2001-2003 | African Style in Product Design

After completing my Bachelors in Industrial Design, from 2000-2003 I undertook a research Masters in Industrial Design titled “Developing New Stylistic Possibilities for African Product Design Inspired by African Cultural Heritage.” It was the first Masters study in Industrial Design in South Africa, and was undertaken at the Technikon Witwatersrand under the supervision of the late Phil Oosthuizen, Department of Industrial Design, and co-supervison of Phil du Plessis, Department of Industrial Design and late Marialda Marais, Department of Fine Arts.

Overview:

The research project endeavoured to explore and develop notions of ‘contemporary African design’. The project focused on chair design with particular reference to the Senufo articulated chair from the Ivory Coast. In order to frame the practical research the separate histories of Western chairs and African chairs were examined for common ground. Ideas of cultural identity and style as a means of communicating an African identity to the West were explored. Transculturation and liminality were presented as alternative conceptual stances from which to overcome conceptual and theoretical problems inherent in the term ‘African design’. The research also examined the notion of communication in products and artefacts aiming at a better understanding of how products and artefacts conceived in one cultural context are likely to be interpreted by another. A general semiotic theory was used as a starting point providing a comparison to various other alternate and/or opposing theoretical approaches. A chair designed in the Western Modernist tradition, Hans Wegner’s 1949 Folding Chair, was used as a basis for illustrating the applicability of such theoretical approaches. A traditional Senufo articulated chair was then used as a basis to explore cross-cultural interpretation: the ways in which one culture interprets the artefacts of another and attaches new and different meanings to these artefacts because of different cultural assumptions, attitudes and values. Finally, the insights gained from the theoretical and cultural understanding of the chairs were used as a basis for putting into practice a hybrid method for design: that of incorporating craft and design and allowing the two approaches to inform one another. After a thorough elimination process one design was chosen, refined and prototyped, this choice being rooted in the theoretical findings in order to develop a new stylistic possibility for African product design inspired by African cultural heritage.

Outcomes: