world design survey: south african findings

IDA World Design Survey Pilot Project South African findings

Foreword 1

Message from the chairperson of the adjudication panel 2

SABS Design Excellence Awards 3

Introducing the adjudicators 4

Chairperson’s Award: Orga8 and Orga15 Modular Filing System 8

Award winners by category:

Enermax Plus 10

4 Secs Condom Applicator 11

Kiddo Safety Finger Toothbrush 12

Easy Sleepers 13

Move-eez 14

Vacuform Truck Bunk Bed 15

MES Butterfly Range Single Switch Socket Outlet 16

Quaddro Scissor Jack 17

Autorock Drill Rig 18

Cheetah Sump Pump 19

ExpoScreens Quick Lock 20

Modular Traffic Light System 21

Wiremate Wizard 22

A legacy of South African design excellence: Register of past winners 23

Contents

IDA World Design Survey South African partners

Front row: Jacques Lange (Icograda Past President 2007-2009 – lead project advisor), Adrienne Viljoen (Manager, SABS Design

Institute – project lead), Brenda Sanderson (MD, International Council of Graphic Design Associations [Icograda] – international

project lead) and Pieter van Heerden (COO, Consulta Research – lead researcher). Back row: Bernard Smith (Chairperson,

Industrial Design Association of South Africa – project partner), Des Laubscher (Chairperson, Institute of Interior Design Professions

– project partner), Amanda Breytenbach (President, Design Education Forum of Southern Africa – project partner), Esmé Kruger

(SABS Design Institute – project leader), and the David Blyth (Chairperson, South African Communication Design Council –

project partner).

A publication of the SABS Design Institute

– Adrienne Viljoen: Manager

T: +27 (12) 428 6328

– Esmé Kruger: Information

T: +27 (12) 428 6332

– Zenobia Norval: Awards co-ordinator

T: +27 (12) 428 7038

– Bongani Ntombela: Design for Development

T: +27 (12) 428 7607

– Portia Mposula: Projects administrator

T: + 27 (12) 428 6655

– Vuyiswa Daniel: Secretariat

T: +27 (12) 428 6326

F: +27 (12) 428 6546

E: [email protected]

W: www.sabs.co.za & www.designinstitute.org.za

Private Bag X191, PRETORIA 0001, South Africa

© Copyright reserved 2008

No part of this publication may be reproduced without the prior

permission of the SABS Design Institute

Publication credits

– Editors: Esmé Kruger (SABS Design Institute) and

Jacques Lange (University of Pretoria)

– Research: Consulta Research

– Language editing: Jennie Fourie

– Design and production: Bluprint Design

– Commissioned photography: Eyescape Studio

PREFACE

South Africa’s participation in the IDA World Design Survey (WDS)

pilot project transpired due to collaboration between the Design

Institute and four professional design associations representing

design education, industrial, interior design and communication:

Design Education Forum of Southern Africa (DEFSA), Industrial

Design Association of South Africa (IdeaSA), Institute of Interior

Design Professions (iida) and the South African Communication

Design Council (think).

The eventual task of compiling the survey was considerably

larger than originally anticipated. It was clear that the information

was ground-breaking and timely and that the end result should be

in a format that would facilitate the quantification of the impact

of the design industries on the South African economy. The WDS

clearly points towards the huge potential of nurturing South Afri-

can creativity and design ingenuity.

The Design Institute is indebted to the design associations for

their valuable input. Special mention should be made of the huge

contribution of Jacques Lange. During his tenure as co-chair of

the IDA and President of Icograda from 2005 to 2007, he was

instrumental in formulating this visionary international survey and

he was to a large extent responsible for the monumental task of

formatting the South African results into a final report. Esme

Kruger, who acted as the WDS project leader on behalf of the

Design Institute and who was also responsible for the difficult and

time-consuming task of verifying information, also deserves

special recognition.

The survey came about through the financial backing of the South

African Bureau of Standards. A special word of thanks goes to the

SABS Executive for their continued support for South African

design since 1969.

AdrienneViljoen

Manager SABS Design Institute

Icsid Regional Advisor

Contents

Foreword 2

TheinternationalimportanceoftheWorldDesignSurvey 3

1. Introduction 4

2. Scopeoftheproject 4

3. Aimoftheproject 4

4. Objectivesoftheproject 4

5. Researchmethodology 4

6. Challengesofthestudy 5

7. Sampling,samplerealisationandcontactstatistics 6

8. Baselinereport 9

8.1.Participants’profile 9

8.2.Designsectorprofile 9

8.3.Representativeorganisations 18

8.4.Designsupport 30

8.5.Profiles 44

8.6.Designeducation 58

8.7.Openquestions 60

9. Projectpartners’insightsandrecommendations 68

Appendices

AppendixA:IDAWorldDesignSurveyBaselineQuestionnaire 79

AppendixB:SouthAfricanWDSCATIQuestionnaire 86

AppendixC:ListofSETAs 92

AppendixD:Listofinstitutionsofferingdesigneducation 93

AppendixE:PresentationbyBrendaSanderson,IcogradaManagingDirector 97

�

�

ItisindeedaprivilegefortheSouthAfricanBureauofStandards(SABS)

andinparticular,theSABSDesignInstitutetopresenttheSouthAfricanpilot

projectoftheIDA World Design Survey.

Asmainsponsorandoverseerofthishighlysignificantsurvey,theSABSDesign

InstituteisfulfillingitmandateofdesignpromotionforthebenefitofallSouth

Africans.Sinceitsestablishmentmorethan40yearsagoin1967,theSABS

DesignInstitutehasbeentheonlynationalinstitutionwithadedicatedman-

daterelatingtodesigninSouthAfrica.Thisinstitutionhasbeenactivewithin-

dustry,educationanddesignfordevelopmentinitiativesthathavechanged

thedestinyofmanylocaldesigners.

SouthAfrica’sprofessionaldesignsectorisexpandingrapidlyandthetime

hascometoplacetheroleplayedbydesigninthespotlight.Thecontribution

ofdesigntothenationaleconomyanddesign’ssocio-culturalcontribution

todevelopmentshouldbequantifiedinordertoaddtothestatureofthe

professionandtoplacearealvalueonitscontribution.

Thispilotsurveyisthefirststeptowardscreatinganationaldesignstrategy

thatwillnotonlybenefitSouthAfricandesigners,butthecountryasawhole.

Mr Martin Kuscus

CEO:SouthAfricanBureauofStandards(SABS)

Foreword

�

TheWorld Design Surveypilotprojectisthebeginningofasignificantunder-

taking.The IDA World Design Surveydocumentwillfacilitatetheunderstand-

ingofthemagnitude,impact,characteristicsanduniqueculturaldifferences

ofthedesigneconomyinaninternationalcontext.Itwillincreasethecorebase

ofpolicyandrelevantresearch,encourageandsupportresearchpartnerships

andfacilitatethesharingofbestpractisesandtransferofknowledgeregionally

andinternationally.

Creatingaglobalframeworktomeasuredesign’seconomic,socialandcultural

contributionrequirespartnerswithvision,willingtoinvestintime,energyand

resources.TheInternationalDesignAlliance(IDA)isgratefultoourmajor

collaboratorsinthisundertaking.

InthecaseofSouthAfrica,thispartnershipisparticularlyimportantasitwill

shednewlightonthescopeofthedesigneconomyinapartoftheworldwhere

therewaspreviouslylittlepublisheddata.Significantly,itdoesnotshyaway

fromtheworkthatremainsaheadofusalltogainclarityandunderstandingso

thatdesign’svalueandcontributioncanbeeffectivelyleveraged.Incontext,

thisunderstandinghastakenonnewmeaningsincedesignisnowunderstood

astheleadingsub-groupintheworldmarketforcreativegoods.1

AnsweringthechallengeputforwardintheCreative Economy Report 2008,

“thatqualityandcoverageofdataareimprovedandthataneffortwillbe

madetocompileaccuratestatisticsallowingforacomparativeanalysisat

thegloballevel”bytheUnitedNationswilltakecontinuedcommitmentand

theIDA World Design Surveycanprovidecriticalinsight.

Foraninternationalframeworktobeeffective,itsindicatorsmustbeconsist-

ent,relevantandmeasurable.Thechallengeaheadofusistocometogether

–asaprominentprofessionworkingwithgovernmentandindustry–andfacili-

tatecollaborationtomanageourcontinuedcontributiontooveralleconomic,

culturalandsocialwell-beingofoursociety.SouthAfricahasavaluablecon-

tinuingroletoplayasweconsiderthediverseeconomiesandculturesthat

makeuptheinternationaldesignprofession.

OnbehalfoftheIDA,IwouldliketoacknowledgeourSouthAfricanpartners

fortheirvisionandinvestmentinthisphaseofdevelopmentofthe IDA World

Design Survey.Theinformationpresentedinthisreportisafoundationforthe

futureandwelookforwardtocontinuedcollaborationintheyearsahead.

Don Ryun Chang

IcogradaPresident2007-2009

IDACo-Chair2007-2009

The international importance of the World Design Survey

1Creative Economy Report 2008,UNCTAD.p.130.

�

�. Introduction

The IDA World Design Surveyaimstomapthegenericdesign

sectorin12countries(oreconomicdevelopmentcommunities)

asapilotprojecttodeterminethecontributionofthedesign

economyandthelevelofstrategicengagementofdesignas

asocio-economicandculturaldevelopmentalimperativeat

governmentlevel.

The IDA World Design Surveypilotprojectthusaimstocreate

aclearerunderstandingoftheglobaldesignsector.Participants

contributedbymappingthecharacteristicsoftheirnational

designsectors–itsstrengthsandcontributionstotheoverall

economyanditssocio-culturalcontributiontodevelopment.

FollowingaCallforExpressionofInterestbytheIDA,fiveof

SouthAfrica’smostprominentorganisationsengagedindesign

promotionandprofessionmanagement–SABSDesignInstitute

(DI),DesignEducationForumofSouthernAfrica(DEFSA),In-

dustrialDesignAssociationofSouthAfrica(IdeaSA),Institute

ofInteriorDesignProfessions(IID),andtheSouthAfricanCom-

municationDesignCouncil(think)formedapartnershipand

submittedacommonExpressionofInterestasaresearchpart-

neronbehalfofSouthAfrica.Thispartnershipwassubsequently

electedtoparticipateintheIDA World Design Surveypilot

project.

Thisreportservesasanoutlinefortheensuingresearchcon-

ductedastheSouthAfricanpartnershipstipulatedinitsExpres-

sionofInterestthat;“it(SouthAfrica)wouldoutsourcetheactual

researchservicetoanexternalcontractorwhiletheSABS

DesignInstitutewillmaintaintheprojectoversightincollabo-

rationwithitsprojectpartners,DEFSA,IdeaSA,IDD,thinkand

otherconsultativestakeholders”.

�. Scope of the project

ThescopeoftheSouthAfricanDesignSurveywastomapthe

characteristicsoftheSouthAfricandesignsector–theirstrengths

andcontributionstotheSouthAfricaneconomyandthecontri-

butionofdesigntosocio-culturaldevelopmentinSouthAfrica.

�. Aim of the project

Withinthescopeoftheproject,thefollowingfourquestions

wereaddressed:

– Whatarethestructure/systemsthatdefinethedesignecon-

omyinSouthAfricaandwhatchangescouldleadtothe

recognitionandpromotionofdesign’scontributiontothe

overalleconomyinthelongrun?(Anattemptwasmade

tolookatwaystodeterminevalue-addbutitendedup

beingtoocomplextoaccommodateinthescopeofthis

pilotstudy.)

– Whoaretheparticipantsinthedesigneconomy,whatare

theirnumbersandwhatisneededbyparticularpopula-

tions,suchasprofessionaldesignassociations,designpro-

motionalagencies,designmanagementconsultancies,

design(‘lifestyle’)trade(retailandmanufacturing–suchas

designquarters)andtertiarydesigneducatorstosupport

theirsuccessfulparticipationinthelongterm?

– Howcanapproachestogovernance,aswellasparticular

programmes,servicesandinitiativesstrategicallycontrib-

utetotheenduringgrowthofcapacitywithinthedesign

communitytofosterandpromotedesign’scontributionsin

thelongterm,andwhatareviewedasimpediments/stum-

blingblocks/constraints?

– Howdoesdesigncontributetosocio-culturaldevelopment?

�. Objectives of the project

Inordertodevelopanunderstandingoftherapidlyexpanding

professionaldesignsectortheoverallobjectivesofthestudy

weretodevelopanunderstandingof:

– Thenationaldesigneconomy;

– design’sstrengthsandcontributionstothenationalecono-

my;and

– design’ssocio-culturalcontributiontodevelopment.

5. Research methodology

Inordertoeffectivelyaddresstheaimandobjectivesofthe

studyatwo-tieredapproachwasused:

5.�. Exploratory research

Secondarydataweresourcedanddissectedtoprovideinsight

intoaspectssuchas:

– Representationofdesignsectors;

5

– thenumberofpatents,trademarksanddesignsregistered

intheprevious12months(alsolookingatalternativeways

ofprotectingintellectualproperty);

– designemployment(designersaswellaspeopleworking

indesignsector);

– overallcontributionofdesigntotheGrossDomesticProduct

(GDP);

– government(national,provincial,local)policyondesign;

– governmentfundingofdesign;

– designeducationinstitutions;

– formaldesigntrainingoutput;

– nationaldesignorganisations;

– nationalprofessionalrepresentativebodies;

– theimpactandsizeofdesignexports(includingservices);

and

– incidenceofforeignstudentsstudyingatSouthAfrican

institutions.

5.�. Descriptive research

Primarydatawerecollectedduringthisphase–againusinga

two-tieredapproach:

5.�.�. In-depth interviews

In-depth interviews, using a structured questionnaire (see

AppendixAandB),wereconductedwith, inter alia,govern-

ment,professionalbodies,designeducationinstitutionsand

nationaldesignorganisations.Thiswasusedtosupplement

andvalidatedatacollectedduringtheexploratoryphase.

5.�.�. Telephonic interviews

Telephonicinterviewsusingcomputer-aidedtelephonicinter-

views(CATI)(AppendixB)wasconductedusingthebaseline

questionnairesupplied,butslightlyadjusted,fortheSouthAfri-

cansituationwitharepresentativesampleofselecteddesign

practitionersbelongingtothefollowingdisciplines:

– Communicationdesigners

– Motiongraphics,animationandnewmediadesigners

– Industrialdesigners(includingglassandceramics)

– Interiordesigners

– Multidisciplinarydesigners(includingeventingandarchi-

tectsworkingasfurnituredesigners)

ContactlistswereprovidedbytheSouthAfricanprojectpart-

ners.Thesamplewasdesignedtoensureastatisticalsignifi-

canceof95%withamarginoferrorof5%andwasbasedon

initialfiguresprovidedbytheprojectpartners.

5.�. Changes to the International Baseline Questionnaire

TheSouthAfricanquestionnairewasadjustedslightlytoreflect

thelocalsituation.Themajorchangewasinthefieldofthe

SectorProfile(8.5)wherethefollowingdisciplineswereexclud-

edfromthestudy–althoughinformationthatwasstumbled

uponorsourcedthroughdeskresearchwas,however,included

forthesakeofperspective:

– Architecture

– Fashiondesign

– Jewellerydesign

– Landscapearchitecture

– Textiledesign

– Urbanplanningdesign

Thismighthavebeenanoversightassomeofthesesectors

arehugeinSouthAfricaandplayanimportantroleinthebigger

picture–especiallyontheeconomicandlabourfrontsofdesign

inSouthAfrica.

6. Challenges of the study

Oncetheprojectgotunderwaytheresearchteamwasfaced

withsomechallenges(morewillbesaidabouteachaspectlater

whereapplicable).

– Thelackofavailabilityofrespondentsduetoworkpressure.

– Thelackofavailablesecondarydata.

– Agenerallackofaclearunderstandingofandknowledge

aboutthedesignsectoramongstallitsstakeholders.

– Alackofstructureandorganisationwithinthesector–no

singledefinitionorclassificationsystemexists.

6

7. Sampling, sample realisation and contact statistics

7.�. Sampling

Asmentionedabovesamplingwasdonetoensureastatistical

significanceof95%witha5%marginoferror.Theapproved

sampledesignwasbasedonfiguresprovidedbytheproject

partnersandwascalculatedasperTable1below.

Table �: Sample design

Research activity Sub-sample Population (assumed) Sample

In-depthinterviews

Government 35 10

Professionalbodiesanddesign

organisations10 5

Educationalinstitutions 50 5

Sub-total 95 �0

CATI

Graphicdesigners 3500 347

Motiongraphics,animationand

newmediadesigners50 45

Industrialdesigners 613 237

Interiordesigners 1200 292

Multidisciplinarydesigners 50 45

Sub-total 5�� 966

7.�. Sample realisation

Basedoncontactlistsprovidedbytheprojectpartners,the

populationsprovedtobevastlydifferentfromwhatwasorig-

inallyestimatedandwasmainlythereasonfornotreaching

thesampleof966fortheCATIcomponentofthestudy.See

Table2belowfortheactualsamplerealisation.

Asmentionedbefore,oneofthemainchallengestheresearcher

facedwereunavailabilityofrespondentsandthisposedtobea

serioushurdleinsourcingdatafromgovernmentdepartments.

Theonlydepartmentsthatwereavailabletobeinterviewedwere

theDepartmentofTradeandIndustry(dti),ThePresidencyand

TheDepartmentofArtsandCulture(DAC).Despitenumerous

attempts,nointerviewcouldbescheduledwiththeDepart-

mentofScienceandTechnology(DST)–adepartmentdeemed

tobeanimportantrole-playerinthisdiscipline.Secondarydata

weresourcedfromgovernmentwebsites.

Lowerthananticipatedsamplerealisationonthesideofthe

CATIweremainlyduetosignificantlysmallerpopulationsizes

thanwereanticipatedbytheprojectpartners,aswellasto

reasonssuppliedasperSection7.3below.

Anotherimportantaspecttokeepinmindisthatinterviews

wereconductedonanorganisationallevelandonlyone

interviewperorganisationwasallowed.Manyoftherespond-

entsindicatedthataninterviewwasalreadyconductedand

ledtothehigherthannormalnon-responserate(seeSec-

tion7.3).

Intwoinstanceswherenocontactdatacouldbeprovidedby

theprojectpartners,allattemptsweremadetosource lists

andtoelicitresponses.Categorisationintothesedisciplines

was,however,basedon‘selfdeclaration’andcannotbeverified

asbeingtechnicallycorrect.

Basedontherevisedpopulationsforeachsector(assuming a

population size of 35 for each of the motion graphics, animation

and new media designers and multidisciplinary designers)and

theoverallsamplecompletionof212,thestatisticalsignificance

ofthestudyiscalculatedas90%allowingfora4.6%margin

oferror.

Itmustbekeptinmindthatthesignificanceandmarginoferror

quotedabovewillonlybetrueforthetotalresponsesof212

andwouldbesomewhatlowerforeachofthesub-samples.

Althoughthestatisticalsignificanceforthecommunication,

industrialandinteriordesignportionsofthestudyremainsat

90%themarginoferrorforgraphicdesignincreasesto8.5%,

forindustrialdesignto7.3%andto11%forinteriordesign.For

themotiongraphicsandmultidisciplinaryportionsofthestudy

themarginoferrorincreasesto16.5%.Thisisduetothelower

samplerealisationbutstillwithin(orcloseto)thegeneralaccept-

ablenormofa90%statisticalsignificancewitha10%margin

oferror.Thestatisticalsignificanceandmarginoferrorforthe

}Toensureastatistical

significanceof95%with

a5%marginoferrorfor

eachsub-sample

7

in-depthinterviewportionofthestudyarenotrelevantasit

wasmoreofaqualitativeapproach.

Table �: Sample realisation

Research

activitySub-sample

Population

(assumed)Sample

Population (after

cleaning of lists

supplied)

Sample realised

In-depth

interviews

Government 35 10 35 3

Professionalbodiesand

designorganisations

10 5 9 5

Educationalinstitutions 50 5 24 11

Sub total 95 �0 68 �9

CATI

Graphicdesigners 3500 347 220 64

Motiongraphics,animation

andnewmediadesigners

50 45 20 15

Industrialdesigners 613 237 360 74

Interiordesigners 1200 292 183 44

Multidisciplinarydesigners 50 45 20 15

Sub total 5�� 966 80� ��

7.�. Contact statistics

Asmentionedearlierthisportionofthestudyalsoposedtobe

achallengeandnon-realisationofthesamplewasmainlydueto

lackofavailabilityandunwillingnesstoparticipate,asindicated

andconfirmedbythecontactstatisticsfromtheCATIportion

ofthestudy(seeTable3).Ofthemajorfindingswere:

7.�.�. Interior design

– Ittook683callstorealisethe44interviews.Thistranslates

toahit-rateof1in15.5.

– Atotalof122oftherespondentsrequestedtobecalled

backatalaterstage.Thisisanindicationofthehighlyintense,

hands-on,stressfulanddeadline-drivenindustryofinte-

riordesign,andthereforetheconvenienceofunscheduled

interviewsplayedalargerole,asmanyinteriordesigners

werenotavailableintheirofficesduringstandardworking

hours.

– In240oftheattemptstherespondentswerenotavailable

andinafurther123attemptsthephonejustrang.Thisagain

emphasisesthepointabove.

– Atotalof54oftherespondentsrefusedtoparticipate.

7.�.�. Industrial design

– Ittook1168callstorealisethe74interviews.Thistrans-

latestoahit-rateof1in15.8.

– Atotalof126oftherespondentsrequestedtobecalled

backatalaterstage.Aswiththeinteriordesignersthiswas

duetothefactorofinconvenienceofunscheduledinter-

views.


andinafurther269attemptsthephonejustrang.Industrial

designersarealsonotalwaysavailableintheirofficesdur-

ingnormalworkinghours.

– Atotalof106ofthe360numbersprovidednolongerexisted

–databaseerror.


7.�.�. Communication, motion graphic, animation

and new media and multidisciplinary design

– Ittook3029callstorealisethe94interviews.Thistranslates

toahit-rateof1in32.2.

– Atotalof407oftherespondentsrequestedtobecalledback

atalaterstage.Asperabove–againanindicationofthe

inconvenienceofunscheduledinterviews.


andinafurther567attemptsthephonejustrang.Apartfrom

availabilityinoffices,itmightalsobeduetothefactthat

thesewereinmanyinstancessmallandmicroenterprises

withlittleornoback-upsupport,thusleavingofficesun-

mannedwhen theprimarydesigners/businessowners

wereoutoftheoffice.

– Atotalof306ofthenumbersprovidednolongerexisted.

In149ofthecasestherespondentwasnolongeratthe

numberandafurther107oftheattemptsweretoawrong

number.Thisismostprobablyduetohighmobilityinthe

sectororasaresultofbusinessesfailing.


8

Table �: Contact statistics

Contact codes Interior designers Industrial designers Graphic, communication, motion graphic, new media and multidisciplinary designers

Completed 44 74 94

Contacted(costincurred)

Mid-termtermination 7 10 34

Agreebutdonotqualify 11 21 59

Callback 122 126 406

Hasbeencontacted 1 5 32

Nolongeratthenumber 1 17 149

Wrongnumber 5 43 107

Notavailable 240 379 1010

Deceased 0 1 1

Refusal-notever 28 13 47

Refusal-notnow 26 9 60

Leftthecountry 1 5 12

Respondentsuppliedalternativetel 12 45 138

Alternativecontactrequest 13 5 9

Unreachable(nocost)

Discontinuednumber 4 106 306

Engaged 43 27 118

Faxnumber 2 13 24

Justrings 123 269 570

Statistics (totals)

Completed 44 74 94

Contacted(costincurred) 467 679 1917

Unreachable(nocost) 172 415 1018

ErrorPropensity 23 201 646

Total attempts 68� ��68 �0�9

Statistics (percentage)

Completed 6.44% 6.34% 3.10%

Contacted(costincurred) 68.37% 58.13% 63.29%

Unreachable(nocost) 25.18% 35.53% 33.61%

Errorpropensity 3.37% 17.21% 21.33%

Response ratio (cost incurring) � to . . . �0.6� 9.�8 �0.�9

Response ratio (all attempts) � to . . . �5.5� �5.78 ��.��

9

Inafurtherattempttoelicitresponsestheprojectpartners

sente-mailstoalltheirmembersurgingthemtocompletethe

onlinequestionnairebuttheresponsefromthisattemptsproved

tobedisappointingasamere12responseswerereceived.This

woulddefinitelybeasaresultofthetimingoftheprojectasthe

bulkofthedatacollectionoccurredduringDecember2007to

January2008.Thisistraditionallythetimeofyearwhenmost

peopletaketheirannualsummerbreak.Complicationsaround

thetechnologywerealsoreported,suchasnotbeingableto

submitthecompletedquestionnaire.

8. Baseline report

8.1. Participants profile8.�.�. Country

– ThissurveycoverstheRepublicofSouthAfrica.

– Thecountryspans1.2-millionsquarekilometres.

– SouthAfricaisanationofover46millionpeopleofdiverse

origins,cultures,languagesandbeliefs.Around79%are

Black,9%White,9%Colouredand2.5%Indian/Asian.

Justoverhalfofthepopulationliveinthecities.

8.�.�. Commissioned researcher

Detailoftheleadresearcherfortheinformationcontainedin

thisreport:

Consulta Management Consultants (Pty) Ltd t/a Consulta

Research

– Contactperson:PietervanHeerden

– Position:Chiefoperatingofficer

– Address:CentralPark,Building1,HighveldTechnoPark,

Centurion

– Telephone:+27(0)12665-6200

– Fax:+27(0)12665-6499

– E-mail:[email protected]

– Web:www.consulta.co.za

8.�.�. Survey Lead

SABS Design Institute (DI)

– Contactperson:AdrienneViljoen

– Role:Mainsponsorandoverseer

– Position:Manager

– Address:1DrLateganStreet,Groenkloof,Pretoria

– Telephone:+27(0)12428-6328

– Fax:+27(0)12428-6546

– E-mail:[email protected]@sabs.co.za

– Web:www.sabs.co.zawww.designinstitute.org.za

8.�.�. Project partners

8.�.�.�. Design Education Forum of Southern Africa (DEFSA)

– Role:Projectpartner

– Address:POBox12313,Clubview0014

– Telephone:+27(0)12644-1075

– Fax:+27(0)86514-2112


– Web:www.defsa.org.za

8.�.�.�. Industrial Design Association of South Africa (IdeaSA)


– Address:POBox1801,JukskeiPark2153

– Telephone:+27(0)83654-6832

– Fax:+27(0)11462-3154


8.�.�.�. Institute of Interior Design Professions (IID)


– Address:POBox10642,FourwaysCrossingCentre2055

– Telephone:+27(0)11465-9732

– Fax:+27(0)11465-9802


– Web:www.iidprofessions.com

8.�.�.�. South African Communication Design Council

(think)


– Address:POBox1887,FourwaysGardens2068

– Fax:+27(0)86510-9735


– Web:www.think.org.za

8.2. Design sector profile8.2.1. Definition of the design sector

OneofthemainhurdlesthedesignsectorinSouthAfricafaces

isthefactthatdesignstraddlesnumeroussectorsoftheecon-

omyandgeneratingonesingledefinitionwouldnotbepossible

withoutastringentconsultativeprocessincludinggovernment

andprivatesectorstakeholders.

Source:www.southafrica.info/overview/english/quickguide-english.htm

�0

Anotherpointofconcernisthattheprivatesectorgenerally

usesthetermdesign,whereasthepublicsectorreferstoinnova-

tioninallofficialcommunicationandprogrammes.Thereis

aclearconfusionregardingtheuseoftheterms‘innovation’

and‘design’.Thisfurthercomplicatesgeneratingdataand/or

intelligenceaboutgovernment’sinvolvementinandfocuson

design,inparticular.

Therightfulfocusofgovernmentonjobcreation,sustainability,

blackeconomicempowerment,upliftmentandincomegenera-

tionisalsoevidentinthefocusoftheirprogrammesonand

interestininnovation.

Designstakeholderseachhavetheirowndefinitionofdesign,

resultinginthefactthatthereare‘so many people, so many

definitions’.Forexample,DACusesthefollowingdefinition

asapointofdeparturewhichshouldbeseeninthelightof

government’smandateandfocus,asstatedabove:“Design

uses human power to conceive plans and real products that

serve human beings in the accomplishment of any indirect or

collective purpose. It is a tool to address social and economic

development issues in order to create greater wealth and

higher market share.”(LindiNdebele-Koka,DirectorofMul-

timedia[Audiovisual,DesignandVisualArts]–DAC)

Basedontheabove,theSouthAfricangovernment’shuge

emphasisonthecraftsindustrycould,therefore,beunder-

stood.

Forpurposesof thisstudy,however, thedesign sector is

definedas:“Any person and/or organisation functioning within

the disciplines of communication design (excluding advertising),

motion graphics, animation and new media design, industrial

design (including glass and ceramics), interior design and multi-

disciplinary design (i.e. eventing, and architects working as

furniture designers).”

8.2.2. Use of a defined innovations/creativity

index

Noevidenceofadefinedinnovations/creativityindexfromthe

sideofgovernment(StatsSAordti)couldbefoundthatisapplied

throughouttheindustry.

Someofthepromotionalprogrammestostimulateresearchand

developmentandeventuallyinnovationdo,however,usesome

orotherevaluationcriteriatoassessworthycauses,although

thisexampleispredominantlyapplicabletotheinformation

technology(IT)andengineeringsectors.

8.�.�.�. The Innovation Fund

TheInnovationFund,thefundinglegoftheNationalResearch

Foundation(NRF)whichsupportsandpromotesresearchfor

innovation,usesthefollowingcriteriawhenevaluatingapplica-

tionsforrecipientsoftheirMissionsinTechnologyProgramme

(MiTech).Lookingatthecriteriaandweightingapplied,itis

againareflectionofthegovernment’spointofdeparturewith

regardtodesign(orinnovationasitiscommonlyreferredto

ingovernment)asthefocusispredominantlycentredaround

“... that (which) serves human beings in the accomplishment

of any indirect or collective purpose”andto“… address social

and economic development issues in order to create greater

wealth and higher market share.”

Theguidelinesfurtherstatethat:“The proposed technology

must have a strong potential to generate substantial economic

benefits to the nation. This must be clearly distinguished from

the benefits that would accrue to the ‘for profit’ industry partner,

in the absence of IF (Innovation Fund) funding. Applicants must

justify the need for IF funding and elaborate on the plan to

commercialise the technology and how the technology diffu-

sion within the economic sector will be achieved.”

“... The proposal must clearly indicate real empowerment initia-

tives (not tokenism or window dressing), to be considered for

funding. Proposals lacking this component will not be con-

sidered for funding.”

Criteria used:

– Technology,novelty:Weight30

– Marketneed,competitivenessandcommercialisationpo-

tential:Weight20

– National/socialbenefits:Weight20

– Consortium:Weight30

[Withregardtothelatteritisstipulatedthat:“Consortia must

adequately reflect the multi-company and multi-disciplinary

composition necessary to address the market-driven research

agenda of the Technology Missions. It also must have a black

empowerment component. This may be in the form of a small

or large business, or in the form of planned activities to develop

necessary skills required in the economic sector. Only consor-

tium proposals with a significant industry component, backed

by industry funding will be considered for co-funding by the

IF. Several industry partners can be part of the consortium.

The minimum is for at least two separately owned, for profit

��

companies. Their commitment to the Technology Mission must

be demonstrated through cost sharing and a pledge to commer-

cialise the technology when the Technology Mission success-

fully realises its objectives”.]

Utilisingarankingbetween1and5where:1=Poor;2=Fair;

3=Good;4=VeryGood;and5=Excellent....anoverallrating

(orindexscore)iscalculateduponwhichthedecisiontofund

thenrests:Poor=100-150;Fair=151-250;Good=251-350;

VeryGood=351-450;andExcellent=451-500”.

8.2.3. Current activities in the field of design

sector statistics

Researchactivitiesandthegenerationofdesignsector-related

statisticsarefewandfarbetweenandonlyoccuronanad hoc

basis.

8.�.�.�. SABS Design Institute

TheSouthAfricaBureauofStandards(SABS)DesignInstitute

istheonlynationalinstitutionwithadedicatedmandaterelating

todesigninSouthAfrica.Itwasfoundedin1967.TheTreasury

madefundsavailablefortheDesignInstituteanditfunctioned

asanautonomousorganisationforafewyears,andreported

directlytotheMinisterofTradeandIndustry.Thestatedman-

dateoftheDesignInstitutewastobetheNationalDesignPro-

motionorganisationofSouthAfrica.

TheStandardsActwasamendedin1972toallowtheDesign

InstitutetobeintegratedintotheadministrationoftheSABSbut

stillreportingtotheMinisterofTradeandIndustry.In1994the

amendmentwithreferencetotheDesignInstitutewasomitted.

CurrentlytheDesignInstituteenjoysnolegislativeprotection.

ThecontinuedroleandfunctionoftheDesignInstitutehasbeen

thefocusofanumberofthinktanks,meetingsandstrategyde-

velopmentsessionsovertheyearsinresponsetothechanging

SouthernAfricancircumstances.Twosignificantsurveysfol-

lowedwithsimilarconlusions.

In2001theSABScommissionedacomprehensivereviewinto

therole,placeandstrategiesoftheDesignInstitute.TheBentley

Westorganisationconductedthesurvey.ThefinalreportStrate-

gic review of the role of a design promotion body for South Africa

waspublishedinMarch2002andwasofastrategicnature.

ItlookedattheneedfordesignpromotioninSouthAfrica,and

thevariouswaysinwhichthiscouldbeachieved.International

trendsanddevelopmentswereconsidered.Thesituationofthe

timewasassessed.Thisincludedanassessmentofthescope

andrelevanceofactivitiesbasedonthecurrentandpotential

needsofvariousstakeholders,areviewofthepositionofthe

DesignInstitute,andassessmentofresourcerequirements

andfundingsources,andanevaluationoftherequiredand

availablecompetenciesofstaffforsuchaninstitute.

TheSABStopmanagementdecidedinMarch2002thatdesign

promotiondidnotformpartofthecorebusinessoftheorganisa-

tionandthattheDesignInstituteshouldberelocatedtoamore

relevantenvironment.Thisdecisionwasinlinewiththeconclu-

sionsandrecommendationsbytheBentleyWestsurvey.

InAugust2002theDepartmentofScienceandTechnology

heldaworkshop,theNationalAdvisoryCouncilonInnovation

(NACI)WorkshopondesigninSouthAfrica.Theconclusions

includedthatacomprehensivenationalpolicyondesigninSouth

Africaisneededandthatanindependentpromotionbodygov-

ernedbydesignstakeholdersshouldbeestablished,building

ontheworkalreadyestablishedbytheSABSDesignInstitute,

toimplementthestrategy.MainrecommendationsoftheNACI

reportincludedthatthereisaneedforthepromotionofdesign

inSouthAfrica.Theover-archingobjective,namelycontribution

tothecompetitivenessofSouthAfricashouldbekeptinmind.

TheNACIreportconcludedthattheDesignInstitutehaswell-

establishedstrengthsandhashadnumeroussuccesses.It

recommendedare-positionoftheDesignInstitutetoplayan

evenmoremeaningfulroleinthesocio-economicdevelopment

ofSouthAfrica.Itrecommendedcontinuedgovernmentfunding,

butwithaclearroadmaptoreducerelianceongovernmentfund-

ingthroughsystematicincreaseofprivatesectorcontribution.

The2002SABSmanagementdecisionwasreversedin2005

andtheDesignInstituteremainedaspartofSABS.Noreasons

weregivenforthereversalofthedecision.

NostatisticaldataregardingthedesignsectorinSouthAfrica

wasgainedthroughthementionedsurveys.

8.�.�.�. Department of Arts and Culture (DAC)

Specificresearchtogaininformationondesignwascommis-

sionedbytheDepartmentofArtsandCulture(DAC)toassist

withdevelopingapolicyforcreativeindustriesandtocollate

acomprehensivedatabaseofindustryplayers.Thisreporthas

Sources:www.innovationfund.ac.za/downloads/html/tapmitech.html

Guidelines for Preparation of A 15-page Pre-proposal

Missions In Technology Programme (MiTech) Evaluation Template

��

beencompiledbyLindiNdebele-Koko,Director:Multi-media,

butsheiswaitingforpermissionfromtheDirectorGeneralto

sharetheresultswiththedesignindustry.

8.�.�.�. Communication Design Council of South Africa

(think)

Another,morerecentandrelevantresearchinitiativeisThe

Sappi State of Design in South Africa 2008 Survey,whichwas

commissionedbytheCommunicationDesignCouncilofSouth

Africa(think),executedbyIpsosMarkinorandsponsoredby

Sappi.Itisrelevanttonotethatthiswasapilotstudywhichwill

beexpandeduponinthenearfuture.Theinitiativeintendedto

closethegapbetweenwhatdesignersthinkandtheirclients’

viewsandattitudestowardsdesignserviceprovision.Theaim

oftheprojectwastoexamineclients’perceptionsaroundthe

valueofdesign.GraemeFutter,Sappi’smarketingmanager:

BrandCommunicationsstatedthat:“We are confident that the

survey will reveal perceived or real gaps between the designer

and client relationship and become a useful tool to address

these issues.”Themethodologyinvolvedaninitialqualitative

phaseofin-depthinterviewswithclientsanddesignconsultan-

ciesfollowedbyasecondphaseofthestudywhichinvolved

approximately400telephonicinterviews.

Eventhoughthefocusofthesurveywasveryspecific(com-

municationdesign)anditsinvestigationintobuyersofdesign

coveredawiderangeofaspectsofthedesignindustry–from

design’sperceivedinfluenceinSouthAfrica’seconomytohow

acompanyapplydesign,tothelinkbetweendesignandbetter

businessperformance,thisstudyaimedtoprovideadetailed

mapofdesign’slocationinthecountry.

ThinkanticipatesthattheSouthAfricansurveywillshowprom-

isingresultsforthedesignindustry.DavidBlythofthinksaid:

“We hope to heighten our clients’ awareness of how integral

design is to each and every facet of a business. At the same

time we will gain valuable insight into how we better tailor the

design industry’s offer to better suit clients’ needs and expecta-

tions.”Thesurveywillthusprovideanimportantplatformfor

futurethinkinitiatives.AsBlythmaintains,“As a body that rep-

resents communication designers in this country, we want to

know exactly where we are so we know where to from here.”

TheresultsofthisinitiativewerepublishedinOctober2008

andservedasasupplementarystudytothissurvey.

Asaclosingcommentonthismatterthisextractfromthe

Creative Economy Report,publishedbyUNCTAD,clearlysum-

marisestheproblem:“Furthermore as for all creative indus-

tries the data for copyrights, trademarks, brands etc., makes

it difficult to assess the overall economic impact of each sub

group of creative industries on national economies.”

8.�.�. Institutions responsible for statistics

related to the design sector

Asmentionedearlierinthisreport,thereisnocentralisedbody

inSouthAfricawiththeexplicitmandateand/orresponsibility

tolookafterthedesignsectorinalegislatedcontext,andinfact,

there is not even a defined design sector per se within the

South African governmental framework.

8.�.�.�. Government

Designorinnovation-relatedstatisticscouldbefoundinthe

followingnationalgovernmentdepartments(additionalinsights

areonlyprovidedforthemostprominentdepartments):

8.�.�.�.�. Department of Arts and Culture (DAC)

– ThevisionoftheDACistodevelopandpreserveSouth

Africanculture toensuresocial cohesionandnation-

building.

– ThemissionoftheDACisto:

• DevelopandpromoteartsandcultureinSouthAfrica

andmainstreamitsroleinsocialdevelopment.

• DevelopandpromotetheofficiallanguagesofSouth

Africaandenhancethelinguisticdiversityofthecoun-

try.

• Improveeconomicandotherdevelopmentopportu-

nitiesforSouthAfricanartsandculturenationallyand

globallythroughmutuallybeneficialpartnerships,there-

byensuringthesustainabilityofthesector.

• Developandmonitor the implementationofpolicy,

legislationandstrategicdirectionfortheidentification,

conservationandpromotionofculturalheritage.

• Toguide,sustainanddevelopthearchival,heraldic

andinformationresourcesofthenationtoempower

citizensthroughfullandopenaccesstothesere-

sources.

Source: UNCTAD XII, CreativeAfrica Initiative, Creative Economy

Report 2008 – The challenge of assessing the creative economy to-

wards informed policy making.ISBN978-0-9816619-0-2

Source:www.dac.gov.za/vision_mission.htm

��

8.�.�.�.�. Department of Science and Technology (DST)

– TheDSTstrivestoward introducingmeasuresthatput

scienceandtechnologytoworktomakeanimpacton

growthanddevelopmentinasustainablemannerinareas

thatmattertoallthepeopleofSouthAfrica.Thisincludes

focusedinterventions,networkingandactingasacatalyst

forchangeintermsofbothproductivecomponentsofour

economy,makingitcompetitiveinagloballycompetitive

liberalisedenvironment,andalsoinrespectofthehuge

developmentbacklogexistingamongthepoorestcom-

ponentsofoursociety.Thegoalofrealisingthisvisionis

underpinnedbydevelopmentandresourcingstrategiesfor

theformationofscience,engineeringandtechnology,hu-

mancapital,democratisationofstateandsociety,promotion

ofaninformationsocietyandensuringenvironmentalsus-

tainabilityindevelopmentprogrammes.

– TheDST’svisionistocreateaprosperoussocietythat

derivesenduringandequitablebenefitsfromscienceand

technology.

– TheDST’smissionistodevelop,coordinateandmanage

anationalsystemofinnovationthatwillbringaboutmaxi-

mumhumancapital,sustainableeconomicgrowthand

improvedqualityoflife.

8.�.�.�.�. Department of Trade and Industry (dti)

Thedti’svisionisofaSouthAfricathathasavibranteconomy,

characterisedbygrowth,employmentandequity,builtonthe

fullpotentialofallcitizens.Toachievethis,thedtihasbecome

anoutwardlyfocused,customer-centricorganisation.

Thepurposeofthedtiisto:

– ProvideleadershiptotheSouthAfricaneconomythrough

itsunderstandingoftheeconomy,itsknowledgeofeco-

nomicopportunitiesandpotential,anditscontributionto

ASGISA.

– Actasacatalystforthetransformationanddevelopment

oftheeconomyandrespondtothechallengesandoppor-

tunitiesoftheeconomiccitizens,inordertosupportthe

government’seconomicgoalsofgrowth,employmentand

equity.

– Respondtothechallengesandopportunitiesintheecono-

myandsociety.

– Provideapredictable,competitive,equitableandsocially

responsibleenvironmentforinvestment,enterpriseand

trade.

Oneofthemostimportantnewpolicydevelopmentsforthedti

wasthereleaseoffivekeymedium-termstrategicobjectives

overthe2006to2009period.Theyareto:

– Promotecoordinatedimplementationoftheaccelerated

andsharedgrowthinitiative;

– Promotedirectinvestmentandgrowthintheindustrialand

serviceseconomy,withparticularfocusonemployment

creation;

– Contributetowardsthedevelopmentandregionalintegra-

tionoftheAfricancontinentwithintheNepadframework;

– Promotebroaderparticipation,equityandredressinthe

economy;and

– Raisethelevelofexportsandpromoteequitableglobal

trade.

Thesefivestrategicobjectiveswillbeachievedthroughthe

collectiveeffortofthedti’sdivisionsandagencies,whichare

linkedthroughavaluechaintogeneratepublicvalueforeco-

nomiccitizensandtodeliverproductsandservicesfortheir

clientsandstakeholders.Theseproductsandservicesinclude

policy, legislationandregulation,financeandincentives, in-

formationandadvice,andpartnerships.thedtiwillalsoachieve

itsobjectivesthroughthepursuitofamoretargetedinvest-

mentstrategy;improvedcompetitivenessoftheeconomy;

broadened economic participation of previously disadvan-

tagedindividualstothemainstreameconomy;and,policyco-

herence.

8.�.�.�.�. Department of Public Works

TheDepartmentofPublicWorksaimstopromotethegovern-

ment’sobjectivesofeconomicdevelopment,goodgovernance

andrisinglivingstandardsandprosperitybyprovidingand

managingtheaccommodation,infrastructureneedsofnational

departments,byleadingthenationalExpandedPublicWorks

Programmeandtransformationoftheconstructionandprop-

ertyindustries.

8.�.�.�.5. The Presidency

AstheexecutivemanagerofgovernmentThePresidencyisat

theapexofthesystemofgovernmentintheRepublicofSouth

Africa.ThePresidency’skeyroleintheexecutivemanagement

andco-ordinationofgovernmentliesinitsresponsibilitytoorgan-

isegovernance.Inthisregard,akeyaimisthefacilitationofan

integratedandco-ordinatedapproachtogovernance.Thisis

Source:www.dst.gov.za/about-us

Source:www.dti.gov.za/thedti/overview.htm

��

beingachievedthroughcreative,cross-sectoralthinkingon

policyissuesandtheenhancementofthealignmentofsectoral

prioritieswiththenationalstrategicpolicyframeworkandother

governmentpriorities.

8.�.�.�.6. Government Communication and Information

Service (GCIS)

GCISislocatedinThePresidencyandisresponsibleforsetting

upthenewGovernmentCommunicationSystemandtrans-

formingthecommunicationfunctionsingovernment.

Vision, mission and objectives

– GCIS’svisionishelpingtomeetthecommunicationand

informationneedsofgovernmentandthepeople,toensure

abetterlifeforall.

– GCIS’smissionistoprovideleadershipingovernment

communicationandtoensurethatthepublicisinformed

ofgovernment’simplementationofitsmandate.

GCISisprimarilyresponsibleforcommunicationbetweengov-

ernmentandthepeople.Ahighpremiumisplacedondevelop-

mentcommunicationthatemphasisesdirectdialogue,espe-

ciallywithpeopleindisadvantagedareas.GCISisinvolvedin

draftingcommunicationstrategiesandprogrammesforthe

wholeofgovernmentatnationallevel,andintegratingthecom-

municationoperationsofallgovernmentdepartments.

GCIS’ strategic objective:

TheoverarchingstrategicobjectiveofGCIS,istoenhancethe

governmentcommunicationsystemanditsoperations,inways

thatcontribute to theprocessof furtherconsolidatingour

democracyandtakingthecountryontoahighergrowthand

developmentpath.

GCIS’ approach:

Thisobjectivewillbeachievedthroughthefollowingstrategic

approach:

– Providingleadershipingovernmentcommunicationand

ensuringbetterperformancebythecommunicationsystem

– Buildingaframeworkofcommunicationpartnershipsin-

formedbyanencompassingvisionaroundcommondevel-

opmentobjectives

– Promotingawarenessoftheopportunitiesthatdemocracy

hasbrought,andhowtoaccessthem

– Promotingawarenessoftheinstitutionsandprogrammes

ofcontinentalandregionalintegrationanddevelopment

– ProvidingCommunicationresearchandinformation.

8.�.�.�.7. Statistics SA

Oneofthemainagenciesresponsibleforthegenerationof

designsectorstatistics isStatsSA.Data from thissource are

mainlyofaneconomicnatureandarecollectedonanongoing

basis.Historicdataarealsoavailablealthoughitisdifficultto

determineexactlyhowfarbackdatacanbeassessed.Specific

reportscan,however,berequestedfromStatsSAataminimal

fee.Dataare,however,extremelyfragmentedandduetothe

useoftheSICsystem,notveryuser-friendly,makingitalmost

irrelevantanduselesstothedesignsector.

Intermsofhumanresourcesandtraining,twospecificinstitu-

tionsarerelevant:theSectorEducationTrainingAuthority

(SETAs)and,indirectly,SAQA(TheSouthAfricanQualifica-

tionsAuthority).

“It is difficult to give specific support to design because it is

so integrated in all areas.”(In-depthinterviewwithagovern-

mentdepartment).

8.�.�.�.8. Department of Labour

Sector Education and Training Authorities (SETAs)

SETAspromoteeducationandtraininginthedifferentsectors

oftheeconomy.Itisbasedontheprinciplethatorganisations

havetopaytheirrespectiveSETAaskillslevy,whichischan-

nelledtowardseducationandtrainingforthespecificsector

intheformoflearnerships.Participatingorganisationscanthen

re-claimtheirleviesbasedonlearnershipsimplemented.Due

tothefactthatitis‘hidden’inmostindustrysectors,design

mightfallunderdifferentSETAs.

MAPPP-SETA

OneoftheprominentSETAsrelevanttothisreport isthe

Media,Advertising,Publishing,PrintingandPackagingSETA

(MAPPP-SETA).TheMAPPP-SETAisanon-profitorganisa-

tionthatsupportsandfacilitateseducationandtraininginthe

media,advertising,publishing,printingandpackagingsectors.

TheMAPPP-SETAassistsorganisations,whichpayleviesin

theparticulareconomicsector,toraisetheskillslevelsand

makingthesectormorecompetitiveandsustainableintheglo-

balmarketplace.Thisisachievedbyincreasingthecapacityof

organisationsinthesector,aswellasthetrainingproviders

todeliverqualityeducationandtraininginterventionsforthe

workforceandemployers.TheMAPPP-SETAisgazettedas

SETA15withadetailedscopeofcoverage.Inordertoregister

Source:www.gcis.gov.za/about/index.html

Source:www.thepresidency.gov.za

�5

withtheMAPPP-SETA,employersmustcontributealevy(un-

lessexempt),asspecifiedintheSkillsDevelopmentLeviesAct,

totheSouthAfricanRevenueService,specifyingthesectorand

componentinthescopeofcoveragetowhichtheybelong.

TheMAPPP-SETAgeneratedtworelevantreports:The Adver-

tising Skills Needs Analysis Research Report(publishedin

November2005)andtheNational Skills & Resources Audit

(publishedinNovember2003).

Itisevidentfromthedatesofthepublicationsabovethatlittle

elsehascomefromthesideoftheMAPPP-SETA.Todate

ithasimplementedonlyoneinitiativethatisrelevanttothe

designsector–CreateSA,theMAPPPSETA’screativeindus-

tries’skillsdevelopmentprogramme.Thisprogrammewas

launchedinpartnershipwithDACwithfundingfromtheDe-

partmentofLabour’snationalskillsfund.

8.�.�.�.9. Create SA

CreateSAwasformedtodevelopanewapproachtoeducation

andskillstrainingforthoseinvolvedinawiderangeofcreative

industries,includingvisualartsandcraft;design;music;the

performingarts;heritage;film,videoandmultimediaproduc-

tion; technicalproductionservices foreventsandartsand

culturemanagement.

Trainingprogrammeshavebeendesignedtomeetthespecific

needsofparticipants.Forexample,anartistorcraftermayneed

helpwithmarketingtheirproduct,assistancewithlegalissues

orbasicbusinessskills inorder topursueentrepreneurial

opportunities.Theymayalsoneedtoupgradetheirskills.

ThegoalofCreateSAistoinvestinpeople–thesector’smost

criticalresource.Whileitishopedthatsomelearnerswillfind

jobsattheendoftheirtraining,theaimoftheinitiativeisalsoto

maximisethelearners’abilitytobeself-sufficientandgivethem

theskillsneededtocreatesustainableworkforthemselves.

CreateSAbelievesthatSouthAfrica’screativeindustrieshave

thepotentialtodevelopintoamajorgrowthindustryinthelocal

economyandbecompetitiveintheglobalmarketplace.

DawnRobertson,CreateSAprogrammedirector,said:“The

support of this project by the Department of Labour’s National

Skills Fund demonstrates the conviction by government that

the creative industries have the potential to develop into a major

growth industry, be competitive and most importantly create

sustainable work and meaningful livelihoods for thousands

of South Africans. Never before in this sector has an initiative

of this nature or magnitude been implemented. Create SA has

set up the systems and we are ready to roll!”

In2003CreateSAimplemented14learnershipsandalarge

numberofassociatedskillsprogrammesacrossthecountry.

Learnerships are work-based training programmes devel-

opedbySETAsandregisteredwiththeDepartmentofLabour.

Theycompriseatheoreticalandapractical,work-basedcom-

ponent.

CreateSAhopedthat6000peoplefromaroundthecountry

wouldhavebenefitedfromthisambitiousprogrammeby2005.

(It was not possible to determine whether this happened

by the time this report went to press.)

8.�.�.�.�0. Department of Education

TheDepartmentofEducationisresponsibleforgeneraleduca-

tionandtraining,furthereducationandtraining(FET),higher

education,socialandschoolenrichment,systemplanningand

monitoring,andeducationadministration.

SAQA

SAQAisabodyof29membersappointedbytheministers

ofEducationandLabour.Thefunctionsoftheauthorityare

essentiallytwofold:

– TooverseethedevelopmentoftheNationalQualification

Framework(NQF)whichisthesetofprinciplesandguide-

linesbywhichrecordsoflearnerachievementareregistered

toenablenationalrecognitionofacquiredskillsandknowl-

edge,therebyensuringanintegratedsystemthatencour-

ageslife-longlearning.Thisisachievedthroughformulating

andpublishingpoliciesandcriteriafortheregistrationof

bodiesresponsible forestablishingeducationandtraining

standardsorqualificationsand for theaccreditationof

bodiesresponsibleformonitoringandauditingachieve-

mentsintermsofsuchstandardsandqualifications.

– Secondly,tooverseetheimplementationoftheNQFby

ensuringtheregistration,accreditationandassignmentof

functionstothebodiesreferredtoabove,aswellasthe

registrationofnationalstandardsandqualificationsonthe

framework.Itmustalsotakestepstoensurethatprovisions

foraccreditationarecompliedwithandwhereappropriate,

thatregisteredstandardsandqualificationsareinterna-

tionallycomparable.

In1998SAQApublishedtheNational Standards Bodies Reg-

ulationswherebyprovisionwasmadefortheregistrationof

NationalStandardsBodiesandStandardsGeneratingBodies.

Source:www.mappp-seta.co.za/reports.htm

Source:www.createsa.org.za

�6

In2005theNSBswerereplacedbyConsultativePanels.The

ConsultativePanelsconsistofsubject-matterexperts,aswell

asqualificationsexpertsandtheirroleistoevaluatequalifica-

tionsandstandardsfromtheperspectiveofthesectorforwhich

thequalificationsorstandardshavebeendevelopedusing

SAQAcriteria.TheStandardsGeneratingBodiesarerespon-

sibleforgeneratingstandardsandqualificationsandrecom-

mendingthemtotheConsultativePanels.TheEducationand

TrainingQualityAssurance(ETQA)regulationswerealsopub-

lishedin1998andprovidedfortheaccreditationofETQAbodies.

Thesebodiesareresponsibleforaccreditingprovidersofeduca-

tionandtrainingstandardsandqualificationsregisteredonthe

NQF,monitoringprovision,evaluatingassessmentandfacilitat-

ingmoderationacrossproviders,andregisteringassessors.

Amajorchallengeforthedesignindustryremainsaccessto

informationbyaccreditedinstitutionsofferingdesigneduca-

tionprogrammes.Furthermore,littleattentionisgiventothe

developmentofdesignasasubjectatprimaryandsecondary

schoollevelswhichhamperstheprocessofdemographictrans-

formationintertiaryeducationaswellasthedesignindustry.

8.�.�.�.��. Provinces

EachofthenineprovincesinSouthAfricaalsohasprovincial

departmentsandoneshould,therefore,alsobeabletosource

statisticsonthedesignsectorsonaprovinciallevelfromthe

provincialdepartmentsofTradeandIndustry,Scienceand

Technology,ArtsandCultureandCommunication.Currently,

onlytheWesternCapehasavaguelyapplicablepolicy,mainly

focusesoncraft.Gautenghasaninnovationstrategywhich

againcanonlyvaguelyberelatedtothedesignsector.Itiscuri-

ousthattheWesternCapeandGautenghighlighttechnological

developmentrelatedtothedesignsector,yettheycompletely

ignorethefactthatthedesign,advertisingandfashionsectors

aresignificantcomponentsoftheireconomicactivities.Thisis

obviouslyamajoroversightinprovincialeconomic,strategic

andpolicyplanning.TheCapeTownMetropoleshouldbecred-

itedforsupportingtheDesignIndababutthisisunfortunately

minisculeconsideringtheactualneedforinvestmentandthe

potentialreturnoninvestmentofamorevisionaryplan/strategy.

8.�.�.�.��. SABS Design Institute (DI)

AnothersourceofdesigninformationistheSABSDesignInsti-

tute(positionedattheSouthAfricanBureauofStandards,a

statutorysciencecouncilfallingunderthedti’smandate).The

DIisseeminglytheonlydedicatedgovernmentalinstrument

taskedwiththepromotionofdesigninSouthAfricaandwhere

design-relatedinformationcanbesourced.Thisreportisevi-

denceofanattempttoinitiatestatisticaldataontheSouth

Africandesignsector.However,theDIisunder-resourcedby

comparativeinternationalstandardsfornationaldesignpro-

motionagencies.Inaddition,theDIfocusesmainlyondevelop-

ing the industrialdesignandeducationsectors, resulting in

otherdesignsectors‘lookingafterthemselves’withlittleinsti-

tutionalsupportfromgovernment.

8.�.�.�. Academic institutions

Onaprovinciallevelonewouldfindthefollowingrespective

publictertiaryinstitutionsofferingdesigneducation.

– TheUniversityofPretoria,TshwaneUniversityofTechnol-

ogy,theUniversityofJohannesburg,andtheVaalUniver-

sityofTechnologyintheGauteng;

– TheCentralUniversityofTechnologyintheFreeState;

– TheDurbanUniversityofTechnologyinKwaZulu-Natal;

– StellenboschUniversityandtheCapePeninsulaUniversity

ofTechnologyintheWesternCape;

– TheNelsonMandelaMetropolitanUniversityandtheWalter

SisuluUniversityofTechnologyintheEasternCape;and

– TheUniversityofNorthWestintheNorthWestprovince.

8.�.�.�. Non-governmental organisations

Otherimportantinitiativesrelatedtothedesignsectorinclude

professionalbodiessuchasDEFSA,IdeaSA,IID–formerly

SAGIDandDesignSouthAfrica,think,theSouthAfricanInsti-

tuteofArchitects(SAIA),theSouthAfricanCouncilfortheArchi-

tectureProfession(seenotebelow),theInstituteofLandscape

ArchitectsofSouthAfrica,theKitchenSpecialistsAssociation,

SouthAfricanFashionWeek(severaloftheseexist),theEngi-

neeringCouncilofSouthAfrica(ECSA),theJewelleryCouncil

ofSouthAfrica,theGovernmentDesignersForum(aninformal

forumfordesignersemployedbygovernmentdepartmentsand

agencies),theUniversitiesofPretoriaandStellenboschSemi-

narGroup,theSAPublicationForumandtheSouthAfrican

InstituteforIntellectualPropertyLaw.

Note:“The South African government has announced plans to

abolish the South African Council for the Architectural Profes-

sions and usurp all its assets and powers.”

“According to the recently released policy document on the pro-

posed amendments of the statutory regulatory framework of

the built environment professions, South African architects

will be stripped of their autonomy and self-regulating powers

before the end of 2008, according to the timetable published

by the Department of Public Works.”

“All other built environment professions are to be equally abol-

ished.”

Source:www.saqa.org.za/

�7

“A single state-controlled mechanism, to be called the South

African Council for the Built Environment (SACBE) will be estab-

lished to assume the roles and responsibilities of the current

built environment professional councils: Architecture, Engi-

neering, Quantity Surveying, Project & Construction Manage-

ment, Property Valuers and Landscape Architecture.”

Someoftheotherpromotionalorganisations(mainlyonthecraft

sideandoperatingonaprovinciallevel)thatcouldbeidentified

were:

– TheCapeCraft&DesignInstitute(CCDI);

– TheCraftCouncilofSouthAfrica(CCSA),and

– SouthernAfricanCrafts

Privatedesignsectorpromotioninitiativesthatmainlyfocus

oneventsandtradeexposinclude:

– DesignIndaba;

– Decorex;

– Jewellex,and

– LoerieAwards.

8.�.5. Availability of electronic statistics

Theonlystatisticsthatcouldbesourcedelectronicallywould

befromthenationaldepartmentresponsibleforstatisticsin

thecountryisStatisticsSouthAfrica(StatsSA).Asmentioned

earlier,StatsSApublishesregularreports,mainlyoneconomic

activitybutispreparedtorunspecificqueriesatanominalfee

ofZAR300perquery.

Specificresearchreportswillalsobeavailableelectronically

oncetheyarepublished.Itis,however,achallengetobecome

awareofsuchreportsduetothefactthatdesignisnotcen-

tralisedanddoesnotfallwithinaspecificsectororhaveone

ownerorchampion.

8.2.6. Defined framework and/or classification

system to collect and report design sector

statistics

NormaleconomicactivitiesaremonitoredthroughStatsSAbut

duetothefactthatnodesignspecificStandardIndustrialClas-

sification(SIC)codeisallocatedtodesign,designstatisticsfrom

thissourceis,atbest,nothingmorethanguessworkasitishid-

deninthebroadereconomicactivitiesoforganisationsoper-

atinginthesesectorsandmightevenfalloutsidethescopeof

thisreport.

TheSICcodesthatcontainanelementofdesignare:

SIC

CodeDescription

38100 Amphibianmotorvehiclemanufacturing(designed

tonegotiateunusualterrain)

37420 Apparatusandinstrumentsdesignedfortelecommu-

nication,likecross-talkmeters,manufacturing

96140 Artdesignservices

88211 Boatdesigningservice

88999 Bootandshoepatterndesigningservice

38410 Buildingofvesselsdesignedforocean,coastal

andinlandwaters

38410 Buildingofvesselsdesignedtobestationary(e.g.

lightships)

Source:Architectafrica.com, Built environment news & information

network for Africa,http://architectafrica.com/NET/?q=node/332

38309 Carseatupholsteringbymanufacturer,materials

anddesignsupplied

86200 Computersystemsoftwaredesignservices

35740 Conveyersmanufacturing(designedformining/

quarrying/construction-underground)

88999 Costumedesigningservices

50230 DesignandconstructionofKoifishpondsand

waterfeatures

35690 Designandinstallationofductingandfansinmines

(onsite)

88999 Designservices

88999 Dressdesigningservices

36200 Electricalcontrolboardsorcontrolboxesmanufac-

turing(emptybox/boardonlyforonesuchmanufac-

turingconcernonrequestwithownmaterialsand

design)

88999 Fashiondesigningservices

35690 Furnituredesignedtoaccommodaterefrigeration

orfreezingequipmentmanufacturing

88999 Furnituredesigningservices

11400 Gardendesignimplementation

88312 Graphicdesignservices

35620 Handpumpsandpumpsmanufacturing(designed

orfittingontointernalcombustionengines,concrete

pumpsandother)

35790 Heat-usingmachinery,speciallydesignedforfor

thepulp,paperandpaperboardindustry,manufac-

turing

95110 Industrialdesigncounciloperation

37420 Instrumentsdesignedfortelecommunication

manufacturing

88999 Jewellerydesigningservices

32299 Kitchencabinetdesign,manufactureandinstalla-

tion

�8

8.�. Representative organisations

8.�.�. Professional organisations

Thefollowinglistofprofessionalorganisationsapplicableto

thedefinitionandscopeofthisreportwasfoundtobeactive

inSouthAfrica.

8.�.�.�. Design Education Forum of Southern Africa

(DEFSA)

DEFSAisaprofessionalorganisationofdesigneducators,span-

ningmostdesigndisciplinessuchasindustrial,communication/

graphic,interior,clothing,ceramic,textile,jewellery,aswellas

commercially-focusedphotography.

Vision

DEFSAshallbeaforumconsistingofdesigneducatorsand

designpractitionersfurtheringtheinterestsofdesigneducation.

Mission

– DEFSAestablishsesappropriatelinkswithindustry,gov-

ernmentdepartments,professionalbodiesandsimilarde-

signorganisations.

– Itstrivestofosterandpromoteallfacetsofdesignthrough

designeducationinitiativesinsouthernAfricainparticular,

onthecontinentofAfricaandfurtherabroad.

– Furthermore,DEFSAendeavourstopromoterelevantre-

searchwiththefocusondesign.

Aims

TheaimofDEFSAistofosterdesigneducationinthesouthern

Africanregion.Theforumwillstrivetofulfilitsaimby:

– Ensuringthatliaisonismaintainedbetweenrelevant

primary,secondaryandtertiarylevelsofeducationinmat-

terspertainingtodesigneducation,betweenuniversities

oftechnology,furthereducationandtraininginstitutions

(FETs),privateinstitutions,educationauthoritiesandthe

designindustry.

– Promotingexcellenceindesigneducationatalllevelsin

boththeformalandinformaleducationalenvironmentsby:

• Settinggoalsandformulatingobjectivesfordesign

education;

• Addressingissuesregardingthequalityincludingquali-

tyassurance,relevanceandviabilityofcurriculumstruc-

tureandcontent;

• Identifyingneedsandinitiating,encouragingandco-

ordinatingresearchanddevelopmentprogrammes;

• Raisingthegenerallevelofdesignliteracyandaware-

ness;

• Actingasacatalyst/mediatorfordevelopmentindesign

education;

• Givinggreatercredibilitytotherecommendations,re-

questsanddemandsmadebydesigneducationists

withintheirindividualinstitutions.

– Keepingabreastofinformation,researchanddevelopment

relatingtodesigneducationanddesignpracticebothlocally

andinternationally.

– Encouragingthedevelopmentandutilisationoflocaldesign

skillssoastoenablethesouthernAfricanregiontodevelop

itsmanufacturingindustryatalllevelsintheformal,aswell

astheinformalsectors.

– Actingastheauthoritativevoicefordesigneducatorsand

torepresentprofessionally,responsiblyanddemocratically

theinterestsandconcernsofdesigneducationinthesouth-

ernAfricanregion.

11400 Landscapeplanninganddesigninconnectionwith

planting,stocking,trimming,supervise

11400 Landscapingdesignservices

35720 Machinetoolsfordesignmanufacturing

35720 Machinetoolsofsimple,traditionaloradvanced

designmanufacturing

35690 Manufactureanddesignoffansandductingby

thirdpartyconcernsonbehalfofmanufacturer

88999 Patterndesigningservices

88211 Productdesignservice(furniture,fittings,machinery

orequipment)

88211 Provisionofengineeringdesignsformetalharvey

roofingsystems

96140 Sceneryandlightingdesign

96140 Setdesigner,ownaccount

96140 Setdesigningservices

36100 Sheetmetaltransformerboxesmanufacturing

(emptyboxonlyforonesuchmanufacturingcon-

cernonrequestwithownmaterialsanddesign)

88999 Shoedesigningservices

88999 Shoe-patterndesigningservices

88319 Showroomdesign

88999 Textiledesigningservices

35710 Trailers-self-loadingorself-unloadingmanufac-

turing(designedforagriculturalpurposes)

38200 Trailersandsemi-trailersmanufacturing(designed

tobedrawnbyvehicle;thecaravantypeorthe

typeforthetransportofgoods)

32520 Transferdesignlithographing

32510 Transferdesignprinting

86200 Webpagedesigners

88211 Yachtdesignservices

�9

– Tomaintainthefundamentalandreciprocallinksbetween

designeducation,thevisualartsandarteducationinorder

toenhancethecreativeessenceofthedesigner’sformative

training.

Contact details:

– DEFSASecretariat–TanyaSmit

– Postal:POBox12313,Clubview,0014

– Tel:+27(0)12644-1075

– Fax:+27(0)86514-2112


– Web:www.defsa.org.za

8.�.�.�. Industrial Designers Association of South Africa

(IdeaSA)

Aprocessofworkingtowardstheestablishmentofarepresent-

ativebodyforindustrialdesigncalled’FastForward‘wasstarted

atameetingheldattheSABSDesignInstitutein2006.On9

June2007theIndustrialDesignersAssociationSouthAfrica

(IdeaSA)wasincorporatedthroughaninauguralAnnualGeneral

MeetingheldattheFacultyofArt,DesignandArchitecture,Uni-

versityofJohannesburg.

IdeaSAisregisteredasanon-profitSection21companyand

ismanagedbyaboardofdirectors,drawnandvotedinfromits

eligiblemembershipandassistedbymembervolunteerson

variouscommittees.Theresponsibilitiesofthedirectorsarede-

finedbyCorporationsLawandbytheConstitutionoftheasso-

ciation.IdeaSAprofessionalmembersareboundbyaCodeof

Conductforthebenefitandprotectionoftheorganisation,its

members,theirclients,societyandtheenvironment.

IdeaSAispartiallyfundedbymembershipsubscriptionfees

andfundsgeneratedbyIdeaSA-managedevents.However,

industryandgovernmentsponsorshipsarenecessarytoensure

financialsustainabilityoftheassociation.

Althoughstillaveryyoungassociation,alreadyinJanuary2008

IdeaSAmadeitsvoiceheardandpresentedapapertoparlia-

mentconcerningindustrialdesignandtheproposedTechnology

InnovationAgencyBill.IdeaSAhascollaborationswiththe

DESIGNationnationalinitiativeforindustrialdesignasaspon-

soredmechanismforindustrialdesigneducationinSouthAfrican

schools.

– Contact details:

– Contact:BernardSmith

– Postal:POBox1801,JukskeiPark,2153

– Tel:+27(0)83654-6832

– Fax:+27(0)11462-3154

8.�.�.�. Institute of Interior Design Professions (IID)

TheSouthAfricanInstituteoftheInteriorDesignProfessions

(IID)wasfoundedin2006throughtheamalgamationofthe

SouthAfricanGuildofInteriorDesigners(SAGID)andDesign

SouthAfrica(DSA).TheIIDisanationalnon-governmental

organisationandaSection21companyandassuchisanon-

profitorganisation.

Itrepresentstheinterestsoftheinteriorarchitecture,interior

designandinteriordecoratingprofessionsinSouthAfrica.It

operatesonanationalbasisthroughaheadofficeinGauteng

andregionalliaisonofficesinKwaZulu-NatalandtheEastern

andWesternCape.

IID’saimistopromotehighstandardsthroughouttheprofes-

sionandtoexpandthecontributionoftheinteriorprofessions

insocietythroughtheexchangeanddevelopmentofknowledge

andexpertiseineducation,practiceandfellowship.

Mission

TheIIDexiststopromoteandsupporttheinteriorarchitecture,

interiordesignandinteriordecoratingprofessionsinSouthAfrica.

Itiscommittedtotheadvancementoftheprofessionalpractice

oftheinteriordesignprofessionsandtothecreationofacom-

prehensivevisionforthedesignchallengesofthefuture.

The core objectives of the IID are to:

– Maintainamembershipinstitutefortheinteriorprofessions

thatisdedicatedtoimprovingtheirexpertise,profession-

alismandstatus.

– Fosterhighstandardsindesignandincreasepublicaware-

nessoftheimportanceofgooddesigninallaspectsofdaily

life.

– Emphasisetheenvironmentalandaestheticimplications

ofdesign.

– Encourageexcellenceindesignthrougheducation,train-

ingandcontinuingdevelopmentofindividualpractitioners.

– Growthemembershipbase,improveandextenditsserv-

icesandincreaseitsinfluenceinSouthAfrica.

– Supportthementoringofstudentsandnewdesignersin

ordertocreateasolidfoundationforthefuturestrengthof

theprofession.

– Encouragethecommitmentofmemberstomakeinterior

designmoreaccessibletothepublicatlargebyparticipating

involuntarycommunityprograms.

– Achievetheregistrationofallpracticingdesigners.

�0

Contact details:

– Physical:Suite124firstfloor,DesignQuarter,Leslie

Avenue,Fourways,Johannesburg

– Postal:POBox10642,FourwaysCrossingCentre,2055

– Tel:+27(0)11465-9732

– Fax:+27(0)11465-9802


– Web:www.iidprofessions.com

8.�.�.�. South African Communication Design Council (think)

Thinkwasestablishedin2001toservetheneedsofcommuni-

cationdesignprofessionalsinSouthAfrica.Thinkistheonly

organisationinSouthAfricathatspecificallycatersforthecom-

municationdesignindustry.Membershavetheopportunityto

maketheirvoicesheardandtosettrendsandshapethedirec-

tionoftheindustry.

Asanon-profitSection21company,thinkisgovernedbyaCode

ofEthicalConductthatsetsthestandardsofpracticeforthe

specificindustrysector.ThinkisamemberoftheInternational

CouncilofGraphicDesignAssociations(Icograda),theworld

bodyforprofessionalcommunicationdesignpractitioners.Think’s

membershipincludesmostofthecountry’sforemoststrategic

brandinganddesignstudios,communicationdesignprofes-

sionalsandtertiaryinstitutions.

Assuch,theorganisation:

– Workstoprovideanappropriatevoicefortheprofession

ofcommunicationdesigninSouthAfrica;

– strivestoadvanceexcellenceinthecommunicationdesign

profession;

– endeavourstoinfluenceandimprovetheproceduresfol-

lowedinprocuringdesign;

– worksinconjunctionwithotherorganisationsinthebroad

designcommunityandwithrelatedareastoachieveshared

goalsinrespectoftheindustry;

– encourageseducationalinstitutionstodevelopqualified

communicationdesignstudentswhoarewell-trainedand

preparedforaprofessionalcareerintheindustry;and

– endeavourstodevelopplatformstoshowcaseitsindustry,

peopleanddesignproductstoitsmembers,thepublic,

government,andthebusinesscommunity.

Programmes, actions and activities:

– TheSappithinkaheadAwardsisanannualstudentawards

programmethataimstosetthestandardsforcommunica-

tiondesigngraduates,promotedesignasacareerchoice

andpresentopportunitiesforwinnerstofasttracktheir

careers.In2007think,inconjunctionwithSappiandWool-

worths,startedthethinkaheadWorkshoptoencourage

dialoguebetweensecondaryandtertiaryleveldesignedu-

cators.

– TheLoerieAwards:Thinkhasacontrollinginterestandis

anintegralpartoftheLoerieAwardscompany.

– HallofFame:Thisprogrammehonoursthecountry’smost

illustriousbrandinganddesignluminaries.

– Research:In2008,ThinkanditsfoundingsponsorSappi

initiatedtheSappi State of Design Survey togaugethe

valuewhichclientsplaceoncommunicationdesign.Think

isalsoapartnerintheSouthAfricanpilotofthe IDA World

Design SurveysponsoredbytheSABSDesignInstitute.

– Internationalprofessionmanagement:Thinkcontributes

activelytothedevelopmentoftheprofessiononaninter-

nationallevelthroughitsmembershipofIcograda.Since

2001,Thinkmembershaveconsistentlyservedonthe

Icogradaexecutiveboardofdirectors.

– Advocacy:OneofthekeyobjectivesofThinkistoraise

thelevelsofprofessionalisminthelocaldesignindustry

andithasengagedinanagressiveadvocacyprogramme

regardingtheethicsofspeculativepractices(free-pitching).

– Collaboration:Thinkactivelysupportscollaborationwith

peerprofessionalbodiesandisoneofthefoundingpart-

nersintheOneVoiceDesignAlliance,whichaimstocreate

aunifiedvoiceforalldesigninSouthAfrica.

– 26LettersProject:Thinkisapartnerinthistravellingexhi-

bitionthatpromotesliteracyawarenessinSouthAfrica.

– The2010WorldCup:FIFAsoughttheadviceandexpertise

ofThinkinchoosingtheSouthAfricancommunicationde-

signfirmthatwontherighttodesignthe2010WorldCup

emblem.

– Bursaryscheme:Thinkannuallyawards three ‘top-up’

bursariestodeservingstudentswhodemonstratefinan-

cialneedaswellasthepotentialtosucceedinthecom-

municationdesignprofession.

– Advisorstoeducation:ManyThinkmembersserveonthe

advisoryboardsoftertiaryinstitutionsandtherebyprovide

insightintocurrentprofessionalrequirements.

– Advisorstogovernment:Thinkregularlyconsultsgovernment

onpertinentissuesrelatingtothestructureandpracticesof

theindustry.Onesuchissueistransformation–through

ongoinginvolvementinthedevelopmentofaBEEscore-

cardfortheindustry;andproceduresforgovernmentten-

dering.ThinkisasignatoryontherecentlydraftedMAPPP

SETAMACcharter,whichoutlinestransformationimpera-

tivesfortheindustry.

��

Contact details:

– Operationsmanager:SarahBeswick

– Postal:POBox1887,FourwaysGardens,2068

– Tel:+27(0)11467-7945

– Fax:+27(0)86510-9735



8.�.�.5. The Kitchen Specialists Association (KSA)

ThemissionoftheKitchenSpecialistsAssociation(KSA)isto

createaprofessionalandstabletradingenvironmentinwhich

theindustrycanprosperandconsumerscanenjoycomplete

peace-of-mind.

Asanindependentbodyandnon-profitorganisation,theKSA

isabletoofferthepotentialkitchen,bathroomandbuilt-incup-

boardpurchaseradvicewithregardtochoosingasuitable

company.

Membershavesatisfiedastringentcheckingprocedurebefore

theycanjoin,andmoreimportantly,havetomaintainthehigh

standardstheKSAinsistsuponorriskbeingexpelledfromthe

association.

TheKSAhasabroadmembershiprepresentationincluding

affiliatememberswhosupplytothekitchen,bathroomandbuilt-

incupboardindustries.

Contact details:

– Postal:P.O.Box411108,Craighall2024

– Tel:(011)325-6039

– Fax:(011)325-6309


– Website:www.ksa.co.za

8.�.�.6. SA Publication Forum

TheSAPublicationForumiscommittedtoimproveandpromote

corporatepublicationsinSouthAfrica.Throughtheforum,pub-

licationpractitionersgettogethertonetworkandshareideas.

ThemainactivitiesoftheforumaretheannualCorporatePub-

licationCompetitionandtrainingopportunitiesintheformof

trainingcourses,workshopsandseminars.

Contact details

– Postal:POBox14029,Hatfield,0028

– e-mail:[email protected]

– www.sapublicationforum.co.za

8.�.�.7. The South African Institute of Intellectual Property

Law (SAIIPL)

SAIIPLwasestablishedin1954andrepresentssome140

patentattorneys,patentagentsandtrademarkpractitionersin

SouthAfricawhospecialiseinthefieldofIntellectualProperty

Law.

IntellectualPropertyLawembracesthelawrelatingtopatents,

trademarks,registereddesigns,copyrightandunlawfulcom-

petition(passing-offoftradesecrets).Italsoincludeslitigation,

licensingandfranchising.

ThemembersoftheSAIIPLrepresentthemajorityofnational

andinternationalbusinesseswhohavebuilttheirbusinesseson

brands,innovationandtechnology,andwhoprotecttheirinter-

eststhroughourcountry’sintellectualpropertylaws.Members

oftheSAIIPLalsorepresenttheinterestsoftheirindividual

firmsandclientsatanumberoflocalandinternationalorgani-

sationssuchasWIPO,LES,INTA,AIPPI,PTMY,FICPI,AIPLA,

ITMAandMARQUES.

Contact details:

– Physical:1stFloorEnterprizeBuilding,TheInnovationHub,

Pretoria

– Tel:0128440564

– Fax:0128440599


– Web:www.saiipl.org.za

Althoughthefollowingprofessionalorganisationsfalloutside

thescopeofthisreportitwasfeltthattheirexistenceandinvolve-

mentinthedesignsectorneedtobeacknowledgedandisthus

includedforthesakeofcompleteness.

8.�.�.8. The South African Council for the Architectural

Profession (SACAP)

SACAPistheregulatorybodyforthearchitecturalprofession.

SACAPprovidesfortheregistrationofarchitects,seniorarchi-

tecturaltechnologists,architecturaltechnologistsandarchi-

tecturaldraughtspersons.

Contact details:

– Physical:FirstFloor,LakesidePlace,Cnr.ErnestOppen-

heimerDriveandQueenStreet,Bruma

– Postal:PrivateBagx02,RandparkRidge,2156

– Tel:+27(0)11417-0900

– Fax:+27(0)86530-9084

– Web:www.sacapsa.com

��

8.�.�.9. The South African Institute of Architects (SAIA)

SAIAisavoluntaryassociationofaffiliatedandregionalinsti-

tutesestablishedin1996andincorporatesthepreviousnational

InstituteofSouthAfricanArchitects(establishedin1927)and

theregionalInstitutesofArchitectsoftheformerCape(founded

1899),EasternProvince(foundedin1900asthePortElizabeth

SocietyofArchitects),Border(foundedin1946astheEastLon-

donChapteroftheCapeProvincialInstitute),KwaZulu-Natal

(foundedin1901),OrangeFreeState(foundedin1921)and

Transvaal(foundedin1909).ThePretoriaInstituteofArchitects

wasestablishedin1993andthefollowingnewregionalinstitutes

wereestablishedin1996NorthernCape,NorthWest,Limpopo

(foundedasNorthernProvince)andMpumalanga.

TheinstituteisamemberoftheAfricaUnionofArchitects,the

CommonwealthAssociationofArchitects,theInternational

UnionofArchitectsandtheInternationalCommissiononMonu-

mentsandSites.

Membershipoftheinstituteisopentoallarchitects,theonlypre-

requisitebeingarecognisedacademicqualification,aminimum

of24monthspracticalexperienceandanexaminationinpro-

fessionalpractice.

Thefundamentalprinciplesofequalityandjusticeareimplicit

intheConstitution.Intermsoftheconstitutiontheinstituteis

committedtotheprincipleofstrivingtobeanoutstandingprofes-

sionalorganisation,whichupholdsthedignityoftheprofession

anditsmembers.Itaimstopromoteexcellenceinarchitecture

anditseekstocontributetotheenhancementofsocietyand

theenvironment.

Contact details:

– Physical:Bouhof(GroundFloor),31RobinHoodRoad,

Robindale,Randburg

– Postal:PrivateBagx10063,Randburg,2125


– Tel:+27(0)11782-1315

– Fax:+27(0)11782-8771

– Web:www.saia.org.za

8.�.�.�0. Sanlam South African Fashion Week (SSAFW)

SSAFWwasestablishedin1997outofaneedtoshowcasethe

abundanceoffashiontalentthatwasgoingunnoticedinSouth

Africa.In2007,SSAFWwassignificantfortworeasons:firstly

SouthAfricanfashiondesignerscameofageand,secondly,

SouthAfricanbusinesssawforthefirsttimeavaluableindustry

developing.

Vision

– GrowandstrengthentheSouthAfricanfashionindustry

byfacilitatingdialoguebetweenallitsmajorplayers;the

designers,manufacturers,textiles,accessories,retailand

themedia.

– Nurtureanappreciationoflocalfashioninthemindsofthe

SouthAfricanpublicandstrengtheninternationalinterest

inSouthAfricanfashion.

– HighlightthecreativityofSouthAfricandesignersandde-

velopthegrowthandbusinesspotentialoftheindustry.

– Developasustainableplatformfordesignerstoshowcase

theircollections,independentofsubsidies.

– Functionasacentreforinformationexchangewherethe

currentknowledgecanbesharedbythosewithexperience

andhindsight,withthosewhoarejustenteringtheindustry.

– CelebrateSouthAfrica’sdiversityandforgeanindigenous

fashionidentitybycelebratingourestablisheddesigners,

whilenurturingandlaunchingfreshtalent.

SSAFWconsistsofthefollowingactivitiesandinitiatives:

– TheSanlamSAFashionWeekstagestheSpring/Summer

andAutumn/WinterDesignerCollections,respectivelyin

AugustandMarcheachyear.Theseannualeventsare

timedtodove-tailwiththeinternationalfashionweekcircuit.

– TheSSAFWExhibitionrunsalongsidetheannualSpring/

SummerDesignerCollectionsandisopentothepublic.It

servesasahardworkingtradingfloorwherefashiondesign-

ersandbrands,accessoriessuppliersandtextilecompa-

niescanlaunchtheircollectionstothetrade,consumers

andthemedia,atrelativelylowcost.

– Arts&CultureFashionSeminar:TheDepartmentofArts

andCultureSeminaristhecountry’sonlyfashion-specific

seminar.Conceivedasathinktankforindustrydevelopment

andaforumforcontinuingandexpandedlearningandde-

batewithinthedesignercommunity,speakersaredrawn

fromacross-sectionofrelevantdisciplinessuchasretail,

themediaandresearchandincludebothtoplocaland

internationalexperts.

– TheArts&CultureFashionFusionProject:Inpartnership

withtheDepartmentsofArtsandCulture,SSAFW,launched

theFashionFusionprojectin2006.Todate,thisinitiative,

whichactivelypromotescollaborationbetweenruralcraft-

ersanddesigners,hasestablishedanationalnetworkof

collaborativegroupsinallnineprovincesandhasempow-

eredninehundredcraftersandassistedfortydesigners

todevelopcollectionswithauniquelycontemporary‘made

inRSA’signature.

��

Contact details:

– Tel:+27(0)114427812

– Fax:+27(0)114420177


– Web:www.safashionweek.co.za

8.�.�.��. African Fashion International (AFI)

AFI,founded,ownsandoperatessomeoftheAfricancontinent’s

mostrespectedanddirectionalfashionweeks,namelyVirgin

MobileCapeTownFashionWeek,MTNDurbanFashionWeek

(50%ownership),AudiJoburgFashionWeek(autumn/winter)

andJoburgFashionWeek(spring/summer),inadditiontoother

fashion-relatedstrategicmarketinginitiatives.

AFI’svaluesare:

– Excellence

– Innovation

– Transformation

– Development

– Relationships

– Integrity

AFI’svisionistobegloballyrecognisedastheleadingauthority

onAfricanfashion-relatedstrategicmarketinginitiativesand

Africanfashionbrands.AFIaimstoimprovethequalityoffashion

designoutputfromAfrica,topromoteAfricanbrands,andto

dramaticallyraisetheprofileoffashiondesignersfromthecon-

tinent.

Contact details:

CapeTown

– Tel:+27(0)214220390

– Fax:+27(0)214220396

Johannesburg

– Tel:+27(0)117791190

– Fax:+27(0)117791037


– Web:www.africanfashioninternational.com

8.�.�.��. Engineering Council of South Africa (ECSA)

TheECSAisastatutorybodyestablishedintermsoftheEngi-

neeringProfessionAct,2000(ActNo.46of2000).ECSA’s

predecessorwasestablishedbytheEngineeringProfession

ofSouthAfricaAct,1990(Act114ofl990).

ECSAseesitselfinpartnershipwiththegovernmentandthe

engineeringprofessiontopromoteahighlevelofeducation

andtrainingofpractitionersintheengineeringprofessionto

facilitatefullrecognitionofprofessionalismintheengineering

profession,bothlocallyandabroad.Itenjoysfullautonomy

althoughitisaccountabletothegovernment,theprofession

andthepublicforthefairandtransparentadministrationofits

businessinthepursuitofitsgoals.

However,inpursuingthisgoal,ECSAhasanimpliedrespon-

sibilitytoensurethattheinterestsoftheprofession(thepracti-

tioners)arealsopromoted.Theinterestofthepublicandthe

countrycanonlybeservedproperlyifaprofessionishealthyand

strong.ForthisreasonECSApromotesthewellbeingofthe

voluntarysocietieswhoareactiveinengineering.Sincethe

societiesaretheinstrumentsthroughwhichtheinterestsof

thepractitionersareserved,agoodbalancebetween‘public

interests’(ECSA)and‘owninterests’(Societies)shouldbemain-

tained.

Vision

SouthAfricaenjoysallthebenefitsofastrong,competent,grow-

ing,sustainableandrepresentativeengineeringprofession,able

toprovidealltheexpertisenecessaryforthesocio-economic

needsofthecountryandexertsapositiveinfluenceinthesouth-

ernAfricanregion.

Mission

Tocreatethecircumstancesinwhichsocietyisconfidentthat

theengineeringprofessioninSouthAfricaisabletocarryout

thefunctionsnecessaryforthesocio-economicgrowthinthe

countrythrough:

– Settingandmonitoringinternationallyacceptedstandards;

– assessingthecompetenceofindividuals(registration);

– growingtheprofession(quantityandquality);and

– communicatingwithprofessionalsandotherstakeholders.

Contact details

– Physical:1stFloor,WaterviewCornerBuilding,2Ernest

OppenheimerAvenue,BrumaLakeOfficePark,Bruma,

Johannesburg,2198

– Postal:PrivateBagX691,Bruma2026

– Tel:+27(0)11607-9500

– Fax:+27(0)11622-9295


– Web:www.ecsa.co.za

8.�.�.��. Jewellery Council of South Africa (JCSA)

TheJCSAplaysadiverseroleinrepresentingtheinterestsof

wholesalers,manufacturersandretailers.Activitiesarespecific

tothethreesectorsandincludemarketing(localandinterna-

tional),representationtogovernment,organisationoflocaland

��

internationaltradefairs,seminarsandtrainingcourses,the

operationofaninternationallyrecognisedDiamondCertification

Laboratoryandthedisseminationofinformationtotheindustry.

Vision

TheJCSAvisionistocreateanenablingenvironmentinwhich

theSouthAfricanjewelleryindustrybecomesAfrica’sjewellery

tradinghub.

– ToachievethisvisionmostparticipantsintheSouthAfrican

jewelleryindustrymustbecomemembersoftheJCSAdue

toitsaddedvalueandcredibility.

– TheJCSAmustplayapivotalroleintheSouthAfricanjewel-

leryindustryby:

• Becomingacentralpointofcontactonalljewelleryre-

latedmatters;

• Becomingamoredominantplayerintheworldmarket;

• Drasticallyfacilitatinglocalbeneficiationofprecious

metals,gemstones,andsemi-preciousstones;and

• Facilitatinglocalsalesandexports.

Thecorepurposeofthisvisionistofacilitatethecreationofjobs

andearningofforeignexchangethroughlocalbeneficiation

ofpreciousmetals,gemstonesandsemi-preciousstones.

Mission

TheJCSA’smissionistoprovideanenablingplatforminwhich

togrowtheSouthAfricanjewelleryindustry.Itdoessoby:

– ProvidingstrategicdirectionfortheSouthAfricanjewellery

industry;

– promotingthebeneficiationandclearingofpreciousmetals;

and

– providinganenablingplatformforcommunication,research,

training,andfinancingforthemanufactureanddistribution

ofjewelleryproductsandservicesinSouthAfrica.

Contact details:

– Physical:Suite102,SADiamondCentre,225MainStreet,

Johannesburg,2000

– Tel:+27(0)11334-1930

– Fax:+27(0)011334-1933


– Web:www.sacapsa.com

8.�.�.��. The Association for Communication and

Advertising (ACA)

TheACAisarepresentativebodyfortheadvertisingprofes-

sioninSouthAfrica.Advertisinghasevolvedintoanexciting

hybridofinteractive,brandactivation,newcontentandmore,

andtheACArepresentscompaniesinthisprofessiontogovern-

ment,mediaandthepublic.Itisavoluntarybodyformedboth

by,andfortheindustry,focusedonandcommittedtoselfregu-

lation,andtodefendthehigheststandardsofethicalpractice.

TheACAhascommitteditselftoimprovingandstrengthening

theadvertisingprofessionthroughcounselingandsharedexpe-

riences.TheACAworkswithnationalandprovincialgovernment

topromoteagencyandindustrytransformation,andiscommit-

tedtoitscommunitiesandthedevelopmentofnewtalentthrough

corporatesocialresponsibilities.

Withintheprofession,theACAiscommittedto:

– Improvingandstrengthentheadvertisingagencybusiness

inSouthAfricabycounselingmembersonoperationsand

managementandbyprovidingthesharedexperienceof

manytoeach.

– Representingandpromotetheinterestsofmemberadver-

tisingagenciesasprincipalsinbusiness.

– Encouragingthehighestcreativeandbusinessstandards

andserviceassociatedwithaprofessionalbody.

TheACAenforcesselfregulation,andissteadfastinitspromise

to:

– Promoteagencyandprofessionaltransformationinorder

toremovebarriersthatmaypreventaccessfordisadvan-

tagedgroupings(seeACATransformationCharter).

– Discouragedishonestandundesirablepracticesinadver-

tisingandrelatedfieldsofactivity,andtopromoteself-

regulationofadvertisingstandards.

– Statecommonlyacceptedpracticeintheprofession,sothat

bothadvertisersandagentsareawareoftheirrespective

rightsandobligations.

– Encouragefairremunerationforadvertisingagencies.

– Beanadvocateofadvertisingandfreedomofcommercial

speech.

Representingcompanieswithinourprofessiontogovernment,

mediaandthepublic,theACAvowsto:

– Workwithnationalandprovincialgovernmentinanopenfo-

rumtohelpachievedesirablesocialanddevelopmentgoals.

– ProvidehelpfulinformationinGovernmentpolicyandde-

cisionmakinginmattersofmutualconcern,andtoresist

unwiseorunfairlegislationandregulations.

– Playapositiveroleinthereconstructionanddevelopment

ofSouthAfrica,byassistingintheplanningandcarryingout

ofgovernmentcommunicationcampaigns,providingedu-

cationandtrainingopportunities,etc.

�5

– Representtheagencypointofviewtoadvertisers,helping

solvemutualproblems,helpingimproveourmembers’value

tothem,helpingresolvecollectivelythoseissuesthatindi-

vidualagenciesandclientscannotresolveindependantly.

– Representtheagencypointofviewtovariousotherbodies

involvedinresearch,productionetc.,whichareimportant

toourprofession.

– Serveourmembers’needsforinformation,agencyman-

agementcounsel,professionaldevelopment,legalguide-

linesetc.andtobealerttonewneedsastheyarise.

– Representtheagencypointofviewtomedia;providing

constructivesuggestions,solutionstoproblems,andtech-

nicalhelp–whilereceivingandactinguponsimilarinfor-

mationfromthem.

Contact details:

– Physical:BondStreetCentre,CornerBramFischerDrive

&BondStreet,KensingtonB,Randburg

– Postal:POBox2289,Parklands2121

– Tel:+27(0)117812772

– Fax:+27(0)117812797


– Web:www.acasa.co.za

8.�.�.�5. Creative Circle (CC)

TheCCaretheofficialorganisationrepresentingandelected

bythegreatercreativecommunity.Theorganisationaimsto

encourageandpromotecreativeexcellencethatisrelevant

andmeaningfulinSouthAfrica.

TheCreativeCircleisdedicatedtoraisingthestandardofSouth

Africa’screativework.Itisaforumwherethecreativeminds

ofthecommunicationsandadvertisingprofessiongettogether

toshareideas,showcasecreativityanddiscussissuesofcom-

moninterest.

Contact details:

– Tel:+27112507940

– Fax:+27112507941

– Web:www.creativecircle.co.za

8.�.�.�6. Communications and Advertising Forum for

Empowerment (CAFE)

OneofthecoregoalsofCAFEistofacilitatedemographic

transformationofthedesignandadvertisingsectors.CAFEis

madeupofImaginationLabsthatweresetuptoinspiregoals

andthenhelptoturnthosegoalsintoareality.

8.�.�.�7. The Commercial Producers Association of South

Africa (CPA)

TheCPAistheprofessionalassociationofcompaniesspecial-

isingintheproductionoftelevisioncommercials.

TheAssociationwasfoundedinthelate1970’sandcurrently

has40members.Itisrunbyanexecutivecommitteeandhas

officesinJohannesburg.

Theindustryencompassestwosectors:

– SouthAfricanCommercials:BasedprimarilyinJohannes-

burg,thehomeofSouthAfrica’sadvertisingsector,isa

vibrantindustrywhichproducesworld-classcommercials

forbothSouthAfricaandinternationalterritories.South

Africandirectorsareknownthroughouttheworldfortheir

highcreativestandardsandinnovativetechniques.

– InternationalCommercials:SouthAfricaishometoabusy

foreigncommercialsectorwhichisprimarilyCapeTown

based.Anumberofexperiencedcompaniesfacilitatehun-

dredsofcommercialseachyearfromdifferentpartsofthe

world.Inthelast15yearsSouthAfricahasestablisheda

solidreputationasoneofthefinestfilmlocationsinthe

world.

KeybenefitsandservicesoftheCPA

– TheCPAco-ordinatesmeetingsandworkshopsforpro-

ducers.

– TheCPAcommunicatesandadvisesproducersonallim-

portantissues.

– TheCPAprovidesanadvisoryservicetomembers.

– TheCPAprovidesanexclusiveon-lineresourcetomem-

berswherebytheyareabletoinstantlyaccessalltheCPA’s

information,documentationandintellectualproperty.

– TheCPAnegotiatesstandardagreementswithsuppliers

andclients.

– TheCPAprovidesalegalframeworkthroughwhichtooper-

ate–theproductionagreement.

– TheCPAnegotiateswithcrew&casttoformulaterecom-

mendedworkingguidelinesandcontracts.

– TheCPAprovideslegaladvicetomembersonarangeof

issues,includinglabour&tax,VAT,workpermits&visas,

childlabourlegislation&permits,health&safety,locations,

insurance,copyrightetc.

– TheCPApromotestransformationandtrainingwithinthe

industryandfacilitatestrainingcoursesandprograms.

– TheCPAmediatesdisputesbetweenmembers,clientsand

suppliers.

– TheCPAresearchesthesizeandscopeoftheindustry

�6

andidentifiesnewtrends,opportunitiesandchallenges.

– TheCPAlobbiesgovernmentandotherinterestgroups

toensurethatlegislationisfavourableandinthebestinter-

estsoftheindustry.

– TheCPAlobbiesforafilmfriendlyandconduciveproduc-

tionenvironment.

– TheCPAisrepresentedonanumberofotherboardsand

organisations,therebypromotingtheinterestsofcommer-

cialproducersinthewidercontextofthefilmandadvertising

industries.

– TheCPAisatrouble-shooterwhichidentifiesandresolves

problemsbeforetheyimpactnegativelyorbecomebarriers

toentrytotheIndustry.

– TheCPAprofessionalisestheindustrybyinculcatingacul-

tureofethicsandpromotingstandardsofprofessionalism

andaccountabilitytowhichmemberssubscribe.

– TheCPApromotesitsmemberstoadvertisingagencies

andinternationalagenciesandproductioncompanies.

– TheCPAisadynamicthinktankwhichproposesnewideas

andpracticeswithintheindustry.

Contact details:

– Postal:POBox413005,Craighall,2024,SouthAfrica

– Tel:+27116736809

– Fax:+27866748321


– Web:www.cpasa.tv

8.�.�. Design promotion agencies

Thefollowingdesignpromotionagencieswasfoundtobeactive

inSouthAfrica.

8.�.�.� SABS Design Institute (DI)

TheDIpromotesthebenefitsofgooddesigninordertostim-

ulatetheeconomicandtechnologicaldevelopmentofSouth

Africa.Itfosterstheeconomicandtechnologicaldevelopment

ofSouthAfricathroughthepromotionofthebenefitsofdesign.

Theultimateaimistoimprovetheprosperityoftheentirepopu-

lation.

TheDIpioneereddesignpromotioninSouthAfricabyplacing

gooddesignontheagendasince1969.Throughtirelessefforts

theinstitutehasencouragedSouthAfricandesignerstomeet

industryneedsandtorespondtochangingtechnological,eco-

nomicalandsocialdemandsthroughinnovativedesignthinking.

ThebasicbeliefisthatSouthAfricans,asanation,areinven-

tiveandresourcefulandthatifthecollectivecreativeforces

aroundusareharnessed,wecouldovercomemanyobstacles

andbeawinningdesignnation.

TheDIhasalsotakendesignpromotionacrossbordersinto

Africawithconcerteddesignpromotionefforts.Atthesametime,

extensivecooperationexistswithglobaldesigninitiatives.

DesigninitiativesrunbytheDI

– Channellingbrilliantyoungminds:ThroughtheDI’seduca-

tioninitiativesdesignispromotedasacareerofchoice.

Youngdesignersaregroomedintoleadershiprolesbythe

DesignAchieversprogrammeandexhibitionsandpubli-

cations take thedesignmessageout there toschools

anduniversities.

– Awardingdesignexcellence:Byevaluatingandawarding

SouthAfricandesignedproducts,theDIbelievesthatthe

barwillbeliftedandthatSouthAfricacanbecomeamajor

player inproductdesignglobally.Theflagshipaward

scheme,theSABSDesignExcellenceAwards,hasplaced

excellentSouthAfricanindustrialdesignsanddesignerson

themapforthepast40years.

– Harnessingdesignfordevelopment:ProjectsliketheProto-

typeinitiativewherefledglingdesignersarepointedinthe

rightdirection,IdeatoProductseminarsandparticipating

inglobalInterdesignworkshops,havepositionedtheDIas

achampionfordesignfordevelopmentinitiatives.

– LookingintoAfricaandbeyond:TheDIhasbeenthedriv-

ingforcebehindtheNetworkofAfricaDesigners(NAD).By

organisingregularAfricanDesignDaysandincludingdesign

studentsfromalloverthecontinentintheDesignAchievers

workshops,theDIisspreadingthewordthatdesignwill

makeadifferenceinthewaytheworldperceivestheAfrican

continent.

Contact details:

– Physical:No1DrLateganStreet,Groenkloof,Pretoria

– Postal:PrivateBagX191,Pretoria,0001

– Tel:+27(0)12428-6326

– Fax:+27(0)12428-6546


– Web:www.sabs.co.za/Business_Units/Design_Institute

8.�.�.�. The Design Indaba – Conference, expo and magazine

TheDesignIndabahasgrownexponentiallysinceitsincep-

tionin1995–comprisingaconference,expo,magazineanda

�7

numberofcommunity-orientated initiatives.Design Indaba

aimstodriveSouthAfrica’screativeindustriesinmeetingcom-

petitiveglobalstandards.Designdoyensfromallfieldspartici-

pateinknowledgesharingattheconference,whiletheexpo

offersaninternationalplatformforthebestinlocaldesign.The

magazinecontinuesthedialogueandgeneratesmomentum

betweentheannualevents.

Mission:

DesignIndabarecognisedesignas:

– acommunicationfundamental

– abusinessimperative

– oneofthemostpowerfultoolsavailabletoindustryand

commerce

Toencourageprogressindesign,itisimportantto:

– celebratethedesigner

– equipthemarketer

– demonstratecommercialgainthrougheffectivedesign

– revealthetruepotentialofdesign

– mobiliselocalandinternationaldesignexpertise

DesignIndabaaimstoaddvaluetothosewho:

– practisedesign

– commissiondesign

– relyondesigntobuildabrand

DesignIndabaaddresses:

– indifferenceandignoranceofthevalueofgooddesign

– thedividebetweendesignersandmarketersinunderstand-

ingdesign

Contact details

– Physical:16MillStreet,Gardens,CapeTown

– Tel:+27(0)12465-9966

– Fax:+27(0)12465-9978


– Web:www.designindaba.com

8.�.�.�. National Research Foundation (NRF)

SincetheNFRisnotinvolvedinthepromotionofdesignper

se(asisthecasewiththeDIandtheDesignIndaba),butinthe

promotionofresearchthatmightleadtoinnovation,itisincluded

inthissection.TheobjectiveoftheNRFistosupportandpro-

moteresearchthroughfunding,humanresourcedevelopment

andtheprovisionofthenecessaryresearchfacilities,inorder

tofacilitatethecreationofknowledge,innovationanddevelop-

mentinallfieldsofthenaturalandsocialsciences,humanities

andtechnology.Insodoing,itcontributestotheimprovement

ofthequalityoflifeofallthepeopleofthecountry.Theorgani-

sationwasestablishedin1999asaresultoftheNRFAct.

Asthegovernment’snationalagencyresponsibleforpromoting

andsupportingbasicandappliedresearchaswellasinnova-

tion,theNRFupholdsexcellenceinitsinvestmentsinknowl-

edge,people,productsandinfrastructure.TheNRFprovides

servicesandgrantstosupportresearchandpostgraduatere-

searchtraining,vitaltothedevelopmentofSouthAfrica.Itisthe

NRF’svisiontobeakeyinstrumentinthecreationofaninnova-

tive,knowledge-drivensocietywhereallcitizensareempowered

tocontributetoagloballycompetitiveandprosperouscountry.

FundingfromtheNRFislargelychannelledthroughtheInnova-

tionFundanddirectedtowardsacademicresearch,developing

high-levelhumanresources,andsupportingthenation’snational

researchfacilities.TheNRF’staskistoadvanceresearchin

allfieldsofthehumanities,socialandnaturalsciences,engi-

neering,andtechnology;includingindigenousknowledge.By

forgingstrategicpartnershipslocallyandinternationally,itex-

tendstheresourcesthatresearchersneedtofosterandexpand

SouthAfrica’sresearchcapabilitiesand,ultimately,toimprove

thequalityoflifeforall.

Otherareasofitscorebusinessaretopromoteresearchcapac-

itydevelopment(RCD),tounlockthefullcreativepotentialof

theresearchcommunityandtoestablishequityandredress.

TheNRFfostersstrategicpartnershipsandknowledgenet-

workstomakeSouthAfricagloballyrelevantandcompetitive.

Itprovidesresearchinformationandstrategicadvice.

Themostprominentinitiativesrelatedtodesignspecificallyare:

– TechnologyMissions(MiTech):ThegoaloftheInnovation

Fund(IF)TechnologyMissionsistofundhighrisk,early

stage,technologydevelopmentresearchwithapotential

forbroadeconomicbenefits.Theresearchtobefundedis

likelytofocusonthedevelopmentofcommerciallyrelevant

technologies,thelackofwhichcurrentlyretardstheentry

ofnewproductsintothemarketplace.Itisforthesupport

ofacceleratingthedevelopmentofcriticalpre-competitive

technologiestothepointatwhichproductdevelopment

begins.ThedistinctiontobemadeisthattheIFwillonlyfund

theresearchanddevelopmenttothepointwherethetech-

nologycanproceedwithoutIFsupport.TheIFcannotsub-

sidisetheresearchanddevelopmentbudgetsofindustry.

Theoperationalmechanismisofacentreofexcellence

comprisingapartnershipbetweenindustryandacademia,

�8

withasignificantbroad-basedblackeconomicempower-

mentcomponent.Theresearchagendashouldbecon-

ceivedincollaborationwithindustry,thelatterbeingexten-

sivelyinvolvedindirectingthecourseoftheproject.Inthe

proposal,applicantsmustclearlyidentifythescientificand

technologicalbarriertoproductdevelopmentandelaborate

ontheeconomicbenefitsthatwouldaccrueasaresultof

itsremoval.Industryalsocommitstothecommercialisation

ofthetechnologyuponcommercialisationoftheproject.It

isenvisagedthatthepartneringofsmallandblackempow-

ermentfirmswithlargecompanieswillensureskillsand

technologytransfertothesmallercompanies.Itwillalso

createaccesstodownstreammarketsforthesmallerfirms.

– TechnologyAdvancementProgram(TAP):TheInnovation

Fundinvestsinnovelresearchideaswithvastpotential

forcommercialsuccess,andseekstechnologicalsolutions

thatwillyieldsignificantnationalbenefits.Intermsofthe

TechnologyAdvancementProgramme,theInnovationFund

assistsintheconversionofresearchideasintocommer-

ciallyusefulend-productsbyfundingitemssuchasequip-

ment,researchanddevelopmentexpertise,managerial

skills,securingofintellectualpropertyrightsandconstruc-

tionofaprototype.

– PatentSupportFundforResearchInstitutions(HigherEdu-

cationInstitutionsandScienceCouncils):Thesecuringof

intellectualpropertyinpubliclyfundedresearchisanimpor-

tantaspectintheeconomicgrowthstrategyfortheknowl-

edgeeconomyinwhichweparticipate,globally.Alarge

portionofpubliclyfundedresearchinnovationsandinven-

tionsemanatingfromstatefundedresearchinstitutions

inSouthAfrica (i.e.HigherEducation Institutionsand

StatutoryScienceCouncils),havenotmadetheirwayto

themarketplaceaseffectivelyaspossible,inpart,because

ofalackofsupportmechanisms,largelyfinancial,forpat-

entprotection.Thus,thePatentSupportFundisaimedat

providingfinancialsupportforpatentportfoliosofinventions

emanatingfromResearchInstitutions.

– Areasoffunding:TheNRFwouldallocatefundsinthefol-

lowingareas:

• Businessandcommercialisation;

• Newmaterials;

• InformationandCommunicationsTechnology(ICT);

• ElectronicsandElectricalEngineering;

• ProcessandChemicalEngineering;

• MetallurgyandMaterialsEngineering;

• BiotechnologyandBiochemistry;

• MicrobiologicalSciences;

• Medicaldevices;

• Humandiagnostics;

• Treatmentanddrugdevelopment;

• Physics;

• BiologicalSciences;

• MechanicalEngineering;and

• CivilandConstructionalEngineering.

Contact details:

– Physical:MeiringNaudéRoad,Brummeria,Pretoria

– Postal:POBox2600,Pretoria,0001

– Tel:+27(0)12481-4000/4001

– Fax:+27(0)12349-1179


– Web:www.nrf.ac.za

8.�.�.�. National Arts Council of South Africa (NAC)

TheNACisnotinvolvedinthepromotionofdesignper se,but

certainpromotionalactivitiessuchasexhibitionsmightqualify

forsupportifitisframedinaculturalcontext.

TheNationalArtsCouncilofSouthAfrica(NAC),formedin1997,

isastatutorypublicentitywiththeDACasitsexecutiveauthority.

Theinstitutionissubjecttoacomplexgovernanceframework

thatincludestheNACAct(1997)andthePublicFinanceMan-

agementAct(PFMA)amongstothers.TheNACisgoverned

byacouncilwhosemembersareappointedbytheMinisterof

ArtsandCultureafteraprocessofpublicnominations.

Vision

Topromote,throughthearts,thefreeandcreativeexpression

ofSouthAfrica’scultures.

Mission

Todevelopandpromoteexcellenceinthearts.

Disciplinessupported(mainlythroughfunding)

– Craft

– Danceandchoreography

– Literature

– Multi-discipline

– Musicandopera

– Theatreandmusicaltheatre

– Visualarts

Contact details:

– Physical:66MargaretMcinganaStreet,Newtown,Johan-

nesburg

�9

– Postal:POBox500,Newtown,2113

– Tel:+27(0)11838-1383

– Fax:+27(0)11838-6363


– Web:www.nac.org.za/

8.�.�.5. Business & Arts South Africa (BASA)

BASAwasfoundedin1997asajointinitiativeofgovernment

andthebusinesssector,tosecurefuturedevelopmentofthe

artsindustrythroughincreasedcorporatesectorinvolvement.

EstablishedasaSection21companyBASAisaccountable

tobothgovernmentanditsbusinessmembers.

TheSupportingGrantSchemewasfoundedbyBASAwithfund-

ingfromtheDepartmentofArtsandCulture,andaimstoencour-

ageandincreasebusinesssponsorshipofthearts.Itisdesigned

asanincentiveschemeforbusinesssponsors,notasanother

sourceofpublicsubsidyforartsorganisations.

Contact details

– Physical:3rdFloor,TheMills,66CarrStreet(cornerQuinn),

Newtown

– Postal:POBox42865,Fordsburg2033

– Tel:+(0)11832-3000/3041

– Fax:+27(0)11832-3040


– Web:www.basa.co.za

8.�.�. Trade and industry associations

Thefollowinglistoftradeandindustryassociationsandinitia-

tiveswasfoundtobeactiveinSouthAfrica.

8.�.�.�. The Design Indaba Expo

TheDesignIndabaExpotakesplaceeachFebruaryattheCape

TownInternationalConventionCentre.DesignIndabaExpois

SouthAfrica’spremiershowcaseoflocaldesigninallsectors.

TheExpoisunique,insofaras:

– Itismulti-sectoral,featuringadvertising,architecture,craft,

decor,film,fashion,communicationdesign,interior,jew-

ellery,newmedia,publishing,productdesignandvisual

media;

– itshowcasesthebestoflocaldesign–original,contemporary

andinnovativeproductthatisquintessentiallySouthAfrican

–noderivatives,andnoimports;

– itiscurated,notfilled.TheadvisorypanelofthebestSouth

Africandesigners,stylists,criticsandindustryexperts,cu-

ratestheExpoflooranddecideswhoisrepresentedthere.

ThepanelisrepresentativeoftheExpo’spositioning.Where

adesignerisnotknownbythepanel,aprocessofsubmis-

sionisengagedwherethedesigner’sworkiscirculated

forthepanel’sinput;

– inadditiontoencouragingexhibitorstotradedirectlyto

theSouthAfricanpublic,theExpoalsobringsoutseveral

internationalbuyerstostimulatetheexportmarket.

In2004,theDesignIndabaExpowasinauguratedinassocia-

tionwiththedti.TheExpoprovidesacommercialplatform

forthefinestSouthAfricandesignerstoleveragelocalgoods

andservicestotheglobalmarket.Itintroducesthemostinfluen-

tialinternationalbuyerstoSouthAfricancreativeproductsto

encourageexport.Thereisalsoanimpactonthelocalmarket.

TheExpoaimstocreatediscerningconsumersthroughexpo-

suretotheprinciplesandproductsofgooddesign,resultingin

thedemandandproductionofinnovative,evolvingandexcel-

lentSouthAfricancreativeproduct.

Contact details:

– Physical:16MillStreet,Gardens,CapeTown

– Tel:+27(0)12465-9966

– Fax:+27(0)12465-9978


– Web:www.designindabaexpo.com

8.�.�.�. Decorex SA

Celebrating15yearsinthedécoranddesignindustry,Decorex

SAisSouthAfrica’spremierdécoranddesignexpo.Tradepro-

fessionalsandconsumerscanindulgeinlimited-editionluxury,

beautifullypresentedhave-to-haves,curatedart-happenings,

handmadecollectablesandthecreativeenergyofthedesign

industry’smosttalentedstylemasters.Theexpofocuseson

furniture,kitchensandbathrooms,fabrics,décoraccessories,

lighting,thefinestfinishes,essentialsforindoorandoutdoor

living,colourandform.

DecorexishostedinDurban,CapeTownandJohannesburg.

Contact details:

– Physical:MedschemeBuilding,10MuswellRoadSouth,

Bryanston

– Tel:+27115498300

– Fax:+27115498503

– Web:www.decorex.co.za

8.�.�.�. Jewellex

TheJewellexInternationalTradeFairattractsexhibitorsfrom

allovertheworld,includingexhibitorsfromEurope,USA,the

�0

EastandtheSADCcountriesforfourdaysinAugust.Thisisthe

timewhennewmerchandiselinesandthemostexclusiveand

extensiveproductrangesofwatches,clocks,finejewellery,

pearlsandpreciousstones,jewellerypackaging,machinery,

accessoriesandservicesavailableareofferedtothelocaland

internationalretailjewelleryindustry.

Contact details:

– Tel:+27(0)11334-1930

– Fax:+27(0)11334-1933


– Web:www.jewellex.co.za/

8.�.�.�. Sanlam South African Fashion Week (SSAFW)

See8.3.1.10.

8.�.�.�. African Fashion International (AFI)

See8.3.1.11.

8.�.�. Design facilities

8.�.�.�. Design centres

– SABSDesignInstitute(see8.3.2.1)

– TshumisanoTrust’sTechnologyStationProgrammebased

amongstothersat:

• TshwaneUniversityofTechnology:Electronicsand

ElectricalEngineering,ComplementedbyIT

• CentralUniversityofTechnology:MetalsValueAdding

andProductDevelopment

• TshwaneUniversityofTechnology:Chemistryand

ChemicalEngineering

• VaalUniversityofTechnology:MaterialsandProcess-

ingTechnologies

• NelsonMandelaMetropolitanUniversity:Automotive

Components

• NelsonMandelaMetropolitanUniversity:Downstream

Chemicals

• CapePeninsulaUniversityofTechnology:Clothingand

Textile

• UniversityofJohannesburg:MetalCastingTechnology

• DurbanUniversityofTechnology:Reinforcedand

MouldedPlastics

• CapePeninsulaUniversityofTechnology:Agri-food

ProcessingTechnologies

8.�.�.�. Design museums

– GoldofAfricaMuseum

Contact details:

– www.goldofafrica.com

8.�.�.�. Design galleries

– Multi-purposegalleriesexistatseveraleducationinstitutions

whichmainlyfeatureannualendofyeardesignexhibitions

ofstudentwork.

– Severalspecialistcommercialdesignstoresalsooperate

asdesigngalleries.

8.�.�.�. Design libraries/archives

– SABSDesignInstituteholdsanarchiveofitsownactivities

spanningalmost40years.

– SouthAfrica’sfirstdigitaldesignarchivewasestablished

inMay2008attheUniversityofPretoriawiththeX-ings:

Shaping culture through designexhibition.Althoughthe

resourceisinitsinfancy,itconsistsofaround2000design

projectsproducedbySouthAfricandesigners.

– Mosteducationinstitutionsthatpresentdesignprogrammes

havedesignlibraries.

8.� Design support

8.�.�. Design policy

Althoughnoformalnationaldesignpolicycouldbesourced,a

National Industrial Policy Framework (NIPF) and Action Plan

werepublishedbythedtiinAugust2007.

ThemainobjectivesoftheNIPFare(p.1):

– TofacilitatediversificationbeyondSouthAfrica’scurrent

relianceontraditionalcommoditiesandnon-tradableservic-

es.Thisrequiresthepromotionofincreasedvalue-addition

characterisedparticularlybymovementintonon-traditional

goodsandservicesthatcompeteinexportmarketsaswell

asagainstimports.

– Toacceleratethelong-termintensificationofSouthAfrica’s

industrialisationprocessandmovementtowardsaknowl-

edgeeconomy.

– Topromoteamorelabour-absorbingindustrialisationpath

withaparticularemphasisontradablelabourabsorbing

goodsandservicesandeconomiclinkagesthatcatalyse

employmentcreation.

– Topromoteofabroader-basedindustrialisationpathchar-

acterisedbyincreasedparticipationofhistoricallydisadvan-

tagedpeopleandmarginalisedregionsinthemainstream

oftheindustrialeconomy.

��

– To contribute to industrial development on theAfrican

continentwithastrongemphasisonbuildingitsproduc-

tivecapabilities.

TheIndustrialPolicyActionPlanidentifiesarangeofsectoral

actions,including(p.4):

– Fast-trackingimplementationofthefourleadsectorsthat

haveemerged fromresearchand intensive interaction

withstakeholders:

• Capital/Transportequipmentandmetals;

• Automotivesandcomponents;

• Chemicals,plasticfabricationandpharmaceuticals;

• Forestry,pulpandpaper,andfurniture.

– MaintainingmomentumonimplementationofAccelerated

SharedGrowthInitiativeforSouthAfrica(ASGI-SA)sector

priorities:BusinessProcessOutsourcing&Offshoring,tour-

ismandbiofeuls,

– Implementingothersubstantivesectorprojectsindiamond

beneficiation and jewellery; agro-processing; film and

crafts.

– Furtherstrategyworkneedstobedevelopedinarange

ofothersectorsincluding:Miningandmineralbeneficiation;

agriculture/agro-processing;ICT(servicesandproducts)

andcreativeindustriesandwhitegoods.

OftheKeyActionPlans(KAPs)relatedtodesignthatcould

beidentifiedinthisdocumentinclude:

– Jewellery:theestablishmentofaJewelleryManufacturing

CentreintheIndustrialDevelopmentZoneatOliverThambo

InternationalAirport(p.26)

– Textiles:theimplementationofdesignincentiveprotocols

(p.24)

– Filmandtelevision:rebateschemesandtheestablishment

ofacentreofexcellence(p.30)

– Crafts:theestablishmentofintegratedmetropolitanhubs

andruralsatellitestoperformtheroleofenterprisedevelop-

ment,researchanddevelopment,marketaccessandtrade

support.Thehubswillbesetupinpartnershipwithprovin-

cialandlocalauthoritiesandwillreceivejointfunding(p.31).

Althoughitisexplicitlystatedinthedocument(p.33)that:“Dur-

ing 2007/08 more comprehensive strategies will be developed

in the following sectors: ... (amongst others) – Creative Indus-

tries.”Nodetailprojectplan,projectorKAPcouldbefoundin

thedocumentrelatingtothecreativeindustries.

Anexampleofthewayinwhichdevelopmentstrategiescan

contributetotheachievementofdevelopmentalgoalsispro-

videdbytheCreative Industry Development Frameworkinthe

GautengprovinceofSouthAfrica.Thisframeworkmakesex-

plicitthecontributionofthecreativeindustriestosocialdevelop-

mentgoalssuchascommunityparticipationinculturalactivities;

regionalintegrationacrossAfrica;povertyalleviation,particularly

inpreviouslydisadvantagedcommunitiesandamongtheyouth;

andpublic-privatepartnershipsincommunity-basedcultural

programmesmuchasindigenousdanceandmusic,carnivals

andfestivals.

8.�.�. Government spending on design

Basedonwhatwasreportedabove,itmustbeclearthatitisan

almostimpossibletasktoevenbegintoassesstheinvestment

andspendingofgovernmentondesign.Allattemptstoestab-

lishthiswasmetwithacommentalongthelinesthatadetailed

auditofgovernmentdepartmentswillhavetobedonetoestab-

lishthis.

Someofthefiguresthatcanhoweverbereportedare:

– Totalgovernmentbudgetforthe07/08financialyear

amountedtoR557962billion.

– TheDACquotedanamountofR6millionearmarkedforthe

promotionanddevelopmentofdesign.

– ThetotalbudgetfortheSABSDesignInstitute(theonly

formaldesignpromotionagencyfundedbythedtithrough

theSouthAfricanBureauofStandards)forthe08/09finan-

cialyearamountstoR7000000.

Inadditiontoinvestinginthepromotionanddevelopmentofthe

designsector,governmentsupportslocalindustryasabuyer

ofdesignanddesignservices.Eventhoughnostatisticsare

available,itisgenerallyagreedbyindustrythatgovernmentis

oneofthebiggestbuyersofdesignservicesinSouthAfrica,

especiallycommunicationandinteriordesignservices.Inaddi-

tion,manygovernmentdepartmentsandagenciesemployde-

signersinin-housestudios,ofwhichtheGovernmentCommuni-

cationandInformationService’s(GCIS)studioisthelargest.In

addition,theGCISprovidescoordinationservicesforprocure-

mentofdesignandproductionforlargeprojectsonbehalfofall

governmentdepartmentsandagencieswherein-housecapacity

doesnotexist.

Source:National Industrial Policy Framework.ISBN1-920106-10-3

Source:Creative Economy Report 2008 – The challenge of assessing

the creative economy towards informed policy making,ISBN978-0-

9816619-0-2

��

8.�.�. Government grants available

Thereareveryfewprogrammesthatcouldbeearmarkedas

providing direct support for the development of the design sec-

torasperthedefinitionofthescopeofthisproject.Mostgrants

aredirectedatindividualsororganisationsandnotforthesector

asawhole.

Crafts,filmandtelevision,fashion,jewelleryandtextilesreceive

themostattentionfromgovernmentandcouldthusbeviewed

astheareasthatreceivedirectsupportfordevelopment.These,

toalargeextent,falloutsidethescopeoftheproject.

Theresearchteamcouldsourcenoproofofgovernmentalsup-

portprogrammesforthedevelopmentofthecommunication

andinteriordesignsectors,thereforehighlightinganimportant

gapindevelopingthesesubstantially-sizedsectors.

8.�.�.�. National Arts Council (NAC)

Asmentionedunder8.3.2.4.theNationalArtsCouncilprovides

fundingforthedevelopmentandpromotionofexcellenceinthe

arts,incraft,danceandchoreography,literature,multi-discipline

(amixofthedisciplines),musicandopera,theatreandmusical

theatreandvisualarts.Mostof thesealso falloutside the

scopeofthisproject.

8.�.�.�. NRF – Innovation Fund

ThesamecouldbesaidfortheNRFandtheInnovationFund

(see8.2.2.1)wherefundingisdirectedtosupportandpromote

research,humanresourcedevelopmentandtheprovisionofthe

necessaryresearchfacilities,inordertofacilitatethecreation

ofknowledge,innovationanddevelopmentinallfieldsofthe

naturalandsocialsciences,humanitiesandtechnology.This

ispredominantlyachievedthoughtheMiTech,TAPandthe

PatentSupportFund.

– SupportProgrammeforIndustrialInnovation(SPII)

TheSupportProgrammeforIndustrialInnovation(SPII)is

adtiinnovationsupportprogrammethatisadministeredby

theIndustrialDevelopmentCorporation(IDC).TheSPII

currentlyconsistsofthreeschemes:theProductProcess

Development,MatchingandPartnershipSchemes.

• TheProductProcessDevelopmentScheme:Financial

assistanceisprovidedforsmall,verysmallandmicro

enterprises(employees<50;turnover<R13million;

assets<R5million)intheformofagrantofbetween

50%and85%ofthequalifyingcostincurredduringthe

technicaldevelopmentstagewithamaximumgrant

amountofR500000perproject.Forenterpriseswith

<25%blackshareholding–thegrantis50%,forenter-

priseswith>25%≤50%female/physicallychallenged

shareholding–thegrantamountis50%forenterprises

with>25%≤50%blackshareholdingor>50%female/

physicallychallengedshareholding–thegrantamount

is75%,andforenterpriseswithblackshareholding

>50%–thegrantamountis85%.

• TheMatchingScheme:Financialassistanceunderthe

MatchingSchemeisprovidedtoSMEs(employees

<200;turnover<R51million;assets<R19million)in

theformofagrantofuptobetween50%to75%ofthe

qualifyingcost incurredduring the technicaldevel-

opmentstage–uptoamaximumgrantamountof

R1500000perproject.Forenterpriseswith<25%

blackshareholding–thegrantis50%,forenterprises

with >25%but ≤50%black shareholding or >50%

female/physicallychallengedshareholding–thegrant

amountis65%,andforenterpriseswithblackshare-

holding>50%–thegrantamountis75%.

• ThePartnershipScheme:Financialassistanceunder

thePartnershipSchemeisprovidedintheformofa

conditionallyrepayablegrantof50%ofthequalifying

costincurredduringdevelopmentactivitywithamini-

mumgrantamountofR1500000perproject,repayable

onsuccessfulcommercialisationoftheproject.Incon-

sideringsupportforaprojectunderSPII,thereshould

beaclearindicationofthecausality(additionally)that

willfollowfromthesupport.

SouthAfrican-registeredenterprisesengagedinpre-competitive

developmentactivityfocusedoncommercialisationoftheprod-

uctbeingdeveloped,areeligibletoapplyforSPIIassistance.

Inthecaseofcompaniesandclosecorporations,SouthAfrican

individualsorcompaniesneednotnecessarilyholdamajority

shareholding.

8.�.�.�. Sector Education and Training Authorities (SETAs)

TheSETAsthatpromoteeducationandtraininginthedifferent

sectorsoftheeconomy,functionontheprinciplethatorganisa-

tionshavetopaytheirrespectiveSETAaskillslevy,whichis

channelled towardseducationand training for thespecific

sectorintheformoflearnerships.Participatingorganisations

canthenre-claimtheirleviesbasedonlearnershipsimplement-

ed.Thirty-fiveSETAspromulgatedundertheSkillsDevelopment

ActarecurrentlyoperationalinSouthAfrica(seeAppendixC).

��

WithregardtotheMAPPP-SETA(Media,Advertising,Pub-

lishing,PrintingandPackagingSETA),Table4belowprovides

alistofStandardIndustrialClassification(SIC)codesaswell

astheestimatednumberoforganisationsin2005thatwere

eligibletopayleviestotheSETAandshouldthusideallybenefit

fromthelearnershipsandtrainingimplementedbytheSETA.

AsmentionedearliertheSETAconceptisveryidealisticand

stillneedstoproveitsworth.

ItmustbeemphasisedherethatthefiguresinTable4are

basedonestimatesobtainedfromavailabledataandarenot

actual.Thesefiguresalsoappliedto2005.

8.�.� Other national bodies

Abriefdescriptionofotherformsofgovernmentsupportfor

designnotmentionedabove:

8.�.�.�. National Advisory Council on Innovation (NACI)

NACIhasbeencreatedbylegislationtoadvisetheMinister

ofScienceandTechnologyofSouthAfrica,andthroughthe

minister,theministerscommitteeandthecabinet,ontherole

andcontributionofscience,mathematics,innovationandtech-

nology,includingindigenoustechnologies,inpromotingand

achievingnationalobjectives.

Contact details:

– Physical:Building53,CSIR Campus, Meiring Naude

Road,Brummeria,Pretoria

– Postal:TheNACISecretariat,PrivateBagX894,Pretoria

0001

– Tel:+27(0)128436511


– Web:www.naci.org.za

8.�.�.�. Advanced Manufacturing Technology Strategy (AMTS)

ThethrustoftheAMTSistostrengthenthecompetitivenessof

themanufacturingsectorthroughtheimplementationoftarget-

ed,high-impactprojectsinareassuchasindustrydevelopment,

world-classmanufacturing,innovationandresearchanddevel-

opment(R&D)aswellasthedevelopmentofhumanresources.

ThestrategyisbeingexpeditedthroughtheAMTSImplemen-

tationUnit,establishedandsupportedbytheDepartmentof

ScienceandTechnology.

Contact details:

– Physical:Building10,RoomE101,CSIRPretoriaCampus,

Scientia,Pretoria

– Postal:POBox395,Pretoria0001

– Tel:+27(0)128413139

– Fax:+27(0)128427616


– Web:www.amts.co.za

8.�.�.�. Technology and Human Resources for Industry

Programme (THRIP)

THRIPisapartnershipprogrammewhichchallengescompa-

niestomatchgovernmentfundingforinnovativeresearchand

developmentinSouthAfrica.

Table �: Estimated number of potential levy payers (by SIC code) of the MAPPP-SETA

SIC Code Description No of Organisations

9003 Productionofcraftart 77

9004 Productionoftraditionalart 16

9005 Production of designer goods �8

9006 Production of functional wares 9

9007 Productionofsouvenirs 4

32430 Publishingofrecordedmedia 30

32600 Reproductionofrecordedmedia 57

88�� Commercial design � 787

88940 Photographicactivities 263

96140 Dramaticarts,musicandotherartsactivities 99

96141 Activitiesofartistsandentertainers 207

96142 Activitiesoftheatreandentertainmenttechnicians 28

96143 Productionof‘live’theatricalandartisticevents 28

96144 Activitiesofartscouncilsandotherrelatedinstitutions 9

96190 Otherentertainmentactivitiesn.e.c 230

Source:Trade and Investment South Africa,CSPCraft,May2005

��

Contact details:

– Postal:POBox2600,Pretoria,0001

– Tel:+27(0)124814078

– Fax:+27(0)124814197


– Web:www.nrf.ac.za/thrip

8.�.�.�. The Small Enterprise Development Agency (seda)

SedawasestablishedinDecember2004intermsoftheNa-

tionalSmallBusinessAct.Thislawmergedtheprevioussmall

enterprisedevelopmentagenciesNtsikaEnterprisePromotion

Agency,NAMACTrustandtheCommunityPublicPrivatePart-

nerships(CPPP)intoasinglesmallenterprisesupportagency.

SEDA Technology Programme (stp)

ThesedaTechnologyProgramme(originallytheGodisaTrust),

aspecialinitiativeofthenationalDepartmentofTradeandIn-

dustry(thedti),isresponsiblefortechnologytransferandbusi-

nessincubation.GODISAwasmeanttoincubateandnurture

SMME’stoplayanincreasinglyvitalroleinthedevelopment

ofsustainableemploymentandtheadvancementofessential

skillsandtechnologies.Thestpcurrentlyprovidesfinancial

assistanceto17technologybusinesscentres,locatedthrough-

outSouthAfrica–eachfocusingonthesupportofsmallenter-

prisesinaspecificindustrysector.Thesesectorsincludebioand

lifesciences,medicaldevises,bio-diesel,essentialoils,chemi-

cals,construction,floriculture,furniture,ICT,small-scalemining,

stainlesssteel,aluminiumandplatinum,aswellasmetalben-

eficiationservedbytheNationalTechnologyTransferCentre

(NTTC)andtheTechnologyAdvisoryCentre(TAC).Thethree

dtiincubators,namelyMpumalangaStainlessSteelInitiative

(MSI),DownstreamAluminiumCentreforTechnology(DACT)

andFurntech,werealsoincorporatedintostp.

Institutions incorporated into the stp

– NationalTechnologyTransferCentre(NTTC):TheNTTCis

aninitiativebythedtitofacilitatetechnologytransferand

diffusiontoSmallMediumandMicroEnterprises(SMMEs)

withaspecificfocusontheSecondEconomy.

– GODISA:TheGODISATrustwaspartneredbytheDSTand

thedti.DerivingitsnamefromtheSetswanawordmean-

ing‘nurturingorhelpingtogrow’,GODISAassuchincu-

batesandnurturessmall,mediumandmicro-sizeden-

terprisestoplayanincreasinglyvitalroleinthedevelopment

ofsustainableemploymentandtheadvancementofessen-

tialskillsandtechnologies.TheGODISATrustsishelping

SouthAfricanstocultivatetheirinnovationsandbusiness

ideas,andintheprocessupliftingandempoweringindi-

vidualsandtheircommunities.

– MpumalangaStainlessInitiative(MSI):TheMSIisanincu-

batorfundedbythedti.Asanattempttoaddresstheprob-

lemofunemploymentintheprovince,aneedwasidentified

toexposealargenumberofinterestedSMMEstothepos-

sibilitiesofthemanufacturingsector.Potentialcandidates

arescreenedandselectedfortechnicalandbusinesstrain-

ing.Theprogrammeequipsthemtotakeupstainlesssteel

productmanufacturingopportunities.

– TheDownStreamAluminiumCentreforTechnology(DACT):

DACTisadti-fundedproject.DACTissettogainstaturein

thecastingindustryforsoundfinancial,socialandenviron-

mentalmanagement,providingasoundtrainingandincu-

batingfacilityandestablishingsuccessfulsmallbusiness-

estobenefitthecommunityinwhichitoperates.

– FURNTECH:Thegovernment,throughitsNationalSkills

DevelopmentStrategy(NSDS),identifiedtrainingandskills

developmentassignificantdriversofinternationalcompeti-

tivenessandorganisationaldevelopment.Inresponseto

theserequirements,thedtifundedtheestablishmentand

operationalisationofFURNTECHasaworld-classservice

providertoSouthAfrica’swoodproductsandfurniturein-

dustriesinthefieldsofincubation,training,technology

transferandtechnologydemonstration.

– NationalFibre,TextileandClothingCentre(NFTCC):Asa

technologypartnertoindustry,theNFTCCofCSIRManu-

facturingandMaterialsTechnologypromotesthegrowthand

globalcompetitivenessoftheSouthAfricantextilepipe-

line.Throughawarenessofrelevanttechnologicaldevelop-

mentsgloballyandtheacquisitionordevelopmentoftech-

nologies, the centre aims to be the best provider of

knowledgeand innovativesolutionstothetextilepipe-

lineinsouthernAfrica.

Contact details:

– Physical:thedtiCampus,BlockG,77MeintjiesStreet,

Sunnyside,Pretoria

– Postal:POBox56714,Arcadia0007

– Tel:0860103703or+27(0)124411000


– Web:www.seda.co.za

8.�.�.5. Venture Capital Fund

TheVentureCapitalfundisaninitiativethatwouldprimarily

focusatfinancingthefirsttwostagesofdevelopmentofnew

technology-basedfirms:thatistheseedstage(whichinvolves

conceptdevelopment,prototyping,andproductdevelopment)

andearlystage(marketing,productionofgoodsand/orservices),

�5

withsomeinvestmentinlaterstages.VentureCapitalisconsid-

eredtobefundsinvestedinaventureathighrisktotheinves-

tor,usuallyinsituationswheretheventureisunabletose-

curetherequiredfundsfromtraditionallendingsources,such

ascommercialloansfromabank,orthepublicequitymarket.

Contact details:

– Physical:IndustrialDevelopmentCorporationofSALTD,

19FredmanDrive,Sandown

– Postal:POBox784055,Sandton2146

– Tel:+27(0)112693000

– Tel:+27(0)112693116


– Web:www.idc.co.za/Venture%20capital.asp

8.�.�.6. Technology Linkages

Theobjectiveoftheprogrammeistofacilitatetheestablishment

ofindustrialsectorneedsandoffersupportasrequiredbythe

dtisectors.TheUnit(Innovation&Technology),togetherwith

TradeandInvestmentSouthAfrica(TISA),interactswithindus-

try on integrated manufacturing strategies and technology

issues.

Contact details:

– Tel:+27(0)123941272

– Tel:+27(0)123942272

– Web:www.dti.gov.za/offerings/offering.asp?offeringid=629

8.�.�.7. Danida Business-to-Business Programme, Credit

Guarantee Scheme

TheobjectiveoftheBusiness-to-Businessprogrammeisto

developandstrengthenbusinessopportunitiesandcreatejobs

foreligibleentrepreneursfromthepreviouslydisadvantaged

communities.Thisisachievedthroughsupporttothedevelop-

mentofcommerciallyviablebusinesses,basedonformation

ofbusinesspartnershipsbetweenSouthAfricanandDanish

companies.

Contact details:

– Web:www.dti.gov.za

8.�.�.8. Dutch funds available for investments in South Africa

SouthAfricaisanewmarketthatisexpandingrapidly.Thispro-

videsopportunitiesforbusinessestoexpandinvestmentsand

traderelations.TheDutchMinistryofForeignAffairsfinances

companieswhowishtoinvestinSouthAfrica,togetherwitha

localSouthAfricancompany.Thesecompaniescanreceive

acontributionof50percentofthetotalprojectcosts.

Contact details:

– Web:www.dti.gov.za

8.�.�.9. Department of Arts and Culture (DAC)

Investinginaculturalprogrammeaspartofthecontributionof

DACtowardstheExpandedPublicWorksProgramme.Projects

mustbearts-,culture-andheritage-related.

Contact details:

– Web:www.dac.gov.za

8.�.�.�0. Thsumisano Trust

TheDSThasidentifiedtechnologicalinnovationandrelated

skillsupgradingasbeingofvitalimportancetothecompetitive-

nessofSouthAfricanSMMEs.TheThsumisanoTrustprovides

technicalandfinancialsupporttotechnologystations,whichare

basedatuniversitiesoftechnologies.Thetechnologystations

inturnoffertechnicalsupporttoexistingSMMEsintermsof

technologysolutions,servicesandtraining.TshumisanoTrust,

throughitsTechnologyStationProgramme,actsasanimple-

mentationagencyfortheDSTanditsmainfocusisonimproving

andfacilitatingtheinnovativecapacityandcompetitiveness

ofSMMEsinselectedeconomicsectors.Referto8.3.4.1for

thecompletelistoftechnologystations.

Contact details:

– Web:www.tshumisano.co.za

8.�.�.��. AMTS FabLab Programme

TheFabLabconcepthashadanimpactaroundtheworld,

bringingpracticaltechnologysolutionstodiversecommunities,

eachattainingitsownuniqueidentity,whileretainingtheFab-

Labstamp.TheAMTSImplementationUnitrecognisedthe

benefitsFabLabcouldbringtoSouthAfrica,acountryasdi-

verseastheearliersitesimplementedbyMIT.Frominnovative

exposuretoscienceandtechnologyforchildren,toanenabling

infrastructureforinnovatorsfromindustry,academiaandSMEs,

theFabLabaimsopenuptheapplicationanddevelopmentof

digitalmanufacturingtechnologyinSouthAfrica.FabLabis

ahands-on laboratorywithadvancedequipment thatena-

blesonetomakejustaboutanythingfrominexpensiveand

readilyavailablematerials.ThegoaloftheFabLabistohelp

peopleuseadvancedinformationtechnologiestodevelopand

producesolutions,productsorsolvelocalproblems.TheFab-

Labisverydifferentfromordinaryrapidproductdevelopment

organisations.Thefocusisonmanufacturingofthetotalproduct,

which includesdesign, fabrication, testinganddebugging,

monitoringandanalysisanddocumentationoftheprocess.

�6

Contact details:

– Physical:Building10,RoomE101,CSIRPretoriaCampus,

Scientia,Pretoria

– Postal:POBox395,Pretoria0001

– Tel:+27(0)128413139

– Fax:+27(0)128427616


– Web:www.amts.co.za

8.�.�.��. Technology Innovation Agency (TIA)

TIAisenvisagedtooperateasaninvestmentvehiclethatwill

facilitateresearchfindingstogointothecommercialspace.

Itwillnotbeacommercialentityandhasnotbeenestablished

yet.Aproposal forestablishing theTIA iscurrentlybefore

parliament.

8.�.5 Private sector support

Theprivatesectorisspearheadingsupportforthedevelopment

ofthedesignindustryasarticulatedinsections8.3.1,8.3.2.5,

8.3.3,8.4.5,8.4.6,8.4.7and8.4.8.Privatesectorsupportcon-

sistsofsponsorshipsfortherunningofprofessionalbodiesand

theirdiverseactivities,traininganddevelopmentprogrammes,

bursaryschemes,exhibitionsandawardsschemes,largetrade

events,aswellasventurecapitalandbusinesssupportfornew

productdevelopment.

However,fewoftheprivatesectoractionsmentionedinsec-

tions8.3.1,8.3.2.5,8.3.3,8.4.5,8.4.6,8.4.7and8.4.8areco-

ordinatedwith,linkedto,and/orfinanciallysupportedbygovern-

ment.Oneofthemainreasonsforthisisthatgovernment

focusesoninnovationwhiletheprivatesectorfocusesondesign

anddesignthinking.Althoughitisaknownfactthatdesignby

default impliesinnovation, it isnotnecessarilytruethat in-

novationinvolvesdesign.

Thefollowinginitiativesstandoutfortheir innovationand

utilisationofdesigntofacilitatesocio-economicdevelopment

inSouthAfrica:

8.�.5.�. Woolworths Making the Difference Through Design

(MTDTD)

TheWoolworthsMTDTDinitiativeisauniquedesigneducation

programmebecauseofitsfocusonthedevelopmentatgrass-

rootsandpre-tertiarylevel(grades10–12).Theinitiativeisfirmly

rootedinthebeliefthatdesigneducationatsuchayoungage

andatgrassrootslevelisnotonlygoingtodevelopdesigners

forthefuture,butcouldalsodevelopdesign-literatecitizens,

discerningconsumersofgooddesign,top-qualityentrepre-

neursandcreatorsofproducts,services,systems,processes

andenvironments.Thisearlydevelopmentasafocusisbelieved

tobecriticalandmuchneededtodevelopafutureandquality

workforcethatcouldgreatlycontributetothefuturedevelop-

mentSouthAfricainmanyareasofexpertise.Inshort,allcom-

petitivebusinessesrequirecreativethinkers!

Thisprogrammeconsistsof:

– A600-pagedesignresourcemanualfeaturingmorethan

80casestudiesofSouthAfricandesignersfromvarious

fields.ThecontentsupportstheNationalDesignCurric-

ulum(NDC)andisavaluableandmuchneededteaching

tooltosupportandassistmostlyunqualifiededucators

toteachdesignonadailybasis.Studiesdividedinfour

broadcategories:visualcommunication;surface,product

andenvironmentaldesign;

– Anannualnationaldesigncompetitionforhighschoolde-

signstudents(grades10–12)tomotivateoriginalandin-

novativedesignideaswithapriorityfocusontheuseof

wastethatalsodevelopsamuchneededawarenessof

environmentalissuesandsocialdevelopment;

– MTDTDexposuretoopportunitiesintheprofessionaland

corporatearenas;

– WoolworthsMTDTDDesignBursary,and

– Otherformsofcollaboration.

Impact:

– 400schoolsinSouthAfricaalreadyparticipatinginpro-

gramme:Threeclassesperschoolofaverage15students

perclass=18000students.

– Thedesignresourcemanualshavebeendistributedfree

ofchargetoparticipatingschoolsandthereisahighde-

mandforitbynon-participatingschools.

– TheMTDTDprogrammeshavebeenimplementedinthree

ofSouthAfrica’snineprovincesandhashugepotential

forgrowthbutfundsrestricted.

MTDTDisauniquecollaborationbetweencorporate,private/

professionalandeducationalsectorswithapriorityfocusto

educate,developandgrowabetterSouthAfricaforallthrough

designeducation.

AsaleadingretailerinSouthAfrica,Woolworthsisdedicated

totheupliftmentofdesigneducationinthecountry.Woolworths,

togetherwiththeWesternCapeEducationDepartment,Design

IndabaandSappi,launchedtheMTDTDeducationinitiative

�7

in2005aspartof their corporatesocial investmentprogram-

mes.Initiallypilotedatsome120schoolsintheWesternCape

duringthe2006schoolyear,MTDTDhasreceivedaccolades

fromcurriculumdevelopers,administratorsandteachers.

Contact details:

– PennyLuthi


– Tel:+27(0)833992278

– SunéStassen


– Tel:+27(0)846232466

8.�.5.�. Sappi Ideas that Matter

TheIdeasthatMatterisaprogrammefromSappitosupport

designforthepublicgood.Sappiawardsmonetarygrantsto

designersthroughouttheworldtohelpthemcreateandimple-

mentprojectsthatservethecausesthatareclosesttotheir

hearts.Theaimoftheprojectistoencourageideasthathave

thepotentialtochangelives,communities,andtheworld.

The programme

IdeasthatMatterisaninitiativethatwaslaunchedworld-wide

in1999toprovidesubstantialgrantsthatenabletheimplemen-

tationofcreativeideasdesignedtosupportsocialandenviron-

mentalcauses.

SappiinvitescommunicationdesignersfromEurope,North

AmericaandsouthernAfrica,tocreateprintedcommunication

campaignsforcausestheywanttosupportandhasmade

US$1millionavailableforsuccessfulapplicantsaroundtheworld

torealisetheircreativeconceptsandcampaigns.

Thephilosophybehindtheprogrammeisasfollows:Asthe

world’sleadingproducerofcoatedfinepaper,Sappihasalong

traditionofsupportingcommunicationdesignerswhosharea

belief in thepowerof ideasonpaper.With the Ideas that

Matterprogrammethecompanyhopestoinspiredesignersto

producemoreandbettercommunicationsforthebenefitof

society.

Therationalebehindtheprogrammeisthatdesignerspossess

uniquetalentsthatcanhelptransformanddevelopsociety.

Communicationdesignershaveconsistentlydemonstratedtheir

desiretodoworkforthebenefitofsociety.TheSappiinitiative

isawaytoassistthemtomakeadifferencebyprovidingthem

withthefinancialsupporttheyneedtoimplementtheirIdeas

thatMatter.

Individualdesigners,designagencies,in-housedesigndepart-

mentsandindividualsorgroupsofdesignstudentsareall

eligibletoapply.IndependentselectioncommitteesinEurope,

NorthAmericaandSouthAfricareviewallapplicationsintheir

respectiveregion.Thesecommitteescomprisegraphicfed-

eration representatives, leadingcommunicationdesigners,

publicserviceprofessionalsandrepresentativesofSappi.

More than225projectshavebeen fundedwithgrantsex-

ceeding$8million.

Contact details:

– Web:www.sappi.com/ideasthatmatter

8.�.6 Awards

Therearenumerousawardsandrecognitionschemesappli-

cabletothedesignsector.Onlythemostprominentonesthat

areapplicabletothescopeofthisstudyarementioned.

8.�.6.�. SABS Design Excellence Award

TheSABSDesignExcellenceAwardsschemeaimstoacknowl-

edgetheachievementsofSouthAfricandesigners.Itwases-

tablishedin1969toencouragelocalproductdesignandmanu-

factureandalsopromoteinternationalcompetitivenessoflocal

products.

Contact details:

– Web:www.sabs.co.za/Business_Units/Design_Institute/

Awards/

8.�.6.�. SABS Design Achievers Award

Thisawardschemeembracestheentrepreneurialspiritand

leadershippotentialofstudentdesignersstudyinginanydesign

fieldataSouthAfricantertiaryinstitution.Italsopromotesand

stimulatesourcountry’sdesignandmanufacturingindustries.

TheDesignAchieversprogrammecelebratedits20thanniver-

saryin2007.

Contact details:


Awards/

8.�.6.�. Design for Development Initiative

TheDesignforDevelopmentInitiativegivesrecognitiontopro-

ductsthatexemplifytheconceptthatgooddesignisamajor

�8

contributoryfactorinofferingsolutionstovariousproblems

thatfacedevelopingcommunitiesinruralaswellasurban

areas.Theawardsfocusontheimportantroledesigncanplayin

the industrialdevelopmentandeconomicprosperityof the

southernAfricanregionasawhole.

Contact details:


Awards/

8.�.6.�. Sappi thinkahead awards

TheSappithinkaheadawards,organisedbytheSouthAfrican

CommunicationDesignCouncil(think),honoursfinal-yearstu-

dentsfromallaroundthecountrywhosubmitoutstandingpieces

ofcommunicationdesignandpromisingportfolios.

Thethinkaheadawardswerefirstlaunchedin2002,incon-

junctionwithSappi,think’sprimarysponsor,whenthinkwasa

fledglingorganisation.Oneoftheprioritiesofthenewly-formed

councilwasastrongfocusonthecommunicationdesignedu-

cationsector.Thememberswantedtoprovidedesigngraduates

withtheopportunitytobridgethegapbetweenstudyandcareer,

byawardingworkthatshowedbothoriginalityandprofession-

alism,whicharekeyingredientsdesignagenciesexpectfrom

theircreatives.Itwasfromthisdesirethatthethinkaheadawards

werecreated.

Contact details:


8.�.6.5. Construction New Media Awards (CNMA)

InJanuary2001theDesignIndabalaunchedtheConstruction

NewMediaAwards(CNMA).WorkenteredintotheCNMAis

judgedacrossfivedisciplines,irrespectiveofsubjectmatter

ortargetmarket:websites,intranets,.exefiles,CD-ROM’sand

onlineadvertising.TheCNMAwasestablishedtobecomeSouth

Africa’smostcovetedawardwithinthemedium.Credibilitywas

enhancedbyplacinginternationallyrenownedprofessionals

suchasNevilleBrody,TomRoopeandThomasMuelleronits

judgingpanel,somethingmadepossiblethroughtheCNMA’s

associationwiththeDesignIndaba®.

Contact details:

– Web:www.constructionaward.com/

8.�.6.6. The South African Institute of Architects awards

(SAIA)

AnimportantfunctionoftheSAIAistorecogniseandpromote

excellenceinarchitectureandtocreatepublicawarenessand

debateonarchitecturalissues.TheSAIAAwardforExcellence

programmesupportthesegoalsandrunoveratwo-yearpe-

riod.

– Regional Award of Commendation

Thisawardismadetomembersoftheregionalinstitutes

toencourageandrecognisegooddesignortothosewho

madeasignificantcontributioninthefieldofarchitecture.

Itmaybefor:

• Anewbuildingorgroupofbuildings;

• Aworkoftechnologicalimportance;

• Theconservation,restorationand/orrehabilitation(re-

furbishment)ofexistingbuildings,historicprecinctsor

areas;

• Aworkofsocialimportance,otherthanabuilding,for

whichthememberwasappointedasthearchitect.

Thereisnorestrictiononthebuildingtype,useorsize.It

isalsointendedforsmall-scalealterationsorinteriorsifthey

areofexceptionalqualityandcontributetothecurrentdis-

courseonarchitecture.Althoughtheworkmaycontain

flaws,itshouldbeclearlyidentifiableashavingspecific

attributesthatareworthyofcommendation.

– Corobrik SAIA Award of Merit

ThisawardismadetomembersofSAIAtoencourageand

recognisegooddesignorasignificantcontributioninthe

fieldofarchitecture.Althoughtheworkmaycontainminor

flaws,itshouldbeclearlyidentifiableasaworkofarchitec-

turalmerit.Work,havingbeensubmittedtotheregion,may

beselectedbytheregionalpanelofassessorsfornational

adjudication,andissubmittedbytheRegionalCommittee.

– Corobrik SAIA Award for Excellence

TheAwardforExcellenceismadeonlyforanexceptional

achievementinthefieldofarchitecture.Projectsthathave

receivedanAwardofMeritareeligibleforthisaward.

Contact details:

– Web:www.Corobrick.co.za

8.�.6.7. Technology Top �00 (TT�00)

TT100isanationalawardsprogrammethatacknowledgethe

successthattoday’sorganisationsenjoythroughtheirdevelop-

mentanduseoftechnology.Moreimportantly,itencourages,

measuresandhonourstheseorganisationsforthevaluetheir

useoftechnologybringstotheSouthAfricaneconomy.

Whethertheyaresmall,mediumorlargebusinessesortech-

nologyorganisationssuchassciencecouncilsanduniversities,

the TT100 are acknowledging the enterprises that optimise

�9

technologytomaximiseprofits,gainmarketshare,createniche

marketsandaddvaluefortheirstakeholders.

Startedin1990,TT100todayhasthestrongsupportofboth

governmentandtheprivatesector.TT100ismandatedbythe

DSTtocelebrateSouthAfrica’srole-modelsinscienceand

technology.Eskomisthepremiercorporatepartnerandaddi-

tionalprivatesectorpartnersincludetheSouthAfricanAcademy

ofEngineering,TBMCommunications,andFinancial Mail Inno-

vations.

The TT�00

– recognisesthewayorganisationsusetechnologyandinno-

vationtoachievetheirobjectives;

– givesorganisationsanopportunitytobenchmarkthem-

selvesagainstyourpeers;

– givesexpertthird-partyappraisalforeffortsinusingand

developingtechnology;

– enablesorganisationstobroadcasttheirachievementsto

thenation;and

– givesorganisationstheprestigeofbeingassociatedwith

SouthAfrica’slongestrunning,highlycrediblebusiness

excellenceaward,recognisingtechnologyandinnovation.

TT100isopentoallorganisationsthatskilfullymanagetech-

nology,beitthroughtheirproducts,servicesand/orprocesses.

AnyorganisationregisteredinSouthAfricaiseligible,whether

ornotgenerallyregardedatechnologyorganisation.

Entrants must be:

– Adeveloperofnewtechnologies;and/or

– Aninnovativeuserofexistingtechnology(whereitisused

inawaythatismoresophisticatedthan‘everyday’use),

andwhereitcanbedemonstratedhowusingithasbrought

theorganisationclearandtangiblebenefits.

TT�00 distinguishes between:

– TheEstablishedTT100organisations,whohavebeenop-

eratingforthreeyearsormore,and

– TheEmergingTT100organisations,whohavebeenoper-

atingforlessthanthreeyears.

Accolades and awards presented to all TT�00 qualifying

enterprises:

– EstablishedTT100

TheMinister’sAwardsarethehighestachievementsin

theannualTT100awardsprogramme.Theyarepresented

totheoverallbestlarge/mediumenterpriseandtotheover-

allbestsmallenterprise.Finalistsandleaders(mostout-

standingrecipientineachcategory)areannouncedin:

• LeaderinInnovation

• LeaderinResearchandDevelopment

• LeaderinCommercialisation

• LeaderinEmpowerment

• LeaderinPortfolioManagement

• LeaderinSocialInnovation

• EmergingTT100

– The‘MostPromisingEmergingTT100Enterprise’isthe

highestaccoladepresentedtothemostoutstandingEmerg-

ingTT100qualifyingenterprises.

Contact details:

– Web:www.tt100.co.za

8.�.6.8. Loerie Awards

TheLoerieAwardsarebestdescribedbyitsslogan:Recog-

nising,rewardingandfosteringcreativeexcellenceinadver-

tising,communicationanddesign.

TheLoerieAwardswerefirstheldin1978,asamechanismto

supportandgrowtelevisionadvertising.Sincethentheawards

haveexpandedtoencompasseveryareaofbrandcommu-

nicationincludingradioandprintadvertising,design,architec-

ture,directmarketing,non-broadcastvideo,liveevents,and

digitalmedia.TheawardsarenowregionallyfocussedonAfrica

andtheMiddleEast,andentriesfromoutsideofthisregion

arenoteligible.

TheLoerieshasbecomefarmorethanasingleawardscer-

emony– since2005 it hasgrown to incorporateactivities

throughoutthecalendaryear,includingabiannualmagazine,

andthehard-coverprintedannualandDVDoftheyear’slead-

ingbrandsandagencies.Theannualhasbecomeamajorref-

erenceamongstmarketersandagencies,andincludesanindex

bybrand,agencyandindividualcredits.

Additionally,theTravellingExhibitionwaslaunchedin2006.

Theexhibitionshowcasestheyear’swinningworkandhas

travelledthroughoutSouthAfrica,includingseveraleduca-

tionalinstitutions,corporateheadquarters,theRandShow,the

GrahamstownFestival,andtheAardklopFestival–aswellas

internationaldestinationsincludingNamibiaandtheOneClub

inNewYork.

TheLoerieAwardsstandsbyitsfoundingvalues–thecompany

isallaboutrecognising,rewardingandfosteringcreativeexcel-

lence.TheLoerieAwardsisnowaSection21company.This

�0

meansit’sanon-profitorganisationservingthebestinterests

oftheindustry;soallfundinggoesrightbackintotheindustry

tobeputtowardspromotingtheindustryandnurturingpoten-

tialcreatives,especiallyindisadvantagedcommunities.

TheLoerieAwardsisinternationallyrecognisedandistheonly

awardendorsedbytheAssociationforCommunicationand

Advertising(ACA),CreativeCircle(CC),SouthAfricanCommu-

nicationDesignCouncil(think),CommercialProducersAssocia-

tion(CPA),DigitalForum,andtheCommunication&Advertising

ForumforEmpowerment(Café).

Judging creative excellence

TheLoerieAwardsrepresentsthepinnacleofcommunication

mediainourregion,andentriesarejudgedaccordingtofive

criteria:

– Aninnovativeconcept,bringingnewandfreshthinking

– Excellentexecution

– Relevancetothebrand

– Relevancetothetargetaudience

– Relevancetothechosenmedium

Workthatexcelsinalltheabovecriteria–workthatisjudgedto

beeffectivecommunicationbythejury–representscreative

excellence,andisrewardedwiththehighestaccolade–a

LoerieAward.

Contact details:

– Web:www.theloerieawards.co.za/home/

8.�.6.9. Mondi Shanduka Newspaper Awards

MondiShandukaNewspaperAwardsisco-organisedbythe

NewspaperAssociationofSouthAfricaandMondiShanduka

Newsprint.IthonourstheSouthAfricannewspaperjournalism

industryinthefollowingcategories:hardnews,analysisand

commentary,featurewriting,investigativejournalism,creative

journalism, graphical journalism, popular journalism, news

photographs,featurephotographsandpresentation(layout

anddesign).

Contact details:

– Web:www.mondishanduka.co.za

8.�.6.�0. SA Publication Forum’s Corporate Publication

Competition

TheSAPublicationForum’sfirstcorporatepublicationcompe-

titiontookplaceinconjunctionwiththeNationalPressClub

in2002.Theaimofthecompetitionistorewardexcellencein

internalandexternalcorporatecommunicationmedia.Thethor-

oughfeedbackbyourexpertjudgesalsomakesthecompe-

titionanexcellenttrainingopportunity.

Entriesarereceivedacrosstheboard,fromgovernmenttocor-

porates toone-man-showsandagencies.Thecompetition

growsinstatureannuallyandtheSAPublicationForumstrives

tocontinuouslyfine-tuneandstreamlinethecompetitionto

meettheneedsofcorporatecommunicators.

Entriesaredividedintothefollowingcategories:

– Newspapers

– Internalnewsletters

– Externalnewsletters

– Internalmagazines

– Externalmagazines

– Electronicnewsletters.

– DVDnewslettersandcorporateDVDs

– Annualreports

– Once-offorspecialoccasionpublications

– Bestpublicationwithlimitedresources(withreferenceto

budgetandmanpower)

– Mostimprovedpublicationsincethepreviouscompetition

– EditoroftheYear

Judging criteria

Allthepublicationsareassessedandmoderatedbyexpertsin

thevariousfields.Criteriaincludetheeffectiveuseofproject

budgets,writing,communication,designandpagelayoutand

photographyamongstothers.

Contact details:

– Web:www.sapublicationforum.co.za

8.�.6.��. PG Bison Student of the Year Award

TheAwardisrecognisedforidentifyingstudentswhohave

becomeluminarieswithinthelocalinteriordesignandarchitec-

tureindustryandassuchcelebrateslocaldesignexcellence.

Nowinits13thyear,thisawardistheonemostsoughtafter

intheinteriorsindustry.Itnotonlycarrieswithittheprestigeof

winningandatriptoMilan,butalsotheopportunitytoelevate

participants’careeropportunityprospectsimmeasurably.

Studentsareadjudicatedbasedontheirinterpretationofa

briefsetannuallybyaprominentindustryexpert.Thejudging

��

criteriafortheawardsaremadeupofthreedifferentelements,

namely:

– Commodity

– Firmness

– Delight/WOWFactor

Prizes

– 1stPrize:Atripforthewinningstudenttothe2009Milan

FurnitureFair.Thisprizeincludesareturnticket,accom-

modation,andentrytotheshowandacontributiontodaily

expenses.ValueofthefirstprizeisR80000.

– Thelecturerofthewinningstudentwillaccompanythe

respectivestudenttotheMilanFurnitureFair.Thisprize

includesareturnticket,accommodation,andentrytothe

showandacontributiontodailyexpenses.Valueoftheprize

isR80000.

– MeritAward:Anallexpensespaidtriptothe2009Design

IndabainCapeTown.Theprizeincludesareturnticket,

accommodation,andentrytotheshowandacontribution

todailyexpenses.

– 3rdPrize–R5000cash.

Contact details:

– Web:www.pgbison.co.za

8.�.6.��. Pendoring Awards

ThePendoringadvertisingcompetitionandproject,established

in1994bythemostimportantroleplayersintheSouthAfrican

mediaworld,focusonthepromotionofoutstandingAfrikaans

advertising.

Pendoringhasoverthepast13yearsdevelopedintoacontinu-

ouscampaignwiththeaimofcreatingagreaterawareness

amongthepublicoftheimportanceofAfrikaansadvertising

andmarketing,althoughthePendoringadvertisingcompeti-

tionremainsthehighlightoftheyear.

PendoringisuniquetoSouthAfricabecauseitistheonlycom-

petitionwherecompetitorsinthemediaputasidetheirdiffer-

encesandworktogetherformutualaims–theacknowledge-

mentandawardingofexcellentAfrikaansadvertisinganddesign

andtheemphasisontheimportanceofAfrikaansmarketing

messages.

SouthAfricacanboastthebestcreativeandexecutiveartists

inthebusinessandtheinternationalawardsthatlocalpeople

inthemediaprofessionannuallywin,isatestimonytothis.

Pendoringis,therefore,offeringtheopportunitytoagencies

andcompanieswhorealisethevalueofAfrikaanstoshow

theirmettleandbecomethecreamofthecrop.

However,Pendoring isalsoaproudmemberof theSouth

Africanlandscapeandannuallyawardsthecampaignthatem-

bodiesthispridebest.Greaterco-operationwithadvertising

representativesofotherindigenouslanguagesisinvaluable

forPendoringandthishasleadtoaspecialcategory,called

GenuineSouthAfrican,forindigenouslanguages.Theroleof

theAfrikaansconsumerisjustasindispensableintheadvertis-

ingvaluechain.Thatiswhythepublicalsogetsanopportunity

toletthemselvesbeheardbyvotingfortheirfavouriteadver-

tisementforthePeople’sChoiceAward.

ThePendoringadvertisingcompetitionhas,sinceitsinception,

growntoaprestigiouseventontheadvertisingcalendarwith

considerablecashprizesforcategorywinners,bursariesfor

studentsandastudytourabroadforthePrestigeAwardwinner.

Contact details:

– Web:www.pendoring.co.za

8.�.6.��. ADvantage ADmag Awards

TheADvantageADmagAwardsrecognisesmagazinesand

editorsforexcellenceinpublishing.InitiatedbyJohnFarquhar,

AdVantage’sEditor-in-Chief,theawardsrecogniseoutstanding

andinnovativeconsumerpublishing.OnlyABCcertifiedcon-

sumerpublicationsareeligibletoenter.

Contact details:

– Web:www.advantagemagazine.co.za

8.�.6.��. APEX awards

TheAssociationforCommunicationandAdvertising(ACA)

hoststheannualAPEXawards.Sinceitsinceptionin1995,an

APEXsymbolisestheachievementofcommunicationscam-

paigns’performanceexcellenceinanindustrythatisconstantly

refiningandredefiningcreativity.

TheadjudicationprocessforAPEXisstringentbecauseentrants

arerequiredtoprovethattheircampaignsachievedperform-

anceexcellencebycontributingameasuredreturntotheir

client’sbottomline.AnAPEXisnotanawardforcreativityas

suchbecause‘effectiveness’isnotpositionedagainst‘crea-

tiveness’–ifhowever,entrantsshowaspartoftheirAPEXsub-

missionsthatcreativitycontributedtheircampaign’seffective-

ness,somuchthebetter.Itisthereforeincumbentonadvertisers

thatthathavewoncreativeawardstoputtherealsealontheir

achievementsbydemonstratingthattheircreativeawardwin-

ningcampaignseffectivelycontributetotheirclients’profit-

ability.

IDAW

orldDesignS

urveyPilotP

roject–SouthA

fricanfindings

��

AnAPEXrepresentsademonstrationofbothstrategicand

creativeeffectivenessandshowcasesawardwinnersasbeing

leadersintheirfield.

OvertheyearsAPEXhasgrownintoaformidableindustry

event.Theannualawardsceremonyisagalaeventthatbrings

togethercaptainsofindustryfromthecommunicationsindustry,

themediaandGovernment.Theeventprovidesaplatformfor

marketerstonetworkwithrelevantstakeholdersandinpar-

ticular,toendorsetheimportanceofeffectivecommunications

campaignsinanerawhereaccountabilityandreturnoninvest-

mentisofkeyimportance.

Contact details:

– Web:www.acasa.co.za/apex.aspx

8.�.7. Events

Thefollowingorganisationsstageregulardesignevents:

8.�.7.�. SABS Prototype Initiative

AspartoftheirPrototypeInitiative,theSABSDesignInstitute

hostsconsultationsessionsand‘FromIdeatoProduct’sem-

inarsasameanstofosternewproductdevelopmentinSouth

Africa.

Objectives

– Toencouragetheincorporationoftheservicesofpro-

fessionalindustrialdesignersintheprocessofproduct

development.

– Tobringproductdevelopersintocontactwiththetechni-

calassistanceavailabletothem.

– Toprovideanopportunityforproductdevelopersforan

individualconsultationwithproductdevelopmentexperts.

– Toencourageconsultationwithpatentattorneystopro-

tectthedesigners’/inventors’intellectualpropertyand

tooptomisethecommercialbenefitofinherentintellec-

tualproperty.

Consultation sessions

– Applicantsareprovidedwithanopportunitytopresent

theirprototypetoapanelofproductdevelopmentexperts.

Consultationsareconfidentialandfocusonthedesignas-

pectsoftheprototype.Applicantsreceiveexpertdesign

adviceandopinions.

From idea to product seminars

– Theseminarstakeplaceinvariouscentresthroughout

SouthAfricaandfocusonthefollowingcommonchal-

lengesexperiencedbyproductdevelopers:

• Pitfallsinthedevelopmentofanewproduct

• Theprotectionofintellectualproperty

• Availablefinancialincentivesandhowtoaccessthem

• Availabletechnicalassistanceandhowtoaccessit

• Theroleoftheindustrialdesigner

• Businessstrategyandentrepreneurship

Contact details:


Awards/Prototype_Initiative/index.aspx

8.�.7.�. Africa Design Day

TheNetworkofAfricaDesigners(NAD)wasestablishedin1999.

TheSABSDesignInstitutehasbeenthedrivingforcebehind

thedevelopmentofNADandhassince2007organisedregular

AfricanDesignDays.TheAfricaDesignDaysprovideaplatform

fordesignersandeducatorsfromalloverthecontinenttonet-

work,sharebestpractices,experiencesandknowledgeregard-

ingtheroleofdesigninAfrica’ssocio-economicdevelopment.

Contact details:


Initiatives/Africa/nad.aspx

8.�.7.�. The Design Indaba – Conference and expo

TheDesignIndabahasgrownexponentiallysinceitsinception

in1995,comprisingaconference,expo,magazineandanumber

ofcommunity-orientatedinitiatives.DesignIndabaaimstodrive

SouthAfrica’screativeindustriesinmeetingcompetitiveglobal

standards.Designluminariesfromallfieldsparticipateinknowl-

edgesharingattheconference,whiletheexpooffersaninter-

nationalplatformforthebestinlocaldesign.

8.�.7.�. South African Publication Forum

TheSAPublicationForumiscommittedtoimproveandpromote

corporatepublicationsinSouthAfrica.Throughtheforum,publi-

cationpractitionersgettogethertonetworkandshareideas.

ThemainactivitiesoftheforumaretheannualCorporatePub-

licationCompetitionandConferenceandtrainingopportunities

intheformoftrainingcourses,workshopsandseminars.

Contact details:

– POBox14029,Hatfield,0028


– Web:www.sapublicationforum.co.za

��

8.�.7.5. Sanlam South African Fashion Weeks

TheSanlamSAFashionWeekstagestheSpring/Summerand

Autumn/WinterDesignerCollections,respectivelyinAugustand

Marcheachyear.Theseannualeventsaretimedtodove-tail

withtheinternationalfashionweekcircuit.See8.3.1.10.formore

information.

Contact details:

– Web:www.safashionweek.co.za

8.�.7.6. AFI Fashion Weeks

AFI,founded,ownsandoperatessomeoftheAfricancontinent’s

mostrespectedanddirectionalfashionweeks,namelyVirgin

MobileCapeTownFashionWeek,MTNDurbanFashionWeek

(50%ownership),AudiJoburgFashionWeek(autumn/winter)

andJoburgFashionWeek(spring/summer),inadditiontoother

fashion-relatedstrategicmarketinginitiatives.See8.3.1.11.for

moreinformation.

Contact details:

– Web:www.africanfashioninternational.com

8.�.7.7. Rooms On View

RoomsonViewoffersexclusiveinsightintothestatusofSouth

Africandécoranddesign.ItisSouthAfrica’sforemostdeco-

ratingshowandisfirmlyestablishedasthebenchmarkby

whichtheSouthAfricandécorindustryismeasured,bothat

homeandabroad,andithasjoinedtheranksofotherinter-

nationaldécorfairsasafixtureinthediariesofdecorators,

buyersandtastemakers,theworldover.

Atop-endshowdevotedspecificallytothedécorindustry–

interiordecoration,thedesignoffurniture,ceramics,fabricsand

otherhouseholditems.Viewerscanexpecttoseecuttingedge

thinkingintheworldofdesign,incorporatinglocalandinter-

nationaldesigners,lifestylemerchants,andthebestnewnames

towatchinthefuture.

RoomsonView’ssponsorsareCondé Nast House & Gar-

den andHomeFabrics.Thesupportofsuchmarketleaders

ensuresthecontinuedhighvisibilityoftheshow.Theneces-

sityofprovidingaregulardécorshowcaseinSouthAfricais

obvious.Theinternationaldecoratingworldhasbeenalerted

tothepotentialhereinSouthAfrica,bringingevengreaterre-

wardsforthosecreatingandaccessorisingtheprivateworlds

inwhichweliveathome.

RoomsonViewisathemedevent.Roomsettings,fromliving

roomsanddiningrooms,tostudiesandbedrooms,willprovidea

tangibleviewofwhatispossibleusingthewiderangeofmerchan-

diseavailabletothedecoratingworldanditspooloftalent.

Contact details:

– Web:www.roomsonview.co.za

8.�.7.8. Decorex

See8.3.3.2.formoreinformation.

Contact details:

– Web:www.decorex.co.za

8.�.7.9. Decorators on Display

TraditionallyanannualeventheldinKwaZulu-Natal,theyare

intheprocessofnegotiatingwithasponsorshippartnerwho

willfacilitateintakingtheshownationally.

Contact details:

– Web:www.decoratorsondisplay.co.za/site/

8.�.8. Media

Thefollowingmediaprovidecoverageorhavesomeelement

ofdesigncontent:

Trade magazines:

– AdFocus

– ADvantage

– AFI Fashion Tabloid

– Art South Africa

– DESIGN> magazine

– Design Indaba

– Designing Ways

– B®AND magazine

– Enjin

– Engineering News

– KBB Design magazine

– Leading Architecture & Design

– Migrate Magazine

– Plascon Colour

– Pursuit Magazine

Specialist publications:

– AfroMag(experimental)

– FADA Research News(academic)

– i-jusi (experimental)

– Image & Text, Journal for Design(academic)

��

Consumer magazines that regularly feature design:

– Absolute

– De Kat

– CLASSIC feel

– Condé Nast House & Garden

– Cosmopolitan

– Elle Decoration

– Habitat

– Highveld Living

– House and Leisure

– ie Magazine

– InStyle

– VISI

– One Small Seed

– SL Magazine

– Style

– Top Billing

Online portals and blogs:

– African Fashion International

(www.africanfashioninternational.com)

– art.co.za(www.art.co.za)

– Art South Africa(www.artsouthafrica.com)

– ARTTHROB(www.artthrob.co.za)

– Bizcommunity.com

– Bluprintmag (www.blueprintmag.co.za)

– DESIGN> (www.designmagazine.co.za)

– Design Indaba Online(www.designindaba.com)

– DesignMind(www.designmind.co.za)

– DesignMuti (www.designmuti.com)

– Design Sponge(www.designspongeonline.com)

– Futurespace.co.za(www.futurespace.co.za)

– HIPPnotic(http://blog.hippnotic.co.za)

– ifashion (www.ifashion.co.za)

– SOAK. South African Arts and Creative Community

(www.soak.co.za)

– South African Street Style

(http://southafricanstreetstyle.wordpress.com)

– ZA@Play (http://ww2.mg.co.za/section/arts)

Television programmes that regularly feature design:

– Pasella(SABC2)

– Kwêla(kykNet)

– Dekor(kykNet)

– Morning Live(SABS2)

– Artcha(SABC2)

– Eastern Mosaic (SABC2)

– Top Billing(SABC3)

– Design Indaba(SABC3)

– Africa Rise and Shine(SABCChannelAfrica)

Alargeselectionofpay-per-viewchannelsthatfocusonde-

signareavailableviaDSTV.

Radio

– Safm(MEDIA@SAfm)

– RSG

Newspapers featuring regular design-related articles:

– Beeld

– Business Day

– Financial Mail

– The Mail & Guardian

– The Star

8.5 Profiles

Thelackofsecondarydataandstatisticshasbeenwelles-

tablishedandarguedthroughoutthedocumentandrelevant

data for this sectionhad tobesourcedbymeansof tele-

phonicinterviews.Primarydatafromthissourcewerethen

extrapolatedbasedonexpertknowledgeoftheindustryand

adjustedaccordingtothemarginoferrorcalculatedasperthe

samplerealisation.

Referto7.2.,Table2whichindicatestherealisedpopulation

sizesonwhichthissection’sdataisbased.Datawererele-

vanttotheyearof2007.

Asstatedinsection5.2onlythefollowingdisciplines(with

therespectiveactivitiesincluded)wereincludedinthestudy

andwouldformthebasisforthissectionofthereport:

– Communicationdesigners;

– Motiongraphics,animationandnewmediadesigners;

– Industrialdesigners(includesglassandceramics);

– Interiordesigners;and

– Multidisciplinarydesigners

8.5.1. Overall sector profile

8.5.�.�. Revenue

Thequestionposedtotherespondentswas:“In which of the

following annual turnover categories did your organisa-

tion fall during the last financial year (2006-2007)?”

�5

TheinternationalturnovercategoriesprovidedbytheWDS

baselinequestionnairewereasfollows:

– LessthanR1mil

– BetweenR1milandR2.5mil

– BetweenR2.5milandR5mil

– BetweenR5milandR10mil

– MorethanR10mil

ForpurposesoftheSouthAfricanrevenuecalculationforthe

applicablesectorstheabovecategorieswereconvertedtothe

followingestimatedfigures:

– LessthanR1mil–R750000

– BetweenR1milandR2.5mil–R1750000

– BetweenR2.5milandR5mil–R3750000

– BetweenR5milandR10mil–R7500000

– MorethanR10mil–R12500000

Basedontheabove,theadjustedcalculationperdisciplineis

asperTable5.Onlyactualresponsesweretakenintocon-

siderationandforthisreasonthesamplecompletionwoulddiffer

fromthequotedcompletionperdiscipline.

Thefrequencydistributionforalldisciplinesisasperthegraph

inFigure1.

DisciplineNumber of

businessesSample

Annual revenue

(�007) – R milAverage

Total annual

revenue – R mil

(Minimum)

Total annual

revenue – R mil

(Maximum)

Graphicdesigners 220 40 R129,000 R3,225 R214,609 R254,482

Motiongraphics,

animationandnew

mediadesigners

35 7 R43,500 R6,214 R65,381 R91,220

Industrialdesigners 170 52 R284,000 R5,462 R446,007 R516,252

Interiordesigners 183 39 R155,000 R3,974 R246,501 R307,434

Multidisciplinary

designers35 13 R60,750 R4,673 R82,611 R115,260

TOTALS 6�� 5� R 67�,�50 R �,�5� R �,055,�09 R �,�8�,6�7

Table 5: Revenue profile of selected disciplines

Figure �: Frequency distribution of declared revenue of selected disciplines

�6%

��%

��%

5%

�6%

�7%

��%

Percentage with this turnover

Less than R� mil

Between R� mil and R�,5 mil

Between R�,5 mil and R5 mil

Between R5 mil and R�0 mil

More than R�0 mil

Don’t know

Refused

Sample: ��

�6

8.5.�.�. Labour

Thequestionposedtotherespondentswas:“What is the

total number of employees that are employed by your

organisation?”

Thecategoriesprovidedwereasfollows:

– 1to5

– 6to10

– 11to20

– Morethan20

Forpurposesofthecalculationfortheapplicablesectorsthe

abovecategorieswereconvertedtothefollowingestimated

figuresfornumberofemployees(i.e.ifrespondentsselected

thecategory1to5employees,itwascalculatedas3employ-

eesonaverage,meaningthatthe.5personwoulddisappear

inthebiggercalculation):

– 1to5–3

– 6to10–8

– 11to20–15.5

– Morethan20–25

Basedontheabove,theadjustedcalculationperdisciplineisas

perTable6.Onlyactualresponsesweretakenintoconsidera-

tionandforthisreasonthesamplecompletionwoulddifferfrom

thequotedcompletionperdiscipline.

Thefrequencydistributionforalldisciplinesisasperthegraph

below(Figure2).Itisclearthatthemajorityoforganisations

operateinthemicro(1to5employees)tosmall(5to20em-

ployees)organisationaltypeswith87%oftherespondents

fallinginthesecategories.

Table 6: Employment profile of selected disciplines

8.5.�. Structure

Thequestionposedtotherespondentswas:“What is the

legal form of your business?”

Table7providesandoverviewofthedisciplinesbyorganisa-

tiontype(legalformofbusiness).

Itisclearfromtheresultthatthemajorityoftheorganisations

surveyedoptedforaformalbusinessstructurethatimplies

somestatutoryrequirements,i.e.ClosedCorporationsandPri-

vateCompanies(66.5%oftherespondents).Thesetwooptions

arethebestsuitedtosmallerorganisationsthatrequirethe

securityofaformalbusinessstructurewithlesspersonalliabil-

ityasisthecasein,forinstance,SoleProprietorships.

DisciplineNumber of

businessesSample

Employees

(�007)

Total employees

(Minimum)

Total employees

(Maximum)

Graphicdesigners 220 59 1172 1857 2202

Motiongraphics,animationandnew

mediadesigners35 12 245 338 472

Industrialdesigners 170 58 1145 1761 2038

Interiordesigners 183 40 529 838 1045

Multidisciplinarydesigners 35 15 266 348 486

Totals 6�� 8� � �56 5 �� 6 ��

Figure �: Frequency distribution of employment categories of selected disciplines

67%

��%

6%

��%

� to 5

6 to �0

�� to �0

More than �0

Sample: �87

Percentage of organisations

Number of people

employed

�7

TheoccurrenceofPublicCompanieswassurprisinglyhigh

at14.1%andthis,togetherwiththe66.5%mentionedabove,

givesanindicationofthelevelofformalisationwithregardto

businessstructuretobefoundinthesectorwith80.6%ofthe

respondentsreportedtohaveamoreformalformofbusiness.

8.5.�. Years in operation

Thequestionposed to the respondentswas: “How many

years has your organisation been in operation?”

Thecategoriesprovidedwereasfollows:

– 5yearsorless

– Between5and11years

– 11to20years

– Morethan20years

Table8providesandoverviewoftheyearsinoperationby

disciplineandisaclearindicationofthestabilityinthesector

withmorethan79%oftherespondentshavingbeeninbusiness

forfiveormoreyearsand22,9%beinginbusinessfor20

yearsorlonger.

DISCIPLINEArticle ��

(Non profit)

Closed

Corporations

(CC)

Incorporated

(Partnership)

Private

Company

(Pty)

Public

Company

(Pty (LTD))

Sole Proprietor

(Including

Freelance)

Listed

Company

(JSE/AltX)

Other

Graphicdesigners 1 22 0 20 11 5 0 3


newmediadesigners

0 4 0 3 2 3 0 1

Industrialdesigners 0 22 2 17 13 16 0 2

Interiordesigners 0 32 0 5 2 2 1 2

Multidisciplinarydesigners 0 8 0 4 1 2 0 0

TOTALS � 88 � �9 �9 �8 � 8

PERCENTAGE 0.5% ��.7% �.0% ��.8% ��.�% ��.6% 0.5% �.9%

Table 7: Discipline by legal form of the business

DISCIPLINE 5 or less yearsBetween 5 and

�0 years�� to �0 years

More than

�0 years



newmediadesigners4 5 4 0




TOTALS �� 7� �� 7

PERCENTAGE ��.0% �5.�% ��.0% ��.9%

Table 8: Discipline by years in operation

�8

8.5.�. Ownership

TheSouthAfricanfocusonblackeconomicempowerment

(BEE)urgedustoaskthequestioninaslightlydifferentwayin

ordertogetafeelforthemovementtowardsBEEatthesame

time.Respondentswereaskedtoprovidepercentageowner-

shipforthefollowingcategoriesofOwnership:

– TotalpercentageMALEownership

– TotalpercentageFEMALEownership

– TotalpercentagePDIMALEownership

– TotalpercentagePDIFEMALEownership

(Note:PDIwasdefinedasapreviouslydisadvantagedindivid-

ualaspertherelevantActs).

Itisobviousthatthisisstillpredominantlyamaledominated

sector(asfarasownershipisconcerned)oftheeconomy.Itwas

onlyinthedisciplineofinteriordesignerswherefemaleowner-

ship(55.5%)exceededthatofmaleownership(45.5%)(see

Figure3).Blackeconomicempowermentisfairlylowbutgiven

thatthemajorityoftheseorganisationsmightbeexemptedon

turnover,itshouldnotbeaproblem.

8.5.5. Annual revenue

Inordertodeterminetheannualrevenueoforganisations,the

followingquestionwasasked:“In which of the following an-

nual turnover categories did your organisation fall during

the last financial year (2006-2007)?”

Thecategoriesaswasprovidedintheinternationalbaseline

questionnairehadtobeadjustedtoreflecttheSouthAfrican

situation.Thefollowingcategoriesofturnoverwereprovided:

– LessthanR1mil

– BetweenR1milandR2,5mil

– BetweenR2,5milandR5mil

– BetweenR5milandR10mil

– MorethanR10mil

– Refusedordon’tknow

Thelattertwocategorieswereremovedfromthecalculations

butitshouldbenotedthat11.8%oftherespondents“refused”

toanswerthequestionsand17%saidthey“didnotknow”

–thisbroughtthenumberofresponsesdownto151.

GivenarateofexchangeofaroundR7perUS$duringthetime

ofthestudy,thecategoriesinUS$termswouldbeasfollows:

DISCIPLINE% Male

Ownership

% Female

Ownership

% PDI Male

Ownership

% PDI Female

Ownership

Graphicdesigners 49.2% 41.4% 6.3% 3.1%


andnewmediadesigners79.6% 9.9% 0.0% 10.5%

Industrialdesigners 84.6% 7.5% 7.9% 0.0%

Interiordesigners 38.2% 47.4% 6.3% 8.1%

Multidisciplinarydesigners 42.3% 37.3% 12.7% 7.7%

Figure �: Discipline by total male versus female ownership

Graphicdesigners

Industrialdesigners

Interiordesigners

Multidisciplinarydesigners

Motiongraphics,animationandnewmediadesigners

55.�% (M)

��.6% (F)

79.6% (M)

�0.�% (F)

9�.5% (M)

7.5% (F)

��.5% (M)

55.5% (F)

55% (M)

�5% (F)

Table 9: Ownership by gender

�9

– Lessthan$142857

– Between$142857and$357143

– Between$357143and$714286

– Between$714286and$1428571

– Morethan$1428571

TheresultscanbeseeninTable10anditisinterestingto

notethat70.9%oftheorganisationscanbeclassifiedassmall

(orevenmicro)enterprisesandalsofallbelowtheR5million

thresholdthatisrequiredforcompliancetoBEE.

Inordertogetmoreinsightintotheirbusinessconfidenceand

thestateoftheeconomy,aquestiontothefollowingeffectwas

added:“Has your turnover increased, decreased, or re-

mained static during the past two years (�006-�007 and

�007-�008)?”

Respondentscouldselectfromthefollowingoptionsprovided:

– Increased

– Decreased

– Remainedstatic

– Donotknowordonotwanttodivulge

Itisencouragingtonotethatthemajorityoftherespondents

(72.6%)reportedeitheranincreaseintheirturnoveroraturn-

overthatremainedstatic(seeTable11).

8.5.6. Revenue source

Inordertodeterminethesourceoftherevenueoforganisa-

tions,thefollowingquestionwasasked:“What percentage

of your turnover is generated from the following sources?”

Onceagainthecategoriesaswasprovidedintheinternational

baselinequestionnairehadtobeadjustedtoreflecttheSouth

Africansituation.Thefollowingcategorieswereprovided:

– Feesforprofessionalservices

– Incomederivedfromproductionmanagementonbehalf

ofclients

Table �0: Annual revenue by discipline

Table ��: Movement in turnover from ‘06 to ‘07

DISCIPLINELess than R�

mil

Between R� mil

and R�,5 mil

Between R�,5

mil and R5 mil

Between R5 mil

and R�0 mil

More than

R�0 mil



andnewmediadesigners

3 0 1 0 3




TOTALS 56 �8 ��

PERCENTAGE �7.�% �8.5% �5.�% 7.�% ��.9%

DISCIPLINETurnover

increased

Turnover

remained static

Turnover

decreased

Did not know or did

not want to divulge



andnewmediadesigners6 3 1 5




TOTALS ��6 �8 �7 ��

PERCENTAGE 5�.7% �7.9% 8.0% �9.�%

50

– Licensingandroyaltyfees

– Governmentgrants

Exceptformultidisciplinarydesignerswhogeneratemorein-

comethroughproductionmanagement(38.2%),thebiggest

sourceofincomefortheotherdisciplinesisderivedfromprofes-

sionalservices.Ascouldbeexpected,thefeesfromproduc-

tionarealsoquitehighfortheinteriordesigndiscipline(See

Table12).

8.5.7. Revenue by client profile

ThisaspectwasnotcoveredintheSouthAfricanbaselinestudy.

8.5.8. Revenue by market

Inordertodeterminetherevenuebymarket,thefollowing

questionwasposed:“What percentage of your turnover

is derived from each of the following markets?”

Thefollowingcategoriesofmarketswereprovided:

– Local(yourcityandprovince)

– National(thisincludesnationalgovernment-relatedinsti-

tutions)

– International

Itisnotsurprisingtonoticethatthemajorityofthedisciplines

relymainlyonthelocalmarket,i.e.theirownimmediatevicinity.

Itisonlyreallythemotiongraphic,animationandnewmedia

designerswhooperateonanationallevelwith38%oftheir

turnovercomingfromthissource.Theinternationalmarketis

notreallyasourceofincomeformostdisciplineswiththeindus-

trialdesignersshowingthelargestpenetrationofthismarket

with17.3%oftheirturnovergeneratedinternationally(See

Table13).

8.5.9. International markets

Althoughthisaspectwasnotcoveredintheempiricalpartof

SouthAfricanbaselinestudy,somesecondarydatacouldbe

sourcedtoprovidesomeinsightintothesituation.

LookingatFigure4itisclearthatthereareindustrieswhere

SouthAfricahasacomparativeadvantage(Quadrant1and4).

Thismeans thatweare relativelybetter than therestof the

worldinthoseindustriesandthatwouldexplainwhyweex-

port more than we import in those industries. Not many

design-relatedindustriesfallintothesequadrants.

Inmostofthedesign-relatedindustriesSouthAfricahasacom-

parativedisadvantage(thesemaybeindustrieswhereweimport

morethanweexport)suchasprintingandpublishing.Thisdoes

notmeanthattheseindustriesarenotprofitableaswecansee

fromFigure5.

DISCIPLINE Services Production Licensing Grants

Graphicdesigners 55.6% 15.8% 3.4% 0.8%


andnewmediadesigners57.6% 21.9% 17.7% 0.0%

Industrialdesigners 54.1% 25.6% 3.3% 0.6%

Interiordesigners 51.4% 32.7% 0.8% 0.0%

Multidisciplinarydesigners 34.5% 38.2% 1.0% 0.5%

Table ��: Source of revenue

DISCIPLINE Local National International

Graphicdesigners 78.8% 15.5% 3.4%

Motiongraphics,animationandnewmediadesigners 53.3% 38.0% 8.8%

Industrialdesigners 62.5% 19.1% 17.3%

Interiordesigners 65.9% 21.6% 10.0%

Multidisciplinarydesigners 84.0% 9.1% 6.1%

Table ��: Markets

5�

Theseindustriesandproductsareimportant–orwewould

notimportthem.Weneedtoexportourrawmaterialstopay

fortheproductsweneedtoimport.Currentlywemaynotbe

stronginproducingtheseproducts,whenmeasuredagainst

othercountriesbutthereisdefinitelypotentialforgrowthand

scopefordesigninSouthAfrica.

Thisalsoshowsthattheseareimportantindustriesforthecoun-

tryanditcanbeassumedthatdesignisimportantforSouth

Africaduetoitsrelationtotheseindustries.

Figure 4: Current account surpluses or deficits within the comparative-absolute advantage framework for South African three-digit manufacturing industries. (Current account values in

billions of US$)

Dis

adva

nta

ge

Ad

van

tag

e

AdvantageDisadvantage ABSOLUTE/COMPETITIVE

�.000

-�.000

Surplus industries Deficit industries

CO

MP

AR

AT

IVE

�.000-�

.000

0.000

Non-metallicminerals

Basicnon-ferrousmetals

Basiciron&steel

Paper&paperproducts374

205Wood&woodproducts

30Leather&leatherproducts

1002Food

Motorvehicles,parts&accessories

198

Basicchemicals-300

Coke&refinedpetroleumproducts

-180Rubberproducts

Tobacco-295Textiles

-68Wearingapparel

-185Electricalmachinery

Metalproductsexcludingmachinery

Otherchemicals

-507Plasticproducts

Glass&glassproducts-234

Othertransportequipment

-196 Printingpublishing&recordedmedia

-2804 Machinery&equipmentProfessional

equipment

-284Othermanufacturingindustry-262

Footwear

7317

21103432

0.500-0.500

0.500

-0.500

426Beverages

321Furniture

-1305

-899

-3346

-1078

-993 -2804

5�

Figure 5: Industry profitability above world standard within the comparative-absolute advantage framework for South African three-digit manufacturing industries (percentage difference)

Dis

adva

nta

ge

Ad

van

tag

e

AdvantageDisadvantage ABSOLUTE/COMPETITIVE

�.000

-�.000

Industry profitability above world standard Industry profitability below world standard

CO

MP

AR

AT

IVE

�.000

-�.0

00

0.000

Non-metallicminerals

Basicnon-ferrousmetals

Basiciron&steel

Paper&paperproducts

-0.2%Wood&woodproducts

Food

Motorvehicles,parts&accessories

0.4%

Basicchemicals

Coke&refinedpetroleumproducts-2.4%

Rubberproducts

Tobacco

0.4%Textiles

-0.9%Wearingapparel

Metalproductsexcludingmachinery1.0%

Otherchemicals0.8%

1.7%Plasticproducts

Glass&glassproducts

Othertransportequipment0.4%

-0.5%Printingpublishing&recordedmedia

-0.6%Machinery&equipment

Professionalequipment1.6%

1.2%Othermanufacturingindustry

2.7%Footwear

3.3%

2.8%4.1%

0.500-0.500

0.500

-0.500

Beverages

0.1%Furniture

3.3%

3.1%

6.3%

6.0%

-3.0%

3.4%

8.2%

Source:SmitAJ(2007),International Competitiveness: A synthesis Between Comparative and Competitive Advantage.DBLthesis,SchoolofBusinessLeadershipUNISA

5�

FromtheinterviewwiththechairpersonofIdeaSA,itwaslearnt

thattheSouthAfricangovernmentiscurrentlyinvolvedinatri-

lateralagreementwithBrazilandIndia.Thispartnershipaims

tosharetechnologyanddevelopmentamongstthethreecoun-

tries.Thisisgenerallyawayfordevelopingcountriestosay“how

canwepoolandshareourknowledgetobeabletogrow?”

ThismayleadSouthAfricabecomingcompetitivewithother

countries.

8.5.�0. Total employment

Table14providesthedataasperthesample.Table15isan

extrapolationasperthepopulationtakingthemarginoferror

intoaccounttocalculatethemostlikelymaximumnumberof

employeespercategory.

8.5.��. Designers employed

Table16providesthedataasperthesample.Table17isan

extrapolationasperthepopulationtakingthemarginoferror

intoaccounttocalculatethemost likelyminimumnumberof

employees,whereasTable18providesthesamecalculation

withthemostlikelymaximumnumberofemployeespercat-

egory

Table ��: Employment as per the sample

Table �5: Employment as per the population – Minimum

Table �5: Employment as per the population – Maximum

Table �6: Designers employed as per the sample

DISCIPLINE � to 5 6 to �0 �� to �0 More than �0 Total



andnewmediadesigners17 9 3 3 32




TOTALS �09 6� �9 59 �60

PERCENTAGE 67.�% ��.7% 6.�% ��.8%








TOTALS �75 97 �5 90 706

PERCENTAGE 67.�% ��.7% 6.�% ��.7%








TOTALS 580 ��8 55 �08 86�

PERCENTAGE 67.�% ��.7% 6.�% ��.6%

5�

Figure6providesdetailsofthedesignersemployedaspercent-

ageofthetotalnumberofemployees.Itisinterestingtonote

thatthepercentageofdesignersemployedisfairlyconstant,

irrespectiveofthedisciplines.

8.5.��. Average annual income

Inordertodeterminetheincomeofdesignersbynumberof

years’experience,thefollowingquestionwasposed:“What is

the average annual income (salary) earned by designers,

by their number of years’ experience?”

Thefollowingcategoriesofmarketswereprovided:

– 0to5yearsexperience

– Between5and9yearsexperience

– Between10and14yearsexperience

– Morethan15yearsexperience

Ascouldbeexpected,alargeportionofthesamplerefusedto

answerthisquestion.

Table19providesacomparisonbetweenyears’experience

anddiscipline.








TOTALS �60 �9 9 �5 ��

PERCENTAGE 8�.9% 9.�% �.�% �.6%

Table �7: Designers employed as per the population – Minimum








TOTALS ��9 �9 �� 8 5�7

PERCENTAGE 8�.9% 9.5% �.�% �.5%

Table �8: Designers employed as per the population – Maximum

�7.8%

�8.9%

��.7%

�9.�%

��.�%

Graphicdesigners


Industrialdesigners

Interiordesigners


Figure 6: Comparison between total employees and designers per discipline

55

Figure7showsthetrendsperyears’experience.Itisinterest-

ingthatalldisciplinesstartoffinafairlynarrowbandbutafter

15years’experiencethereismorediscriminationbetween

theyears.Thesalariesofmotiongraphics,animationandnew

media designers tend to be lower than the other disci-

plines acrossallyearsandmightbeduetothefactthatitisa

younger discipline (supported by the downward trend in the

graph),over-supplyofdesigners(peoplemostprobablywantto

workinthismedium)orlessdemandfortheservice.

8.5.��. Level of training

Inordertodeterminetheleveloftraining,thefollowingquestion

wasposed:“How many designers in your organisation have

the following qualifications?”

Thefollowingoptionswereprovidedandareagainslightly

differentfromthoseproposedintheinternationalbaselineques-

tionnaireduetotheuniquenessoftheSouthAfricansituation:

– Noformalqualification(self-taughtdesigners)

– Acertificate(lessthanthree-yearqualification)

– Undergraduate(BTechandthree-yearBAdegrees)

– Graduate(four-yearBA,MTechandHons-leveldegrees)

– Postgraduate(MA,DTechandPhd-leveldegrees)

FromTable20itisclearthatthedesignsectorfavoursfor-

maltraining,as88.3%ofthedesignersareeitherqualifiedin

atertiaryinstitutionorintheprocessthereof.SeeFigure8for

thepercentagesplitbetweenthequalificationcategories.

Table �9: Average annual income of designers by year’s experience

DISCIPLINE0 - 5 years

experience

5 - 9

years experience

�0 - ��

years experience

More than �5

years experience

Graphicdesigners R114903 R176944 R293375 R515000


andnewmediadesignersR89920 R110000 R180000 R174000

Industrialdesigners R142176 R220455 R281600 R360143

Interiordesigners R121941 R208636 R280182 R344000

Multidisciplinarydesigners R167775 R232400 R281333 R600000

Figure 7: Trend of average income by year’s experience

R700000

R600000

R500000

R400000

R300000

R200000

R100000

R0

0-5yearsofexperience 5-9yearsofexperience 10-14yearsofexperience Morethan15yearsofexperience

Graphicdesigners


Industrialdesigners

Interiordesigners


56

Table �0: Level of education of designers by discipline

Note:Theaccuracyofthisdatacouldnotbeverified.Thehigh

figuresprovidedfordesignerswithgraduateandpostgraduate

qualificationsdonotcorrespondwithestimatesfromthedesign

educationcommunity,indicatingtheprobabilitythatmanymight

havequalifiedinotherrelateddisciplinessuchasengineering,

architectureandfinearts,orthattheirhighestqualificationob-

tainedwerenotinthedesignfield.

Figure 8: Percentage split between levels of qualification

8.5.��. Gender

Table21andFigure9providesthesplitbetweenmaleand

femaledesignersemployedperdiscipline.Exceptforindus-

trialdesign,thesplitismoreorlessevenwithfemalesinthe

majorityinthedisciplinesofinteriordesignandcommunication

design.

Table ��: Designers employed by gender

Figure 9: Percentage split between genders

DISCIPLINE Self-taught Certificate Undergraduate Graduate Postgraduate







TOTALS �0� ��9 �88 �� 85

��.7

%

�7.�

%

��.�

%

�7.9

%

9.8%

Sel

f-ta

ught

Certificate

Und

ergr

adua

te

Gra

duat

e

Pos

tgra

duat

e

DISCIPLINEMALES

(Sample)

FEMALES

(Sample)

MALES

(Population)

FEMALES

(Population)TOTAL







TOTAL 708 5�5 ��97 9�0 ��7

PERCENTAGE 56.�% ��.7%

�7%

(M

)

5�%

(F

)G

raph

icd

esig

ners

Mot

ion

grap

hics

,ani

mat

ion

and

new

med

iad

esig

ners

Indu

stria

ldes

igne

rs

Inte

rior

desi

gner

s

Mul

tidis

cipl

inar

yde

sign

ers

5�%

(M

)

�6%

(F

)

7�%

(M

)

�7%

(F

)

5�%

(M

)

�7%

(F

)

�9%

(M

)

5�%

(F

)

57

8.5.�5. Job creation

Thisaspectwasimpossibletodetermineduetoreasonscited

earlierintermsofdifficultyto, inter alia,obtainreliablestatistics

andthelackofacentralisedcoordinatingbody.Itistherefore

excludedfromthereport.

8.5.�6. Nature of work

Inordertodeterminetheleveloftraining,thefollowingquestion

wasposed:“Of the designers you employ how many of

them are . . .?”

Thefollowingoptionswereprovidedtochoosefromandare

againslightlydifferentfromthoseproposedintheinternational

baselinequestionnaireduetotheuniquenessoftheSouthAfrican

situation:

– Full-timeemployees

– Employedonaproject/contractbasis

– Freelance

– Apprenticeships(wheretheydopracticalaspartoftheir

studies)

Table22andFigure10isareportonthetypesofjobscurrently

heldbydesigners.Themajorityofthepositionsarefull-timewith

72.5%ofthedesignersoccupyingsuchpositions.Thelower

incidenceoftheothertypesofpositionsshouldnotbeconfused

withtheavailabilityofthem,asitismoreinthenatureofSouth

Africanbusinesspeopletoemploypeopleonafull-timebasis.

Table ��: Types of employment by designers

Figure �0: Percentage split between types of positions

8.5.�7. Intellectual property

Theclosestwecouldgettoanswerthequestiononintellec-

tualpropertywasthroughtheInnovation Surveyundertakenby

thedtiin2005.Thissurveyshowedthat52%ofalltheso-called

‘innovatingcompanies’...

– 2.5%appliedforapatent;

– 10.6%registeredatrademark;

– 4.3%registeredanindustrialdesign;and

– 4.5%claimedcopyright.

Inordertoshedmorelightonthematter,thefollowingquestion

wasputtotherespondents:“Which of the following do you

use for the protection of your intellectual property?”

Thefollowingoptionswereavailabletochoosefrom:

– Trademarks

– Patents

– Designregistrations

DISCIPLINE Full-timeProject/

contract basisFreelance Apprentice Total







TOTALS 7�0 �8� 6� �8 99�

7�.5%

�8.�%

6.�%

�.8%

Full-time

Project/contractbasis

Freelance

Apprentice

58

– Non-registeredcopyrightagreementswithclients

– Licensingagreements

– Noneofthese

– DonotgenerateanyIP

Figure ��: Percentage split between types of protection

(in descending order)

Thefollowingothermethodsofintellectualpropertyprotection

werementioned:

– “Weputitinwriting”

– Disclaimers

– Non-disclosureandconfidentialityagreements

– “Wehaveanembossingfeaturethatonlyourcompanycan

do”

– “SellourIP,IPbelongstotheclient”

– “Tobuyintothecompanybysettingituptoroyalty”

– Proprietarytechnologies

– Tradesecrets

– Softwareencryption

– Conceptdesign

– Clausesinproposals

– Identifyingthedesignwithaslogan

DavidBlythe,thethenchairpersonofthink,hadthefollowing

tosayaboutthismatter:“Design management should be looked

at within the curriculum. This links with Intellectual Property in

that most designers do not have the knowledge when they leave

educational institutions on how to protect their intellectual prop-

erty. There are systems in place but the knowledge in general

of these systems are lacking.”

8.6. Design education

8.6.�. Design schools

Table ��: Institutions presenting design training at tertiary

level

Type of institution Number

Numberofpublicinstitutions 19

Numberofprivateinstitutions 24

Total ��

Note:Someoftheseinstitutionshavecampusesinmorethan

onelocation.Thenumbersmentionedaboveexcludemultiple

campuses.

Duetothecomprehensivenessofthelist,thecompletelist

isattachedasAppendixD:Listofinstitutionsofferingdesign

education.

Table �5: Design programmes presented at tertiary level

(byinstitutionsmentionedinAppendixD)

DisciplineNumber of

programmes

Communicationdesign(including

multimediaandanimation)40

Interiordesign 13

Industrialdesign 3

Fashiondesign 18(estimated)

Jewellerydesign 5

Surfacedesign 3

Type of protection

Non-registeredcopyrightagreements

Patents

Trademarks

Noneofthese

Designregistration

OthermethodsofIPprotection

Licensingagreements

DonotgenerateanyIP

Percentage who mentioned the use of this form of IP �8.9%

�5%

�7%

��%

�8%

�7%

�5%

��%

8%

59

Type Communication Interior Industrial Fashion Jewellery Surface Total

Public

institutions17 6 3 12 5 3 38

Private

institutions23 7 - 6 - - 36

Total �0 �� 8 5 � 7�

Duringtheempiricalphasesomeadditionalquestionswere,

however,puttotheeducationsample(11responses)ofthe

primarydatacollectiontosupplementthedata.

8.6.�.�. “What design disciplines are taught at your

institution?”

Table �7: Design disciplines taught (numberofmentions

–sample11institutions)

DisciplineNumber of

mentions

Graphic/communication/visual

communication/informationdesign7

Fineartswithaspecialisationina

focusseddesignfield4

Industrialdesign(includingglass,

ceramics,jewellery,surfaceand

materialsdesign)

5

Interiordesignandinteriorarchitecture 5

Motiongraphics,animationandnew

mediadesign4

Photography 3

Designandmediastudies 3

Other 3

8.6.�.�. “What levels of education do you provide?”

Table �8: Level of education provided (numberofmentions


DISCIPLINE Number of

mentions

Basic course(Lessthanoneyearorat

aninstitutionthatisnotaccreditedbythe

DepartmentofEducation)

2

Certificate (Morethanoneyearbutless

thanthreeataDepartmentofEducation

accreditedinstitution)

0

Diploma(Minimumthreeyearsata

DepartmentofEducationaccredited

institution)

2

Degree(Minimumoffouryearsata

DepartmentofEducationaccredited

institution)

5

Postgraduate degree(HonoursMasters

andPhdstudiesthatfollowprevious

qualificationsaccreditedbythe

DepartmentofEducation.

5

8.6.�.�. “What is the average length of your educational

programmes?”

Table �9: Length of course (numberofmentions–sample

11institutions)

Length of

programme

Number of

mentions

Percentage

of mentions

Fiveyearsandmore 1 9.09%

Fouryears 3 27.27%

Threeyears 1 9.09%

Twoyears 1 9.09%

1Yearorless 2 18.18%

Notindicated 3 27.27%

8.6.�.�. “In your design faculty during the current year, how

many staff members are employed?”

Acrossthe11institutionsrespondentsreported173full-time

and60part-timeemployees.

8.6.�.5. “What is the total number of students that enrolled

for a design-related course over the past three years?”

Table �0: Enrolment and graduation (numberofmentions


YearStudents enrolled

(all years of study)

Students graduated

(only final year)

2004 2081 249

2005 2065 400

2006 2103 300

TOTAL 6 ��9 9�9

Table �6: Design programmes presented at tertiary level by type of institution

60

8.6.�.6. “What is the main reason for design students not

finishing their studies at your institution?”

Themainreasonsmentionedfornotfinishingstudieswere

failingandlackoffunds.

8.6.�.7. “What percentage of the students currently enrolled

are foreign nationals?” AND “Has this figure of foreign national

enrolments in design courses at your institution increased

or decreased over the past three years?”

Fiveofthe11institutionsinthesamplehadforeignnational

students.Atthreeinstitutionsthenumberofforeignnational

studentshasincreasedandintheothertwotheystayedthe

sameinthepastthreeyears.

8.6.�.8. “Which regions are the main sources of the foreign

students studying at your institution?”

RegionsmentionedwereAsia,Africa(outsideofSADC),SADC,

Europe,Zimbabwe,Taiwan,SouthKoreaandBotswana.

8.6.�.9. “What are the main reasons for foreign students

selecting your institution for design studies?”

– “Parentswanttheirchildrentoreceivequalityeducation”

– “Ourinstitutionhasdevelopedrelationshipswithgovern-

mentdepartments”

– “Theydon’thaveanywhereelsetogo”

– “Thegoodeducationalstandards”

– “Internationalrecognitionofthedegree”

– “Goodfacilities/teachers”

– “WeareabletowincompetitionsandareoneoftwoGauteng

institutionsofferingBADesignStudiesasaprogramme”

8.6.�.�0. “Do you believe that students come out of Grade ��

equipped with the right education to contribute to and help

them in their design studies at higher institutions?”

– “Yes–Becausetheyhavetogothroughascreening

process”

– “Yes–Theyarewelleducatedinengineeringdesignto

producethebest”

– “No–Thereisnotenoughdesignstimulationatschools”

– “No–Idon’tbelievetheyhavetherightskills.Thereisabig

gapinbasiccommunicationskills.Theydon’tknowyethow

tointerpretcomplextextsandcontenttoformsensible

ideas.Wethereforehavetodoabasiccommunication

coursewiththemfirst”

– “No–Idon’tthinktheyareequippedforanything.There

isadecreaseinlanguageandwritingcapability.Theycan

copyandpasteandusetheInternetbutcan’tspellanddon’t

knowtheEnglishlanguagewellenough.”Igavemywhole

classreadingtestsbecause40ofthe60studentsfailedtheir

firsttest.Studentsarebecominglessskilledwithlanguage.

– “No–Themajorityofstudentshaveverylittledesignexpe-

rienceandveryfewhaveanydrawingexperienceatall”

– “No–Theydon’tstudyartatschool”

Acommentreceivedduringanin-depthinterviewsupportsthe

above“Thereisverylittleemphasiscurrentlyplacedondesign

atasecondaryschoollevel.”

8.7. Open questions

8.7.�. Trends and issues affecting the design

sector and a prognosis for the next five years

Inanattempttoaddressthisissuetherespondentswerere-

quiredtoprovideanevaluationoncertainattributes.Respond-

entswererequiredtoevaluateeachattributeonascalefrom

0to10where0=“stronglydisagree”and10=“stronglyagree”.

Table31providestheindexscorepereachstatementand

Figure12indicatesthedistributionofscores.

6�

�7% �9%5�%

��% �7%59%

�9%55%6%

6% 5�%��%

6�% ��%�8%

Table ��: Index score per statement

Statement Index Score

ShareholdersanddesignersinourorganisationhaveasoundknowledgeandgoodunderstandingofSouth

AfricanIntellectualPropertylegislation59.4

OurorganisationbelievesthatIntellectualPropertyprotectioninSAissufficienttoprotectourrightsandwe

don’tneedtoimplementothermeasurestoprotectourrights50.8

LocaldesignersinourdesignsectorareignorantofavailableIntellectualPropertyprotection 55.6

LocaldesignersinoursectorofdesigndonotfeelthatitisimportanttoprotecttheirIntellectualProperty 48.5

OurclientsareoblivioustotheavailableIntellectualPropertyprotection 56.4

DesignstudentsstudyingataccreditedgovernmentalinstitutionsinSouthAfrica(universitiesanduniversities

oftechnology)getthecorrecttrainingandpracticalexperiencetoequipthemsufficientlywhentheyenterthe

jobmarket

52.1

DesignstudentsstudyingataccreditedprivatecollegesinSouthAfricagetthecorrecttrainingandpractical

experiencetoequipthemsufficientlywhentheyenterthejobmarket54.6

Designstudentsstudyingatnon-accreditedprivateinstitutionsinSouthAfricagetthecorrecttrainingand

practicalexperiencetoequipthemsufficientlywhentheyenterthejobmarket42.1

DesigninmysectorofpracticeisaprofitableinSouthAfrica 61.8

TheoverallqualityofprofessionaldesignservicesinSouthAfricainmyorganisationssectorisofahighstandard 71.0

ThestandardofSouthAfrica’sbestdesignpractitionersinmysectorcomparewellwiththatofglobalbestpractice 73.0

DesigninmysectorofpracticecontributestowardsimprovingthegenerallevelofeducationofSouthAfricans 65.2

TheprofessionalpracticelevelsofmydesignsectorinSouthAfricaisfullyequippedandstrongenoughto

contributesubstantiallytothesuccessofthe2010FIFAWorldCup71.0

People’slivesinSouthAfricaareculturallyenrichedbymyprofessionaldesignsectorinSouthAfrica 66.8

DesignatitshighestlevelinmyprofessionaldesignsectorinSouthAfricacontributespositivelytotherest

oftheworld’sperceptionofSouthAfrica73.2

DesignismarginalisedintheworldofbusinessinSouthAfrica 68.3

BusinessesinSouthAfricaarepositivelyinfluencedbySouthAfricandesignserviceproviders 66.0

TheSouthAfricandesignsectorinmyprofessionalsectorpositivelycontributestomakingthelivesofSouth

Africansmorecomfortableandincreasesthegeneralpopulation’squalityoflife.67.4

Sample ��

Figure ��: Distribution of scores per statement

Strongly disagree Indifferent Strongly agree

9% ��%50%

9% 5�%�0%

9% �9%5�%

6% 5�%��%

5% �9%�6%

9% ��%57%

�0%56%��%

�6% ��%5�%

�7% �7%56%

�7% 8%5�%

�8% �9%5�%

8% ��%�9%

8% �9%5�%

6�

Itisclearfromtheabovethattherespondentsviewthefollow-

ingfouraspectsasbeingthemostpositivewithregardtothe

designsectorinSouthAfrica(indexscoreofhigherthan70):

– ThepositivecontributionSouthAfricandesignmakesto

theimageofSouthAfricainternationally–Indexscoreof

73.2

– TheinternationalstatureandstandingofSouthAfrican

designers–Indexscoreof73.0

– Thedesigners’abilitytocontributetothesuccessofan

internationaleventsuchasthe2010FIFAWorldCupand

thestandardofdesigninSouthAfrica–Indexscoreof

71.0forboth.

Onthenegativesidetherespondentsviewedthefollowingas

thebiggestshortcomings(andthuschallenges):

– Effectivenessofnon-accreditedprivatedesigneducation

–Indexscoreof42.1

– Theimportanceofindividualstoprotecttheirintellectual

property–Indexscoreof48.5

– Effectivenessofstatutoryprotectionofintellectualproperty

–Indexscoreof50.8

– Effectivenessofgovernmentdesigneducation–Indexscore

of52.1

– Effectivenessofaccreditedprivatedesigneducation–Index

scoreof54.6.

Lookingatthisdata,onegetsthefeelingthatthelevelofdesign

anddesignerscurrentlyworkinginSouthAfricaishealthybut

therearesomeseriousconcernsaboutthefuture–especially

withregardtotheeducationaloutputandthelackofconcern

forintellectualpropertyrights.Thismightbeaseriousover-

sightgiventhecommentsofDavidBlytheregardingthisaspect:

“For this country to be successful it needs to be a knowledge

economy that uses intellectual property industries to be able

to incrementally develop the economic wealth of the country

through knowledge and one of those practice areas is design.”

Whenlookingatthepercentageofrespondentsgivingascore

ofeithera0,1or2(thosestronglydisagreeingwiththestate-

ment,i.e.astrongnegativescore)andthosegivinga8,9or

10(i.e.astrongpositivescore)onegetsafeelingofindiffer-

enceasbetween40%and59%oftherespondentsscored

intherangebetween3and7acrossallbutonestatement

(theoneabout theeffectivenessofnon-accreditedprivate

designeducation)thathadanindifferencescoreof28%.In

this instance 61% disagreed that they were effective and

only11%feltthattheywereeffective(SeeFigure12onthe

previouspage.)

Respondentswerealsoaskedwhattheybelievedtobethe

largeststumblingblocksinthedesignindustryofSouthAfrica.

Someoftheresponsesthatweregivenwere:

– “Propermanufacturers tobewilling toget involved in

projects”

– Perceptionsthatindustrialdesignersareexpensive

– Lackofunderstandingofthevalueofdesignandbrand-

ing

– Education

– Generalassistancefromgovernment

– Governmentrules,thestatistics,lawsandprocesses

– “Educatingmyclientsonmyprocesssothattheyunder-

standtheworkinvolvedinwhattheyareaskingfromus”

– “Localclientsdonotrespectprofessionalfeesunlikeinter-

nationalclients”

– Gettingskilledpeopleforthejob

– IncreaseofrawmaterialpricesinSouthAfrica

– Nolegislationfortheindustry

– Projectfinance

– Designsgetcopiedevenifpatented.

TheresponseswerecategorisedasperTable32.

Table ��: Categories of stumbling blocks mentioned

CategoryPercentage

mentions

Financialchallenges 46.67%

Lackofawarenessandrecognitionforthe

designindustry45.00%

Lackofgovernmentsupportfortheindustry 33.33%

Lackofsupportintermsofresources 30.00%

Competitionintheindustryandcompeting

withlargecompanies28.33%

Promotion/marketing 25.00%

BBBEE 13.33%

Lackofdevelopmentandgrowth 10.00%

Publicdoesnotwanttopaywhatthe

designsareworth10.00%

NopolicyondesigninSouthAfrica 6.67%

Intelectualpropertyprotection 5.00%

Employmentchallenges 3.33%

Technologicalchallenges 1.67%

Beaurocracyandredtape 1.67%

Domoreresearchinthedesignsector 1.67%

6�

8.7.2. Profile of designers who have gained

national or international recognition

Alistofnamesmentionedduringthetelephonicinterviews

werecopiledbuttheresultswerenotbackedupbydeskre-

search.

8.7.3. Profile of design businesses who have

gained national or international recognition



search.

8.7.4. Profile of brands or design-led

businesses that have gained national or

international recognition



search.

8.7.5. The extent to which design activity forms

part of the country’s informal economy (AND

the contribution of design to the socio-cultural

development in South Africa)

Nodataorresearchfindingscouldbefoundregardingtheextent

towhichdesignactivityformspartofthecountry’sinformal

economyoritscontributiontothesocio-culturaldevelopment

inSouthAfrica.However,extractsfromreportspublishedon

craftandthecreativeindustriesprovidedthefollowinginsight

intothematter.

8.7.5.�. Arts and Crafts in South Africa (The Craft Draft

Report and Arts and Culture policy review)

Artsandcraftsarecurrentlythemostrepresenteddesignsector

inSouthAfrica.Craftrefersto“thecreationandproductionof

abroadrangeofutilitariananddecorativeitemsproducedon

asmallscalebyhandprocessesbeingasignificantpartofthe

value-addedcontent” ACTAG Report 1994.

Thiswouldinclude:

– Homefurnishing

– Jewellery,fashionandfashionaccessories

– Noveltiesandgiftsincludingcorporategifts

– Gardenandoutdoor

– Curios/souvenirs

– Collectibles:Oneofakind,highvalueindividuallymade

objects

– Indigenousartefacts:Culturallyderivedobjects

AccordingtothereportitiscalculatedthattheSouthAfrican

craftsectorcontributesapproximatelyR2billiontoGDP(0.14%).

Incomeandemploymentiscontributedtoapproximately38062

peoplethroughtheeconomicactivityofthesector.Statistics

showthatthereare7028microandsmallenterprisesoperat-

ingacrossthevaluechain.

SouthAfricacontributesjustlessthan1%oftheglobaltradein

craftsaidtobeUS$35billion.Overthepastfiveyearsthesector

hasshownanaveragegrowthof8%,whichisattributedto

growthintourismandtheimpactofinterventionsinthesector.

Someweaknessesthatwereidentifiedinthecraftsub-sector

fromthecraftreport.Thosethatrelatetothisstudywerealack

oflinkagesbetweengovernmentandprivatesectorinitiatives,

lackofinfrastructureandalackofmarketinformation.For

artists,incomeishighlyirregular.Manyartistsdependongrant

fundingfromvariousagenciestocovertheircostswhilework-

ingtowardsanexhibitionoramajoropportunitytoselltheir

work.1

AccordingtoAppendixAoftheCIGSreport,theprovincial

departmentsofArtsandCultureinMpumalangaestimated400

craftersactiveinthatprovinceandthattherewereanestimated

8000craftersand50craftretailersintheEasternCape;Buy-

Africaon-linehad400registeredcraftenterprisesandtheCraft

ActionBodyhadadatabaseof5000crafters(boththelatter

areoperatingnationally).

Aswasexperiencedinthisreport,collectingdatainsuchadi-

verseandlargelyinformalindustryischallenging.Accessing

informationfromtheusualdatasourcessuchasStatsSAand

SARSiscomplicated.“StatsSAdoesnotdisaggregatethehand-

craftsectorinofficialsectorstatisticsforemploymentand

revenue.Manycraftenterprisesarenotregisteredastaxpayers

withSARSduetotheirsmallsize.Inadditionveryfewofthe

enterprisesarerequiredtoregisterwiththeSETAastheyfall

underthethreshold.CustomsandExciseexportstatistics,which

arealignedwiththeHarmonisedStandards(HS)codingsystem,

1TradeandInvestmentSouthAfrica,CSP Craft,May2005,p.3.

6�

donotrecordhandcrafteditemsseparatelyfrommanufacturing

itemsinalmostallproducts.Lackofcoordinationinthissector,

aswellasagreed-upondefinitionsandbaselineindicatorshave

alsohamperedthecentralgatheringofdata.”2

Some of the prominent strengths and opportunities (com-

petitive indicators) in the crafts sub-sector in South Africa

are (amongst many stated in the Craft Draft Report):

– Theavailableresourcesforcraft

– Therelativelylowbarriertoentry

– Thereisarelativelydiversetechnicalskillsbaseinthe

country

– Thereisastrong,growingandincreasinglysophisticated

domesticmarket

– Astronganddiverseretailinfrastructure,withsomesupport-

iveretailersaswellashome-basedproductionproviding

strengthtothesector

– Proximitytoexportinfrastructureandflexibleproduction

capacityalsostrengthensthefinancialviabilityofthearts

andcraftssectortotheeconomy

– Numerouscraftproducersrunoncommercial/entrepre-

neurialprinciples

– Establishedexperienceandknowledgecontributetoa

strongmarket,aswellasestablishedinstitutionalsupport

mechanisms

– Sustainablelivelihoodscanbemadeoutofrelativelylow

skillsbaseandminimalcapitalinput

– Thecurrentconsumerdemandforhandcrafted,unique,

African-inspiredproductsprovidesopportunity

– Corporateandgovernmentprocurementdemand–e.g.

boutiquehotels,newresidentialdevelopments,boardroom

furnitureandaccessories

– Thereisscopeforincreasedlinkagesandcollaboration

withrelatedsectors,aswellasincreasingemphasison

design

– Therearenumerousevent-basedmarketingopportunities

andopportunitiesinthelocalandinternationaltourism

markets

– DevelopingProudlySouthAfricanconsumerawareness

andpurchasing

– Developmentofcoherentpolicyframeworkandobjectives

andAfricancollaboration.

Some of the weaknesses and threats (competitive indica-

tors) in the crafts sub-sector in South Africa are (amongst

many stated in the Craft Draft Report)(Althoughstatedwith

areferencetocraft,manyofthesecompetitiveindicatorslink

closelywithchallengesfacedintheSouthAfricandesignsector

asawhole.):

– Inadequatereliablebaselineinformationonthesector

– Inadequatelinkageswithwiderdesignskills

– Lackofinnovationandproductdevelopment

– Lackoflinkagesbetweengovernmentandprivatesector

initiatives,exploitationandsuspicion

– Lackofinfrastructure

– Tendencytobesupply-ratherthandemand-driveninpro-

ductionandinterventions

– Lackofreliabilityindeliveringonquality/brief/budget/time

– Inadequateaccesstorawmaterialsandenterprisefinance

– Lackofmarketinformation

– Lackofyoungpeopleinterestedincraft

– Therearelimitedbusinessskillsandmarketknowledge,

i.e.lackofinterestbymanycraftproducersinthebusiness

aspectsofcraft(perceivedasbeingdisruptivetothecrea-

tionprocess)leadingtopoormarketaccess,inefficient

productionmethods,inconsistentqualityandpooraccess

tofinance

– Lackofunderstandingofthevaluechainandcreationof

value-add

– Theindividualisticmindsetsofmanycrafters,inhibitingco-

operationandacreationofsustainednegativeperceptions

becauseofordersthatarenotmetandunreliableservice

cancauseathreattothecraftsector

– Therearepotentialhighfailureratesandrapidmigration

inandoutofthesector

– Thelackofanintegratedapproachtoimplementationof

strategiesandprojectsanddevelopmentalfundingand

grantsthattendtocreate“falseeconomics”

– SouthAfricanartsandcraftscannotcompeteinexport

marketswithotherdevelopingcountriesonvolume,mass

productionandcostsothereisreplacementofhandcraft

byindustrialisationandcopying.Thisisalsoasaresultof

weakintellectualpropertyprotectionandextensivecopying

bycompetitors,inparticularforcollectiveIP

– Theroleofintermediariesishighlycontestedduetounequal

balanceofpowerandreluctancetosharemargins

– Thereisalsosomehistoricalracialpolarisationwherewhite

individualsservedasintermediariesforblackproducers.

Craftretailtakesplacethroughavarietyofoutlets:

– Directselling

– Craft,artandfleamarkets

– Festivals

– Smallretailers/boutiques(generallyonconsignment)

2TradeandInvestmentSouthAfrica,CSP Craft,May2005,p.5.

65

– Wholesaling(importers/exporters/agents)

– Nationalretailers

– Galleriesandmuseumshops

– E-commerce

– Streetvendors.

Predictions for growth

Thenumberofproductionenterprisesoverthepastfiveyears

hasincreasedbyanestimated31%and48%,3withanaverage

of40%.Thisisanaveragegrowthof8%peryear.Thisisdouble

thenationalaverageforeconomygrowth.4Thisgrowthcan

largelybeattributedtogrowthintouristnumbers,whichgrew

by82%overthepast10years,andtheimpactofinterventions

onthesector.

Tourism

ShoppingisthedominanttouristactivityintheWesternCape

–89%of touristswentshopping,whileonly38%visiteda

cultural,historicalorheritagesite.TheV&AWaterfrontwasvis-

itedby90%ofvisitorstotheWesternCape(followedbyTable

Mountain(71%),thewineroute(60%),thegardenroute(44%),

andsmallerpercentagesvisitingKirstenbosch,RobbenIsland,

ostrichfarms,townships,CapePointandtheCangocaves).

Alargeproportionofcraftretailislinkedtotourismretail,which

meansthatthecraftindustryissimilarlyaffectedbyseasonal

demand.Heritagesitescreateadditional(small-scale)oppor-

tunitiestolinkcraftswithtourism.Theimportanceoftheshop-

pingexperiencetoforeigntouristsintheprovinceimpliesthat

appropriatealignmentofcraftproductionandretailexperiences

couldenhancethetourismperceptionoftheprovinceand

potentiallyevendrawadditionalvisitors.

Therelativelysmall,butsignificant,numbersofthecreative

industriesinSouthAfricawhoreportexportactivityisanindica-

tionofboththesmallandmicroenterprisebaseofthesector,

andalsoitslargelysurvivalistnature.Itisencouragingtonote

thatthemajorityofenterprises(23%)thatexport,reportthat

theyhavebeendoingsoforoverthreeyears.5

Themaindriveroftheartsandcraftsectordevelopmenthas

beentheDAC.Thedti’sroleinthisprocesshasincreasedover

thepastthreeyearsasitrecognisedthepotentialofthesector

andincreaseditscapacitytodealwithit.Therearenumerous

othergovernmentdepartments–atlocal,provincialandnational

level–aswellasmanyparastatalsandnon-governmentalor-

ganisationsthatarestakeholdersintheindustry.Increasingly,

theprivatesectorisrecognisingthesectorforitsbusinessand

socialinvestmentandsocialresponsibilityreturns.Atadtiwork-

shopin2003participantsidentifiedinexcessof35roleplayers

inthesector,whichincludednolessthan10nationalgovern-

mentdepartments.Thispossiblyprovidesacluetowhythere

isdisparityinthesector.

Informationobtainedfromgovernmentduringin-depthinter-

viewswasthatgovernmentviewthecreativeindustries(asthey

refertodesignrelatedindustries)asaprioritythatisstillunder-

estimatedintermsofitsimportanceinthemodernworld.

Althoughgovernmentisoftheopinionthat67%oftheorganisa-

tionsintheSouthAfricancreativeindustriessectorarelargely

self-sustaining,governmentandinternationalgrantfundingdoes

playanimportantroleindevelopingthesector.Thelowlevels

oflocalandforeigninvestmentreflectthedifficultiesthatthesec-

torhasinaccessingloanfinanceandgovernmentincentives

suchasSMEdevelopmentpackagesandinvestmentpromotion.

During2005theDACspentR490milliononheritageinstitutions,

whichaccountedforalmost67%oftheirbudget.Thisexpresses

thedepartment’smandateasthe“custodianofthenation’scol-

lectivememory”.Duringthe2006/7financialyear,thedepart-

mentearmarkedtospendclosetoR70milliononlanguage

programmesandonactivitiestopromotelinguisticdiversityin

SouthAfrica.Thisincludesthefinancialresourcesallocatedto

theworkofthePanSouthAfricanLanguageBoard(PanSALB)

atR39.09million.

R1billionhasbeensetasideforthedevelopmentoflibraries

overthenextthreeyearsandaLibraryTransformationCharter

isbeingdeveloped.R635.22millionhasbeenvotedforheritage

forthe2006/7budget.

Artsandcultureinperi-urbanandruralareashavetransformed

thelivesofmanyandcontributeddirectlytothefightagainst

poverty.ByMarch2006theDAChadcreated1612newjobs.

Theoverwhelmingmajorityofthebeneficiaries(68%)were

women;8.2%weredisabled.Morethan100learnershavebeen

enrolledinlearnershipsandskillsdevelopmentprogrammes

directlylinkedtotheartsandculture.

3Ofthe1059enterprisessurveyedacrossvariouscreativeindustries

inCreateSA’sNationalSkillsandResourcesAudit,November2003,

45%ofrespondentswerelessthan10yearsoldandofthese,31%of

enterpriseswerestartedafter2000;48%ofenterprisesonCCDIdata-

basewereestablishedinlast5years.

4StatsSAPressRelease,31May2005.

5CreateSANationalSkills&ResourcesAudit2003

66

Thefollowingamountsareallocatedforjobcreationinthese

sectors:

– CraftsR10million

– MusicR5million

– FilmincubatorsR9million

– ArchivalconservationR9million

– CommunityartscentresR1.5million

– HeritageR8million

– ArtseducationR5million

– DesignandfashionR5million

– VisualartsR4million

– Overall,anallocationofR91milliontoinvestinginartsand

culture.6

Currentpolicyinterventioninthecraftssectorappearstobe

focusedoninformationsharing,facilitation,projectsandgrant

funding.Acomprehensivebreakdownoftheinterventionswas

setoutintheWesternCapeMEDS,craftsectorintervention

recommendationsinMay2005.

Thereisnodataonthegeneralsizesofcreativeindustryenter-

prisesorofthekindsofpeoplethattheyemploy.However,

nationalresearchprovidessomegeneralindicators.Ofthe4723

levy-payingorganisationsintheMAPPPSETA,thatincludesthe

creativeindustries,4455(94%)employlessthan50people.7

Themajorityofemployeesinthecreativeindustriesareem-

ployedonafulltimebasis(38%),however,part-time(34%)and

contract(18%)workisasignificantfeatureofthelabourmarket,

especiallyinrelationtothefront-of-house/customercareand

productioncategories.Women(28%)tendtofindmorecontract

andpart-timeemploymentthanmen,andalsoenjoythemajority

offulltimeemploymentopportunities(32%).

Manyoftheenterprisesareactiveacrossarangeofsectors,and

thispertainstothesurvivalistnatureofthesector.TheArts,Craft,

HeritageandDesignclustercomprisesthevisualarts,heritage,

fashion,craftanddesignsub-sectors,andtheEntertainment

clustercomprisesmusic,film,performingartsandtechnicalserv-

icessub-sectors.Enterprisesworkingacrossbothclusterstend

tobedevelopmentalandnot-for-profit,i.e.thoseorientedtowards

educationandtraining,self-improvementandjobcreation.8

Employmentinthecraftssub-sectorismoredifficulttodeter-

minethaninmanyothersectors.Thisisrelatedtotheinformal

natureofmuchofthesector,thehighproportionoftemporary

employmentandthelowleveloforganisationandunionisation.

Significantskillsandcreativityarerequiredtosucceedinthis

sector,alongwithextensivebusinessandmarketingskillsto

sustainanenterprise.Notallindividualsarecapableofdevelop-

ingthecreativeability,manualdexterityandentrepreneurial

skillsneeded.Itisraretofindtheskillsorcompetenciesrequired

torunasuccessfulsmallbusinessinthissectorinoneperson

–andcraftersneedtoeitherbuythoseskillsintotheirbusiness

(andthereforepricetheirproductsaccordingly)orenterinpart-

nershipswithpeoplewhowillprovidesomeoftheseservices

forthem,e.g.agents/exporters.

Theeducationalprofileofthesectorisencouraginglyhigh,with

themajorityofpeopleinthesector(39%)havingcompleted

highereducation.Thislinkswiththeresultsofthisstudywhere

themajorityofthedesignershavecompletedhighereducation.

8.7.5.�. A qualitative and quantitative analysis of the

creative industry of South Africa – arts and crafts (DAC)

In2004theSouthAfricangovernment,throughitsExecutive

CommitteeorCabinetdecidedthatallnationalpoliciesand

legislationpromulgatedandimplementedduringtheperiodof

democracyandfreedomhadtobereviewed.Thedecisionto

reviewtheWhitePaperonArts,CultureandHeritage1996was

takeninApril2005byanationalinter-governmentalforumof

artsandcultureconsistingoftheminister,deputyminister,and

allprovincialgovernmentdepartmentsofArtsandCulture’s

MembersoftheExecutiveCommittees(MECs).Theinter-

governmentalforum,referredtoastheArtsandCultureMINMEC,

wasformalisedbytheIntergovernmentalRelationsFramework

Act,2005whichempowersCabinetmembers toestablish

nationalinter-governmentalforumstopromoteandfacilitate

inter-governmentalrelationsinfunctionalareasforwhichthey

areresponsible.TheArtsandCultureMINMECacknowledged

thattheWhitePaperonArts,CultureandHeritage,1996had

toberevisitedastherehasbeen,eversinceitsadoptionin1996,

nosystematicreviewofit,includinglegislationandotherequiv-

alentpoliciesofarts,cultureandheritage.

ThedecisiontoreviewtheWhitePaper,1996encompasses

alignmentofpoliciesandlegislation;identificationandresolving

ofoverlappingmandates;providingclearinstitutionalmandates;

improvinginstitutionalefficienciesandacceleratingaprocess

7Baseline Study on SETA Activities in the Western Cape, First Report

September 2004commissionedbytheDepartmentofEconomicDevel-

opmentandTourism.

8NationalSkillsandResourcesAudit:FinalReportNovember2003.

6Minister’sSpeechforBudgetVote,2June2006.

67

oftransformationofthearts,cultureandheritagesector.A

policyreviewprocessofthecurrentlegalframeworkonarts,

cultureandheritage9thusgivespolicymakers,decisionmakers

andculturalactorsadirectopportunitytoreconsiderthebroad

thrustsofgovernmentalinvolvementinaparticularsector.In

otherwords,itfacilitatesanunderstandingofthesumtotalof

thepolicyinitiativesalreadyinplace,theirrelevance,effective-

nessandefficiency,aswellastheimplicationsofthewaysin

whichdecisionmakersoperate.

Whilethepolicyreviewisaboutbroadissues,itcannotafford

toglossoverthelegislativedetailthatindicatestowhatex-

tentthelegislativeframeworkisadequateorgivesrisetodys-

functionalbehaviourinpractice.Thelegislativeframeworkis

measuredagainst thepolicy/policies thatcurrently informs

actionintheareaofculture,namely,theWhitePaperonArts,

CultureandHeritage,1996,whichcontinuestoserveasthe

nationalblueprintanddefinitiveguidetopolicyformulation

andimplementationuntilitsreplacement.

Boththeruleoccupantsandtherulestheyfacearesignifi-

cantinanevaluationofthecurrentlegislativeframework.Arole

occupantdenotestheclassofpersonswhomaruleaddresses,

forinstance,itmayrefertoeverymemberofsociety(“thoushalt

notsteal”),adefinedclassofnon-officials(“nodirectorshall

useinsiderknowledgetotrade”)orgovernmentofficials(“rules

fordistributionofartsgrantsmustbefair”).10Whiletheideals

containedintheWhitePaperareimportant,itisevenmore

necessarytoevaluatewhetherthelawsunderconsideration

addresstherealisationoflegislativeobjectivesandthegoals

ofreconstructionanddevelopment,towhichamplereference

ismadeintheWhitePaper.Theguidelinesintheformofcriteria

andproceduresneedtobeclear,otherwiseroleoccupants

arelikelytoexhibitseriousdysfunctionalbehavioursthatwill

delayprogressandobstructinstitutionalandsubstantivechange

directedatsolvingsocialproblems.

Atheoryofpolicyformulationwithanyhopeofachievingitsaims

mustcomprehendandincorporatetheroleofthestateand

law.Alllawsprescriberepetitivepatternsofbehaviouronthe

partofstateofficialswhoformulateandimplementrulesof

law.Thesebehavioursconstitutetheexerciseofstatepower

withinpublicinstitutions.Lawmustideallyproviderelevant

planningcriteriaandproceduresinordertoguideandshape

thepatternsofinstitutions’behaviour.Ifthe(symbiotic)rolesof

institutionsandthelegalorderarenotproperlyunderstood,

policywillbeinoperable;lawswillbeinadequate,andimplemen-

tationtaskswillnotbeabletoovercometheobstaclesstanding

inthewayofdevelopment.

Totranslatepolicyintolaw,theoryshouldfocusonthecauses

ofrepetitivepatternsofsocialbehaviour(i.e.institutions)that

delaytransformationandaggravatepoverty.11Evenifaparticular

policyissound,backedbyeffectivelawofvaluablesubstance,

andsufficientgoodwillispresentforimplementation,thequality

ofaruleisaffectedalsobythelikelihoodofitseffectiveadmin-

istration.Becauselegalframeworksaremerelyframeworks

foradministeringpolicycontrolswiththecapacitytoinfluence

patternsofsocialbehaviour,itisnotonlythetechnicalskilland

know-howoflegaldraftersthatareimportant.Inasocietyin

transition,politicaldecisionsandlaw-makingformtwosides

ofasinglecomplex,interrelatedprocess.12Ignoranceconcern-

ingtheabilityoflawstoeffectappropriateinstitutionalchange

isnothelpfulandmustbecountered.

10Seidman&Seidman“Draftinglegislationfordevelopment:Lessons

fromaChineseProject”1996(44) American Journal of Comparative

Law1,12n58.9SeeC.Roodt“Acriticallookatthelegalframeworkforarts,culture

andheritage”vol47no12006Codicillus47.

11Seidman&SeidmanState and Law in the Development Process:

Problem-solving and Institutional Change in the Third World(1994)

353.

12Seidman&Seidman(n4)(1994)42-43.

68 9. Project partners’ insights and recommendations

69

9.�. Lead researcher

The SouthAfrican contribution to the International Design

Alliance(IDA)WorldDesignSurveyPilotwasacollaborative

effortbetweenfiveofSouthAfrica’smostprominentorgani-

sationsengagedindesignpromotionandprofessionmanage-

ment–theSABSDesignInstitute(DI),DesignEducationForum

ofSouthernAfrica(DEFSA),IndustrialDesignAssociationof

SouthAfrica(IdeaSA),InstituteofInteriorDesignProfessions

(IID),andtheSouthAfricanCommunicationDesignCouncil

(think).

Toreachtheoverallobjectivesofthestudy,namelytodevelopan

understandingofthenationaldesigneconomy;design’sstrengths

andcontributionstothenationaleconomy;anddesign’ssocio-

culturalcontributiontodevelopment,atwo-tiredapproachto

datacollectionwasused.Telephonicandin-depthinterviews

wereusedtogatherdescriptive(primaryresearch)datausing

asomewhatalteredbaselinequestionnaire.Datagatheredin

thiswaywasenrichedwithsecondarydatagatheredduringan

exploratory(secondaryresearch)phase.

Disciplinesincludedinthestudywerelimitedtocommunication

design;motiongraphics,animationandnewmediadesign;in-

dustrialdesign(includingglassandceramics);interiordesign;

andmultidisciplinarydesign(i.e.eventingandarchitectswork-

ingasfurnituredesigners).

Someofthechallengesandshortcomingswhichwereencoun-

teredduringtheprocessincluded:

– Excludingthedisciplinesofarchitecture,fashiondesign,

jewellerydesign,landscapearchitecture,textiledesignand

urbanplanningdesignmighthavebeenanoversightas

someofthesesectorsareprominentinSouthAfricaand

playanimportantroleparticularlyontheeconomicand

labourfrontsofdesigninSouthAfrica.

– TheSouthAfricanfocusoncraftsandindigenousdesign,

toalesserdegree,impliedthatthisagainmighthaveskewed

thereportbyexcludingthemfromthestudy.

– Thelackofavailabilityofrespondentsduetoworkpressure

–thiswasespeciallyprevalentinthegovernmentsector

butoccurredthroughoutallthesectors.

– Respondents’unwillingnesstoparticipate.

– Theavailabilityofsecondarydata.

– Agenerallackofaclearunderstandingofandknowledge

aboutthedesignsectoramongallitsstakeholders.

– Alackofstructureandorganisationwithinthesector.There

isnosingledefinitionorclassificationsystem.

Withregardtothedesignsectorprofilethefollowingpointsare

deemedimportant:

– Theprivatesectorgenerallyspeaksofdesignwhereasthe

publicsectorreferstoinnovationinallofficialcommunica-

tionandprogrammes.Althoughitisaknownfactthatdesign

bydefaultimpliesinnovation,itisnotnecessarilytruethat

innovationinvolvesdesign.Thisfurthercomplicatedthe

abilitytogeneratedataand/orintelligenceabout,especially,

theinvolvementandfocusofgovernmentondesign.

– Althoughsomeofthepromotionalprogrammestostimulate

researchanddevelopmentandeventuallyinnovationdo

utilisesomeorotherevaluationcriteriatoassessworthy

causesnoevidenceofadefinedinnovation/creativityindex

fromthesideofgovernment(StatisticsSouthAfricaorthe

DepartmentofTradeandIndustry(dti))couldbefound

thatappliedthroughouttheindustry.

– Researchactivitiesandthegenerationofdesignsector-

relatedstatisticsarefewandfarbetweenandonlyoccuron

anad hocbasis.Normaleconomicactivitiesaremonitored

throughStatsSAbutduetothefactthatnodesignspecific

StandardIndustrialClassification(SIC)codeisallocatedto

design,designstatisticsfromthissourcewere,atbest,noth-

ingmorethanguessworkasitwerehiddeninthebroader

economicactivitiesoforganisationsoperating in these

sectors.

– Therearenumerousprofessionalorganisations,organisa-

tionsinvolvedinthepromotionofdesign,quiteanumberof

design-relatedeventsanddesign-orientatedmediadis-

cussedinthereport.

The annual revenue (average) of the disciplines included

amountedtoR672250withthemajorityofinstitutionsoperating

inthemicro(onetofiveemployees)tosmall(fiveto20employ-

ees)organisationaltypes.Itisencouragingtonotethatthe

majorityoftherespondentsreportedeitheranincreaseintheir

turnoveroraturnoverthatremainedstatic.Themajorityofthe

organisationssurveyedoptedforaformalbusinessstructure

thatimpliessomestatutoryrequirements,suchasClosedCor-

porationsandPrivateCompanies.Therewasaclearindication

ofstabilityinthesectorwithmorethan79%oftherespondents

havingbeeninbusinessforfiveormoreyearsand22,9%

beinginbusinessfor20yearsorlonger.

Itwasobviousthatdesignisstillpredominantlyamale-dom-

inatedsectoroftheeconomy(asfarasownershipisconcerned).

Itwasonlyinthedisciplineofinteriordesignwherefemaleown-

ershipmarginallyexceededthatofmaleownership.Exceptfor

multidisciplinarydesignerswhogeneratedmoreincomethrough

productionmanagement,thebiggestsourceofincomeforthe

otherdisciplineswasderivedfromprofessionalservicesandthis

70

incomewasmainlygeneratedlocally(withintheirimmediate

vicinity).Itwasalsofoundthatthedesignsectorfavouredformal

trainingasthedesignersemployedeitherqualifiedatatertiary

institutionorwereintheprocessofobtainingtheirqualifications.

Thefollowingfouraspectswerefoundtobethemostpositive

withregardtothedesignsectorinSouthAfrica:

– ThepositivecontributionofSouthAfricandesigntotheimage

ofSouthAfricainternationally.

– TheinternationalstatureandstandingofSouthAfrican

designers.

– Thedesigners’abilitytocontributetothesuccessofaninter-

nationaleventsuchasthe2010FIFAWorldCup.

– ThestandardofdesigninSouthAfrica.

Onthenegativesidetherespondentsviewedthefollowing

asthebiggestshortcomings(andchallenges):

– Effectivenessofnon-accreditedprivatedesigneducation.

– Theimportanceofindividualstoprotecttheirintellectual

property.

– Effectivenessofstatutoryprotectionofintellectualproperty.

– Effectivenessofgovernmentdesigneducation.

– Effectivenessofaccreditedprivatedesigneducation.

Ingeneraltheresearchindicatedthatthecurrentlevelofdesign

anddesignersinSouthAfricaishealthybuttherearesome

seriousconcernsaboutthefuture–especiallyintermsofedu-

cationaloutput,thelackofconcernforintellectualproperty

rights,thelackofcoordinationandtheabsenceofa‘champion’

fromthesideofgovernment.

Pieter van Heerden

ConsultaResearch

9.�. Project lead – SABS Design Institute

OverthepastcoupleofyearstheDesignInstituteandother

bodiesinitiatedseveralwelldocumentedattemptstoresearch

theimpactofthedesignsectoranditsvaluetotheSouthAfrican

economy.Attemptswerealsomadetotracktheopportunities

andprerequisitesforSouthAfricabecomingaglobaldesign

player.Variousfactorsobstructedtheoutcomeandthefollow-

throughoftheseattempts.TheIDA’sWDSprojectpresented

theidealopportunitytobepartofaglobalprojecttodevelop

internationalbenchmarksandtoformacontinuingstructureto

updateandimprovedata.Thisproject’sinternationalpartner-

shipwithvariousUNagencieselevateditsstatus,makingitpos-

sibletomotivatetheimportanceofSouthAfricanand,conse-

quently,Africaparticipation.

From a South African perspectivemanyissuesthatwere

intuitivelyfelthavebeenverifiedbytheoutcomesofthesurvey.

Theseinclude:

– Thedesignprofessionsareoftenaccusedoffragmentation

andnotspeakingwithonevoice.Itisclearthatgovernment

similarlylackscohesionandcontinuitywhenitcomesto

design.

– Thereisnocross-departmentalgovernmentbodyrespon-

sibleforaholisticoverviewofdesign–integratingthedif-

ferentdepartments’design-relatedinitiativesandinvolve-

ments.Thisoftenleadstoduplicationandplacesunnecessary

demandsonlimitedhumanresources.

– Respondentsareawareofgovernmentprogrammesbut

thereisalackofinformationonthestatus quoofthesepro-

grammes.

– The results confirm many unanswered questions: No

consistentoperationaldefinitionsofdesignexist,resulting

inconfusionaboutdesign,thedifferentdesignsectorsand

thedifferencebetweendesign,innovation,andresearch

anddevelopment.Inparticular,thereisconfusionbetween

productdesignandcrafts.

– Onthepositivesidethereisclearlyhugescopeandwilling-

nessfordesigninputforsocio-economicdevelopmentin

SouthAfrica.

– Despiteconsiderableeffortstostrengthenthechainofedu-

cationandtrainingfromprimaryschooltotertiarylevel,

thereisstillaneedtonurturedesignskills.

From an international perspectivethesurvey’sglobalreach

broughtmanysimilaritiestolight.Afewimportantinsightsare:

– Thereisanoveralllackofreliabledataavailableanda

needexiststoestablishareliableinformationinfrastructure.

Incountrieswheredesigniswellestablishedthereis,how-

ever,accesstoreliableinformation.

– Theinitialgoalsintermsofcontentandtimelineswerevery

ambitiousandhadtobecutback.Newgoalshadtobe

formulatedastheprojectprogressed.

– Itisvaluabletolearnfromcountrieswheredesignhasbeen

wellestablishedonhowtheyhaveovercomeproblems.It

isimportanttocompareefforts,strengthsandweaknesses

withotherworldplayersinordertobetterdetermineone’s

owncompetitiveedge.

– InvolvementinthesurveyhighlightedthefactthatSouth

Africaisinextricablylinkedtotheglobaldesigneconomy

anditalsoemphasisedtheimportancetoretainanown

identity.ThisresonateswithoneofthefindingsofanOECD

OECD Reviews of Innovation Policy: South Africa(2007):

7�

“The need to increase the international openness of na-

tional innovation systems is well recognised by OECD

countries. It is likely to become a matter of much greater

significance for South Africa over the next decade. One

aspect involves the major shifts that are occurring via the

global mobility of skilled people. Increasing numbers of

advanced countries, facing growing shortages of the skills

they need to sustain their economic development, are imple-

menting stronger measures to attract skills from the global

talent pool.”

– ThesurveyemphasisedtheroleandresponsibilityofSouth

AfricaasaneconomicleaderandmentorontheAfrican

continent.

– ThesurveyresultsalsopointedtothelargenumberofAfri-

canstudentsstudyingdesignatSouthAfricantertiaryinsti-

tutions,pavingthewaytowardsmouldingdesignthinking

andmakingAfricaaleadingdesigncontinent.Ontheissue

ofmentorship,itwasdecidedfromtheonsetoftheproject

thatwhatwasdoneinSouthAfricashouldlaterberolled

outtootherAfricancountries.

SouthAfrica’sparticipationintheWDSwasduetocooperation

betweentheDesignInstituteandfourprofessionaldesignasso-

ciationsrepresentingdesigneducation,industrial,communi-

cationand interiordesign:DEFSA, IdeaSA, thinkand IID.

Theeventualtaskofcompilingthesurveywasconsiderably

largerthanoriginallyanticipated.Itwasclearthattheinforma-

tionwasground-breakingandtimelyandthattheendresult

shouldbeinaformatthatwouldfacilitatethequantificationof

theimpactofthedesignindustriesontheSouthAfricanecon-

omy.TheWDSclearlypointstowardsthehugepotentialof

nurturingSouthAfricancreativityanddesigningenuity.

TheDesignInstituteisindebtedtothedesignassociations

fortheirvaluableinput.Specialmentionshouldbemadeofthe

hugecontributionofJacquesLange.Duringhistenureaschair-

personofIDAin2005/7hewasinstrumentalinformulatingthis

visionaryinternationalsurveyandhewastoalargeextentre-

sponsibleforthemonumentaltaskofformattingtheSouthAfri-

canresultsintoafinalreport.EsmeKruger,whoactedasthe

WDSprojectleaderonbehalfoftheDesignInstituteandwho

wasalsoresponsibleforthedifficultandtime-consumingtask

ofverifyinginformation,alsodeservesspecialrecognition.The

surveycameaboutthroughthefinancialbackingoftheSouth

AfricanBureauofStandards.AwordofthanksgoestotheSABS

ExecutivefortheircontinuedsupportforSouthAfricanDesign

since1969.

Adrienne Viljoen

ManagerSABSDesignInstitute

IcsidRegionalAdvisor

9.�. Project partner – Design Education Forum of Southern Africa (DEFSA)

9.�.�. General comments

Thisprojectundertookthemammothtaskofcollatinginforma-

tionthatmapsthecharacteristicsoftheSouthAfricandesign

sector.Thepioneerworkthatisdonethroughthisstudywill

hopefullypresentthegroundworkforfurtherresearchwhich

couldincludealldesigndisciplinesinSouthAfrica.Theout-

comecouldbeofenormousvaluetothedisciplinesfromboth

thedesignsectorsandtertiaryeducationthatformedpartof

thisstudy.Althoughthereportidentifiedareasofchallenges

fortertiaryeducation,whicharediscussedfurtheroninthis

report,italsoprovidesstrengthsandopportunitieswhichcould

befurtherenhancedanddeveloped.

Whileitisacknowledgedthatthisreportisintendedtorepre-

sentabaselinesurveyandthatfurtherresearchwillbeunder-

takeninthefuture,wefeelthatitisimportanttostressthata

morein-depthstudyofdesigneducationneedstobeunder-

takentoascertainthefollowing:

– Typesofdesigneducationinstitutions(public/private)and

theirrelativestatusinrespectofthefollowing:

• Structuresofundergraduateandgraduateprogrammes

• Relevanceofcurricula

• Industrylinkages

• Accessandequity(race,gender,disability)

• Costofhighereducationprogrammes

• Linkswithtechnologyandscienceprogrammes

• Corecompetenciesrequiredofschoollearnersenter-

ingdesignprogrammes

• Needfor,andprovisionofcontinuingprofessionalde-

velopmentprogrammes

• Corecompetenciesrequiredofdesignstudentsexiting

highereducationandenteringindustry

• Statusandtypesofresearchbeingundertakeninthe

designfield

– Roleofschooleducationinprovidingappropriatelyprepared

studentsfortertiarydesignprogrammes,inparticular:

• Visualarts,anddesigncurriculainschools

• Linksbetweendesignandtechnology

• Provisionandtrainingofdesignteachers

• Qualityofimplementation

• Qualityofresources

• Provisionandqualityofcontinuingprofessionaldevel-

opmentprogrammesforteachers.

7�

Inourviewananalysisofthiskindwouldthrowintostarkcon-

trastthedifferencebetweendesigneducation,atbothschool

andhighereducationlevels,indevelopedanddeveloping

nations.

SincetheWorld Design Survey intendstoprovideacomparable

mappingoftheprovisionofdesigneducationintheparticipating

countries,itisimportantthatthedataarehandledinasystem-

aticanduniformway.Someagreementneedstobereached

amongsttheparticipantsonthehandlingofdataand,inpar-

ticular,statisticsandperformanceindicators.Greaterdetail

isprovidedbelow.

9.3.2. Areas that require clarification within the

report

9.�.�.� What design disciplines are taught at the

responding institutions? Definitions of industrial design

Thequestionnairethatdesigneducationinstitutionswereasked

tocompleteincludesasectiononthedesignofferingsateach

institution.Theindustrialdesignrubricreadsasfollows:‘Indus-

trialdesign(includingglass,jewelleryandceramicsthatare

producedonanindustrialscale)’.Anyinstitutionthatmight

NOTincludeindustrialdesign(andthereareonlythreeinstitu-

tionsinthecountryofferingthisformalprogramme)wouldinall

probabilityhaveincludedoneoftheotherofferingsmentioned

inthebracketsasindustrialdesign.Inparticular,TshwaneUni-

versityofTechnologyoffersjewellerydesignandglass,Durban

InstituteofTechnologyoffersjewellerydesign.Inaddition,the

threeinstitutionsofferingindustrialdesignbothalsoofferjewel-

lerydesign(CapePeninsulaUniversityofTechnology,Tshwane

UniversityofTechnologyandUniversityofJohannesburg),while

thelatteralsooffersceramics.Shouldtheindustrialdesignstu-

dentfiguresthusincludefiguresfortheseotherdisciplines,

andhavetheparticipatinginstitutionsincludedthesefigures?

Particularly,sinceearlierinthedraftreportitisquiteclearly

statedunder5.3:Changestothebaselinequestionnaire,that

[particular]‘disciplineswereexcludedfromthestudyalthough

informationthatwasstumbleduponorsourced(ouritalics)is

…includedforthesakeofperspective’.Includedinthelistwas

jewellerydesignandsurfacedesign(whichincludestextile

design)whichwerespecificallyaskedfor.

9.3.2.2 Definitions of motion graphics, animation and

new media design. Does this particular category include

multimedia?

Withoutacleardefinitionofthesecategories,therearegoingto

bediscrepanciesinthestatisticswithregardtothenumbersof

studentsstudyingandqualifyingintherespectivedisciplines.

9.�.�.� Level of education provided

TwoheadingspresentedintheLevelofTrainingTable25:Level

ofeducationprovided,requireclarification.InSouthAfricanter-

tiaryhighereducationadistinctionismadebetweenunder-

graduateandpostgraduatestudents.Undergraduateincludes

diplomas,firstdegrees,aswellashonoursdegrees,whilepost-

graduatereferstoallqualificationsabovehonours.(Referto

theHigherEducationQualificationFramework).Theheading

Graduateusedinthetablethereforerequiresclarification.Again,

thereneedstobeadegreeofcongruencebetweenthepartici-

patingnationsontheseleveldescriptors.

9.�.�.� Current enrolments per discipline

Itwouldbeusefultoseewhatthetotalcurrentenrolments

areforeachofthedisciplinesinthereport.Atableshouldbe

provided.Linkingthistothequestiondealingwiththedesign

disciplinestaughtineachinstitution,asexpressedinTable24:

Designdisciplinestaught.

9.�.�.5. Foreign nationals enrolled at South African

institutions

Unlessstudentshaveactuallysurveyedstudentsinorderto

ascertaintheirreasons,thecommentsofferedshouldbereflected

asperceptionsratherthanfact.

�.9.�. Challenges for tertiary education as

presented in the report

Thisstudyhasidentifiedchallengesthatneedtobeaddressed

bytertiaryeducationinSouthAfricainordertocontinuefurther

research,aswellasappropriateteachingandlearninginprep-

arationforthedesignsector.Thesechallengesare:

�.9.�. Availability of accurate, relevant statistics

Thestudyindicatedthattheavailabilityofsecondarydata,

andspecifically, recent,accuratestatisticsweredifficult to

obtain.Statisticsthatrelatetotertiaryeducationareavailable

fromtheDepartmentofEducation;however,thesestatistics

representfiguresthatgroupareassuchasartanddesignin

onecategory.Itis,therefore,difficulttoextractfigurespertain-

ingtoonespecificdisciplinefromthecategory.Thestatistics

can,therefore,onlybeobtainedthroughcontactinghigheredu-

cationinstitutionsindividually,whichwouldresultinacumber-

some, lengthyprocess.Theavailabilityofaccuratetertiary

statisticswillbefurtherdiscussedbyDEFSAinordertofind

possiblesolutions.

7�

�.9.�. Perceptions around teaching and learning delivered

by accredited tertiary education institutions

Thereportidentifiedthattheformaldesignsectorconsiders

that54.6%ofdesignstudentsstudyingataccreditedprivate

collegesand52%whostudyataccreditedpublicinstitutions

areseentohavereceivedthecorrecttrainingandpractical

experiencetoequipthemsufficientlytoenterthejobmarket.

Thesepercentagesarelowandurgentattentionshouldbe

giventotheseperceptions.DEFSAaimstofocusonpartner-

shipsandliaisonwithdesignprofessionalbodiesandindustry

overthefollowingtwoyearsinordertoidentifyareasofconcern

andshortcomingsasexperiencedwithinindustry.

Reportcompiledby:

Amanda Breytenbach Mel Hagen

DEFSA:President DEFSA:SenateMember

9.�. Project partner – Industrial Designers Association South Africa (IdeaSA)

OnbehalfoftheIndustrialDesignersAssociationSouthAfrica

(IdeaSA),wewelcomeandacknowledgethepilotproject:World

Design Survey(WDS)2007/2008.

IdeaSAalsoacknowledgestheeffortsoftheInternationalDesign

Alliance(IDA)andtheSABSDesignInstituteforrespectively

developingandimplementingthisimportantresearch.

Asayoungdemocracyandanemergingeconomy,itisparticu-

larlyimportantthatSouthAfricaisincludedinaninternational

surveyofthisnature.Designisbecomingastrongeconomic

driverforinternationalcompetitivenessacrosstheglobeand

will,therefore,playamajorroleincurrentandfutureeconomic

growthofandjobcreationinourcountry.

Ingivingabriefanalysisof the World Design Survey, it is

importanttodefinethemajorcriteriauponwhichtojudgethe

accuracyoftheresults.Wedefinetheseasfollows:

– TheWDS2007/8isapilotproject.

– Thereexistsnoofficial(e.g.StatsSA;HSRC)priororcurrent

statisticsonthegenericdesignsectorinSouthAfrica.

– TimeandcostconstraintsfortheWDSdidnotallowfor

thoroughandin-depthresearchintotheeconomicbenefitof

thedesignfunctionthroughtheentirevaluechain,particu-

larlyforindustrialdesignandmanufacturing.

– Theresearchmethodologywaslargelytelephonicwith

someadditionalinterviews.Thismadedatacollectiondiffi-

cultanderratic,inourview.

– SouthAfricandesignassociationsaregenerallyyoungand

under-funded compared to overseas counterparts e.g.

IdeaSAwasfoundedin2007.

– ApartfromtheSABSDesignInstitute(40-yearhistory),

SouthAfricahasaweakinstitutionalsupportsystemin

governmentfordesign.

– SouthAfricadoesnothaveadesignpolicy.

Giventhecontextoftheabovecriteria,thepilotWDShaspro-

ducedbroadbrush-strokesofthecurrenteconomicbenefitand

statisticsofdesigninSouthAfricaratherthanaccuratedata.

E.g.concerningindustrialdesign,figuresofturnoverfor‘com-

panies’wasreportedatR18millionperannum.Allindustrial

designcompaniesinSouthAfricaareratedasSMMEs(1-8

persons)therefore,thesefiguresseemunrealistic.

Furtherinvestigationrevealedthatthesefigurescamemostly

fromin-housedesignersatlargemanufacturingfirms.Thereal

value-addofdesignwas,therefore,mainlyguesswork,based

onapercentageofturnoverofadivisionandmore.

Anotherflawinaccuracyconcernsfeesgeneratedbysmall

industrialdesignfirms.Theseagaindonotindicatethevalue-

addofdesignwhichwasoneoftheobjectivesoftheWDS.

Forexample,anindustrialdesignfirmmaychargeR1million

todesignaproduct.Thiswouldbethefigurequotedinthe

WDS.However,thissameproductmaybemanufacturedand

exported,generatingsayR1billioninexportearnings.This

isnotreported,therefore,thedataarenotaccurateinterms

ofvalue-addorcontributiontotheeconomy.

Thestatisticsoneducationwerealsonotaccurate,particularly

forindustrialdesignwherethereareonlythreetertiarydesign

institutionswitharelativelysmallintakeandahighteacher-

to-studentratio.

TheWDShasgenerallyhighlightedtheproblemsfacingthe

designindustry,notably:

– Therearenoofficialstatisticsfordesign.

– Theprivatesectorspeaksof‘design’,yetthepublicsector

speaks‘innovation’.

– Generally,thereisnotagoodnationalawarenessofthe

value-addofdesign.

– Designeducationneedsdevelopment.

Thesefactsarebacked-upbyvariousdiagramsandcharts.

However,duetoapoorresponsebymanyindustryplayers,

thesefigures,again,donotgiveanaccurate indicationof

thetruevalue-addofdesigntotheeconomy.

7�

Afewdesignsurveysandindustryworkshopshavebeenunder-

takeninSouthAfricasince1994(NACI2002,BritishCouncil,

DSTBaselinestudy2005)which,liketheWDS,mostlyhigh-

light thesameproblems regardingdesign inSouthAfrica.

Therealconcernisthatsince1994,norealprogresshasbeen

made.

WhilstIdeaSAwelcomesbeingpartofthisinitiativetogether

withotherassociationssuchasthinkandIID,onemustquestion

therelevanceofsuchsurveysinthecontextofwhatneedsto

bedone‘athome’.Tobenchmarkagainstothercountriesmay

givesomeindicationasthestatus quo ofdesigninSouthAfrica,

butitismoreimportanttodevelopourowncapacityforand

competencyindesign.Itseemsasifwearetoooftengoing

aroundincirclesor,indeed,takingonestepforwardandthree

backwards,inthefaceofinternationalcompetition.

Anotherconcernisthealignmentandconsistencyofthere-

searchmethodology.Takingintoconsiderationthatthishas

beenapilotproject,thereareglaringinconsistenciesandinac-

curacieswhich,ifexperiencedinourowncountry,makesone

wonderhowthesurveysandcriterialinkupwithothercountries.

Inotherwords,howaccurateisthecomparativestudyifour

ownnationalsurveyisinaccurate?

9.�.�. Recommendations

Oneofthemainoutcomesofsuchasurveyshouldbeconcise

andspecificrecommendationsonthewayforward,basedon

thedatacollectedandalignedtothenationaleconomicagenda

ofthecountry–alignmenttonationalstrategies.

However,weareof theopinionthat therecommendations

areweakandthisagainplacesemphasisontheaccuracyof

thedatacollected–muchofwhich(particularlyfromgovernment

departments)arevaguecommentswithnograspoftheimpor-

tanceofdesigntotheeconomy.

TheWDSrecommendationscentreonhowindicatorsshould

formthebasisofinternationalbasetomeasurethedesignsector

andhowfrequentlythesesurveysshouldbedone.Whilstthese

mayberelevant,theyarenotparamounttothepressingissues

ofdesigninSouthAfrica.

Itisclearthatinordertoconductin-depthsurveysondesign

inourcountry,substantialfundingandinfrastructureneedtobe

putinplace.Thisleadstowardsrecommendationsthatwefeel

wouldbemoreappropriateforthedevelopmentofdesignin

SouthAfrica.Thesehavebeenrecommendedpreviouslyby

officialdocumentationtogovernmentthroughNACIandDST,

dti,parliament(January2008).Incertaininstances,suchasin

theNACIreport,theserecommendationshavebeenformulated

intonationalstrategies(suchastheAMTS)anddevelopedand

implementedthroughinitiativessuchasDESIGNationwhere

proposalstogovernmenthavebeenmadeand,incertainin-

stances,accepted.

Ourrecommendationsare:

– AnationalstrategyforindustrialdesigninSouthAfrica

shouldbedevelopedandimplemented,togetherwiththe

nationalinitiativeDESIGNation(acceptedbygovernment).

– Anationaldesigncouncilshouldbeformedthatwillactas

theoverarchinginstitutionforthedevelopmentofdesign

inSouthAfrica.Thiswouldhouseinternationalbenchmark-

ingandliaison,designpromotionandawardschemes,

education,nationaldesignsurveydata,industryliaison,

aproductdesigncentrelinkedtouniversitiesandothergov-

ernmentinstitutions(TIA)for,amongother,transformation

andtrainingofinternsforindustry.

– Thedesigncouncilshouldbeabletoactasanautonomous

bodyinordertoruntheaffairsofthedesignindustrybutbe

accountableasaline-functiontoonegovernmentbody

(DST,dti).

– Thecouncilshouldhousetheofficesofvariousdesignas-

sociations,providefundingandmechanismstoprotectthe

interestsofthedesignprofessionandcoordinatethedevel-

opmentofdesigneducationinSouthAfricawillrelevant

stakeholders.

– WebelievethatthenationalinitiativeDESIGNationshould

beusedastheleadinitiativeinachievingthesegoals.This

isbasedonsignificantprogress,partnerships,fundingand

accreditationbygovernmentofthisprogrammeandthe

strategicalignmenttothenationaldevelopmentagenda.

OnbehalfofIdeaSA,wearepleasedtohavebeenpartofthis

initiativeandtopresentconstructiveopinion,adviceandrecom-

mendationsinsupportofdevelopingthedesignindustryin

SouthAfrica.

Bernard George Smith

Forandbehalfoftheboard,IdeaSA

75

9.5. South African Communication Design Council (think)

Designasanindustryhasagreatroletoplayinthedevelopment

ofSouthAfrica.Theinherentabilityofdesignerstoinnovate,

createandimplementnewideasmeansthatitshouldbeviewed

asadisciplinethatcanbealeadcontributortoincremental

economicgrowthratherthanjustalagsupporterofothersector-

basedgrowth.

Theaboveinfluenceis,however,stuntedbyamanychallenges

facing the discipline.This report reveals these challenges

throughitsdetailedfeedback.Takinganaggregateviewofthe

dataandcomplementingthiswithotherdatasourcesafew

issuesappeartobefundamentalinrestrictingheindustry’s

abilitytoachievegreaterprominence.

9.5.1. Definition and classification

Agreeingonasingledefinitionfordesignasapracticeareais

crucialasalackofclaritynegativelyaffectsourabilitytocom-

municateourvalue.Thislinkstoafurtherpointaboutourinabil-

itytoprovideanaggregateviewonthesize,shapeand,there-

fore,levelofinfluenceofoursectorduetoapoorclassification

system.

9.5.�. Composition

Thedatashowthatthedesignindustryisfragmentedand

generallypopulatedbysmallorganisationsoflessthanfive

people.Thisposeskeychallengesonanumberoffronts:

– Co-ordinatingandmanagingcollectiveagreementand

compliancetoindustrypolicy(likerefusingtopitchforfree

[speculativework])

– increasedcompetitive rivalryencouragesa ‘winatall

costs’behaviour

– theindustrylacksaweightyunderbellyofmid-tierinflu-

encers

– saliencyandvisibilityiscompromisedduetouncoordinated

individualcommunicationefforts.

9.5.�. Transformation

TheSouthAfricandesignindustryisfarbehindothersectorsin

termsoftransformation.Thisarearequiresboldnewthinking,

togetherwithsubstantialinvestmentbydesigncompaniesthem-

selves.Thedifficulty,however,isthattheindustryisalready

expressingitshardship–only34%stronglyagreethatthe

industryisprofitableand46.67%claim‘financialchallenges’

asabarrier.Althoughtheindustryhasafairlylowbarrierto

entryandrequiresminimalcapitalinputtostart-up,itremains

difficultforsmallerorganisationstotranscendthehourly-rate

perceptionandbuildavalue-basedmodelgiventhatlevelof

competitiverivalry.Withtime,resourceandcapitalconstraints,

afocusontransformationintheshort-termwillneversupersede

theneedtosurviveday-to-day.Itisnecessarytoaddressthe

valueequationintheindustrysimultaneously.

9.5.�. Skills

Thedesignindustryneedsanintegratedviewofskillsdevel-

opment,notonlyfromsecondarytotertiaryenvironments,but

intotheworkplaceitself.

9.5.5. Professionalism

Thedesignindustrycontinuestocharacteriseitselfwithamateur

behaviourlikefree-pitching.Only39%ofrespondentsclaimto

haveaninfluenceonbusinessbutatthesametimeonly17%

stronglydisagreethatlocaldesignersareignorantofavailable

intellectualpropertyprotection.Ontheflip-side,only30%of

respondentsstronglyagreethattheyknowIPlegislation.Con-

sideringthatthedesignindustryisIP-basedanditsellsthis

knowledgetoclientsshowslackofmaturityandprofession-

alism.

9.5.6. Professional bodies

Professionaldesignbodiesaretypicallyinwardlyfocusedand

wedonotengageactivelyenoughwiththeclientswhosefees

weaccept.Wealsotendtotalktoourownmembersanddo

notshareacrossourdesign-specificdisciplines.

9.5.7. Myopic focus

Thedataindicatethatdesignersbelievethattheirstandards

comparewellonaninternationallevelbutbesidestheindus-

trialdesignersat17.3%(Table13)theotherdisciplineshave

relativelylowinternationalreach.Thiscouldbeafunctionofa

lackofcollectivemarketingbutcouldalsoberelatedtocapitali-

sationandresourcingtofundtravelforbusinessdevelopment

initiatives.

76

AnotherobservationisthattherearelargeSouthAfricancorpo-

rationswhoareawardingtheirlucrativedesigncontractsto

internationalfirms.ThedangeristhatSouthAfricanorgani-

sationsfallbetweentwostoolsanddonotmanagetosecure

eitherinternationalbusinessorlargelocalcontracts.

9.5.8. Action recommendations

Theindustryappearstobegrowingandlookshealthybutto

addresstheabovefundamentalissues,specificactionisre-

quired.

– Astandarddefinitionanddesigncategoryclassification

taxonomyisneeded.

– Collaborationandperhapsintegrationofprofessionalbod-

iesarenecessarytoaggregateinfluenceonbehalfofthe

overalldesignindustryandimprovesaliency.

– SouthAfricandesignorganisationsshouldworktogether

toformcooperativeagreementsthatbetterfulfilinterna-

tionalorlargeSouthAfricancorporaterequirements.

– Thereshouldbeanaggressivefocusattentiononthevalue

oftheindustryanditsprofessionalbehaviourasthiswill

addressmanyoftheotherissueswhicharesymptomatic

ofthiscause.

– Aradicalrethinkisneededtowardstheindustry’sapproach

totransformation.

David Blyth

Onbehalfofthink

9.6. Lead project advisor’s insights

TheIDA World Design Surveypilotprojectispossiblythemost

significantandextensiveresearchstudyeverundertakenon

theSouthAfricandesignsector.Thisstudyaimedtomapthe

localdesignlandscapeandconsolidatediversedatasources

intoonedocument–forthefirsttimeever–therebyproviding

stakeholderswithvaluableinsightsintothecountry’sdesign

infrastructureandmultidisciplinaryindustryresources.This

criticalstudyisnotonlyimportanttoSouthAfrica,butalsoto

globalstakeholderssinceitshedsnewlightonthescopeofthe

designeconomyinapartoftheworldwheretherewaspre-

viouslylittlepublisheddata.

Fromtheoutset,theinternationalprojectleader(Icograda)and

theIDApartners(IcsidandIFI)acknowledgedthattherewould

bemanychallengesandobstaclesinrealisingthepilotstudyas

itwasthefirstofitskindtogatherdatafromdifferentcountries

inacomparativemannerandaccordingtoacommonbaseline

framework. Inaddition, the internationalandSouthAfrican

projectpartnersacknowledgedthatthepilotwouldtestthe

robustnessandapplicabilityofastandardisedresearchmethod-

ologyandmodus operandi,aswellasthepilot’sbaselineframe-

work.

TheSouthAfricanstudyhighlightssomeofthesechallenges:

– Designcutsacrossalltradeandindustrysectorsaswellas

mostgovernmentdepartmentsmakingitdifficulttoaccess

data.

– Methodology

• Theheavyrelianceontelephonicinterviewsasaprimary

datagatheringtoolprovedtobeproblematicdueto

theinconvenienceofunscheduledinterviews.Atotalof

533potentialrespondentscouldnotbeinterviewed

becausethesystemcouldnotaccommodatesched-

uledcall-backs.

• Thelowerthananticipatedsamplerealisationonthe

sideoftheCATIwasmainlyduetothefactthatthe

anticipatedsamplewasbasedonindividualheadcounts

whiletherealisedsamplerepresentedacountofor-

ganisations(see7.3.1and7.3.2).

• Itisnotanidealmethodologytosourcefinancialdata

throughtelephonicinterviewssinceitleadstoestimates

andinaccuraciesasindicatedinsections8.5.5.and

8.5.12.

– Duetoalackofacommonmeta-languagethatclearlyde-

scribesanddefinesdesignanditssub-disciplines,some

discrepanciesandquestionableresultsoccurinthereported

data,particularlyrelatedtoinnovationandindustrialdesign.

– Duetoalackofcrediblesecondarydatasources,noneof

theinformationcontainedinsection8.5(Profiles)couldbe

verifiedforaccuracy.

– ThefluctuatingexchangerateoftheSouthAfricanRand

madeitdifficulttocomparelocaleconomicdatawiththose

ofdevelopedeconomies(seeAppendixA).

– Anotherimportantchallengethattheresearchteamand

projectpartnersfacedweretheirover-ambitiousexpecta-

tions.Forvariousreasons,certaindatacouldnotbesourced

orverified.Allstakeholdersshouldkeepinmindthatthis

isapilotstudythatshouldbefollowedupandexpanded

uponasamatterofurgency.

TheSouthAfricanstudyhighlightssomesignificantweak-

nesses:

– Duetofinancialconstraintsthestudycouldnotaccommo-

date in-depthandtelephonic interviews in thefieldsof

77

architecture,fashiondesign,jewellerydesign,landscape

architecture,textile/surfacedesign,urbanplanninganden-

gineeringdesign.Insomeinstancesinformationregarding

thesefieldswassourcedthroughdeskresearch.Thisre-

sultedinsection8.5onlyreflectingdataforahighlyselec-

tiveportionofthedesignsector.

– Thereisalackofcomprehensiveandaccuratedatabases

forthedesignsector,whichmakesitdifficulttoconductre-

search.

– Someoftheprojectpartnersweremorecollaborativeand

forthcomingthanothersduringthedatagatheringprocess,

whichcouldhaveimpactedonthefinalresults.

– Throughoutthisreport,thelackofaccessibleandcredible

secondarydatasources–particularlythoserelatedtoeco-

nomicactivity–werehighlighted.Thisindicatesaweakness

inthegovernment’sdatagatheringduetoafragmented

statisticalclassificationsystemaswellastheabsenceof

aninnovation/creativityindexthattracksandmanagesthe

designsector’scontributiontothenationaleconomy.

– Thereluctanceand/orunavailabilityofcertainkeygovern-

mentdepartmentstoparticipateinthestudyresultedin

criticalgapsintheresults.

– Government’ssupportofthegenericdesignsectorisclearly

minisculewhencomparedtootherprofessionsandsectors.

Ifweexcludetheengineering,builtenvironmentandin-

tellectualpropertyprotectionsectors/areas,thereareno

legislativesupportforthedesignsectorand,consequently,

nofinancialsupport.

TheSouthAfricanstudyresultsalsohighlightssomesignifi-

cantstrengths:

– Thecountry,ingeneral,hasarobustdesigninfrastructure

whenconsideringitssocio-economicdevelopmentstatus.

– Accordingtothequalitativedata,thecommunicationdesign,

motiongraphics,advertising,interiorandfashiondesign

sectorsareperformingwellcomparedtointernationalstand-

ardsandinsomeinstancesrankamongthetopteninthe

world.Withtheexceptionoffashiondesign,mostofthe

above-mentioneddisciplinesreceive littlesupport from

government,yettheythrive.Wecanonlyspeculatewhatthe

potentialgrowthinexportingtheseservicescouldbeifgov-

ernmentwoulddecidetoinvestinthesesectors.

– Allbutoneofthedesigndisciplineshavestableprofes-

sionalbodies inplacewithstrong linksto international

organisations.Inthisregard,animpressivenumberofSouth

Africanshaveduringthepasttenyearsservedorarecur-

rentlyservingontheexecutiveboardsofinternationalde-

signordesign-relatedorganisations.

– Thecountryhasawelldevelopedrecognitionsystemfor

honouringdesignexcellencewithasubstantialnumber

ofawardsschemesservingallthedesigndisciplines.

– Thecountryalsohasasurprisinglywelldevelopeddesign

mediainfrastructure.

TheSouthAfricanWDSpilotstudyoffersmanybenefitsand

opportunities:

– Thepilotstudyfacilitatedclosercollaborationbetweenin-

dustry/sectorstakeholders,whichhavepreviouslyoperated

insilos;

– Thepilotmappingofthelocaldesignlandscapeprovides

therequireddatathatgovernmentstakeholdersneedto

developabetterunderstandingoftheroleofdesigninthe

socialandeconomicspheresand,thereby,enhancesthe

statusandstandingofthedesignprofessions;

– Thepilotstudyprovidesgovernmentstakeholderswith

aresourcetooltoevaluateand,itishoped,restructureits

sectordevelopmentassistanceprogrammesandincentive

schemestogrowthedesigneconomymoreeffectively;

– ThepilotstudyprovidestheSABSDesignInstitutewitha

resourcetooltodevelopmoreeffectivedesignpromotion

strategies;

– Thepilotstudyprovidesforthecountry’sdesignprofession

councils/bodiestocontextualisetheirrolesandrespon-

sibilitiestoengageinacoordinatedefforttodevelopthe

nationaldesigneconomy;

– Thepilotstudyprovidesforthecountry’sdesigneducation

sectortobecomemoreresponsivetoindustryindicatorsand

requirements,and,therefore,adjustcurriculatoindustry

trendsandrequirements.Inthisregard,thestudyalso

highlightstheimportanceofeducationinstitutionssharing

enrolmentandgraduationdatawithkeystakeholderssuch

asdesignprofessionbodiesandtheSABSDesignInstitute

toenablethemtotrackandmanagesupplyanddemand

data;

– Thepilotstudyprovidesanidealplatformtoidentifykey

issuesandkeystakeholdersthatshouldbeconsultedto-

wardsdevelopinganationaldesignstrategythatcangrow

theindustry’scontributiontonationalsocio-economicdevel-

opment;

– Thepilotstudyresultsfinallyhighlighttheskillsandcapabili-

tiesofSouthAfricandesign,therebyidentifyingthehigh-

performingcontributorstomarketingbrandSouthAfrica.

Jacques Lange

IcogradaPastPresident2007-2009

AdvisorfortheSouthAfricanIDA World Design Survey

78 Appendices

79

Introduction

TheIDA World Design Surveypilotprojectisalandmarkini-

tiativeoftheInternationalDesignAlliance(IDA)tocreatea

clearerunderstandingofthedesignsector.Participantswill

contribute by mapping the characteristics of their national

designsectors-itsstrengthsandcontributionstotheoverall

economyanditssocio-culturalcontributiontodevelopment.

ThegoaloftheIDA World Design Survey pilotprojectisto

addressfourquestions:

– Whatarethestructures/systemsthatdefinethedesign

economyandwhatchangescouldleadtotherecognition

andpromotionofdesign’scontributiontotheoverallecon-

omyinthelongterm?

– Whoaretheparticipantsinthedesigneconomy,whatare

theirnumbersandwhatisneededbyparticularpopulations,

suchasprofessionaldesignassociations,designpromo-

tionalagencies,designmanagementconsultanciesand

designeducatorstosupporttheirsuccessfulparticipation

inthelongterm?

– Howcanapproachestogovernanceaswellasparticular

programmes,servicesandinitiativesstrategicallycontribute

totheenduringgrowthofcapacitywithinthedesignsector?

– Howdoesdesigncontributetosocio-culturaldevelopment?

Theinitialmappingofdesignsectorstatisticsintheparticipat-

ingcountrieswillinformthedevelopmentofacommonsetof

internationalindicators.Analysisofdatareported,aswellas

gapsindataavailable,willprovidedirectionforfuturedevelop-

mentofthesurvey.

About this questionnaire

Thepurposeofthisquestionnaireistoprovideacommonbase-

lineforeachparticipantintheIDA World Design Survey pilot.

Eachparticipantisencouragedtodevelopacountryspecific

questionnairethatwillbecompletedbyindividualrespondents.

1. Participant profile

1.1Country:Nameofthecountryforwhichthereportissub-

mitted.If multiple countries are covered by this submission,

please complete separate survey reports for each country

covered.

1.2 Report lead:Nameoftheleadpersonfortheinformation

containedinthisreport.

Name:

Title/Position:

Institution/Organisation:

Address:

1.3Report participants: Description of all partners en-

gagedinthedevelopmentofthisreport.Includeroleand

contactinformation.

Name:

Title/Position:

Institution/Organisation:

Address:

1.4Country description:Pleaseprovidethelandmassofthe

countryandcurrentpopulation.

2. Design sector profile

2.1Definition of design sector.Providethedefinitionofthe

designsectorcurrentlyinuseinyourcountry.Ifthereisno

currentlycommonlyusedandagreeddefinitionofthepa-

rametersofthedesignsectorinyourcountry,providethe

definitionthattheresearchpartnersofthisprojecthave

agreedtouseasthescopeforthestudy.

2.2Does your country use a defined innovations/creativity

index?Describehowdesignsectoractivityisconsidered

withintheindex.

2.3Describe your country’s current activities in the field of

design sector statistics.Indicateyearsforwhichstatistics

areavailable,frequencyofdatacollection,relevantresearch

andpresentationsonthetopic.

2.4 Which government department(s) or agency(cies) has/

have the primary responsibility for your statistics related

to the design sector?Indicatethelevelofthedepartment/

agency(ie:national,provincial/state,local/municipal).

2.5Are the design statistics for your country available

electronically?Providerelevantwebsiteaddresseswhere

designstatisticsforyourcountrymaybeaccessed.

2.6Does your country use a defined framework and/or

classification system to collect and report design sector

statistics?Indicatewhichframeworkand/orclassifica-

tionsystemsbelowisinuseandallcodesusedinthe

reportingofdesignsectorstatistics.

Appendix A: IDA World Design Survey Baseline Questionnaire

80

– NAICS:NorthAmericanIndustryClassificationSystem

– NACE1.1:ClassificationofEconomicActivitiesinthe

EuropeanCommunity

– ISIC3.1:InternationalStandardIndustrialClassification

ofallEconomicActivities

– ANZSIC:AustralianandNewZealandStandardIndus-

trialClassification

– SOC2000:StandardOccupationalClassification2000

– Other

Include all relevant core design services codes and any

other codes which are considered relevant to design sector

activities in your country.

�. Representative organisations

3.1 Professional organisations: Listnationalprofessional

organisationsthatrepresentdesigners.For each listing,

provide a brief description of the organisation, including

whether it has a single discipline or multidisciplinary man-

date and if it has any regulatory authority. Provide contact

information.

3.2Design promotion agencies:Listnationaldesignpromo-

tionagencieswithaprimarymandatetopromotethebene-

fitsofgooddesigningeneral.For each listing, provide a

brief description of the organisation, including whether it

has a single discipline or multidisciplinary mandate. Provide

contact information.

3.3 Trade and industry associations:Listnationaltradeand

industryassociationsthatincludedesignintheirmandate.

For each listing, provide a brief description of the organi-

sation, including whether it has a single discipline or multi-

disciplinary mandate. Provide contact information.

3.4Design facilities:Listpublicorprivatefacilitiesthatdirectly

promotedesignawareness.For each listing, provide a brief

description of the organisation and provide contact informa-

tion. Include:

– Designcenters

– Designmuseums

– Designgalleries

– Designlibraries/archives

– Other

�. Design support

4.1Design policy:Doesyourcountryhaveanationaldesign

policysupportedorendorsedbythenationalgovernment?

Ifyes,pleaseprovideasummaryofthepolicy’sprimary

objectives.Provide a copy of the policy as a separate doc-

ument if the policy is available through the Internet.

4.2Government spending on design:Describethegovern-

mentspendingondesigninitiativesatthenationallevelin

localcurrency.

– Totalgovernmentbudget:

– Annualgovernmentpurchaseofdesignservices:

– Annualgovernmentinvestmentindesignpromotion

activities:

4.3 Government grants available:Listgrantingprogrammes

thatdirectlysupportthedevelopmentofthedesignsector.

Provideabriefdescriptionforeachdistinctivegrantpro-

gramme,includingdescriptionofeligibilitycriteria,total

amountavailableonanannualbasisandaverageamount

ofgrantsawarded.

4.4Private sector support:Listprivatesectorprogrammes

thatdirectlysupportthedevelopmentofthedesignsector.

Provideabrief(250words)descriptionofeligibilitycriteria,

totalamountavailableonanannualbasisandaverage

amountofgrantsawarded.

4.5 Awards: Listnationalawardschemesfordesignthatare

offeredonacontinuingbasis.Provideabrief(250words)

descriptionoftheobjectives,eligibilitycriteria,frequency

ofthescheme(annual,biennial,etc)andorganiser.

4.6 Events:Listtradefairs,conferencesandeventsthathave

designastheirmainfocus.Indicatefrequency(annual,bi-

ennial,triennial),profile(regional,national,international),

andprimarytargetaudience(industry,government,public).

4.7Media:Listmediathatprovidedesigncoverage,including

televisionprograms,designpublications(i.e.tradejournals,

books,magazines),designthemedcolumnsinnewspapers

ormagazinesandweb-baseddesigncontent).

5. Economic profile

Thissectionisintendedtocreateacomprehensiveprofileof

thedesignsectorinyourcountry.Pleaseindicateforwhatyear

thedataisreported.Ifmultipleyearsareavailable,please

providethemostrecentthreeyearsavailable.Ifdataisesti-

matedfromexistinginformation,pleaseprovidetherational

forassumptionsmadetoisolatedesign-relatedinformation.

Foreachcategory,pleaseprovideadditionalinformationon

activities included ineachgrouping, ie: industrialdesign–

productdesign,industrialequipment,homewareandfurniture,

sportsandleisureequipment,ceramics,glass,etc.

Example

– Motion graphics, animation & new media designincludes

interfaceandelectronicgamedesign

– Industrial Designshouldincludefurnitureanddecorative

objectdesign

– Multidisciplinarydesignfirmsarethose,whichengagein

twoormoreofthecategoriesaspartoftheircoreservices.

8�

5.1 Overall sector profile:Provideanoverviewofthedesignsector.Includedataforthemost

recentthreeyearsavailable.

Number of

businesses

Total annual

revenue

Total

employees

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign

LandscapeArchitecture

TextileDesign

UrbanPlanning/Design

Multidisciplinary

TOTAL

6. Business profile

5.2 Structure:Provideasummaryofthenumberofdesignbusinessesbytypeofincorporation.

Sole

proprietorPartnership Corporation Other

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

5.3 Years in operation:Provideaprofileofdesignbusinessesbynumberofyearsinoperation.

0-5 6-�0 ��-�0 �0+

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

5.4Ownership:Provideabreakdownofdesignbusinessownershipbygender.

Male Female Total

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

8�

5.5Annual revenue:Provideasummaryofthenumberofdesignbusinessesbyrevenuecategory.

Less than $

500 000

$ 500 000

– 999 000

$ � million

– 5 million$ 5 million +

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

5.6Revenue source:Provideasummaryofdesignbusinessrevenuebysource.

Fee for service Licensing/royalty Other

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

5.7Revenue by client profile:Provideasummaryofdesignbusinessrevenuebyclientprofile.

Private

corporation

Public

serviceGovernment Other

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

5.8Revenue by market: Provideasummaryofdesignbusinessrevenuebymarkettype.

Local National International

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

8�

5.9 International markets: Listtopfiveinternationalmarketsbycountryandrevenue.Example:

Architecture – Canada ($100,000), United States ($80 000), England ($50 000), France ($30 000),

Italy ($20 000)

Market � Market � Market � Market � Market 5

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

Employment profile

5.10Total employment:Provideaprofileofdesignbusinessesbytotalnumberofemployees.

�-5 6-�0 ��-�0 �0+

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

5.11Designers employed:Provideaprofileofdesignbusinessesbynumberofdesignersemployed.

�-5 6-�0 ��-�0 �0+

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

5.12Average annual income. Provideannualaverageincomesfordesignersbynumberofyear’s

experience.

�-5 6-9 �0-�� 5+

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

8�

5.13Level of training: Provideaprofileoftheeducationlevelofdesignerscurrentlyemployedby

sector.

CertificateUnder-

graduateGraduate

Post-

graduate

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

5.14Gender: Provideabreakdownofdesignersemployedbygender.

Male Female Total

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

5.15Job creation:Provideacomparisonofnumberofjobscreatedbydesignbusinessescompared

withthenationalaverage.

Number of jobs createdPercentage of

national total

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

5.16Nature of work.Provideasummaryofthetypeofjobsavailabletodesignersbysector.

Full-time Project Freelance Total

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

TOTAL

85

5.17Sector consolidation: List10largestbusinesses(meas-

uredbyannualturnover)thathavedesignastheirprimaryactivity.

Foreachbusinessprovide:

– Yearsinoperation

– ownership(localorforeign)

– annualturnover

– typeofdesignactivity(creation,production,manufacture,

distribution)

– numberofemployees

5.18Business starts:Numberofnewdesignbusinessstarts

annually.

5.19 Business sustainability:Averagesurvivalrateofadesign

business.

5.20 Intellectual property. Pleaseprovidedataforthemostrecent

threeyearsavailable.

– Numberofpatentsregistered.

– Numberoftrademarksregistered.

– Numberofdesignrightsregistered.

6. Design education

6.1Design schools: Liststheschoolsthatofferdesigneducation

inyourcountry,includingcontactinformation.Foreachlistingthe

followinginformation.

– designdisciplinetaught

– levelofprogramme

– lengthofprogramme

– numberofdesignfaculty(includebreakdownbyfull-time/

part-timestatus)

– numberofdesignstudents(includebreakdownbydisci-

pline)

– numberofgraduatesperyear

7. Open questions

7.1Describethetrendsandissuesaffectingthedesignsector,

includingaprognosisforthenextfiveyears.

7.2Provideprofilesofuptofivedesignersperdisciplinewhohave

gainednationalorinternationalrecognition.

Profiles

� � � � 5

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

7.3Provideprofilesofuptofivedesignbusinessesperdiscipline

thathavegainednationalorinternationalrecognition.

Profiles

� � � � 5

Architecture

FashionDesign

GraphicDesign

JewelleryDesign


andnewmediadesign

IndustrialDesign

InteriorDesign


TextileDesign


Multidisciplinary

7.4Provideprofilesofuptofivebrandsordesign-ledbusinesses

thathavegainednationalorinternationalrecognition.

7.5Describetheextenttowhichdesignactivityformspartofyour

country’s informal economy.

8. Recommendations

8.1Listtheindicatorsthatyoubelieveshouldformthebasisof

aninternationalbasetomeasuredesignsectoractivity.

8.2Withwhatfrequencyshoulddesignsectoractivitybemeasured?

86

Section A: Introduction GoodafternoonMs/Mrs_______.Mynameis_______(state

yourname).IrepresentConsultaResearch.TheIDAhascom-

missionedastudytodeterminethecontributionofthedesign

economyandthelevelofstrategicengagementofdesignasa

socio-economicandculturaldevelopmentalin12countries.

WehavebeencommissionedbytheSouthAfricanworking

group,i.e.theSABSDesignInstitute,SouthAfricanInstituteof

InteriorDesignProfessions,DesignEducationForumofSouthern

Africa(DEFSA),theSouthAfricanCommunicationDesignCouncil

(think)andtheSouthAfricanInstituteofIndustrialDesignto

conducttheSouthAfricanportionoftheInternationalDesign

Alliance(IDA)WorldDesignReportandtoassessdesignin

SouthAfricawithregardtoit’scharacteristics,it’sstrengthsand

contributionstotheSouthAfricaneconomyandthecontribu-

tionofdesigntosocio-culturaldevelopmentinSouthAfrica.

Pleasenotethatthisinterviewwillberecordedforqualitypur-

poses.

Fraud Issue:

MayIassureyouthatConsultaResearchisaregisteredrepu-

tableresearchcompanythatsubscribestotheethicalcodeof

conductoftheSouthAfricanMarketingResearchAssociation

(SAMRA).AtnotimeduringthisinterviewwillIrequestany

personaldetailsfromyou.Shouldyouneedanyfurtherveri-

ficationof thisstudy,pleasedonothesitate tocontactmy

manageratConsultaResearch:GeorgeKirkon(086)130-

4100or(082)5789402.

Call Back:

Thankyouforyourwillingnesstobecalledatamoreconven-

ienttime.Iwouldliketoadviseyouthatalthoughwemayattempt

toreachyouattherequestedtimewemaybeunabletocallyou

backaswemayhavereachedtherequirednumberofallocated

respondentsbeforeitispossibletodothecallback.

Section A – General

Question � – Sector

Whichofthefollowingsectorsofdesignbestdescribesthe

scopeandfocusofyourbusiness?(Ifmorethanoneplease

indicatethemostpredominantsector)(Singleoption)

Graphic/Communicationdesign

Motiongraphics,animationandnewmediadesign

Industrialdesign(includingglass,jewelleryand

ceramicsthatareproducedonanindustrialscale)

Interiordesignandinteriorarchitecture

Designeducation

Designpromotion

Government

Multidisciplinary(morethanoneoftheaboveonan

equalscale)

None(Terminateinterview)

Question � - Employees

2.1.Howmanymaledesignersareemployedinyourorgani-

sation...andfemaledesigners?

Number Male Female

1-5

6-10

11-20

>20

2.2.Whatisthetotalnumberofemployeesthatareemployed

byyourorganisation?(Singleoption)

1-5

6-10

11-20

>20

2.3.Ofthedesignersyouemployhowmanyofthemare:

Type of employment Number of

employees

Fulltimeemployees?

Employedonaproject/contractbasis?

Freelance?

Apprenticeships(wheretheydo

practicalaspartoftheirstudies)

2.4.Whatistheaverageannualincome(salary)earnedby

designers,bytheirnumberofyear’sexperience?

Years Experience Income

0to5yearsexperience

Between5and9yearsexperience

Between10and14yearsexperience

Morethan15yearsexperience

Appendix B: South African WDS CATI Questionnaire

87

2.5.Howmanydesignersinyourorganisationhavethefol-

lowingqualifications:

Qualification Number of

designers

Noformalqualification(self-taughtdesigners)

ACertificate(lessthanthree-year

qualification)

Undergraduate(BTechandthree-yearBA

degrees)

Graduate(four-yearBA,MTechandHons-

leveldegrees)

Postgraduate(MA,DTechandPhd-level

degrees)

Question 3 – Business Profile

3.1Whatisthelegalformofyourbusiness?(Singleoption)

SoleProprietor(includingfreelance)

ClosedCorporations(CC)

PublicCompany(Pty(Ltd)

PrivateCompany(Pty)

Incorporated(Partnership)

ListedCompany(JSE/AltX)

NGO

Article21(Nonprofit)

PublicSector(Government,sciencecouncilsand

publiceducationalinstitutions)

Other(Pleasespecify)

3.2Howmanyyearshasyourorganisationbeeninoperation?

5yearsorless

between5and11years

11to20years

Morethan20years

3.3Ownership

Weneedtoclarifythefollowingterms:

Ownership:Ownershipofequityinterestinanorganisation.

Exercisablevotingrights:Avotingrightofaparticipantthat

isfullyexercisablewithoutanylimitationuponthatright.

PDI:previouslydisadvantagedindividual.

Ineachcasepleaseprovidethepercentageshareholding/

ownership.

Ownership Percentage

TotalpercentageMALEownership

TotalpercentageFEMALEownership

TotalpercentagePDIMALEownership

TotalpercentagePDIFEMALEownership

Question 4 – Revenue Profile

4.1Inwhichofthefollowingannualturnovercategoriesdidyour

organisationfallduringthelastfinancialyear(2006-2007)?

LessthanR1mil

BetweenR1milandR2,5mil

BetweenR2,5milandR5mil

BetweenR5milandR10mil

MorethanR10mil

Don’tknow/Refused

4.2Whatpercentageofyourturnoverisgeneratedfromthe

followingsources?

Feesforprofessionalservices(Onlydesignand

consultingservices)

Incomederivedfromproductionmanagementon

behalfofclients

Licensingandroyaltyfees

Governmentgrants/budget(Onlyapplicableto

governmentrelatedinstitutions)

4.3Whatpercentageofyourturnoverisderivedfromeach

ofthefollowingmarkets?

Local(yourcityandprovince)

National(thisincludesnationalgovernment-

relatedinstitutions)

International

4.4Hasyourturnover/budgetincreased,decreased,orremained

staticduringthepasttwoyears(2006-2007and2007-2008)?

Increased

Decreased

Remainedstatic

Donotknowordonotwanttodivulge

Section B – additional questions

1.Whatdoyoubelievearethelargestthreestumblingblocks

foryourorganisationinthedesignsectorinSouthAfrica?

2.Whichof the followingdoyouuse for theprotectionof

yourintellectualproperty?(Multipleoption)

Trademarks

Patents

Designregistrations

Non-registeredcopyrightagreementswithclients

Licensingagreements

Noneofthese

DonotgenerateanyIP

88

3.Doyouusemethodsotherthantrademarks,patentsandregistrationstoprotectyourIntel-

lectualproperty?

YES

NO

4.PleasespecifythemethodsofIPprotectionotherthantrademarks,patentsanddesignreg-

istrationstoprotectyourIntellectualpropertythatyoufinduseful.

Section C – Contribution of design to socio-cultural development in South Africa

Onascaleof0to10where0=“Stronglydisagree”and10=“Stronglyagree”,towhatextentdo

youagreewiththefollowingstatements?Youmayalsoselectanynumberinbetween0and10

dependingonhowstronglyyoufeel.

Statement Strongly disagree Strongly agreeDon’t

know

Shareholdersanddesign-

ersinourorganisation

haveasoundknowledge

andgoodunderstanding

ofSAIPlegislation

0 1 2 3 4 5 6 7 8 9 10 DK

Ourorganisationbelieves

thatIPprotectioninSAis

sufficienttoprotectour

rightsandwedon’tneed

toimplementothermeas-

urestoprotectourrights

0 1 2 3 4 5 6 7 8 9 10 DK

Localdesignersinour

designsectorareigno-

rantofavailableIPpro-

tection

0 1 2 3 4 5 6 7 8 9 10 DK

Localdesignersinour

sectorofdesigndonot

feelthatitisimportant

toprotecttheirIP

0 1 2 3 4 5 6 7 8 9 10 DK

Ourclientsareoblivious

totheavailableIPpro-

tection

0 1 2 3 4 5 6 7 8 9 10 DK

Designstudentsstudying

ataccreditedgovernmen-

talinstitutionsinSouth

Africa(universitiesand

universitiesoftechnology)

getthecorrecttraining

andpracticalexperience

toequipthemsufficiently

whentheyenterthejob

market

0 1 2 3 4 5 6 7 8 9 10 DK


ataccreditedprivatecol-

legesinSouthAfricaget

thecorrecttrainingand

practicalexperienceto

equipthemsufficiently

whentheyenterthejob

market

0 1 2 3 4 5 6 7 8 9 10 DK


atnon-accreditedprivate

institutionsinSouthAfrica

getthecorrecttraining

andpracticalexperience

toequipthemsufficiently

whentheyenterthejob

market

0 1 2 3 4 5 6 7 8 9 10 DK

Designinmysectorof

practiceisaprofitable

inSouthAfrica

0 1 2 3 4 5 6 7 8 9 10 DK

89

Theoverallqualityof

professionaldesign

servicesinSouthAfricain

myorganisation’ssector

isofahighstandard

0 1 2 3 4 5 6 7 8 9 10 DK

ThestandardofSouth

Africa’sbestdesign

practitionersinmysector

comparewellwiththat

ofglobalbestpractice

0 1 2 3 4 5 6 7 8 9 10 DK

Designinmysectorof

practicecontributes

towardsimprovingthe

generallevelofeduca-

tionofSouthAfricans

0 1 2 3 4 5 6 7 8 9 10 DK

Theprofessionalprac-

ticelevelsofmydesign

sectorinSouthAfricais

fullyequippedandstrong

enoughtocontribute

substantiallytothe

successofthe2010FIFA

WorldCup

0 1 2 3 4 5 6 7 8 9 10 DK

People’slivesinSouth

Africaareculturally

enrichedbymyprofes-

sionaldesignsectorin

SouthAfrica

0 1 2 3 4 5 6 7 8 9 10 DK

Designatitshighest

levelinmyprofessional

designsectorinSouth

Africacontributesposi-

tivelytotherestofthe

world’sperceptionof

thecountry

0 1 2 3 4 5 6 7 8 9 10 DK

Designismarginalised

intheworldofbusiness

inSouthAfrica

0 1 2 3 4 5 6 7 8 9 10 DK

BusinessesinSouth

Africaarepositively

influencedbySouth

Africandesignservice

providers

0 1 2 3 4 5 6 7 8 9 10 DK

TheSouthAfricandesign

sectorinmyprofessional

sectorpositivelycontri-

butestomakingthelives

ofSouthAfricansmore

comfortableandincreas-

esthegeneralpopula-

tion’squalityoflife.

0 1 2 3 4 5 6 7 8 9 10 DK

Whichindividualsinyouropinionwouldbethemostcapabletopresentanobjectiveoverviewof

trendsandissuesaffectingyour particular design sectorandprovideaprognosisforthenext

fiveyears?

Name Discipline Reason

Whichindividualsandcompanieswouldyourecommendtobethetopperforminginyour re-

spective industry sectorregardingdesignpromotionandcreativityduringthepasttwoyears?


90

Whichfivedesignersinyour design industry sectorhave

gainednationalorinternationalrecognitionduring2007based

ontheirindividualprofilesandcontributionstowardsfurthering

designinSouthAfrica?


Whichfivedesignbusinessesinyour design industry sector

havegainednationalorinternationalrecognitionduring2007

basedontheircontributionstowardsfurtheringdesigninSouth

Africa?


Whichfivebrandsordesign-ledbusinessesthathavegained

nationalorinternationalrecognitionduringthepastyear?


Section D - Design education

1.Whatdesigndisciplinesaretaughtatyourinstitution?(Multi-

pleoption)

Graphic/communication/visualcommunication/

informationdesign

Fineartswithaspecialisationinafocusseddesignfield

Industrialdesign(includingglass,ceramics,jewellery,

surfaceandmaterialsdesign)



Photography

Designandmediastudies(academiccoursesthat

focusonqualifyingdesigncritics,historians,journalist

anddesign-relatedpopularcultureresearcherswho

willnotpracticedesignprofessionallybutrecordor

commentonit)


2.Whatlevelsofeducationdoyouprovide?(Multipleoption)

Basiccourse(Lessthanoneyearorataninstitution

thatisnotaccreditedbytheDepartmentofEducation)

Certificate(Morethanoneyearbutlessthanthree

ataDepartmentofEducationaccreditedinstitution)

Diploma(MinimumthreeyearsataDepartmentof

Educationaccreditedinstitution)

Degree(MinimumoffouryearsataDepartmentof

Educationaccreditedinstitution)

PostgraduateDegree(HonoursMastersandPhd

studiesthatfollowpreviousqualificationsaccredited

bytheDepartmentofEducation.

3.Whatistheaveragelengthofyoureducationalprograms?

1Yearorless

Twoyears

Threeyears

Fouryears

Fiveyearsandmore

4.Inyourdesignfacultyduringthecurrentyear,howmanystaff

membersareemployedon:

Afulltimebasis

Aparttimebasis

5.Howmanystudents,bydisciplinetaught,doesyourinstitu-

tioncurrentlyhave?

Discipline taught

Graphic,information,communication,visualdesign

FineArts

IndustrialDesign



Photography

Designandmediastudies

Other

6.Whatisthetotalnumberofstudentsthatenrolledforadesign-

relatedcourseoverthelastthreeyears?

Year Number of students enrolled

Year1(2004)

Year2(2005)

Year3(2006)

9�

7.Howmanystudentsgraduatedfromyourinstitutionina

designrelatedcourseoverthelastthreeyears?

Year Number of students graduated

Year1(2004)

Year2(2005)

Year3(2006)

8.Whatisthemainreasonfordesignstudentsnotfinishing

theirstudiesatyourinstitution?(Singleoption)

Changeofcourse(lostinterest)

Lackoffunds

Failing

Changeofinstitution


9.What percentageof the students currently enrolled are

foreignnationals?

Percentageforeignnationals

None

10.Hasthisfigureofforeignnationalenrolmentsindesign

coursesatyourinstitutionincreasedordecreasedoverthe

last3years?

Increased

Decreased

Stayedthesame

11.Whichregionsarethemainsourcesoftheforeignstudents

studyingatyourinstitution?

Australia/NewZealand

Asia

Africa(outsideofSADC)

SADC

MiddleEast

Europe

NorthAmerica

SouthAmerica


12.Whatarethemainreasonsforforeignstudentsselecting

yourinstitutionfordesignstudies?

13. Do you believe that students come out of Grade 12

equippedwiththerighteducationtocontributetoandhelp

themintheirdesignstudiesathigherinstitutions?

YES

NO

Pleasegiveabriefreasonforyouranswerabove.

Closure

Iwouldliketobringittoyourattentionthatitisimportantfor

theworkinggrouptofollow-uponevaluationsonanindividual

basisandwewouldthereforeliketosharetheevaluations

thatyouhaveprovidedinthisquestionnairewiththeworking

group.

Doyouhaveanyobjectionswiththedisclosureoftheinfor-

mation?

Yes,Ihaveanobjection

Pleasebeassuredthatyour

individualinformationwill

notbedisclosedtoanybody.

No,Ihavenoobjection Thankyouverymuch!

Thankyouverymuchforyourco-operation!Endofinterview.

9�

Appendix C: List of SETAs

Acronym Description

AGRISETA AgricultureSectorEducationandTrainingAuthority

BANKSETA BankingSectorEducationandTrainingAuthority

CETA ConstructionEducationandTrainingAuthority

CHIETA ChemicalIndustriesEducationandTrainingAuthority

CTFL Clothing,Textiles,FootwearandLeatherSectorEducationandTrainingAuthority

ESETA EnergySectorEducationandTrainingAuthority

ETDP Education,TrainingandDevelopmentPractices

FASSET FinancialandAccountingServicesSectorEducationandTrainingAuthority

FIETA ForestIndustriesEducationandTrainingAuthority

FOODBEV FoodandBeveragesManufacturingIndustrySectorEducationandTrainingAuthority

HWSETA HealthandWelfareSectorEducationandTrainingAuthority

INSETA InsuranceSectorEducationandTrainingAuthority

ISETT InformationSystems,ElectronicsandTelecommunicationTechnologiesSectorEducationandTrainingAuthority

LGSETA LocalGovernmentSectorEducationandTrainingAuthority

MAPPPSETA Media,Advertising,Publishing,PrintingandPackagingSectorEducationandTrainingAuthority

MERSETA Manufacturing,EngineeringandRelatedServicesSectorEducationandTrainingAuthority

PSETA PublicServiceSectorEducationandTrainingAuthority

SASSETA SafetyandSecuritySectorEducation&TrainingAuthority

SERVICESSETA ServicesSectorEducationandTrainingAuthority

TETA TransportEducationandTrainingAuthority

THETA TourismHospitalityandSportEducationandTrainingAuthority

W&RSETA WholesaleandRetailSectorEducationandTrainingAuthority

9�

Institutions offering design education programmes

Pleasenotethattheaddressesandinformation

providedareintendedasageneralguidelineand

mustnotberegardedasadefinitivelist.

Universities

Midrand University

FacultyofArts

POBox2986,HalfwayHouse1685

Tel0116901700

Fax0113152824

[email protected]

www.mu.co.za

Nelson Mandela Metropolitan University

FacultyofArts:SchoolofCreativeArts

(NorthCampus)

POBox77000,PortElizabeth6031

Tel0415043256

Fax0415049256/3529

[email protected]

www.nmmu.ac.za

Nelson Mandela Metropolitan University

FacultyofArts:SchoolofArchitecture

POBox77000,PortElizabeth6031

Tel0415043517

Fax0415043491

[email protected]

www.nmmu.ac.za

North West University

SchoolofCommunicationStudies

PrivateBagX6001,Potchefstroom2520

Tel0182994091

Fax0182991651

[email protected]

www.puk.ac.za

Rhodes University

DepartmentofFineArts

POBox94,Grahamstown6140

Tel0466038192/3

Fax0466224349

[email protected]

www.ru.ac.za

University of Cape Town

SchoolofArchitecture,Planning&Geomatics

PrivateBag,Rondebosch7701

Tel0216502374

Fax0216502383

[email protected]

www.arp.uct.ac.za

University of Cape Town

TheMichaelisSchoolofFineArts

31OrangeStreet,Gardens8001

Tel0214807103

Fax0214242889

[email protected]

www.michaelis.uct.ac.za

University of the Free State

SchoolofArchitecture

POBox339,Bloemfontein9300

Tel0514012332

Fax0514445108

[email protected]

www.uovs.ac.za

University of the Free State

DepartmentofFineArts

POBox339,Bloemfontein9300

Tel0514012282

Fax0514013557

[email protected]

www.uovs.ac.za

University of Fort Hare

DepartmentofFineArt

PrivateBagX1314,Alice5700

Tel0406022011

Fax0406531554

[email protected]

www.ufh.ac.za

University of KwaZulu-Natal

DepartmentofArchitecture

ShepstonLevel8,HowardCollege

Campus,UniversityofKwaZulu-Natal

4000

Tel0312602094/3139

[email protected]

www.ukzn.ac.za

University of KwaZulu-Natal

CentreforVisualArts

PietermartizburgCampus

PrivateBagX01,Scottsville3209

Tel0332605170

Fax0332605240

[email protected]

www.ukzn.ac.za

University of Johannesburg

FacultyofArt,DesignandArchitecture

POBox17011,Doornfontein2028

Tel0115591022

Fax0115591134

[email protected]

www.uj.ac.za

University of Pretoria

DepartmentofVisualArts

LynnwoodRoad,Hatfield0002

Tel0124202353

Fax0124203686

[email protected]

www.up.ac.za

Appendix D: List of institutions offering design education

9�

University of Pretoria

DepartmentofArchitecture

LynnwoodRoad,Hatfield0002

Tel0124204600

Fax0124202552

[email protected]

www.up.ac.za

University of South Africa

ArtHistory&VisualArts

POBox392,Pretoria0003

Tel0124296798

Fax0124293556

[email protected]

www.unisa.ac.za

University of Stellenbosch

DepartmentofVisualArts

PrivateX1,Matieland7602

Tel0218083052

Fax0218083044

[email protected]

www.sun.ac.za

University of the Witwatersrand

SchoolofArt

PrivateBagX3,Witwatersrand2050

Tel0117174636

Fax0113397601

[email protected]

www.wits.ac.za

University of the Witwatersrand

SchoolofArchitectureandPlanning

PrivateBagX3,Witwatersrand2050

Tel0117177638

Fax0117177649

[email protected]

www.wits.ac.za

Universities of Technology

Cape Peninsula University of Technology

FacultyofInformatics&Design

POBox1906,Bellville7535

Design&Architecturalprogrammes–

Bellvillecampus

Tel0219596271

[email protected]

Designprogrammes–Capecampus

Tel0214603392

Fax0214603553

Architecturalprogrammes–Capecampus

Tel0214603136

[email protected]

www.cput.ac.za

Central University of Technology

SchoolforDesignTechnologyandVisualArts

PrivateBagX20539,Bloemfontein9300

Tel:0515073184

Fax:0515073199

[email protected]

www.cut.ac.za

Durban University of Technology

ArtsFaculty

POBox1334,Durban4000

Tel0312036522

Fax0312036518

[email protected]

www.dut.ac.za

Tshwane University of Technology

FacultyoftheArts

PrivateBagX680,Pretoria0001

Tel0123186132

Fax0123186178

[email protected]

www.tut.ac.za

Tshwane University of Technology

DepartmentofArchitecture&Polymer

Technology

PrivateBagX680,Pretoria0001

Tel0123185252

Fax0123185036

[email protected]

www.architec.co.za

Vaal University of Technology

DepartmentofVisualArtsandDesign

PrivateBagX012,Vanderbijlpark1900

Tel0169509312

Fax0169509789

[email protected]

www.vut.ac.za

Walter Sisulu University of Technology

FacultyofAppliedTechnology

POBox1421,EastLondon5200

Tel0437085200

Fax0437085349

[email protected]

www.wsu.ac.za

Independent schools

AAA School of Advertising - Cape Town

VisualCommunication

POBox3423,CapeTown8000

Tel0214221800Fax0214221827

[email protected]

www.aaaschool.co.za

AAA School of Advertising - Johannesburg

VisualCommunication

POBox2289,Parklands2121

Tel0117812772

Fax0117812796

[email protected]

www.aaaschool.co.za

Academy of Advanced Technology

- Johannesburg

ArchitecturalDesign

P.O.Box1503,RooseveltPark,Northcliff

2129

Tel0118887555

Fax0118887222

[email protected]

www.advancedtech.ac.za

95


- Cape Town

Tel0219109500

Fax0219100517

[email protected]


- Durban

Tel0312016523

Fax0312016525

[email protected]

Anchorlite College

FashionDesign&GraphicDesign

POBox3050.Prestondale,Umhlanga

Rocks4320

Tel0313062680

Fax0313062680

[email protected]

BHC School of Design

InteriorDesign

POBox13696,Mowbray7700

Tel0214477288

Fax0214477288

[email protected]

www.designschool.co.za

Calder School of Interior Design

InteriorDesign


Tel0114472364

Fax0117888872

[email protected]

Centre for Fine Art, Animation and

Design

FineArt,AnimationandGraphicdesign

POBox26465,IsipingoBeach4115

Tel0313052480

Fax0313076966

[email protected]

www.cfad.co.za

Centurion Akademie (Pty) Ltd

Multimedia

POBox10200,Centurion0046

Tel012663-6333

Fax012663-6404

City Varsity

Film,TV&MultimediaSchool

32KloofStreet,Gardens,CapeTown8001

Tel0862222489

Fax0214236300

[email protected]

www.cityvarsity.co.za

College Campus

GraphicDesign&WebDevelopment

POBox202,Witwatersrand2050

Tel0114033820/0123208844/011

8868355

Fax0114037542/0123208845/011

3261987

[email protected]

[email protected]

[email protected]

www.collegecampus.co.za

Credo College

FashionDesign

POBox11163,Tramshed,Pretoria0126

Tel0123222892

Fax0123200571

[email protected]

Damelin

SchoolofMedia&DesignTechnology

Tel0117184000

Callcenter0862222345

www.damelin.co.za

Greenside Design Center

Graphic,Interior&MultimediaDesign

POBox84190,Greenside,2034

Tel0116461984

Fax0116466165

[email protected]

[email protected]

www.designcenter.co.za

Inscape Design College - Johannesburg


POBox87605,Houghton2041

Tel0113272002

Fax0114477054

[email protected]

www.inscape.co.za

Inscape Design College - Pretoria


Tel0123651208

Fax0123616183

[email protected]

Inscape Design College - Cape Town


Tel0214252211

Fax0214252204

[email protected]

Lindiwe Kuzwayo Academy of Fashion

Design

FashionDesign

POBox4076,Durban4000

Tel0313014690

Fax0313014690

[email protected]

www.lindiwekuzwayo.co.za

Linea Fashion Design Academy

FashionDesign

No16CharlesStrachanRoad,Mayville4091

Tel0312611414

Fax0312618150

[email protected]

www.mjvn.co.za/linea

LISOF

FashionDesign


Tel0117884432

Fax011447-4087

Midrand Graduate Institute

GraphicandFashionDesign

POBox2986,HalfwayHouse1685

Tel0116901700

Fax011315-2824

96

Montebello Design Centre

Jewellery&Ceramics

31NewlandsAve,Newlands7700

Tel0216856445

Fax0216867403

[email protected]

www.montebello.co.za

National College of Photography

Photography

POBox12361,Hatfield0028

Tel0123424770

Fax0123421281

[email protected]

www.photocollege.co.za

Open Window School of Visual

Communication

VisualCommunication

POBox65273,Erasmusrand0165

Tel0123471740

Fax0123471710

[email protected]

www.openwindow.co.za

Potchefstroom Akademie

InteriorDecoratingandDesign

POBox20355,Noordbrug2522

Tel0182945581

Fax0182931991

Prestige Academy

GraphicDesignandWebDevelopment

POBox2220,Bellville7595

Tel0219495036

Fax0219481859

[email protected]

www.prestigeacademy.co.za

Red and Yellow

GraphicDesign

POBox1442,CapeTown8000

Tel0214621946

Fax0214484393

[email protected]

www.redandyellow.co.za

Ruth Prowse School of Art

Art,GraphicDesign&Photography

POBox89,Woodstock7915

[email protected]

www.ruthprowse.co.za

SA School of Motion Picture Medium

and Live Performance - Johannesburg

Film&Drama

POBox277,Melville2109

Tel0114288345

Fax0114828347

SA School of Motion Picture Medium

and Live Performance - Cape Town

Tel0214487606

Fax0214487610

[email protected]

www.filmdramaschool.co.za

Stellenbosch Academy of Design and

Photography

GraphicDesign&Photography

POBox762,Stellenbosch7599

Tel0218802623

Fax0218801233

[email protected]

www.stellenboschacademy.co.za

The Design School of Southern Africa

- Johannesburg

Graphic,Interior&FashionDesign

POBox37084,BirnamPark2015

Tel0117867501

Fax0117867503

[email protected]

www.designschoolsa.co.za

The Design School of Southern Africa

- Pretoria

Graphic,Interior&FashionDesign

POBox13973,Hatfield0028

Tel0123421779

Fax0123421780

[email protected]

www.designschoolsa.co.za

Vega, The Brand Communications

School - Johannesburg

BrandCommunication

POBox2369,Randburg2125

Tel0118830130

Fax0117846792

[email protected]

www.vegaschool.co.za


School - Cape Town

BrandCommunciation

POBox430,GreenPoint,CapeTown8051

Tel0214257591

Fax0214257592

[email protected]


School - Durban

BrandCommunication

POBox1669,Westville,Durban3630

Tel0312662595

Fax0312662712

[email protected]

97

Appendix E: Presentation by Brenda Sanderson, Icograda Managing Director

worlddesignsurvey.org


98

worlddesignsurvey.org worlddesignsurvey.org


99



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SABS HEAD OFFICE: PretoriaStreet Address: 1 Dr Lategan Road, GroenkloofPostal Address: Private Bag X191, Pretoria, 0001Telephone: +27 (0) 11 428 7911 www.sabs.co.za SABS Design InstituteTelephone: +27 (0) 12 428 6326Fax: +27 (0) 12 428 6546 [email protected] www.designinstitute.org.za

world design survey: south african findings

Documents

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design industries

design ingenuity

jennie fourie design

sabs design excellence

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