Creative Industry Guide Namibia '19 - '20

NAMIBIA
CREATIVE INDUSTRY GUIDE
2019/20

NAMIBIA
CREATIVE INDUSTRY
GUIDE 2019/20
The Namibia Creative Industry Guide is a project by Joe Vision Production
in collaboration with the National Arts Council of Namibia.

Imagine the jobs
and incomes that could
be generated from
creative enterprises if
they received similar
government legislative
support, such as
mining. And that is how
we build the creative
economy.
- Joel Haikali

CREATIVE INDUSTRY GUIDETM
Joe Vision Production CC
P.O. Box 21182
Windhoek
Namibia
+264 81 256 0283
info@joe-vision.com
© 2019 by Joe Vision Production CC
The Creative Industry Guide Namibia 2018 is published
by Joe Vision Production CC. Joe Vision Production
CC reserves all the rights to the publication. No part
of this publication may be reproduced in any form or
by any means, electronic or mechanical, including
photo, play, recording, or any information storage and
retrieval system without expressed permission by
Joe Vision Production CC. The opinions express in this
publication are not necessarily those of the publishers.
The publishers accept no legal liability regarding the
copyright ownership ofbmaterial which was supplied to
the publishers by any of the advertisers or contributors.
The directory information published herein was sourced
from publicly available and accessed information.
Whilst every care has been taken to ensure accuracy of
information contained herein, no liability can be accepted
by the publishers or the contributors for any errors,
misstatements or omissions which may have occurred.
ISBN 978-99945-89-95-1

creditsCREATIVE LUMINARIES
CREDITS
PRODUCTION MANAGEMENT
Suné Tietz
PHOTO & ICON CREDITS
Freepik
Shutterstock
GRAPHIC DESIGN
Andrea Horsthemke
Clara Schnack
ADDITIONAL ASSISTANCE
Matthew Castleman
PUBLISHED BY
Joe Vision Production
CONTRIBUTORS
Ainna Kaundu
Alexander Fase
Fashion Council of Namibia
Gina Figueira
Helvi Elago
Helen Harris
Joan Biwa
John Max
Karin Le Roux
Karl Terblanche
Kirsten Wiedow
Kristen Capp
Lena Niedermeier
Mark Mushiva
Melkies Hausiku
Moses Molatendi
Niina Turtola
Patrick Sam
Reginald Grobler
Remy Ngamije
Sarala Krishnamurthy
Seno Namwandi
Start Art
Stefan Hugo
Toufic Beyhum

04
About this
Guide and How
to Use it
12
Ainna Kaundu
Harnessing the
Creative Industry
Potential Through
Intellectual
Property
06
Joel & Sophie
Haikali
Executive Notes
from the Creators
16
Mark Mushiva
Technology
is the Future
CONTENTSC O N T E N T S

08
Patrick Sam
Cultural and
Creative
Industries are
the Future
20
Survey
Results
S
23 Advertising &
Marketing
Toufic Beyhum
37 Architecture
Lena Niedermeier
and Reginald Grobler
53 Craft
Karin Le Roux
69 Design: Graphic,
Fashion and Product
Fashion Council of Namibia
89 Film, Tv, Radio &
Photography
Joan Biwa
Karl Terblanche
113 Information
Communications
& Technology
Kirsten Wiedow
Melkies Hausiku
123 Publishing
Remy Ngamije
Alexander Fase
137 Archives, Galleries,
Libraries & Museums
Helvi Elago
Helen Harris and Gina Figuera
151 Music, Performing
& Visual Arts
Niina Turtola
Stefan Hugo
John Max
171 Creative Institutions,
Services & Resources
Sarala Krishnamurthy
Kristin Capp
Moses Molatendi
Seno Namwandi

In its second edition, the Creative Industry Guide is still a
first for Namibia. It puts the creative economy of Namibia
into perspective through a comprehensive listing of
creative companies, organizations and professionals
ranging from architecture to visual arts and crafts, while
at the same time offering insights from local industry
experts on how the industry assists in the development
of Namibia.
From design to education, the Guide showcases
the range of economic activities within the Creative
Namibian Industry while addressing the ever-increasing
issue of ideas-generation, the value this holds for
creative Namibians, as well as the exploitation of
knowledge and information in a digital age.
An invaluable resource introducing the narrative of
financial contributions and the direction that creative
vision is taking the country, the Creative Industry Guide
of Namibia plays host to growing voice of creativity.
World-wide, creative industries have been accepted as
an integral part of economic growth, with the Urban
Studies Theorist Richard Florida suggesting that “human
creativity is the ultimate economic resource”.
It is time that Namibians see the true value of creativity,
the true worth of preserving and taking ownership of our
cultures, and the potential for wealth generation, from
informal trading in curios as much as from commercial
campaigns.
After all, you can’t build the Namibian House without the
right architects.
1
Advertising & Marketing
2
Architecture
3
Crafts
4
Design: Product & Graphic
5
Film, TV, Video, Radio & Photography
6
Information Communication & Technology
7
Publishing
8
Archives, Galleries, Libraries & Museums
9
Music, Performing & Visual Arts
10
Creative Insitutions, Services & Resources
THE NAMIBIA CREATIVE
INDUSTRY GUIDE IS
DIVIDED INTO TEN
DIFFERENT INDUSTRY
SECTORS, NAMELY:
ABOUT
THIS
GUIDE
4 Creative Industry Guide Namibia 2019/2020

HOW TO
USE THIS
GUIDE
Each chapter in the guide deals with a specific
sector of the Namibian Creative Industry. Listings
in each chapter are preceded by a contribution
from an industry expert or experts offering their
insight into the place their industry takes on the
Namibian Creative Stage.
Overall, please feel free to use the insights and
hard data in the Creative Industry Guide as a
reference. We also ask that all creatives and
researchers share their knowledge with the
Creative Industry Guide so that the next edition
can be even more insightful.
www.creativeindustryguide.com
Better access to information means a better
understanding of the service providers within the
industry, economic opportunities and the issues
they face. So, what now?
THE GUIDE IS AIMED AT:
1. Policymakers >
Policymakers can use this guide to make informed decisions
where creative industries in Namibia are concerned.

2. Creative Pioneerss >
Creative entrepreneurs can use this guide to get a better
understanding of their fields and how it contributes to the
creative whole. The guide should also be a tool to foster
collaboration in the Namibian creative landscape.

3. Funders, Investors & Patrons >
The guide can serve as a tool in the development of
new or improved ways in dealing with challenges in the
industry. It can be instrumental in the development of new
projects, programmes, research and funding initiatives. Also
opportunity to discover new innovations and creative ideas.

4. Audiences & Activists >
Audiences and arts activists can use this guide to see the
pivotal role that they play in the development of the creative
industries. By supporting local creative industries, whether
it is enrolling your child in local arts activities or hiring
professional service, our communities are key to the growth
of the Namibian creative economy.
5Creative Industry Guide Namibia 2019/2020

Executive Notes from
the Creators
Since the launch of the first Creative Industry Guide (CIG) in 2018, we have
been receiving overwhelmingly positive feedback and interest such as
from education institutions that use the CIG to provide career guidance, as
well as from creative businesses, who got exposure from being listed in
Namibia and beyond.
The Guide was also used and distributed at Namibian Art Summit 2018 and participants from all
over the world and particularly from other African countries were impressed. After the Art Summit,
we further received interest from countries such as Zimbabwe, South Africa and Nigeria looking to
collaborate to do their own Creative Industry Guide.
In Namibia, we are convinced that there is political will, clearly demonstrated by including the goal to
increase employment in the creative and cultural industry formulated in the 5th National Development
Plan from 2017. Namibia is also party to other international and regional instruments and efforts
around implementing a Cultural Policy in Namibia are taking shape.
The Creative Industry Guide can therefore be a powerful tool towards finding out exactly to which
areas we need to pay special attention with policies, incentives and investment and where there
are opportunities for growth. As such we see the creative industry guide as the link between the
government, the creative sector and other stakeholders. We therefore want to continue highlighting the
economic potential of the creative industry. We have understood that the future of African economies
as such including Namibia will depend on what comes from the mind and not what comes from the
ground. The drought that hit us yet again and worse than previous years is a painful reminder of the
need to diversify the economy and for finding more sustainable models towards socio-economic
wellbeing for all.
This year, Creative Industry Guide in partnership with the National Art Council Namibia is also launching
an online version of the guide to be easily accessible from anywhere. This opens the doors to a new
market for our creative movers and shakers, making Namibian creative entrepreneurs accessible
beyond borders and potentially laying the foundation for pan-African and international collaborations.
On the long run we believe that Namibia can position itself as a leader in the creative (knowledge-
based) economy.
We dedicate these thoughts to our late friend and colleague Oshosheni Hiveluah, a pioneer in the
film and creative industry in Namibia.

The future
of African
economies
as such
including
Namibia will
depend on
what comes
from the mind
and not what
comes from
the ground.
Joel Haikali
CREATIVE DIRECTOR
Joel Haikali is a Namibian film-
maker, researcher and creative
entrepreneur who writes and
directs most of his movies and
documentaries from award
winning short films to features.
In the past 10 years he has also
established himself and the
company as creative producers
and facilitator of high level inter-
national projects, keen collabo-
rators beyond the film sector in
Namibia, the region and beyond,
advocate for knowledge based
creative economy as well as a
changemaker in the Namibian
creative industry. Joel holds a
Bachelor in Media Studies and a
Research Master degree in film
from the University of Namibia.
He is actively involved in the
management of the film and
creative industry as the Board
Chairperson of the Namibia Film
Commission.
Sophie Haikali
EXECUTIVE PRODUCER
Sophie Haikali is an Afro-German
producer, writer and researcher
based in Namibia since 2003.
She has written, conceptualized
and produced documentaries
on various topics short and
feature films and content that
was distributed all over Africa
and internationally as well
as facilitated and produced
international productions. Sophie
holds a Bachelor in Media Studies
from the University of Namibia
and a Master in Media Culture
from Maastricht University. With
diverse production, research and
project experience in Namibia
and abroad she has positioned
herself as a leading producer with
a great network and a track record
of successful productions and
projects.

Developing nations face the challenge
of human development as government
efforts are unable to meet the demands
of the population. This reality is
compounded by the fact that Africa is
experiencing demographic transition that
is estimated to increase the share of its
working age population by 60% by 2035.
This is indicative that beyond the current challenges,
opportunities of access and upward mobility are
steadily declining, particularly for youth and women,
especially if the status quo goes unchallenged. Existing
development strategies mainly focus on traditional
(extractive) industries to ensure the enhancement of
economic opportunities, especially through the provision
of employment. Current opportunities fail to maximize
new and contemporary industries as possible pillars to
accelerate economic as well as social, environmental
and cultural development.
Cultural & Creative
Industries are the Future
Patrick Sam
Patrick Sam is a Namibian thought
leader, born and raised in Katutura,
a marginalized community in
the capital, Windhoek. As the
chairperson of the NACN, he has
been driving the transformation of
the Cultural and Creative Industries
(CCI) in Namibia and Southern
Africa. Patrick is a development
consultant, broadcasting journalist,
TV anchor and arts activist. As a
Fulbright scholar, he completed
an MA in International Education
Development from Columbia
University and holds a BA from
University College Utrecht in
the Netherlands. He hosts 2
weekly shows on the Namibian
Broadcasting Corporation.
patrick

According to the African Competitiveness Report (2015),
the African share of the current global trade market is
2%, which means opportunities for African economies
are limited and need to be fast tracked because a
worsening employment conditions could garner an army
of unemployed youth that could further risk political
stability, undermining the precondition for economic
opportunities for African people. The Cultural & Creative
Industry (CCI) is dynamic and multi-dimensional, and
has been identified as a sector that can provide multiple
opportunities for human development. The current
UNESCO framework focuses on creation, production,
exhibition and participation as key facets to human
development. Regional and national development
strategies, institutional arrangements, laws and policies,
capacity, resource allocation, technology, education,
tourism, labour markets, policies, gender parity, inequality,
inequity migration and urbanization are key factors that
must be investigated in order to uncover the bottlenecks
that limit the impact of the CCI on human development in
Africa in order to optimize the benefits of the CCI.
According to UNESCO estimates, the CCI generates in the
excess of 2.3 trillion dollars, which is 3% of the global GDP,
while providing 30 million employment opportunities. For
many emerging economies, cultural goods are rapidly
growing the sector as part of the world economy because
it’s transformative in creating employment, increasing
individual and household income and exports. Although
the sector has grown by 12% in many developing nations,
the opportunities in the CCI have not been maximized
in developing countries. North America, Europe & Asia
account for 93% of the global revenue from the CCI and
85% of employment opportunities. In developing nations,
shifting paradigms from a purely extractive mindset of
the economy to establishing a diverse economy with the
creative economy as an additional pillar could be the
force to translate this opportunity into concrete economic
growth for Africa. For this reason, Africa must leapfrog
the world with new strategies that create opportunities
for mass access and mass mobility,
accelerating human development.
According to a UNESCO commissioned Report,
written by Avril Joffe entitled, ‘The Cultural and
Creative Economy in Africa’, ‘strengthening and
promoting the cultural and creative economy in Africa is
important for two fundamental reasons: The first relates
to development in all its dimensions – human, social,
ecological and economic; and the second, to growth.
Development here is understood as the full range of
human, social, ecological and economic development
covering artistic and creative self-expression, social
inclusion and social cohesion as well as income
generation, employment generation, poverty alleviation,
investment and city development’. The CCI is a key pillar
for national development and regional integration.
The recognition of the CCI comes at a time where
ownership and employment have become priorities on
the continent. In an article by Bloom entitled, “A new
perspective on the economic consequences of population
change” its noted that the current job creation regime is
not keeping pace with population growth and is therefore
cardinal for African governments to develop policies
and invest in institutions that will cater to the rise of the
working population, while simultaneously meeting other
human development needs. These targets have to be
explored by national, regional and international bodies.
The CCI is entrenched in the idea of innovation and its
set up to galvanize and contribute positively to socio-
economic, political and conscious efforts that are aimed
at empowering communities and individuals.
For this reason, the principles of innovation have also
been adopted by international instruments as well as
regional protocols and policies. Innovation gains even
more momentum upon the realization that it can be used
as a mechanism for individuals to alleviate themselves
out of poverty. SADC and developing member states are

key players in prioritizing the inclusion of the CCI in key
national and international development strategies. For
example, the current SADC Trade and Industrialization
Strategy does not involve the creative industries as a key
pillar, and other national development strategies have
also not prioritized the sector. Potential for wealth and
job creation can be found in the creative industries via
the generation and exploitation of Intellectual Property
(IP). The acquisition and attainment of IP consolidates
ownership of an idea as a resource which can be
maximized to the benefit of individuals, organizations
According to
UNESCO estimates,
the CCI generates
in the excess of
2.3 trillion dollars,
which is 3% of the
global GDP.
and communities. By doing so, Africans will position
themselves to own and create employment from their
intellectual resources through the popularization and
promotion of the CCI.
Despite the CCI’s enormous potential, it finds itself in
a non-existent and/or nascent phase of national and
regional development strategies and faces challenges
that severely hinder its development. These include
scarcity of funding and the lack of skilled personnel, which
prevent entry into the industry. Along with this, there are
poor distribution systems that hamper the exchange of
creative goods and services, plus a distinct lack of access
to domestic and international markets. An additional
issue is copyright infringements which cost the creative
economy financially and also has a detrimental impact on
the reputation of the sector. Nevertheless, there are also
connected industries which prosper when the CCI thrives.
These include tourism, trade, education, heritage and
culture, communication, and sports. The CCI must ensure
that it remains sustainable and profitable, not only to the
individuals and institutions directly benefiting from it, but
to the wider public. A social and cultural impact must
be accompanied by an economic impact with a focus on
achieving the triple baseline of ensuring the well-being of
people, the sustainability of the planet and manifestation
of prosperity in the livelihoods of humanity. To achieve
these ends, the CCI must influence society and policy
makers on its importance and value. Remember, “If we
want things that we have never had, we have to do things
that we have never done”.

If we want
things that we
have never
had, we have to
do things that
we have never
done.
- Patrick Sam

Intellectual property is simply the creation or product
of the mind. With that appreciation, it is interesting
to note that, whilst natural resources are found in
certain countries and regions, but not in others things,
intellectual resources are common to all humankind.
Everything that we see in the physical, once existed in
the mind and imagination of someone.
The power to create is a gift to all. In some people, it remains potential
and dormant, while in others it is apparent and result in the songs that
blesses our souls, books that enlighten us, novels which captivate our
hearts, paintings which leaves us in awe, and movies that entertain
us. This is an indication of how intellectual property enriches our lives.
Harnessing the
Creative Industry
Potential through
Intellectual
Property System
Ainna Kaundu
An admitted legal practitioner with
a combined working experience
in Law and Trade. A graduate of
Master of Laws in International
Trade and Investment Law, with
expertise in intellectual property
(IP) and trade legal frameworks. I
have developed and implemented
a number of trade related legal,
institutional and policy frameworks
in Namibia, including the Industrial
Property Act, Business and
Intellectual Property Act, draft
Property Practitioner framework,
National Intellectual Property
Policy, Consumer Protection Policy
and draft Copyright Bill. I serve
on Boards and Committees of
national and international bodies
in various capacities. I strive for
effective execution and advance
transformation-oriented strategies.
ainna12 Creative Industry Guide Namibia 2019/2020

We are acutely aware that our country, the region and indeed the rest of the world,
are experiencing an economic slowdown; and economists are hesitant to predict
the exact moment of a future turnaround. However, it is during such trying times,
that humanity makes its greatest creations and inventions. This is the natural
response of the human race to any occurrence which threatens its existence or
progress. It is therefore not a secret that the solution to our prevailing economic
difficulty might lie in the intellect of the people.
A people that has created the space to imagine, invent, create and innovate, will
never cease to grow and advance. It is with this understanding that the Government
of Namibia has identified intellectual property as a stimulus for economic growth
through the protection of intellectual property rights.
Intellectual Property Law for a dynamic creative industry in Namibia
Intellectual property refers to creations of the mind such as inventions; literary and
artistic works; and symbols, names and images used in commerce. Intellectual
property is generally divided into two categories, namely: Industrial Property,
including patents for inventions, trademark and industrial designs; and Copyright.
Copyright is a form of intellectual property law which protects original works of
authorship including literary, dramatic, musical, and artistic works, such as poetry,
novels, movies, songs, computer software, and architecture. In Namibia, the
protection and promotion of copyright in Namibia is administered in terms of the
Copyright and Neighboring Rights Protection Act, 1994 (Act No. 6 of 1994).
There are two types of rights under copyright, namely moral rights (which protect
the non-economic interests of the author) and economic rights (which allow the
rights owner to derive financial reward from the use of their works by others).
Copyright protection is vital for the development and promotion of the creative
industry. Creative industry refers to the markets based on the creation and
exploitation of intellectual property products.
The creative industry includes but is not limited to: advertising; design; film;
video and photography; fine art illustrations; game development; handicraft; the
phonogram industry; performing arts; publishing; software, computer games &
electronic publishing; and radio & television. The creative industry is becoming an
important building block for the knowledge-based economy (creative economy),
particularly, with the emergence of the 4th Industrial Revolution. This modern-day
revolution is characterised by a fusion of technologies that is blurring the lines
between the physical, digital, and biological spheres. The 4th Industrial Revolution
is an era of dynamic transformation, where creativity, innovation, technology,
digitization, robotics and knowledge are fast becoming credible means of
fostering prosperity.
a 13Creative Industry Guide Namibia 2019/2020

The creative industry, according to Namibia’s Fifth National
Development Plan (NDP5), contributes 0.65% of the total
employed population. To this end, the Government has set a
goal, in the NDP5, to increase the contribution by the creative
industry to employment from 0.65% to 2% by 2022.
With the appropriate support infrastructure, Namibia’s
creative industry holds the potential for inclusive socio-
economic development. Therefore, it is imperative that the
policy, institutional, legislative and regulatory frameworks
are pragmatic to create an appropriate environment for the
development and prosperity of the creative industry.
Copyright protection and promotion is an important legal
framework in the creative industry. The landscape of the
creative industry has evolved and advanced significantly,
propelled by the digital era, introducing opportunities
and challenges which were not anticipated in the current
Copyright Act.
Evidently, the current legal landscape of copyright is limited
in its response to the existing dynamics of the creative
industry; particularly with regard to the current digital era,
accompanied by new technologies that reproduce and
distribute human expressions. Therefore, there is a need to
review the current Copyright legal framework with the view
of developing a new legal framework which is responsive
and supports the development and promotion of the creative
industry as a key driver in a knowledge-based economy.
Furthermore, there is a need to review the rationale and
policy objectives for the copyright legal framework and align
it to the national development agenda as provided for in
Namibia’s NDP5.
To this effect, the Business and Intellectual Property
Authority of Namibia (BIPA), through its Department for
Intellectual Property Services, is facilitating a review of the
current copyright legal framework. The review is aimed at
developing a new legislation which will serve the national
development agenda and the industry, and which is aligned
to international best practices. The rationale behind the
review of the existing copyright legal framework is to:
• ensure that the legal framework supports, promotes
and is aligned to the national development agenda of
Namibia;
• ensure that the legal framework is responsive to the
industry needs and users;
• ensure that the legal framework is inclusive to cover
technological advancements;
• ensure that the legal framework is aligned to regional
and international instruments and best practices;
• effectively use the flexibilities, exceptions and
limitations strategies available.
Key role-players in the creative industry agree that the
proposed copyright law in Namibia should be informed and
influenced by cultural traditions, social values, and socio-
economic conditions. Given the potential of the industry
and widespread inequalities in income distribution and
standards of living in the country, the primary objectives of
the copyright law include the following:
• to provide authors and artists with effective means of
commercialising their creativity;
Copyright
protection is
vital for the
development and
promotion
of the creative
industry.

• to ensure that authors and artists receive appropriate
rewards and fair attribution;
• to encourage the production and dissemination of
artistic and intellectual works for the good of the
general public;
• to promote civil and well-informed democratic
discourse;
• to ensure the preservation and integrity of traditional
cultural expressions;
• to ensure that all Namibians have access to educational
materials; and
• to promote a vibrant and diverse culture.
The proposed copyright law is intended to achieve an
appropriate balance between incentivizing the creation
of new works and providing the public with access to
those works.
Last reflections:
As I conclude, I will share some reflections on another
important subject matter, namely, traditional knowledge
and cultural expressions. The irony on this matter is, while
Namibia values traditional knowledge and expressions of
culture; there is currently no legal instrument which accords
protection to the same. In recent years, there have been
discussions, heightened by misappropriation of cultural
assets, of on ways to protect this subject matter.
Stakeholders are considering whether or not the cultural
assets can be protected in terms of the existing conventional
intellectual property laws; however, due to the uniqueness
of traditional knowledge and cultural expressions, there is a
compelling argument to develop a sui generis law.
BIPA will therefore, undertake consultations with
stakeholders to guide Namibia on the way to address this
issue. What is important to note is, Namibia values these
cultural assets; and therefore, it is time that this value
is protected.
Note
The Business and Intellectual Property Authority (BIPA) is a
public enterprise established in terms of the Business and
Intellectual Property Authority Act, 2016 (Act No. 8 of 2016)
with the following national objectives:
• to facilitate economic growth and development to
raise income and promote investment and create
employment;
• to enhance the efficient protection of the business and
IP in Namibia;
• to facilitate and promote the efficient and effective
registration of business and industrial property in
Namibia;
• to promote the conduct and use of business and
intellectual property in Namibia;
• to facilitate, streamline, simplify and harmonise
the business and industrial property procedures,
registrations, filings and searches to expedite economic
growth and development; and
• to enhance the efficient exchange and distribution of
information.
The institution, through its Department for Intellectual
Property Registrations, is spearheading the process of
repealing the old copyright act and replacing it with an
updated, modern version that is responsive to the current
Namibian landscape.

The world is abuzz with the words “Fourth
industrial revolution” and “Internet of Things”.
While it is no surprise that these concepts
have garnered such fervent optimism, it
is easy to lose sight of what these new
developments mean outside the usual
Western context.
The 4th industrial revolution is a concept that carries global
crosscutting implications. These are said to be the result
of a convergence between information technology and
human biology. To truly appreciate the shift in the role of
technology, it is necessary to situate our understanding of it
into different epochs, a kind of generational wisdom.
In the 1970s, the computer was little more than a hammer.
Computers were large calculators used to complete work
tasks (computations) and you would have been hard-
pressed to find a computer in anyone’s house, let alone
office. In the early 90s, general-purpose computers finally
found their way into our homes as semiconductors and
electronics got cheaper and smaller. Even during this time,
the computer was seen as a special apparatus reserved for
homework and accounting tasks for the family business.
Fast forward to 2019 and most of us are walking around
with computers (mobile phones) that are over 10 times
more powerful than the computers that sent the Apollo 11
space shuttle to the moon.
Technology
is the future
Mark Mushiva
Mark Mushiva is a multidisciplinary
creative technologist whose
work exists at the intersection
of computer science and
Afrofuturism. One third of the
award-winning Hip Hop poetry
group Black Vulcanite, Mark’s work
incorporates novel technologies to
enhance the performative aspects
of black entertainers. Outside
of his artistic exploits, Mark is
a game design scholar with the
European Institute of Innovation
and Technology (EIT) where he
contributes to multiple computer
science related projects in both
Namibia and Europe.
mark16 Creative Industry Guide Namibia 2019/2020

Computers went from the office, to our living rooms, and will
eventually end up in and on our bodies.
Wearables, biotechnology, sensors, and telecommunication
are all reaching such an advanced level that they will
pervade every facet of our lives. Technology is no longer
just a tool; it has evolved into a cultural force with its own
aesthetic and language. These properties have made it an
extension of our being, and ultimately an ideal platform for
creative expression.
Augmented reality, virtual reality, sensors, cryptocurrency,
and robotics are some of the biggest technological
phenomena around. These technologies carry serious
implications for banking, health, leisure, and most
importantly, work. It is useful to remember that in the
early 80s socialist visions of many developed countries,
technology was envisioned as a way to liberate humans
from doing physically exhausting and repetitive work. With
the majority of menial tasks automated, people would
finally be free to pursue the limits of human freedoms
and creativity.
While parts of this vision have been realised, the liberation
of human freedoms and creativity has only partially come
to bear. The success of creative exploits such as Instagram,
Uber, Snap Chat, and PUBG have demonstrated IT’s ability to
generate tremendous economic value, yet technology is still
taught from a predominantly instrumentalist position.
In our schools, learners are taught that computers are meant
to make work fast and accurate in the same idealisms of the
70s. This approach undermines the maturity of technology
as a creative enabler, misaligning education with potentially
new value streams and ultimately making us vulnerable to
the negative effects of automation.
Human jobs, even those previously seen as complex, can be
broken down and modelled to be performed by machines
via artificial intelligence. Artificial intelligence is a branch
of computer science that seeks to implement sensory,
cognitive and perceptual functions of the human being.
k
These instances have mainly been formalized in seeing
and recognizing objects (computer vision), reading and
understanding (natural language processing), sensing and
moving (robotics), and adaptive learning (machine learning).
Due to the convergence of these areas, technology has
either completely replaced or augmented human labor.
For instance, new farming technologies capable of
irrigation, planting and harvesting at a massive scale have
replaced the agricultural workforce, sometimes relying
only on a single person to input instructions. In other areas,
new technologies have augmented human work, this is
especially true in health where machine learning is being
used to accurately diagnose a range of diseases.
With burgeoning automation, human work is being pushed to
the periphery, forcing us to contemplate a new definition of
work. Experts have cautioned that because of the intricacies
around creative thought, it is likely that only creative work
will be able to hold off automation, at least in the near
future. This is largely due to the fact that the human brain
is a black box, while we can see what it produces, little is
known about how it works and this is the reason machine
substitutes still struggle with simple tasks like navigating
through a room, a task even dogs have mastered.
In order to prevent potentially catastrophic losses in
technological unemployment, educational stakeholders
are being urged to invest in creative thinking. This is
further supported by a growing shift from centralized to
decentralized systems. Opensource electronics and online
education are areas that are pushing human creativity to
the extremes. With a basic understanding of electronics and
programming, an eighth grader can reliably reproduce a
functional prosthetic arm.
This is the extent to which technology and learning has been
democratized thanks to the internet. The democratization of
technology and education upend arguments that we need
new technologies, rather it is what can be done with existing
technology that will characterize new social and economic
growth.

The current composition of the Namibian economy should be
a cause for worry, the majority of Namibians are employed
in service jobs like meat packing, which will soon be
automated. This will leave a vacuum of unemployed labour.
With creative jobs being harder to automate, investing in life-
long learning and creative skills will ensure that people will
be able to adapt and increase the value of human work over
a life course.
Policy makers should engender the further democratization
of education and technology by supporting bottom-up
education schemes and open learning. Decentralizing
education supports invention by putting the tools and
concepts to innovate in more people’s hands. Current trends
in disruption show that health, banking, and education are
all moving towards decentralized models.
Particularly for countries where access to high quality
education is challenging, policy makers should drive the
transition to more mixed methods of learning, guided
learning supported by e-learning. Namibia must embolden
inventor culture; this means building and staffing maker
spaces with people who are able to train and increase the
societal awareness of opensource electronics. This will
allow citizens to come up with their own solutions to social
and economic problems.
Education can also likely benefit from promoting creative
technologist roles by training people to use creativity and
technology to solve complex problems. It is no longer useful
to compartmentalize computer science education, or to
exclusively talk of the “information technology industry”. In
a sense all businesses are IT businesses in the same way
that all businesses are literacy businesses because they
employ some version of reading and writing. Granted that
Africa is one of the biggest cultural institution in the world,
we can conclude that it can be a hotbed for new creative
technologies.
The possibilities to create new businesses and value streams
are boundless. We are likely to see a merger between social
networks and financial technology, making the arduous
processes of buying and selling more streamlined and
convenient than ever. This will influence ideas around the
mobility of human creativity as crowd work and remote
work become more commonplace. Even today, it is not
uncommon to hear of a social media manager or web
developer whose clients live in Berlin while the creative
resides in Windhoek. We are likely to see the creation of new
jobs, evidenced by jobs like social media manager, a job that
did not exist 20 years ago.
In the wake of this new technological optimism, it is
necessary to be wary of prescriptive policies. Just because
a technology works well in India, we should not be quick
to implement top-down resource heavy investments for
challenges involving marginalized users. This calls for a
more reflective approach to research and development that
generates knowledge about the nuances of how culture and
technology interact.
It is important to keep in mind that while experts are able to
theorize solutions, it is usually the people who have vested
interests in problems that are likely to develop, support, and
influence the adoption of appropriate solutions. We should
also promote a different understanding of risk.
Currently conservative investments behavior of financial
entities is creating an overreliance on older markets such
as real estate and construction. While these markets
are reliable to an extent, they provide very little growth in
expanding revenue streams since they do not scale well.
Buildings occupy physical space; they also cause additional
maintenance and legal and administrative overheads.
IT-driven businesses scale more logarithmically in
comparison, many of the large business today who offer
software as a service or enable on-demand services like
Uber started as small companies. When financial risks are
spread across many small potentially high-value startups,
the gains can support a national economy to a point where
companies support entire nations.
Technology is driving social, political, and economic shifts,
and leveraging these will depend on rapid experimentations.
We must dare to experiment.

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An online survey was conducted to collect
information from industry during the research
phase of the Creative Industry Guide.
HERE ARE SOME KEY FINDINGS:
EIGHT800
NUMBER OF TOTAL SURVEY RESPONDENTS

SECTOR
1
Advertising &
Marketing

In 2018, something happened in my life which
had a ripple effect in Namibia. I was seated
in Carnegie Hall, on Broadway in New York
with Windhoek-based photographer, Shawn
van Eeden. Around us were some of the most
renowned photographers in the world, as well
as curators and gallery owners.
We were attending the Lucie Awards, an event honouring
achievement in photography and judged by the Head
Curator of the Metropolitan Museum of Art and the
Head of International Photography at Christies, amongst
others. We had been invited to attend because an
advertising campaign we had done for Greenpeace was
on the shortlist.
To be honest, we were completely overwhelmed by the
experience and were just happy to be invited. So, when
they announced our names as Gold winners, needless to
say we were shocked.
To be 12,000 kms away from Windhoek, picking up Gold
in Carnegie Hall for a low-cost poster campaign created
by our small agency – Advantage Advertising – featuring
African masks made by Petrus Shiimi and Saima Iita
- 2 young Namibian artists - and shot by a Namibian
photographer was, frankly, mind-blowing.
Afterwards, we interacted with many of the other guests
- photography’s great and good - many of whom had to
Google Namibia to find out where we were from.
Toufic Beyhum
Toufic Beyhum was born in
troubled Beirut in 1974, but
moved to London at a young
age when his family was forced
into exile by the relentless war.
Toufic has been creating and
experimenting in the world of
advertising for over 20 years.
He has worked at Leo Burnett,
BBDO and McCann in New York,
Dubai, Berlin and London. A
restless soul who always tries
to push himself creatively,
Toufic has also mentored at
the School of Communication
Arts, shot a documentary on
the Bedouin of Petra, published
a book of photography, and
run a gallery in Berlin.
He has exhibited his work in
London, Berlin, LA and New York.
His series “Burqa”has been
acquired by LACMA & The
Frances Lehman Loeb Art
Center for their permanent
private collection.
The Power of
Creativity to Put
Namibia on the Map

Internationally Namibia
is able to play a bigger
role in media and break
through the barriers
from the past.
That night, creativity put Namibia on the map.
Think of how certain cities are known for their creative
fairs or exhibitions: Art Basel, Art Dubai, Paris Photo. I
recently attended one in a place called Arles in France.
Never heard of Arles? I don’t blame you, I had to Google
it too. And yet, the Fair draws so many visitors, hotels are
sold out six months before the event.
And why do all these people come to this small, obscure
town, spending their Euros and boosting its economy?
Creativity.
I would love to see an Art Windhoek, or an internationally-
recognised Swakopmund Photo Festival, helping to boost
our own economy and creative cache. South Africa has
events such as these, as does Nigeria, Morocco, Kenya
and Ethiopia.
We need to push creativity in all its forms to put Namibia
on the map. In Advertising, our agency, Advantage, is
trying hard. We’re currently ranked 10th in regional
Agencies (excl. South Africa) by the Loeries Association.
I recently showed some of our advertising campaigns at
the School of Communication Arts in London – the world’s
most-awarded advertising school where I used to mentor.
It’s a place that only attracts the best. The students loved
the work and some are now considering making their way
to Namibia to explore their creativity in a new and exciting
setting. By spreading word of what Namibia can do, we
can attract new talent and thereby improve the quality of
the country’s creative output. This should be incentivised
by relevant structures, while consistently building on and
improving local capacity.
Outside of my job, I’m a photographer. For my subjects,
I look at the Namibian world directly around me. For
my latest project, Amoji, I asked local artists to create
African masks based on popular emojis which were then
modelled by people I would find on my travels.
This photo series has spread around the world, being
published in South Africa, Europe, the US and even
Lebanon (where I am originally from).
What this proves to me is that there’s a hunger for
Namibian stories, ideas and images. I’m sure this
hunger exists for Namibian music, theatre, art,
poetry, arts and crafts too.
It proves to me how important creativity can be
for a country. Namibia is known for its deserts, its
diamonds, its landscapes, so let’s add creativity
to the list. Why not? These days the world is quite
literally at our fingertips. In the 3 and a half years
I’ve lived here, I’ve met so many creative people who
have the potential to go global and put themselves
on the map
If you’re one of these people, now is your chance.
Grab it.
itoufic

31 ADVERTISING
AGENCIES
33 MARKETING
AGENCIES
34 OUTDOOR
ADVERTISING
34 EVENT PLANNING
34 MULTIMEDIA
L I S T I N G S

ADVERTISING
AGENCY
ADFORCE NAMIBIA
Full-service advertising agency.
 +264 61 237 200
 info@adforce.com.na
 142 Jan Jonker Road
Aussplannplatz
Windhoek, Namibia
 www.adforce.com.na
ADVANTAGE Y&R
Full-service advertising agency. Our
motivation is to allow our imagination and
thinking to go where it needs to go, to create
work that really works.
 +264 61 250 277
 info@advantage.com.na
 No 1, Axaku Doeseb Street
Windhoek, West
Windhoek, Namibia
 www.advantage.com.na
 Advantage Advertising
 @AdvantageNam
 @advantagemrktg
 Advantage Advertising Namibia
AMUSHE INCORPORATED
 +264 85 147 4651
+264 81 314 0486
 amusheinc@gmail.com
 Prosperita
Calcium Street no. 4
Windhoek, Namibia
 AmusheInvestments
BLAK ADVERTISING
We pride ourselves in excellent service
delivery, creative and concept related
campaigns, market research and strategy,
copywriting, social media management as
well as activations and events.
Contact Person: Amali Maritz
 amali@blakadvertising.com
mathias@blakadvertising.com
 Tinbergen Village, Unit 5,
Windhoek, Namibia
 www.blakadvertising.com
 Blak Advertising
BMS GLOBAL HUB
Creative lab.
Contact Person: Shikulo Pinehas
 +264 81 661 6380
 zuluboyamadazfloor@gmail.com
 40 Schonlein Street
Windhoek West
Windhoek, Namibia
 Bms Global Hub
EFFECTIVE MEDIA GROUP
Graphics, advertising, branding, outdoor
advertising, email marketing, promotional
material.
Contact Person: Frans Domingues
 +264 61 402 520
 info@effective-mediagroup.com
 ERF 40, Schonlein street,
Windhoek West
Windhoek, Namibia
 www.effective-mediagroup.com
 Effective Media Group
JUXTAPOSE DESIGN STUDIO
Juxtapose Design offers the great 3D Creative
Design, Production, Copywriting, Web Design
& Development, Digital and Multimedia
Production, Broadcast and Print Media,
Media Planning & Scheduling, Social Media
Integration, Public Relations, Brand Activation,
Event Management, Promotional Materials
and Corporate Wear & Gifts.
 +264 61 307 525
 juxtaposedesign@iway.na
 www.juxtapose-designs.net
LEO BURNETT NAMIBIA
Full Advertising Agency.
Contact Person: Femi Kayode
 +264 81 129 3643
 femi@adforce.com.na
reliance@leoburnett.com.na
 Shanzen Street, No. 41
Windhoek, Namibia
 www.adforce.com.na
OGILVY NAMIBIA
Contact Person: Nina Paulino
 +264 61 247 371/2/3
 info@ogilvy.com.na
shanine.paulino@ogilvy.com.na
 c/o Valley Road & General Murtala
Muhammed Ave, Eros
Windhoek, Namibia
 ogilvynamibia
 @OgilvyNamibia
 @ogilvynamibia
 ogilvynamibia
SIGNWORLD SWAKOPMUND
Signage, design and brand experts working
together to create the best and most
affordable signage and print solutions at the
coast.
Contact Person: Cornelius van Wyk
 +264 64 403 938
 signworld@iway.na
 Unit 10, Einstein Street
Swakopmund Industrial
Swakopmund, Namibia
 www.signworld-swakop.com
SNOWBALL STUDIO
Design, branding, advertising, media and
photography.
Contact Person: Stefan Redecker
 +264 81 221 7799
+264 81 223 4431
 stefan@snowballstudio.com
hello@snowballstudio.com
 1 Sinclair Park, 6 Sinclair Street
Klein Windhoek
Windhoek, Namibia
 www.snowballstudio.com
 Snowballstudio
WEATHERMEN & CO
Full-service advertising agency.
Contact Person: Nadja Dobberstein
 +264 61 429 600
 work@weathermen.co
nadja@weathermen.co
 7 Hugo Hahn Street
Klein Windhoek
Windhoek, Namibia
 www.weathermen.co
 WeathermenCo
 @WeathermenCo
YOUNG DESIGNERS ADVERTISING
NAMIBIA
Advertising Company: Vibrant, Innovative,
Daring, Passionate, Creative, Adventurous,
Ambitious.
Contact Person: Anna Johannes

 +264 61 244 458
+264 61 305 417
 info@yda.com.na
 Lexior Building
C/o Joule St. & Parsons Road
Southern Industrial
Windhoek, Namibia
 www.yda.com.na
 YDANam
MARKETING
AGENCY
AFRICAN IMAGE DESIGNS AND
EVENTS
Provision of marketing, communication, event
planning, media relations and reputation
management.
 +264 61 256 717
 14 Eadie Street
Klein Windhoek
Windhoek, Namibia
ALVARO MEDIA GROUP
Creative Brand Agency which focuses on
Brand, PR Management and TV Production.
Contact Person: Kalistu R Mukoroli
 +264 81 487 1442
 info@alvaromedia.com
 13 Alpheus Akuenje Str,
Kleine Kuppe, Windhoek
Windhoek, Namibia
 www.alvaromedia.com
 alvaromediagroup
 @alvaromediaG
 @Alvaro Media group
FULL STOP MEDIA
Public relations, Branding & Content
Development.
Contact Person: Andrea Van Rhyn
 +264 81 635 9254
 andreavanrhyn@gmail.com
inTOUCH INTERACTIVE MARKETING
Marketing company focusing on utilising all
sorts of technology to help our customers
reach their customers.
Contact Person: Derick Briers
 +264 81 811 2124
 derick@intouch.com.na
 11b Murtala Muhammed Ave
Windhoek, Namibia
 www.intouch.com.na
 Intouch Designs
CORNERSTONE COUNSULTANTS
(PTY) LTD
Cornerstone, a company established in 2013,
offers management consultancy services,
especially in the areas of brand, marketing
and communication strategy development, to
businesses that want to be global leaders in
their respective industries.
Contact Person: Margareth Gustavo
 +264 61 246 110
 info@cornerstone.com.na
 Unit 30, The Village
Liliencron Street Eros
Windhoek, Namibia
 www.cornerstone.com.na
 Cornerstone-Joe-Public-Pty-Ltd
JUSTHINK MARKETING AND
BRANDING
Marketing and brand management.
Contact Person: Michael Kahorongo
 +264 81 392 8132
 michaelpulse@gmail.com
 146 Gren Street
Windhoek, Namibia
 justhinkint
INVERTED MEDIA
We provide high customer satisfaction by
rendering quality marketing, advertising
services and graphic design.
Contact Person: Valide Hidinua Hamupunda
 +264 81 438 5148
 sai.valide32@gmail.com
MATTHEW GOWASEB &
ASSOCIATES INC
Marketing & Advertising.
Contact Person: Matthew Gowaseb
 matthew@mga.com.na
 Maerua Park, South Block, 3rd Floor,
Centaurus Rd, Windhoek, Namibia
 www.mga.com.na
 matthewgowasebassociates
TINCUP DIGITAL | MARKETING
AGENCY
TinCup delivers integrated digital and
marketing services to our clients, clients
who have had to be content with existing
above-the-line strategies dictating the
direction of integrated campaigns. With vast
experience in the Namibian digital, marketing
and advertising landscape, we offer clients
a holistic view of their brands in real life,
from the first point of contact through to
campaign conceptualisation, development,
integration and alignment with existing
strategies. With brand strategists, creatives,
developers, thinkers, visual masterminds
and digital messiahs, we use all mediums of
communication to give voice to your brand,
sometimes screaming, sometimes becoming
an integral part of an online community,
sometimes static; each idea crafted to
maximise socially-aware interaction with
consumers and clients.
Contact Person: Cobus Theyse
 +264 81 206 5993
 info@tincup.com.na
 CoWork Offices
Old TransNamib Train Yards
Windhoek, Namibia
 www.tincup.com.na
 tincupmarketing
 tincup-digital-marketing-agency

EVENT PLANNING
TAMONIKA EVENTS
We plan, you party. By taking the hassle
out of event planning, we create inspirint
atmosphere and ambiances, maintaining our
clients’ goals, and achieving productivity and
streamlining the process. Using our preferred
service providers to such an extend that they
become part of our workforce and enable us
to reach our common goal - refreshing and
well organised events, run professionally and
artistically executed.
Contact Person: Frans van Wyk
 +264 81 127 3661
 frans@tamonika.com
 c/o Armstrong St & Nobel St
Southern Industrial Area
Old Powerstation complex
Windhoek, Namibia
 www.tamonika.com
 eventsfrans
 @tamonikaevents
MINDSCAPE EVENTS CC
Communication, Marketing, Advertising,
Events Management.
Contact Person: Gordon Jay
 +264 81 314 5392
 mindscapeeventscc@gmail.com
 18 Independence Avenue
Paradigm Building, First Floor, Unit 5
Windhoek, Namibia
 www.mindscape.com.na
 Mindscape Events
NICA CREATIVE
Advertising, Marketing & Digital Marketing.
 +264 81 786 7088
 info@nicacreativ.com
 Klein Windhoek, Windhoek, Namibia
 www.nicacreativ.com
 nicacreative
 @nicacreative
NJAMI CREATIVE
Digital marketing, UI & UX design, graphic
design.
Contact Person: Marcelle Eloff
 +264 81 422 8204
 njamicreative@gmail.com
marcelleeloff@gmail.com
 The Hamlet on Avis, Michaela Street,
Klein Windhoek, Windhoek, Namibia
 njamicreative
 @njamicreative
TWENTYELEVEN COMMUNICATIONS
Marketing, PR & Corporate Communications.
Contact Person: Francois van der Merwe
 +264 85 122 9177
 francois@twentyelevencc.com
francois.nam@gmail.com
 48 Strand Street, Swakopmund, Namibia
YIPPEE! DIGITAL AGENCY
Digital strategy, content development and
integrated marketing.
 +264 61 237 300
 info@adforce.com.na
digital@adforce.com.na
 142 Jan Jonker Road
Windhoek, Namibia
 www.adforce.com.na/yippee
OUTDOOR
ADVERTISING
ALLIANCE MEDIA
 +264 61 245 905
 info@alliancemedia.com
 22B Gold Street, Prosperita
Windhoek, Namibia
 www.alliancemedia.com
 beseenalloverafrica
 @AllianceMediaSA
ESHISHA OUT OF HOME MEDIA
Outdoor advertising.
Contact Person: Beverly Jandrell_Uren
 +264 61 431 0500
 Unit 8, Maxwell Road, Maxwell Park
Windhoek, Namibia
 www.eshisha.com
 Out of home media Namibia
MULITIMEDIA
JEKONIA STUDIOS
Jekonia Studios is a multimedia company
that renders various services ranging from
Graphic Design, Photography, Videography
and Printing. In addition we conduct event
planning and consult clients on business
advertising and marketing options.
Contact Person: Lukas Jekonia
 +264 81 249 0419
 jekoniastudios.nam@gmail.com
 Nomtsoub, Tsumeb, Namibia
 jekoniastudios
Not listed? Visit
our website and
get listed online

SECTOR
2
Architecture

Reginald Grobler
Reginald Grobler is an Architect in
Training (AIT) working in Windhoek,
Namibia.
Lena
Niedermeier
A young Architect in Training
working in Windhoek since 2018
after completing her Bachelor in
Architecture at Nelson Mandela
University in Port Elizabeth and
shortly after that her Honors and
Masters in Architecture at the
University of the Free State in
Bloemfontein. “ I see the potential
Namibia holds for us in so many
aspects but especially within the
urban and architectural context.
I am constantly inspired by the
Namibian natural and cultural
landscape, and always challenged
in developing creative yet practical
and sustainable ways of making
and creating that are in harmony
with this remarkable environment.”
Finding Namibian
character in
place-specific
architecture & its
role within the
Creative Industry
Architecture is bound to situation. Unlike
music, painting, sculpture, film and literature,
a construction (which is non-mobile) is
intertwined with the experience of place.’
– Steven Holl.
Architecture within the creative industry is considered by most
as a double-edged sword. Some would argue that architecture
is firmly positioned as a contributor within the creative industry
as it deals with aspects of design, culture and art. On the flipside
however, mainly in the opinion of architects, many would argue
that architecture should not fall under this umbrella, as it is
rooted to its setting.
lena38 Creative Industry Guide Namibia 2019/2020

a
Merit can be given to both perspectives on this topic though.
What makes architecture different to other forms of art
is that it is interconnected to the nature of place through
a palimpsest or layered agenda that interrelates with
its surroundings in terms of scale, orientation, form and
materials, socio-economic and cultural factors, which may
pay homage to the heritage or memory of the context itself.
In correspondence to the above and similar to art,
architecture also reinterprets and conceptualises its
setting as a reflection of the surrounding cultural context
through its physical appearance. We refer to this as the
‘character’ of a building. And therefore, we can say that our
engagement with a building’s character on a metaphysical
level can evoke phenomenological experiences for the user
occupying its space.
Through the ideologies and movements of Modernism, and
specifically that of the “International Style,” architecture
has in many instances adopted the approach of idealist
and commercial practices. The technological development
of steel and concrete, as a way of making, has led many
designers to streamline the use of these primary materials
that produce buildings which are sleek; clean and ‘pure.’
Standard, modular, regular and universal are all common
terms and generators to quick, efficient and cost-effective
ways of erecting a building. The repercussion of this is that
there is little, or no emphasis placed in a ‘crafted building’
which is sensitive to its context. The tactile essence of place
and the materials that are used are no longer vernacular
but universal.
Thus, we find ourselves in a time where craftsmanship, as
a way of making, is no longer at the forefront. We too often
see buildings that are no longer ‘place specific,’ but rather
‘universal boxes’ which can be found on every corner of
the globe.
Many buildings in Namibia could be placed elsewhere in the
world and would work, aesthetically, perfectly fine within
that context. So the question is, how can a return to place
specific and sustainable architecture, which is inspired and
crafted by local materials and vernacular modes of making,
be reintroduced into the built environment?
Answering this question could possibly leave behind
buildings richer in character with tactile spatial experiences
that create stimulating environments, which interpret and
reflect onto the unique essence of place within our cities and
the natural landscape of Namibia.
What primarily needs to be understood when approaching
this question is that architecture comprises of an
interconnected series of layers, namely: the physical layer,
the socio- economic layer and the cultural layer. Together,
they set up the foundation to any design.
Each layer can be discussed in great depth but we’ll raise a
couple of key questions that aim to challenge the response
of an architectural intervention that tackles the issues that
come with the various layers.
1. The physical layer
• Does the intervention accommodate the natural climate
and employ passive sustainable design techniques in
order to reduce its carbon footprint?
• How does the intervention respond to the existing
fabric and framework by which it is surrounded? Does
it enhance pedestrian movement and accessibility?
• How does a building respond to its surrounding urban
or natural context in its use of materials?
• Materials are the real generators to the character of
a building. The Twyfelfontein Visitors’ Centre by Nina
Maritz Architects (Image 1 a & b), showcases a high
regard in the choice of materials, colours and textures
thatcomplimentsthelocalsettingthroughitscharacter.

• Nakayale Private Academy, Ruacana, Wes Architects –
Image 2
• How does the intervention exploit the creative use of
vernacular materials, textures, patterns and colours
that respond to, or can be derived from, the surrounding
cultural context of a place?
In a similar approach as that of Earth World Architects in
South Africa, we argue for an architecture that is grounded
in place, which fosters relationships between the user
and their direct and broader environments and ultimately
engages with the user on a phenomenological level through
an engagement of the senses.
The questions above can be used as tools to guide such
a place specific and sustainable design methodology. The
task is to not only meet these as challenges, but to also be
invigorated and inspired by them. Although there are many
ways to skin a cat, when approaching the design of a project,
an architecture rich in character and strong in its identity
can potentially be achieved when focus is placed on the
interaction of every single layer within a built intervention.
We simply want to raise awareness, not only to the
participants within the building industry, but also to
developers and the everyday user of the city, that ultimately
architecture is deeply rooted to place on a much bigger
scale than merely providing form to a function.
Twyfelfontein Centre, Twyfelfontein,
Nina Maritz Architects
Twyfelfontein Centre, Twyfelfontein,
Nina Maritz Architects
2. The socio-economic layer
• Does the design acknowledge the availability of local
resources and labour, where there is a possibly to
incorporate local firms and technologies as a way of
making? By incorporating a design approach that aims
to use local firms and local materials, not only does
one aid the economy infrastructure of a place through
architecture, but you inspire new ways of making, by
reinterpreting local craftsmanship and vernacular
building techniques as a driving force.
• Howdoesthebuildingaimtopossiblybenefitorenhance
thesocio-economicconditionofitscontextbyextending
onto existing surrounding social and cultural networks?
3. The cultural layer.
• How does the intervention engage with its surrounding
cultural context and respond to it in a sustainable
manner? Not only is it important in how a building
functions on a physical level in terms of its carbon
footprint and energy, but also in how it aids the
existing cultural fabric of a place in a sustainable
and meaningfully engagement with the structures
of society (Valley: 2019). This can be seen in the
Nakayale Private Academy (Image 2) in Ruacana by
Wes Architects.

The sense of an architecture which is ‘rooted’ within its
setting, will undoubtably contribute in the meaningful
creation of space inspired by the unique essence of its
surrounding. This approach could possibly create exciting
places for people to inhabit rich in character and identity.
Let’s meet the amazing potential to work as creatives within
both the building and the creative industry and constantly
intervene, invent, rethink and question how a person´s
daily experience can be uplifted through the creation of a
stimulating built environment.
Realising this role, we have to further inspire, motivate and
challenge other platforms within both the built and the
creative industry in order to initiate a new consciousness
to locally inspired architecture which is rich in character
within Namibia.
Nakayale Private Academy,
Ruacana, Wes Architects
“Ultimately every building has the objective to create long-
term physical, monetary and cultural value” (Kotze: 2019).
Through the inventive partaking within a place specific
and sustainable design approach, a building has the
potential to become a catalyst in adding value to the entire
exiting network by which it is surrounded and thus further
enriches our cities as well as rural landscapes. This could
contribute to the benefit of all parties involved both socially
and economically.
It is imperative not only for the architect, but for every
single participant within the building and creative industry
to become critically aware and continuously question
how an intended building successfully acknowledges and
responds to the issues it encounters through these various
layers. This interactive design approach could be exploited
more within the context of Namibian architecture, setting
it apart from westernised principles of standardization
and allow itself to be rooted within its African context.
“Locally inspired architecture can assist in the shaping
of a future characterized by accessible cities, vibrant
marketplaces and less corporate dependency” (Stretton:
2019).

43 CORPORATE
ARCHITECTS
46 PRACTICES
51 ANIMATION
FOR ARCHITECTURE
L I S T I N G S

CORPORATE
ARCHITECTS
ADOLF JACOBUS BOTES
 abatsu@mweb.com.na
 Tsumeb, Namibia
AGOSTINHO ENRICO FERREIRA
 +264 61 227 306
 afarch@iway.na
 Windhoek, Namibia
AHMED SIMWAYA
 +264 61 220 654
 gamalrifaiarchitects@gmail.com
ALEC FARAI CHITSUNGO
 +264 61 235 026
 chitsungoalec@gmail.com
ALLAN OCHINO OGONJE
 +264 61 208 8706
 aogonje@mwtc.gov.na
ANDREW CENTILIVRES CHASE
 +264 61 235 026
 andy@stauch.com.na
ANNA MAGDALENA MULLER
 +264 61 239 398
 nhag@iway.na
AXEL DAINAT
 +264 61 237 860
 axel@adarchitects.com.na
BRITT KLEWS ARCHITECT
Contact Person: Britt Klews-Stauch
 +264 81 289 5377
 bstauch@iway.na
 Shop 6b, The Atrium
4 Hendrik Witbooi Street
Swakopmund, Namibia
CARLO FRITZ SPRENGEL
 +264 61 230 954
 carspr@mweb.com.na
CEDRIC GERALD POWELL
 +264 61 402 426
+264 61 402 563
 archdev@iway.na
 Swakopmund, Namibia
CHARL ANDRE PRETORIUS
 +264 61 222 612
 charl@dpanamibia.com
CHRISTEL WASSERFALL
 +264 61 221 229
 christel@wasserfallmunting.com
CHRISTELLE ELIZABETH SMIT
 +264 61 303 633
 c.smit@liarch.com.na
CHRISTO LOURENS POTGIETER
 +264 61 387 400
 christo@ai.com.na
CHRISTOPHER DANIEL DE JAGER
 +264 61 240 405
 cdjarch@iway.na
CLAUD LE MANS BOSCH
 +264 61 237 160
 cba@boscharchitects-1.com
COENRAAD HENDRIK VAN GRAAN
 +264 61 227 146
 coen@mweb.com.na
CONRAD LIONEL SCHEFFER
 +264 61 203 125
 phil-mari@bobmouldscheffer.com
 Walvis Bay, Namibia
CURT HENRY RONALD BARNARD
 +264 61 568 936
 rbarnard@iway.na
 Gobabis, Namibia
DANETTE LEONIE BRUNS
 +264 61 207 688
 tech1@kbdarchitects.com
DANIEL JOHANNES JOUBERT
 +264 81 692 0962
 danie@blocdesignstudio.com
DAWID FREDERICK VAN DER MERWE
 +264 61 253 669
 dawid@boscharchitects-1.com
DEIRDRE DE WAAL
 +264 61 239 659
 deidre@ddwa.na
DELISA BUKHOSI NDHLOVU
 +264 61 307 392
 delisa.ndhlovu@iconarch.com.na
DEON PRETORIUS
 +264 61 222 612
 admin@mpwnamibia.com

DEWALD DU PLESSIS
 +264 61 253 669
 dewald@boscharchitects-1.com
DIEDERIK CHRISTOFFEL JANKOWITZ
 +264 61 500 701
 denj@mweb.com.na
 Henties Bay, Namibia
DYLAN DOUGLAS SAUNDERS
 dylan@dsa.com.na
ECKHARD SIEDENTOPF
 +264 61 259 721
 esad@mweb.com.na
ENDRI STEENKAMP (WILKEN)
 +264 81 480 7323
 endri@wessdesign.com
ERHARD WALTHER ROXIN
 +264 61 402 858
 eroxin@iway.na
ERICH WILHELM ROEBER
 +264 61 308 424
 erich@eranamibia.com
FRANCIS NGULA MUTUA
 +264 61 240 405
 francis@barnardmutua.com
FRENUS RORICH
 +264 61 402 713
 frenus@frenus-rorich.com
GABRIEL MARIN CASTRO
 gabriel.marin.castro@gmail.com
GELINE LOUBSER
 +264 61 237 162
 geline@pla.com.na
GLORIA GACHIKU KAMAU
 +264 61 251 975
 gkamau@iway.na
HEINRICH HANS WILHELM DILLMANN
 +264 61 224 561
 heinerd@iway.na
HENRY FERDINAND MUDGE
 +264 61 236 615
+264 61 236 616
 reception@rma.com.na
HUGO SCHEEPERS
 +264 61 221 725
 hugo@hugosarc.com
IZAAN RYKIE JOUBERT (PAUW)
 +264 61 220 604
 izaan@blocdesignstudio.com
JACK ALLAN M MUTUA
 +264 61 302 323
 tectura@iway.na
JACOB WASSERFALL
 +264 61 230 271
 jaco@wasserfallmunting.com
JACQUES JOHANN SWART
 +264 61 257 254
 jswart@africaonline.com.na
JAN LODEWYK SPRUYT
 +264 61 258 774
 jan@jsarchitects.com.na
JEAN-PIERRE ROSSOUW
 +264 61 236 615
 jean@rma.com.na
JEREMIA BRYNARD KOTZE
 +264 61 207 688
 info@kbdarchitects.com
JOHANN VAN NIEKERK
 +264 61 215 169
 niekerk@iafrica.com.na
JOHANNES CORNELIUS LOTTER
 +264 61 207 654
 cobus@clarchitects.net
JOHN MASANZU
 +264 81 398 6751
 jmasanzu@gmail.com
JULIE-ANNE CLARKE
 +264 61 401 428
 julie@clarke-architects.com
KAMILLA EL KES MICHALL YAKOOP
 +264 61 220 041
 kyakoop@hotmail.com
 Oshakati, Namibia
KAREN BELINDA SCHUSTER MILLER
 +264 61 407 121
 karenmil@iway.na

KAREN MUNTING
 +264 61 243 092
 karen@mrarchitects.com.na
KARSTEN ROHLF
 +264 61 235 556
 k.rohlf@kr-architecture.com
KELVIN KANYANTA
 +264 61 264 815
 kkarch@iway.na
KEVAN RUARI MCNAMARA
 +264 61 235 065
 kevan@kma.com.na
KHODJASTEH AFSHANI
 +264 61 227 613
 afshani@afol.com.na
KLAUS DIETRICH BRANDT
 +264 61 229 891
 kbaa@iway.na
KUDAKWASHE BICK’FORD CHIGAMA
 +264 61 227 314
 kbchigama@gmail.com
LANEL KOTZE (WENHOLD)
 +264 61 237 162
 lanel@pla.com.na
LAWRENCE ROBERT LOCK
(PR. VAN TONDER)
 +264 81 220 7067
 lawrence@lockmans.co
LEON DAVID BARNARD
 +264 61 240 405
 leon@barnardmutua.com
LINUS MALHERBE
 +264 85 555 0255
 linus.malherbe@gmail.com
MANDA BAKKES
 +264 61 302 810
 manda@mbanam.com
MARCO WILHELM SCRIBA
 +264 61 240 405
 marco@barnardmutua.com
MARIA-KOKO HENRIETTA OYULA
 apiyomk@gmail.com
MARIO ERASTUS SHILONGO
 shilongomario@yahoo.com
MARK PETER RECHHOLTZ
 +264 61 308 658
 mark@mrarchitects.com.na
MARLEY UAZEMBURUKA TJITJO
 +264 61 220 604
 marley@mtarch-inc.com
MARTHINUS HERMANUS MANS
 +264 81 444 3492
 marnus@lockmans.co
MECHTHILD MERDES
 +264 61 240 405
 mm@iway.na
MEMORY BRUNHILDE BURGER
 +264 61 304 201
 gerritgba@iway.na
MICHIELSE MATTHYS COETZEE
 +264 61 405 805
 Michielt@iafrica.com.na
MWAMBA JUSTIN MWANAKATWE
 +264 61 227 613
 Jamwa2002@yahoo.com
MWIITUMWA JOHN MUNGANDI
 +264 61 208 8719
 mjmungandi@mwtc.gov.na
NADINE COHEN
 +264 61 404 830
 nadine@mlaarch.com
NEKWAYA KAYERITSHIMWE ABED
AGAPITUS
 +264 61 235 026
 nekwaya@boscharchitects-1.com
NINA ALEXANDRA ARCHITECTS
Inventive and versatile professionals doing
unique and sustainable architecture, urban
and landscape design projects of any type
or size.
Contact Person: Nina Maritz
 +264 81 129 0752
 nina@ninamaritz.com
 82 Dr. Kenneth David Kaunda Street
Klein Windhoek
Windhoek, Namibia
 www.ninamaritzarchitects.com

PATRIDGE BHUNU SHAVA
 +264 61 222 349
 pbhunu2000@yahoo.com
PAUL LLOYD MUNTING
 +264 61 230 271
 paul@wasserfallmunting.com
PHIL-MARI ENGELBRECHT (BURGER)
 +264 61 203 125
PIETER JACOBUS SMITH
 +264 61 239 659
 pierresmith@iway.na
PIETER JOHANNES MOSTERT
 +264 61 238 603
 pieter@argitek.biz
RAMY MOHAMED MAHDY
 +264 61 220 654
 ramymahdyarchitects@gmail.com
RICARDO CHARLES MICHAELS
 +264 61 227 314
 ricardo@rmarchnam.com
ROBERT COLIN MOULD
 +264 61 227 764
 mouldwhk@iway.na
RONDALD MUGANDIWA
 +264 61 208 8707
 mugandiwa@mwtc.gov.na
ROWAN ROSCOE MC NAMARA
 +264 61 235 065
 rowan@kma.com.na
SAMUEL JOHANNES ANDRIES
CHRISTENSEN
 +264 61 230 271
 andre@aca.com.na
SANDERINE ELIZABETH BIERMAN
 +264 61 405 677
SOHEIL AFSHANI
 +264 61 227 613
SPACESTUDIO
Contact Person: Sophia van Greunen
 +264 81 300 3900
 phia.spacestudio@gmail.com
 Olof Palme Street 113C
Windhoek, Namibia
SVEN NIEBERLE
 +264 61 250 599
 sven@bartschnam.com
SVEN-ERIK STABY
 +264 61 227 013
 staby@mtcmobile.com.na
TOINI KONDJENI NKANDI
 +264 61 309 899
 kondjeni@knarchitect.com.na
TOIVO KAPUKA NUUGULU
 +264 81 637 6611
 toivo@tna.com.na
UNA CHRISZELDA STUURMANN
 +264 61 227 306
 una@usarchnam.com
PRACTICES
AFSHANI & AFSHANI ARCHITECTS
Contact Person: Soheil Afshani,
Khodjy Afshani
 +264 61 227 613
+264 81 400 8300
 62 Kuiseb Street, Eros
Windhoek, Namibia
AGOSTINHO FERREIRA ARCHITECTS
Contact Person: Agostinho Ferreira
 +264 61 227 306
 afarch@iway.na
 1 Haddy Street
Windhoek, Namibia
ANDREW MAIN ARCHITECTS
Contact Person: Andrew Main
 +264 61 210 420
+264 81 416 4461
 andrew@ama.com.na
 Unit 4B, Square Park
Hebenstreit Street
Windhoek, Namibia
ARCHITECT FRENUS RORICH
Contact Person: Frenus Rorich
 +264 61 402 713
+264 81 263 6427
 frenus@frenus-rorich.com
 171 Anton Lubowski Street
Swakopmund, Namibia
ARCHITECTS INK POTGIETER &
PARTNERS
Contact Person: Christo Potgieter, Adriaan
Schutte
 +264 61 387 400
+264 81 127 8579
 christo@ai.com.na
 Office 2A, Yang Tze Village
Sam Nujoma Drive
Windhoek, Namibia

Art endows
people with a
sense of
identity and
self-reliance.
- Sarala Krishnamurthy

AXEL DAINAT ARCHITECTS
Contact Person: Axel Dainat
 +264 61 237 860
+264 81 124 1122
 axel@adarchitects.com.na
 8 Slater Street
Windhoek, Namibia
BARNARD MUTUA ARCHITECTS
Contact Person: Leon Barnard, Francis
Mutua, Marco Scriba
 +264 61 240 405
 leon@barnardmutua.com
francis@barnardmutua.com
marco@barnardmutua.com
 152 Robert Mugabe Avenue
Windhoek, Namibia
BARTSCH ARCHITECTON
Contact Person: Dirk Theunissen, Sven
Nieberle
 +264 61 250 599
+264 85 124 9483
 sven@bartschnam.com
 11 Nelson Mandela Avenue
Windhoek, Namibia
BHUNU ARCHITECT
Contact Person: Patridge Bhunu Shava
 +264 61 222 349
+264 81 223 3111
 bhunuarchitech@iway.na
 Room136, 1stFloorBRBHouse
c/o AB May Street andGarten
Street, Windhoek, Namibia
BOB MOULD & SCHEFFER
ARCHITECTS
Contact Person: Conrad Scheffer
 +264 61 203 125
+264 81 123 3125
 Sam Nujoma Avenue
Walvis Bay, Namibia
BOB MOULD ARCHITECTS
Contact Person: Robert Colin Mould
 +264 61 227 764
+264 81 124 2710
 admin@bobmouldarch.com
 3 Conrad Rust Street
Windhoek, Namibia
BRYNARD KOTZE ARCHITECTS INC
Contact Person: Brynard Kotze
 +264 61 207 688
+264 81 274 5712
 info@kbdarchitects.com
 41 Sam Nujoma Avenue
Walvis Bay, Namibia
CARLO SPRENGEL ARCHITECTS
Contact Person: Carlo Sprengel
 +264 61 230 954
+264 81 127 7482
 carspr@mweb.com.na
 23 Rautenbach Street
Windhoek, Namibia
CHIGAMA ARCHITECTS
Contact Person: Kudawashe Chigama
 +264 61 259 125
 kchiga@gmail.com
 9 Hugo Hahn Street
Windhoek, Namibia
CHITSUNGO ARCHITECTS
Contact Person: Alec Chitsungo
 +264 81 384 9818
 chitsungoalec@gmail.com
 9 Liszt Street
Windhoek, Namibia
CHRIS DE JAGER ARCHITECTS
Contact Person: Christopher de Jager
 +264 85 556 0063
 cdjarch@iway.na
 28 Promenaden Road
Windhoek, Namibia
CHRISTEL WASSERFALL
ARCHITECTS INC
We are a small office established in January
2012 with a team that has been carefully
selected and with 23 years individual
experience we are able to specialize in all
sectors of the building environment.
Contact Person: Christel Wasserfall
 +264 61 221 229
+264 81 263 1696
 christel@wasserfallmunting.com
 43 Schanzen Road
Windhoek, Namibia
CHRISTENSEN ARCHITECTS
Contact Person: Andre Christensen
 +264 61 401 109
+264 81 411 3027
 christensenarchitects@gmail.com
 37 Metje Street
Windhoek, Namibia
CLARKE ARCHITECTS
Contact Person: Julie-Anne Clarke
 +264 61 401 428
+264 81 128 0435
 julie@clarke-architects.com
 c/o Trift & Schinz Street, no 19
Windhoek, Namibia
CLAUD BOSCH ARCHITECTS
Contact Person: Claud L.Bosch, Dawid Van
der Merwe, Elske Van der Merwe, Nekwaya
Agapitus
 +264 61 237 160
 clb@boscharchitects-1.com
Windhoek, Namibia
DB-NDHLOVUICON ARCHITECTS INC
Contact Person: Delisa B. Ndhlovu
 +264 61 307 392
+264 81 395 8640
 delisa.ndhlovu@iconarch.com.na
 12 Jakaranda Street, Windhoek
Windhoek, Namibia
DEIDRE DE WAAL ARCHITECTS
Contact Person: Deidre de Waal
 +264 61 463 800
+264 81 124 6839
 deidre@ddwa.na
 Unit7, Kronheimer Courtyard,
39 Sam Nujoma Avenue
Swakopmund, Namibia
DEON PRETORIUS ARCHITECTS
Contact Person: Deon Pretorius, Charl
Andre Pretorius
 +264 61 222 612
 admin@dpanamibia.com

Windhoek, Namibia
DEWULF ARCHITECTURE
Contact Person: Willem Dewulf
 +264 81 128 7825
 arch.dewulfarchitecture@gmail.com
 18 Hella Kuppe Street, Olympia
Windhoek, Namibia
DYLAN SAUNDERS ARCHITECTS
Contact Person: Dylan Saunders
 +264 81 279 3580
 dylan@dsa.com.na
 Unit 24A, Bougain Villa Mall
Klein Windhoek
Windhoek, Namibia
ECKHARD SIEDENTOPF
ARCHITECTURAL DESIGN
Contact Person: Eckhard Siedentopf
 +264 61 259 721
+264 81 129 9721
 esad@mweb.com.na
 6 Ziegenfuss Street
Windhoek, Namibia
ENDRI STEENKAMP
Contact Person: Endri Steenkamp
 +264 81 480 7323
 endri@wessdesign.com
ERHARD ROXIN ARCHITECTS
Contact Person: Erhard Roxin
 +264 61 402 858
+264 81 127 2858
 eroxin@iway.na
 11 Daniel Tjongarero Avenue
Swakopmund, Namibia
ERICH ROEBER ARCHITECTS
Contact Person: Erich Roeber
 +264 61 308 424
+264 81 149 8101
 erich@eranamibia.com
 32 Bismarck Street
Windhoek, Namibia
GAMAL RIFAI ARCHITECTS
Contact Person: Ahmed Simwaya
 +264 61 220 654
+264 81 333 5845
 gamalrifaiarchitects@gmail.com
Windhoek, Namibia
GERRIT BURGER ARCHITECTS
Contact Person: Memory Burger
 +264 81 124 1801
 gerritgba@iway.na
Windhoek, Namibia
HERRMANN MUELLER ARCHITECTS
Contact Person: Herrmann H.M. Mueller
 +264 81 418 1390
 herrmann@hma.com.na
 6B Margarethen Street
Windhoek, Namibia
HUGO SCHEEPERS ARCHITECTS
Contact Person: Hugo Scheepers
 +264 61 221 725
+264 81 128 2354
 hugo@hugosarc.com
 5 Square Park, Hebenstreit Street
Windhoek, Namibia
JACO WASSERFALL ARCHITECTS INC
Award-winning architectural practice in
Windhoek with strong design focus
Contact Person: Jaco Wasserfall
 +264 61 230 271
 jaco@jwainc.co
Windhoek, Namibia
 www.jwainc.co
JAN SPRUYT ARCHITECTS
Contact Person: Jan Spruyt
 +264 61 258 774
+264 81 124 9412
 jan@jsarchitects.com.na
 4 Sinclair Street
Windhoek, Namibia
JACQUES SWART ARCHITECTS
We are a small office established in January
2012 with a team that has been carefully
selected and with 23 years individual
experience we are able to specialize in all
sectors of the building environment.
Contact Person: Jacques Swart
 +264 81 251 3155
 jswart@africaonline.com.na
 1 Chopin Street
Windhoek, Namibia
 www.jwainc.co
JMASANZU ARCHITECTS WORKSHOP
Contact Person: John Masanzu
 +264 61 259 728
+264 81 398 6751
 jmasanzu@gmail.com
 Flat 2 Camelthorn Court, Acacia
Windhoek, Namibia
KAMAU ARCHITECTS & ASSOCIATES
Contact Person: Gloria Gachiku Kamau
 +264 81 260 8994
 gkamau@iway.na
 Unit 13, 2nd Floor Bridge View,
Office no 4, Dr Kwame Nkurumah
KAMILIA ARCHITECT & PROJECT
MANAGEMENT
Contact Person: Kamilia M.Yakoop
 +264 61 220 888
+264 81 148 4284
 kyakoop@hotmail.com
 Erf 1156, Leo-Shoopala Street
Oshakati, Namibia
KAREN MILLER ARCHITECT
Contact Person: Karen Miller
 +264 61 407 121
+264 81 279 3704
 karenmil@iway.na

 10 Hendrik W itbooi Street
Swakopmund, Namibia
KARSTEN ROHLF ARCHITECTURE
Contact Person: Karsten Rohlf
 +264 61 235 556
+264 81 292 5785
 k.rohlf@kr-architecture.com
 17 Herbst Street
Windhoek, Namibia
KELVIN KANYANTA ARCHITECTS
Contact Person: Kelvin Kanyanta
 +264 61 264 815
 kkarch@iway.na
 664 Principe Street
Windhoek, Namibia
KERRY MCNAMARA ARCHITECTS
Contact Person: Kevan McNamara, Rowan
McNamara
 +264 61 235 065
+264 81 279 6289
 kevan@kma.com.na
rowan@kma.com.na
 26 Heinitzburg Street
Windhoek, Namibia
KONDJENI NKANDI ARCHITECTS INC
Contact Person: Kondjeni Nkandi
 +264 61 309 899
+264 81 417 8834
 kondjeni@knarchitect.com.na
 12 Kupferberg Street
Windhoek, Namibia
LINUS MALHERBE ARCHITECT
Contact Person: Linus Malherbe
 +264 85 555 0255
 linus.malherbe@gmail.com
Windhoek, Namibia
LOCK + MANS ARCHITECTS
Contact Person: Marnus Mans, Lawrence
Lock
 +264 81 220 7067
+264 81 444 3492
 marnus@lockmans.co
lawrence@lockmans.co
 Unit 403, 4th Floor Maerua Mall
Windhoek, Namibia
LOTTER KROGH ARCHITECTS
Contact Person: Cobus Lotter WaldoKrogh
 +264 61 207 654
 cobus@clarchitects.net
waldo@clarchitects.net
 84 Theo Ben Gurirab Street
Walvis Bay, Namibia
LYDIA SCHRODER ARCHITECT
Contact Person: Lydia Schroeder
 +264 61 242 972
 schroderlydia@iway.na
MACKINTOSH LAUTENBACH
ARCHITECTS
Contact Person: Kirby Mackintosh, Roderick
Lautenbach
 +264 61 404 830
+264 81 124 6291
 info@mlaarch.com
 Nr.5 Moringa Gardens
5 Leutwein Street
Swakopmund, Namibia
MANDA BAKKES ARCHITECTS
Contact Person: Manda Bakkes
 +264 61 302 810
+264 81 252 6672
 manda@mbanam.com
 Maxwell Street, Hyper Motor
City Unit 31, Windhoek, Namibia
MARIO SHILONGO ARCHITECT
Contact Person: Mario Shilongo
 +264 81 706 3336
 shilongomario@yahoo.com
 Erf 2084, Omuryambambi Street
Windhoek, Namibia
MARLEY TJITJO ARCHITECTS INC
Contact Person: Marley Tjitjo
 +264 61 220 604
 marley@mtarch-inc.com
 5 Bahnhof Street
Windhoek, Namibia
MULLER & NEUMEISTER ARCHITECTS
Contact Person: Heiner Dillmann
 +264 61 224 561
 heinerd@iway.na
 11 Am Wasserberg Street
Windhoek, Namibia
MUNTING RECHHOLTZ ARCHITECTS
Contact Person: Karen Munting, Mark
Rechholtz
 +264 61 243 092
+264 81 292 2601
 karen@mrarchitects.com.na
mark@mrarchitects.com.na
 Unit8, 2nd Floor Bridgeview,
Office no4, 4 Dr Kwame Nkurumah
MWANAKATWE STUDIO
ARCHITECTURE INC
Contact Person: Justin Mwanakatwe
 +264 61 213 514
 mwamba@msainc.com.na
 6 Omaruru Street
Windhoek, Namibia
NINA MARITZ ARCHITECTS
Inventive and versatile professionals doing
unique and sustainable architecture, urban
and landscape design projects of any type
or size.
Contact Person: Nina Maritz
 +264 81 129 0752
 nina@ninamaritz.com
 82 Dr. Kenneth David Kaunda Street
Klein Windhoek
Windhoek, Namibia
 www.ninamaritzarchitects.com
OYULA ARCHITECTURE & DESIGN INC
Contact Person: Apiyo Maria Koko, Oyula
 +264 81 610 7914
 apiyomk@gmail.com
PAUW JOUBERT ARCHITECTS
Contact Person: Izaan Pauw Joubert, Danie
Joubert
 +264 81 692 0962

 izaan@blocdesignstudio.com
danie@blocdesignstudio.com
 24 Moes Tjidendero Street
Windhoek, Namibia
PIETER MOSTERT ARGITEK
Contact Person: Pieter Mostert
 +264 61 238 603
+264 81 124 8636
 pieter@argitek.biz
 1 Arians Street
Windhoek, Namibia
PRINSLOO LOUBSER ARCHITECTS
Contact Person: Uys Prinsloo, Geline
Loubser
 +264 61 237 162
+264 81 128 1240
 geline@pla.com.na
uys@pla.com.na
lanel@pla.com.na
 Unit 2, 20 Feld Street
Windhoek, Namibia
QUARMBY-PARBHOO ARCHITECTS
Contact Person: Waseela Parbhoo
 +264 81 445 3539
 waseelaparbhoo@gmail.com
RAMY MAHDY ARCHITECTS
Contact Person: Ramy Mahdy
 +264 61 226 054
+264 81 304 1588
 ramymahdyarchitects@gmail.com
Windhoek, Namibia
RICARDO MICHAELS ARCHITECTS
Contact Person: Ricardo Michaels
 +264 61 227 314
 ricardo@rmarchnam.com
 13 Liszt Street
Windhoek, Namibia
RONNIE BARNARD ARCHITECTS
Contact Person: Ronnie Barnard
 +264 61 568 936
+264 81 128 7751
 rbarnard@iway.na
 Gobabis, Namibia
RYNAND MUDGE ARCHITECTS
Contact Person: Rynand Mudge
 +264 61 236 615
 reception@rma.com.na
 1st Floor Gathemann Building
Independence Avenue
Windhoek, Namibia
STABY DESIGNS
Contact Person: Sven-Erik Staby
 +264 61 227 013
+264 81 611 0622
 staby@mtcmobile.com.na
 5B Etsali Street
Windhoek, Namibia
STAUCH & PARTNERS ARCHITECTS
Contact Person: Andrew Chase
 +264 61 235 026
+264 81 124 4242
 andy@stauch.com.na
 9th Floor Channel Life Building
Post Street Mall
Windhoek, Namibia
TOIVO NUUGULU ARCHITECTS
Contact Person: Toivo Nuugulu
 +264 81 637 6691
 toivo@tna.com.na
 Unit3, 2nd Floor Obowi Centre
22 Independence Avenue
Windhoek, Namibia
UNA STUURMANN ARCHITECTS
Contact Person: Una Stuurmann
 +264 61 227 306
 una@usarchnam.com
 13 Liszt Street
Windhoek, Namibia
WASSERFALL MUNTING ARCHITECTS
INC
Contact Person: Dr.Jaco Wasserfall, Paul
Munting
 +264 61 230 271
 jaco@wasserfallmunting.com
paul@wasserfallmunting.com
Windhoek, Namibia
WIM+ENDRI STEENKAMP
ARCHITECTS
Contact Person: Wim Steenkamp
 +264 61 237 106
+264 81 416 6110
 wim@wessdesign.com
 32 Bismarck Street
Windhoek, Namibia
WINFRIED HOLZE URBAN DESIGN
ARCHITECTURE
Contact Person: Winfried Holze
 +264 61 251 289
+264 81 291 4456
 holze@mweb.com.na
 30 Sanderburg Street
Windhoek, Namibia
ANIMATION FOR
ARCHITECTURE
MATHEUS MWENENI UUGWANHA
Contact Person: Matheus Mweneni
Uugwanha
 +264 81 305 8242
 lotarioart@gmail.com
mark@mrarchitects.com.na
karen@mrarchitects.com.na
 Unit 8, Second Floor, Bridgeview
Offices, 4 Dr. Kwame Nkurumah Street
Windhoek, Namibia
Not listed? Visit
our website and
get listed online

Craft
3
CRAFT
SECTOR

The Namibian
Craft Sector
A (not so grim) history of the craft industry in Namibia- Doing
better than you might think…
In 1993, a small book Rural Art in Namibia was published that accompanied
a post-independence exhibition of the same name to Denmark, Norway and
Finland. This was followed by another publication in 1994, A Survey of Natural
Resource Based Production and Marketing , the first comprehensive research in
Namibia of natural resource-based craft production.
What these two early publications reveal, is that there were a considerable
number of businesses and ‘projects’ active in the craft sector at this time, and
as many support organisations. Some 20 ‘projects’ were directly engaged in
the development, production and marketing of crafts; over 20 organisations
supported/funded the sector with an additional 13 that were directly engaged in
the marketing of Namibian crafts.
The Namibia Crafts Centre (NCC), located just off Independence Avenue in
Windhoek, serves as the country’s premier market for Namibian handcrafts. In
1996 when the Rossing Foundation took over the management of the centre
(established a year or two earlier) there were some 25 craft enterprises located
there with approximately 7000 visitors to the centre. The Omba Arts Trust took
over the management of the centre in 2004 and by the time it handed over the
centre to the newly established Namibia Art, Craft and Design Section 21 company
in 2011 there were over 30 craft enterprises, a dedicated gallery space for art
exhibitions and about 45 000 visitors per annum – a growth of some 84%.
Over the years of the NCC’s existence, stalls selling a variety of Namibian product
ranges, have opened and closed. This data does not include the many other urban
or farm-based craft enterprises that included the karakul wool carpet workshops
and other jewellery, ceramic, candle making, hand-woven textiles and designer
furniture enterprises.
Since 1996 there have also been significant developments in the establishment
of community and commercial marketing outlets around the country with both
successful - and failed - centres based in several regions and in many town
Karin Le Roux
Namibian Karin le Roux is the
founding director of the Omba
Arts Trust and has been involved
in developing, marketing and
researching the craft sector
in Namibia for over 30 years.
This includes managing and
expanding the Namibia Craft
Centre from 1996 - 2011.

likes Maltahohe, Kalkrand, Hoachanas,
Okahandja, Aus, Uis, Swakopmund,
Khorixas, Twyfelfontein, Purros, Epupa,
Tsumeb, Opuwo, Gobabis, Omathiya,
Onankali, Ondangwa, Twyfelfontein,
Tsumkwe, Tsinsabis, Rundu, Mashie,
Mashambo Katima Mulilo, Ngoma
and several others. The escalation of
tourism in the past 20 years has also
resulted in more lodges – many of
which sell Namibian crafts to guests.
What this data reveals, is that we
need to be cautious about the notion
that seems prevalent in some circles
in Namibia – that the craft sector is
un- or underdeveloped. Given our
small population and the number of
iconic products, marketing brands and
indeed the craft networks around the
country – Namibia has made great
strides in developing the sector over
the past 25 years.
It would be pertinent at this juncture
to understand why many craft
initiatives have failed and indeed why
have some succeeded and/or how
do we define ‘success’, and why have
so many community craft centres
not fulfilled the expectations of the
agencies that put capital into building
the infrastructure and/or why have
the community craft centres not been
able to grow production, innovate and/
or become efficient partners in the
supply chain?
Benefits of the craft sector
Whilst there is insufficient quantitative
data in Namibia that speaks to the
whole sector, it is generally agreed
internationally, and from our own
experience at the Omba Arts Trust,
that the socio-economic impacts
of craft production on craftspeople,
their families and communities is
significant. This is why countries
around the world invest in the sector. In
Namibia, we have seen the following:
• Hundreds of Namibians, who
would be considered part of the
33% unemployment statistic
recently released in Namibia,
receive regular incomes from
craft production – often their only
livelihood opportunity.
• Women make up some 95% of
the total number of craftspeople
– and it is well known fact that
their money is used on the
health, education and welfare of
their families. Besides improving
the skills, confidence and self-
esteem of these women, we have
noted within our own organisation
as well as in the conservancies
with whom we have partnered,
that women take on prominent
leadership roles in their
communities. They often sit on
local development committees
and even, as in the case of the
Nyae Nyae Conservancy, the
Ju/’hoansi crafts co-ordinator
went on to become the first
female chairperson of the
conservancy.
• For many craftspeople, craft
production is an opportunity to
mitigate against the effects of
crop failure as a result of poor rain
(2019 there has been a huge spike
It is important
to understand
the benefits
of a vibrant
national craft
sector and
why it is so
important to
continue to
invest in it.
craft

in craft production nationally). For others the pooling
of a portion of income from craft allows the group to
distribute money when needed for emergencies like
funeral-related expenses.
• Craft promotes joint production possibilities sometimes
cementing community differences. Broader
community development initiatives arise from craft
support organisations. Within our own organisation
we have addressed issues related to HIV aids, gender
violence, nutrition and food security (including support
to the establishment of homestead vegetable gardens
and improving agricultural yields), and provided solar
powered lights to non electrified rural villages using
craft supply chains, to name a few.
• Working in the craft sector has given us and Namibia’s
Conservancies a better understanding of the natural
resources used in craft production and the need to
create awareness with regard to using these materials
sustainably. Omba Arts Trust has been a pioneer in not
only trialling palm and dye tree gardens but in the last
two years has helped baskets weavers in the Kavango
region plant hundreds of palm nuts and dye trees.
• Key players in the craft sector (organisations as well
as individuals) have been responsible for mobilising
people into production units, harnessing traditional
skills, keeping traditional crafts alive and providing an
opportunity for new skills to be learned; they have been
key players in innovation whilst developing sustainable
supply chains. Additionally, they have provided much
needed capital as well as the means to source
raw materials (often in bulk) locally, regionally and
even internationally
And this brings me to a key factor in the importance of
the craft sector in Namibia. The craft sector allows people
to connect and through this connectivity miracles often
happen. It is now a well-established fact, that social isolation
is a hidden element of poverty. Many craftspeople are rural-
based, or living in informal settlements on the fringes of
urban areas. Craft related organisations, businesses and
even customers help generally marginalised craftspeople to
become connected. Through this connectivity, relationships
are built and nurtured, there is greater understanding of
the real issues around poverty and marginalisation, and
this connectivity facilitates better access to resources –
strengthening the resilience of communities and giving
individuals hope. Also, there is some merit to the notion that
craft production, particularly in the rural areas, contains
urban migration.
Create awareness
with regard to using
these materials
sustainably.

Creative Industry Guide Namibia '19 - '20

Creative Industry Guide Namibia '19 - '20

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