In our new series called VISI Voices, cofounder and director of acclaimed furniture brand Pedersen + Lennard Luke Pedersen casts his mind back to a seminal moment in his journey as a designer.

Creating with your hands should be a simple, intuitive process, but I think we’ve drifted from this essential skill – and my journey into the design profession serves as a testament to this. It all began with a deep- seated desire to weld metal. From my earliest memories, I’ve been captivated by the seemingly magical force that allows two pieces of metal to join seamlessly, becoming stronger together as if they were always one.

Luckily for me, I had a kind mentor who lived “just down the road” – a common scenario in my hometown of Gqeberha. But that’s a digression for another time. This kind man eventually became my father-in-law, or simply “dad” (again, a story for another column). When I was 12, he introduced me to the basics of welding in his garage. There, amid the smell of metal and the crackling of welding sparks, I witnessed him create all sorts of fascinating objects, from ostrich egg incubators to printing presses and off-road trailers. (The digressions seem to flow naturally in this narrative; I’m seeing a pattern.)

One day, I decided to craft a barstool for myself. Why a barstool? Well, my rationale, as a 40-something-year-old reflecting on what might have been going through my mind, was a mix of curiosity and rebellion. I pondered why society allowed me to wield a potentially dangerous welding machine but not to sit at a bar and enjoy a cold beverage. Thus, the barstool became more than a piece of furniture; it became a symbol.

I envisioned this barstool to defy the laws of structural integrity, showcasing the magic of my welding. When I shared my design idea with my mentor, his response was overwhelmingly sceptical. Would my design work? Would it even survive a single night at a bar? In my defence, remember that I was 12 – an age at which attempting the impossible and believing one knows all there is to know is standard procedure.

Undeterred, I embarked on my mission. I meticulously cut various lengths of steel at precise angles and began to tack them together. Welding, as I soon learnt, is both an art and a science. It requires a steady hand, keen eyes behind safety goggles, and a light touch akin to sewing – stitching two pieces together as the metals heat and fuse. Admittedly, my welding skills back then were far from refined; they were what industry insiders may politely refer to as “bird shit”. However, against all odds, my barstool held together. It emerged from my youthful vision as a sturdy yet peculiar piece, devoid of finesse or proportion, but undeniably resilient.

This experience taught me a valuable lesson: crafting by hand is only daunting if we allow doubts and filters to cloud our vision. Instead, we should channel our inner pre-teen spirit – fearless, curious and unyielding.

Who knows where your handmade journey might lead? Perhaps it’s towards a thriving furniture design business – or, at the very least, a cool story to share over drinks at the bar. | pedersenlennard.co.za

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The post Friday VISI Voices: It Began with a Bar Stool appeared first on Visi.

With Business of Design just around the corner, we decided to chat to top guest speaker Luke Pedersen of renowned design company Pedersen + Lennard about where he thinks design is heading, both locally and internationally.

Where do you see design going locally and internationally? 

I think the design industry is too broad to define a direction in a short answer. There is a lot of great growth in new creative pockets where people are focusing on design that is relevant to their community or market.

This feels like the reverse of broad international growth that happens in a very general way. Specific and locally relevant work is in the spotlight and creates opportunities for people to pursue.

How do you balance your personal creative needs with the demands of the public?

I used to think this was only specific to a certain season or particular project we were working on, however, I now believe that it is happening every day and we need to constantly find a balance of sustaining what energises us and what we do, to put food on the table. It’s exciting and daunting at the same time.

What projects or ideas are you currently working on?

We are balancing quite a few things right now. We’re designing some new pieces for Nando’s restaurants, which is exciting, as they express their value in local design in a very practical way. We are also working on some kids’ furniture for the Woodstock Hope Centre, which is really fun as we get to put our heads into their space and see how furniture can make a difference in helping to encourage learning. There are also quite a few personal projects going on, as our new factory facility has created a lot of new possibilities in terms of what we can make and learning new techniques.

What do you think we need in SA to grow more design and art brands into international success stories?

I think that local brands are a success if they are in demand in the local market. Continuing to focus on this usually brings about international demand, as people are always interested in special local stories (as I mentioned earlier). For me, it’s specific and relevant design that resonates in general contexts. The South African design industry needs to stay focused on this market and how to succeed here. This is what makes us great.

Are there any specific local creatives whose work has grabbed your attention recently?

We recently put up an exhibition of illustrations by Si Maclennan at one of our café’s. His work is really refreshing. Alison Parker is also doing a great project called “Sk8 for Gr8,” which pairs kids with local designers. They have exhibited their first set of illustrations on skateboard decks. James and I always enjoy Porky Hefer’s work and sense of contextual humour.

Hear more on their design thoughts at the Cape Town instalment of Business of Design 2015. Tickets cost R3 950. To view Pedersen + Lennard’s work, visit pedersenlennard.co.za.

The post Designers We Love: Pedersen + Lennard appeared first on Visi.

It’s difficult to imagine a more inspiring and endearing young couple than Luke Pedersen and his wife Jen. Their renovated Scandi-Victorian home in Woodstock, Cape Town, is a true labour of love. The result of their shared vision is an oasis of contemporary comfort befitting a designer and an artist.

Having lived in Woodstock for most of his adult life, Luke Pedersen always knew that he wanted to drop anchor in the suburb. From an investment point of view it made sense – Woodstock still retains pockets of affordable property in the midst of its meteoric return to glory – but it was a yearning to live in an area that “felt like home” that ultimately catalysed his decision.

The higgledy nexus of backstreets in the immediate vicinity undoubtedly retain the essence of the “real”  Woodstock. Sure, the tagged walls could use a lick of paint, and here and there crystalline remnants of backseat windows sparkle at the curb, but women on foot still sell toffee apples on sunny days, and children while away the afternoons with bicycles and soccer balls. “I live here because I love the area for what it is,” Luke maintains. 

A mere shot-put away from the gaatjie cacophony on Sir Lowry Road, double-glazed windows nullify the din entirely. The rhythmic clinking of a teaspoon stirring tea provides the only sonic ambience as we sit across the table (a Pedersen + Lennard original, of course) and discuss the mammoth undertaking involved in remodelling their home. “Remodelling” is perhaps an understatement: there is barely a square centimetre between (and including) the ceiling and the floor that doesn’t bear the thumbprint of its inspired inhabitants. 

First came the lists. Before they began, Luke and Jen each jotted down their ten priorities for the renovation, after which they compared their ideals and settled upon a shared manifesto. Having spent two years in Sweden where Luke completed a Master’s degree in design, the Pedersens were inspired by the Scandinavian penchant for converted barns. They certainly achieved the sense of vertical space and wooden cladding that typifies the rustic aesthetic but agreed it was important to retain a sense of the vernacular, exemplified by a handful of original fixtures including the fireplace and teak front door. Jen’s compulsion for collecting beautiful objects completed the look, infusing the minimalist space with personality and evidence of a shared history. 

Built in an era before “light”, “spaciousness” and “flow” had entered the architect’s lexicon, the original home was a warren of dim, poky rooms. Phase one thus entailed a massive structural redesign. The couple recalls afternoons sitting in the empty living room, charting the sun’s trajectory in order to best position the skylight. Drawing on the expertise of associates in the know, Luke and a revolving cast of workers wielded sledgehammers, hacksaws, power drills and wheelbarrows. The sweat from his brow is literally baked into the concrete floors. 

Every weekend ushered in a new project: the staircase, the bookshelves, the kitchen counters, the bicycle rack, the dining-room table, the plunge pool… virtually every aspect of their home was discussed, designed and executed accordingly. As one half of the design studio Pedersen + Lennard, Luke was able to put his professional skills to good use. Interestingly, the ideas flowed in both directions as many of the materials and methodologies meted out on this personal project have subsequently been incorporated into some of the coveted items in the Pedersen + Lennard showroom.

Before I depart, Luke points out with pride the number “11” on the exterior wall, cut from the same wood that adorns the deck he built, emblazoned on the wall he painted, beside a steel letterbox he designed. It was last weekend’s project, along with raising the threshold and priming the soil for a tiny front lawn. He spends a few minutes elucidating the thought process behind the decision: the font, the kerning, the wood, the varnish. I marvel at the depth of consideration for something that might seem quite trivial to most of us. Those two slender numerals represent far more than a reference for the postman. They encapsulate the essence of the Pedersen household.   

Pedersen + Lennard 021 447 2020, pedersenlennard.co.za

The post The Pedersen’s Scandi-Victorian Home appeared first on Visi.

The new Field Office in Woodstock – the third in Cape Town – promises to shine a new spotlight on the artistic talent in this diverse neighbourhood.

Just last week, amid threats of snow and rain on the mountain, the Pedersen + Lennard guys not only opened a third Field Office in Woodstock, they also unveiled its exciting new exhibition wall showcasing the artworks of this bustling suburb’s many talented artists.

Design duo Luke Pedersen and James Lennard’s latest in their series of coffee, co-working and design hubs is themed the Neighbourhood Edition. Although it’s a little smaller than the other two, we love that it picks up on that special Woodstock charm: it sits on a corner surrounded by the area’s enchanting Victorian cottages. We also think that its dedicated exhibition wall lends an added edge to the already great reputation established by their first two stores. Think good coffee, fab food and free wi-fi as well as a range of Pedersen + Lennard designer furniture. Now add art!

The current art exhibition features works by Lauren Fowler, Brett Murray, Paul Senyol, Nic Grobler, Paul Edmunds, Simon Berndt, Marsi van der Heuvel and others. So-called “chief whip” and curator Roberta Grantham will be negotiating with the artists to arrange new exhibitions and she says: “Much more community art collaborations are on the cards as well as a drive to eventually push things to a gallery level.”

The shop is all decked out in warm shades of gold, brass and natural leather, emanating a sense of homeliness, rather than the urban vibes given off by its two predecessors. “It’s a little more grown up,” says Luke. If you can tear your eyes away from all the art on the wall, check out the striking brass-plated shop counter. Two bulbous lights fixed on specially designed solid brass tubing extend from the wall to eye things out over the counter.

Providing stylish seating in one corner is a set of Pedersen + Lennard’s new Huguenot furniture range, made of oak timber and consisting of a table and chairs. Another brand new collection, so new it’s still nameless is also dotted around − a round wooden table top with three metal legs and mix-and-match round stools.  

A small range of the Pedersen + Lennard furniture and other products are also for sale.

Field Office, 34 Salisbury Street, pedersenlennard.co.za

The post Playing the field appeared first on Visi.

It’s difficult to imagine a more inspiring and endearing young couple than Luke Pedersen and his wife Jen. Their renovated Scandi-Victorian home in Woodstock, Cape Town, is a true labour of love. The result of their shared vision is an oasis of contemporary comfort befitting a designer and an artist.

Having lived in Woodstock for most of his adult life, Luke Pedersen always knew that he wanted to drop anchor in the suburb. From an investment point of view it made sense – Woodstock still retains pockets of affordable property in the midst of its meteoric return to glory – but it was a yearning to live in an area that “felt like home” that ultimately catalysed his decision.

The higgledy nexus of backstreets in the immediate vicinity undoubtedly retain the essence of the “real”  Woodstock. Sure, the tagged walls could use a lick of paint, and here and there crystalline remnants of backseat windows sparkle at the curb, but women on foot still sell toffee apples on sunny days, and children while away the afternoons with bicycles and soccer balls. “I live here because I love the area for what it is,” Luke maintains.

A mere shot-put away from the gaatjie cacophony on Sir Lowry Road, double-glazed windows nullify the din entirely. The rhythmic clinking of a teaspoon stirring tea provides the only sonic ambience as we sit across the table (a Pedersen + Lennard original, of course) and discuss the mammoth undertaking involved in remodelling their home. “Remodelling” is perhaps an understatement: there is barely a square centimetre between (and including) the ceiling and the floor that doesn’t bear the thumbprint of its inspired inhabitants.

First came the lists. Before they began, Luke and Jen each jotted down their ten priorities for the renovation, after which they compared their ideals and settled on a shared manifesto. Having spent two years in Sweden where Luke completed a Master’s degree in design, the Pedersens were inspired by the Scandinavian penchant for converted barns. They certainly achieved the sense of vertical space and wooden cladding that typifies the rustic aesthetic but agreed it was important to retain a sense of the vernacular, exemplified by a handful of original fixtures including the fireplace and teak front door. Jen’s compulsion for collecting beautiful objects completed the look, infusing the minimalist space with personality and evidence of a shared history.

Built in an era before “light”, “spaciousness” and “flow” had entered the architect’s lexicon, the original home was a warren of dim, poky rooms. Phase one thus entailed a massive structural redesign. The couple recalls afternoons sitting in the empty living room, charting the sun’s trajectory in order to best position the skylight. Drawing on the expertise of associates in the know, Luke and a revolving cast of workers wielded sledgehammers, hacksaws, power drills and wheelbarrows. The sweat from his brow is literally baked into the concrete floors.

Every weekend ushered in a new project: the staircase, the bookshelves, the kitchen counters, the bicycle rack, the dining-room table, the plunge pool… virtually every aspect of their home was discussed, designed and executed accordingly. As one half of the design studio Pedersen + Lennard, Luke was able to put his professional skills to good use. Interestingly, the ideas flowed in both directions as many of the materials and methodologies meted out on this personal project have subsequently been incorporated into some of the coveted items in the Pedersen + Lennard showroom.

Before I depart, Luke points out with pride the number “11” on the exterior wall, cut from the same wood that adorns the deck he built, emblazoned on the wall he painted, beside a steel letterbox he designed. It was last weekend’s project, along with raising the threshold and priming the soil for a tiny front lawn. He spends a few minutes elucidating the thought process behind the decision: the font, the kerning, the wood, the varnish. I marvel at the depth of consideration for something that might seem quite trivial to most of us. Those two slender numerals represent far more than a reference for the postman. They encapsulate the essence of the Pedersen household.

Read about Luke’s love of cycling here and more about Pedersen + Lennard here.

Pedersen + Lennard 021 447 2020, pedersenlennard.co.za

The post Two-wheel home appeared first on Visi.

With two-wheel fever peaking this weekend in the Mother City – it’s the Cape Argus on Sunday and the World Naked Bike Ride on Saturday, not to mention the Active Mobility World Design Capital initiative from 9 March to 16 May – we asked some of our favourite designers and artists about their cyclemania. Read below for what Sean O’Toole, Phillipa Green, Anthea Moys, Isabeau Joubert, Justin Fiske, Gareth O’Brien, Aidan Bennets, Luke Pedersen and James Lennard have to say.

Luke Pedersen and James Lennard, pedersenlennard.co.za

Both industrial designers, Luke Pedersen and James Lennard are daily commuters, navigating back roads on their short rides to their office in the Woodstock Exchange. “We prefer the danger of the gangster streets to the danger of the traffic along Main Road!” They also use their bikes to get to meetings in town and to their Barrack Street shop. “It’s a nice break and way faster than driving a car,” says Luke, who’s been donning a helmet since becoming a father (look inside his beautiful Scandi-Victorian home here). “I got hit by a car once and the helmet definitely helped!” James, who is an avid mountain biker, only recently got a commuter bike. “It’s a red single speed and probably the tallest commuter bike in Cape Town.” Because of his height, he had to have the bike custom built. Luke’s bike is and old blue Hansom that he had restored. “I was inspired to find a bike built in South Africa and found this one in Parow. I fell in love with it when I saw it.” Luke has a large collection of bikes, owing to the fact that he used to import container-loads of bicycles for resale in South Africa. “I’ve had hundreds of bikes, but I didn’t horde. Besides the commuter, I have an old Flying Dutchman that’s mostly used for film shoots, a bike with a kid seat, a tandem…” James’ fleet consists of two mountain bikes and his new commuter. They’re both convinced that besides the danger of traffic, there’s nothing bad about cycling. “It keeps you fit and frees your mind.”

Sean O’Toole

“Cycling is mobile yoga,” quips journalist, art critic and writer Sean O’Toole, who cycles daily for recreation and every so often to commute to work. Sean is the owner of six bikes (two racers, a custom street bike and a mountain bike) and an endless supply of riveting cycling stories. “I had a gun pulled on me when cycling through Charleston, caught a seven foot giant stealing my Mongoose in New York, ripped my face open from a fall on Kloof Street, had my front wheel come off on a MTB ride at Hartebeespoort Dam, cycled through a snow blizzard to see a day of the Giro Italia (that had been cancelled, unbeknownst to O’Fool on his bike), pedaled halfway up Mount Fuji, stared at my brother Ryan’s bum for six days cycling through the Scottish highlands. I can continue…” His Mongoose MTB, the oldest bike in his collection, was bought with a bonus cheque in 1993 and has since travelled to the UK, the US, Japan and Italy. “It is still my most comfortable bike and has most of its original parts.” A recent convert to the questionable joys of cycling in Lycra (which up until 2008 he swore he’d never wear), Sean’s favourite place to cycle is still the Swartberg Pass. “It’s free and better than any of the expensive paid MTB races. Extreme Zen.” 

Phillipa Green, philippagreen.com

Jewellery designer Philippa Green was introduced to commuter cycling while living in London. “I used to cycle to work and back and that was really great. The city changed for me when I started cycling – it seemed much more pleasant. I used to love cycling home late at night – even sometimes a little tipsy. People are a lot more bike-aware there.” These days she rides her Giant fold-up bicycle around Cape Town on errands and to the Long Street Pool. “The bike was a gift from my boyfriend and I’ve had it for about a year now. I cycle every other day in the week. I don’t ride to work because I have a dog and I live up a steep hill. I’m not very bike-knowledgeable, but I like the Giant. Its tires are a little too thin for ramping up pavements – which I sometimes do – so I’ve punctured them a few times.” Her best cycling experience so far? “I’m new to this game and haven’t ventured too far, but cycling the Moonlight Mass has probably been the best. Cycling along the promenade at night with the cool sea breeze and all the people… It really is a great event and it just feels lovely to be able to cycle around the city at night in a pack.” 

Isabeau Joubert, isabeaujoubert.com

About a year ago, designer and yarnbomber Isabeau Joubert took the plunge and put her car in storage to see how long she could cope without it. “I regularly walk, ride my fold-up bicycle and take the myCiti bus. I ride a fold-up tern bicycle and I absolutely love it – it’s very easy to take it with me into buildings, or fold it to put on the bus, or in a taxi or friend’s car. My nickname for my bike is Sterretjie (the Afrikaans word for a tern, which is a type of bird) and she’s got a real gutsy little spirit and a slightly crooked kickstand. She just glides around anything in the road and city.” Isabeau had to learn how to ride when she received the bike as a gift from her boyfriend two years ago. “I’ve had to transport quite a lot of wool from Woodstock to Gardens a few times this year – it basically means hanging big plastic shopping bags stuffed with brightly coloured wool all around me and the handlebars – quite the awkward load! I’ve also had to take a pair of Springbok horns around town on the bike once, t’was fun. The best thing about cycling is not looking for parking and feeling super relaxed. The worst thing is getting caught in bad weather like wind or rain, but that makes getting home so much more rewarding. It’s funny and scary and awesome all rolled into one. Every single trip!” 

Justin Fiske, justinfiske.com

“I’ve got a small moth-eaten collection of bikes that probably class as a disorder of sorts,” laughs artist Justin Fiske. “I suppose technically my collection has been as big as eight at times, but bikes come and go, as does the capacity to ride, store and maintain them. In my life I’d take a stab at 20 in total. Currently I’m in remission at about four plus bits and pieces.” Justin has been riding since childhood, in his own words, “always and all over”. Among his cycling feats, he recounts carrying a bike on a bike, transporting a Kombi’s engine truss on a recumbent bicycle (a bike ridden while lying flat on your back), and landing in a motorbike courier’s lap in central London (and living to tell the tale). He regularly takes his daughter Wren to school on his recumbent bike. “Sometimes she wears her sunglasses, which is hysterical… and given the choice she always chooses the bike.” While he is able to wax lyrical about the joys of cycling, Justin is just as vocal on the downside: “The worst part about cycling, I suppose, is ‘non-cycling’. You cycle next to that everywhere you go here. I’ve been judged, disrespected, humiliated, attacked, made angry, made angry and made angry. I suppose I’m ok with being an outlaw or an outsider, particularly if it might be because you’re a touch ahead of the game. But generally cycling has been a crazy-useful tool for fulfilment.” 

Gareth O’Brien, velobrien.com 

“I once rode home from Camps Bay at sunset on a balmy autumn evening. My route took me past a synagogue in Sea Point. There were young Jewish men joking about outside and I could hear a beautiful hymn coming from inside and it struck me that it was so similar to my Christian church. I rode on through town and out through District Six where I stopped above the city at dusk to listen to a muezzin reciting his call to prayer. It was just spectacular. My first thought was ‘What other city on earth offers such a beautiful and diverse experience?’ and that was quickly followed up by the thought that I wouldn’t have had that experience if it weren’t for the bicycle.” Leather bicycle accessory designer Gareth O’Brien cycles every day. “I prefer it to driving,” he says. “My daily commuter is a single-speed straight handlebar road bike but I have a fleet of bikes on rotation depending on the situation.” The single speed is a 1986 Peugeot Le Mans road bike frame that he found among a pile of old frames at a second-hand bicycle shop in Plumstead. “It was the right size, but in a bad state. It looked perfect to me. I had it powder-coated in a dark grey colour. All the other parts on the bike were collected or inherited from various bikes, shops or Gumtree ads. It has vintage Campagnolo Record hubs and a very short repurposed stainless steel shop-fitting pipe as a handlebar. It’s also dressed up with Velobrien custom-made red leather grips and a saddle. It was the first bicycle I built myself and is therefore very special to me.”

Aidan Bennetts, aidanbennetts.co.za

“A bicycle is a machine in its purest form, using your own strength to propel you forward. It is the direct transfer of energy into movement,” says TV-celeb and designer Aidan Bennetts, who still makes use of his car to get to town, but uses his bike once in the city to get to all his meetings. “It is a single-speed bike with back-pedal brakes, custom built by Woodstock Cycleworks. It is minimal and clean: matte black with a gold chain. I wanted an old-feel frame, so I hunted and searched the internet until I found the perfect old French frame. I had it restored and epoxy-coated.” Aidan has had the bike for two and a half years. After an accident a year and a half ago, he now rides with a helmet. “There are risks involved. You have really got to be aware of the traffic on the road.” Aidan has gotten to know his bike’s quirks by now. “When you brake fast with the back pedal brake system, the bike spins to the right, so I try to stay aware of my surroundings and to anticipate braking.” He loved cycling as a child and remembers his first bike, an old-school yellow BMX in the mid 1980s. “The simplicity of riding only dawns on you later. Push. Pedal. Go! I like the slipstream effect, the wind rushing past me, the ease of movement.” 

Anthea Moys, antheamoys.com

While artist Anthea Moys doesn’t cycle for transport or recreation, cycling has formed part of her artistic practice, which involves performance in public space, on at least two occasions. In 2006, she rode the 94.7 Cycle Challenge – on a stationary exercise bike! “The performance provoked reactions ranging from encouraging cheers, to shouts of ‘fucking loser!’ This interruption was an attempt to open up a space of play in a highly structured event. For me, play is free movement within the constraints of a structure, and it feeds off that structure to create its own rules.” More recently, Anthea did a performance in Geneva, Switzerland, where she raced against a team of seven cyclists. The performance forms part of her ongoing project entitled “Anthea Moys vs The World” where she goes to a city and challenges the city’s teams to a series of contests. “I did indoor cycling for two months to prepare for the performance and it was one of the most terrifying and challenging things I have ever done!” 

The post Bicycle portraits appeared first on Visi.

The list of 38 curators for the World Design Capital 2014 has been announced with widespread enthusiasm – there’s someone for everyone represented on the broad-ranging list. Other VISI friends include architects Ilze Wolff and Mokena Makeka, furniture designers Luke Pedersen and Gregor Jenkin, street art activist Ricky Lee Gordon and environmental designer Stephen Lamb. Heading up the dynamic group of curators is the experienced Paul Duncan, who is currently head of design for homeware at Woolworths.

It will be the job of the curators to sift through all the project proposals and decide which are worthy of the official World Design Capital 2014 stamp. With just a few days to go before the first deadline for project proposals – Friday 5 April 2013 – we asked Annemarie what she’d be looking for.

How do you feel about being selected as a World Design Capital 2014 curator?

Honoured and energised.

What does it mean and entail?

For me it is an opportunity to make the rest of the world aware of local talent.

What type of project proposals will appeal to you the most?

Projects that promote architecture – especially in terms of public spaces and tourism – and the talent of young designers and artists.

What sort of challenges do you foresee?

We need time and peace on our side.

What does “good design” mean to you?

Beauty that works.

How do you think the success of Cape Town as World Design Capital will be measured?

How? Mega successful by just being Cape Town! We just need to pray that the wind behaves and the strikes don’t spoil our show!

Will you accept bribes and in what form?

Never! Not even for an apartment in Paris or a job in Tokyo!

Enter your project for consideration before Friday 5 April 2013. More details on the World Design Capital 2014 website: www.wdccapetown2014.com

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