As national and cultural entities thrive in a globalised economy, they face an interesting balancing act between being reaping the benefits of diverse voices and influences while highlighting their assets and identity. Many advocates of economic development are turning to Design for affirmation. XCD continues to follow the interaction between municipalities and engaged citizens using design. Our latest article covers the Munich Creative Business Week (MCBW) scheduled for February 7-12, 2012 and is based on an interview with Bayern Design, the principal event organiser.
If you’re cruising through The Continent looking for Design Inspiration or have some frequent flyer miles you need to cash in, this might be worth checking out…
What does it look when Design is part of your City’s Urban Fabric?
Capitalising on craft and design in Cape Town, South Africa.
Editor’s note: since this article was written, the City of Cape Town has won designation as World Capital Design® (WDC) 2014 by The International Council of Societies of Industrial Design (Icsid). This was announced on the closing day of the International Design Alliance Congress in Taipei.
Cape Town is the fourth city to hold this biennial appointment after Helsinki, Finland, WDC 2013. XCD also covered the activities of a previous WDC nominee, Turino. We will be following Cape Town’s progress in making Design Matter to Cape Townians and the CT Creative Community.
In this sequel to our series, XCD covers the Cape Town’s Cape Craft and Design Institute (CCDI). CCDI partnerned with a number of South African organisations for the 2014 WDC designation and is immensely proud that Cape Town was shortlisted along with Dublin and Bilbao.
CCDI talks to XCD about their efforts galvanising Cape Town creatives and the support they received in creating The Fringe, a hub zoned specifically for the creative community.
XCD asks: is promoting a creative class a viable tool for local economic development?
Jonathan Arena explores art, craft and design in Japan: Entry # 5
Plato once observed that “although craftsmen are all poets … they are not called poets, they have other names.” This centuries old statement is very telling about the design industry today – a semantic notion that allows people to classify and assume, which skips process.
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Christopher talks about being Irish, celebrating cross-culture and poster design
XCD: Please introduce yourself, ie., Where were you born and what neighbourhood did you grow up in? Could you tell us more about your family and how you became a designer? Who are your favourite clients/collaborators?
My name is Christopher Scott a graphic designer from Northern Ireland. I have had my posters exhibited all over the world including the Louvre France, Italy, Peru, Spain, USA, Bolivia, Korea and many more. I was brought up in a village called Donaghmore of which I do not remember much about. The three things which are clear in my mind: the house number was 18, all the kids played football after dinner until we could not see the ball because of the darkness and finally I drew pictures of my favourite characters ‘Super Mario’ and ‘Teenage mutant hero turtles’. I would then sign them, go around the houses in my neighbourhood and sell them for 50p so I could buy sweets in the local shop.
As long as I can remember I was always drawing and painting. Which continued until the year 2003; I was 17 years old. I became very bored with the drawing and painting process because I felt that I was not creating anything unique. I started to search for other methods to use my creativity and I randomly turned on the computer one day in school and opened up the program Microsoft Paint. I just started experimenting and within 3 hours everyone had surrounded me and saying the work is amazing.
I have collaborated with many graphic designers all over the world including Yossi Lemel, Reza Abedini, Woody Pirtle, Hervé Matine, Utpal Pande and many more. I also really enjoy working with Ryan O’Neill and Mark Douglas who are local photographers in Northern Ireland.
There’s nothing more inspiring–and encouraging!– than municipal support for creatives. Cape Town’s world class creative scene is a testimonial to the efforts of municipal leaders united with the arts/crafts communities. Read on for the latest event in the Western Cape of South Africa.
Jonathan Arena explores art, craft and design in Japan: Entry # 2
The United States experiences Japan, in large part, through its design culture — from ancient ceramic traditions and minimalist architecture, to today’s high-tech gaming, fashion, and technologically driven lifestyle. Design is a traditional and necessary function of everyday life – fully ingrained into Japanese lifestyle. This is what makes design in Japan so dynamic, and allows creativity to permeate the society in a way that is unique to the Archipelago.
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AN INTERVIEW WITH WILLIAM DRENTTEL OF WINTERHOUSE.
Philosophy, Motivation and Inspiration
XCD: Could you please share your background with our readers? How did you launch a career in Design? As someone who arguably has many career options, what has been the most compelling aspect of being a Designer?
WD: I began my career with a decade-long stint in advertising, working at Saatchi & Saatchi in Italy, Canada and the U.S. I then launched a design firm, Drenttel Doyle Partners, in 1985, and latter mutated into an online designer when I merged with my future wife, Jessica Helfand, to form Winterhouse.
Designing and debating our role in social responsibility.
I accepted AIGA XCD’s offer to open a blog on social engagement with the idea of provoking discussion on how we Designers can reach into into our “Tool Box” and make a difference in our world today. Many designers–Shiego Fukuda, Grapus, Herb Lubalin and Tibor Kalman, to name but a few–have committed their talent to sensitizing their audience to the problems that plague humanity, provoking thought and inspiring action.
My path has been somewhat different, perhaps a reflection of the evolution of social activism as we’ve come to know it and what I believe is an example of our increasing ability to design our own roles in social engagement.
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