DESIGN
PAPER 1 (THEORY)
GRADE 12 
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 2017

MEMORANDUM

SECTION A: DESIGN LITERACY 
'UNSEEN' EXAMPLES 
ANSWER EITHER QUESTION 1.1 OR QUESTION 1.2. 
QUESTION 1 [10 Marks] 
1.1 (Allocate a maximum of two marks per element and principle) 

• BALANCE 
  The images are arranged in a bilateral symmetrical balanced manner to  create a sense of order and calmness. 🗹 The clustering of the images in  a circular form around a large central motif shows off radial balance. 🗹 
• FOCAL POINT 
  The DC circular pendant on a chain is the predominant focal point as it is  placed right in the centre. 🗹 It is clearly the biggest image in the  illustration. 🗹 The two points of the heart also direct the eye to the DC  pendant. 🗹 
• RHYTHM 
  The repeated images, for example hats, sneakers, cellphones and rings  make your eyes wander in a vertical, horizontal and circular movement.  🗹 The repeat of many circular images, for example the rings and the  central pendant and the flower image also contribute to creating a circular  rhythm. 🗹 
• CONTRAST 
  The plain, flat background contrasts starkly with the numerous images  and with the fine detail on many of them. It creates a lively, almost  shimmering surface. 🗹 Small motifs such as the little shiny stars contrast  with larger motifs like the hat and the money bag also activating the  surface. 🗹 This shimmery feel communicates opulence and wealth. 🗹 
• SHAPE 
  The images are all flat and simplified to create a clear and clean  composition that reads easily. 🗹 The money bag, hat, sneaker and bottle  are organic shapes that convey movement whilst the cellphone, diamond  and other gems are geometric, stabilising this movement. 🗹 

Credit must be given to any other valid statements.

OR 

1.2 [Allocate a maximum of 2 marks per design term for a total of 10 marks] 

• ECLECTIC 
  The term eclectic means to borrow from a variety of design styles/periods,  to form a new, unique design. 🗹 The simple rectangular form of the bench  makes reference to the Bauhaus and Modernist ideals of Minimalism and  'Less is More'. 🗹 Another possible reference is to Scandinavian Design's  emphasis on functionality, clean lines, light materials and bright colours  and their use of sustainable materials. 🗹 The Postmodernist belief in  environmentally sound designs is also visible in this product's use of  woven recycled plastic. 🗹 
• TRUTH TO MATERIALS
   In keeping with the philosophy of 'truth to materials' the wood of the bench  is kept unpainted to reflect the beauty of its natural state. 🗹 The colour and  grain of the wood is left visible linking the bench to nature. 🗹 
• MINIMALISM 
  The meaning of the term Minimalism implies “Less is More” i.e. the  designer has used the 'bare necessities' 🗹 to create a clean and  streamlined form. 🗹
• FORM FOLLOWS FUNCTION
  The simple form of the design emphasises its function. 🗹 All emphasis is  placed on functionality and decoration is economically applied to  emphasise the simple geometric form. 🗹 
• UPCYCLED 
  The fibres of the textile section of the bench are formed from recycled  plastic bags. 🗹 The plastic bags have been upcycled to achieve a new  purpose, i.e. becoming upholstery. 🗹 

Credit must be given to any other valid statements. 

COMMUNICATION THROUGH DESIGN 
QUESTION 2 [10 marks] 
2.1 (Allocate 8 marks) 

(Allocate 2 marks) 

• Use of colour 
  This message seems to be set within an African context because of the  sub-Saharan background which is brown, dry with very little greenery. 🗹 The use of the colour black symbolises the doom, dread, emptiness and  sadness of poverty. 🗹 The contrast of the black image of the girl in the  left image in comparison to the brightly coloured figure of the girl in the  image on the right could possibly symbolise the difference in a future with  an education versus one without an education. 🗹 
  (Allocate 3 marks)
• The use of imagery in the poster
  The message of the poster conveys the importance of educating little  girls as equally important as educating little boys. 🗹 This is  communicated through the image of the little girl in the foreground and  the image of the little boy in the background on both posters. 🗹 Often  male children are given an opportunity to get an education as they are  traditionally viewed as future breadwinners. 🗹 The girl child, on the other hand, is viewed as a future mother and wife with little importance and  therefore there is no need for education. 🗹 The little barefooted girl in the  image on the left conveys poverty. 🗹 
  (Allocate 3 marks) 
• The font in the slogan of the campaign (Because I am a girl) 
  The “I” in the slogan is elongated/stretched 🗹 which could communicate  that by empowering the girls with education you are giving them the  power to reach for the sky. 🗹 In attaining dreams and allowing them to  have a bright future. 🗹 The font is slightly childlike to show her  vulnerability. 🗹 The size and colour of the word 'girl' is highlighted to  emphasise the importance of educating girls. 🗹 The pink red colour of  the font also stereotypes against girls. 🗹
  (Allocate 2 marks) 

2.2 This poster in FIGURE C assumes that all men have access to education 🗹 and that all rural black girls are disadvantaged and destined to fall pregnant,  without getting an education. 🗹 The poster stereotypes against black girls as  there are girls from other race groups that are also affected by poverty. 🗹 
Credit must be given to any other valid statements.

QUESTION 3 [10 marks] 
ANSWER EITHER QUESTION 3.1 OR QUESTION 3.2. 
(OPTION 1) 
3.1 [10 marks] 

The dress in FIGURE D could be inspired by the flowing attire of Arabian  women. 🗹 The use of boots and strong bands of black in the pattern evokes  associations with uniforms/armour of soldiers as well as with the 'Sub Saharan emo' subculture (use of a lot of black in the clothing with black  boots). 🗹 FIGURE E is an eclectic design influenced by many styles and  movements, for example, the linear texture on the surface of FIGURE E is  reminiscent of Indonesian batik cloth, while the strong diamond and triangular  patterns are Xhosa Shweshwe in style. 🗹 The short, puffy skirt is funky,  girlish and contemporary in inspiration. 🗹 The pattern on FIGURE D is  modern and could be inspired by machine-age movements such as the  Bauhaus and De Stijl as it consists of straight lines and geometric, block-like  shapes. 🗹  
FIGURE D's forms are large and sweeping, consisting of a heavy, flowing  and loose skirt form and a block-like top whereas FIGURE E's forms are  small and crisp. 🗹 The top of FIGURE E is tight fitting, contrasting with the  skirt that is short and puffy expressing a girlish youthfulness. 🗹 The large,  sweeping forms of FIGURE D, in comparison evoke images of traditional  ethnical tribal wear. 🗹 
The repetition of thin, straight horizontals and thick horizontal and vertical  bands of black create a striking plaid-like pattern. 🗹 The pattern on  FIGURE E, on the other hand is more organic and African in style due to the  repeated tie-dye or batik texture and the repetitive small triangles and  diamonds. 🗹 
The heavy black bands and strong red primary colour of FIGURE D creates  a dramatic, eye-catching design. 🗹 FIGURE E also consists of a dominant  red but this red is deeper and more subdued. 🗹 The contrasts of yellow and  white triangles form areas of light contrasts creating a more active surface  than that of FIGURE D. 🗹 The contrast between the red and black creates a  dynamic colour aesthetic. 🗹
Both dresses can be considered avant-garde. FIGURE D fuses a traditional  dress form with modern machine-age pattern and combines this with  industrial-like black boots to create an almost futurist image. 🗹 FIGURE E uses a traditional African print to create a funky modern dress. 🗹 The  combination of a western felt hat on top of an African headscarf, as well as  the inclusion of high heels and an ethnic style necklace, accentuates the  eclecticism of the design. 🗹 
Credit must be given to any other valid statements. 
NOTE: A maximum of ONLY 3 marks may be allocated for tabular  comparison responses. Use the cognitive level grid as a guideline for  your marking 

OR

(OPTION 2) 
3.2 [10 marks] 

The Notre Dame du Haut functions as a contemporary place of worship  dedicated to the Virgin Mary. 🗹 The Basilica of St Paul is also a place of  worship in honour of St Paul whose tomb was placed directly under the altar. It is a Roman basilica, the first model built for a Christian church. 🗹 
Typical of the Roman Basilica the Basilica of St Paul's main structure is a  simple rectangle with three aisles, with the main one in the centre (the nave)  built higher than the sides and including windows (a clerestory) above the  side aisles. 🗹 The repeated vertical columns and a horizontal entablature  create a very stable structure, typical of classical architecture. 🗹 The  structure of the Notre Dame du Haut, on the other hand, is very irregular,  sculptural and organic reminiscent of heavy rock formations. 🗹 The semi circular apse at the top end of the basilica softens the general rectilinearity. 🗹 The Notre Dame du Haut, on the other hand, consists of many curved edges  balanced by a few verticals. 🗹 The roof of the Notre Dame du Haut reminds  one of a slab of rock and appears to be floating from the inside. A space of  several centimetres between the roof and the walls allowing daylight to enter  enhances this floating feeling. 🗹 
The Basilica of St Paul acquires its soft, glowing light from the row of  windows in the clerestory, 🗹 whereas the Notre Dame du Haut achieves light  from rectangular openings deeply set in the thick walls creating a spiritual and  meditative atmosphere inside the building. 🗹 The Basilica's light is gold in  colour, glorifying God's Kingdom whereas the light in the Notre Dame is white,  glorifying God's purity. 🗹
The Basilica is constructed from traditional natural building materials such  as marble, alabaster and granite, whereas the Notre Dame du Haut is  constructed from both white stone and rugged concrete. 🗹 The stone that  dominates the Basilica gives it a solid, strong feeling. 🗹 The concrete and  stone of the Notre Dame du Haut also exudes solidity and earthiness. 🗹 The  floor of the chapel follows the natural slope of the hill down towards the altar.  Certain parts, in particular those upon which the interior and exterior altars  rest, are of beautiful white stone from Bourgogne, as are the altars  themselves. The towers are constructed of stone masonry and are capped by  cement domes. 🗹 
Many surfaces of the Basilica are highly decorated with golden and coloured glass mosaics illustrating religious imagery such as the Apocalypse of John,  with the bust of Christ in the middle flanked by the 24 doctors of the church,  surmounted by the flying symbols of the four Evangelists. 🗹 This decoration  is very sensual and expressive. 🗹 The wall surfaces of the Notre Dame du  Haut in contrast, are unadorned and painted white, reflecting simplicity and  purity. 🗹 The roof is also a neutral black contributing to this general mood of  seriousness. 🗹 The surfaces of the Basilica are smooth whereas the interior  and the exterior of the chapel are surfaced with mortar sprayed on with a  cement gun and then white-washed giving them an organic feel. 🗹 
Credit must be given to any other valid statements or a comparison of a  classical and contemporary building that the candidate has studied. 
NOTE: A maximum of ONLY 3 marks may be allocated to tabular  comparison responses. Use the cognitive level grid as a guideline for  your marking. 

TOTAL SECTION A: 30 

SECTION B: DESIGN HISTORY 
QUESTION 4 [30 marks] 

4.1 Allocate 20 marks in total) 
(Allocate 10 marks for each movement. Please note that only one mark  can be allocated for the name of a designer and product for each  movement. Please use the cognitive level grid as a guideline for your  marking.) 
This memo supplies an answer for the following two possibilities: 
ARTS AND CRAFTS AND DECONSTRUCTIVISM 

Arts and Crafts 
The above quote is by William Morris one of the founders of the Arts and  Crafts movement. The Arts and Crafts movement aimed to place an  emphasis on the natural unity between form, function and decoration, 🗹 keeping their designs simple, elegant and functional. 🗹 They aimed to turn  around the poor taste and inferior quality of mass-produced goods, which  were over-designed and full of unnecessary detail. 🗹 The movement aimed to  condemn the capitalist industrial production that was based on making  money. 🗹 A number of artists and craftspeople were involved and it marked  the beginning of time where an importance was attached to the design of  everyday objects. 🗹 During the Victorian era many factory produced designs  were designed by the machine operators or by the factory owners. 🗹 Their  designs were of poor taste and full of unnecessary detail. As the above quote  states; Morris developed the view that design should aim to be both beautiful  and functional. A focus on quality and craftsmanship and the use of the  natural materials characterised the Art and Craft designs as honest, meaning  that you can see the joints and manufacturing marks instead of hiding or  covering them with decorative elements. 🗹 Designs were kept simple, elegant  and functional and stained glass, wood, textiles and natural brick were  popular materials. 🗹 
All paper, inks and textile designs were produced by hand, using organic  materials. This is a key characteristic of Arts and Crafts design and the result  is complete control of the quality and production of design. 🗹 The Arts and  Crafts style characteristics harked back to medieval architecture and  tapestries, illuminated manuscripts and rustic styles of decoration and  furniture. 🗹 Their subject matter was drawn from the plants, animals and the  birds of nature, particularly in wall paper and textile design. 🗹
William Morris began printing on calico when he purchased the Merton abbey  works in 1881. True to the aims and characteristics of the movement Morris  aimed to produce an item that was beautiful, hand crafted and made in such a  way that it would benefit the workers. 🗹 Fabrics were dyed using only the  highest quality, natural dyes based on herbal recipes. 🗹 The printed textile  from Morris and Co. 1884 produced in Merton Abbey was dyed using the  indigo discharge method. The method involves first dying the calico an indigo  blue shade and then removing the areas where the design appears with  bleach. Finally the fabric is dyed again using red and yellow resulting in a  deep palette of reds, oranges, purples, greens and blues. 🗹 The textile  design is based on natural motifs (flowers, vines and leaves). A sense of  perspective is achieved by overlapping the flowers and stems. Texture was  achieved through patterning. Gentle wavy lines and regularly curving patterns  of leaves and flowers along with stylised scroll leaf pattern create an  aesthetically appealing design. 🗹 This example is both useful and beautiful. 

Deconstructivism 
Contradictory to the above statement instead of focusing on the function and  the construction and aesthetics of designs, Deconstructivist designers  focused on exploring the relationship between the different parts of a design.  🗹 The resulting style resembles designs that are irregular and literally  fragmented. 🗹 'Unnecessary' lines and forms are created for the sake of  creating new and original structures. 🗹 
The aims of Deconstructivism are based on the writings of French  philosopher Jacques Derrida. Derrida explores uncertainties and opposites  that are in a state of instability and the unseen relationships between all  things rather than the function and usefulness of parts. 🗹 Their designs  aimed to pull things apart in order to investigate the relationship between the  parts. 🗹 Deconstructivism aims to question structures and forms that have  existed and been accepted over the ages. 🗹 These basic norms are  subverted and disturbed. Lines and shapes become fluid and often defy  gravity or visual stability. 🗹 
Frank Gehry is a Deconstructivist architect who uses highly unconventional  materials in unusual ways. Gehry has broken new ground in architectural  design by exploring the stylistic characteristics of Deconstructivism in the  way he manipulates shape and texture. 🗹 The Guggenheim Art Museum in  Bilbao Spain, is an iconic example of Deconstructivism. 🗹 Its function/'use' as  an art museum is subsidiary and the fact that it does not conform to normal  building specifications contradicts the latter part of the above statement. Its  lack of conformity allows the building to be considered ugly therefore not  believed to be beautiful; it disregards the norms of a Classical Western art  museum. 🗹 The unconventional exterior of the building is clad in half  millimetre thick titanium panels that reflect light at all times of the day and  night interspersed by limestone and glass, providing transparency and a  neutral colour. The titanium does not oxidise but is a most unusual and  controversial cladding material for buildings. 🗹 These materials are chosen  for their unconventional characteristics rather than for their 'beauty' or  'usefulness'. 🗹
The Guggenheim Art museum designed in the Deconstructivist style  characteristically has no conventional straight line and right-angled corner in  the design creating an unstable composition. 🗹 These lines and forms are not  essential to the function of the building but are used for the sake of exploring  a new architectural style based on the relationship between opposites. 🗹 In  conclusion the Deconstructivist movement is the antithesis of the above  quote. 🗹 
Credit must be given to any other valid statements. 

4.2 [10 marks] 
                              
Inspiration 
De Stijl was founded by a group of Dutch designers who were inspired by the  Dutch tradition of logic, severity and clarity. 🗹 Art Deco was inspired by a  societal fascination with ancient exotic societies such as Ancient Egypt, Aztec  Civilizations and Africa. 🗹  

Aims  
Both Art Deco and De Stijl design movements occur between the two World Wars. In  a desperate attempt to escape the horrors of a war torn society, the Art Deco  movement aimed to create an alternative reality of exoticism, glamour, elegance and  luxury. 🗹 The De Stijl movement, on the other hand, did not attempt to escape reality  but attempted to find the essence of reality through geometric abstraction. 🗹 They  aimed to restore order after the chaos of the World War by exploring abstraction and  reducing the design elements to a universal language that focused on geometry. 🗹
During the Art Deco age, machinery was used extensively to create new products  which, like the tea set of Clarice Cliff, aimed to meet the day to day needs of city  dwellers. 🗹 The culture of the industrial revolution had increased urban population  which meant there was a demand for machine-made goods and entertainment at  affordable prices and a need to escape 'everyday life'. 🗹  

Related Items

Line 
The De Stijl tea pot's use of vertical and horizontal line is typical of the  movement's rigidity. 🗹 They moved away from tradition and used geometric  bold lines creating a simple, clean effect. 🗹 The line of the Art Deco tea pot is  more varied and expressive with the use of wavy and straight lines creating a  more organic feel. 🗹 

Shape 
Characteristic of Art Deco is the tea pot's use of simple modernist shapes.  The edges are clean, straight and zigzagged edges creating dynamic,  streamlined shapes. 🗹 On the other hand the De Stijl movement established  the use of pure, geometric shapes. 🗹 This characteristic is evident in the De  Stijl tea pot which displays stark right angled shapes. 🗹 

Decoration 
De Stijl's decoration is abstract, evolving from their focus on geometry and  mathematics. 🗹 Instead of traditional decoration as still evident in the Art  Deco tea set, it broke with all design and art conventions. 🗹 The “De Stijl tea  pot” shows the simplification of decoration into 'basic' building blocks of visual  expression, geometric forms, vertical and horizontal lines and only the three  primary colours, black and white. 🗹 De Stijl rejected all reference to tradition  and external reality and looked to architecture and urban planning for  decoration. 🗹 Contrary to this, the Art Deco tea pot shows recognisable  subject matter such as the sun, mountains and a flower, but typical of the  movement, these images are stylised, decorative and two-dimensional. 🗹 
Credit must be given to any other valid statements. 
NOTE: A maximum of ONLY 3 marks may be allocated for tabular  comparison responses. Use the cognitive level grid as a guideline for  your marking.

TOTAL SECTION B: 30

SECTION C: SOCIO-CULTURAL/ENVIRONMENTAL AND SUSTAINABLE CONTEXT QUESTION 5 [20 marks] 
ANSWER EITHER QUESTION 5.1 OR QUESTION 5.2. 
(OPTION 1) 
5.1 [20 marks] 
5.1.1 (Allocate 6 marks) 

(Allocate 2 marks) 

• Imagery  
  • The poster is conveying the message that smoking is bad for  one's health. 🗹
  • The image of teeth decaying is a very repulsive image  successfully conveying the negative impact on one's health. 🗹
  • The skin around the teeth looks inflamed contributing to this  anti-tobacco message. 🗹
    (Allocate 2 marks)
• Design Layout 
  • The image is placed strategically so that it appears as if a hand  reaching for a cigarette can be bitten. 🗹
  • This also emphasises  the danger of smoking. 🗹
  • The image of the cigarette box is  large and dominant making it the focal point, confronting the  viewer. 🗹
  • The top quarter of the poster consists of a clear  message in a white text block against a dark background also  attracting the eye of the viewer. 🗹
    (Allocate 2 marks)
• Use of Font 
  • A simple, sans serif font is used which helps to convey the  message in a clear and direct way. 🗹
  • The use of capital letters  emphasise the importance of the message conveyed. 🗹
  • The  white font contrasts with the black background, further  emphasising the importance of the message. 🗹

Credit any other valid statements.

5.1.2 Allocate 14 marks in total 
(Allocate 7 marks per case study) 
Allocate 1 mark for the name of the designer and the name of  the product.  

ONE CONTEMPORARY SOUTH AFRICAN DESIGNER/DESIGN  GROUP: 
Necklace from felt and beads by Zimele Social Empowerment  craft group 🗹 
Aims: 

• Zimele focuses on developing community self-reliance through  crafts. 🗹
• Zimele is a non-profit organisation based in Pietermaritzburg that  was founded in 2007 by Rosetta Stander. Determined to break the  cycle of 'hand-out dependency' and basing her model on highly  successful schemes in India, she created Zimele, meaning “people  stand on their own feet” in Zulu. 🗹
• Zimele is a non-profit  organisation that acts as a facilitator, not just feeding people for a  day but leading them towards belief in their personal ability to work  their way out of poverty. 🗹
• Zimele's aim is to focus on the  individual's journey to self-worth, self-realisation, and finally  sustainable self-sufficiency. People are therefore able to contribute  fully according to their individual strengths on a community level for  the ultimate benefit of both the individual and the wider community.  🗹 

Methods and processes: 
Zimele is currently implementing its programmes in all 11 districts  of KwaZulu-Natal with approximately 3500 women actively involved with Zimele. 🗹 
The Zimele model works to: 

• empower women by unlocking skills, resources, support  systems and networks, and 
• create new opportunities such as local and international  markets and links to government programmes 🗹 

Zimele pursues this vision through providing women with the  knowledge, skills, resources and support networks to sustain  themselves and their families. 🗹
Women are traditionally excellent  crafters within Zulu society and many rural women have existing  craft skills. 🗹
Through Zimele they are trained to make high quality items, using  their incredible talents. They work with fabric, felt and beads to  make a range of stationery, bags, decorations, home ware and  jewellery. 🗹 The range includes bags, décor, homeware and  jewellery made from felt, beadwork and fabric. 🗹 
The training and materials are free of charge, although the women  are expected to purchase the tools/equipment needed such as  needles, scissors and pliers. 🗹 Once the products are of a good  standard, the women purchase the raw materials and Zimele pays  for the items that they make on order. 🗹 
A discussion of ONE example that reflects social  responsibility 
The Necklace made from felt and beads consists of differently  sized, colourful circular discs 🗹 hanging from different strands of  string/twine to create a playful and fun necklace. 🗹 

ONE INTERNATIONAL DESIGNER/DESIGN GROUP
Makoko floating school designed and built by NLE in  collaboration with the Makoko Waterfront Community, in Lagos  State. 🗹 
Nigerian architect Kunlé Adeyemi, 🗹 the founder and principal of  NLÉ Works, in collaboration with the Makoko Waterfront  Community, conceived, designed and built the floating school, in  Lagos State. The project was initially self-funded by NLE and later  received research funds from Heinrich Boll Stiftung as well as  funds for its construction from the UNDP/Federal Ministry of  Environment Africa Adaptation Programme (AAP). 

Aims: 
Makoko Floating School is a 'prototype' building structure for NLÉ's  proposed 'Lagos Water Communities Project' and its 'African Water  Cities' research project. 🗹 
Makoko Floating School addresses physical and social needs in  view of the growing challenges of climate change in an urbanising  African context. 🗹 It is a movable 'building' or 'watercraft' currently  located in the aquatic community of Makoko in the lagoon heart of  Africa's second most populous city - Lagos, Nigeria. It is a floating  structure that adapts to the tidal changes and varying water levels,  making it safe from flooding and storm surges. 🗹 It is designed to  use renewable energy, to recycle organic waste and to harvest  rainwater. 🗹

Methods and processes: 
The simple yet innovative structure adheres to ideal standards of  sustainable development with its inclusive technologies for  renewable energy, waste reduction, water and sewage treatment  as well as the promotion of low-carbon transport. 🗹 Furthermore a  team of eight Makoko-based builders constructed it using eco-friendly, locally sourced bamboo and wood procured from a local  sawmill. 🗹 

A discussion of ONE example that reflects social  responsibility 
Construction began in September 2012 with floatation mock-ups  and testing. Recycled empty plastic barrels found abundantly in  Lagos were used for the building's buoyancy system, which  consists of 16 wooden modules, each containing16 barrels. 🗹 The  modules were assembled on the water, creating the platform that  provides buoyancy for the building and its users. 🗹 Once this was  assembled, construction of the A-frame followed and was  completed by March 2013. Makoko Floating School is now in  regular use by the community as a social, cultural and economic  centre and will soon welcome its first pupils for use as a primary  school. 🗹 

Credit any other valid statements. 

OR
5.2 (OPTION 2) [20 marks] 
5.2.1 (Allocate 10 marks: 2 marks per requirement) 
Traditional beadwork was used as a method of colonial trade. 🗹 It was also a means of expression, 🗹 communication 🗹 and  storytelling. 🗹 In the past, patterns and colours were woven into  beadwork, symbolising feelings and ideas to lovers and friends 🗹  e.g. Zulu Love Letters. Even though there is an influx of cultures in  the present day, the traditional etiquette of beadwork  communication is upheld by younger generations. 🗹 
The value of traditional craft for any culture is to reconnect with  ancestors, 🗹 social and cultural practices 🗹 and traditions, 🗹 customs, 🗹 heritage knowledge, 🗹 historical background, 🗹 identity, 🗹 all in a desperate attempt to find out who we are, where  we belong and where we are going. If we ignore our past, we have  no way of finding our tomorrow. 🗹 It is a reality that most South  Africans idolise and adore Western American culture. 🗹 If we do  not value our traditional crafts, the South Africans may end up losing their cultural roots. 🗹 
The function of most of the bead work is created by women living  in the rural areas of South Africa. 🗹 As human beings, they have  always expressed themselves through personal decoration and  that came as an expression to enhance physical appearance. 🗹  Apart from enhancing physical appearance, beadwork could  express superior status 🗹 or may possibly possess magical  properties to protect human from illness or hurtful forces. 🗹 
The materials, methods and processes used by the beaders  show the use of different kinds of materials to take beadwork to  new levels by combining traditional beadwork skill with  contemporary designs. 🗹 To create jewellery and objects that  delights the senses with their richness and colour. 🗹 Seeds,  stones, bits of bone, colourful glass beads and precious  gemstones are used. 🗹 The brightly coloured beads are creatively  strung on cotton thread in diamond-shaped patterns in widths of  three inches all around. 🗹 The glass beads are usually arranged in  blocks of five traditional colours (sky blue, grass green, red, black  and yellow). 🗹 

A description of ONE example – isiZulu love letter 
The beaded love letter is used by Zulu women to communicate  with their men. 🗹 This communication is coded in colours and  geometric shapes of triangular shape and usually a maximum of  seven colours. 🗹 The three corners represent the father, mother  and child. White usually represents spiritual love, purity and  virginity. 🗹 
Colour Coding refers to the use of various colours to convey  meaning in a code. Colour coding assumes that in a given context  various basic colours have a static meaning, literal or figurative. Regional styles speak largely to the outside. 🗹 

• Name(s) of the craftsperson or indigenous cultural community  that produced the craft: Zulu women in Hillcrest AIDS centre. 🗹
• Isishunka (seven colours) - white, light blue, dark green, pale  yellow, pink, red and black. 
• Isithembu (five colours) - light blue, grass green, bright  yellow,red and black.  
• Umzansi (four colours) – white, dark blue, grass green and red.
• Isinyolovane – a combination of any colours not consistent with  other schemes. 

Credit any other valid statements. 
5.2.2 (Allocate 10 marks) 

• Name of designer/group and his/her/their design  product/s 
  The Egg Chair by Studio Stirling. 🗹 
• A detailed description of how traditional  technique/methods and material have been applied to  contemporary design. Refer to specific examples to  support your statements.
  Studio Stirling makes beautiful handmade hanging chairs. 🗹 The 'Egg Chair' makes use of durable steel material 🗹 and is  ideal for outside use. 🗹 The 'Egg Chair' is handmade with  unique individualism. 🗹 The patterns are welded using a  weaving technique to enhance the aesthetic and durable  quality. 🗹 The hanging chairs are the passion of Studio Stirling  and their most popular models are the 'nest egg', 'recliner' and  'basket'. 🗹 
• Discuss the socio-cultural contribution of the design/s. 
  The founders of Studio Stirling consider the company as a  program that has been designed to encourage collaboration  between the designers, 🗹 sharing common difficulties and  solutions, mentorship and utilising new manufacturing  processes and materials in a true interchange of skills,  aesthetics and narratives. 🗹 The company's headquarters are  in South Africa, and it has branches worldwide. Studio Stirling  is focused on identifying the specific areas of need of each  company 🗹 and is an immediate and business orientated  initiative, repositioning the design companies in particular East,  West and Southern Africa. 🗹

QUESTION 6 
6.1 [20 marks] 
6.1.1 (Allocate 2 marks)  
Sustainable designs reduce the consumption of non-renewable  resources 🗹 by the careful selection of materials that are  bio-degradable and recyclable for design works. 🗹 
Credit any other valid statements. 
6.1.2 (Allocate 4 marks) 

• Plastics 
  Some plastics are non-renewable, 🗹 they account for the  majority of waste that gets dumped in the rivers, sea, dams and  landfills. Therefore the use of these plastics in design products  helps minimise waste and the negative impact on the  environment. 🗹  
• Tyres
  Tyres are a non-renewable resource 🗹 and the majority of  people and the commercial transportation industries discard  their old tyres in landfills. The use of these tyres as materials in  the design of products helps minimise waste and the negative  impact on the environment. 🗹 
• Wood 
  Wood is a durable bio-degradable/natural resource; 🗹 the use  of this material in design products has no negative impact on  the environment. 🗹 
• Glass  
  Glass is a renewable material that can be melted to design new  design products. 🗹 The abundant wasted glass means that  glass is readily available with our ever growing world population  needs. 🗹 
• Paper 
  Used paper can be renewed and re-used in new products. 🗹 The overly abundant unused paper enhances the sustainable  nature of the product. 🗹 
  Credit any other valid statements.

6.2 Allocate 14 marks in total 
(Allocate 7 marks per case study) 
EXAMPLE OF A SOUTH AFRICAN DESIGNER: 
(Allocate 1 mark to both the name of the designer and name of the  product) 
ONE CONTEMPORARY SOUTH AFRICAN DESIGNER WHOSE WORK  EXPLORES SUSTAINABLE SOURCES/MATERIALS AND TRANSFORMS  THEM INTO SIGNIFICANT DESIGN PRODUCTS. 
              
Erwin van der Weerd – Perfect Places architect 🗹 (Allocate 1 mark) 
Title and brief description of at least one example undertaken by the  designer/design agency or studio (Allocate 3 marks) 
The Hemp House built by Hemporium's Tony Budden and Duncan  Parker, Cape Town South Africa. 🗹 
The Hemp House is a two bedroom house, 🗹 characteristically sharp-angled,  sleek and minimalistic. 🗹 The house was recently completed in Noordhoek,  Cape Town, uses hempcrete, hemp insulation, 🗹 hemp particle board for  cupboards and wall claddings. 🗹 Hemp carpeting is used for the flooring, 🗹 hemp fabric for the curtains, upholstery, bed linen and lighting. 🗹 Hemp  insulation is used under the floor 🗹 and hemp oil as a protective coat for  timber furniture. 🗹 The hemp aspect of the building, which accounts for up to  50% of the walls, was grown in a few months without the need for agro chemicals, 🗹 and results in a breathable, natural, sustainable and carbon friendly building. 🗹 The windows are gas-filled, 🗹 they prevent heat leaking  out of the closed windows with double action seal. 🗹 The windows are  complimented by an automated opening system attached to thermostats that  regulate internal temperature by opening on the cooler/hotter side of the  house depending on the time of the year. 🗹 The kitchen is designed using a  combination of recycled second-life store tops from Cannata and reclaimed  Oregon pine. 🗹 The bathrooms feature recycled second-life stone tops used  on the bamboo vanities, imperviousness to water and aesthetic appeal. 🗹 Cork flooring is used on the ground floor mainly because of the sustainability  element (only the bark is harvested from the tree, causing no damage to the  tree which regrows new bark). 🗹 All lighting is energy-saving LEDs supplied  by Earthpower. 🗹 Appliances such as the refrigerator, washing machine,  dishwasher and television are also energy saving compliant. 🗹

• Transformation of the sustainable material  
  The 'hemp house' is a project to showcase industrial hemp and its  potential as an eco-construction material. 🗹 The hemp house is a  standing example of the viability of the replacing of traditional building  materials with sustainable material. The house is also a reminder of the  amazing environmental benefits which might be gained from more  extensive integration of hemp into the construction industry. 🗹 Hemp  construction focuses on using the hemp stalks, which produces long  strong hollow fibres that can be used to make insulation mats, 🗹 while  the woody part can be pressed into tree-free particle boards for use in  cabinets and panelling, 🗹 as well as hempcrete when mixed with a lime based binder. 🗹 The aim of using hemp in construction is to move from  an extractive method relying on mined and synthetic materials to a  renewable method. 🗹 
• The impact of the design on the environment 
  Industrial Hemp refers to a non-narcotic cannabis cultivar that is used for  a wide range of end products. Hemp has anti-bacterial and anti-allergenic  properties 🗹 with excellent thermal and sound insulation properties. 🗹 As  an organic fibre it allows the walls to breathe and helps purify the air. 🗹 Hemp grows up to 4m tall in 4-5 months and is organic by nature. 🗹 It  can be used as a sustainable resource for paper, fuel, textiles,  construction materials, bio-composites, nutrition, cosmetics and more. 🗹 Currently it is strictly controlled due to its illicit cousin, marijuana/dagga,  but over 40 countries are now growing it as part of a move back to a  green sustainable economy. Hemp has a low carbon footprint and  therefore has no negative impact on the environment. 🗹  

EXAMPLE OF AN INTERNATIONAL DESIGNER 
(Allocate 7 marks per case study – 1 mark for designer and design  product) 

The bogobrush by John McDougall and Heather McDougall. 🗹 

• Brief description of at least one example undertaken by the  designer/design agency or studio 
  The bogobrush is a cylindrical shape biodegradable toothbrush. 🗹 The  nylon bristles of the brush are also 100% biodegradable. 🗹 The design of  the brush is simplistic. 🗹 The cylindrical shape of the toothbrush allows it  to fit perfectly in one's hand. 🗹 The bogobrush bamboo handle replaces  the rubber grips found on ordinary toothbrushes. 🗹
• Transformation of the sustainable material 
  The toothbrush is constructed from the woody bamboo plant and waste  plastics that were destined for the landfill. 🗹 The plastics that are  destined for the landfills are combined with plants from American farms to  create the biodegradable handle. 🗹 
• The impact of the design on the environment  
  The bogobrush avoids contributing to the 450 million toothbrushes thrown  away annually in the USA. 🗹 The product has a low carbon footprint with  no negative impact on the environment. 🗹 Once aged beyond the  recommended three months it can be thrown on a compost pile or just  buried because of its biodegradable properties. 🗹 

Credit any other valid statements. 

TOTAL SECTION C:   40 
GRAND TOTAL:     100