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Design Pioneers
BY Ninart Lui
BY Ninart Lui
Exclusive Highlight on TAXI Design Network
Interview with Garth Walker
Herein lies the opportunity for those designers brave enough to convince clients otherwise. Not least our collective experience as Africans requires us to ‘think/act’ as Africans – and not as ‘Eurocentrics’ as has been the case historically. We have an emerging art/music/dance etc culture, but less so in design terms. This is due to an Eurocentric design education platform, and the fact that the advertising/design industry has long looked to London and New York for both inspiration and comparison. A walk down any South African city street will amply demonstrate why we are certainly not in Zurich! Happily, design may make the leap to something truly fresh, truly unique (as a new design language), but this will take time, money and commitment. For that to happen, we need to first ‘catch up’ in terms of democracy, an open economy, and global competitiveness. But we are well on the way.
Simply put, “We live in Africa, we are Africa, so we should look like Africa”.
TAXI >>“design is fluid, so all that changes are influence and inspiration. That said one still needs a “good client” and a “good brief”. After that, it’s up to the designer…” – taking into consideration your years of experience, what constitutes a “good brief”?
Garth Walker>>A good brief is like marriage. Both parties need to agree on the same ingredients, the same ends, the same beliefs and the same time frame. But the means of getting there are open to change, compromise, luck and a little chemistry. Above all, plenty of conversation and please… ‘Park the ego’s’. Then it's simply about talent.
TAXI >>I love your content in i-jusi, it is just so refreshing and wonderful as a source of inspiration for designers. What I’m curious about is, having started out as a free space for yourself and your friends to express your thoughts, observations and dabble in new projects, how has it grown over the years, and how do you forecast its expansion into the future?
Garth Walker>>i-jusi came about by accident. It ‘sort of just happened’. In the 12 years I’ve been doing it, not much has changed. But I learned a few things along the way: designers like glory over money; talented designers are really nice people (most only think they are talented); designers are terrified of ‘blank white space’ (they have to have a theme or brief); design is a true global language (and one of the very few); everyone wants ‘what they cant get’ (so make if virtually unobtainable); exposure is everything; always be professional, honest and make sure the motive is genuine; deliver, or you wont be invited back; human nature doesn't change, so neither will design. Just the tools change.
The future is simple: ‘to keep it going’. No easy task when its self funded, and we publish from the bottom of Africa. Long term I’d like to make it a ‘brand’ and add suitable ‘offerings’ beyond a magazine. And most importantly, to redesign/rebuild the website (now way, way out of date).
TAXI >>“What makes us different is that we live in Africa, so we should look like we live in Africa. And not New York, London or Paris!” – what do you see as the greatest obstacles in trying to adapt an international brand and its identity for pitching to the African market?
Garth Walker>>I think its really quite simple. Business doesn't know ‘good from bad (design)’. So we don't have a developed design culture, where the value of design is ‘seen and accounted for’. Once design is a recognized and valued component of the business mix, everything will then follow. Design will have to follow the mantra “who are we talking to, and how do we want to say it”. Only then will the laws of commerce dictate we design according to the audience – and not according to the laws of design/advertising awards! (South Africa is awards obsessed). Historically we have simply copied ‘design’ from elsewhere (in the Apartheid era business environment), or as is the case now, business is coming to grips with ‘transformation’ – design is not a high priority (yet).
TAXI >>With the rapid confluence of advertising and design, where designers are no longer “makers of things” but more involved in an integrated process which ultimately creates a more holistic experience for the consumer, how do you see the role of art fitting into this entire picture?
Garth Walker>>‘Art’ (as in fine art) is quite well established in South Africa. We have a history of both white and black artists from many ‘art’ disciplines. Add to this music, dance, theatre etc. and we have a very healthy ‘arts scene’. Many have achieved international recognition (William Kentridge and Miriam Makebe for example). Historically, school education has included ‘fine art’ but this has been limited to urban schooling. Rural schools (of which the majority of citizens are dependent) have huge issues to overcome before ‘art’ is on the syllabus.
But the tertiary education sector (graphic design and fine art degree) is thriving and increasingly accessed by young black students. South Africa has a large offering in the state and private ‘design school degree’ sector, over and above ‘fine art’ degree courses at all major universities. In ‘creative’ terms we have a thriving ‘art’ industry, which often ends up as part of the ‘design’ industry due to increased employment opportunities (art per se is not a big employer – a fine artist is not financially rewarding for most). Like any ‘creative’ industry, design is open to fads and fashion. Increasingly we will see the blurring of disciplines – fine art / design / digital etc – morphing into a new form of design. However I’m skeptical as to whether or not this will last (or communicate) as in many ways ‘design’ is returning to its basics. (I get to see a number of student graduation shows all over the world each year, a common theme is a return to ‘hand creation’ and a lack of apparent ‘technospeak’ in that technology is less visible than a few years ago).
In the end, the idea is king. How to communicate it, is the decision. Hence the integration…
TAXI >>Being such a strong proponent for African design and art, you have also lamented the fact that the government simply does not recognize this. As a highly reputable member of the community, have you ever thought about going into politics to raise global awareness of the African design and art scene?
Garth Walker>>Part of the problem we have with ‘Government and design’ is the fact that we are talking (or not talking) to politicians. Their motives lie elsewhere.
Design requires ‘honesty’ (I’m not doing this for my ego) and ‘motive’ (I want to make people lives better) as ingredients for success and longevity. Neither ‘honesty’ or ‘motive’ are key to political success (perhaps why Obama has been successful so far). So I could be persuaded to become ‘an activist’ for design. But ‘politics’, I doubt.
TAXI >>How do you feel your personal style has evolved over the years?
Garth Walker>>Most don't know that I’ve been a fanatical photographer for over 30 years since I was seduced at art school. I am in the process of setting up a website so as to have an accessible archive online (the archive is huge). This is happening slowly as we speak (a href="http://www.garthwalkerphotography.com" class="text-gray-features-link">www.garthwalkerphotography.com). Its just been started so the site is only at prototype stage (but it is ‘live’ as this was the easiest way to build it properly). These fotos are somewhat different to my design work. I’d like to pursue this area more.
Design wise, I’m exploring a more ‘Eurocentric’ approach - as it’s more in keeping with my ‘commercial design style’. A sort of ‘Africa meets Europe’ design language - which is in fact more accurate to the South African reality of 2008. We are a true First/Third World intersection. That's why I think we have such an amazing opportunity! I am also exploring more integration with other disciplines. We have just published a ‘short story’ issue (i-jusi #25) which is a 500 word short story and an associated ‘book cover’.
I’d like to get into book design and publishing (I do a little already) and exhibition design. I am currently working on the design for the Sainte-Etienne 2008 Biennale exhibition in France as both designer and exhibitor. And lastly, to stay in business. That's probably the most difficult long-term achievement for all us ‘small design studios’!
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Garth Walker>> I can think of many ‘words’ that apply, but the one that appears to make the most sense long-term is sustainable.
..........................................................................................................
Exclusive Highlight on TAXI Design Network
Interview with Andreas Muller
Andreas Muller>>It is most certainly in the back of our minds, we're very excited about the possibilities of all this new technology and it's exploration is very challenging and rewarding, but we want to use it to surprise and delight people, and for that to work it has to communicate something to them that they can relate to.
You have to be careful when you spend as much time talking to machines as we do, you need to remember that it's not really going to touch a human being unless you talk about human things.
TAXI >>Having worked at Hi-ReS! for a number of years and now collaborating closely with them on several projects, what do you see as the biggest difficulty in translating web-based content into offline installations?
Andreas Muller>>What we are trying to do is to find ways to make use of the experience we've amassed over the years working in the various types of online interactive work into the real world.
At the moment it is still a struggle to build a solid bridge between all these (for us) cutting edge technologies and make sure that we can make use of all the talent we have available to us.
It still takes a special kind of person to really bridge the gap in a meaningful way as a lot of the design work takes place at a really technical level.
The work tends to be quite technology driven, so it's hard to make full use of non technical people in the process, but we're getting better as we learn more. We're looking more and more to the games industry and the tools and content paths that they use.
As with any project, you need to have a healthy disregard for technical details when coming up with ideas, but you need to back that up with the ability to execute.
TAXI >>“For All Seasons”, your take on using interactive elements of the seasons to allow the user to experience certain memories of emotions and experiences for themselves, swept up the Grand Prix at the Tokyo Type Directors Club as the first interactive work to receive the award. Would multisensory experiences ever replace the predominance of words and text in tomorrow’s digital landscape?
Andreas Muller>>I do think technology is creating more and more ways for people to express themselves, but I doubt words and text are about to be replaced anytime soon.
When I was took a computer class at school we were taught never to touch the file manager icon, which makes a lot of sense of course, but we came to see it as something that would might just make the computer explode if you double clicked it.
Kids today are not growing up respecting and fearing technology like we did and they are going to feel comfortable expressing themselves in completely different ways, and also consuming completely different kinds of content.
The big driver of this is that technology is constantly becoming cheaper and easier to use, 15 years ago someone wanting to make a game about how they feel or using game technology to tell a story they want to tell would have needed the kinds of skills you don't pick up very easily, while nowadays that is so much more accessible.
Also the ways we view different forms of expression don't really apply anymore, we've got kids whose idea of a diary is uploading a video to Youtube. We're unlikely to see the end of words anytime soon, but there will be more things added to the mix.
TAXI >>Does each member of the Nanika team wear many different hats, or do you all specialize in one or two areas each?
Andreas Muller>>Specialization and team size tend to go hand in hand, so this isn't really an issue for Nanika at the moment as we are so small, but it's something I've been thinking about for the future.
The nature of the work Nanika does, which to a great extent relies on exploration, means that you can't really specialize too much.
If you specialize too much you will miss opportunities that are only apparent to a person that understands several different fields, but at the same time if no one on your team has a deep enough understanding of a particular subject that you are working with, you will have a hard time creating work that pushes the boundaries.
I don't really see a good solution to it apart from having a good mix and overlap of skillsets in your team.
TAXI >>Nanika and Hi-ReS! are both well-reputed to have established their names in the interactive design industry by utilizing offbeat methods to create holistic experiences for the consumer, with a focus on art and design. What was the hardest creative brief you’ve ever had to work with?
Andreas Muller>>The hardest brief is the one that is the most open, infinite possibilities means you have to impose the restrictions yourself if you want to end up with a clear an simple idea. Also you need to have quite a bit of discipline to keep the research phase from running too long and impacting on your implementation time more than it should.
TAXI >>To me this box of electronics in front of me is much like my box of crayons when I was little, or my box of Legos when I was young. The possibilities of this box are just as endless, but getting exactly what you want out of it is very difficult. There's a lot to learn and explore." In embarking on something you know little or nothing of, what are some of the fundamentals you observe?
Andreas Muller>>The best way to learn something is obviously by doing it, usually by setting up a project that is above your current skill level.
One stumbling block is that all too often ignorance about the subject makes you choose goals that are a bit unrealistic, making your progress very slow and not allowing you to "win" often enough, which usually leads to you giving up. Of course there's nothing wrong with giving up, as long as it's temporary.
Also, going straight for the fun stuff and bypassing the fundamentals always costs you in the long run, when you all of the sudden find yourself high up after an arduous climb, but standing on very shaky ground as you try to maneuver around.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Andreas Muller>>Try!
..........................................................................................................
Read OTHER INTERVIEWS on DESIGN LEADERS
Rodney Fitch and Alvin Tan
Mary Warlick and Simon Waterfall
David Hillman and Marian Bantjes
..........................................................................................................
© 2003 - 2008 by TAXI Design Network. All rights reserved.
Interview with Garth Walker
 | TAXI >>Hello Garth. Congratulations on your election as Jury Chair for this year’s Clios Awards Design Jury. You have always been a massive champion of South African art and design, touting it as “the globe’s last creative undiscovered “Wild West”. What, in your own words, sets it apart from the other capital cities in the world in terms of the art and design scene?
Garth Walker>>In 1994 we had SA’s first democratic elections. “New social order, new visual order”. Much like Russia in 1917, designers were given an opportunity to ‘redesign’ anything and everything so as to better reflect the new nation. Sadly, hasn't really happened, other than a token attempt to ‘be more African’ design-wise. Most commercial brands, corporates, retailers etc. want to “look like Paris, London or New York” – anything but “African”. We have an insecurity around our (new) identity, as is customary with any ‘new nation’ (much like China or Indian design). However, the consumers we designers talk to ARE African, and not “Paris, London or New York”. |
Herein lies the opportunity for those designers brave enough to convince clients otherwise. Not least our collective experience as Africans requires us to ‘think/act’ as Africans – and not as ‘Eurocentrics’ as has been the case historically. We have an emerging art/music/dance etc culture, but less so in design terms. This is due to an Eurocentric design education platform, and the fact that the advertising/design industry has long looked to London and New York for both inspiration and comparison. A walk down any South African city street will amply demonstrate why we are certainly not in Zurich! Happily, design may make the leap to something truly fresh, truly unique (as a new design language), but this will take time, money and commitment. For that to happen, we need to first ‘catch up’ in terms of democracy, an open economy, and global competitiveness. But we are well on the way.
Simply put, “We live in Africa, we are Africa, so we should look like Africa”.
TAXI >>“design is fluid, so all that changes are influence and inspiration. That said one still needs a “good client” and a “good brief”. After that, it’s up to the designer…” – taking into consideration your years of experience, what constitutes a “good brief”?
Garth Walker>>A good brief is like marriage. Both parties need to agree on the same ingredients, the same ends, the same beliefs and the same time frame. But the means of getting there are open to change, compromise, luck and a little chemistry. Above all, plenty of conversation and please… ‘Park the ego’s’. Then it's simply about talent.
TAXI >>I love your content in i-jusi, it is just so refreshing and wonderful as a source of inspiration for designers. What I’m curious about is, having started out as a free space for yourself and your friends to express your thoughts, observations and dabble in new projects, how has it grown over the years, and how do you forecast its expansion into the future?
Garth Walker>>i-jusi came about by accident. It ‘sort of just happened’. In the 12 years I’ve been doing it, not much has changed. But I learned a few things along the way: designers like glory over money; talented designers are really nice people (most only think they are talented); designers are terrified of ‘blank white space’ (they have to have a theme or brief); design is a true global language (and one of the very few); everyone wants ‘what they cant get’ (so make if virtually unobtainable); exposure is everything; always be professional, honest and make sure the motive is genuine; deliver, or you wont be invited back; human nature doesn't change, so neither will design. Just the tools change.
The future is simple: ‘to keep it going’. No easy task when its self funded, and we publish from the bottom of Africa. Long term I’d like to make it a ‘brand’ and add suitable ‘offerings’ beyond a magazine. And most importantly, to redesign/rebuild the website (now way, way out of date).
TAXI >>“What makes us different is that we live in Africa, so we should look like we live in Africa. And not New York, London or Paris!” – what do you see as the greatest obstacles in trying to adapt an international brand and its identity for pitching to the African market?
Garth Walker>>I think its really quite simple. Business doesn't know ‘good from bad (design)’. So we don't have a developed design culture, where the value of design is ‘seen and accounted for’. Once design is a recognized and valued component of the business mix, everything will then follow. Design will have to follow the mantra “who are we talking to, and how do we want to say it”. Only then will the laws of commerce dictate we design according to the audience – and not according to the laws of design/advertising awards! (South Africa is awards obsessed). Historically we have simply copied ‘design’ from elsewhere (in the Apartheid era business environment), or as is the case now, business is coming to grips with ‘transformation’ – design is not a high priority (yet).
TAXI >>With the rapid confluence of advertising and design, where designers are no longer “makers of things” but more involved in an integrated process which ultimately creates a more holistic experience for the consumer, how do you see the role of art fitting into this entire picture?
Garth Walker>>‘Art’ (as in fine art) is quite well established in South Africa. We have a history of both white and black artists from many ‘art’ disciplines. Add to this music, dance, theatre etc. and we have a very healthy ‘arts scene’. Many have achieved international recognition (William Kentridge and Miriam Makebe for example). Historically, school education has included ‘fine art’ but this has been limited to urban schooling. Rural schools (of which the majority of citizens are dependent) have huge issues to overcome before ‘art’ is on the syllabus.
But the tertiary education sector (graphic design and fine art degree) is thriving and increasingly accessed by young black students. South Africa has a large offering in the state and private ‘design school degree’ sector, over and above ‘fine art’ degree courses at all major universities. In ‘creative’ terms we have a thriving ‘art’ industry, which often ends up as part of the ‘design’ industry due to increased employment opportunities (art per se is not a big employer – a fine artist is not financially rewarding for most). Like any ‘creative’ industry, design is open to fads and fashion. Increasingly we will see the blurring of disciplines – fine art / design / digital etc – morphing into a new form of design. However I’m skeptical as to whether or not this will last (or communicate) as in many ways ‘design’ is returning to its basics. (I get to see a number of student graduation shows all over the world each year, a common theme is a return to ‘hand creation’ and a lack of apparent ‘technospeak’ in that technology is less visible than a few years ago).
In the end, the idea is king. How to communicate it, is the decision. Hence the integration…
TAXI >>Being such a strong proponent for African design and art, you have also lamented the fact that the government simply does not recognize this. As a highly reputable member of the community, have you ever thought about going into politics to raise global awareness of the African design and art scene?
Garth Walker>>Part of the problem we have with ‘Government and design’ is the fact that we are talking (or not talking) to politicians. Their motives lie elsewhere.
Design requires ‘honesty’ (I’m not doing this for my ego) and ‘motive’ (I want to make people lives better) as ingredients for success and longevity. Neither ‘honesty’ or ‘motive’ are key to political success (perhaps why Obama has been successful so far). So I could be persuaded to become ‘an activist’ for design. But ‘politics’, I doubt.
TAXI >>How do you feel your personal style has evolved over the years?
Garth Walker>>Most don't know that I’ve been a fanatical photographer for over 30 years since I was seduced at art school. I am in the process of setting up a website so as to have an accessible archive online (the archive is huge). This is happening slowly as we speak (a href="http://www.garthwalkerphotography.com" class="text-gray-features-link">www.garthwalkerphotography.com). Its just been started so the site is only at prototype stage (but it is ‘live’ as this was the easiest way to build it properly). These fotos are somewhat different to my design work. I’d like to pursue this area more.
Design wise, I’m exploring a more ‘Eurocentric’ approach - as it’s more in keeping with my ‘commercial design style’. A sort of ‘Africa meets Europe’ design language - which is in fact more accurate to the South African reality of 2008. We are a true First/Third World intersection. That's why I think we have such an amazing opportunity! I am also exploring more integration with other disciplines. We have just published a ‘short story’ issue (i-jusi #25) which is a 500 word short story and an associated ‘book cover’.
I’d like to get into book design and publishing (I do a little already) and exhibition design. I am currently working on the design for the Sainte-Etienne 2008 Biennale exhibition in France as both designer and exhibitor. And lastly, to stay in business. That's probably the most difficult long-term achievement for all us ‘small design studios’!
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Garth Walker>> I can think of many ‘words’ that apply, but the one that appears to make the most sense long-term is sustainable.
..........................................................................................................
Exclusive Highlight on TAXI Design Network
Interview with Andreas Muller
 | TAXI >>Hello Andreas. Together with Florian Schmitt, you founded Nanika, which is Japanese for ‘something else”, and which focuses on exploring alternative ways of communicating with computers. Why did you initially venture into this, and what has been the biggest reward and/or obstacle so far?
Andreas Muller>>We started Nanika as a way to put some full time focus on some of the research that was going on at Hi-ReS! and see if there was a market for that kind of work. The biggest reward for me personally has been to run my own company, but in general I think the best thing about it is that because of it's small size, Nanika can sometimes spend money and time on things that don't make a lot of sense commercially. TAXI >>Nanika combines the most cutting-edge technology with surprisingly organic elements. Computers dream dreams of flowers, “virtual aquariums” transform SMS texts into swimming fish, and face-detection technology is used to superimpose faces onto people viewing a particular installation. Is this juxtaposition a conscious effort, and if so, what lies the rationale behind it? |
Andreas Muller>>It is most certainly in the back of our minds, we're very excited about the possibilities of all this new technology and it's exploration is very challenging and rewarding, but we want to use it to surprise and delight people, and for that to work it has to communicate something to them that they can relate to.
You have to be careful when you spend as much time talking to machines as we do, you need to remember that it's not really going to touch a human being unless you talk about human things.
TAXI >>Having worked at Hi-ReS! for a number of years and now collaborating closely with them on several projects, what do you see as the biggest difficulty in translating web-based content into offline installations?
Andreas Muller>>What we are trying to do is to find ways to make use of the experience we've amassed over the years working in the various types of online interactive work into the real world.
At the moment it is still a struggle to build a solid bridge between all these (for us) cutting edge technologies and make sure that we can make use of all the talent we have available to us.
It still takes a special kind of person to really bridge the gap in a meaningful way as a lot of the design work takes place at a really technical level.
The work tends to be quite technology driven, so it's hard to make full use of non technical people in the process, but we're getting better as we learn more. We're looking more and more to the games industry and the tools and content paths that they use.
As with any project, you need to have a healthy disregard for technical details when coming up with ideas, but you need to back that up with the ability to execute.
TAXI >>“For All Seasons”, your take on using interactive elements of the seasons to allow the user to experience certain memories of emotions and experiences for themselves, swept up the Grand Prix at the Tokyo Type Directors Club as the first interactive work to receive the award. Would multisensory experiences ever replace the predominance of words and text in tomorrow’s digital landscape?
Andreas Muller>>I do think technology is creating more and more ways for people to express themselves, but I doubt words and text are about to be replaced anytime soon.
When I was took a computer class at school we were taught never to touch the file manager icon, which makes a lot of sense of course, but we came to see it as something that would might just make the computer explode if you double clicked it.
Kids today are not growing up respecting and fearing technology like we did and they are going to feel comfortable expressing themselves in completely different ways, and also consuming completely different kinds of content.
The big driver of this is that technology is constantly becoming cheaper and easier to use, 15 years ago someone wanting to make a game about how they feel or using game technology to tell a story they want to tell would have needed the kinds of skills you don't pick up very easily, while nowadays that is so much more accessible.
Also the ways we view different forms of expression don't really apply anymore, we've got kids whose idea of a diary is uploading a video to Youtube. We're unlikely to see the end of words anytime soon, but there will be more things added to the mix.
TAXI >>Does each member of the Nanika team wear many different hats, or do you all specialize in one or two areas each?
Andreas Muller>>Specialization and team size tend to go hand in hand, so this isn't really an issue for Nanika at the moment as we are so small, but it's something I've been thinking about for the future.
The nature of the work Nanika does, which to a great extent relies on exploration, means that you can't really specialize too much.
If you specialize too much you will miss opportunities that are only apparent to a person that understands several different fields, but at the same time if no one on your team has a deep enough understanding of a particular subject that you are working with, you will have a hard time creating work that pushes the boundaries.
I don't really see a good solution to it apart from having a good mix and overlap of skillsets in your team.
TAXI >>Nanika and Hi-ReS! are both well-reputed to have established their names in the interactive design industry by utilizing offbeat methods to create holistic experiences for the consumer, with a focus on art and design. What was the hardest creative brief you’ve ever had to work with?
Andreas Muller>>The hardest brief is the one that is the most open, infinite possibilities means you have to impose the restrictions yourself if you want to end up with a clear an simple idea. Also you need to have quite a bit of discipline to keep the research phase from running too long and impacting on your implementation time more than it should.
TAXI >>To me this box of electronics in front of me is much like my box of crayons when I was little, or my box of Legos when I was young. The possibilities of this box are just as endless, but getting exactly what you want out of it is very difficult. There's a lot to learn and explore." In embarking on something you know little or nothing of, what are some of the fundamentals you observe?
Andreas Muller>>The best way to learn something is obviously by doing it, usually by setting up a project that is above your current skill level.
One stumbling block is that all too often ignorance about the subject makes you choose goals that are a bit unrealistic, making your progress very slow and not allowing you to "win" often enough, which usually leads to you giving up. Of course there's nothing wrong with giving up, as long as it's temporary.
Also, going straight for the fun stuff and bypassing the fundamentals always costs you in the long run, when you all of the sudden find yourself high up after an arduous climb, but standing on very shaky ground as you try to maneuver around.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Andreas Muller>>Try!
..........................................................................................................
Read OTHER INTERVIEWS on DESIGN LEADERS
..........................................................................................................
© 2003 - 2008 by TAXI Design Network. All rights reserved.
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