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DESIGNTIMES south africa’s creative resource


Thomas Kolster

Thomas Kolster and his book Goodvertising have a different message for consumers, one that leaves the consumeristic yuppie culture of the 90 s behind

/10 ILLUS.

2012 Issue No.44 ZAR 15 EUR €2, UK £2, US $3


Radio was founded in June 2011, this young but impressive illustration, iconography and design studio is made up of Byron, Gert and Brad.

in cahoots with



It’s truly beautiful. It’s hand-made in America. It’s steel frame and design are inspired by 1940’s and 50’s European delivery bikes with an electric-assist motor.

Loerie Award Winner




Orée wood keyboard What is the ugly truth about advertising? David Nobay of Droga5, sells us on his truth and discusses the need for change in the creative industry. There is another ugly truth out there, one which affects all of us, namely: We are consumers, and we’re consuming our planet! Yep, we’re all very concerned about sustainability and how good design, implemented at the right time can have a positive effect on our ‘home’. Needless to say we were so impressed by the design focus of the upcoming ‘Sustain Our Africa Summit’ that we partnered with them. We’ll be covering all aspects of design for the summit. Thomas Kolster, an exceptionally responsible advertising creative, will be at the summit to discuss his new book Goodvertising. To build up some anticipation take a look at our interview with him on page eight. What could be more sustainable and responsible than a bicycle? We’re not sure, but we sure do like those crazy old-fangled, two wheeled contraptions. We’re particularly fond of the Faraday’s classic design on page twelve. Enjoy! Mark Rosenberg


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


Eva Csernyanszky, Herman Manson editors illustration by Chris Valentine

Loom x Honest chocolate

To celebrate its first anniversary, mens multi-brand fashion store, Loom has collaborated with Honest Chocolate to create a unique flavoured variant that’s limited to an edition of 365 chocolate slabs. The One Year Anniversary Edition chocolate is made from 72% raw cacao and contains subtle hints of cayenne pepper, cinnamon and vanilla. Each slab of chocolate has been made by hand using the age-old method of chocolate tempering, a process whereby melted chocolate is gently stirred and cooled on an ice-cold granite slab. Loom and Honest Chocolate invited creatives to design the chocolate’s wrapper by running a crowd-source design competition via In less than a week, over 115 entries were received from around the world. The top 3 entries were selected by Anthony Keyworth, co-owner of Loom and bloggers Andrew Berry of, Angie Batis of and Sandiso Ngubane of The public was then encouraged to vote for their favourite wrapper design via 10and5. com. Over 300 votes were received, which named Miné Jonker as the winner. The unique Loom x Honest Chocolate slab is available exclusively at Loom and Honest Chocolate.

The Orée Board created by studio Orée is made from a single piece of wood which is cut into three sheets to preserve the wood grain across the shell and keys while also minimizing waste. The carefully selected wood is sourced from sustainably managed forests to offer the most natural, durable and renewable material on Earth. In addition, the Orée Board is powered by a low power Bluetooth 3.0 chipset from Broadcom and a high quality key mechanism to offer extended durability. Each Orée Board is unique and personal thanks to multiple customization features for engraving, users can select one of three distinct fonts for keycaps, add a personal text or choose from one of two graphical works created exclusively for the Board by young talented artists. Julien Salanave, Orée founder comments “In a world of technology gadgets that are highly impersonal, made of standard materials and designed for rapid obsolescence, we identified a growing aspiration for lasting personalized objects that would have a

soul and put people in touch with the most natural material on earth. Thanks to our expertise, we set out to create new standards in high tech with a primary emphasis on design and high quality materials.” The Orée Board embodies this ambition and will address the demand for wireless keyboards that complement touchscreens and are compatible with a large variety of devices. Each Orée Board is crafted, polished and assembled by hand in the Orée workshop in Languedoc, southern France. The Orée keyboard was launched at London Design Week and is also a finalist for the Good Design Awards 2012 in Tokyo. Orée is the result of a unique partnership between a technology entrepreneur, a product designer and a master woodcraftsman. Orée is about reconciling tradition & novelty to create exceptional objects through an exclusive combination of timeless woodworking techniques passed down through generations of French woodcrafters.

Father of the laptop dies

Bill Moggridge died in September 2012 at 69 from cancer. Bill Moggridge was not only the designer of the first laptop but is also widely viewed as a father of the field of interaction design, a discipline that focuses on improving the human experience and interaction with digital devices. Bill Moggridge pioneered this field through IDEO, the product design firm he cofounded. Bill Moggridge designed the first laptop, the size of a sewing machine, in 1972, but it was never built. It was only after meeting John Ellenby, founder of Grid, that his design became a reality. In his book Designing Interactions, Bill Moggridge wrote: “I had the experience of a lifetime developing a design that was innovative in so many ways. I developed the way that the screen was hinged to fold down over the keyboard for carrying. This geometry accounted for only one of the 43 innovative features in the utility patent that we were awarded. Most of these innovations are taken for granted today, but they were new at the time: for example, the flat electroluminescent graphic display, the low-profile keyboard, bubble memory and the enclosure in die-cast magnesium. The metal housing offered a combination of strength and lightness, creating an amazingly tough machine.” So next time you switch on your laptop just remember that some aspect comes from Bill’s original design and we have him to thank for it.

Designtimes is giving a slab away to one of its twitter followers at the end of October so be sure to follow us on @designtimesmag



Sales Manager


Wendy Scullard


Wendy Scullard, Malika Noordien, Thandolwethu Jevu, Linda Schady, Roxy Rosenberg, Kelly Keur, Natalie Clarke, Ehrin Manuel, Chantel Williams

Traffic Controller

Kelly Keur

Accounts Executives Kelly Keur Laurenda Hagglund

Office Administrator

Kiara Hagglund


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


Tandym Print

adidas South Africa has launched AREA3, an evolving, innovative and multi-purpose creative space aptly termed the home of Adidas style, situated in the Maboneng Precinct. “Adidas’ fashion and lifestyle ranges represent originality, creativity and passion. The Maboneng Precinct reflects these same values, so it’s a natural home for AREA3,” adds Fabrizia Degli Esposti, Brand Marketing and PR Manager at Adidas South Africa. AREA3 will play host to fashion shows, pop-up retail, installations, activations and exhibitions; whilst showcasing the best of South African talent, from action sports to music, art to fashion.

Field power desk The KANZ Field Power Desk is a compact, mobile, free standing desk unit with integrated power packs, solar panels and charging provisions for various electronic devices. This unit is based on the established Field Kitchen footprint. It houses GoalZero®, high efficiency Lithium Iron batteries, solar panels and a flexible desktop light. A dedicated charging drawer can be pulled out for easy access to the recessed charging strip and stored away to make room for the desktop. The internal charging strip provides 12V and

5V outputs for various electronic devices. We decided to stay true to the GoalZero conventions. The external, terminal cup houses a 15V, 4.7mm barrel input, and 12V high current, Anderson Pole and 12V, 6mm barrel output connectors. These connectors are flexible and recessed inside the terminal cup to prevent them from getting damaged during transport and employment in the field. A D-ring inside the terminal cup can be used to attach a strain relieve for the cables. It comes with a variety of adaptors and chargers.

It is official, a picture is ‘worth more than 140 characters’ as Instagram tops Twitter in the number of active smartphone users in the US. In a report by internet analytics company ComScore, it was revealed that Instagram received an average of 7.3 million daily visitors in August, while Twitter saw 6.9 million during the same period. Users also spend more time on the photo-sharing app than Twitter—users spent an average of 257 minutes posting and browsing photos on Instagram, while Twitter users only spend 170 minutes typing and reading tweets. According to The Telegraph, this the first time Instagram ‘has pulled ahead of’ Twitter, despite the fact that there are over 500 million Twitter users and only 80 million Instagram users worldwide. These figures will definitely be great news to Facebook’s CEO and cofounder Mark Zuckerberg, who purchased Instagram in May for USD $1 billion.




Thomas Kolster

UNDERSTANDING LOHAS* MARKET SEGMENTATION *(Lifestyles of Health & Sustainability)




• Trend predictors and influencers • Dedicated to personal & planetary health • Values driven (Less price sensitive) • Most prolific green buyers • Information junkies • Eco-lifestyle • Environmental stewards • CSR seekers (and boycotters)

tion & Orienta ion at Motiv environmental






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s acteristic food char m Avoidance low sodiu low fat, d less ey / Spen Save mon






• Newer green consumers • Imageconscious and trendy • Practicing “easy” green • Need education on benefits and relevance to them • Knowledge and understanding limit purchases, especially of durables • Currently driving growth of green products





to Donations s groups politician riting to Calling/w port ic trans Use publ

• Driven by personal health and wellness • Avoid artificial ingredients • Buy natural products for health and wellness reasons • Pure nutrition (e.g., low cholesterol) influences food/beverage purchases • Income dictates green behaviour and purchases, creating attitudinal vs behavioral disconnects • More likely to use LOHAS consumables than durables


where the coolest bloke in the club was the one with the largest bottle of champagne. The internet has informed and armed people with information and made us very skeptical consumers. By goodvertising do you think you are changing the value proposition into something of worth? Everyday I encounter brands that haven’t realized that there’s a new, transparent, digital reality out there. This new radical transparency has brought down dictatorships and is more than capable of bringing down even some of our most iconic brands too. Yes, the value proposition has changed dramatically. It’s no longer about what you say it’s also about how you listen, the market and consumers talk back. As a brand you have to earn our affection and attention. A good place to start is by offering something to consumers in return, which can include care, usefulness or great content to name just a few. Do people inherently sense what is ‘truth’ when brands ‘goodvertise’ or what is the challenge posed to major companies that actually need to communicate that they are addressing the problems and are on a journey, not that it’s all solved already? Honesty is always the best policy. Nobody is perfect, neither brands nor people. It’s a journey and it helps to be frank about where you’re coming from, and where you want to go. When that’s said, it’s also important to remember that a brand, like a person, has a voice. If every brand keeps speaking up for consumerism nothing is going to change. The sustainability battle also needs to be won with communication. Brands need to speak up and make sustainability really, really sexy! I’m not a big fan of all these accusations of green washing. I don’t see green-washing as a problem; to be honest, I’d rather see green washing than ‘green nothing’. At least it’s a brand’s first, nervous steps in a responsible direction. If we look at the child labour accusations against Nike in the 90’s, it has only made Nike a more sustainable and responsible brand today. How can that be a bad thing? How do you see the model of goodvertising taking hold, will this be a rapid change with a few ‘voices’ speaking truth and a few speaking the traditional consumption culture. Can the two ideas populate the same space in media? I think it’s a transition rather than a revolution, like we’ve seen with social media and the transition from push to pull. We shouldn’t fool ourselves. 99% of the advertising messages out there are still the same, pushing for rampant consumerism. Even our elected leaders talk about spending ourselves out of the economic crisis. What’s happening now is that more and more brands realize that goodvertising offers new possibilities. There’s no hippie or tree-hugger talk here: goodvertising adds value substantially. In a stagnant market I’ve seen brands reach out to new consumer groups and create real revenue. I’ve seen new exciting business models based on collaboration and sharing instead of owning. I’ve seen brands being able to differentiate themselves in a crowded market. I’ve seen brands build stronger and closer relations to their customers. It’s simply better business to do good for people and the planet. This looks to be an exciting age where the message and medium again become closely intertwined. Brands will now have to resonate with consumers on a deeper level than just a message. Their offering and how it impacts the world will be the message. It will be very hard to run away from that. The medium again becomes the message. Ryan Jared Ali

This book is for press and review only. Don't share with others.


homas Kolster has a different message for consumers, one that leaves the consumeristic yuppie culture of the 90 s behind. Today messages of luxury, opulence and mass consumption have been relegated to the back room of descriptors for brands. Today, more and more, we see messages of green and sustainability. But it simply cannot be a message that brands are entering a new age where their voices and service offerings are now melding into one. Brands simply cannot hide behind a message, they are the message. Thomas is helping us see what this new message could be. We asked him a few questions to find out about ‘Goodvertising’, the new take on advertising. Are consumers more receptive to advertising with a positive message? For me, it’s quite obvious that consumers are more likely to engage with messages and brands that show care and a positive approach. If a brand doesn’t show care towards you as a consumer, why should you care back? At the same time, we’re in the midst of a global economic crisis and a fairly serious climate crisis as well. As consumers, we need someone to guide us and tell us that it’s going to be all right. This wisdom can be applied especially when dealing with the doom and gloom of subjects such as the climate crisis, deadly diseases or palpable poverty. If the world is


• Rooted in practicality • Waste reducers and heavy recyclers • Driven more by cost than environment • Sustainability benefits are secondary to personal benefits • Well-educated and rational; case must be made for sustainable products




• Not “against” the environment, but not actively engaged in protecting it, buying green products, or CSR

These markets identify the levels of influence and specific motivational and behavioral drivers in each consumer segment across a multitude of factors.

Information provided by Natural Marketing Institute Source: NMI’s LOHAS Consumer Trends Database®


Brands need to speak up and make sustainability really, really sexy!


CALL + RESPONSE Muhtayzik Hoffer, San Francisco ThE SLAvERY fOOTPRINT This book is for press and review only. Don't share with others.

going to crash anyway, why should I care at all about driving a gas-guzzling Hummer or a Prius? In a 2010 report, scientists from the University of California, Berkeley, found that quite amazingly, people become more sceptical of the climate crisis when they see doomsday messages. Instead of triggering behavioural change, these negative messages were found to push people into denial and prevent them from doing anything to change their lifestyle or limit their carbon footprint. Consumers need an injection of hope and optimism. More and more campaigns are going in that direction globally where for example, smokers are positively encouraged and rewarded for staying away from cigarettes instead of trying to use scare tactics. I especially like a fact I found in a research paper from 2011 (A. Gruzd, S. Doiron and P. Mai), which investigates whether positive Twitter messages are more likely to be retweeted than negative messages. Interestingly, their findings were that positive tweets were three times more likely to be passed on than negative ones. Just like a smile, positive messages seem to be contagious. Brands should seek to infuse their communication and very essence with this life-empowering: go-get‘em optimism. With the global economic situation do you think people are more inclined to messages that are not inline with the consumeristic nature of the 90s? It’s hard to say what the root cause is for the increase in a more sustainable mindset. If we look at sales of SUVs like the BMW X5 for example, sales have plummeted in Europe. I believe it’s not solely because they’re expensive to drive, they’re simply not cool or sexy anymore. As a company you simply can’t take the established paradigms or business models as a given anymore. We are in a state of flux. People might still be dreaming about driving a Ferrari today, but very soon, young boys could be putting posters of the Tesla on their walls. It’s up to us as an industry to make sustainability as sexy and attractive as we made the 90’s yuppie mentality

The national team kits represent an important step in the process to make all Nike products more sustainable.

Call + Response is an organization that aims to educate people about economic slavery and the shocking conditions under which some products are manufactured. On their Slavery Footprint website you can take a survey that estimates how many slaves you have ‘working for you’. As you fill out the survey, you are provided with facts about economic slavery along the way. There is also a mobile app called ‘Made in a Free World’, that allows users to enter the name of a brand and look at how ethical, labour-wise, the brand’s supply chain is. It checks in on Facebook at two places at once – the store and the brand. These check-ins then appear on 1,000 Facebook pages that have been built to show the slavery impact of various brands. The app then lets users send a note directly to the brands saying, ‘I want to know about slavery in the supply chain’.

This note is also posted to Twitter so brands will pick it up as they monitor social media. In addition, the campaign is partnered with MTV in the US to see which university can earn the most Free World Points, awarded for choosing more ethically sourced products. By creating an interesting, engaging way to give consumers information, this campaign deals with a serious subject in a way that lets people know they can be part of the solution. The aim of the Made in a Free World label is to become a product label like Fairtrade or WindMade – to show which products are made under good working conditions. In the first two months alone more than two million consumers took the survey. This is not the last we have seen of the Made in a Free World label.



In a responsible and committed move, Nike rethought the material used to make their soccer jerseys for the 2010 FIFA World Cup in South Africa. They used recycled polyester made from plastic water bottles – up to eight bottles were used per jersey. To make these 2010 national team kits, Nike’s fabric suppliers sourced plastic bottles from landfill sites in Japan and Taiwan and then melted them down in order to produce the yarn that was ultimately used for the jerseys. By doing this, Nike managed to reduce their energy consumption by 30% compared to manufacturing virgin polyester and they prevented just under 13 million plastic bottles from going to landfill sites. This is the equivalent of around 254,000 kg of plastic waste, which could cover 29 football pitches. This commitment from Nike to produce more responsible apparel is


something that can only resonate positively with their audience. Brand moves like this are difficult to fault and do great work to get people believing in your brand promise and environmental commitment. Your brand wins and the planet wins too.




Radio R

adio was founded in June 2011, this young illustration and design studios initially begun in the humble little seaside town of Melkbosstrand, thinking it best to start the day with a sea view. More recently, Radio moved into the city of Cape Town. Radio is made up of Byron, Gert and Brad. How did the team meet? Byron and Gert met whilst working together at I Love Dust in the UK. They didn’t talk much in those days, they have since bonded over many hours of illustration. Brad started Mingo Lamberti and met Byron whilst working on the 2nd range which was an open brief. The triangle was complete when Byron convinced Gert it would be a good idea to work with Brad and that was the formation of Radio. What were you all doing before Radio? Byron started off his career at Daddy buy me a pony, now The President. After that he took up a job at Am I Collective before leaving our shores for I Love Dust in the UK. Gert got stuck in a advertising agency after college, but made the break and hopped on a jet plane for the UK and I Love Dust. Brad started his career in client service in advertising and left that to start Mingo Lamberti where he taught himself to illustrate. Why the name Radio? Radio was chosen because it was simple and had something to it, which made it sound interesting. It was inspired by Radio Coraline, which was a pirate radio station that broadcasted off the shores of the UK.

Who are some of your clients? We have agents overseas so that opens up to working on many international clients, which is a real positive. Some of our clients that we have done work for are Converse, Monocle, British Airways, Toyoto, Wired, IBM, The Economist, Nike, Billboard Magazine, AT&T, Esquire and Mobil. What projects stand out for you and why? The projects that stand out for us are those where we are able to evolve our style to a place where we feel its something different. Illustrations like the Madmen posters, the Monocle characters and the Wired environmental illustrations are a step further for us. Although it may not look like it from the outside, its a constant push to do things differently and its a little harder than it may seem. What is Radio’s illustration style? The studio is made up of three styles, being the three people its made up of. There is a common thread in the craft and standard of illustration, but after that it does come down to personal styles. We are all involved in every project either in doing the actual work or giving feedback and that results in a style that you could say is cleaner, more structured with a little bit of texture for good measure. You do a lot of work for Monocle Magazine, that’s must be a great client and awesome exposure for your studio. How did that come about? That was a good day. We got an email from one of the art directors at Monocle and had to read it a couple times to make sure it was real. We replied very calmly and since then we have worked on Monocle for the past six issues. They are a great client as they really do want you to do what you do best. What keeps you inspired and creative? The real drive comes from the want to create something new and original. Nowadays its even more difficult as there are many excellent illustrators and designers out there and I guess they inspire us to do work that betters what we have done before. Self initiated projects are important too like The Madmen and The Walking Dead posters.

ThERE IS mORE TO PRINT ThaN INk. There is little doubt that the number of consumers making greener choices has multiplied. Consequently, there is growing pressure on companies to select environmentally responsible suppliers to produce their products. Paarl Media has taken the industry lead, proactively developing stringent environmental policies to limit the impact on our natural resources. Our commitment is reflected in an investment of more than R100 million in environmentally responsible practices to ensure the lowest possible impact on our natural resources without compromising on the quality of printing.

REDUCING YOUR CARBON FOOTPRINT • National network to ensure efficient delivery. • Digital workflow, including digital proofing. • Start-up paper waste reduced on sheetfed and heatset web offset presses. • A full in-house service from pre-press to finishing and despatch reduces transport requirements. • Bulk ink storage and deliveries with pump inking systems to all presses decreases wastage, as well as reduces transport requirements and impact on landfills. • Low energy consumption with advanced automation and high efficiency.

SUSTAINABLE PAPER OPTIONS • First African printer with FSC™ (Forest Stewardship Council™) CoC (Chain of Custody) certification*, an independent international verification that the products printed can be traced back from their point of origin to responsible wellmanaged forestry, controlled and recycled sources. • Local and international range of environmentally friendly paper stock from trusted sources. • New sheetfed presses include technology which reduces paper usage per press by approximately 750 000 sheets per year, equivalent to the conservation of approximately 1 040 trees per year per press.

ELIMINATING HARMFUL EMISSIONS Regenerative Thermal Oxidisers on all heatset web offset presses eliminate harmful emissions in line with international standards. Energy recovered during the process is re-utilised in the drying section, thereby vastly reducing gas energy consumption. All web offset printing is alcohol free. Volatile organic compound free, vegetable-based inks used on sheetfed presses. The energy efficient Kongskilde and Höcker system ensures 100% dust free air is released into the environment.

RECYCLING All waste paper recycled using sophisticated baling facilities at plants. Used gravure copper skins from engraved cylinders recycled. Web and sheetfed plates are recycled. The gravure ink solvent, Toluene, is recovered and sold back to ink manufacturers for re-use.

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wITh PaaRL mEdIa The Paarl Media printing responsibly logo is a symbol of our commitment to environmentally sustainable practices. It can be applied to all products printed with the Paarl Media Group, to demonstrate to your clients that you are printing responsibly. Tel: +27 21 550 2500 E-mail: * Not currently available at Paarl Media KZN and Paarl Coldset Pietermaritzburg





icycles are cool again. We’re seeing it in our very own city with rides like Moonlightmass. With fuel prices rising, more people are opting for environmentally friendly forms of transport that are cheaper. Perhaps they are also remembering the good old days of riding around the neighbourhood as kids, the freewheeling whizz on the down hills and cruising the flats. Bicycles get us back to basics. There are only so many things you can carry and so many places you can be in one day on a bike. I know many people whose only form of transport is their bike and it’s intriguing how addictive it can be. The more you pedal, the more you forget that driving (and even walking sometimes) is an option. Having become one of these addicts recently, I must say I’ve never seen the joy, or at least the point, of having a motor on one’s bicycle. It was one of those ideas I thought about briefly long ago, was dismissed and hasn’t showed up on my radar since. Why not just get a motorbike or scooter if you don’t want to exert yourself or have long distances to travel? According to Wikipedia, 7.5 million electric bikes produced in China were sold nationwide in 2004 and by 2007, electric bicycles make up 10 to 20 percent of all two-wheeled vehicles on the streets. So why are they so popular? The reasons are obvious: 1 You can travel the same distance you would on an ordinary bicycle faster and without wearing lycra (unless that’s what you normally wear) or breaking into a sweat. 2 Some electric bicycles clock the same speed you would on a scooter without you having to spend anything on fuel or needing a licence. 3 If you live in an area with terrible hills and need to carry stuff, electric-assist really helps! Because these bikes are generally designed primarily for function rather than form, their looks can leave you feeling somewhat cold. However, there is one that really is a piece of art, the ‘Faraday Porteur’. It’s truly beautiful. It’s hand-made in America steel frame and design inspired by 1940’s and 50’s European delivery bikes began as an award-winning concept created by a company called IDEO for the Oregon Manifest bicycle design contest. The leader of this team, Adam Vollmer, a bicycle mad mechanical engineer, went on to launch Faraday Bicycles where he now works alongside a brilliantly sparky team of design/business/brand/bike-minded people. The elegant, style gives the impression of just being an ordinary vintage bicycle that’s been brought into the 21st century. Except on this bike you can pretend to be really fit, breezing up hills, with not having to shower and change your clothes at your destination. Recharging via usb and riding into the night with automatically switched on lights, this bike has me thinking batteries on bikes are actually kind of cool. Check them out here Kerrythe Mahaffey

Carbon 49 USB MIDI Control er.

Program change.

With a semi-weighted keyboard, easy-to-use controls, iPad compatibil ty and Komplete Elements by Native Instruments, Carbon 49 makes music production ac es ible to everyone. Š 2012 Samson | | facebo Carbon 49 USB MIDI Controller. With a semi-weighted keyboard, easy-to-use controls, iPad compatibility and Komplete Elements by Native Instruments, Carbon 49 makes music production accessible to everyone. Š 2012 Samson | |

SA211_Carbon49_FINAL.indd 1

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Otarky Rocking Chair


krainian born designer, Igor Gitelstain, lives and works in Israel. Igor graduated in Industrial Design at Shenkar College of Engineering and Design in Ramat Gan. He studied various fields of Industrial Design, covering different design approaches, 3D computer modelling, technical drawing and the production process. “The most important thing for me right now is to find my place in the world of design. I want to be a designer for the real world who solves real problems for real people. Igor’s recent project is a human powered electric generator rocking chair or also known as the Otarky Rocking Chair. The concept is the design and production of products which return the energy used to produce the very same products. The chair generates electricity during the rocking motion. When someone sits in the chair and rocks, a magnet slides along a copper coil within the base of the chair. As the magnet moves forward and back based on the movements of the person sitting in the chair, a current is generated. That current can be sent into a large battery to store the energy or hypothetically charge up an electronic device like a smartphone or a laptop. Igor specifically designed the Ortarky Chair to hide the fact that it generates electricity. The only indication that the chair does provide a source of energy is the power plug outlet located at the rear of the chair. The modern design of the chair uses laminate wood for the main seating area, white padding upholstery for comfort when sitting and brushed metal legs to hide the copper coil inductor. When asked about the design, Gitelstain stated “If the chair gets produced on an industrial scale, I’d like people to buy it not only because of the electricity, but because of its looks and comfort.” Igor Gitelstains’ vision for the future of household products include a function of returning the energy that was invested in their creation, beyond their conventional and aesthetic uses. The energy that the chair produces will join other renewable electricity generators within the household, such as solar panels and wind turbines. The idea is that the consumers can provide for their own energy needs

Linear electricity generator Coil inductor Magnet Ball bearing

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Available from 1 October 2012. Products available in selected The Body Shop速 stores. Limited Edition Range.














A The new new media


ust one year ago Sunday evening at the Loeries was the premier evening where the biggest brands did battle in the classic above the line media battle trenches. This year though those same brands seem to have battled in a different medium. Interactive campaigns with a digital media base seem to be the new battleground. Consumers are spending more and more time with laptops, PC’s and mobile devices and less and less time with TV and radio. Brands have reacted to place more focus on the digital front but why now and why so sudden. Two points seem to rise to the top legitimacy and cost. While brands before may have been lured to digital for the sheer cost saving, that cost saving seems to be a complete loss when you cannot justify and prove ROI to a company board. In the last few years much effort has been placed in developing the tools to measure while events in the global sphere such as the Facebook IPO served to popularize and give legitimacy to Social Media and the online sphere. While the ultimate question, “What campaign cost more?” looms in the room with agencies not wanting brands to know what they can get for less. A new era with new skills and measures of success are here, a better world for

creative thinking, a better world for brands but maybe not a better world for agencies. With the measures of success extremely clear for all to see. Is this the beginning of short term campaigns with brands jumping from the agency of the now? We hope not. A common theme through all time in advertising has been about trust this can only be achieved with time. This year there has been a shift a shift of thinking in unison whereby brands a year

Interactive campaigns with a digital media base seem to be the new battleground. ago the focus was above the line traditional communications to a complete change of focus to highly interactive campaigns across social media platforms, mobile and real life interactions. One way dialogues are simply not good enough anymore and one wonders are the days of unquantifiable advertising spends of above the line advertising. Has the threshold been crossed where brands want complete return on investment in what is almost a direct cost manner. Carling

allowed fans to become the coach but first they had to purchase a Carling. The loop is created where the advertising acts as a direct stimulant to sales. Is this the end of brand building or will business finally become more focused on utilizing their consumer touch points to fulfill the task of brand building. The FNB Twitter account seems to be a great example of this where the brand created a real touch point for its customers and creating an opportunity for brand building at the same time. The Woolworths Facebook page has done the same by adding value to people lives with high quality content which strengthen the brand while providing essential customer service touchpoints. Does this end the days of brand building through media or does it aim to enhance it? Now brands have to develop something entirely new and something that with have to be long lasting or has it already been created already. If you are going to engage as a brand online what will the voice sound like? We have had the largest crowd in Soccer City interacting with the sporting event as the coach, what is the next step? The desire for more will be sure to deliver that for consumers in the years to come. Ryan Jared Ali

fter all the rah rah of the last couple of weeks around the annual advertising backslap it was nice of David Nobay, Creative Chairman at Droga5 in Sydney, to sit us all down and share some of the harder truths of advertising. He had five of them in fact. 1 Not all clients want great work. 2 There are too many of us. 3 We lost our exotic. 4 We’ve forgotten how to sell. 5 We reward mediocrity. Chris Moerdyk eat your heart out. As everybody grabbed for their iPhones to check in on Twitter and see which ECD would be first to denounce Nobay an ‘enemy of the creative industry’ the man himself happily droned on in the presentation that made the seminar worth its 500 bucks. That would be the grandly named International Seminar of Creativity hosted by the Loerie Awards in Cape Town City Hall as part of Creative Week. Nobay, noting an arrogance in the trade when it comes to ‘creativity’ and ‘advertising,’ or at least what creative types in advertising consider creative work, says clients often have practical reasons for not implementing your potentially Loerie winning idea. This is also the problem with award shows today said Nobay – they oversimplify what is considered ‘creative.’ Awarding winning work has become a matter of looking at a piece of work and having an immediate reaction (on the judges part) to it before moving to the next piece. “We are in this business to make money,” Nobay told his stunned audience, “Or we would all have become artists.” Great work, according to Nobay, is really a moving target, isn’t really tangible and lots of clients are running businesses in maintenance mode, while ‘award winning creative’ has become all about the new. As a quick aside Nobay suggested that the trade, obsessed with rankings as it is, start ranking clients. This isn’t a half bad idea and would certainly put awards tables in perspective at the next pitch meeting. In fact it would probably take it off the table completely. Nobay also believes there are too many of us (ad folk). He describes Sydney as ‘clogged up with creative people’ that means smaller pieces of the money pie has to go round to sustain an ever growing number of creatives. It also means many clients no longer need large agencies. This is also true of Cape Town where there are many freelancers active – including some of the best talent around. Now freelancers are organising themselves into teams with project managers from small agencies managing client relationships and admin and them doing what they best at be that

strategy, creative, production etc. At Droga5, says Nobay, clients can expect to see fewer but more senior people in the room, setting the scene for a more powerful conversation. This is pretty much the strategy brought to South Africa by Mike Abel with M&C Saatchi Abel, which has shot up in little over two years to become a significant agency known for the seniority of the people it’s able to bring to the table. One of the major shifts the advertising world has struggled to adapt to has been the marketing and advertising knowledge transfer to executive level in the client environment. Complain as much about the juniorisation of marketing departments as you wish, the fact remains that more people on client side understand more about the dynamics of marketing and communication than at any time before, meaning the ad industry has ‘lost its exotic.’ Once clients didn’t know or understand what ad agencies did, but they do now, says Nobay. In its heyday advertising execs could run rough-shot over clients, just watch an episode of the TV series Mad Men, or listen to any of the old timers reminiscing over a couple of drinks. Today even juniors at client meetings undermine agency presentations, says Nobay, who also points out that a middle way need to be found, as neither the Mad Men or the new reality is sustainable over the long term. Nobay urges to industry to be relevant rather than to try and be special in an effort prove to clients that creative people really are interested in their business and their bottom line. Nobay also believes much of the industry have forgotten how to sell. Creatives dream creative while really they should be selling stuff. Including their own great ideas! Invest in training staff to sell, says Nobay, which is an interesting (and relevant) space for creative agencies to think about and work in. Finally, says Nobay, our culture rewards mediocrity. Look no further than Karaoke, where you can be terrible, and still garner a round of applause. Genuine creativity really lives in the dreams of children (who often learn through falling down, and getting up again). As an industry we should also celebrate great failure, and clients should be encouraged to put aside a part of their budget for work they might not normally have commissioned, and to experiment (as Droga5 and Unilever Domestos did with this Australian ad called “Meet Phill Pace”). Herman Manson Herman Manson is the editor of advertising and marketing news & opinion site Follow him on Twitter @ marklives




John Hunt

receives Lifetime Achievement Award


n Sunday evening, at The 34th Annual Loerie Awards, a Lifetime Achievement Award was awarded to John Hunt, Worldwide Creative Director, TBWA\ Worldwide, for his outstanding contribution to the South African and global advertising industry over the course of his career. Born in Zambia, John Hunt is a local and international legend in advertising. He cofounded the agency TBWA\Hunt\Lascaris in 1983 together with Reg Lascaris. The agency operates on the mantra Life’s too short to be mediocre. And indeed it has not been a mediocre journey for the agency. Since its inception, they have won countless awards including Agency of the Century, Agency of the Decade and Ad Age’s International Agency, twice. In 2009, TBWA produced the ‘Trillion Dollar Campaign’ for The Zimbabwean Newspaper, which went on to become the most awarded campaign of all time – including a Cannes Grand Prix, Loerie Grand Prix, Grand Clio, D&AD Black Pencil, and the Art Directors Club (first ever) Black Cube. Reg Lascaris, Regional President TBWA Africa Middle East at TBWA\Hunt\ Lascaris, and co-founder with John Hunt, says, “I’ve known John for a long, long time and not only is he a great colleague, but a good friend. John has a knack of making the complicated simple and the simple great. He takes the germ of an idea and makes it grow into something wonderful. His contribution to the South African advertising industry is immense as is his contribution to his creativity around the world. I’ve really enjoyed our journey together and I’m so pleased he has been acknowledged by the Loeries as one of South Africa’s great creatives. In his own words…‘onwards and upwards’”. John has been a great role model to many. One of the people who found him a true inspiration is John’s one time protégé, Mike Schalit, Chief Creative Officer of BBDO South Africa (who received the

Loeries first Lifetime Achievement Award in 2008). “Under John Hunt’s sage, witty and visionary gaze for eight years I went from being a failed rock muso, long-haired and wide-eyed, to being a successful Creative Director, more long-sighted than long haired but still wide-eyed”, says Mike. “I guess that was always his strength bringing out the true potential in people and ideas, but reminding you to do it your way, to the beat of your own drum. Not exactly surprising that Hunt Lascaris went from a 15-strong creative shop in ‘85 when I first fell under his mentorship as a junior copywriter to a global icon by early ‘94, where I had progressed to being his Deputy. His drive, vision and success in creating a world class creative agency out of Africa only served to fuel my ambition, so he more than understood when I left (with his blessing) to start Net#work in the new South Africa.” Proof that brand communication can make the world a better place, John was intimately involved in Nelson Mandela’s first ANC election campaign in 1993. He has also found time to write a number of television and theatre plays, as well as other literature. He was named South African Playwright of the Year for Vid Alex, a play that condemned censorship during the apartheid years. John’s first book, The Art of the Idea, published in 2009, has already been translated into a number of languages.







Loeries Effective Creativity award

Jaco Burger wins at the Loeries


aco Burger, a designer and partner at Die Ateljee will be heading off to Cannes following his win of the coveted Adams & Adams Young Creative Loeries Award. “My entry was a collection of work done mostly for cultural institutions; MoDILA (Museum of Design, Innovation, Leadership & Art), Wits Art Museum, UIA & SAIA Durban 2014 Architectural Conference, and an artist’s book that I did in collaboration with Richard Strydom. The corporate work was done for Movitel and the identity and packaging design for Bliss Chemicals. I also designed a bespoke typeface for our studio, Ateljee.” “The body of work consisted of pure design, whether it was an identity, logo or a tailored typeface. I think it emphasised

the important role of well conceptualized and crafted design in the creative industry. I believe it also shows that design must follow the function for which it is created. One should not be afraid to strip the design of any visual clutter - if it will enhance the concept of a specific design project. The same goes for something that needs an elaborate visual solution in order to convey the message it was created for.” He is also of the opinion that the crafting of designs has become more significant, as the design industry becomes progressively competitive, Winning two Pendoring awards (gold for digital and silver for a campaign) and best visual artwork at the 2010 Wordfees for an artist’s book he did in collaboration with Richard Strydom. He also takes the viewer or reader into account before he begins to craft his work. From the outset, he sets out to establish what emotion it is that he wants the viewer or reader to experience. “Whether it’s happiness, remembrance or disorientation, and I think I am fairly successful in doing so. This helps to cement the work into people’s memories, and that is ultimately what a logo or any design collateral should do,” Jaco says. According to Jaco his inspiration comes from a lot of other creative fields such as photography, product- and industrial design, architecture and art. Most of these he says trigger an emotive impulse that

resonates with what he is working on and gives him other concepts to solve problems. “I find a lot of inspiration from Paul Rand’s methodology and his way of looking at logos. He created some of the most iconic logos that are still relevant 30+ years after their creation. Other sources of inspiration are the writings of Dutch-based design and research studio, Metahaven and the bestuse-of-a-set-style studio; Experimental Jetset. I also follow the work of Swissbased Norm and their typefaces.” Mariette du Plessis, senior partner at Adams & Adams says that it is wonderful that so much recognition is being given to the category of design. Graphic and packaging designs could be the subject of many forms of intellectual property protection, including trade mark (brand) and design registrations, as well as copyright. The Loerie Awards, and specifically the Adams & Adams Young Creatives Award provide a wonderful springboard for talented young designers like Jaco. Mariette says that Adams & Adams hopes to raise awareness of the many aspects of designs and intellectual property that can be protected. Young designers often freelance and do not realise what works can be protected and when they can retain ownership of the copyright in their designs. Adams & Adams remains committed to the local creative industry and demonstrated its support by using young creatives as far as possible.

We used a previous Young Creatives Award winner, Mbuso Ndlovu to design an advertisement for Migrate magazine in 2011. This year, the firm has used another young designer, Atang Tshikare, a former Design Indaba Emerging Creative, to design an advertisement for the upcoming edition of the Migrate magazine. “I find it incredibly interesting to interact with young creatives and advise them on the protection of their creations”, says Mariette. And what of Adams & Adams sponsorship of the Young Creatives Award? ”I think it’s brilliant! I heard of Adams & Adams when I first attended the Loeries last years, and thought it was excellent that there was a company out there that protects intellectual property and wants to ensure the financial security of creatives”, says Jaco. “I don’t think we always know where to start when we’re faced with something like protecting their ideas and concepts. Adams & Adams, as an important sponsor at the Loerie awards, creates awareness amongst creatives in all fields that they will take care of this aspect of creativity as a business”. Going forward Jaco hopes that other agencies will view him and studio Die Ateljee partner - as designers with a strong believe in the design solution of a project settled in solid research in order to create a visual piece in conversation with its purpose. Megan Larter

During the show on Saturday 22 September, Creative Circle Chairman Chris Gotz and Loeries CEO Andrew Human announced the introduction of a new category: Effective Creativity. There is a lot of interest in this new category as well as plenty of questions, so we thought we’d explain the thinking behind the move. Why the new category? Proving the link between creativity and effectiveness with the aid of solid data has been an industry focus for several years now. The Cannes Lions International Festival of Creativity introduced a category for Creative Effectiveness in 2011, and the Loeries is following international best practice. In 2011, the Cannes Grand Prix winner was Walker’s with their Sandwich campaign; in 2012, the Grand Prix went to Axe. “If Cannes has taught me one thing, it is that creativity drives effectiveness,” Coca Cola’s Jonathan Mildenhall said in the marketing campaign for the 2012 festival. Isn’t this the same as the Apex Awards? No, for three reasons. Firstly, to be eligible to enter the Loeries Effective Creativity category, a campaign must have won a Loerie in the past two years. That means winners from 2012 and 2011 are eligible. Secondly, while the Apex Awards judge campaigns based on proven effectiveness, creativity is not a criterion for winning. There is a strong correlation between campaigns that have won Loeries as well as Apex Awards, but winning a Loerie isn’t a requirement. Thirdly, the Apex Awards focus on above-the-line advertising. Any Loerie-winning piece of work regardless of category is eligible to enter this award, provided that the agency can demonstrate that it achieved business results. Why not measure all Loeries entries from the start this way? The Loerie flighting deadline this year was 31 May 2012. This means all work that flighted right up to this day was eligible and clearly it’s not possible to provide results for a campaign that only flighted the day before. While the Loeries judging takes five factors into account: Innovation, Quality of execution; Relevance to the brand, target market and chosen medium – actual data may not be available at the time of judging. Surely all the campaigns that win Loeries are supposed to be effective? Not all campaigns are equally effective, just as all ideas are not equally worthy of Gold, Silver or Bronze. The Loeries has always been about awarding the most innovative ideas based on relevance to the brand, the target market and the medium. Though business results are important to what we are promoting – the value of creativity – they are not a criterion for winning an award. This new category recognizes those Loerie-winning campaigns that achieved exceptional returns for brands. Why must a campaign have already won a Loerie to be eligible? The purpose of this award is to assess campaigns that have already been judged to be creative, innovative, fresh and relevant. We hope that the Loeries winners from 2011 and 2012 have already started pulling the data and drafting those graphs and we look forward to seeing the first winners of the Effective Creativity award on stage next year at the Loerie Awards.

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WAN House of the year Kroon Hall


he winner of this year’s WAN House of the year award was no easy decision. The competition in the shortlist made it challenging to categorically state one particular project as the outright winner, however during the shortlist discussions a very compelling argument for one particular scheme determined that this year’s winner is The Complex House in Nagoya, Japan by Tomohiro Hata Architect and Associates. The entries that made it into the final two could not have been more different from one another and this disparity became the focal point in the case for the Complex House. David Levitt immediately recognised the importance of the urban context of this project and stated: “Cities are the challenge; 21st-century urbanisation of big cities is the crucial thing to consider.” The Stone House (the close runner up for the winner of the award) was praised for its beautiful materiality and masterful interventions with the existing historic fabric, however it was felt that its current programmatic function as a holiday home and lack of contextual importance made The Complex House the more engaging of the two as the latter reflects the notion of the ‘home’ in an everyday practice. Initial comments on The Complex

House came from David Levitt as he acknowledged the ‘serious design intent of The Complex House in contrast to The Stone House as a luxurious holiday home’. The restricting aspects of the brief set for the architects has pushed a clever and thoughtful design and Sarah Wigglesworth expressed this as a commendable aspect of the build: “One admires the conceptual basis of the house and the spatiality inside of it. It is lovely.” The architects masterfully exploit the use of natural lighting and space in such a constrained situation and Tom Kundig noted that it ‘balances the needs of poetic possibilities of shelter and humanity’, a sentiment echoed by David Levitt as he felt the house is trying to build a quality of life for its inhabitants. The interior spaces are light and airy, a quality found commonly in Japanese houses, but it is the playful interweaving of the spaces and the varying proportionality of the rooms inside that really set this house apart from the other schemes in the shortlist. Sarah Wigglesworth expressed that David Levitt’s argument was compelling and that the ‘notion of an urban model [setting the basis of why this build should win] provides a very valid point’. This importance of the constrained budget and challenging site really impressed all of our judges and Sarah

Wigglesworth’s final comment on the build really articulates the unanimous feeling amongst the judges about the aspects of this house that made it our winning entry. “I do think this is a modern interpretation of the classic ‘house’ with its clever grading of areas and outdoor spaces that are still private but mediate between private and public, something it actually does very well, as it allows little glimpses in to the family realm but it doesn’t allow you to see anything you aren’t supposed to. I think this is ingenious.” The panel made it clear that The Stone House should be a Highly Commended entry because it is a marvellous piece of architecture that exploits its materiality beautifully with the surrounding landscape, and as a future permanent residence it would provide a wonderful space to live in. The Complex House however was a reaction to modern urban living and represents the House of the Year award in everything it should stand for. Congratulations to Tomohiro Hata Architect and Associates for its impressive and compelling winning entry, and also to Carl Fredrik Svenstedt Architects for gaining the status of Highly Commended from the judging panel. Matthew Goodwill

Though simple in footprint, Kroon Hall’s strategic placing brings coherence to a previously muddled part of Yale University’s campus. The new courtyards it frames assert the collegiate order of the quadrangle, its glazed gable ends and recessed arcade connect landmarks to west and east and the roof recalls those of local rural tradition. Beyond significant savings in energy and water, its local, renewable and recycled materials will age gracefully while inside and out is an exceptionally convivial setting for study and socialising. The existing site was an urban Brownfield and a great eyesore. Immediately to the west and east are revered landmarks, Saarinen’s Ingalls Rink and Sachem’s Wood. 50 faculty and staff offices, classrooms and a small auditorium, a library and learning centre for intense study, and a lounge and cafeteria for less formal study and socialising were required. Loading facilities for neighbouring buildings in addition to those for the new building would remain. The budget was $33.5 million to enclose 58,200 sq ft. To maximise use of natural light and ventilation, the building is 57 feet wide and stretches 218 feet long. It defines new planted courts to north and south, the later on a deck over the loading bays and the former another level up, while the gable

ends overlook and draw into the building the nearby landmarks. An entry forecourt, shared by the nearby buildings, fronts the western end. On the lower three floors, with facades of Yale’s characteristic Briar Hill sandstone, are offices along a central corridor naturally lit from a roof light above the central stairwells. Under the top floor’s vaulted roof, with its 105-kilowatt array of photovoltaics, is a suite of common spaces that are also used for international conferences. The grandest spaces are the auditorium and lounge overlooking the ice rink and the Wood. Entrances at both ends that suggest its openness to all parts of the building are only a short climb up or down. Interactive “greenscreens” that both explain the building’s sustainable features and allow them to be monitored at any moment are nearby. The central circulation that gives visual links along and between all floors and fosters casual interaction, the warmth of abundant wood, the generously lofty top floor intimately embraced by its vaulted roof and the play of light from many sources all enhance a sense of easy and relaxed comfort equally suited to study or social encounter. “What a joyful, beautiful place, and it has led to a new level of interaction among students, faculty and staff. What a gift!” Forestry Dean James Gustave Speth.




Oficina Vidre Negre


uilio Damilano, graduated at Polytechnic of Turin in 1988, founded his architectural firm in 1990. He was born in Cuneo from a family of sculptors and he was interested in architecture since he was a child developing an interest in plastic and material aspects of objects. His latest project, Oficina Vidre Negre was born as a contemporary sculpture, a symbol of a dynamic and continuous development with the need for strong identification, even in terms of image. In a context of peripheral node of the motorway, the building is set within a park, planted with native species, in which a sort of town square accompanied to the entrance. The dynamism of the client is shown in architecture, volume changing, a prism completely covered in black glass faceted and integrated photovoltaic panels. The structure is split which is reflected in the wide expanse of water over the stage

Born in Cuneo from a family of sculptors Duilio was interested in architecture from a very young age. function, is the reserve of water for firefighting system and irrigation of the park. The decomposition of the volume remains in the interior, intersected a sequence of spaces on four staggered levels, illuminated by more than cuts and side windows. In plan, the building is on the east-west, in two wings separated by a central block of facilities (stairs, toilets and bars). Operating areas are designed as open-space, while the executive offices, the private sector, are tested in the east of the building, projected to the outside and suspended in a vacuum. The basement, with conference rooms and parking spaces are lit by large windows to which the green is sucked into chasms of ballast contained in rocks. The entire structure is of type point with beams and reinforced concrete pillars brick and cladding. Building components and systems provide the Class A classification, according to the main guidelines outlined in the DCR 98-1247 as amended by D.G.R. 46-11968 of 04.08.2009 and the Regional Law No. 13 of May 28, 2007 as amended by DGR 45-11967 of 8.4.2009. To ensure maximum energy savings is provided, a heating system with centralized systems of distribution areas, a low temperature heating system with radiant floor system and roof, installing a waterwater heat pump performance to meet as provided in Annex 4 of the DCR 98-1247 with C.O.P. (Coefficient of performance) ≼ 4, a primary air exchange system with heat recovery efficiency of recovery characterized by greater than 50%, as prescribed in the scheme of 2N DCR 981247. The heating and / or cooling of the various environments is assured of No. 4 HEAT PUMPS WATER-WATER type can provide a heating capacity of 39,300 watts each for a potential total of 117,900 watts. The exterior doors are made of aluminium with thermal break the system EKONAL AVANTIS 75 in the configuration with high thermal insulation SHI Super Insulated.

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Michael De Bono designer of the BMW Concept Active Tourer




BMW Concept Active Tourer


ith the new BMW Concept Active Tourer, BMW presents a vehicle at the 2012 Paris Motor Show which is the first in the premium compact segment to combine comfort and space functionality with dynamic performance and style. Annual growth rates of up to five per cent are expected in the small car and compact segment of the premium class in the years to come. For this reason, the BMW Concept Active Tourer is a key component in the ongoing development of the BMW brand and its model portfolio. As a plug-in hybrid, the BMW Concept Active Tourer also provides a glimpse ahead to future drive variants in automobiles of the compact class. The eDrive concept familiar from the BMW i8 is used here for the first time in a model of the core BMW brand and will in future be the designation for all electric and plug-in hybrid drives. It covers all components of the electric drive, the electric motor developed by BMW, the lithium-ion battery and the intelligent engine control unit. Designed by Michael De Bono, the BMW Concept Active Tourer displays sporty elegance from every angle. It demonstrates how compact dimensions, functionality and versatility can be skillfully combined with a dynamic design. The exclusive exterior paint finish in High Reflection Silver contributes to the refined appearance of the BMW Concept Active Tourer. Meanwhile, interesting touches are provided by the additional applications at the front, side and rear. The surfaces are in high-gloss polish with brushed velvet matt on the undersurface. This subtle shimmering between matt and gloss emphasises the play of light and shadow created by the new exterior paint finish. The BMW Concept Active Tourer unmistakably retains the characteristically expressive BMW front view. The dominating element here is the distinctive, slightly front-tilted BMW radiator grille. The striking twin headlines with LED positioning lights (eyebrows) stretching far back into the side panels and the multi-faceted front apron combine to reinforce the sporty presence. Seen from the side, the elongated silhouette with its suggested wedge shape gives the BMW Concept Active Tourer a dynamic feel even when stationary - something which is unique in the class. Integrated door openers and the strikingly contrasted side sills with their rising shadow line combine with the large 20-inch wheels to give the BMW Concept Active Tourer its sporty, elegant appearance. Short body overhangs at the front and rear and the long wheelbase make for an unusually generously sized interior considering the vehicle’s compact exterior dimensions. The raised roof line and large doors at front and rear promise convenient access to all seats. Meanwhile, the rear section of the BMW Concept Active Tourer is characterised by athletic elegance. Marked, horizontal body lines define the rear view of this compact BMW. The large rear light clusters running well into the side panel highlight the broad wheel arches, visually underscoring the vehicle’s solid road-holding.





aniel Speight is a graphic artist based in East London. Daniel has a BA in Printmaking from University of Wales 2001 and moved to London to study his Master of Arts in Graphic Design at Camberwell College of Art in 2008. He is captivated by the inspiring street design and historic geographies of London. He founded his studio Soft City after graduating. His design process involves using design software with printmaking, connecting his skills as a designer with his fascination that, quite simply, anything flat can be printed on. Reusing existing objects and recycling materials is an integral part of Daniel Speight’s work. Daniel recycles common materials such as old wood and books into art, respectfully attempting to reveal the personality of often well worn objects with design. The aim is to create layered, meaningful pieces of work and a

Book Block is a new form of hand crafted screenprinting. new connection with the materials around us. Excited by increasingly relevant movement of ‘Upcycling’, Daniel finds this an important time to bring old or unwanted objects fused with design processes and creative ambitions as part of his on going work with discarded items. His most recent project is entitled Book Block. Book Block is a new form of hand crafted screenprinting on books either abandoned or destined to be pulped, transforming old reading material into detailed three dimensional art. The project is a celebration of the unique architecture of London’s streets, the prints depicting a variety of the capital’s buildings; from world renowned iconic landmarks to lesser known corners of London such as the vibrant Lower Marsh, tucked behind Waterloo station. Amidst the digital revolution, there is an uncertain future for the celebrated book. Daniel taps into the book’s material possibilities with ‘Book Block’ as well as highlighting the aesthetic charm of the treasured bookshelf. In doing so Book Block presents an original take on screenprinting and the way we use existing objects and spaces for aesthetic appreciation.

Aaron’s Pin thread Sculpture Aaron’s Pin thread Sculpture was established in 2006. After years of trial and error, The tales of hardship before triumph, It has built its reputation through the years with striving for quality and Customer satisfaction. Nail Craft Thread Sculpture is a unique Art of its own. This includes combination of Twisting style, Arch-angled, Pyramic and Spiral threading techniques – which are all Geometric form of Art, to create a visual feast of line, colour, shape and texture. My product encompasses all the dynamism South Africa has to offer. Whirls exploring the contour of Geometric Form. This art create a world governed only by imagination. It is worn by everyone who dare to embrace the mystery of cotton thread. Babianat Road, Riverlea Extention 2, Johannesburg, 2193 T +27 (0)83 558 8384 F +27 (0)86 653 0992 E pin.Thread.Sculpture@gmail.Com

An eye for beautiful things Beautiful things have a way of coming to life in the spaces created by Jo Carlin @ MURALTO. With Jo’s eye for working beyond the cutting edge of global trends (and indeed the ordinary the MURALTO brand, continues to provide contemporary classics with a European flair under the watchful eye of Swiss-born perfectionist, Rene Haas, who founded the business 45 years ago. See

115 Waterkant st. Cnr Waterkant and Hudson St. Tel: 0214213717 Jo Carlin: 0832363638




Leadership in printing

Rug Revolución With bold colours, contemporary designs, and refined detailing modern rugs are so much more than floor coverings. There has been a noticeable rise in the use of rugs as an individual style statement - a design object influenced by both fashion and personal taste. The rug is reinvented as an art piece, a luxurious focal point within a room. The diversity of materials, colours and patterns now available allow endless creative possibilities and bespoke rugs can be created to effortlessly unite any interior setting. Leading South African rug designer and manufacturer Rug Revolución is based in Cape Town with offices in Brazil, Nepal and India. A family business founded in 2001 it is run by Mahdiyeh Mae Pakdoust who is the second generation of her family to work in

the trade. Rug Revolución has a collection of over 1000 contemporary designs ranging from bold geometrics and bright florals to distressed vintage and graphic lettering. Their bespoke pieces play a key role in creating uniquely personal spaces and have been commissioned for boutique hotels and private residences throughout the country. The company manages all aspects of its manufacturing from the design of its collections and bespoke pieces, sourcing of raw materials, dyeing and spinning of wool, to weaving of all of their rugs. This attention to detail has allowed Rug Revolución to develop a unique product range that is globally competitive in cost, quality, and design, with a focus on highly skilled craftsmanship.

Appearances count

ORA the outdoor boutique ORA the outdoor boutique has been really busy over the past six weeks. The directors went to the Milan furniture show and had hugely successful meetings with all our suppliers that were there. It was fantastic to be a visitor at a show of such proportions and to be exposed to so much design and innovation. Not long after the directors went to Hong Kong where new lights were discovered to broaden our range in the lighting and accessory space of your home outdoors. Hong Kong, a city of so many thousands of lights, a city that never sleeps, had to be the place where we discovered the perfect range of indoor and outdoor lighting to add to the ORA collection. Some of the ORA favourites for the moment, include the

outdoor shower from Viteo, which simply needs to be plugged into your garden hose and voila, step onto the shower and enjoy the light rain sprinkle that will clean you off from the beach, cool you down on a hot summers day or relax you in your home outdoors. The range of outdoor lights from French company Smart and Green has grown to include furniture pieces that light up, new shapes and sizes and accessories that every home outdoors must have. The Red Dot Design Award winning foam furniture from Fischer Moebel in Germany was a huge success at the Grand Designs Live show in Johannesburg and is been snapped so fast we just can’t keep up.

we discovered the perfect range of indoor and outdoor lighting to add to the ORA collection

For Corporates, their actions are seen and noticed. They tell their clients and suppliers a much about who and what they are. A company’s image is created by the choices made and the actions taken and then how these are interpreted and perceived. Whether you are considering a paper for your annual or sustainable report, your next promotional or product brochure, your stationery or the copier paper for your office use, to ensure you are making the responsible choice, by showing the world that you prefer to make your mark an ecologically sustainable and green one. Antalis has a wide range of beautiful papers, all of them manufactured using environmentally responsible processes by Forest Stewardship Council™ certified paper mills. The perfect paper for any corporate communication is available and you can be sure that by specifying an Antalis paper you are ticking the box for the environment. ‘Going Green’ means you can choose one of Antalis papers that carry the FSC™ certification so you will limit or erase your company’s impact on the resources of the planet. Always ask where your office copier paper comes from. How can you be part of saving and protecting natural forests, or solving Global Warming? Responsibly ‘Farmed’ and replenished trees absorb carbon dioxide and reduce green house gas emissions. Antalis distributes papers that are sourced from Responsibly Managed Forests, carrying ISO 14001 and ISO 9001 as well as FSC certification on both virgin and recycled options. All our suppliers subscribe to and comply with our environmental charter. The Paper industry is ranked third as carbon positive word-wide. What does this mean? The process of planting new trees, making

paper, transporting and using it and then discarding (recycling) actually absorbs more greenhouse gasses than it releases. What is FSC certified paper? In short, it is a system of forest certification and product labelling that identifies wood based products, such as paper, that originate from well managed ecological and economical sources contributing to the wellbeing of the people affected by forestry operations in their vicinity. Forest management involves an inspection of the forest by an independent FSC accredited certification body to check that the forest complies with FSC principles of ‘Responsible Forest Management’ and they form part of the chain of custody which refers to the path taken by paper from the planning and harvesting of the raw materials through all its production processes to the final product and distribution, i.e. as the end user are able to trace from where your sheet of paper originated Our office paper offering is ‘green’ – so what does this mean? e.g. our Double A office paper – Trees come from Khanana (the farmers unused land between rice paddles) that absorbs carbon dioxide, and reduces green house gas emissions. This sustainable and environmentally friendly source of wood is used to produce premium quality Double A. Natural by-products are used to generate renewable energy biomass electricity and steam for the plant. Local rural farming communities grow Double A trees. In essence, selecting Antalis papers is a sound environmental choice for your dayto-day paper requirements. Antalis South Africa hold a FSC™ CoC multi=-site certificate (FSC™ C100415). For a list of Antalis FSC certified papers go to

Going Green means you can choose one of Antalis papers that carry the FSC™ certification

It is through taking the lead in the implementation of modern technology, skills development and sound business practices, that Paarl Media can over its clients a highly effcient quality service that adds value to their business. With ten specialised operations across South Africa, they have access to extensive resources, flexibility to cater for their individual requirements, powerful bindery capability, and a comprehensive distribution network for large volume production. Modern technology The implementation of advanced technology, systems and streamlined processes throughout allows Paarl Media to provide the flexibility to handle diferent formats, and to effciently deliver the highest quality publications with quick turnaround. Digital integration of the pre-press departments allows seamless transfer of files between plants, allowing one product to be printed in different locations on identical platforms where it suits the client best. The modern press technology caters for publication gravure, heatset web offset, sheetfed, coldset and uv flexo self-adhesive label printing for the production of magazines, retail catalogues, books, newspapers, commercial work and labels. The binderies, with their experienced, quality driven hand finishing divisions, can accommodate intricate variations in finishing, fine packing and distribution. Proactive transformation With level Four BEE Contributor and value added service supplier status, 125% of client’s spend with Paarl Media applies to their own BEE scorecard. Our total empowerment shareholding in excess of R1.3 billion, and over 500 jobs have been created through successful enterprise development initiative ves. Our BEE partners are truly broad based with loveLife’s Kurisani Investments having over 7.5 million beneficiaries (100% black owned, 51% black female ownership), and Welkom Yizani Investment Company involving 100 000 black individuals and 1 000. Skills development Skills development is central to job creation and productivity, empowering people for meaningful parti cipation in society. Following a comprehensive study of overseas training programs, Paarl Media has taken the lead in the development of a world class training facility, the Paarl Media Academy of Print, which has received local and international accreditation through the FP&M SETA and City & Guilds in London. It is set to raise the skills levels in the industry. Existing outdated trade training has been replaced by new apprenticeship curricula, with apprentices earning a wage while they learn on the 2 year theoretical and practical training programme. The Academy offers employees technical, skills and leadership courses, and is an Insti tute of Sectoral and Occupational Excellence (ISOE). Printing responsibly With over R100 million invested in environmentally responsible practices, our clients are reassured that their work will be delivered with the least impact on the natural environment without any compromise on the quality of printing. Paarl Media was the first African printing organisation to receive Forestry Stewardship Council™ and Chain of Custody certification, an independent international verification that the products printed can be traced back from their point of origin to responsible, well managed forestry, controlled and recycled sources. Products printed on certified paper at Paarl Media Cape, Paarl Media Gauteng, Paarl Media Paarl and Paarl Coldset (currently excluding the new Pietermaritzburg plant) can apply to carry this trademark.


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Why recycle? King Solomon said “A wise man leaves and inheritance for his children’s children…” It is easy to leave an inheritance for your children, you just have to die…. but to leave an inheritance for your children’s children, you have to be a visionary. A visionary looks beyond his or her own generation; a visionary lays foundations and implements systems that will impact their great grand children and their children. They leave behind as much as they can, so that their ceiling will be the floor of those who follow. A visionary chooses to make a difference, and then works hard to make that difference count. What are we leaving for our children’s children and their children? Are looking towards their futures and adjusting our lifestyles to give them the best possible environment? Here at uSisi Designs we want to leave behind a cleaner world, and a passion to keep it that way for the future generations, by recycling, redesigning, educating and inspiring people to do the same.

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Introducing a unique promotional product, the Snifty Scented Promo Pen. Infused with a choice of 9 wonderful scents in the tip and grip and manufactured from Eco-friendly materials in the USA. Printed with your company logo, these are an exceptional marketing tool which will enhance your brand and increase brand recognition. Seagram Pearce Photography 78 Shortmarket Street Cape Town studio 021 422 5823 mobile 083 978 3143

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Cobra rebrands itself for the future


hen it comes to iconic South African brands, few can rival Cobra. A standard in South African bathrooms and kitchens since 1951, Cobra has been synonymous with outstanding craftsmanship for more than 60 years and is a touchstone in its field. It is off the back of this that Cobra has rebranded itself and now sports a fresh new identity – one set to see it through the next 60 years. From its payoff line, ‘Taps that’ll turn you on’ and amusing TV ads featuring the millionaire in the foam-filled tub, Harry in the laundry basket and the little boy talking to his bath taps, to the instantly recognisable red and blue Cobra icons we’ve relied on for years to distinguish our hot and cold taps, Cobra has entrenched itself as part of the South African lifestyle. This is fitting, given that its products are locally manufactured specifically for local conditions. Cobra has also built a strong reputation amongst local consumers and tradesmen for delivering high quality products, backed by excellent aftersales service and spares and parts availability. Over and above all this, the brand has also become a bastion of cutting-edge bathroom and kitchen product design and an industry-leader in terms of innovation. This is particularly evident in its range of designer products – some of which have won the industry’s highest accolades – as well as in its extensive range of energy and water saving products. “This demonstrates how Cobra has evolved as a brand over the years. We no longer just manufacture taps but one of the most comprehensive ranges of sanitary fittings in the world. Our focus is not merely on the production of these pieces but also on their design, their functionality and their aesthetic appeal. This is important because we see design as an art form; Cobra taps aren’t just manufactured, they’re carefully crafted. We’re a progressive company and our brand needs to reflect that. It’s for all these reasons that we’ve revitalized the Cobra brand and repositioned ourselves as the leading South African lifestyle brand in

Wild Dogs captured forever in Gold… “There are less than 450 Wild Dogs left in South Africa – that is less than the number of rhinos that were poached in our country last year.” The words of Yolan Friedmann, CEO of the Endangered Wildlife Trust, made the South African Mint realize that all South Africans would have to try even harder to save this Critically Endangered symbol of our natural heritage. The South African Mint launched the Natura 2012 coin series depicting the African Wild Dog or African Painted Wolf in July this year, close to the Kruger National Park. Friedmann further explains “We at the Endangered Wildlife Trust (EWT) have been committed to saving South Africa’s most endangered carnivore for three decades through our work with the Kruger National Park’s Wild Dogs. The Park represents the stronghold for Wild Dog conservation in South Africa and is one of the most important conservation sanctuaries for the species on the entire continent.” The South African Mint is

committed to contribute to the conservation efforts of these family oriented mammals through the sales of the Natura gold coins. “The dwindling numbers are of great concern and we hope that this partnership with the SA Mint will help us to ensure that Kruger’s Wild Dogs remain safe for future generations.” – Yolan Friedmann. The 2012 Natura coin series features “Nature’s Families” and depicts one of Africa’s most endangered species, the African painted wolf also known as the African Wild Dog. The common obverse of this series shows the silhouette of a typical African painted wolf family drinking water in their pack. This series is available from The South African Mint Company’s sales office, and their retail outlet in Midrand - Coin World. These sets will also be on display and available to purchase at the Cape Town Coin Show on the 20th October at Kirstenbosch Gardens. The show runs from 10am to 4pm and entrance is free.

Subscribe to Designtimes! our field,” says Peter Hamilton, Cobra MD. With this has come a new outlook for the company as a whole, marked by the embracing of our core values of excellence, credibility, initiative and responsibility and the driving desire to create and promote a culture of customer centricity. The launch of a fresh new 3D ‘chrome’ logo, that talks to the craftsmanship of Cobra’s products, and the new payoff line, ‘A South African icon’, signals the beginning of the changes Cobra will bring to the industry. “This is not just a logo change; it’s a complete culture change. Leading

companies continually reinvent themselves to remain competitive and while we’ve been slowly building these brand attributes in the background over many years, we’re now ready to bring these to the forefront for all to see. In this way it is more of a brand evolution than revolution. We’re proud of our history and heritage and want South African consumers to be proud of it too,” Hamilton adds. The new Cobra branding will be rolled out to all product, packaging and marketing material in the coming months.


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Create Interactive Forms in InDesign CS6

Create fully functional forms with ease using Adobe InDesign’s new form tools. With the latest release of Adobe’s InDesign CS6, you can design forms in InDesign and export them directly to PDF, writes Eva Csernyanszky

01 Firstly, change the Workspace to

“Interactive for PDF”, go to Window > Workspace > Interactive for PDF or just go directly to the Application Bar.

05 For the “Email”

02 Open a new InDesign file and create the form, you can even use rounded, inset, bevel or fancy corners for the text fields. In this tutorial we’re going to use Text Fields, Check Boxes, Radio Buttons, Combo Boxes and a Submit Button.

InDesign now supports form fields and additional form actions. The Buttons and Forms library (Window > Interactive > Buttons and Forms) contains items that you can use to design interactive forms. In this tutorial you will learn how to create interactive form fields and export them for online use.

field you can just select the “Name” field and press Option + Shift and drag it down. Every field needs a unique name so change the Name and Description to Email.

no stroke and fill on top of one of your Text Fields and select Object > Interactive > Convert to Textfield, to convert it into an interactive field.

which allow users to select one of multiple options, in this case the “Current Grade”. Again, create an invisible Textframe above the design and select Object > Interactive > Convert to Combo Box. Add List Items by clicking on the + symbol next to the Text Field. Select one of the Options in the list to make it the default choice.

09 Let’s

06 Check Boxes are added to enable the 03 Now place a regular Textframe with

08 Combo Boxes are pop up menus

user to make more than one selection. Convert the Object to a Button and choose “Check Box” from the Type list. It is very important to add a value as without it as you cannot identify the user’s selection after submitting the form.

create a Submit Button for the user return the form via email. Select the object and click on “Convert Object to Button” in the Buttons and Forms Panel. Keep the “Type” as Button but this time add an “Action” by clicking on the + symbol. Choose Submit Form under PDF Only, add a description as a tool tip and add a URL (e.g.


10 The final step is to export an 07 Create Radio Buttons for a list

Eva Csernyanszky Founder of Friends of Design Academy of Digital Arts. Eva has been in the design software training business for 14 years, with 5 of those years spent running one of South Africa’s leading digital design academies.

04 Name the Text field and enter a

description for it (it’s used to enter a tooltip for the user). Click on Printable to allow the user to print it, on Scrollable to add a scroll bar if the content exceeds the depth of the field, and on Required (the form cannot be submitted unless that field is filled).

of options where only one option is selectable. Create the Radio Buttons using the same method as the Check Boxes, but select them all at once before you convert them and choose “Radio Button” from the Type list. Again, don’t forget to add a value to each button.

Interactive PDF (Cmd + E). Keep the default settings, just ensure that “Include all” is selected under Forms and Media section.




Explore one of the new features in InDesign CS6

Get familiar with the power of forms in InDesign CS6 Adobe InDesign‘s greatest new feature, lets you create interactive forms using panels and some easy events, writes Daine Mawer

01 Start with any design that you are

considering using for this exercise. I have mocked up a very simple, HTML 5-like sign-up form. Use Illustrator or Photoshop if you are rusty in InDesign.

If you have designed your button in InDesign, you can add Rollover and Clicked states in the Buttons and Form Panel. Experiment with it as we do not have time to go into it in depth in this tutorial.

09 Click Type and choose Button.

Rename the Name to “Submit Button” and for the Event choose “ On Release or Tap” Next, hit the + icon next to Actions: Scroll down the list until you find the “Submit Form” Action. This will display a URL for the form to be submitted to after the user has completed it. Some Macs and PC’s have different settings for these types of submits, so consult your Web Developer/Master before going ahead with this step, they will be able to give you the correct URL.

02 Go to the Toolbar and select the

Horizontal Text tool and draw a box around where your form field exists, try make it fit as snuggly as possible to prevent any overlaps later on. Dont type anything into the field. This “text-box” is merely just a placeholder for where the reader will input their information.

07 You can now go and apply the same

process to the rest of your form fields. To get more familiar with the Buttons and Forms Panel, also consider using different types of interactive media and buttons, for instance: List Box, Radio Button, Check Button etc.

Every Adobe Acrobat user will know the pain and frustration of making forms editable and interactive. It’s the one feature that will give you a headache, guaranteed. At last, with the latest update of InDesign, Adobe has decided to make our lives a breeze. One panel has changed the game, and no longer, do we have to create graphical forms in InDesign and hope for the best in Acrobat.

06 Quick Tip:

03 Open up the Buttons and Forms

Panel by going to Window > Interactive > Buttons & Forms. Make sure your text box is selected before we change any settings.


Now, remember to export (File > Export) your document as an PDF (Interactive) and make sure to have the option “Include All” selected in the Save Dialog box, other wise your form will not work. Open up your PDF in Adobe Acrobat and see what happens! You should get a purple highlight over your form fields if the forms are editable.

Today, I will take you through the steps to have your form spat out in a few minutes. Let’s get started!


Daine Mawer Twitter (@DaineMore)

Multimedia Lecturer - Concept Interactive Daine has more than 8 years experience in Adobe CS, he lectures part-time at Concept Interactive while maintaining a steady and successful freelance career.

04 For your text input boxes, make sure

you choose “Text-Field” for Type. For Name, type in the name of your text box: e.g Name = Name Email = Email etc

08 Now you may ask, how do we submit 05 For Event choose On Focus (PDF),

this will highlight the text box in Adobe Acrobat when the user wants to input text into the specified field. There’s no need to change anything else, save for the font-size at the bottom of the panel if necessary.

the form we’ve just created? If your “Submit” button was created in InDesign, simply click on it. If not, head over to the toolbar and select the Rectangle Frame Tool, and draw a box the same size as your submit button, over the button itself. You can follow the same procedure for the social media icons.


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Introducing Damara

With sleek flowing lines, Damara adds sophistication to any home. Inspired by a range of taps and mixers designed exclusively by Cobra for the One & Only Hotel, Damara is the epitome of luxury

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Issue 44  

David Nobay of Droga5 discusses the need for change in the creative industry. We interview Thomas Kolster, an exceptionally responsible adve...