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DESIGNTIMES south africa’s creative resource



Michael Wolff has lived a life of continuous curiosity and learning. We caught up with him at the Design Indaba to find out a little more about his work.



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The dynamism of China’s development is breathtaking, throughout the entire country you can sense the enthusiasm, ambition and bou

Loerie Award Winner




Hiroshi Kakoi Volkswagen, Audi, Shell, P&O, Lyle’s Golden Syrup, they all carry a little piece of Michael Wolff with them, well maybe not the syrup. I recently met up with the enigmatic creative at the Design Indaba and got some insight into the inner workings behind the glasses. Stephan Chan shares his inspired vector illustrations with us and tells us more about his process and what gets his creative juices flowing. The Wildlife Photographer of the Year Exhibition held at the Cape Town Natural History Museum gave me the opportunity to rediscover the inherent design and creativity present in nature. The natural world has influenced architecture – which is quite apparent looking at the organic styled Hilton Pattaya designed by the Department of Architecture. The Guangzhou Opera House offers another example of natural landscape influencing the manmade world. Enjoy! Mark Rosenberg


Mark Rosenberg Roxy Rosenberg Ryan Ali Steven Rosenberg Zachariah King Kerrythe Mahaffey


Eva Csernyanszky Editors photo Andrew Brauteseth


illustrator Stephan Chan

Sales Manager Wendy Scullard


Wendy Scullard, Malika Samuels, Thandolwethu Jevu, Nigel Fortune, Enricho Monsinger

Traffic Controller Kelly Cupido

Accounts Executives Kelly Cupido Laurenda Hagglund

Office Administrator

Rene Williams


Beyond Publishing 25 Voortrekker Road, Goodwood Tel: 021 592 5721 Fax: 021 592 5714


Tandym Print

One Small Seed redesign One small seed magazine underwent a redesign of its identity including new logo, typefaces, layout and website. One small seed founder and editor-in-chief, Giuseppe Russo, explains the reason for the revamp,”We feel it’s important to keep the brand fresh and evolving as we enter our sixth year of publishing. We’ve given the magazine it’s share of new design and optimised all our online platforms to facilitate clearer and more user-friendly communication.” The designer responsible for the redesign is Ernst Lass. Another change is the updated strapline from ‘The South African Pop Culture Magazine’ to ‘South Africa’s Pop Culture Quarterly’ emphasising that this is a product of South Africa featuring pop culture, but not necessarily South African pop culture only.

Twitter turns 5 Memeburn reports that Monday, 21 March 2011 marked Twitter’s fifth anniversary. The very first tweet, sent out by Twitter co-founder, Jack Dorsey, simply stated ‘inviting coworkers’, and marked the start of what is now a US$10-billion empire, having changed the way we communicate online.

Anime News Network has reported that veteran producer and animator Hiroshi Kakoi died in the recent earthquake that has stricken Japan. A key animator on the original Macross television series and later a producer on Macross II: Lovers Again, he is survived by his wife Kumiko. As with all the thousands that have died and gone missing in this terrible natural disaster, our thoughts are with them and the families they left behind.

Loeries launches new campaign and categories The 33rd Annual Loerie Awards has launched its campaign for 2011, with entries opening for the awards on 15 March. The Loeries Festival Weekend will be taking place from 16 - 18 September in Cape Town. This year’s Loeries campaign, created by Draftfcb, is titled “Don’t hate. Create” and is supported by a mobi site and specially developed augmented reality apps, linking digital technology to the printed media. The “Trans-Hater” iPhone

app, developed by Injozi, uses augmented reality to reveal hidden messages in the campaign posters and print ads when the phone is held up to the image. A special app has also been designed by Pollen and Mail Gloo for use on Mac and PC, “TransHating” hidden messages in the direct mailer and showing you just how it feels to be hated! Both apps can be accessed via, or download the “Trans-Hater” at

Adobe Digital Publishing Suite

Adobe has recently announced that it’s Digital Publishing Suite will support both Apple App Subscriptions and Google One Pass for publishers. Currently available as pre-release technology, Adobe Digital Publishing Suite is already being used by leading global publishers to create and distribute their iconic titles on tablet devices. With 130 Adobe produced titles available for purchase and download today, the addition of subscription capabilities increases the business opportunity for publishers including more than 3000 publishers and content authors currently participating in the pre-release programme for Adobe Digital Publishing Suite. “The publishing industry has been eager to deliver subscription editions of their magazines and newspapers and our Digital Publishing Suite will support both Apple subscriptions and the Google One Pass service,” said David Wadhwani, senior vice president, Creative and Interactive Solutions, Adobe. “We think Google One Pass will open up the market for publishers and the competition will ensure a vibrant future for digital publications.

Springleap and Vodacom launch design competition Springleap in association with Vodacom, is proud to announce the launch of their latest design initiative centred around making connections through the power of Vodacom. This is a design contest that focuses on the visual expression of connecting through Vodacom and its power to connect people’s lives. Designers are encouraged to imagine living without chatting to their friends via SMS, Social Media or email. The winner will receive ten thousand in cash and exposure to launch their design career.

BlueBean cards

Apple launches iPad2 We dont want to say it but we told you so. Apple has just launched the iPad 2, the next generation of its magical device for browsing the web, reading and sending email, enjoying photos, watching videos, listening to music, playing games, reading ebooks and much more. iPad 2 features a new design that is 33 percent thinner and up to 15 percent lighter than the original iPad, while maintaining the same 9.7-inch LED-backlit LCD screen. iPad 2 features Apple’s new dual-core A5 processor for blazing fast performance and stunning graphics and now includes two cameras, a front-facing VGA camera for FaceTime and Photo Booth, and a rear-facing camera that captures 720p HD video, bringing the innovative FaceTime feature to iPad. iPad 2

still delivers up to 10 hours of battery life. What is verry impressive is the introduction of the innovative Smart Cover designed with a unique self-aligning magnetic hinge that makes it easy to attach and remove, the new Smart Cover automatically wakes the iPad when it’s opened and puts it to sleep when it’s closed, and has a soft microfiber lining to help keep the screen clean. The Smart Cover also folds into a stand . “With more than 15 million iPads sold, iPad has defined an entirely new category of mobile devices,” said Steve Jobs, Apple’s CEO. “While others have been scrambling to copy the first generation iPad, we’re launching iPad 2, which moves the bar far ahead of the competition and will likely cause them to go back to the drawing board.”

In a first for South Africa, BlueBean recently released credit card personalisation, a service that will let credit card owners place just about any picture they wish on their credit cards... finally. The credit card personalisation concept has excelled in other countries such as the United States, and Standard Bank needed to partner with someone that could attract an immediate client base to get the jump on competitors. This is one of the reasons why Standard Bank’s Advertising Agency, Publicis, made Luma Animation their first port of call. “The ads presented Luma with an opportunity to do what we love most, be creative,” says Jason Cullen Creative Director at Luma Animation. “Publicis presented the brief that we had to represent the versatility that was available in personalising your card, that virtually anything goes and just how creative individuals can get.” We developed ads that would flip through an abundance of images, the majority of which were created in house by Luma.


Michael Wolff


ichael Wolff has lived a life of continuous curiosity and learning ever since he was born to Russian parents in the UK. He studied Architecture at the AA in London and interior design, dress design, the “wonders of young women and the pleasures of irresponsibility” at the Hammersmith School of Art. We caught up with him at the Design Indaba to find out a little more. Tell us about Wolf Olins, The Fourth Room, and your own company? Wolff Olins was an eclectic community of some of the most talented creative people anywhere. Led by me, driven by Wally Olins and run by a happy and argumentative trio: Wally, Jane Scruton and myself, our work was full of character, originality, wit and populism. We were radical, rebellious and liberal. We created solutions for our clients well outside the style limitations of what was considered ‘good design’. We did what we believed they would have done themselves, if they’d had our talents. We had a great place to work, an abundance of recreational drugs and a healthy contempt for the conventional life style and self-expression of conventional corporations. I was there for twenty years and then left to work on my own. After a few years I became Chairman and worldwide creative director of Addison. After a few years there I left to regain my independence but soon joined Frances and John Sorrell in Newell and Sorrell, a company brimming with talent. Newell and Sorrell was sold, I left, then the Fourth Room started. This was a pure consultancy company, run by Piers Schmidt and supported by Wendy Gordon, Russell Lloyd and myself. All three of my colleagues in the Fourth Room where accomplished and famous soloists in their own fields of expertise. Once again, I left to work in my own business which is what I’m doing now. So my working life, and life in general, has, and continues to be a rollercoaster. Do you regret not starting your own company sooner? No, no, no, non, Je ne regrette rien ( www. Can you describe your creative process? I learn as much as I can about my client’s business or organisation and reputation. I get under their skin and understand why they’re doing what they do and what their dreams are. Then I look at their self-expression and see it in the world in which it’s trying to be seen and heard and experienced. I look at what I call the organisations’ nervous system. How it communicates to itself and how collaborative or hierarchical it is. What is their vision and purpose? I then decide if I can be useful or if they would be better working with someone else. By this time I have to dump all the pre-conceived ideas that I’ve already had and become a child who knows ‘nothing’. I find a space

of ‘nothing’ in my mind and trust that my natural creativity will produce some ideas. So far, thank God, it rarely lets me down. You make logo design and corporate branding look very easy, is it? It isn’t easy, but it’s simple. Complication, obfuscation, bullshit processes and rolling out pre-cooked ideas are easy. Having fresh simple and original ideas isn’t. These magical ideas require you to work hard to have the empty mind you need for them to occur. And that, with all the noise in our minds, is difficult. Changes and corrections are like taking a draft and allowing others to improve it. As long as you remain ‘the Author’, which is what you are paid to be, then argument and valuable input is always welcome. Sometimes the flash of brilliance you need will come from a client. Complication is easy. Simplicity is difficult. Can you tell us about the Golden Syrup Tin, how you managed to convince the client not to change? It was easy. All the research pointed to the affection people had for the original. What was hard was not wanting to tweak or change it. Tell us about your love for little creatures in your design? People often anthropomorphise, and so using this simple human impulse is often an efficient way of indicating that you’ll find certain qualities in a brand or company. It’s a very ancient way of symbolizing and, in my view, will often have more meaning than acronyms and initials or relatively cold abstract graphic shapes and marks. What is the difference in building on established brands or new ones? I don’t find any substantial difference. I just do my job. I don’t get too attached to the solutions, although I do get attached to the people involved. Why do you think clients gravitate to you? I think you should ask my clients. But since that would take more time than you have, I think it’s because: I’m more interested than interesting; they can feel my honesty and openness; they respect my experience but know that I’m not repeating it; they can feel that I’m confident in my own value and, most of all, because they feel that I’m working for them, and not for me. We’ve heard you throw good ideas away! Often the good idea you have is precisely what’s in the way of the great idea you could have. Since most of us often believe that best ideas are rare, we cling onto one when we have it. Most people are full of ideas. Creating them is a kind of muscle. If you don’t exercise this muscle because you cling onto the idea you already have, you weaken rather than strengthen it, and so gradually and imperceptibly, you diminish your capacity to produce ideas. Why is experience your enemy? Because it tries to tell you that you know what to do, to sit back and trust it. I don’t! If you think you know what to do, you’ll probably do what you did before. Then where’s your creativity? I think it’s there to bring into existence things that weren’t there before. Things you create. Tell us why curiosity is important? Because you would find out nothing new for yourself and become an ever more massive lump of conceit and self-delusion without it. Because you start to shut down your natural child-like inquisitiveness in everything and decide that certain things don’t interest you. Because the questions how, who, what, where, which, and why are there to nurture your imagination and prepare you to go into the ‘nowhere’ from which creativity is born. You know when you are in ‘nowhere’ because you feel an almost naive stillness. by Mark Rosenberg

Good ideas often get in the way of the great idea you could have

The Golden Syrup tin In 1970 the tin was in danger. Tate and Lyle were about to change the design to something more modern, more suitable for the new supermarket era. A new design had been done and I was able to save the famous original. Sometimes design is about appreciating what exists and stopping the desire to change in its tracks.

Audi The long established Auto Union rings were redrawn to become the characteristic symbol for Audi. Sometimes, not changing a mark, but just redrawing it, is as powerful an act of graphic design as inventing something new.



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Taylor Pemberton The Cavalier Taylor Pemberton is a name you probably have never heard of, but soon that will probably change. With overwhelming interest from all around the world into a school project. Taylor had a vision, Cavalier Essentials is the answer to what Taylor thought Steve McQueen would have in his duffel bag. Designtimes interviewed Taylor to get insight into this prolific young designer. When did you graduate? I am currently 21 years young. I’ll graduate here at the Savannah College of Art and Design in June 2011. With the approach of creating your own opportunities instead of waiting for the client, how have you benefited? I think being a go-getter forces you to make important decisions at an early age. Exploring personal projects and selfinitiated projects are completely openended. While client work is nice, there’s nothing like pursuing your own dreams, ideas, and visions. The possibilities are virtually endless when you are driven by a self-conceived concept. You become more invested in the project and the outcome always seems to be more fulfilling. You also are a member of the KDU, how did that come about? What work did they recognise you for? I’ve been a member of the KDU since early last summer. I haven’t had the opportunity to do any specific work for them, but I’m hoping that will change in the near future. There is an amazing amount of talent within the gates of the KDU, so it’s an honour to really even be a part of it. Where did the motivation to complete the Cavalier Essentials come from? What was your goal for the project? Cavalier Essentials was a project that stemmed from an idea I’ve had for quite some time. I never had the chance to dedicate time towards producing it, until one of my classes at college allowed me too. I knew right there that this needed to come to life and it was born! My goal for the project was to create something that would embody this lifestyle while pushing the limits in terms of project deliverables, impressions, and attributes which becomes increasingly difficult as I try to push projects further and further. You must have received much interest in the project from people actually wanting the products? The demand for purchase has been huge! I would love to put this into commerce, but am currently seeking manufacturing/ production. I’ve been talking to a few outlets for making it into shops and stores. I’m open to any offers and/or partnerships at this point. You also completed a project for Ralph Lauren, was the work commisioned? Ralph Lauren was another college project, but created quite a lot of buzz. I actually got a call from Polo asking me if I was interested in an internship. However I was

already going to England for the summer. You demonstrated a ‘total’ design philosophy through the Cavalier Essentials project, even working on the process to do the “laser” engraving yourself? Which other designers do you look to, that you think fulfill the “total design” philosophy? I think the urge for being a total designer stems from curiosity. Ever since I was young, I’ve always had the desire to learn more. If someone was better than me, I’d reach out and ask them questions—I wanted to know why! Most of it comes from my competitiveness with sports growing up, and ultimately wanting to be the best. I believe there is a rare breed out there that will never be satisfied until they reach the top. I had the opportunity to have a private dinner with Massimo Vignelli and the information I received from that will last forever. Massimo is famous for saying “If you can design one thing, you can design everything.” I think this is absolutely true and it boils down to having good taste and a great work ethic. I can’t wait to see where this leads next as 10 years from now I could be doing something completely different. This progression has been interesting and each subsidiary I’ve picked up along the way has added to how I work today. Relationships and partners are a major part of the success and failure of ideas, how did working with Collin Hughes add value to what you where creating? Working with Collin completed the project, without a doubt. Collin and I are good friends, and one of the few people I will fully trust with my visions and artistic confidence. He’s an amazing photographer who is able to capture life in beautiful ways. I think subconsciously I had Collin’s photography in mind all along through the entire process of Cavalier Essentials. I remember thinking at stages “Man, this would look so good if Collin shot it...” He added a side to the project that I will never forget, and it was a pleasure working with such a good friend. What next, going forward? Moving forward I hope to push more into the field of entrepreneurial success. I have plans to move to New York City postgraduation, in late June 2011. I’m actually launching a company that has been in the works for a few months when I move to NYC... I’m hoping I have the opportunity to pursue that full-time as soon as summer ends. I’d love to continue working with young, driven, like-minded individuals that make a change in the world. I feel we have the greatest power with up and coming trends, ideas, and technology. We are the future, and I can’t wait to see who I meet in the upcoming years. It’s going to be an amazing adventure and I hope to continue working with good people with great aspirations. by Ryan Jared Ali

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Wildlife photographer of the year The Veolia Environment Wildlife Photographer of the Year 2010 brought to you by The Natural History Museum Trading Company Limited and BBC Worldwide Limited recently held their exhibition at the Cape Town Natural History Museum. After attending the exhibition we realized that design and art are features in nature as well. Timeless moments that were captured even with the most simplest of cameras or the youngest pairs of eyes. These are a few of the winners and highly recommended photos. Its often the stories that make them so magical.

Bence Máté - A marvel of ants

Bence Máté - Hungary Veolia Environnement Wildlife Photographer of the Year - Overall Winner A marvel of ants When Bence first tried to photograph leaf-cutter ants in action, he thought it was going to be easy. It wasn’t, but relishing the challenge, he found out as much as he could about their complex society and spent hours watching and following them in the Costa Rican rainforest. ‘They proved to be wonderful subjects,’ says Bence, who discovered that they were most active at night. He would follow a column as it fanned out into the forest. Each line terminated at a tree, shrub or bush. ‘The variation in the size of the pieces they cut was fascinating - sometimes small ants seemed to carry huge bits, bigger ones just small pieces.’ Of his winning shot, he says, ‘I love the contrast between the simplicity of the shot itself and the complexity of the behaviour.’ Lying on the ground to take the shot, he also discovered the behaviour of chiggers (skin-digesting mite larvae), which covered him in bites.

Greg du Toit - South Africa, Gerald Durrell Award for Endangered Wildlife - Highly Commended Golden forest rhino Haijun Pei - Golden monkey

Greg du Toit - Golden forest rhino

Jordi Chias Pujol - Turtle in trouble

Jordi Chias Pujol - Spain One Earth Award - Winner Turtle in trouble The pictures in this category can be graphic or symbolic but must be thoughtprovoking and memorable and encourage respect or concern for the natural world and our dependence on it. It’s an image that communicates in one emotive hit the damage being done to the world’s oceans. Jordi came across this desperate scene when sailing between Barcelona and the Balearic Islands, hoping to photograph dolphins. ‘I spotted the abandoned net drifting along the surface,’ says Jordi. As he dived down to investigate, he could see the loggerhead turtle tangled up in the netting. ‘The poor creature must have been trapped for some days, it was so badly knotted up.’ Though it could just reach the surface to breathe by extending its neck, it was still sentenced to a long, cruel death. ‘I felt as though it were looking at me for help as it tried to bite through the netting.’ Jordi released it, allowing one individual a second chance. Given that all species of sea turtles are endangered, they need all the help they can get.

Haijun Pei - China, Ten years and under - Winner Golden monkey temporary-exhibitions/wpy/index




Sivan Miller When did you get your first professional camera, what was the motivation? I got my first SLR in 2006. It all began when my mom bought me my first small compact digital camera from overseas. It only took me a few months and soon I was looking to work with more advanced cameras. Which photographers have inspired you or and how do you keep yourself inspired? I look at photos every day of my life. Whether it is reference that I have collected over the years or always searching for new material, I am constantly exploring new ideas and views. One of my main inspirations is Annie Leibovitz, the way she works with light is unbelievable. What drew you to focusing in on fashion editorials? I made the decision to focus on fashion once I first started taking pictures of people. It was really hard seeing as I used to photograph landscapes and abstracts. I find with every person you have to figure out how to work with them, each person is different and it is always a challenge! It also fascinates me how one person can get photographed in so many different ways. Photography is an art of capturing a single moment and framing it beautifully, how do you approach taking photos? Many people ask me this and I really don’t know how to answer it. I only figure out how I am going to take the picture once I

I love bringing a cinematic feel to all my images. The suspense and lighting is very important! am in the location and the whole team is ready to go. I just “see” the picture in my head. What inspires you to take photos? After a shoot what are the photos that stand out to you? I just love taking photos, the action of looking through the lens and pushing the shutter. It is also really challenging, the ability to take a photograph that stands out from the rest. After the shoot, when I look at all the RAW files, the ones that stand out to me are the ones with emotion. Your work has a decidedly cinematic feel? How do you approach bringing your style together with client’s requirements? I love bringing a cinematic feel to all my images. The suspense and lighting is very important! I always shoot the image how the client wants it taken. Once they are happy I then move on to the grading process where they are also involved. To be honest, all the clients hire me for the way I shoot. So I do not really need to change my style, unless they are specific. I always make sure the client is happy. Shooting editorials here in South Africa do you find that you are creatively bound, due to the conservative nature of our market? I do not think we are creatively bound, but I do think each magazine has their own specific look which they strive for. It is also a very small market so you really have to stand out from the crowd. We are blessed to live in such an amazing part of the world, paradise if you ask me. There should be no excuses in the creative department. Where to from here for Sivan Miller, What are your plans for 2011? Each day I push myself to see how far I can go! I have no plans set in stone! What I can say is that I am hopefully heading overseas soon to shoot for some big production companies. They really like my style and work. By the end of the year I hope to be a well known photographer in South Africa!




Dillon Marsh In 2003 Dillon graduated from the University of Stellenbosch with a Bachelors degree in fine art. It was during this that he was drawn to photography. Since then he has remained passionate about photography. Over the last few years he has completed a number of interesting projects and entering art competitions the most notable being that of the Spier Contemporary 2010, in which his photographic series entitled Invasive Species was displayed. Over the last few years Dillon has developed an interest in documenting unusual objects within their immediate environment. He tends to focus on things that are out of the ordinary, picking them out of the landscape where they might otherwise blend in and never be noticed. There is an unusual nature of the subjects which Dillon has captured. Often in his series of images the focus is on mundane scenery around the subjects where the common denominator is the subject and whereas the landscape changes. In his project South Easter this is done where the environment is rather non-descript. It then plays with the subject and the habitat thereof. The focus of these works is to try

and get the image to tell a new story about a familiar seemingly arbitrary scene. Considering each of Dillon’s latest projects there is a common theme where all the subjects in one way or another have been transformed such as the windblown trees which have been slowly pushed off their natural course. There is also a play between what is live and what is inanimate. The project where cell phone towers are pictured, those are transformed into seemingly, but unconvincingly living trees, while the telephones are also changed by the weaver communities that annex them. Dillon’s work is intriguing to say the least, with a narrative behind each image which truly does bring a thousand words to each image. The depth that he brings to photography shows his intense passion which goes far beyond just capturing images but utilizes the camera as his own paintbrush. The art of photography is where he hopes to further develop his career. Keep up to date with Dillon’s projects at his website www.

The depth that he brings to photography shows his intense passion which goes far beyond just capturing images but utilizes the camera as his own paintbrush




EOS 600D

Canon has launched of the EOS 600D a compact, lightweight Digital SLR that makes capturing images easier than ever. The perfect choice for aspiring photographers looking for a combination of outstanding image quality and ease-of-use, the EOS 600D sits at the top of Canon’s entry-level EOS line-up, above the existing EOS 550D and the new EOS 1100D. Capturing stunning images and Full HD video has never been easier, thanks to a range of automatic shooting modes that beginners can use to instantly express their creativity. A Feature Guide has been added to the user interface to help you learn about the camera as you use it, helping to develop your photography skills. With an unrivalled range of EF lenses, Speedlites and other accessories to enhance your shooting, the EOS system holds the key to the perfect shot – wherever your journey takes you, and whatever the scene before you. The EOS 600D is able to capture HD movies. Great picture detail is provided by a high-resolution 18 Megapixel CMOS sensor. The camera’s low light shooting capability enables you to achieve clear, natural images in darker conditions.

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Shanna Paxton Shanna Paxton is a South African photographer who has recently been selected as an Emerging Creative at the Design Indaba 2011. Her photographic journey began at the age of sixteen with a Sony Cybershot in the town of Port Elizabeth. Shanna graduated from Nelson Mandela Metropolitan University cum laude in 2008 majoring in female depiction, beauty interpretations and the result it may have on women. She freelanced in

Port Elizabeth for the past 5 years and is currently living in Cape Town working on her next contemporary project, taking on small commissions and volunteering at an educare in an attempt to understand child behavior. “My childhood defiantly influences the outcome of my work.” Growing up in a nurturing home that consistently encouraged inner beauty and discouraged the idea of judging one by their appearance, made Shanna comfortable with

her own appearance. This has resulted in her fascination with how women go about achieving their desired beauty features and the resulted feeling after its achievement or failure. Shanna’s Portfolio of work is set in 4 Parts in which she combines personal observations of beauty with their possible consequences on the affected individual and general society. These short sequences depict each theme through the appropriate colour palette. Unconscious Influences (Green Series), Conscious Embraces (Blue Series), The Cloned Appearances (Yellow Series), and The Lavender series. Shanna also takes ethical responsibility for the effect her

images may have on young women in society with her small workshop Born 2 b Myself, created after being nominated as a SABS Young Design Achiever Finalist 2009. It aims to educate young ladies on the effect the media may have on their interpretation of beauty and it takes the form of a workshop that teaches journaling and reflecting techniques in order to make those participating more conscious of what and why they desire certain appearance features. She also volunteers at an educare in order to better understand young lady interpretations of the media and life experiences in general.

SanDisk, one of the global leaders in flash memory cards, released the world’s fastest high-capacity SanDisk Extreme Pro Compact Flash card. The latest milestone in SanDisk’s long history of industry-leading products, the Compact Flash card features 128 gigabytes of storage and up to 100 megabytes per second write speeds. With its Power Core controller and UDMA-7 interface, the card delivers the performance demanded by high-end DSLR cameras. “No other product on the market can match our new card’s combination of speed and storage capacity,” said Bradley Bennett, SanDisk Regional Marketing Manager, Middle East & Africa. “By consistently pushing the boundaries of flash innovation, we are able to develop advanced products not found anywhere else.” With a set of features optimized for professional photographers and videographers, the 128GB SanDisk Extreme Pro Compact Flash card is ideally suited for imaging applications requiring Full HD3 1920x1080 resolution, up to 50Mbps bit rate and 4:2:2 color sampling. The card’s unprecedented combination of speed and storage lets photographers capture more frames when shooting in continuous burst mode, and enables them to record high quality Full HD videos. The 128GB SanDisk Extreme Pro Compact Flash card is available now in South Africa.

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Metropolis Uk based Illustrator Stephen Chan with his unique flavour of vector lines and creative scribbles shares his inspiration with us! Stephen graduated in Product Design. However after feeling rather restricted with the technical aspects he decided to take on a few other projects to find joy in his work. These included graphic design, branding, websites and illustration. This lead to a job in graphics and illustration, which ignited his passion, appreciation and admiration for illustrators and character design. As work is a large part of his life, doing something he would hate is “pretty stupid.” Thus began the slow, steady yet exciting process of developing Stephen’s own illustration style. This continues to grow with time. Over the last year he has been working as a freelance illustrator and graphic designer with clients such as Tiger Beer, IdN, Boxbird Gallery, and Mercy Magazine. He is also one of the founding members of design portal ‘Thunder Chunky’ showcasing new and innovate work by a variety of international artists along with covering news of the design world. We asked Stephen… What are your tools of choice for creating your artworks? I like to plan everything out using my trusty biro pen making tiny scribbles and writing random notes. My tired old Macbook Pro equipped with Adobe Illustrator helps me to vector up all my craziness. Finished off with a touch of Adobe Photoshop sometimes to add textures and color tweaks. Describe your creative process ? The way I usually approach a project is probably quite different than the regular illustrator. I would write down every single thing linked with the theme of the project, an object, an animal, a place, a color, any little thing associated in anyway. A while later the page would be filled up with weird scribbles and strange words that no one other than myself would understand. These are my building blocks, I would then go on to either draw up the elements, or create a rough composition for the illustration. I don’t usually decide on a solid composition so early, I prefer to go by instinct most of the time, and see how it turns out, which keeps things interesting. Who gets your creative juices flowing? I grew up on a healthy diet of Japanese animations by Studio Ghibli, Hayao Miyazaki, Akira Toriyama and many others plus popular British and American cartoons. These animators and directors can transport you to new worlds with their excellent storytelling and imaginations. I think everyone should watch more animations whatever age they are. Illustrators such as Aya Kato, James Jean, Vault 49, and Autumn Whitehurst, influenced me a lot when I first got interested in illustration and I guess they still inspire me indirectly, creatively. I recently watched ‘Beautiful Losers’ (highly recommended) a documentary which delves in to the history, journey and thoughts of influential streets artists, Ed Templeton, Margaret Kilgallen, Shepard Fairey, Barry McGee, Jo Jackson, and others. It really made me take a step back and ask myself ‘who I am, why am I doing what I’m doing?’. What makes a good client in your opinion? Like-minded and trusting clients are usually the best to work with. I’m a professional illustrator, I’ve learnt to solve problems with a good knowledge in communicating visually. The client gives me a brief and I’ll try to exceed their expectations. We can achieve this by being able to discuss through ideas, being able to find a comfortable middle ground, and mutual respect. Clients that pay on time are also very very good :) We leave you with his latest project themed Metropolis for Tiger Beer inspired by the movie of the same name.




The Guangzhou Opera House The dynamism of China’s development is breathtaking; throughout the entire country, you can sense thee enthusiasm, ambition, and boundless energy of the upcoming generation. It is very rewarding experience to see the completed Opera House and I am very grateful to the city of Guangzhou. There are very few places in the world today where architects can find such forward looking, enthusiastic clients with such passion for innovation. I first travelled to Guangzhou in 1981 - at the beginning of my career and the contrast to the Guangzhou we see today could not be greater. The design of the Opera House reflects China’s rich cultural history, but also the remarkable future China will play on a worldwide stage. The Opera House design has to play a role in its cultural context and immediate settings. We knew the opera house would be set within a new master plan of civic and commercial projects, so our concept of gradually lifting the landscape to drawin visitors and the interplay of the two sculptured volumes on this public arena, gave us an opportunity to propose this scheme in China with a poetic analogy. In Chinese culture, certain analogical thinking makes sense and the idea of pebbles and rocks on the banks of a

story have priority and audio equipment is used in almost every occasion. Our research into opera house and auditorium design over the past 20 years has shown us the many benefits of asymmetrical auditoriums – they can give a real depth to the natural acoustics. All the three acoustic parameters - reverberation, sound pressure (volume) and clarity – need to be balanced, and we worked very closely with Marshall Day to optimize the performance of the space. One example; we molded dips into the glass-fibre reinforced gypsum (GFRG) panels towards the front of the auditorium where it required the sound pressure be toned down. The deeper and closer together these dips are, the more effective they are at toning down the pressure. For western productions, the space is designed to ensure perfectly balanced acoustics with concealed lighting and audio equipment that can be revealed as needed. The interior of Opera House’s main auditorium space is a champagne-colored gold space with a gloss finish – a similar appearance of luxurious silk. This is continued into the seating which is also copper toned. The overhead lighting is a constellation of very small white LED lights. As with all our work of the past 10 years, we wanted to achieve the ultimate fluid space to deal with the complexities of the demanding acoustic engineering, and also the complicated programming requirements that allow for a variety of events and performances in the building. Therefore, we have continued the seamless, organic architectural language in the asymmetrical auditorium space. Glassfibre reinforced gypsum (GFRG) panels have been used to create one single surface with many pleats and folds that house a variety of acoustic panels and extend into the space to accommodate seating areas. Computing was essential in all aspects of the design and construction of the Opera House, but most especially the interior of the auditorium. The contractors made bespoke wax moulds to create the GFRG panels – allowing for seamlessness of the auditorium’s complex geometries. These moulds were fabricated directly from the 3D computer files we supplied – allowing for an almost perfect precision – making the interior a truly uplifting and transformative space. The exterior is clad in triangular granite sections which correspond with the structure. A charcoal-colored granite with a rough texture is used on the larger of the two ‘twin boulders’ that house the main auditorium, and a lighter white color is used on the smaller structure that houses the multi-function hall. These textured finishes reinforce the over design concept of the project as boulders, eroded by water, on the banks of a stream – a continuation of our architectural language of landscape formations and natural systems. Tessellated triangular glass sections emphasize the crystalline nature of the design and open up the public areas of the Opera House. by Zaha Hadid

It is always exciting when architectural concepts can be delivered through a new construction technique and some examples of this can be seen in the Opera House. stream is actually very meaningful for a project located next to the Pearl River. As designers, this is more of a technique for us to articulate the relationship of an object within a landscape; describing how the design is informed by its context. So when designing the building, we were not thinking so much of metaphor, but more in terms of analogy - the landscape analogy - where features of a natural landscape are expressed within the architecture. For example, the smooth transitions between territories and zones, and smooth transitions between levels. It is always exciting when architectural concepts can be delivered through a new construction technique - and some examples of this can be seen in the Opera House project. For example, the main steel structure is entirely asymmetrical and though complex, embodies an innovative combination of age-old methods and new technologies; To ensure rigidity, the 59 steel joints of the main structure all differ from each another and are sand-cast (as in a mediaeval bell foundry) and assembled accurately using laser and GPS positioning systems. The requirements in an auditorium for Western and Chinese operatic performances differ significantly. It was important therefore, that the layouts and interiors for this space were established early on - with the support of the acousticians (Marshall Day Acoustics) and theatre consultants. The two traditions of Chinese and western opera are mutually exclusive. With western opera the focus is on natural acoustics, whereas in Chinese opera, the drama and



The Depatrment of Architecture team


Hilton Pattaya by Department of Architecture Architectural and design studio, Department of Architecture is responsible for the interior design of various common areas for Hilton Pattaya in their latest project. The Hotel which includes the First Floor Lobby, the Main Lobby on the 17th floor, ‘DRIFT’ Bar, ‘EDGE’ restaurant, ‘FLARE’ fine dining, and various common areas and linkage spaces within the building. The hotel is part of a larger multi-used complex located in the heart of Pattaya, overlooking the Pattaya beach. The space for the hotel lobby and bar occupies the 17th floor, high above the bustle of Pattaya beach below. Upon entering the space from one end, as elevator doors open, one would enter a spacious lobby area. The architectural intervention to the entire ceiling plane, with its dynamic wave lines, leads the movement of the visitors towards the seafront beyond. The fabric installation on the ceiling becomes a main feature in the space while simple elements on the ground provide a tranquil atmosphere. At night, strip lighting accents from above the fabric linear pattern. The whole ceiling volume becomes a gentle luminous source of light giving a fine ambient to the overall space. At the end of the lobby space, the bar area is arranged linearly along the building edge parallel to the sea with maximum opening to the ocean view. Backdrop of the bar area lies a wooden wall with alcoves where the

daybeds partially tuck themselves into the wall. Oversized and soft furniture provides comfortable and relaxing seating for guests to sink into. A full-wall mirror at the end of the long space doubles the visual length of the bar area. Further in front of the indoor bar area is an outdoor lounge space with a large reflecting pond catching the reflection of both the sky and the droplet daybeds and lamps scattered around. From this area the space is opened up to the panoramic ocean vista and gentle sea breeze. A restaurant serving international food with multiple large open kitchens is situated on the fourteenth floor facing the ocean view. Its main spatial organization strategy is to open up the ocean view to the guests at its maximum to take advantage of the view from its prime location. The space is stretched linearly along the glass wall facing the sea with an almost 8 meter-high ceiling. The indoor seating area is organized into two tiers where the floor towards the back is higher up to ensure a good view over the front part. The outdoor terrace with its impressive panoramic view in the front lets the ocean vista flows uninterruptedly to the inside by arranging its floor plate a step lower. Away from the busy street down below, the restaurant provides a calm, relaxing and comfortable atmosphere. An airy space with the use of natural materials and light colors allow the guests to sit back and relax. The open kitchen area is

accentuated with special material treatment as a focal point of the interior space. The visual elements in the space are loosely reminiscent of an underwater landscape – sea fan and translucent luminous ocean creatures. The interior surfaces are almost transformed from their original materiality into thin gorgonian membranes wrapping the space. Clusters of glowing organicshape lamps suspended randomly in midair with varying sizes and colors scatter throughout the space. Hidden in the restaurant restroom, maneuvering through its interior space, one cannot resist thinking of the space in between the seabed fauna. An upscale luxury fine dining serving grill is located on the fifteenth floor. Privacy and exclusivity for the guests play an important role in the project. The design explores a mediating means of space demarcation between pockets of private dining area. By occupying an intermediary space between spaces with a translucent volume of sheer fabric, the effect results in an elegant, mystifying atmosphere, engaging and disengaging different spaces at the same time. A deep colour palette gives an even further perplexing depth. A slight up-light to the volume of sheer fabric and the glowing light at the edge of the fabric accentuated the lighting in the space. The glitter of crystal lamps and chandeliers sparks and enriches the depth of the space. For various linkage spaces throughout the

hotel, whether they are an elevator hall, a linkage from an elevator hall to restaurants, a connection to the retail area within the same building complex, or a connection from the parking lot to the hotel, the project attempts to bring all of their latent design opportunities to their best - as spaces to connect, to introduce and to invite people to take on their little journey to their destination. The circulation is a transition space that leads the direction, allows a sequential experience along the passage and could even become something in its own right. Sometimes, the passage where the required practical functions are simpler than other kind of spaces also allows opportunities to implant a site-specific installation integral to the space along the way. Department of ARCHITECTURE Co., Ltd. is founded by Amata Luphaiboon and Twitee Vajrabhaya Teparkum in 2004. The firm is practicing architecture, interior design, landscape design, and other related design disciplines in a broad range of programmatic requirements and scales. It focuses on developing ideas in architecture, researches on social, cultural, and physical context, collaborates with artists in various fields, as well as takes on an exploration for alternative material utilization. Amata received a Bachelor of Architecture with first-class honors and a Gold Medal from Chulalongkorn University. He

pursued advanced studies abroad and received two Master’s degrees from the University of Washington and Harvard University. After graduation, he joined Metric Co., Ltd. and worked as a chief architect for several years. In 2004 Amata together with Twitee founded their firm ‘Department of ARCHITECTURE Co., Ltd.’ Amata is currently a principal of the firm. Twitee received a Bachelor of Architecture summa cum laude from Virginia Tech and earned a Master of Architecture from Princeton University. She has been working in Chicago and New York for some time before coming back to Thailand to join Metric Co., Ltd. She together with Amata founded their firm ‘Department of ARCHITECTURE Co., Ltd.’ Twitee is currently a principal of the firm. During their years at Metric, Amata and Twitee together with Reveree Nophaket worked as chief designers of Six Senses Hideaway Resort in Samui. This project earned the team an ‘Outstanding Award in Architectural Design’ from HRH Princess Maha Chakri Sirindhorn by the Association of Siamese Architects under Royal Patronage (ASA). After Six Senses Samui, they designed Zeavola, another high-end resort also in the south of Thailand.




Fashion love story Leandra do Pereiro

A drandged lifestyle To alter the status quo - the definition and the goal of Dranged. The brand has etched out a cult following with a level of quality which is missing from the South African market. Quality which is foremost in the product but that which extends far further than just to the clothing. The further extension in quality is gained from being presented in a manner that does not detract from the quality of the product

but accentuates it. A constant presence at events and the utilization of social media to tell the story that is Dranged Lifestyle. A following of close to 1500 ‘likes’ and a profile with almost 3800 friends. Utilizing the instant feedback loop of social media product development is enhanced with the end user feeling part of the process. Brands often mould a persona which in reality does not exist, the intrigue of

Dranged is in the fact that the brands persona is outlived even by its creators and is lived out by the following that not only wear the brand, but live it too. The focus is on clothing that is versatile from the gym to the street. With a men’s range and soon a expansion to a female range as well we are eager to see Dranged conquer the fashion industry. by Ryan Jared Ali

Where did the concept for the Spring/ Summer range come from? The idea came about as Valentines day was just around the corner, and being a girl very lucky in love, I was inspired! Love inspires me and is such a huge part of who I am , I’m one who thinks a lot with my heart . It’s about loving ones self! The Fashion love story is for every girl! The LDP girl is chic, feminine and girlishly wild in spirit, soul & LO V E ! Fashion is a very selfish industry, but it doesn’t have to be, if you purchase a garment from Leandra, R8 per item is donated to a very worthy charity called The African Daughter’s assiociation, this is a charity that really touches my heart . Do you think the South African consumer is changing their view to positively accept what is being designed locally? I feel slowly people are beginning to be more aware of SA designers. It’s a real struggle for a new designer like me to get the consumers attention. SA consumers tend to stick to what they know, the popular international labels. It’s even harder to find

proudly SA boutiques that support and stock SA designers. Most of them stock international brands. SA has amazingly talented designers and artists! We all need to be more proudly South African and support our youth. Do you think online media is helping young designers as yourself to have a greater reach in the market? I do think online media is helping, South Africa is starting to catch up with the rest of the world, we are becoming more open minded to shopping online, but it is happening slowly, we still have quite a way to go. The internet is a powerful tool the youth has and can use to empower themselves and their businesses, it is a great way to get yourself out there and have not only SA to get to know you but also internationally. We are excited to see what Leandra has for us in the in the upcoming season, we are told to expect influences from the hit film Black Swan where the ideas of innocence and darkness are to be explored. by Ryan Jared Ali





The Summit The Summit has truly done what most other brands seek to capture. A unique offering which is instantaneously recognizable, from laptop briefcases, luggage bags and wallets, to house shoes, bowties, scarves and cummerbunds all made from the finest leather and suede, to belts without buckles and leather stationary. When one sees a product which has emanated from, Cindy Poole the founder and creator of The Summit, one instantly realizes this is The Summit. The accessory line is a unique addition to the fashion landscape of South Africa, even further afield internationally. With the attentions of The Summit’s founder firmly focused on creating a line of goods which goes against the grain of fashion’s seasonal turnaround. Each piece is timeless, they can be worn today, tomorrow and years from now. The Summit brand takes cues from the 50s group of entertainers who graced Hollywood and exuded cool. These men were called by the press the Rat Pack but they referred to themselves as, The Summit.

Now today we have a brand unaffected by the ever changing and somewhat fickle fashion landscape. The Summit is not just a mere recreation of the 1950s, the brand has taken elements and re-interpreted them considering the 21st Centuries version of the ‘Gentleman’ about town. The modern gentleman is a discerning consumer and only the finest materials will suffice. The Summit has sourced the finest materials to not just meet the expectations but to exceed that of the modern gentleman. Cashmere, Mohair wool, Goat skin, Argentine leather this is what the modern man wants and is now provided. All of this is tied together with beautiful craftsmanship and a creative presentation. From the fashion show which is re-invented by not just walking down the cat walk, rather bringing bicycles to the catwalk embodying The Summit’s 1950’s cool. The Summit has brought to the fashion world something which was not there before, we are excited to see what it will bring tomorrow. by Ryan Jared Ali




Innovative liquid storage solutions When people think of green building, they often think of the more obvious elements such as energy efficiency and environmentally friendly materials. Often the less obvious - and more important components - such as water use reduction, water efficient landscaping and storm water management are overlooked. Water scarcity, the benefits of adjusting water quality to needs, the concern for making a better use of available resources, all argue that water supply services should become a priority in future planning and development. JoJo Tanks, South Africa’s leading manufacturer of polyethylene tanks for more than 30 years, design and manufacture tanks that have been tried and tested and have shown that they are more than able to withstand the harshest South African weather conditions. Technology and innovation is at the core of the JoJo business philosophy. Expertise in material science, unrivalled knowledge of and excellence in manufacturing and processing techniques and technical knowhow give JoJo a competitive advantage. JoJo Tanks provides innovative water storage solutions for a wide range of applications both as part of a new design and retrofitted within an existing design. Whatever a customer’s water tank or liquid storage requirements, JoJo can be relied upon to design and manufacture an application to meet that specific need. JoJo Tanks are UV, rust and chemical resistant, are manufactured from the best quality food grade raw material and carry a 5-year warranty.

dhk wins

Brit Insurance Design of the Year British designer Samuel Wilkinson and product design company Hulger, have won the Brit Insurance Design of the Year 2011 for their stunning redesign of the low energy light bulb. Beating over 90 entries to claim the winning title, 2011 Jury Chair Stephen Bayley presented the award at today’s awards ceremony held at the Design Museum. The Plumen 001 is an imaginatively sculpted energy saving light bulb, its beautiful silhouette and organic form was chosen as the overall winner from the seven category winners as the Brit Insurance Design of the Year. Stephen Bayley, 2011 Jury Chair said of the winning entry ‘The Plumen light bulb is a good example of the ordinary thing done extraordinarily well, bringing a small measure of delight to an everyday product.’ Low-energy light bulbs have never been regarded as a stylish product, the Plumen addresses this by creating an aesthetic bulb which works just like any low-energy bulb. By bending the glass tubes of a light bulb, Plumen have designed a product that uses 80% less energy and lasts eight times longer than an incandescent bulb. Compared with

the standard fluorescent light, Plumen 001 is a beautiful light bulb designed to be seen. Deyan Sudjic, Director of the Design Museum commented: ‘A worthy winner that is both beautiful and smart. It does away with the superfluous to achieve maximum economy of means. It’s a bulb that doesn’t need a shade and so goes a long way to make up for the loss of the Edison original.’ Jury member Will Self added: ‘I don’t think any of the judges feel this is the dernier cri in terms of what will be done with the low-energy light bulb, but if you’ll forgive the pun – they are definitely a light leading the way. 2011 was not a year to reward high-end design devised purely for conceptual reasons or addedvalue results. We felt these bulbs were neat, appealing and covetable in the right, affordable way. Light is, of course, primary to design, without it there can be very little, if any. The design of light sources is thus an elemental component of a design aesthetic.’ The Plumen 001 along with the other shortlisted designs are currently on show at the Brit Insurance Designs of the Year exhibition at the Design Museum.

Tea cup collection Much loved and respected designer Mingo Lamberti strikes again, except this time it’s an original and funky spin on the trusty scatter cushion. These beautiful silk screened designs on linen and leader fabric with hand stitched embroidery are the result of a collaboration between Pearly Yon – a design company founded by graphic designer Simone Rayner - and Mingo Lamberti’s Brad Hodgskiss. After one of Simone’s many Antique store treasure hunts, adding a tenth teaset to her collection, inspiration hit at “Whatnot & China Town” in Kalk Bay which brought this idea into being. “The Teacup Collection” serves as the first design project outside of t-shirts for Mingo Lamberti and the launch of Pearly Yon. Inspiration coming from various

styles and countries, one of the cushions is a “Voortrekker” design, a “spin off of the Italian Spode range”. But instead of the traditional Italian pastoral scene, South African farmers take centrestage. Put all four designs together - “Voortrekker”, “Blommetjie”, “Swedish” and “Twisted” - and you get a whole ‘nother version of a cool and trendy mismatched teaset. As a design duo, in the future we can expect to see more of their fantastic work on wallpaper. Mingo Lamberti would like to bring a new twist to quilts and knitwear and Pearly Yon is keen to get into bedding, crockery and silk screen poster designs. This limited edition range of just 100 each is available on www. by Kerrythe Mahaffey

Cape Town-based architects, dhk has won the Architectural Competition for the Wangari Maathai Institute for Peace and Environmental Studies in Kenya. The winning design was unveiled by Dr Achim Steiner, Executive Director of UNEP accompanied by Dr Reuben Mutiso, Chairman of the panel of international jurors, at an awards ceremony held in Nairobi. The ‘Green Campus’ will be the home of the Institute for Peace & Environmental Studies (WMI) of Noble Peace Prize Laureate Prof Wangari Maathai. Located on a lush and steeply sloping 50-acre site at the University of Nairobi Kabete campus, the WMI is envisaged as a functional and inspiring hub of activities in the area of natural resource management and education for sustainable development. The institute is expected to meet stringent sustainability and conservation criteria, aiming to achieve close to 100% carbon neutrality and selfsufficiency. Receiving the award, dhk director, Peter Stokes said they were overwhelmed to have won the opportunity to design the Wangari Maathai Institute for Peace and Environmental Studies. He commended his partners in the consortium, Land Use Consultants of the UK, Turner Townsend and the WSP Group.

alert With water tanks fast becoming a status symbol of the eco-chic crowd you won’t want to hide yours away – and thanks to the stylish options available from you don’t have to

As dinner table conversations move towards climate change and scarce

natural resources a very surprising item is becoming a must-have. And it’s not the latest cell phone or swanky new car – it’s a water tank in your garden! Eco-savvy homeowners are including the installation of rainwater harvesting tanks in their architect’s brief to save water and reduce their carbon footprint. And the new styles, colours and metro sexy sizes make them super easy on the eye!

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THE SHELLY & HARRY JEWELLERY COLLECTION How long have you been designing jewellery? Where did the passion emanate from? I lived in London for 6 years and while working there I found I needed a creative outlet, I began taking an evening hobby course and that is where my love for working with metal began. My passion for gemstones came a little later on my return to Cape Town where I formally studied Jewellery design. Where did the concept for the natural gems range come from? I did a gemmology course where I was exposed to gemstones in their natural state; I was immediately draw to them and started designing pieces to highlight the contrast of the rough stone and the high shine of the metal. It approaches jewellery design from a different perspective, where the setting is designed around the stone. How do you approach designing each piece? It begins with the hunt for a stone that I love, and as soon as I see the right stone and am drawn to it I start designing. Some pieces evolve quite quickly, while others take more time. Everything happens on paper first, and then I move onto metal where things often change due to practical restraints – at the end of the process I need to have a functional and wearable piece, not just an ornament.

There is nothing that doesn’t inspire me! I see shapes & curves in everything around me Is this the first time you have approached jewellery design like this, or have you designed pieces in the past like this? This is the first of my ranges that showcase natural gems, however I have lots of plans to take this further. What has been the public response to this range, have people warmed to the idea of a non-traditional piece of jewellery? There has been and overwhelmingly positive response since the launch at Design Indaba this year. Where do you derive inspiration for these beautiful pieces? There is nothing that doesn’t inspire me! I see shapes and curves in everything around me, which I draw from constantly. I am always in awe of the natural beauty of the Cape and my walks in the mountain are an essential part of my day as a designer. I have also learnt from my architectural friends at Naturals Cool. They have shown me a language of lines and curves that apply to all design no matter how big or small – and I am now able to consciously choose my lines with the intent of evoking a particularresponse from the viewer or wearer. Where do you want to take Shelley & Harry this year? Is their any special projects we can look forward to seeing? We are at a very exciting stage now as we grow and begin to stock shops in Cape Town and Johannesburg. We now have 3 ranges, Natural Gems , Coco and Floral Casuals and I will continue to do once off commissions with clients. I am in London at the moment and have just sold the earrings and necklace right off me – so I think that is a good sign! by Ryan Jared Ali


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Issue 35  

Cover art by Stephan Chan, interview with Michael Wolf, some beatiful architecture from Zaha Hadid in China

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