If “Design is shaped by the community and community shapes design” (DEFSA 2013 brief author), then how do we teach design to a culture that is engrossed within the ever-­changing information age, what is the impact of this ethos on the current day designer and design?

A.W. Sprin’s definition of landscape as a process of the “mutual shaping of people and places” implies that the inhabitants of any space are implicated in, but also susceptible to, the shaping of their surroundings. This paper examines such interactions by theorising landscape as embodied, individuated experience of place in relation to representations of landscape. The Vaal Metropolitan area is reflected on in terms of the researcher’s experience of place, where experience of place refers to the consideration of direct (multi-­‐sensory) perception, memories and prior knowledge as well as imaginings of place. This understanding of experience of place is based on a combination of theories of place from the writings of Edward Casey, J.B.

The paper considers culture as a collection of meanings which are produced and consumed by a given social group. Thus, the generation of meaning would be analogous to the generation of culture. In the investigation of architectural (built) artefacts it is unusual to identify a representative sample; instead research focus is on the in-­depth precedent study. The purpose of this paper is to identify selection criteria for such a broad corpus of interior design artefacts (which may be studied from a semiotic perspective) as grounded theory requires a large and broad data sample. This is a novel application.

The paper reports on a number of human-­‐centred design projects completed as part of the  undergraduate  graphic design programme at the Vaal University of Technology (VUT). The value of projects rooted  in participatory design practice and social responsibility is discussed in the context of the  multidisciplinary nature of graphic design and the opportunity provided by the Higher Education  Qualification Framework (HEQF) to re-­‐ design existing programmes at Higher Education Institutions  (HEIs) in South Africa.

Modern society experiences the world predominantly through their eyes and the recognition of vision‘s unique power has led to the development of many new forms of visual communication. Photojournalism is a relatively 'young' form of visual communication; however, photojournalists appreciate that a single iconic image may convey a common understanding of an entire event. It is the aim of the paper to review how the appropriation of an iconic image may suggest original associations, particularly within a South African context.

Professional undergraduate degree programs in built environment disciplines prepare students to become practicing architects, interior and landscape architects, industrial designers, planners and construction managers. However, students are rarely exposed to projects in their coursework or in work experience that challenge them beyond the theoretical, and adequately assist them in developing empathy for the needs of disadvantaged or marginalised groups in our society. Design students generally work on briefs provided by their studio leaders, and within discipline-specific groups of their educations programs.

More designers expect and are willing to spend time to continue their education. It is not only because of new job requirements that designers need to upgrade and update their knowledge and experience, but also for self-satisfaction. To meet this educational need, a part-time programme has been offered to product designers with different educational backgrounds and working experiences.

Evaluations of the overall arrangement of the programme and of the teaching and learning of some subjects have been conducted for six years. The evaluations have included questionnaires, classroom observations, and in-depth interviews with students and teachers. This paper briefly reviews the social changes and the need of product designers for continuing education.