e.g. thumbnail sketches, drawings, a model or diorama and/or photographs documenting the whole process.
! NOTE Whatever the situation at your school, be resourceful and make use of what is available. Choose the most appropriate area or site for your exhibition. Remember, you may decide to exhibit or display on tables, screens, walls, and the floor or even on the ceiling area ... If allowed, you may even choose to exhibit your work in a specific room, e.g. the kitchen or bathroom. Choosing such a specific environment for your display needs to be carefully considered as such an environment will add as a very specific look & feel to your final display and should be used to enhance your idea rather than just be a random selection.
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This section must be done under the supervision of the teacher at your school.
DESIGN GRADE 12
! VERY IMPORTANT TO REMEMBER Continue with your main field of specialisation do not venture into something that you have never done before! Use the final practical exam as a reflection and culmination of what you have learned from Grade 1012. This is the highlight of 3 years of hard work and practice. Please spend extra time on presenting your designs professionally. Do not rush this section, as you will be compromising your quality and professionalism. It is advisable to plan early and to be very clear about your intention and style or layout of the display of your exhibition. Here are a few possible display or exhibition design layouts you might want to consider:
Back wall stand
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Corner stand
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U-shape stand Kiosk
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Exhibition centre
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3-D Exhibition with fabric floor
Below are a few amazing and inspirational examples of prominent design brands that created extraordinary window and store displays.

In Paris, the Printemps Department store is one of the largest beauty department stores in the world ... a theme is always chosen for the windows and they are always a big attraction! So for the launch of the film Alice in Wonderland, they asked several designers that included Alexander McQueen, Martin Margiela, Chlo and Manish Arora to interpret a modern-day Alice ... Below are a few of their combined efforts ...
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The well-known fashion brand Chanel created soft and feminine backgrounds for these window displays by using paper cut-outs that resemble the age-old craft of making doilies and lace. The theme was clearly inspired by a white, fantasy wonderland Christmas with references to snow-covered pine trees and ice crystal formations ...
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The Anthropologie Store is another well-known shop that focuses on creating extraordinary window displays and innovative shop lay-out. It is always refreshing and inspiring to see a company that makes design and craftsmanship by hand a priority and places a focus on using recycled items.
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DID YOU KNOW

The Anthropologie Store has built its reputation on creating a unique and extraordinary shopping experience. By studying customer behaviour and movement patterns, retailers like Anthropologie know that when shoppers enter a new or unfamiliar store, they make a quick, decisive assessment of the merchandise and the surroundings. If something doesnt catch their eye or give them a reason to stay within the first thirty seconds, more often than not would-be buyers leave empty-handed. In an Anthropologie Store customers select an item through their own discovery. These are important facts to bear in mind, as your main aim is also to draw the visitors attention to your display or exhibition!
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Here, the window display designers of Anthropologie were clever in using a variety of colourful origami shapes that probably resemble the map of China. The background colours in the origami patterns resemble most of the colours used in the dresses. By reusing the red, yellow and white colours and origami forms, the window display designers were successfull in creating texture, movement and a asymmetrical balance.
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Here are more window display examples to be seen at an Anthropologie Store:
DESIGN GRADE 12
DID YOU KNOW

The fantastic origami-inspired Summer 2011 window display on the previous page was created with old envelopes? The Anthropologies Spring 2011 windows above were created with over five million corks collected at stores. The striking displays brought attention to the Cork Forest Conservation Alliance, recycling and Earth Day.
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Again, the Anthropologie window display designers have out-done themselves by using wine bottle corks to build three monumental abstract sculptural forms that bow or bend in a curtsy and respectful fashion to one short dress in front of them. The top areas of the cork sculptures were dipped in a variety of blues and turquoise dyes to imitate the similar use of colours in the dress. The use of natural cork and dyed cork also imitates the mosaic technique.
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In the example on the top right, cork was again used to create a rectangular wall pattern and decoration. The rest of the window displays at Anthropologie clearly show that everyday and recycled objects can become exceptional in the hands of designers.
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Another to take note of is window display designer, art director/set designer Sara Illenberger. She is known for her strong, bold and surreal window display designs. The emphasis is placed on the objects that are magicly and imaginatively suspended. The neutral blue-grey background sets the stage and the use of light that creates a dramatic effect.
The works included here were inspired by Worldwide Parade, her latest project for Hermes, and is entitled Le Parade. Illenberger created these beautiful window displays entirely made out of paper and Hermes boxes for Hermes Berlin store.
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Under the creative leadership of London-based set designer and illustrator Hattie Newman and her design team, they created stunning examples of paper dresses and set designs for the March issue and luxury fashion magazine, Madame.
One of the main ideas behind these creative displays was to highlight or show off papers pliability and the different qualities of paper.
By studying all our examples and understanding how the designers created their layouts or compositions, make use of the following exercise.
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Louis Vuitton created this window display Youre Under Surveillance 2011
Focal point Repetition Colour Contrast Form/shape
Analyse the work by Louis Vuitton (see below and left) and refer to the use of the following elements and principles in your answer:
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At this stage it should be clear to you that, when planning the layout of your display or exhibition, it is extremely important to know how to apply design elements and principles.
DESIGN GRADE 12
BASIC GUIDELINES FOR DISPLAY AND EXHIBITION TECHNIQUES HANGING DESIGNS Most curators or window display designers set the eye level for hanging pictures at 155 cm above floor level. However, this rule is not cast in stone and, depending on your idea, the height might vary in accordance with the overall layout of the exhibition space, as seen below. A current trend is to cluster works together as was done during the Victorian times in the early 1900s.
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Designs should never be suspended from a single nail (unless very small). They should hang from either two nails or picture hooks firmly fixed to the wall. Lightweight graphics, diagrams, etc. can be fixed to walls or display boards with Velcro adhesive strips. AVOID sticky tape or Prestik as these materials are unreliable and unsightly. LABELS AND SUPPORT MATERIALS If you are exhibiting in a museum or if you prefer using labels inside a window display, then it is advisable to clearly identify the designers and designs with a label. If you are leaning towards this type or style of exhibition, then it is advisable to adhere to these rules regarding labels: (1) Most curators or window designers prefer that the labels or titles are typed and preferably not handwritten (2) on white or off-white paper/cardboard, (3) using a clear modern font, such as Helvetica Regular, Geneva or Arial, in a size of at least 18 points. (4) One point extended spacing between each letter
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can be considered for easier reading. Furthermore, (5) your labels should be set in two sizes, one for general labels and the other for extended labels. (6) The standard labels in most public museums and galleries are 19 cm wide by a minimum of 9 cm high, with a 1 cm margin. (7) Some museums or galleries place all identifying labels along walls, screens and pedestals so that the top edge of the label is always exactly one metre from the floor level. (8) The labels can be printed on adhesive vinyl or fixed to cardboard or styrofoam to give it a more 3-D quality. (9) Labels should be placed to the lower right of the object on the supporting wall, pedestal or plinth, with a fixed sight line. (10) If you are working with a dark background, a lot of white labels can dominate the objects. A good test is to squint your eyes at the display to see if the labels stand out at the expense of the objects. If the labels are printed on the same colour paper as the background, this problem will be reduced or eliminated. AVOID using too many words and making spelling or grammar mistakes! It is extremely important that you double-check your spelling and grammar and to have it proofread by at least two people! REMEMBER: allowing spelling or grammar mistakes reduces a professional end product! MOUNTING TEXT OR GRAPHICS
Always use a sharp NT cutter, craft knife or scalpel and a metal ruler when cutting letters. Preferably use spray contact adhesive or rubber cement to adhere the paper to the backing. For the backing, you can use cardboard, wood, styrofoam, etc. Avoid any glue that might create paper swelling and wrinkling. One of the best materials to use is double-sided adhesive tape. Most of the materials are available at art suppliers or hardware stores. To protect labels that will be on display for long periods, opt for laminating as it is a relatively inexpensive method and will save on replacement costs.
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Please ensure that all surfaces are stable, neat and clean. Most of these cases, pedestals, bases and dividers are mostly made from superwood or chipwood and then painted very neatly in either white or black paint.
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CASES, FLAT BASES, PEDESTALS AND DIVIDERS: Another option is to use a good quality wood and to play with different designs such as seen below. You may even decide on using strong, durable cardboard ...
Let us quickly recap. Here is a helpful checklist ...
Tell the story Does the display emphasise the most important aspects of the story or object? Does it grab you? An effective display technique is to follow a planned scheme which systematically outlines the exhibitions story line.
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Explain the object Is the display easy to understand? Always try to display the designed product so that its function is apparent. Information Is the text easy to read? Keep it simple and be aware of visual overload! Design and aesthetics Begin with the layout of the exhibition well before it is scheduled to take place. With this in mind, think about how you can set the scene or introduce the exhibition. A different coloured wall featuring the title of the exhibition provides an introduction for the viewer and can be used to direct them into the exhibition space. Over the years, museum curators and educators also had to realise that a museum is not only a collection and display area of precious artifacts. In order to survive in the 21st century, museum displays are now transformed into interactive, fun, technological and educational spaces ...
Simplify your exhibition area Be selective with objects on display. It is not necessary (and not advisable) to have every item in your collection on display.
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! FOR AN EXCELLENT REFERENCE TO MORE DISPLAY DESIGNS, SUCH AS THE INCLUDED EXAMPLES, VISIT: http://www.xylemdesign.com/Pedestals/TradeShowPedestals.asp
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Iziko Art Museum in Cape Town
! REMEMBER: The use of cases, bases, pedestals and dividers is one of the best ways to influence the movement and flow of people.
SOME EXTRA READING

Museums had to look at the following 10 aspects to ensure their validity, usefulness, and continued success ... 1. Motivate visitors Target an audience the general public and/or specific communities. 2. Focus content Filter content so visitors are not bombarded with information overload. Keep themes inclusive and politically correct. 3. Immersion Engage visitors within a story-line. 4. Modularity Present smaller themes instead of one larger complex topic. 5. Skimmability Information should be easy to take in because visitors are often standing and/or have different levels of education. 6. Patterns Incorporate traffic/circulation patterns; exhibit sequence patterns and pre-existing framework patterns (architectural elements). 7. Capture curiosity Use storytelling techniques to engage visitors (if appropriate). 8. Interaction Give visitors a fun experience by tapping into their emotion. 9. Integrate technology Technology should enhance the visitors experience, not detract from it. 10. Layer content Information must be presented in a chronological, structured, ordered manner.
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To follow are a few exhibitions done by Grade 12 learners who successfully applied many of the exhibition techniques discussed above
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Lasche van Heerden used nails and rope for the title of her Grade 12 exhibition
In any group exhibition, it is important to create a strong focal point. Kaylin Ball used potato bags, a cut-out technique, and lights to create a dramatic centrepiece for the whole Grade 12 exhibition. Because of the theatrical effect of the work, people were naturally drawn to the display.
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Remember to walk through the exhibition space to look at the overall play of natural and artificial lights. The display on the left was created by Micke Mouton.
On the right Carey Montgomery created a surreal display by creating cocoon shaped lights. The end result was dramatic or dreamlike.
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On the left and on the following page Danel Maree created an installation in a bathroom. She cleverly guided visitors to her space and, once inside, they discovered graphic designs, costume designs, lights, and stopframe animations. With her use of multimedia, she managed to capture her audiences attention!
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DEFIN ITION A WINDOW DISPLAY is...
(most commonly called a shop window (British English) or store window (American English)) is a window in a shop displaying items for sale, or otherwise designed to attract customers to the store. Usually, the term refers to larger windows in the front faade of the shop. Display windows at boutiques usually have dressed-up mannequins in them.
A WINDOW DRESSING is...
putting a window display of merchandise in a stores window is called window dressing, which is also used to describe the items displayed.
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CONCLUSION Today, many window displays, store exhibition designers and museum curators are similar to architects, as they too move their occupants physically, intellectually and emotionally within a place, space and environment. It should be clear to you that contemporary window display designers/exhibitors are redefining everything we ever thought about window-shopping and museum exhibitions as their creative window displays and exhibitions will stop anyone in their tracks. BUT to be able to be successful, display designers need to constantly look for and explore different ways to attract visitors ...
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Please make sure that you understand and can use the following in the correct context A
Abstract: something that has no visual reference to an existing object can be called abstract. By abstracting an existing object, you make it less recognisable/identifiable compared to its original form. Actual space: specific space that surrounds a 3D object and is occupied by the same object Actual movement: real physical movement Achromatic: with no colour; characterised by grey, black or white Advertising/advertisement: developed and placed by an advertising agency on behalf of a company/sponsor; a paid form and presentation of a new event, product or service, etc. by an identified sponsor; a form of communication to persuade potential customers to purchase or to consume more of a particular brand, product or service; major mediums are used to deliver these messages, including magazines, newspapers, billboards, television, radio, cinema, video games, and the Internet; the objective is to sell goods and services Aesthetically pleasing/aesthetics: beauty reflected by a product; beauty experienced by its viewer; beautiful and visually pleasing; when something is categorised by its beauty, it is looked at from an aesthetical point of view. Aesthetics: a study of art and theories about the nature and appreciation of beauty Afro comb: an afro is a hairstyle that extends from the head like a cloud or a halo and is worn traditionally by people of African descent or people with very curly hair. During the 60s this hairstyle was worn as a symbol of black pride. The afro comb is a hair tool used to style the afro Alignment: arrangement of elements along an axis Amorphous: lacking in structure; has no definite form
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Analogous colour: colours next to each other on the colour wheel, like red next to orange, blue next to green; often used together in colour schemes Analyse: to study and examine something so that you can understand it Ancient: belonging to times long past Animation: combining a series of individual pictures (also referred to as frames), resulting in a timed sequence to give the appearance of continuous motion; can be planned and presented on paper or in digital format Appeal: degree of attraction or interest according to need, function and aesthetics Appliqu: decorations sewn onto fabric or added to an existing 2D or 3D surface; also adds decorative qualities to the surface
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Background : section in an image (2D) that seems to be the farthest away from the viewer; section or area behind an object Balance: well-proportioned or equally distributed arrangement of elements; achieved when opposing elements are harmonious within a composition; quality of stability and equilibrium; achieved when position and focus of vital parts of a design are controlled; balance can be symmetrical/asymmetrical/radial Basketry/basket weaving: process of weaving vegetable fibres (pliable materials) like pine straw, animal hair, hide, grass, thread and wood into a basket or similar forms; usually classified as craft design; weaving techniques used are usually ancient techniques that are very culture specific and carried across from generation to generation; skill and practice of making baskets Beadwork: applying beads to a 3D or 2D surface; beadwork adds decorative qualities to a surface; the skill and practice of working with beads Biomimicry: is the examination of nature, its models, systems, processes, and elements to emulate or take inspiration from in order to solve human problems in a more sustainable way. Biomorphic: associated with forms and shapes found in nature; also see the term organic Brand: describes or identifies a unique product or service through the use of a name, symbol, mark, visual image, logo or combination of such Brand communication design: design process used to develop the brand of a new product, or service that reflects the unique qualities of the product or service; the brand reflects the qualities that differentiate the product or service from its competitors; also reflects the qualities that the consumer associates with this product or service Branding: a symbol used as an identifying mark of an organisation Brief: written or verbal instructions specifying an assignment/project
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Ceramics: objects made out of clay that change quality when exposed to heat; 2D surface like tiles; 3D objects that could have the sole purpose of being sculptural and decorative or functional like a bowl Characteristics: a unique combination of qualities that specifically represent, for instance, an object, person or space; qualities that make it different from the rest Chronological order: the true order or sequence Closed form: solid form with little negative space Cold colours: colours like blues and greens Collage: images, patterns and textures stuck onto another surface Colour harmony: colours next to each other on the colour wheel that work well together or are in harmony Colour palette: a specific group or range of a variety of colours, identified to be used in a specific project; the range of colours can be contrasting, complementary or monochromatic Colour value: the lightness or darkness of a colour Colour variety: the use of different colours Colour vibration: when using two highly contrasting colours, the touchline/borderline reflects a perception of vibration and movement
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Colour wheel: shows the relationship between colours, such as primary colours, secondary colours, complementary colours, in an organised way around a circle/circular chart; used in the study of colour theory Complementary colours: colours situated opposite each other on the colour wheel, like red and green, yellow and purple, blue and orange; a primary colour is the complementary colour of a secondary colour (mix of 2 primary colours) Composition: the outcome and arrangement of the design elements/objects within a 2-dimensional or 3-dimensional space Compositional movement: achieved by the way the elements are composed in the layout; elements attracts the attention of viewer viewers eye moves from one point to the next within the composition Concept: a general statement of the idea behind a product Conceptual sketches: drawings reflecting ideas or plans Conceptual skills: the skills to conceive an original idea or plan; advanced way of thinking with regards to analysing, observing and interpreting objects, people and situations Conceptualise: to come up with an idea Confined space: a spatial field with clearly defined enclosing boundaries Consumer: a person who uses or buys goods or services Contemporary: belonging to the present or same time, modern, up-to-date; not in the past or the future Content: the subject matter/details of a concept, idea, design or document Context: explaining the what, how, where and why of a design; the actual space or place something is positioned in Continuation/eye path: the continuation of a line or an edge from one form to another; the viewers eye moves smoothly through the composition Contrast (variety): placing opposite qualities of line, colour, texture or shape together to create contrast and variety, for instance, the high contrast and differences between very light and very dark areas in an image Contrasting: opposites put together; can be different shapes, lines, textures, colours; objects that have very different qualities from each other Controlled: not spontaneous; well planned and executed; having complete control over the outcome/result Contour line: line that follows the edge of forms; the outline of an object Cool colours: hues in the green and blue spectrum of the colour wheel Corporate ID or identity: the unique, recognisable image/logo/symbols of a company or business. Costume design: the design of a costume for the purpose of entertainment, like for a theatre production; costume can also depict a specific style and era (period costumes); design of costumes for use in a movie or ad Craft: often the traditional way of making and producing skillfully by hand; mostly has a functional purpose; activities like weaving, basketry, carving and ceramics/pottery Crafter/craftsperson: skilled person involved in the making of a craft product Creative industries: refers to all the creative sectors included in Visual Communication, Product Design, Surface Design and Environmental Design Creative process: the stages of creative design, for instance, research, experimentation, prototypes and reflection Creative thinking: an advanced way of thinking; dont think only of the obvious but also consider a variety of ways and angles to solve a problem Creative trigger: something that inspires or encourages the creative process Cross-hatching: drawing technique that involves a series of layered lines to build up value; technique used to show form and volume Crystallographic balance: when balance is equally spread across an entire composition or surface; creates a visual weight or focus that is the same throughout no matter where you look at the time
Decorative design: when the sole purpose of application of any design technique/material is to decorate a surface, product or space Design: to create a detailed plan of a structure of something, focusing on the appearance, convenience and efficient functionality of final product; to make something in a skilful way; to invent something for a particular purpose; a drawing or graphical representation with the purpose to indicate function and how to assemble or make it. Design elements: line, texture, colour, shape/form, tonal value Design principles: balance, contrast, unity, rhythm/movement, proportion, focus/emphasis/dominance, composition/layout
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Eclectic: a combination of different styles, ideas, tastes; eclectic style is, for instance, used in interiors and architecture, and even in fashion Elements of design: your design ingredients: line, shape/form, texture, colour, tone and value Eliminate: to take away or erase Elitist: belonging to a group of people with privileges other do not have Emancipation: set free from legal, social or political restrictions; set free from slavery Embroidery: needlework designs with raised thread/s created by hand or machine onto 2D or 3D surface; embroidery usually adds decorative qualities to a surface Emphasis: a focal point will, for instance, emphasise the object or section of a design; created by specific colour, texture, line, etc. that is usually in contrast or stronger in quality to the rest of the objects or sections in a design; use of elements in a specific way so that they ask for concentrated visual attention Entrepreneur: dynamic personality; someone who takes a new venture, enterprise or initiative upon herself/ himself and accepts full responsibility for the outcome; have the quality to set up business deals in order to make a profit Environmental design: refers to all the design sectors responsible for creating the area or surroundings in which we exist, like architecture, interior designers and decorators, theatre and set designers, events designers, urban and landscape designers, to mention a few Environmentally responsible: a designer who always considers the impact on the environment whilst making decisions on the use of materials, waste products or the design of a product that will specifically assist in creating a better environment for all Ergonomics: a combination of scientific analysis of human beings and how we function, methods and circumstances that are taken into consideration when designing a variety of equipment and products that will improve our health, safety and welfare; designing according to human needs; study of human physical relationships to our living environment; study on how to design user-friendly products Evaluate: to estimate the value of something according to set criteria Evaluation: to analyse and suggest improvements so that the best design solution can be selected Event design: includes the design, organisation and project management of all the components to execute a successful event; can include road closure procedures and structures, overseeing the marketing campaign for the event; timelines and critical paths for the project team to execute components successfully, layout and sequence of events for a festival; examples can include opening ceremony for the Soccer World Cup or the Olympics, a music festival or the launch of a new product or service
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Design process: different stages of the creation from concept to prototype; includes stages like research, specifications, experimentation, concept ideas, prototype, evaluation, presentation and reflection Design workbook: your own resource book that you will use to document all your design process work, concepts and ideas, sketches, etc. Developmental skills: the development of a person on different levels of competency Diagonal lines: lines that run from bottom left corner to top right corner and vice versa Digital design/media: print, television, film and video, Internet, animation, web design Dimensions: measurement of any sort (height, width, length, thickness, etc. can refer to space or time. The dimensions of an object can be 2-dimensional (flat or the illusion that it is flat) or 3-dimensional (one can move around it or the illusion that one can move around it). Direction: an actual or illusionary line that an object or element seems to be moving along or is pointing at Directional line or shape: when placement/position of these elements projects a clear sense of direction that guides the viewers eye on a specific visual path/direction Display or exhibition design: can include anything from designing the overall layout of an exhibition, like that of Decorex or Design Indaba Expo, to the design of individual spaces within the exhibition to reflect the brand or company that needs to be depicted in that space, to the layout of the actual display Distortion: when the original shape of, e.g. an object, picture, sound or an idea is altered Dominance: when one object dominates another in a design, e.g. big versus small, bright versus dull, textured versus plain Dynamic form: conveys a sense of movement or change Dynamic movement: viewers eye moves smoothly from one area to the next; achieved by using continuous line, shape, texture or gradual change in colour and form
Existing: to have a place as part of what is real Expressive: an energetic and sometimes vigorous quality of line, shape, texture or colour that reflects a certain strong emotion or feeling Eye level: see horizon line
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Facade : the frontal of a form or the face of an object Fashion design: the design of clothing and accessories like shoes, hats, underwear, etc. for everyday use Figure/ground: used in 2-dimensional terms; relationship between foreground (figure) and background/space around (ground); also see terms negative versus positive space Figurative: forms that can be recognised; a naturalistic representation; represents human or animal forms Focal point: strategic placing of an object, or that of the design elements, to draw attention to one specific object or section of design or artwork; main focus for viewer Foreground: section in an image (2D) that appears to be closest to the viewer; section in front of the rest Form: a 3D shape; volume and shape of 3D object or the illusion thereof on 2D surface; overall physical aspect rather than content of work Formal: the design structure of a work versus the content Formal elements: term used to describe the technical structure, composition and form of art, craft and design results; term can be divided into subsections like design elements (e.g. line, texture, colour, etc.) and design principles (e.g. balance, proportion, scale, rhythm, etc.) Fragmentation: to break/divide something into separate pieces/ fragments. Free form: any irregular shape found in sculpture, or decoration; created by fluid curving lines Frontal: 3D object that asks primarily to be viewed from one angle/vantage point Frottage/rubbing: sheet of paper placed on heavily textured or relief surface, then soft crayon or pencil rubbed onto paper over the surface; method used to reproduce or copy a surface Full-round: 3D objects that need to be viewed from all angles to be appreciated Functional: working properly; practical without being decorative or luxurious Functional design: main outcome is to be a product that has a function, like a bowl that holds fruit or liquid, a milk jug, a car that provides transport, jewellery that decorates our bodies or accessorises our outfits; is of practical use Furniture design: the design of furniture pieces like chairs, beds, cupboards, tables; the incorporation of ergonomics (see definition of ergonomics) is vital to adhere to comfort and human needs; industrial and interior designers sometimes choose to specialise in this sector
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Geometric shapes: basic shapes like a circle, triangle and rectangle/square, usually drawn with great precision through the use of instruments Gestalt: a configuration or pattern of an element that is so unified as a whole that it cannot be described merely as a sum of its parts Glass-blowing/-design/-art: processes and techniques involved in the production of glass products; can be a decorative object or deliver a function, like a drinking glass Global demand: a demand on a worldwide scale Graffiti: scratching a design, image or lettering into a surface; can also be elaborate wall paintings used as another tool, style and format for advertising a brand or product; spray paint and markers are popular materials used; art movement at beginning of 1970s, inspired by New York City subway graffiti; in Italian it means scratches on a wall Graphic design: from road signs to technical schematics, from interoffice memorandums to reference manuals, graphic design enhances transfer of knowledge. Readability is enhanced by improving the visual presentation of text; for example, logos, opening and closing credits in films, book illustrations, graphics and layout for magazines and other print media and advertising campaigns
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Graphical representation: communicating through simplified/simple illustrations rather than using written text as sole method of communication Green design: using design methods that are sustainable through the use of recycled, environmentally friendly and renewable materials and design elements, e.g. solar power, saving water and electricity Ground: background or surface within which shapes or marks are created Grouping: to search for and find similarities and connections between different elements that could add to the whole/unity of a design
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Half-round: 3D object that needs to be observed within a 180 degree angle/field of view Hand-crafted: any product or object artistically made by hand only Hand-made forms: any object made by hand not made by machine Harmony: pleasing combination of elements that makes up the final composition High relief: 3D form that rises high off a flat background Heritage: qualities, features, traditions of life used especially to refer to things with historical importance that have strong impact on society and that have been passed on from one generation to another of a specific culture Highlight: a point or area that is emphasised by brightness of colour, value or light that is directly reflected Horizon line: farthest point in the background that we can see; will also find the vanishing point on the horizon; where the sky and the ground connect Horizontal lines: lines that run from side to side Hue: refers to a colour or the shade of a colour; points at the actual name of the colour Human needs: human needs can range from the very basics, like food, running water, clothing and medical care, to higher end needs like technology, telecommunication, transport, entertainment, etc.
Icon: Greek for image; any image/object/person that expresses basic values of a culture, or that creates an impression of expressing basic values of a non-specific culture Illusion: appearance that is contrary to fact Illustration: depicting an object or situation by the means of a drawing/s; a drawing/visuals that illustrates or explains something specific; drawing, image or sample used to further explain something Implied movement: to create a sense of movement in an image that does not have the ability to move; achieved through the way you use your design elements; repetition of elements can also achieve this Implied space: 3D space projected on a 2D surface, in other words, it gives the illusion of a 3D space but in fact it is only a 2D surface Implied line, plane, shape or form: suggested to the eye but not really there Industrial design: creating products and developing concepts and specifications that improve the appearance, function, value of products and systems; benefit the user and manufacturer; improvements could address sustainability, economic growth and user-friendliness of service or product Indigenous: its origin is in a specific country or region Industrial designer: designs functional products like methods of transport (cars, bicycles, motor bikes), cell phones, furniture, toothbrushes, medical tools and equipment, and any other product that usually enhances or sustains our standard of living Industrialisation: shift of emphasis from handmade to machine-made (mass-manufacturing) Information graphics/info-graphics/information design: visuals representing information, data or knowledge; used to explain complex information quickly and clearly (e.g. signs, maps, journalism, technical writing, and education); also extensively used as tools by computer scientists, mathematicians, and statisticians to easily communicate information Innovation: designing new things; introducing a new method or idea of doing or making something Inorganic: manmade, machine- or mass-produced products/objects; regular and symmetrical shapes
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Intellectual property: the unique ideas, thoughts, inventions and writings of a person Intent: the main idea or problem a designer is trying to solve or deal with Interior decorating: layout, design and decorating of interior spaces, which includes the choice of colour schemes, furnishing of spaces, just to mention a few Interior design: training in architecture, facility management, space planning, interior fixtures, furniture, equipment specifications and finishes, furniture and textile history, lighting and textile design, ability to draft, execute floor plans, reflected ceiling plans, elevations and perspectives Inventor: first person to make or think of a particular thing Isolate: to make something stand on its own or away from other things. Isometrical: equal in dimension or measurement
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Jewellery design: accessorise the body or clothing/outfit Juxtaposition: to place elements or objects side by side
Labels: add descriptive text to an illustration, sketch or design concept that adds information to explain further Landscape design: to design the landscape of a piece of land; can include the design and layout of gardens, inclusion of other design objects like water features and outside furniture; the exterior decorator and designer of spaces Lateral thinking: unconventional approach to solving problems; not using traditional or logical approach Layout: to define a space for a specific purpose; something that can be planned and arranged before its implementation; organising the display of information in a specific way Life standards: determined mostly by your income, which determines if you can afford or not afford to live your life; the products you buy to fit your everyday needs and to upkeep your standard of living Lifestyle: style of living/your way of living, echoed by your choice of clothing, music and other forms of entertainment, transport, living environment and more Line: element understood in terms of length and direction Linear perspective: using a line drawing to depict the 3D qualities of an object, building or space on a 2D surface Literal interpretation: when you interpret something directly, the way it is perceived by all; not an abstract interpretation Local colour: natural colour of an object or material Logo: a simple image that represents the core identity of a business, product or company Look and feel: part of what a designer aims to deliver to the target market; refers to the experience of the consumer whilst entering a newly designed space or interacting with a new product/brand Low relief: 3D form slightly raised from flat background Low saturated: colours with no vibrancy; dull colours; little of pure colour left Luminosity: giving off light; could be actual or an illusion
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Kitsch: everyday articles, objects and decorative stuff considered to be tasteless, sentimental or pretentious in style
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Magnify: to make something bigger Mandala: a radial arrangement of geometric shapes/images; commonly used in Hindu and Buddhist designs Man-made objects: any object that is produced by humans; can be handmade or mass produced by machines Maquette: smaller scale model/prototype of the real 3D sculpture, building or construction Marketing: introduction of product or service with the intention of selling or informing Marketing mix: four major elements of marketing: product, price, promotion, place Mark making: spontaneous making of marks on a surface using any drawing materials; do not represent anything concrete; different drawing materials and application/methods will result in different textural, linear and visual appearance or qualities Mass: suggests weight, density or three-dimensional form of object or area Mass-manufactured: products or objects made in large quantities, usually by a machine Measurements: size and distance Mechanised: process of increasing use of the machine as a manufacturing or production tool Method of construction: the way (steps followed) and the method you use to construct something Methodology: the way in which an idea or problem is approached; also refers to the correct or proposed method of teaching (teaching methodology) Middle ground: section that is between the foreground and the background; for instance, of an image (2D) Minify: to make something smaller Mixed media: combining the use of a variety of different materials in one design piece Modelling: shaping an object using a pliable material such as clay Modulation: suggests smooth transition or change Monochromatic: colour scheme developed from tints and shades of a singular colour or hue; the use of very closely related colours in a colour scheme; derived from the same colour but shows a variation in value (lighter or darker) of the same colour, which results, in a range of related colours Mood: state of mind or feeling communicated through a design or composition, especially through the use of specific colours and textures Mosaic: broken tiles or similar materials combined to create patterns/designs set in concrete and plaster, applied on a 2D or 3D surface; decorative purpose Motif: dominant theme or main part of a design, building or composition; individual element/symbol or combination of elements that are repeatedly used in a design; can create unity through repetition of motif Mount: placing your artwork onto another, usually much stronger, surface like cardboard in order to frame your work for presentation purposes; mount attached to the back of the artwork leaving a visible frame around the artwork Movement: design elements organised in such a way that they attract the attention of the viewer to follow a specific direction in the composition; the spread of contrasting or similar qualities of elements throughout the composition can help to achieve movement Mural design: a design applied on the surface of a wall as prime surface Multiculturalism: incorporation of influences and images drawn from different cultures Multifunctional: something that has more than one use Multi-media: use multiple forms of information and processing of content like animation, text, graphics, audio, video, etc. to inform or to entertain; also refers to electronic media that stores or is used to experience multimedia Multi-point perspective: a special linear illusion system with more than two vanishing points on the horizon for parallel lines to connect; creates spatial illusion
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Negative space/shape/form: the space around the actual shape or object that is not occupied; the ground in a figure-ground relationship; the section that is affected and controlled by a shape or form Neutral colours: classically refers to use of non-colours of black, white and grey and all shades in between; has very low saturation No saturation: shades of grey
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Non-figurative: forms that can not be recognised; unnaturalistic interpretation Non-representational: objects, forms or shapes that are not recognisable in object or context
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Observational drawing skills : skills learned while observing an object, figure or place first-hand during the activity of making a drawing One-point perspective: to show a 3D object through a drawing on a 2D surface; lines move away from the viewer and connect at one focal point on the horizon (vanishing point) Opaque: solid not see-through; block all lights Optical colour mixing: when placing two contrasting colours/hues side by side (juxtaposed), the visual perception/illusion of colour mixing is created Organic shapes: shapes found in nature; usually softer shapes than geometric shapes; free-form (irregularity of forms) shapes not restricted to mathematical precision; more natural flow in lines and shapes; can also refer to living forms; opposite of manmade objects; rounded or curved forms; art nouveau used organic shapes Ornament: decorative 3D object; sole purpose is to be decorative Ornamental: decorative objects or designs added as extra detail to another object Ornamentation: the act of applying purely decorative details or designs to buildings, furniture, fabric, etc. Overlapping: placing one surface or object, line, colour or texture over another
Packaging design: to design the format that holds the product; used to protect product, to transport product in, to distinguish the product amongst competitors, communicate relevant information on the product, like ingredients, instructions or safety regulations Pan-African: umbrella term for all African cultures Paperwork: all products made out of paper Patent: a designer takes out a patent to protect the rights of his/her design (or innovation) from being copied and produced by others Pattern: decorative design regularly repeated Perceptual skills: the level of skill in the way you perceive things around you; level of awareness Perennial: lasting or existing for a long or apparently infinite time Perspective drawings: a drawing (line or tonal and detailed drawing) depicting the 3D quality of an object, building or space on a 2D surface; mostly used by architects, industrial designers, engineers and interior designers Photography: within the context of design, this discipline is classified as commercial photography (image sold directly to end user); includes advertising photography, fashion photography, food photography (used for editorial, packaging or advertising), crime scene photography, editorial photography (to illustrate a story or idea within the context of a magazine), photojournalism (documentation of a news story), to mention a few Pictogram: a symbol representing an idea or concept, object, activity, place or event Picture plane: 2D surface; the flat surface upon which the actual shape or image exists; any illusion of depth/3D quality is identified to be beyond the picture plane Plane: the section of form that can be described in 2D; mostly identified by the surface of a form Plastic: any material that can be moulded or shaped without adding or subtracting mass Positive shape/form/area: the actual shape (2D) or object (3D) placed in a space; the figure of a figure-ground relationship; the area that is occupied by an object or form in 3D work Polychromatic/polychrome: multicoloured Preferred: to like one thing more than another Primary axis: the main axis of a form or object, for instance, the spine in the human skeleton Primary colours: original colours; cannot be created through the mixing of other colours; primary red, yellow and blue; all other colours are theoretically mixed with these 3 colours Primary contour: the outermost shape of a form Principles of design: principles used to order elements of design to ensure a specific outcome/composition through the application of balance, unity, proportion or repetition
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Printmaking: to transfer an inked image on a plate or block from this surface to another Project brief: formal written instructions prepared by a client for a designer, indicating exact instructions, expectations from the designer, requirements, goals, quality of final product and functionality or usage Prototype: the first or original example of a new product or object from which more will be copied if taken into production Product design: from idea to the development of a concept, usually followed by the testing and manufacturing and finally the introduction of a product; product is always functional; includes sectors like furniture design, fashion and design of accessories, industrial design (from lamps to mobile phones), automotif design (design of cars) to mention a few Proportion: comparative relationship between elements or objects: using balance, symmetry, size, amount/ quantity, degree, ratio, dimension Props: any loose-standing or moveable object used on stage in a theatre production (such as a chair or table); handheld props are called hand props; set decoration can also be referred to as props only if it is used by the performer or actor; props are also used in television and movie productions Prototype: the first model of something, from which others are copied or developed Proximity: the nearness/closeness of shapes and forms to each other Public sculptures: can be abstract or depicting something specific; can symbolise national or cultural pride; the position and place of public sculptures play a vital role and add to the environment we find ourselves in
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Radial balance: the same as symmetrical balance but in this case achieved on a 3D shape like a sphere. When the sphere is cut in half both sides are exactly the same. Balance is achieved by arranging elements in a circular pattern around a central axis; balance in all directions around a central point Recycled: any part of an object used again for a similar or different purpose Recycling: to convert waste into re-usable material Redesign: to improve on an existing design Relief: 3D form rising from 2D surface Repetition: placing the same shape, object, design element or pattern over and over on the same surface or in the same space Retail: the sale of products or goods to the public in relatively small quantities for use or consumption rather than for resale Rhythm: design elements organised in such a way that the pattern or repetition creates a certain rhythm; proportion of a variety of elements needed to avoid a boring design (elements like line, shape, texture and colour equally spaced, similar in size, colour and texture will create a boring design without any rhythm)
Saturated colour: most pure and vibrant state of a colour; no white added to colour Saturation: measurement of the intensity and brightness of a colour Scale: uniform and proportional reduction or enlargement of size and dimension of a form or space; usually does not reflect its actual dimension in the real world; the real size of, for instance, an object in relation to its surroundings Schedule: a time frame within which a certain amount of work and tasks needs to be completed Secondary colours: mixing two primary colours results in a secondary colour; orange (red + yellow), green (blue + yellow) and purple (blue + red) Semiotics: studies of symbols and signs used in communication Sensory: describes things that relate to the five physical senses: sight, taste, hearing, smell, touch Sensory awareness: high level of awareness making use of all your senses Service design: The design of a variety of infrastructures, communication channels and materials, used by one service provider, that will improve the customers experience and deliver a high quality service. Shade of colour: darker value of the same colour; colour + black
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Shape: a space enclosed by line (2D); can be free-form or geometric; can be found in nature or be manmade Signifier: a symbol or mark that communicates a concept or idea Simplified: eliminating unnecessary detail; simplified shape showing only basic details Site-specific: to design a piece of work for a specific space/location/area Social design: Shaping of products and services; a design process that improves and adds to human wellbeing social design is responsible design. Social issues: issues like HIV/AIDS, water, electricity and housing shortage, crime, etc. that have an impact on the day-to-day social structures of communities Space: 3-dimensional area; refers to distance, area and volume of the space; total area affected by a design; shape or form defined by space found around, behind, in front, below or inside an object Spatial orientation: the relationship between an object and its surroundings Spatial perspective: to show the 3D qualities of a space on a 2D surface Spontaneous: just doing without thinking or planning; spontaneous line suggests a fresh quality of energy and free-flow; it happens naturally and is not planned Stained glass windows: different window panels of coloured glass and jewels leaded together to form a unity; often glass panels have hand-painted details added; creates a decorative panel within a space Static: cannot or does not move Static form: a form that cannot move at all; does not even have the quality to suggest or create the illusion of movement Static movement: when the viewers eye jumps erratically from one design element to another; achieved by contrasting colours, shapes, lines, textures placed amongst the rest Stencil: usually made from plastic or some other material, like paper or cardboard with cutouts; cutout space used to fill with paint or ink that is then applied to another surface, leaving the shape or design of the cutout behind on the surface as a print Storyboard: presentation or concept idea projected through visuals and/or written text; a collective of visuals, texture, colour and more that can also communicate a single visual theme, mood or style, for an interior for instance Storyboard: in the case of a television ad, the storyboard represents the various stages of the commercial from start to finish Storyline: the logic sequence of a story projected through visuals and or text Strategic planner: someone who will carefully take all matters into consideration and plan to achieve a specific outcome Structural design: simplification of an object to emphasise design qualities Style: general appearance, form, technique of design/product Stylised: a simplified representation of something. A stylised picture usually contains very little visual information and often lacks depth or detailed lines. Symbol: character/image/figure that represents an idea, concept or emotion; communication goes beyond its original and literal form, e.g. the heart that is a symbol of love Symmetrical balance: elements positioned equally from a central point or axis; 2D or 3D form mirrored on either side of a central axis Symmetry: degree by which form or elements are arranged in mirror image on either side of a central axis Subcontract: to employ another person/s to do a certain section of a task Subdued: to make a colour, texture, line softer in quality; does not stand out Superimpose: to place a layer on top of another layer. Surface Design: treatment, transformation or decoration of usually 2D surfaces; 3D surface can also be transformed or decorated, for instance, to mosaic the surface of a tabletop; includes all the design sectors that treat, transform and add decorative qualities to a surface, like textile design, appliqu, embroidery, mosaic, graffiti, to mention a few Sustainable design: conservation of design, product or building resources using recycled or renewable materials Sustainability: able to be maintained at a certain rate or level Sustained: ability to continue at a certain level, without permanently depleting something Symbol: a simple visual image that easily communicates information; a value system or belief; a simplified representation of something
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Design Grade 12

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GRADE 12 - SUN STASSEN - WILNA COETZER ESTE CRAFFORD - VIKKI DU PREEZ - ISABEL LUBBE

2. Design: From 1950s today Timeline

4. Drawing Programme 276

3. Design in a Business Context 343

t heo r y Business Pra ct ical Dr a w ing

Ancient Greece 1000 27 BC

Please find the definition of the word on page 70 71 .

Man is the measure of all things. Protagoras

Ionic Column with Greek Key Motif

Early example of Ancient Greek text

Comparing Classical Design

Ancient Greek designs were busy and overly decorated.

Ancient ROME 753 BC 476 AD

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Veni, Vidi, Vici.

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Medusa Mosaic used in a Roman Villa

Pont du Gard Aquaduct in Niems, France

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Ancient World Crossword

THE GOTHIC PERIOD c.1150 1550

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The Gothic cathedral is a blossoming in stone...

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define the following terms

The Renaissance c.14th C 17th C

Simplicity is the ultimate sophistication.

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Interior of Basilica of Saint Peter from 15061626

Renaissance Book Cover Design

Analysis of Design: Dome of Florence Cathedral from c.14201436

The Renaissance Man

The Baroque Period c.1600 1750

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Ann Sutherland-Harris (2005) regarding the term Baroque

Berninis Baldacchino in St. Peters in Rome from 16241633

The ROCOCO Period c.178 1780

Elegant, agreeable, seductive, charming, lively, fecund, delicate, voluptuous, imaginative...

Milissa Hyde, with reference to the Rococo painter Francois Boucher

Fountain of Pinaeus by Pierre-Quentin Chedel

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1. Humanism 4. Renaissance 7. Sun King 10. Extravagance 13. Empire Style

2. Michelangelo 5. Printing Press 8. Versailles 11. Rococo 14. Biedermeier

3. Leonardo Da Vinci 6. Baroque 9. Dramatic 12. Marie Antoinette 15. Enlightenment

The Neo-Classical Period

Regency-Style Wallpaper, Bamboo & Drapery c.180015

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J.J. Winckelmann, German

archaeologist & art historian

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Revisiting Classicism Crossword

Victorian PERioD 1837 1901

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Victorian Papier Mch Chair, 1850

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Advertisement for the Uxbridge Fair by Williams and Straham

Industrial & Victorian Definitions

Victorian PERIOD 1837 1901

south african victorian

Kimberley Mine Museum

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Arts & Crafts Movement

Art Nouveau MovemenT

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Please find the definition of the word on page 70 71 .

Serpent Pectoral made by Rene Lalique