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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
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.
– In379oftheattemptstherespondentswerenotavailable
andinafurther269attemptsthephonejustrang.Industrial
designersarealsonotalwaysavailableintheirofficesdur-
ingnormalworkinghours.
– Atotalof106ofthe360numbersprovidednolongerexisted
–databaseerror.
– Atotalof22oftherespondentsrefusedtoparticipate.
7.�.�. Communication, motion graphic, animation
and new media and multidisciplinary design
– Ittook3029callstorealisethe94interviews.Thistranslates
toahit-rateof1in32.2.
– Atotalof407oftherespondentsrequestedtobecalledback
atalaterstage.Asperabove–againanindicationofthe
inconvenienceofunscheduledinterviews.
– In1010oftheattemptstherespondentswerenotavailable
andinafurther567attemptsthephonejustrang.Apartfrom
availabilityinoffices,itmightalsobeduetothefactthat
thesewereinmanyinstancessmallandmicroenterprises
withlittleornoback-upsupport,thusleavingofficesun-
mannedwhen theprimarydesigners/businessowners
wereoutoftheoffice.
– Atotalof306ofthenumbersprovidednolongerexisted.
In149ofthecasestherespondentwasnolongeratthe
numberandafurther107oftheattemptsweretoawrong
number.Thisismostprobablyduetohighmobilityinthe
sectororasaresultofbusinessesfailing.
– Atotalof107oftherespondentsrefusedtoparticipate.
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
– E-mail:[email protected]
– Web:www.defsa.org.za
8.�.�.�. Industrial Design Association of South Africa (IdeaSA)
– Role:Projectpartner
– Address:POBox1801,JukskeiPark2153
– Telephone:+27(0)83654-6832
– Fax:+27(0)11462-3154
– E-mail:[email protected]
8.�.�.�. Institute of Interior Design Professions (IID)
– Role:Projectpartner
– Address:POBox10642,FourwaysCrossingCentre2055
– Telephone:+27(0)11465-9732
– Fax:+27(0)11465-9802
– E-mail:[email protected]
– Web:www.iidprofessions.com
8.�.�.�. South African Communication Design Council
(think)
– Role:Projectpartner
– Address:POBox1887,FourwaysGardens2068
– Fax:+27(0)86510-9735
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– Web:www.think.org.za
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
– E-mail:[email protected]
– 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
– e-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– 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
– E-mail:[email protected]
– Tel:+27(0)833992278
– SunéStassen
– E-mail:[email protected]
– 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:
– Web:www.sabs.co.za/Business_Units/Design_Institute/
Awards/
8.�.6.�. Design for Development Initiative
TheDesignforDevelopmentInitiativegivesrecognitiontopro-
ductsthatexemplifytheconceptthatgooddesignisamajor
�8
contributoryfactorinofferingsolutionstovariousproblems
thatfacedevelopingcommunitiesinruralaswellasurban
areas.Theawardsfocusontheimportantroledesigncanplayin
the industrialdevelopmentandeconomicprosperityof the
southernAfricanregionasawhole.
Contact details:
– Web:www.sabs.co.za/Business_Units/Design_Institute/
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:
– Web:www.think.org.za
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:
– Web:www.sabs.co.za/Business_Units/Design_Institute/
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:
– Web:www.sabs.co.za/Business_Units/Design_Institute/
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
– e-mail:[email protected]
– 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
Motiongraphics,animationand
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
Graphicdesigners 16 24 13 9
Motiongraphics,animationand
newmediadesigners4 5 4 0
Industrialdesigners 10 26 14 21
Interiordesigners 10 11 9 14
Multidisciplinarydesigners 3 6 3 3
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%
Motiongraphics,animation
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
Graphicdesigners 20 3 9 5 3
Motiongraphics,animation
andnewmediadesigners
3 0 1 0 3
Industrialdesigners 18 11 3 2 18
Interiordesigners 11 11 8 3 6
Multidisciplinarydesigners 4 3 2 1 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
Graphicdesigners 31 8 7 18
Motiongraphics,animation
andnewmediadesigners6 3 1 5
Industrialdesigners 39 15 7 13
Interiordesigners 28 9 2 5
Multidisciplinarydesigners 12 3 0 0
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%
Motiongraphics,animation
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
Graphicdesigners 104 21 14 19 158
Motiongraphics,animation
andnewmediadesigners17 9 3 3 32
Industrialdesigners 80 21 4 27 132
Interiordesigners 80 10 7 4 101
Multidisciplinarydesigners 28 2 1 6 37
TOTALS �09 6� �9 59 �60
PERCENTAGE 67.�% ��.7% 6.�% ��.8%
DISCIPLINE � to 5 6 to �0 �� to �0 More than �0 Total
Graphicdesigners 165 33 22 30 250
Motiongraphics,animation
andnewmediadesigners24 12 4 4 44
Industrialdesigners 123 32 6 42 203
Interiordesigners 127 16 11 6 160
Multidisciplinarydesigners 37 3 1 8 49
TOTALS �75 97 �5 90 706
PERCENTAGE 67.�% ��.7% 6.�% ��.7%
DISCIPLINE � to 5 6 to �0 �� to �0 More than �0 Total
Graphicdesigners 195 39 26 36 297
Motiongraphics,animation
andnewmediadesigners33 17 6 6 62
Industrialdesigners 142 37 7 48 235
Interiordesigners 158 20 14 8 200
Multidisciplinarydesigners 51 4 2 11 68
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.
DISCIPLINE � to 5 6 to �0 �� to �0 More than �0 Total
Graphicdesigners 136 10 6 5 157
Motiongraphics,animation
andnewmediadesigners18 10 0 0 28
Industrialdesigners 91 12 3 8 114
Interiordesigners 89 8 0 0 97
Multidisciplinarydesigners 26 0 0 3 29
TOTALS �60 �9 9 �5 ���
PERCENTAGE 8�.9% 9.�% �.�% �.6%
Table �7: Designers employed as per the population – Minimum
DISCIPLINE � to 5 6 to �0 �� to �0 More than �0 Total
Graphicdesigners 162 11 8 6 186
Motiongraphics,animation
andnewmediadesigners25 14 0 0 39
Industrialdesigners 105 14 4 9 132
Interiordesigners 111 10 0 0 121
Multidisciplinarydesigners 37 0 0 4 40
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
Motiongraphics,animationandnewmediadesigners
Industrialdesigners
Interiordesigners
Multidisciplinarydesigners
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
Motiongraphics,animation
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
Motiongraphics,animationandnewmediadesigners
Industrialdesigners
Interiordesigners
Multidisciplinarydesigners
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
Graphicdesigners 34 59 91 39 11
Motiongraphics,animation
andnewmediadesigners7 17 24 25 9
Industrialdesigners 30 33 58 55 28
Interiordesigners 24 32 103 117 34
Multidisciplinarydesigners 6 8 12 5 3
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
Graphicdesigners 208 235 360 407 767
Motiongraphics,animation
andnewmediadesigners51 44 85 73 157
Industrialdesigners 290 107 481 177 659
Interiordesigners 101 107 180 191 371
Multidisciplinarydesigners 58 52 91 82 173
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
Graphicdesigners 187 41 28 2 258
Motiongraphics,animation
andnewmediadesigners60 22 2 1 85
Industrialdesigners 222 25 15 4 266
Interiordesigners 216 3 17 7 243
Multidisciplinarydesigners 35 91 1 14 141
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
–sample11institutions)
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
–sample11institutions)
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
Alistofnamesmentionedduringthetelephonicinterviews
werecopiledbuttheresultswerenotbackedupbydeskre-
search.
8.7.4. Profile of brands or design-led
businesses that have gained national or
international recognition
Alistofnamesmentionedduringthetelephonicinterviews
werecopiledbuttheresultswerenotbackedupbydeskre-
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
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
6. Business profile
5.2 Structure:Provideasummaryofthenumberofdesignbusinessesbytypeofincorporation.
Sole
proprietorPartnership Corporation Other
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
5.3 Years in operation:Provideaprofileofdesignbusinessesbynumberofyearsinoperation.
0-5 6-�0 ��-�0 �0+
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
5.4Ownership:Provideabreakdownofdesignbusinessownershipbygender.
Male Female Total
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
8�
5.5Annual revenue:Provideasummaryofthenumberofdesignbusinessesbyrevenuecategory.
Less than $
500 000
$ 500 000
– 999 000
$ � million
– 5 million$ 5 million +
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
5.6Revenue source:Provideasummaryofdesignbusinessrevenuebysource.
Fee for service Licensing/royalty Other
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
5.7Revenue by client profile:Provideasummaryofdesignbusinessrevenuebyclientprofile.
Private
corporation
Public
serviceGovernment Other
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
5.8Revenue by market: Provideasummaryofdesignbusinessrevenuebymarkettype.
Local National International
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
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
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
Employment profile
5.10Total employment:Provideaprofileofdesignbusinessesbytotalnumberofemployees.
�-5 6-�0 ��-�0 �0+
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
5.11Designers employed:Provideaprofileofdesignbusinessesbynumberofdesignersemployed.
�-5 6-�0 ��-�0 �0+
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
5.12Average annual income. Provideannualaverageincomesfordesignersbynumberofyear’s
experience.
�-5 6-9 �0-�� �5+
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
8�
5.13Level of training: Provideaprofileoftheeducationlevelofdesignerscurrentlyemployedby
sector.
CertificateUnder-
graduateGraduate
Post-
graduate
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
5.14Gender: Provideabreakdownofdesignersemployedbygender.
Male Female Total
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
5.15Job creation:Provideacomparisonofnumberofjobscreatedbydesignbusinessescompared
withthenationalaverage.
Number of jobs createdPercentage of
national total
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
TOTAL
5.16Nature of work.Provideasummaryofthetypeofjobsavailabletodesignersbysector.
Full-time Project Freelance Total
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
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
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
Multidisciplinary
7.3Provideprofilesofuptofivedesignbusinessesperdiscipline
thathavegainednationalorinternationalrecognition.
Profiles
� � � � 5
Architecture
FashionDesign
GraphicDesign
JewelleryDesign
Motiongraphics,animation
andnewmediadesign
IndustrialDesign
InteriorDesign
LandscapeArchitecture
TextileDesign
UrbanPlanning/Design
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
Designstudentsstudying
ataccreditedprivatecol-
legesinSouthAfricaget
thecorrecttrainingand
practicalexperienceto
equipthemsufficiently
whentheyenterthejob
market
0 1 2 3 4 5 6 7 8 9 10 DK
Designstudentsstudying
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?
Name Discipline Reason
90
Whichfivedesignersinyour design industry sectorhave
gainednationalorinternationalrecognitionduring2007based
ontheirindividualprofilesandcontributionstowardsfurthering
designinSouthAfrica?
Name Discipline Reason
Whichfivedesignbusinessesinyour design industry sector
havegainednationalorinternationalrecognitionduring2007
basedontheircontributionstowardsfurtheringdesigninSouth
Africa?
Name Discipline Reason
Whichfivebrandsordesign-ledbusinessesthathavegained
nationalorinternationalrecognitionduringthepastyear?
Name Discipline Reason
Section D - Design education
1.Whatdesigndisciplinesaretaughtatyourinstitution?(Multi-
pleoption)
Graphic/communication/visualcommunication/
informationdesign
Fineartswithaspecialisationinafocusseddesignfield
Industrialdesign(includingglass,ceramics,jewellery,
surfaceandmaterialsdesign)
Interiordesignandinteriorarchitecture
Motiongraphics,animationandnewmediadesign
Photography
Designandmediastudies(academiccoursesthat
focusonqualifyingdesigncritics,historians,journalist
anddesign-relatedpopularcultureresearcherswho
willnotpracticedesignprofessionallybutrecordor
commentonit)
Other(Pleasespecify)
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
Interiordesignandinteriorarchitecture
Motiongraphics,animationandnewmediadesign
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
Other(Pleasespecify)
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
Other(Pleasespecify)
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
www.mu.co.za
Nelson Mandela Metropolitan University
FacultyofArts:SchoolofCreativeArts
(NorthCampus)
POBox77000,PortElizabeth6031
Tel0415043256
Fax0415049256/3529
www.nmmu.ac.za
Nelson Mandela Metropolitan University
FacultyofArts:SchoolofArchitecture
POBox77000,PortElizabeth6031
Tel0415043517
Fax0415043491
www.nmmu.ac.za
North West University
SchoolofCommunicationStudies
PrivateBagX6001,Potchefstroom2520
Tel0182994091
Fax0182991651
www.puk.ac.za
Rhodes University
DepartmentofFineArts
POBox94,Grahamstown6140
Tel0466038192/3
Fax0466224349
www.ru.ac.za
University of Cape Town
SchoolofArchitecture,Planning&Geomatics
PrivateBag,Rondebosch7701
Tel0216502374
Fax0216502383
www.arp.uct.ac.za
University of Cape Town
TheMichaelisSchoolofFineArts
31OrangeStreet,Gardens8001
Tel0214807103
Fax0214242889
www.michaelis.uct.ac.za
University of the Free State
SchoolofArchitecture
POBox339,Bloemfontein9300
Tel0514012332
Fax0514445108
www.uovs.ac.za
University of the Free State
DepartmentofFineArts
POBox339,Bloemfontein9300
Tel0514012282
Fax0514013557
www.uovs.ac.za
University of Fort Hare
DepartmentofFineArt
PrivateBagX1314,Alice5700
Tel0406022011
Fax0406531554
www.ufh.ac.za
University of KwaZulu-Natal
DepartmentofArchitecture
ShepstonLevel8,HowardCollege
Campus,UniversityofKwaZulu-Natal
4000
Tel0312602094/3139
www.ukzn.ac.za
University of KwaZulu-Natal
CentreforVisualArts
PietermartizburgCampus
PrivateBagX01,Scottsville3209
Tel0332605170
Fax0332605240
www.ukzn.ac.za
University of Johannesburg
FacultyofArt,DesignandArchitecture
POBox17011,Doornfontein2028
Tel0115591022
Fax0115591134
www.uj.ac.za
University of Pretoria
DepartmentofVisualArts
LynnwoodRoad,Hatfield0002
Tel0124202353
Fax0124203686
www.up.ac.za
Appendix D: List of institutions offering design education
9�
University of Pretoria
DepartmentofArchitecture
LynnwoodRoad,Hatfield0002
Tel0124204600
Fax0124202552
www.up.ac.za
University of South Africa
ArtHistory&VisualArts
POBox392,Pretoria0003
Tel0124296798
Fax0124293556
www.unisa.ac.za
University of Stellenbosch
DepartmentofVisualArts
PrivateX1,Matieland7602
Tel0218083052
Fax0218083044
www.sun.ac.za
University of the Witwatersrand
SchoolofArt
PrivateBagX3,Witwatersrand2050
Tel0117174636
Fax0113397601
www.wits.ac.za
University of the Witwatersrand
SchoolofArchitectureandPlanning
PrivateBagX3,Witwatersrand2050
Tel0117177638
Fax0117177649
www.wits.ac.za
Universities of Technology
Cape Peninsula University of Technology
FacultyofInformatics&Design
POBox1906,Bellville7535
Design&Architecturalprogrammes–
Bellvillecampus
Tel0219596271
Designprogrammes–Capecampus
Tel0214603392
Fax0214603553
Architecturalprogrammes–Capecampus
Tel0214603136
www.cput.ac.za
Central University of Technology
SchoolforDesignTechnologyandVisualArts
PrivateBagX20539,Bloemfontein9300
Tel:0515073184
Fax:0515073199
www.cut.ac.za
Durban University of Technology
ArtsFaculty
POBox1334,Durban4000
Tel0312036522
Fax0312036518
www.dut.ac.za
Tshwane University of Technology
FacultyoftheArts
PrivateBagX680,Pretoria0001
Tel0123186132
Fax0123186178
www.tut.ac.za
Tshwane University of Technology
DepartmentofArchitecture&Polymer
Technology
PrivateBagX680,Pretoria0001
Tel0123185252
Fax0123185036
www.architec.co.za
Vaal University of Technology
DepartmentofVisualArtsandDesign
PrivateBagX012,Vanderbijlpark1900
Tel0169509312
Fax0169509789
www.vut.ac.za
Walter Sisulu University of Technology
FacultyofAppliedTechnology
POBox1421,EastLondon5200
Tel0437085200
Fax0437085349
www.wsu.ac.za
Independent schools
AAA School of Advertising - Cape Town
VisualCommunication
POBox3423,CapeTown8000
Tel0214221800Fax0214221827
www.aaaschool.co.za
AAA School of Advertising - Johannesburg
VisualCommunication
POBox2289,Parklands2121
Tel0117812772
Fax0117812796
www.aaaschool.co.za
Academy of Advanced Technology
- Johannesburg
ArchitecturalDesign
P.O.Box1503,RooseveltPark,Northcliff
2129
Tel0118887555
Fax0118887222
www.advancedtech.ac.za
95
Academy of Advanced Technology
- Cape Town
Tel0219109500
Fax0219100517
Academy of Advanced Technology
- Durban
Tel0312016523
Fax0312016525
Anchorlite College
FashionDesign&GraphicDesign
POBox3050.Prestondale,Umhlanga
Rocks4320
Tel0313062680
Fax0313062680
BHC School of Design
InteriorDesign
POBox13696,Mowbray7700
Tel0214477288
Fax0214477288
www.designschool.co.za
Calder School of Interior Design
InteriorDesign
POBox36,Parklands2121
Tel0114472364
Fax0117888872
Centre for Fine Art, Animation and
Design
FineArt,AnimationandGraphicdesign
POBox26465,IsipingoBeach4115
Tel0313052480
Fax0313076966
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
www.cityvarsity.co.za
College Campus
GraphicDesign&WebDevelopment
POBox202,Witwatersrand2050
Tel0114033820/0123208844/011
8868355
Fax0114037542/0123208845/011
3261987
www.collegecampus.co.za
Credo College
FashionDesign
POBox11163,Tramshed,Pretoria0126
Tel0123222892
Fax0123200571
Damelin
SchoolofMedia&DesignTechnology
Tel0117184000
Callcenter0862222345
www.damelin.co.za
Greenside Design Center
Graphic,Interior&MultimediaDesign
POBox84190,Greenside,2034
Tel0116461984
Fax0116466165
www.designcenter.co.za
Inscape Design College - Johannesburg
Graphic,Interior&MultimediaDesign
POBox87605,Houghton2041
Tel0113272002
Fax0114477054
www.inscape.co.za
Inscape Design College - Pretoria
Graphic,Interior&MultimediaDesign
Tel0123651208
Fax0123616183
Inscape Design College - Cape Town
Graphic,Interior&MultimediaDesign
Tel0214252211
Fax0214252204
Lindiwe Kuzwayo Academy of Fashion
Design
FashionDesign
POBox4076,Durban4000
Tel0313014690
Fax0313014690
www.lindiwekuzwayo.co.za
Linea Fashion Design Academy
FashionDesign
No16CharlesStrachanRoad,Mayville4091
Tel0312611414
Fax0312618150
www.mjvn.co.za/linea
LISOF
FashionDesign
POBox1284,Parklands2121
Tel0117884432
Fax011447-4087
Midrand Graduate Institute
GraphicandFashionDesign
POBox2986,HalfwayHouse1685
Tel0116901700
Fax011315-2824
96
Montebello Design Centre
Jewellery&Ceramics
31NewlandsAve,Newlands7700
Tel0216856445
Fax0216867403
www.montebello.co.za
National College of Photography
Photography
POBox12361,Hatfield0028
Tel0123424770
Fax0123421281
www.photocollege.co.za
Open Window School of Visual
Communication
VisualCommunication
POBox65273,Erasmusrand0165
Tel0123471740
Fax0123471710
www.openwindow.co.za
Potchefstroom Akademie
InteriorDecoratingandDesign
POBox20355,Noordbrug2522
Tel0182945581
Fax0182931991
Prestige Academy
GraphicDesignandWebDevelopment
POBox2220,Bellville7595
Tel0219495036
Fax0219481859
www.prestigeacademy.co.za
Red and Yellow
GraphicDesign
POBox1442,CapeTown8000
Tel0214621946
Fax0214484393
www.redandyellow.co.za
Ruth Prowse School of Art
Art,GraphicDesign&Photography
POBox89,Woodstock7915
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
www.filmdramaschool.co.za
Stellenbosch Academy of Design and
Photography
GraphicDesign&Photography
POBox762,Stellenbosch7599
Tel0218802623
Fax0218801233
www.stellenboschacademy.co.za
The Design School of Southern Africa
- Johannesburg
Graphic,Interior&FashionDesign
POBox37084,BirnamPark2015
Tel0117867501
Fax0117867503
www.designschoolsa.co.za
The Design School of Southern Africa
- Pretoria
Graphic,Interior&FashionDesign
POBox13973,Hatfield0028
Tel0123421779
Fax0123421780
www.designschoolsa.co.za
Vega, The Brand Communications
School - Johannesburg
BrandCommunication
POBox2369,Randburg2125
Tel0118830130
Fax0117846792
www.vegaschool.co.za
Vega, The Brand Communications
School - Cape Town
BrandCommunciation
POBox430,GreenPoint,CapeTown8051
Tel0214257591
Fax0214257592
Vega, The Brand Communications
School - Durban
BrandCommunication
POBox1669,Westville,Durban3630
Tel0312662595
Fax0312662712
97
Appendix E: Presentation by Brenda Sanderson, Icograda Managing Director
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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