The multifaceted structure of higher education often limits the full integration of design and construction teaching in schools of architecture, but the potential for a greater intersection of these knowledge bases does exist. Design education in the architecture studio is typically taught through a linear process, where students are required to produce a concept design, followed by a series of design iterations and lastly, technification of the design. Similarly, in practice, this process is linear, starting with a design phase followed by a construction phase. In both scenarios, this process leads to a predictable design outcome. Contrastingly, a circular design process has the potential to allow for a more open-ended negotiation with material, technology, process, and making.

Aquaculture has become the fastest-growing animal production sector globally, with production in Africa especially, steadily increasing. The move from subsistence to commercial fish farming requires emerging farmers to access technical information and support services. In order to address this need, the Rural Fisheries Programme, a developmental unit with the Department of Ichthyology and Fisheries Science at Rhodes University, South Africa, developed Buna Africa.

Interior design is a discipline concerned with human inhabitation. It provides the capacity for inhabitant identities to inform and be informed by the interior. Interiors are cultural products, reflective of societal identity and taste (Königk & Khan 2015). Following Bourdieu (1979 [1984]), tastemaking is a repeated, cyclic process. As tastemakers, interior designers are responsible for deciding how selected goods are made desirable through responding to, interpreting and shaping the tastes of society. The cyclic nature of interiors is prevalent in the commercial realm. The conventional fit-out lifecycle is governed by lease periods of five years and the physical deterioration of shopfitted elements after ten years of use.

South African universities are exploring strategies to decolonise higher education in response to student’s calls. This manuscript investigates research sleeping dogs in fashion design departments of South African universities.  Research sleeping dogs are defined as academic staff who do not have a doctorate qualification, resulting in their inability to fully perform research related activities. Through 2015 data sets sourced from CHET (2017) and Mbatha & Mastamet-Mason (n/d), a benchmark was done of the academic qualifications of staff in fashion design departments of South African universities against national academic qualifications of staff.

This paper considers the discrepancies in the visual literacy of students prior to entering spatial design education at a public higher-educational institution. Because the school subjects Visual Arts and Engineering Graphics and Design provide feeder skills to visual literacy, students with exposure to these subjects tend to have higher visual literacy than students who are unlikely to have received exposure to these subjects. This is problematic because Visual Arts and Engineering Graphics and Design are not on offer in all public South African schools.

The systemic nature of cultural production implies that designed objects are made desirable (or acceptable) by tastemakers who endow objects with forms of social distinction. Social distinction highlights or diffuses status and reveals self-perceptions of consumers’ identities. In this way, design becomes a form of tastemaking, invested in the construction of identity and is therefore a form of cultural production rooted in consumption. The role of the designer in facilitating conspicuous consumption is therefore critical in the context of social distinction, cohesion and identity.

In March 2015 the South African Council for the Architectural Profession (SACAP) announced its intention to register new professional categories for interior designers. This will provide statutory recognition for the professional status of the interior design occupation and it will allow interior design occupational closure, a state where both the practice and title of the occupation will be regulated.

To reach this milestone interior design’s practical and scholarly endeavour was focussed on the professionalisation of the discipline;  a lacuna was produced in which the discipline did not adequately consider a separate identity for interior design. The pursuit of a stronger discrete identity could provide a stronger professional identity (Breytenbach, 2012).

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 design options in the contemporary computerised era, lead to the digitised manipulation of proposed reality. Green screen is a technique used within film/television and permits compositing and manipulation of the proposed reality. This allows the filmmaker and the virtual designers to substitute the green screen area with whatever designed ‘environment’ the filmmaker desires.

Design thinking, a well known topic of discussion in the design discourse, offers exciting innovative possibilities when applied in other disciplines. This paper explores the potential of design thinking in the seemingly disparate discipline of Operations Research/Management Science (OR/MS). OR/MS develops mathematical models for analysis based on quantitative logic as an answer to management or other real life problems. Design shares this concern with trying to improve current situations but approaches these problems differently, using ‘designerly ways of thinking’.

Students from various disciplines have been exposed to design thinking and praxis over the last decade at the University of Pretoria. Students from publishing, journalism, marketing, management, communication, multimedia (engineering) and a variety of other disciplines enrolled for design modules at under- and postgraduate levels. Learning is extended to include collaborative projects between design students and students from other disciplines.

It is accepted that design is moving away from static, two-dimensional outputs to multiple hybrid media which play out in four dimensions. This shift away from design as an art of composition to one of choreography “involves understanding how the conventions of typography and the dynamics between words and images change with the introduction of time, motion, and sound”(Pullman in Heller 1998:109).

Time-based media enable words to move as if living, thereby extending the expressiveness of traditional typographic language. The communicative value of time and motion as powerful and persuasive design elements must be explored and understood in order for designers to create meaningful four-dimensional design products.

The relationship between design and business management becomes critical when contexts change and new problems emerge. Some new problems in the design industry are a redefinition of disciplinary boundaries, new technologies and shifts in business thinking and client expectations. Design educators need to understand current demands and anticipate the future requirements of design clients when devising courses and content. This requires conceptual flexibility and continued scenario planning.