May 28-29, 2015 | Open Campus Auditorium, Gordon Street, St Augustine

ColloquiumABSTRACTS

from cottage industry to state enterprise

THE UNIVERSITY OF THE WEST INDIESDepartment of Creative and Festival Arts

VISUAL ARTS UNIT

Product designer, Lesley-Ann Noel has done extensive work in product design, export product development, and entrepreneurship training and strategy for development agencies such as the Export Promotion Council of Kenya, Caribbean Export, The International Trade Centre, and the Commonwealth Secretariat. On these projects she has worked with rural and semi-rural entrepreneurs and manufacturers in Africa, South America, and the Caribbean. Ms. Noel is currently the Coordinator of the Visual Arts programme of the Department of Creative and Festival Arts at The University of the West Indies. She is also an adjunct faculty member at the Arthur Lok Jack Graduate School of Business. Her primary research interests are: the impact of art and design education at primary school level, and the importance of design for developing countries. As a designer, she has exhibited work at design exhibitions in Trinidad & Tobago, Jamaica, Brazil, Germany and

France and the USA, and has presented papers at international design conferences in the USA, the UK and India. Ms. Noel has a BA in Industrial Design and a Master’s in Business Administration. She is a Fulbright Scholar and will commence a PhD in Design at North Carolina State University in August 2015.

Lesley-Ann Noel

CHAIR 3

Michael Lee Poy earned a Bachelor’s Degree in Architecture from Pratt Institute of Technology in 1995 and a Master’s in Environmental Design (M.E.D.) from Yale School of Architec-ture in 2004. While in New York, he established himself as an emerging installation artist in several group shows and designed/fabricated masquerade costumes for Peter Minshall in Trinidad’s Carnival. During that time, he earned a living as a sub-contractor in high end interior renovations in Manhattan and designed and made furniture in Brooklyn. Born and raised in Montreal Canada, Michael is now a registered architect in Trinidad and Tobago and was on the executive board of the Trinidad and Tobago Institute of Architects (TTIA) as Honorary Secretary and Chair of Education. Before founding Atelier

Lee Poy Ltd. in 2007, he worked in Trinidad as a junior architect at ACLA: works, established the interiors department for MacFarlane’s Design Studio and made and designed masquerade (mas) for Carnival. He is currently a part-time lecturer at the UWI Department of Creative and Festival Arts.

Michael Lee Poy

CHAIR4

Anna Whicher and Piotr Swiatekawhicher@cardiffmet.ac.uk

Design, Innovation & Policy 2020 – anticipating trends for design-driven innovation

Anna Whicher is Head of Design Policy at PDR at Cardiff Metropolitan

University. Anna is responsible for developing new research, liaising with

government and leading international projects on design and innovation

policies and programmes. Since 2009, Anna has coordinated the SEE

network of 11 European partners sharing international best practice to

accelerate the up-take of design in innovation policies and programmes

(www.seeplatform.eu). As part of SEE, Anna has delivered design policy

workshops to over 150 policy-makers across Europe. She is also an elected

board member of the Bureau of European Design Associations

(www.beda.org), a network of 46 design centres and associations.

Piotr Swiatek works as a Research Assistant in Design and Innovation

Policy Team at PDR, Cardiff Metropolitan University. He was involved in the

delivery of the SEE project – conducted research, developed case studies

and wrote articles for Policy Booklets and Bulletins. Back in Poland, where

Piotr is from, he wrote Polish Design Manifesto and worked together with

a design centre Castle Cieszyn (www.zamekcieszyn.pl) to promote the

creation of design policy.

Bio:

5

European Union’s policy ‘Innovation Union’ from

the year 2010 was the first on European level to

recognise design as a factor of innovation. Since

then the landscape for design in Europe has

changed dramatically. Design is progressively

moving up the policy agenda at multiple levels of

governance across Europe. Not only is there an

Action Plan for Design-driven Innovation

launched by European Commission in 2013 but a

growing number of countries in Europe, including

Denmark, Estonia, Finland, France and Latvia have

developed national design action plans. Also at

regional and local levels the awareness of design

is increasing with a number of regions integrating

design in their innovation policies and smart

specialization strategies, and more and more

design managers innovating public services

within local public authorities.

The SEE Platform project, led by PDR at Cardiff

Metropolitan University and funded by the

European Commission, has significantly contrib-

uted to these changes. SEE Platform is a network

of 11 European partners engaging with govern-

ment to build capacity for design-driven innova-

tion and integrate design into innovation policies

and programmes. Between 2012 and 2015, SEE

has run 102 interactive workshops involving over

800 policy-makers in using design methods, what

has directly influenced 17 policies and 40 design

support programmes. Through new research,

case-studies and policy recommendations SEE has

built a bank of evidence to support governments

to integrate design into policy, programmes and

their mainstream practice. This article draws on

the experiences of SEE to present emerging

trends in design-driven innovation that could

develop in coming years.

Abstract:

6

Maria Mater O'Neillmmo@rubberbandpr.com

Four areas for scaffolding a design mindsettowards a national design policy

Dr. María de Mater O’Neill is a partner, head researcher and creative

director of Rubberband Design Studio, LLP. Lives and works in San Juan de

Puerto Rico. She focused on the role of the designer as a social agent in

building both economic and social capital. She has done design led

research on areas as health care, cultural approach to technology and

education. All these themes relate to democracy and social inclusion

through a trans-cultural and design mindset.

Bio:

7

Four areas to scaffolding a design mindset towards a design policy

We work for business with ill-defined problems in

the context of Puerto Rico, a Caribbean island

under current economic depression. Our context

also has a lack of design discourse and limited

design culture. These have brought in my design

firm opportunities to develop a contextual set of

strategic resilience thinking operations and new

design led approaches skills. The four areas that

we as designers facilitators and producers focused

in order to tackle these issues were: inquiry of

history of local design (recent case study of

success and failures); collective inquiry about

current local teachers’ educational design

approaches (how they are teaching 21 century

skill needed for collaboration in distributed cross

cultural teams in real life projects); inquiry about

how the people relate and experience culturally

with their mobile technology (informed partly on

our client projects) and the use of research of

local cultural industry economic statistics in order

to understand the current financial issues in the

design practitioners and the impact in the Gross

Domestic Product. User centered, participatory and

reflective methodologies, Agile and Lean,

transparency and transdisciplinary approaches,

and evidence based, all have informed under a

resilience strategic thinking model ways to see

the potential use of design as transformation tool,

a tool to explore, problematize and to change the

rules. We will present briefly the case studies

findings, results and impact on the four areas.

Overall results have been: an atmosphere of

openness and transparency with clients, designers

comfortable with public error and wanderings,

and more engagement among stakeholder.

Although we have identified new challenges: a

lack of Systems Thinking and disregard of people’s

tacit knowledge.

Abstract:

8

Jalaludin Khanjkhantt@gmail.com

From a state of “old talk” to a National Integrated Design Policyand Action Plan for a “Ministry of Design – from Cottage Industry to State Enterprise”

Jalaludin A. Khan is a professional designer and principle sustainable

development consultant with the design centered consultancy

INDIVERSITY GROUP based in the Republic of Trinidad and Tobago. He has

academic certificates from Diploma J.D.T.I.; Graphic Design, B.Sc. Honours

U.W.I. St. Augustine.; Environmental & Natural Resources Management and

International Relations Science & Agriculture and is a M.Sc. U.W.I. St.

Augustine.; Engineering Urban Planning Candidate. He has worked as a

design consultant for local, regional and international public, private and

civic sector agencies such as the National Museum & Art Gallery Trinidad

and Tobago, McCann Erickson Advertising Trinidad and Tobago, Caribbean

Epidemiology Centre (CAREC) European Commission. Mr. Khan has awards

in Art and Design, Community service and Environmental Conservation &

Management. He is a board member of the Trinidad and Tobago Art Society

and a number art, environment, heritage and community organisations. He

has traveled extensively reviewing Art and Design through the Caribbean,

North America, Northern South America, Western Europe and China.

Bio:

9

Design is an integral aspect of today’s 21st

century economy and key to our quality of life.

Good design is aesthetically pleasing, functional

and is a viable strategic tool for innovation,

productivity, competitiveness for economic

development, cultural identity and environmental

stewardship. Good design means competitive

business advantage and is a powerful catalysis of

sustainable growth. It is the foundation for the

private sector to be competitive and is a critical

tool for the public sector to develop a clear set of

public design thinking and policies if Trinidad and

Tobago to position itself to be innovation and

competitive for further strategic growth. The

application of design can address socioeconomic

and social public needs to addresses development

sustainability.

This paper discusses a proposal for the

development of a National Integrated Design

Policy and action plan within the context of North

American, Asian and European examples of

national design policies which are mainly about

developing national economic competitiveness.

The paper proposes an Integrated Design Policy

and an implementation Design Council for the

Republic if Trinidad and Tobago that balances the

transformation of the economic growth model

with the application of “sustainable design’’

thought with economic, social and environmental

needs for The Republic of Trinidad and Tobago as

a small island developing state.

Abstract:

10

Cilla BenjaminCilla.benjamin@sta.uwi.edu

Healthcare Facilities - Inefficient by Design

Cilla Benjamin is presently an Instructor in Industrial Engineering of the

Faculty of Engineering at the University of the West Indies (UWI), St.

Augustine Campus. She has extensive experience in the productive sector

and is professionally certified as a Lean Enterprise Master Practitioner. Her

qualifications include MSc Industrial Innovation Entrepreneurship and

Management from The University of Trinidad and Tobago and MSc

Production Engineering and Management and BSc Industrial Engineering

from the UWI.

Bio:

11

Healthcare services are often a sensitive topic

among populations. In countries such as Trinidad

and Tobago (T&T), where the majority of health-

care service provision continues to reside within

the public sector, it is an issue for the govern-

ments that fund the services at great cost, and the

citizenry, whose experiences dealing with the

services may inform their opinion of the

administration’s performance.

A review of systematic approaches dealing with

the costs of providing healthcare and level of

services provided has led to the conclusion that

traditional hospital design may have led to

built-in inefficiencies. These are somewhat

difficult to overcome based on the fact that

buildings are generally difficult to re-purpose

without extensive changes to the infrastructure,

which literally require breaking down certain

walls and building others. However, where

information regarding the most frequently treated

illnesses is available, providers should consider

arranging health care facilities in linked cells,

where linked cells are a key characteristic of the

production system made famous by the Toyota

Motor Corporation, and adopted by diverse

industries, globally.

This paper assesses the potential for linked cell

design within primary and secondary healthcare

facilities in T&T as a means of reducing patient

stress and discomfort while increasing throughput

by more than 50% and enhancing aesthetic

appeal. It references a standard primary care

facility and a major secondary healthcare institu-

tion as cases. The study may be useful for public

and private sector health care providers in the

design of infrastructure and related processes that

enhance performance rather than retard it.

Keywords: Healthcare Institution, Toyota Produc-

tion System, Linked Cells, Performance

Abstract:

12

Daren Maynarddarenkmaynard@gmail.com

A conceptual design for efficient government ministerial allocation in Trinidad and Tobago

Daren Maynard is the Shared Services Manager at Novus Tech Limited and

F1RST.com, respectively. He functions as the Group Head for Shared

Services on the Group Board of Directors. He earned a BSc. (First Class) in

Industrial Engineering from The University of the West Indies, St. Augus-

tine; a MSc. (Distinction) in Programme and Project Management from the

University of Warwick; and the Project Management Professional®

certification. He is an Adjunct Lecturer at The UWI teaching in the Faculty

of Engineering and in the Arthur Lok Jack Graduate School of Business in

the areas of Research Methodology and Project Management.

Bio:

13

The government of the day has to execute its

political mandates. This is done via ministries -

organisations headed by a politically appointed /

publicly elected leader and staffed by a cadre of

civil servants. The allocation of a ministry's

portfolio of responsibilities is often a guessing

game in the Westminster-Whitehall style of

parliamentary democracies like Trinidad and

Tobago. The decision rests with the whims and

fancies of the Prime Minister of the day. This

paper looks at designing a model for the efficient

allocation of ministerial portfolios based on

complementary areas in the core portfolios; the

ability to share services, and the potential

collaboration among the various ministries. This

paper looks at the establishment of 14 permanent

ministries with the aim of the consolidating the

myriad of ministries that have been propagated in

the past and current administrations in Trinidad

and Tobago. This design uses the concept of

superministries to consolidate like areas with the

use of supporting sub-ministries to drive organi-

sational efficiencies in these state-sanctioned

organisations.

Keywords: political, design, portfolio, allocation

Abstract:

14

Angelica Rodrigues Bencosmerodriguezbencosme@gmail.com

Furniture Design as a tool of social inclusion

Angelica Rodrigues Bencosme achieved her B.A in Interior Design with a

thesis about furniture but went on to the national Dominican polytechnic

institute to become a furniture designer. Afterwards she completed

interdisciplinary studies of furniture at the Universidad Politécnica de

Cataluña (Diploma) and the Universidad de Nebrija (Masters). Once back

home, she lectured at Dominican universities and attained a Master’s in

Education from the Tecnológico de Monterrey. She’s published the book “El

Mueble de Madera Dominicano” (2013) to rediscover design as a tool for

social inclusion. Currently lecturing at Instituto Tecnológico de Santo

Domingo, Angélica is pursuing a Ph.D. at the UWI’s Institute for Gender and

Development Studies.

Bio:

15

Furniture design can be defined as the mental

processes that take place before, during and after

its manufacturing. It is part of a broader field,

industrial design, which has inadvertently

permeated practically every aspect of our lives (i.e.

cell phones, tablets, smart watches, etc.); hence

brought attention to its significance and

transcendence. What homes look like, what they

contain, how they are inhabited, and how they are

represented are always functions of the totality of

social practices that constitute culture at particu-

lar times and places.

More than serving for physical comfort or

decorating our homes, furniture design can also

serve as a tool for social inclusion. Unlike other

industrial products, furniture can be created using

local materials and doesn’t require state of the art

automatized processes or expensive machinery,

which would allow deprived social sectors to have

access to this trade and benefit from it. It can also

serve to promote local culture and traditions;

hence it can be a tool for social inclusion. That is,

furniture design and manufacturing can foster

social capital.

If governments would direct resources “towards

design initiatives on a national level”, furniture

design as a tool of social inclusion should be

considered for being easy to approach and

implement; perhaps being easier to comprehend

than other branches of design whose products are

intangible. This paper would include recommen-

dations for implementation. Furthermore, it

encompasses several aspects of interest in this

colloquium: design for the home, for social good,

for development… urban and sustainable design.

Abstract:

16

Debbie-Ann Estwick

Small Business Development by Design

SpecialtiesDesign Strategy | Design Thinking | Graphic Design

Experience2013 - Present: Director, Integrated Marketing Communications, University

of the Southern Caribbean, Trinidad

2006 - Present: Design, Marketing & Brand Strategist, Freelance Designer

2011 - 2012: Senior Brand & Innovation Strategist, Ethnic Vision Inc.,

Barbados

Education2009 - 2010: Master of Arts, Design and Branding Strategy, with Distinction,

Brunel University, UK

2005 - 2008: Bachelor of Fine Arts, Graphic Design, First Class Honours,

Barbados Community College (BCC), Barbados

2003 - 2005: Associate Degree, Visual Arts, BCC, Barbados

Bio:

17

This conceptual paper, “Small Business

Development by Design” hypothesizes the role of

a proposed Ministry of Design to wield design as a

strategic tool for innovation and economic

development in and through small businesses in

Trinidad and Tobago.

The study explores thought concepts regarding

design as both a product and process, seeking to

develop and apply these to a “Trinbagonian”

context.

The study, which borrows from varied case studies

and literature, is based on the following premises

That designers are natural innovators with the

ability to creatively problem-solve (The Design

Experience; Cooper & Press, 2003, p.195),

That design thinkers are the new leaders of the

future (Rise of the DEO: Leadership by Design;

New Riders, 2014, p. 16)

That improved competitiveness and viability of

small businesses and engineering and

manufacturing industries can be achieved through

collaboration, by way of design

Upon these premises are built a discourse on the

proposed value and responsibilities of an

organised body that actively forms co-operatives

with the intent of connecting craftsmen, artisans,

engineers and manufacturers with a design-led

development system that acts as consultancy, idea

incubator and, in some cases, grant provider.

The value of further study on such a hypothesis

may bring to light methods in which design can

contribute to the development of said industries

in Trinidad and Tobago and in making the republic

a design hub of the Caribbean, further diversifying

and strengthening the local economy.

Keywords: Design, SME, collaboration, economy.

Abstract:

18

Sharon Wilson

Designing Strategies For Economic Development

Sharon Wilson is a mother of two girls who has always had a passion for

scents. Thus, it comes as no surprise that when Sharon decided to leave

her Management job and own a business she choose to open a Bath and

Body shop.

Before that move, Sharon started making soaps as a hobby, because of her

preference for natural products. Therefore, when her daughters and

friends persuaded her to take her hobby and turn it into a reality. With

further training abroad in soap making and lots of research that Sharon

truly began to transform her kitchen.

Sharon was able to use the seed money from NEDCO and make her dream

a reality. She opened her first scented shop opposite Batimamzelle

Restaurant in Cascade. Within a year, Sharon was able to achieve the Apex

Award in 2006 for the Most Indigenous Product and the Most Innovative

Idea. She also received an award from Nedco/AFETT’s for Best Female

Entrepreneur at International Women’s Day 2009 celebrations. Sharon’s

other achievement was copping “THE Most Outstanding Micro Business

2010”.

Today, Sharon is still operating a small studio teaching soap and

candle-making as well as doing small orders.

Bio:

19

In order for SMEs to survive in today’s economy. It

is important that we remain strong and relevant

as well as continue to produce quality product

and services at competitive prices. Entrepreneurs

need to acquire new skills and technologies to

improve our businesses. Not all SME’s have the

capacity, resources to fund the high cost of these

new ventures.

Some areas SME’s needs intervention

1. Marketing and promotion

2. Training/HR development

3. Consulting/Advising

4. Entrepreneur Development/Matchmaking

5. Product Development

6. Awareness

These areas are imperative for SME’s to grow and

remain strong.

Design and designers can play a role in helping us

acquire these skills, but the cost can be

prohibitive for small entrepreneurs. Government

can provide financial or non-financial support in

helping entrepreneurs work with designers.

Abstract:

20

Nigel Thomas

DRAWING TOGETHER –Reshaping our world through Design in the 21st century

Nigel Thomas is an extremely versatile Architect with a wealth of global

experience in Architecture, Interior Design and Urban Planning having

practiced as an Architect in the Caribbean, Europe, Australasia, The United

States and Latin America on a multiplicity of projects. He is currently

working on sustainable communities and humanitarian projects in the

Caribbean, Namibia and Angola, including Housing, Educational and Health

Facilities, Commercial/Office, Infrastructure and Waste to Energy Projects.

Responsibilities include Project Design, establishing programs and Master

Planning.

He particularly relishes the challenges of collaborating with global

Architects, Planners, Project Managers and Engineers with the attendant

possibilities of technological transfer. He is involved with many World

Class Designers; ARUP, LAS (Atlanta), Halcrow Fox (UK), Turner Construction,

HOK, Outinord, amongst others.

Specialties: Architecture, Urban Planning, Interior Design, Space Planning ,

Landscape Design.

Website: http://www.nigelthomasarchitecture.com

Bio:

21

Design as a manifestation of human expression is in the process of expansion as a global construct. Continually being reinterpreted and reinterpreting, reshaping, its environment whilst interacting with philosophy, culture, politics, technology, human sciences and a complex socio-economic nexus of forces. In its state of continual becoming, design thinking could indeed become a major force of societal transformation and economic diversification. However, in order to achieve such an objective a design based culture is needed, capable of transvaluation on a global scale; cities, nations, macro-systems (infrastructure, health care, education, housing as a strategy for urban acceleration, including crime prevention). Such an expanded notion of design beyond the fashionable antidote to hubris, would truly encompass our emergent, enactive-cognitive era.

In this paper I will explore the Genealogy of design from its origins (Herkunft) in primitive necessity, culminating in the early profound cosmological experiments of the Pre-Socratics as exemplified by the Greek Stoa. The humility of "drawing things together", gathering, in order to know ourselves is superimposed by the active-reactive synthesis of 19th and 20th century liberal modernism's"gesamtkunstwerk" (total art work) and "gestalt" (design as "unified whole", pan psychic perception, "collective unconscious" and "archetypal myth" (Jung-Nietzsche). The paradigm for design synthesis in the 20th century is the Bauhaus which unites Industrial and Furniture design, Art and Architecture. The curricula though broad is still based on rather strict idealistic modernist principles of aesthetics

and ethics. Beyond the monolithic modernist tabula rasa of "form follows function", or the veneer and bricolage of the post-modernist emphasis on objects and forms without content, lies a potential cognitive and ethical revolution that seeks a balance between innovative creation, composition and careful planning. A new world of necessity requiring real design. The new principles of design must now find expression in defiant sustainable action to combat dysfunctional policies and methodologies that have led to ecological crises (the greenhouse effect/Biological destruction), dystopian economics, ascetic terrorism and the will to nothingness ("suicidal nihilism") ,abject poverty (lack of water, food, and infrastructure). Such a dynamic and complex reality requires a new global commitment and largesse. Design as thinking, feeling, connecting directly with the earth, our people, emotions, passions of a developing 21st century zeitgeist for meanings and prototypes that can truly make a difference to life. The impact of complex assemblages such as the information age, globalization and the digital era exemplified by codes, genes, software, nano-technology and bio-mimesis-requires new design paradigms and exegesis. Drawing together real world concepts and prototypes will allow interactive communication between the public and private realms in order to enhance life and in the process begin to truly know ourselves. For we must first know ourselves in order to become fully aware of the importance of design which would allow us to make the necessary changes for survival and the future advancement of life on earth.

Abstract:

22

Cosimo Di Maggio

DDD – DESIGN DIGNITY DESTINY

Cosimo Di Maggio is an Italian national living and working also in Trinidad

& Tobago, with over 32 years work experience. He is an Architectural

Design Consultant in the different design disciplines and has been design

numerous public and private commercial, institutional, sports and

residential projects worldwide, including some Award winning and

recognized projects in Italy, Poland and Trinidad & Tobago. Designer of

Furniture and Accessories, Image & Cultural Consultant of Foundations

and Lecturer at workshop and event in Europe, Caribbean and South

America. disseminating the importance of design in everyday life. His

pluralism’s spare time flirts with art and travel and is determined to

creatively touch every aspect of physical and virtual landscape.

• Member and Vice President of EUROCHAMTT for 2014-2015.

• European Business Chamber in Trinidad and Tobago

• Co-Founder, Professional Member and presently Board Chair of SIADIF

TT

• Society of Interior Architect Interior Designers Interior Decorators

Industrial Designers Furniture Designers of Trinidad and Tobago

• Association of Sustainability Environmental Landscape Design Trinidad

Tobago

• Member of AOD Association of Designers Trinidad & Tobago

• Member of PMI Project Management Institute USA

• Member of AHF Architecture for Humanity Foundation USA

Bio:

23

Design is an international language of freedom

that speaks in all forms, to no specific period, or

place and the concept of design cannot be

enclosed. There is an essential and indissoluble

relationship between design and dignity in our

life.

The source of design is a divinely inspired gift of

freedom that dignities the human being and

connect one to the essence as God intended. In its

application design is a transformational force it

seeks to improve and enhance human endeavour.

It has the ability to transform the things we do

every day into things that we love the ability to

make something simple into something elegant, it

becomes a reason to transform a normal day into

a special day, creating spaces and objects of which

we fall in love with. We are all designers because

we modify our surroundings and environment

continuously. Our surroundings’ are directly

impact how we feel, aspire and engage. Space of

hope, dignity and comfort are foundations for

nurturing the growth and success of every human

being.

The primary benefactor of design is humanity,

design is about people the relationship between

design and dignity is the genesis of human

destiny. The philosophy behind the design is to

achieve the human dignity.

Humans were born with a natural knowledge and

we have extreme potentiality to increase it

developing the senses and the emotions, and

develop one of the most powerful gifts we receive

from God…, which is curiosity, which is the base of

the creativity.

Abstract:

24

Robert Youngrobert@thecloth.net

The cooperative as a solution to manufacturing, production and isolation for fashion designers in Trinidad and Tobago and the Caribbean

Robert Young is the founder and principal designer of the fashion house

"The Cloth Caribbean", which has been a staple of the Trinidadian fashion

scene since 1986. Robert’s work embodies elements of Caribbean folk

traditions, the spirit of revolution existing in the region and an interest in

restoration of the social ecology and integration of community for public

change.

Bio:

25

There is the idea that manufacturing of design,

especially fashion, is impossible in Trinidad and

Tobago and the Caribbean. The solution proposed

by people in influence and control and with the

money to spend, is often to produce in China or

Colombia or to import labour for production. The

position of the current government of Trinidad

and Tobago is that the fashion designer needs to

design and get it produced elsewhere – story

done.

The ‘stitchers’ or the producers of clothing are

over 45, and are in a different part of their work

cycle, wanting to work at home, their own

factories, or to stop work completely. The pool of

small factories, from which a small atelier would

have been able to get expertise from, no longer

exists, because of the presence of China since

1997. So the trained ‘stitcher’ who would have

done high volume work or piece work, no longer

exists to pull from to work in a small atelier in

prduction. So it seems that …

Another challenge is our relationship as designers

with people who work for us. The ‘story’ that the

worker has about you – in their heads, about how

they will be treated at work affects the

relationship that the worker has with the

designer-employer.

These are some of the challenges that affect

production of Trinidad and Tobago and the

Caribbean. In this paper, the author proposes to

discuss the solutions …

One of the key solutions to the problem of

production in the Caribbean is adjusting the

relationship between the producer and the person

who wants the items made. How does the

designer address the skilled person with the

technology of manufacturing in a different way –

where they become the owner of production – as

unsexy as it may seem. This paper proposes a

corporative where the skilled person owns the

production floor and the person who requires the

skill is a member of the same cooperative or buys

the service. This cooperative would be responsible

for patterns, prototypes and production.

Abstract:

26

Alethea McIntyrecarlenealethea@gmail.com

Trinidad & Tobago Urban Design Vernacular

My name is Alethea Carlene McIntyre, child of a man from Moruga and a

woman from Tunapuna. Realized in Florida, USA, formalized in T&T. I am an

Architect to be, dreamer at best, lover of curry and going to the beach. My

reality consists of conceptualising and implementing design possibilities

for the campus of the University of the Southern Caribbean, my parent’s

house, and the development of my Church. The rest of the time, there are

dossiers to be done for Citizen’s For Conservation, ideas for small projects

to be shared with relatives, the honing of my craft as a future Architect and

things to be dreamt about then subsequently done. The culture of design I

intend to emulate is that of the Bible; God’s method of designing: Service

to humanity, spoken in a language that all speak based on the Spirit of that

place, functioning economically as a steward.

Bio:

27

Urban Design has a language that is being lost. It

is no longer spoken or taught, hence it is not

known. Rather, it isn’t fully loved therefore it isn’t

fully known. And what of this lost Urban Design

language? It was part of the everyday experience.

It was part of all that this civilization was

surrounded by. Everyone and everything spoke it.

Fortunately, Some traces of it remain; beautiful

decay, lovely ruins, items of days past linger on

unnoticed. Or so it would seem. Look. Do you see

them? Listen. They speak; some whisper, some

shout. People hear it. Some look and wonder. What

if they were really seen, understood? What if they

became part of the everyday experience again?

Urban Design that speaks, a tapestry that is

intrinsically human and “Trinbagonian”.

Urban Design that illustrates the fabric of this

nation, realizes its tensions, and thriving on its

propensity to be interwoven. Urban Design that is

accurate. Time Tested Urban Design that is an

expression of this cultural experience with all its

chaos. Urban Design that is observant, full of

integrity, an able to grow in quality – Urban

Design that knits the framework for a dignified

society. Speak it again. Learn of it and speak it

again. Awaken the ears and minds that have fallen

deaf. Make it be seen. Make it be heard. See it

again. Let it speak with all its complexity – its

forms, structures, Social context, dialects and

diversity. It will teach. It will respond.

Abstract:

28

Kriston Chencarlenealethea@gmail.com

Rebuilding a Nation with Design Standards

Kriston Chen is a graphic designer who makes books and websites with an

emphasis on strong typography, unique concepts and healthy communities.

A graduate of Parsons The New School for Design in New York, Kriston has

worked at Macmillan Publishing (Henry Holt & Square Fish) and Random

House (KnopfDoubleday). He is currently a design freelancer in Trinidad

Bio:

29

Standards are the tools from which all of us can

design and build sophisticated, beautiful [web]sites

that will work as well tomorrow as they do today.

— Jeffrey Zeldman

If Trinidad and Tobago (T&T) was an app, with 1.3

million users, it would have web standards from

which to function, perform and scale globally.

Currently, there is no such thing.

This paper advocates for a clear and focused look

at design standards through community building.

It initiates a conversation about design standards,

through education and outreach at a community

level—with designers, engineers and business

leaders tackling and presenting bold, creative

‘problem solving’ around essential needs of

people in Trinidad and Tobago.

The web is supposed to be an open platform for all

and here we were making these sites that were

incompatible...these two browser makers [Internet

Explorer and Netscape]...were competing the way

software manufacturers always compete—competing

on features—and nobody was saying first you have to

support thesespecifications—you have to support

HTML you have to support CSS—so we came along

and did that.

— Jeffrey Zeldman

Popular events like TED and SXSW provide

contexts for mainstream audiences to discover

design. They offer a stage to recognize and

nurture design talk in culture. Those presenting

are leaders in their communities (locally and

globally), passionate about culture and creative

problem solving around people. Trinidad and

Tobago has strayed from being an open platform

for its citizens due historically, to the

non-existence of design communities that

advocate and promote good design. This can be

initiated through the use of a good design mark or

symbol.

Keywords: design standards, web, community,

design mark

Abstract:

30

Michele Leacockmango.designs1@gmail.com

Design in Education as a Sustainable Source in Trinidad and Tobago.

My name is Michele Leacock, I am a creative Professional specializing in

Graphic Design, as well as Illustration. I also have an interest in Character

Design and Animation as well as writing.

I have extensive experience in Business, Human Resources, and Customer

Service. I run my own freelance business, and I am a part-time Teacher of

Graphic Arts at Trinity College East.

I am very passionate about Art and Design, and how the creative arts are a

positive way to encourage the youth and children to discover their

potential.

My goal is to develop Educational programs for children and youth that

incorporate Art and Design as a sustainable source that creates social

change.

Bio:

31

Most people in Trinidad and Tobago do not see Art

and Design in Education as a sustainable way of

making money and affecting change in our

society. It is still mostly thought of as a “nice

hobby,” or something a Graphic Designer does like

design a poster.

My motivation for this paper stems from my

observation within the current system I find

myself in. I teach Graphic Arts to form 4’s and 5’s

secondary school students. This subject is not

considered as a first choice option for many of

these students. It is mostly chosen because it is

seen as a way of escaping from the “harder

subjects,” but not really seen as an important or

sound alternative.

As a result, I chose to reform the students

thinking, to redefine what it means to be educated

in design, and to challenge our present form of

educating children and young people in Art and

Design.

To date, this approach has been positive. The

students are responding to the way the syllabus is

being taught. They seem to understand that there

is more to Design than using programs such as

Adobe Illustrator and Photoshop. They are now

willing to challenge their perception of the

industry and what it offers.

This resulted in a vast improvement of the

students overall approach to the subject. Out of a

class of 22 students, 18 of them came to class

more motivated, excited, ready to work, and

considered changing their career choice to

Graphic Design.

In conclusion, having a Ministry of Design, will not

only aid with funding similar programs in schools,

but will truly change the educational landscape,

giving students more options, choices and greater

accessibility.

Keywords: Michele Leacock, Design, Education,

Trinidad and Tobago

Abstract:

32

Robert Pulley

Theatre of the Imagination®: Blueprint Exchange

Robert Pulley has enjoyed an extensive academic career in higher

education as subject leader for 3D Design at Ravensbourne College, Dean

of Art and Design at Falmouth College of Arts, Principal of West Dean

College at the University of Sussex and Head of School at UCA.He was

awarded a Master of Design by the RCA and his MBA was awarded by the

Open University.

Robert is an advisory board member of Craft Research, a Fellow of the

Chartered Society of Designers, a Fellow of the Royal Society of Arts, a

Fellow of the Higher Education Academy, and a research student at the

RCA. His portfolio is online at: www.bobpulley.co.uk

Bio:

33

This paper addresses priorities raised in the Crafts

Council’s manifesto, ‘Our Future is in the Making’

(2014) by placing enterprise and education at its

heart and by setting out to promote research into

learning through making. Participants across

continents, using analogue and digital tools, are

invited to take part in creative workshops aimed

at designing artefacts that promote kinaesthetic

learning as a driver for social and economic

transformation.

Theatre of the Imagination®

(http://vimeo.com/88650092) builds upon the

practice of designer-makers by facilitating

participatory art and design projects. The research

intention is to determine how participation may

nurture kinaesthetic learning and enterprise

across regional and geographical boundaries.

Abstract:

34

Dr. Stuart Medley and Dr. Christopher Kuehs.medley@ecu.edu.au

Beyond problem solving: A framework to teach design as an experiment in the university environment

Christopher Kueh is a Senior Lecturer at Edith Cowan University (ECU),

Western Australia, as well as a design strategist/consultant who focuses on

service design for social needs. His core career aim is to apply design as an

agent to improve human interactivity, communication, and quality of life

Stuart Medley coordinates the Graphic Design course at ECU. He is the

author of the book, The Picture in Design, which seeks to provide guidance

to graphic designers regarding communicating with pictures. Stuart has

been a professional communication designer in Australia for 20 years with

clients in Europe, Japan and the US. He has been a comic artist in residence

in France. He is the art director for, Hidden Shoal Recordings, a critically

acclaimed record label with a stable of international artists

Bios:

35

The common norm of teaching design as a

problem-solving agent is causing design to be

perceived as linear production of artefacts that

aims to solve identified problems. This design

approach, while having its own merit in the

commercial world, is limiting design from

contributing to the larger communities that are

currently becoming complex.

This paper presents the on-going exploration of

teaching design as experimentation agent at

Edith Cowan University’s School of

Communication and Arts. Discussing examples of

student works that surround real life social and

health care issues, this paper suggests a

framework that is embedded with observations,

uncertainty, and imagination as the foundation to

design education.

Abstract:

36

Shweta Nanekar

Design: For the Children, By the Children

SpecialtiesShweta Nanekar is a landscape designer with over seven years of

experience in designing children and family friendly outdoor

environments. Her areas of emphasis include parks and formal and

non-formal education institutions including several Montessori Schools,

childcare centres, museums, and botanical gardens. Apart from her

expertise in outdoor design for children, Shweta has extensive experience

in developing design programs through participatory design process.

Currently Shweta is involved in planning of three public parks projects at a

private firm including one for special needs children.

Bio:

37

With more and more evidence showing direct

relationship between children’s health and

wellness and their immediate outdoor

environments, there is a growing global

awareness in the design field to create spaces

that address these issues. The rising awareness is

result of research efforts in the field of health,

education as well as top down initiatives like

“Let’s Move!” campaign by first lady Michelle

Obama.

Spaces designed for children are designed for all.

In this article, we will take a look at three project

typologies where children spend majority of their

time- homes, schools and parks. We will review

examples of child friendly neighborhoods to

summarise design elements that work in urban

housing.

Secondly, we will review the design process

involved in creating child-friendly outdoor

learning environments through participatory

design. We will briefly go over the methodologies

used by the designers to gather input from

children for a school project.

Thirdly, we will take a look at public parks where

often times design elements are a mere response

to satisfying the requirements of American

Disabilities Act. We will review design elements

that make Public Park a truly inclusive space for

all.

Lastly, we will discuss some of the current work

going on in the United States at policy level and

review its relevance in the context of Trinidad and

Tobago.

Abstract:

38

The Concrete Jungle: Urban Stormwater Design in Port of Spain

Christy Maingot is a professional Interior Designer based Trinidad. In July

2007, she attended the School of Business And Computer Science, where

she attained Autodesk Certification For AutoCAD. She also attended the

Academy of Designing That November Where she took part In an Interior

Design Basic Course and received awards for the Most Outstanding

Student”. Christy graduated cum laude with a Bachelor of Fine Arts, major

in Interior Design From the International Academy of Design and

Technology, Orlando In October 2010. In May 2012, She became A LEED AP

with specialty; ID+C. In January 2014, she graduated from the Boston

Architectural College with a Masters of Design Studies In Sustainable

Design. She Is also a member Of the Trinidad and Tobago Green Building

Council (TTGBC), and an associate member of the International Interior

Design Association (IIDA).

Bio:

Christy Maingotchristy@cmidinteriordesign.com

39

Port of Spain, a coastal city located in the

north-western region of Trinidad, is situated in the

foothills of the Northern Range with most of the

land gently sloping toward the sea. Over recent

years, flooding is emerging as a major issue in the

city. There have been instances where the East Dry

River has burst its banks and caused widespread

flooding in the city. The capacity of the river is

adequate for the water it carries, but sediment,

garbage and debris in the river reduces its ability

to accommodate large volumes of water and

hence flooding occurs. As a result, citizens are

increasingly experiencing many negative effects,

which are difficult to put a value to. Hours spent

in traffic or awaiting public transportation, health

implications and lost workdays all hold a

significant threat to citizens on the island.

Amongst the many logistical problems faced by

the city, there are also environmental problems

associated with the floods. Ecosystems are

destroyed, therefore leading to loss of habitat. To

mitigate these negative effects associated with

increased stormwater runoff in the city, both

practical and strategic planning must be done. It

is vital for Port of Spain to mitigate the impacts of

poor stormwater management. The

environmental, social, and economic benefits

associated with low impact development and

proper urban stormwater designs are immense.

Urban stormwater design and low impact

development also provides the opportunity to

become a model for other island nations in the

region, creating a path for a sustainable future. :

Keywords:

flood; mitigation; stormwater; sustainability

Abstract:

40

An Ecological Approach to Design

Born in 1952, John Stollmeyer graduated from the University of Western

Ontario in 1974 with a BA in Visual Arts. His first one-man show in 1982,

inspired by his involvement with Rastafari, was called “The Counterfeit”.

From 1983 to 1993 he returned to Ontario and pursued a woodworking

apprenticeship. Moved by the bioregional vision he returned to Trinidad in

1994 and established an ecological business designing fashion accessories

from calabash and coconut shell. John’s Midnight Robber character “King

Kobo” was inducted into the Rapso fraternities Oral Tradition in 1996. Since

2007 John has been teaching and designing Permaculture

Bio:

John Stollmeyerjohn.stollmeyer@gmail.com

41

The Anglo/American empire, aka industrial civilization has been termed the culture of maximum harm. The discovery of the energy potential of the finite (when they done they done) fossil fuels, coal, oil and gas, led to an explosion of productive forces generating a plethora of consumer “goods” and an exponential growth in Homo sapiens protoplasm at the expense of other life forms. All empires have a lifecycle and their peak is always recognized by its baroque extrava-gance.

In the wake of the energy crisis of the early 70s leveraged by by the arrival of peak oil for the continental USA and the dawning of the consciousness of resource limits, a concerted effort was made by many to reduce their environ-mental impact.

The word ecology coined in the 19th, only became familiar to the global elite concerned with the overshoot of the carrying capacity of the planet in the late 20th century. Etymologically it comes from eco- from the Greek oikos, meaning home or habitation and -logy from -logia, meaning the study of. So eco-logical is “home sensibility”, the knowledge and awareness of our home place on planet earth.

Permaculture is an ethically centred design process that takes ecological laws and uses them

as principles or directives to create productive ecosystems that supply humans’ material and spiritual needs on the surplus without undermin-ing ecosystem services.

By imitating the biodiversity of nature we evolve dynamic resilient cultures that are attuned to their local natural history, climate and geography.

Abstract:

42

Sustainable Design Catalysing the Transition to a Green Economy

Neisha Manickchand is a Biophiliac and Sustainability Analyst who seeks

opportunities to inspire people to live in harmony with our natural

environment. She pursued an Erasmus Mundus Masters in EnvironmentalS-

ciences, Policy and Management where she observed sustainable practices

throughout Europe. Ms. Manickchand has worked in the field of renewable

energy, energy efficiency and environmental management over the years

and is adamant to adopt creative approaches to implement practical and

sustainable solutions locally and regionally. She believes that Sustainable

Design can be a catalyst to stimulate ecological consciousness and

encourage action-oriented habits.

Bio:

Neisha Manickchandneisha.manickchand@yahoo.com

43

Design can be used as a tool for promoting

sustainable development in Trinidad and Tobago

as the design process has the power to critically

engage decision makers by motivating them to

creatively develop solutions to existing

environmental challenges. Sustainable Design has

a unique ability to alter habits and lifestyles that

are becoming increasingly unsustainable. A

Ministry of Design with a Sustainable Design

Department can support other existing Ministries

and organisations with environmental portfolios

to promote sustainable development in the

country. In order to facilitate agreen economy,

there needs to be a synergy between technical

and creative approaches for individuals to coexist

with our natural environment. There are many

aspects of sustainable design but this paper

provides insight into howdesign can contribute to

sustainable power production and consumption,

transport, and product use and disposal, thereby

catalysing a green economy

Abstract:

44

Dean Arlendean_arlen@yahoo.com

The Tacarigua Sculptural PlaySpace Project: An analysis of the evolution of design implementation

Dean Arlen’s multi-disciplinary education has shaped his innovative

approach to art-making and design. At John Donaldson Technical Institute,

he completed a Craftsman Diploma in Jewellery making and at The

University of the West Indies, St. Augustine Campus he pursued Visual Arts.

He proceeded to the Ontario College of Art and Design, Toronto, Canada, on

a Commonwealth Fellowship where he pursued studies in installation art,

which included foundry, plastics, wood making, welding and moulding.

Collectively these experiences contributed to his passion for installation

art and transforming public and private spaces.

Bio:

45

This paper will present how a “Ministry of Design”

and other organizations would be able to assist

design projects negotiate space, from conceptual-

ization to installation by referring to the continu-

ing evolution of the Tacarigua Sculptural Play-

Space Project (TSPSP).

It will be an analytical overview of my design

process; I will begin with its philosophy, how it

affected the conceptualization process; from

interacting with students in the community,

relationships developed with colleagues, peers

and partner, all shaping and affecting how the

designs evolve and the objects final relational

value. I will include the social design components

of this project, including the use of ‘memory

design’- which is the recognition of the historical

realities of space, people, architecture and the

object desirability in achieving harmony in

communal spaces. It will also contribute to the

conversation on design futures, urban design and

most importantly design for social good, pinpoint-

ing downstream potential, from a cooperative

business model, to the possibility of a research

and development space or portal.

I will present how the designs evolved once again

in the secondary market, as it negotiated political

offices, community consultations and corporate

bodies all bringing certain concerns from safety,

branding, designing in community participation

and concerns. I will expand on how design

projects get bogged down in “The Politics of

Design” itself, and the “‘Political’ of Design

Projects:” the ways in which community projects

become embroiled in the local political context

which communities must confront.

Abstract:

46

Harry Hunt and Cosimo Di Maggioharry_h2@hotmail.com

Trinidad & Tobago Urban Design Vernacular

Harry Hunt is British with permanent residency in Trinidad, where he has

worked in Architectural practice since 2003. He holds a Diploma in

Architecture from Thames Polytechnic, London.

In Trinidad he has designed and delivered many projects in the healthcare

sector, along with residential and leisure projects and interior design

works. He has also collaborated on several Urban Design projects in

Trinidad, including the Regional Corporations Development Plans.

Prior to Trinidad he worked extensively in all the major project sectors

both in the UK and around the world. He is fluent in French, gets by in

Spanish and cares greatly about the quality of the built environment.

Bio:

47

A simple statement……………………design

improves the quality of life for everyone

Design affects lives on a daily basis and has

positive economic effects.

How can design be assisted to impact and

stimulate the wider economy in positive ways?

Vision and political will, not qualities that can be

said to characterise the general governance of

Trinidad, are key factors.

If Trinidad is to embrace the concept that design

is important to the life and culture of the island,

and thereby seize the opportunity to become the

design capital of the Caribbean,

Government MUST LEAD by legislation and

example and ENABLE with support systems,

structures and funding but strong leadership by

Government does not mean ownership

The window of opportunity for Trinidad to become

the design capital of the Caribbean is short. As in

Cuba, Government here must play a strong role in

the creation of “places” where good design can

thrive. Establishing a Design District in Downtown

Port of Spain is one very positive step that can be

taken to promote and disseminate design.

Linked together with other Urban Design

initiatives a Design District could spark the

wholesale regeneration of Downtown and

- provide a home and a showcase for local

designers

- revitalise and renovate Downtown

- enhance national identity and pride

- derive economic benefits

Government MUST recognise the benefits for ALL

citizens to be derived by supporting and

promoting DESIGN in Trinidad and Tobago.

Abstract:

48

THE DEPARTMENT OF CREATIVE & FESTIVAL ARTS1-868-663-2222 | 1-868-645-1955

dcfa@sta.uwi.edu | facebook.com/UWI.DCFA | twitter.com/DcfaUWI