T H E UN I VE R S I TY OF THE W EST INDIES

Department of Creative and Festival Arts

VISUAL ARTS UNIT

from cottage industry to state enterprise

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

Colloquium

ABSTRACTS

Lesley-Ann Noel

CHAIR

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 Masters in Business
Administration. She is a Fulbright
Scholar and will commence a PhD in
Design at North Carolina State
University in August 2015.

Michael Lee Poy

CHAIR
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Michael Lee Poy earned a Bachelors

Degree in Architecture from Pratt
Institute of Technology in 1995 and
a Masters in Environmental Design
(M.E.D.) from Yale School of Architecture 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 Trinidads 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 MacFarlanes 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.

Anna Whicher and Piotr Swiatek

awhicher@cardiffmet.ac.uk

Design, Innovation & Policy 2020

anticipating trends for design-driven innovation
Bio:
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.

Abstract:
European Unions policy Innovation Union from

and programmes. Between 2012 and 2015, SEE

the year 2010 was the rst on European level to

has run 102 interactive workshops involving over

recognise design as a factor of innovation. Since

800 policy-makers in using design methods, what

then the landscape for design in Europe has

has directly inuenced 17 policies and 40 design

changed dramatically. Design is progressively

support programmes. Through new research,

moving up the policy agenda at multiple levels of

case-studies and policy recommendations SEE has

governance across Europe. Not only is there an

built a bank of evidence to support governments

Action Plan for Design-driven Innovation

to integrate design into policy, programmes and

launched by European Commission in 2013 but a

their mainstream practice. This article draws on

growing number of countries in Europe, including

the experiences of SEE to present emerging

Denmark, Estonia, Finland, France and Latvia have

trends in design-driven innovation that could

developed national design action plans. Also at

develop in coming years.

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 signicantly contributed to these changes. SEE Platform is a network
of 11 European partners engaging with government to build capacity for design-driven innovation and integrate design into innovation policies

Maria Mater O'Neill

mmo@rubberbandpr.com

Four areas for scaffolding a design mindset

towards a national design policy
Bio:
Dr. Mara de Mater ONeill 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.

Abstract:
Four areas to scaffolding a design mindset
towards a design policy
We work for business with ill-dened 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
rm 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 nancial issues in the
design practitioners and the impact in the Gross

Domestic Product. User centered, participatory and

reective 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 briey the case studies
ndings, 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 identied new challenges: a
lack of Systems Thinking and disregard of peoples
tacit knowledge.

Jalaludin Khan
jkhantt@gmail.com

From a state of old talk to a National Integrated Design Policy

and Action Plan for a Ministry of Design from Cottage
Industry to State Enterprise
Bio:
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 certicates 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.

Abstract:
Design is an integral aspect of todays 21st

and an implementation Design Council for the

century economy and key to our quality of life.

Republic if Trinidad and Tobago that balances the

Good design is aesthetically pleasing, functional

transformation of the economic growth model

and is a viable strategic tool for innovation,

with the application of sustainable design

productivity, competitiveness for economic

thought with economic, social and environmental

development, cultural identity and environmental

needs for The Republic of Trinidad and Tobago as

stewardship. Good design means competitive

a small island developing state.

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

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Cilla Benjamin
Cilla.benjamin@sta.uwi.edu

Healthcare Facilities - Inefcient by Design

Bio:
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 certied as a Lean Enterprise Master Practitioner. Her
qualications 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.

11

Abstract:
Healthcare services are often a sensitive topic

Motor Corporation, and adopted by diverse

among populations. In countries such as Trinidad

industries, globally.

and Tobago (T&T), where the majority of healthcare service provision continues to reside within
the public sector, it is an issue for the governments that fund the services at great cost, and the
citizenry, whose experiences dealing with the
services may inform their opinion of the

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

administrations performance.

appeal. It references a standard primary care

A review of systematic approaches dealing with

tion as cases. The study may be useful for public

the costs of providing healthcare and level of

and private sector health care providers in the

services provided has led to the conclusion that

design of infrastructure and related processes that

traditional hospital design may have led to

enhance performance rather than retard it.

facility and a major secondary healthcare institu-

built-in inefciencies. These are somewhat

difcult to overcome based on the fact that
buildings are generally difcult 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

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Keywords: Healthcare Institution, Toyota Production System, Linked Cells, Performance

Daren Maynard
darenkmaynard@gmail.com

A conceptual design for efcient government ministerial

allocation in Trinidad and Tobago
Bio:
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. Augustine; a MSc. (Distinction) in Programme and Project Management from the
University of Warwick; and the Project Management Professional
certication. 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.

13

Abstract:
The government of the day has to execute its

ministries with the aim of the consolidating the

political mandates. This is done via ministries -

myriad of ministries that have been propagated in

organisations headed by a politically appointed /

the past and current administrations in Trinidad

publicly elected leader and staffed by a cadre of

and Tobago. This design uses the concept of

civil servants. The allocation of a ministry's

superministries to consolidate like areas with the

portfolio of responsibilities is often a guessing

use of supporting sub-ministries to drive organi-

game in the Westminster-Whitehall style of

sational efciencies in these state-sanctioned

parliamentary democracies like Trinidad and

organisations.

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 efcient
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

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Keywords: political, design, portfolio, allocation

Angelica Rodrigues Bencosme

rodriguezbencosme@gmail.com

Furniture Design as a tool of social inclusion

Bio:
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 Politcnica de
Catalua (Diploma) and the Universidad de Nebrija (Masters). Once back
home, she lectured at Dominican universities and attained a Masters in
Education from the Tecnolgico de Monterrey. Shes published the book El
Mueble de Madera Dominicano (2013) to rediscover design as a tool for
social inclusion. Currently lecturing at Instituto Tecnolgico de Santo
Domingo, Anglica is pursuing a Ph.D. at the UWIs Institute for Gender and
Development Studies.

15

Abstract:
Furniture design can be dened as the mental

If governments would direct resources towards

processes that take place before, during and after

design initiatives on a national level, furniture

its manufacturing. It is part of a broader eld,

design as a tool of social inclusion should be

industrial design, which has inadvertently

considered for being easy to approach and

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

implement; perhaps being easier to comprehend

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

than other branches of design whose products are

brought attention to its signicance and

intangible. This paper would include recommen-

transcendence. What homes look like, what they

dations for implementation. Furthermore, it

contain, how they are inhabited, and how they are

encompasses several aspects of interest in this

represented are always functions of the totality of

colloquium: design for the home, for social good,

social practices that constitute culture at particu-

for development urban and sustainable design.

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 doesnt require state of the art
automatized processes or expensive machinery,
which would allow deprived social sectors to have
access to this trade and benet 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.

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Debbie-Ann Estwick
Small Business Development by Design

Bio:
Specialties
Design Strategy | Design Thinking | Graphic Design
Experience
2013 - 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
Education
2009 - 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

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Abstract:
This conceptual paper, Small Business

Upon these premises are built a discourse on the

Development by Design hypothesizes the role of

proposed value and responsibilities of an

a proposed Ministry of Design to wield design as a

organised body that actively forms co-operatives

strategic tool for innovation and economic

with the intent of connecting craftsmen, artisans,

development in and through small businesses in

engineers and manufacturers with a design-led

Trinidad and Tobago.

development system that acts as consultancy, idea

The study explores thought concepts regarding

incubator and, in some cases, grant provider.

design as both a product and process, seeking to

develop and apply these to a Trinbagonian
context.

The value of further study on such a hypothesis

The study, which borrows from varied case studies

contribute to the development of said industries

and literature, is based on the following premises

in Trinidad and Tobago and in making the republic

That designers are natural innovators with the

ability to creatively problem-solve (The Design

may bring to light methods in which design can

a design hub of the Caribbean, further diversifying

and strengthening the local economy.

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

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Keywords: Design, SME, collaboration, economy.

Sharon Wilson
Designing Strategies For Economic Development
Bio:
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 rst 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/AFETTs for Best Female
Entrepreneur at International Womens Day 2009 celebrations. Sharons
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.

19

Abstract:
In order for SMEs to survive in todays economy. It

Design and designers can play a role in helping us

is important that we remain strong and relevant

acquire these skills, but the cost can be

as well as continue to produce quality product

prohibitive for small entrepreneurs. Government

and services at competitive prices. Entrepreneurs

can provide nancial or non-nancial support in

need to acquire new skills and technologies to

helping entrepreneurs work with designers.

improve our businesses. Not all SMEs have the

capacity, resources to fund the high cost of these
new ventures.
Some areas SMEs 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 SMEs to grow and

remain strong.

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Nigel Thomas
DRAWING TOGETHER
Reshaping our world through Design in the 21st century
Bio:
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/Ofce, 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

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Abstract:
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
diversication. 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 exemplied 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 "unied 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

22

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 nd expression in deant 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 exemplied 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 rst 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.

Cosimo Di Maggio
DDD DESIGN DIGNITY DESTINY
Bio:
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
pluralisms spare time irts 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

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Abstract:
Design is an international language of freedom

The primary benefactor of design is humanity,

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

design is about people the relationship between

place and the concept of design cannot be

design and dignity is the genesis of human

enclosed. There is an essential and indissoluble

destiny. The philosophy behind the design is to

relationship between design and dignity in our

achieve the human dignity.

life.

Humans were born with a natural knowledge and

The source of design is a divinely inspired gift of

we have extreme potentiality to increase it

freedom that dignities the human being and

developing the senses and the emotions, and

connect one to the essence as God intended. In its

develop one of the most powerful gifts we receive

application design is a transformational force it

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

seeks to improve and enhance human endeavour.

the creativity.

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.

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Robert Young
robert@thecloth.net

The cooperative as a solution to manufacturing, production and

isolation for fashion designers in Trinidad and Tobago
and the Caribbean
Bio:
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. Roberts 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.

25

Abstract:
There is the idea that manufacturing of design,

worker has about you in their heads, about how

especially fashion, is impossible in Trinidad and

they will be treated at work affects the

Tobago and the Caribbean. The solution proposed

relationship that the worker has with the

by people in inuence and control and with the

designer-employer.

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

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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 oor 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.

Alethea McIntyre
carlenealethea@gmail.com

Trinidad & Tobago Urban Design Vernacular

Bio:
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 parents
house, and the development of my Church. The rest of the time, there are
dossiers to be done for Citizens 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; Gods 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.

27

Abstract:
Urban Design has a language that is being lost. It

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

is no longer spoken or taught, hence it is not

again. Awaken the ears and minds that have fallen

known. Rather, it isnt fully loved therefore it isnt

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

fully known. And what of this lost Urban Design

again. Let it speak with all its complexity its

language? It was part of the everyday experience.

forms, structures, Social context, dialects and

It was part of all that this civilization was

diversity. It will teach. It will respond.

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 dignied

28

Kriston Chen
carlenealethea@gmail.com

Rebuilding a Nation with Design Standards

Bio:
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

29

Abstract:
Standards are the tools from which all of us can

support thesespecicationsyou have to support

design and build sophisticated, beautiful [web]sites

HTML you have to support CSSso we came along

that will work as well tomorrow as they do today.

and did that.

Jeffrey Zeldman

Jeffrey Zeldman

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

Popular events like TED and SXSW provide

million users, it would have web standards from

contexts for mainstream audiences to discover

which to function, perform and scale globally.

design. They offer a stage to recognize and

Currently, there is no such thing.

nurture design talk in culture. Those presenting

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
levelwith 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 competecompeting
on featuresand nobody was saying rst you have to

30

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

Michele Leacock
mango.designs1@gmail.com

Design in Education as a Sustainable Source

in Trinidad and Tobago.

Bio:
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.

31

Abstract:
Most people in Trinidad and Tobago do not see Art

is more to Design than using programs such as

and Design in Education as a sustainable way of

Adobe Illustrator and Photoshop. They are now

making money and affecting change in our

willing to challenge their perception of the

society. It is still mostly thought of as a nice

industry and what it offers.

hobby, or something a Graphic Designer does like

design a poster.

This resulted in a vast improvement of the

My motivation for this paper stems from my

class of 22 students, 18 of them came to class

observation within the current system I nd

more motivated, excited, ready to work, and

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

considered changing their career choice to

secondary school students. This subject is not

Graphic Design.

considered as a rst 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 redene 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

32

students overall approach to the subject. Out of a

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

Robert Pulley
Theatre of the Imagination: Blueprint Exchange
Bio:
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

33

Abstract:
This paper addresses priorities raised in the Crafts
Councils 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.

34

Dr. Stuart Medley and Dr. Christopher Kueh

s.medley@ecu.edu.au

Beyond problem solving: A framework to teach design as an

experiment in the university environment

Bios:
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

35

Abstract:
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 identied 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 Universitys 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.

36

Shweta Nanekar
Design: For the Children, By the Children
Bio:
Specialties
Shweta 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 rm including one for special needs children.

37

Abstract:
With more and more evidence showing direct

Thirdly, we will take a look at public parks where

relationship between childrens health and

often times design elements are a mere response

wellness and their immediate outdoor

to satisfying the requirements of American

environments, there is a growing global

Disabilities Act. We will review design elements

awareness in the design eld to create spaces

that make Public Park a truly inclusive space for

that address these issues. The rising awareness is

all.

result of research efforts in the eld of health,

education as well as top down initiatives like
Lets Move! campaign by rst 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 briey go over the methodologies
used by the designers to gather input from
children for a school project.

38

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.

Christy Maingot
christy@cmidinteriordesign.com

The Concrete Jungle: Urban Stormwater Design in Port of Spain

Bio:
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 Certication 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).

39

Abstract:
Port of Spain, a coastal city located in the

poor stormwater management. The

north-western region of Trinidad, is situated in the

environmental, social, and economic benets

foothills of the Northern Range with most of the

associated with low impact development and

land gently sloping toward the sea. Over recent

proper urban stormwater designs are immense.

years, ooding is emerging as a major issue in the

Urban stormwater design and low impact

city. There have been instances where the East Dry

development also provides the opportunity to

River has burst its banks and caused widespread

become a model for other island nations in the

ooding in the city. The capacity of the river is

region, creating a path for a sustainable future. :

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 ooding occurs. As a result, citizens are
increasingly experiencing many negative effects,

Keywords:

which are difcult to put a value to. Hours spent

in trafc or awaiting public transportation, health
implications and lost workdays all hold a
signicant threat to citizens on the island.
Amongst the many logistical problems faced by
the city, there are also environmental problems
associated with the oods. 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

40

ood; mitigation; stormwater; sustainability

John Stollmeyer
john.stollmeyer@gmail.com

An Ecological Approach to Design

Bio:
Born in 1952, John Stollmeyer graduated from the University of Western
Ontario in 1974 with a BA in Visual Arts. His rst 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. Johns Midnight Robber character King
Kobo was inducted into the Rapso fraternities Oral Tradition in 1996. Since
2007 John has been teaching and designing Permaculture

41

Abstract:
The Anglo/American empire, aka industrial
civilization has been termed the culture of
maximum harm. The discovery of the energy
potential of the nite (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 extravagance.
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 environmental 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

42

as principles or directives to create productive

ecosystems that supply humans material and
spiritual needs on the surplus without undermining ecosystem services.
By imitating the biodiversity of nature we evolve
dynamic resilient cultures that are attuned to
their local natural history, climate and geography.

Neisha Manickchand
neisha.manickchand@yahoo.com

Sustainable Design Catalysing the Transition to a Green Economy

Bio:
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 EnvironmentalSciences, Policy and Management where she observed sustainable practices
throughout Europe. Ms. Manickchand has worked in the eld of renewable
energy, energy efciency 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.

43

Abstract:
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

44

Dean Arlen
dean_arlen@yahoo.com

The Tacarigua Sculptural PlaySpace Project:

An analysis of the evolution of design implementation

Bio:
Dean Arlens 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.

45

Abstract:
This paper will present how a Ministry of Design

ing downstream potential, from a cooperative

and other organizations would be able to assist

business model, to the possibility of a research

design projects negotiate space, from conceptual-

and development space or portal.

ization to installation by referring to the continuing evolution of the Tacarigua Sculptural Play-

I will present how the designs evolved once again

Space Project (TSPSP).

in the secondary market, as it negotiated political

It will be an analytical overview of my design

bodies all bringing certain concerns from safety,

process; I will begin with its philosophy, how it

branding, designing in community participation

affected the conceptualization process; from

and concerns. I will expand on how design

interacting with students in the community,

projects get bogged down in The Politics of

relationships developed with colleagues, peers

Design itself, and the Political of Design

and partner, all shaping and affecting how the

Projects: the ways in which community projects

designs evolve and the objects nal relational

become embroiled in the local political context

value. I will include the social design components

which communities must confront.

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-

46

ofces, community consultations and corporate

Harry Hunt and Cosimo Di Maggio

harry_h2@hotmail.com

Trinidad & Tobago Urban Design Vernacular

Bio:
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 uent in French, gets by in
Spanish and cares greatly about the quality of the built environment.

47

Abstract:
A simple statementdesign

thrive. Establishing a Design District in Downtown

improves the quality of life for everyone

Port of Spain is one very positive step that can be

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

48

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 benets
Government MUST recognise the benets for ALL
citizens to be derived by supporting and
promoting DESIGN in Trinidad and Tobago.

THE DEPARTMENT OF CREATIVE & FESTIVAL ARTS

1-868-663-2222 | 1-868-645-1955

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