The latest version of the affordable XO tablet, designed by Yves Behar for the One Laptop Per Child Association, goes on sale this week (+ movie).
The seven-inch touchscreen Android tablet will be available for $150 at Walmart stores across the USA this week, marking a move away from the product’s initial focus on the developing world.
The new version features a rubber exterior and a carrying hook, while the bilingual English/Spanish software comes with a suite of pre-loaded apps, games and books.
The XO tablet is the fourth iteration of the One Laptop Per Child concept, all of which have been designed by One Laptop Per Child’s chief designer, Yves Behar of San Francisco design studio fuseproject.
The first, nicknamed the “$100 laptop”, was a clamshell design with a keyboard that could be charged by hand-crank and was intended for children in remote villages without power.
“The new tablet is an evolution of all the things we have learned with the original XO Laptop,” says Yves Behar. “The new user interface is colourful and easy to use, while the protective rubber exterior features a carrying loop similar to the original XO finger hooks.”
FUSEPROJECT AND ONE LAPTOP PER CHILD ANNOUNCE NEW XO TABLET DESIGNED TO SPARK THE CHILD’S IMAGINATION
The fuseproject-designed XO Tablet arrives in Walmart stores across the country this week. Developed in collaboration with the One Laptop Per Child Association, the tablet harnesses the power of a touchscreen device to create new ways for children to learn. The powerful Android tablet has a new user interface and protective cover that delivers the continuity of the design language of the original One Laptop Per Child with a new learning experience.
Centered around the idea of aspirational “dreams”, the main screen is organized by topics rather than applications. A clear hierarchy of information makes tiers of learning within each dream easy to follow and access, a key element of the new child-centric XO Learning System Interface. A simple sentence “I want to be an…” is the opener to a myriad of software, games, and applications grouped around each of the subjects of interest.
“The new tablet is an evolution of all the things we have learned with the original XO Laptop,” says Yves Behar, fuseproject founder and Chief Designer of OLPC since 2006. “The new user interface is colorful and easy to use, while the protective rubber exterior features a carrying loop similar to the original XO finger hooks. What is unique about this version is how we crafted the user interface and the industrial design simultaneously. We wanted to make sure that together they would deliver a cohesive experience while stimulating discovery and offering a few surprises.”
The seven-inch tablet, made by Vivitar, is running Android OS, and is the only multilingual (English/Spanish) and Google-certified tablet for kids on the market. It includes content curated and selected for age-appropriateness by OLPC in collaboration with Common Sense Media, a leading non-profit organization dedicated to helping parents and teachers make informed decisions about media.
The pre-loaded software includes 100 free pre-loaded apps, games, and books. Special parental controls such as the XO Journal tool, allow parents to track how much time children spend on each app and can provide insight into where children’s interests lie.
The One Laptop Per Child Association has distributed 2.5 million of the original XO Laptop in 60 countries, and is now launching the new $150 tablet in the US starting at Walmart, as well as in developing countries such as Uruguay, Cambodia, and Barbados.
The curved plasterwork of typical Mediterranean architecture influenced the smooth white interior of this store for skin and haircare brand Aesop in London’s Covent Garden.
Aesop Covent Garden is the fifth store by French studio Ciguë. The team designed shelves and surfaces with naturally chamfered edges, just like in the old houses of Greece, Spain and Italy.
“We did a residential project for a family in Paris and the staircase was in traditional plaster,” designer Hugo Haas told Dezeen. “I thought this finish would make a really beautiful concept for Aesop.”
The shelves are loosely laid out in seven different zones, for displaying each of Aesop’s product ranges, while the sink and countertop run along one wall.
The floor is covered with hexagonal green tiles that are engraved with geometric patterns. “We wanted something in contrast, to find a balance,” said Haas.
This hexagonal motif is also picked up elsewhere, including on the perforations in the sink’s plughole.
“It’s possible you don’t notice it, and it’s ok,” said Haas, “but I like the feeling when you notice it. It was all about developing a formal language.”
A custom-made lamp is suspended from the ceiling, built using industrial fixtures from the 1920s, while plants frame an extra window at the rear of the space.
A hand-crafted space that honours the art of plastering
London recently welcomed its sixth Aesop signature store, in Covent Garden.
This fresh collaboration with Parisian architects Ciguë began with four key design references: a Virginia Woolf quote, a Francis Bacon painting, a Henry Moore sculpture, and an excerpt from Beauty and the Beast. These inspired a space that eloquently expresses the brand, just as it embodies Ciguë’s philosophy: ‘We are very curious about history, and very attentive to transformations. We look out for old know-how and poetry in functionality.’
The brilliantly whitewashed walls reflect abundant natural light, which warms during the afternoon in step with neighbouring pubs. Exposed copper plumbing and light fixtures offer utilitarian adornment. A floor of engraved green cement tiles pays homage to the area’s Italianate piazza – London’s first open square, constructed in the seventeenth century. The colour is replicated in lush vegetation which climbs the walls from an interior window box, complementing the neighbouring gardens of Saint Paul’s Church.
Product news: these tables by London designer Michael Sodeau have noughts and crosses inserted between their legs.
Michael Sodeau designed the Noughts and Crosses tables to accompany his earlier Noughts and Crosses stools and will launch them with British furniture brand Modus at the London Design Festival in September.
The steel powder-coated O and X shapes are placed underneath the tabletop, acting as a cross-brace for three or four legs. They will be available in black or red, while the oak tables will come in three different heights.
The tall cafe table also includes a shelf with coloured hooks, creating a place for hanging bags and coats.
Architect Frank Gehry has released images of his shortlisted entry for the competition to design National Art Museum of China (NAMOC) in Beijing – a competition thought to have been won by Jean Nouvel.
Gehry’s submission features translucent stone cladding and an interior made up of a series of tall, geometric courtyards reminiscent of pagodas and temples.
“We realized the project from concept through design to a full scale mock-up [of the cladding] that we manufactured in Beijing,” says David Nam, partner at Gehry Partners. “The project was developed in depth over one and a half years through 3 stages of competition.”
Nam added: “To our knowledge the Chinese government has made no official announcement [about the winner of the competition]”.
The National Art Museum of China (NAMOC) will be the showpiece of a new cultural district being built close to Herzog & de Meuron’s National Stadium in Beijing’s Olympic Park. It will attract up to 12 million visitors per year, making it the world’s busiest art museum.
Here’s some text about the project from Gehry Partners:
NATIONAL ART MUSEUM OF CHINA
COMPETITION
Beijing, People’s Republic of China
The globalization of art is connecting the cultures of the world. Art can act as the instrument for breaking down the barriers to understanding between cultures. China is the focus of this global conversation at this moment. The Chinese contemporary art world is exploding at an unprecedented rate proportionate to the size of its population. People all over the world are flocking to experience Chinese art. This form of cultural engagement promotes cross cultural understanding and appreciation. This is the model for the future, and is central to the design of the National Art Museum of China (NAMOC).
The competition for NAMOC involved three rounds that took place between December 2010–July 2012. Round One was the concept phase. Round two was the primary design phase. Round three addressed client feedback from round two, and advanced the technical development of the project.
NAMOC will form the centerpiece of a new cultural district in Beijing. Located to the north of the city center in the Olympic Park, the district will be comprised of four museums. NAMOC will occupy the most important site facing the central axis of the Olympic Park. The primary goal of the competition brief was to create a design that addresses the concept of a 21st century Chinese architecture. We created a design that is uniquely tailored to China and its rich cultural history, evoking historical models without copying them, to create an innovative building unlike anything else in the world.
Throughout our projects we have been looking for a way to express movement with inert materials like the Greeks did with the horses and soldiers in the Elgin marbles and like the Indian Shiva dancing figures. Our effort to express subtle movement in the façade is what leads us to studying glass.
The façade is clad with a new material developed by Gehry Partners – translucent stone. Evocative of the most precious Chinese materials, it has the qualities of jade. Of all the materials we explored, we found glass to be the most transcendent and symbolic of Chinese landscape paintings, of moving water, of the mountains covered in mist. It has gravitas that creates an emotional impact on visitors. It gives the building a stately and noble appearance, appropriate for a national museum.
We experimented with the translucent stone in many different conditions and configurations, looked at it in various lights, and found that it has the ability to project movement. It changes beautifully with the light, becoming ephemeral, and allowing for different effects with artificial lighting, banners and projection. The glass allows the building to easily transform throughout the day and the seasons, as well as for festivals and for changing exhibitions.
The translucent stone is part of the innovative sustainable façade concept that incorporates a ventilated airspace to reduce the heating and cooling loads of the building. In addition, the airspace is used to display art banners and projections, which provides the ability for the building’s façade to change and remain current far into the future, even becoming a canvas for artist projects.
The building’s entries and interiors have been organized to accommodate an unprecedented number of patrons expected to visit the museum. The building has been designed to efficiently and comfortably accommodate 38,400 visitors per day and approximately 12 million visitors per year, enabling NAMOC to have the highest attendance of any museum in the world. Four distributed entries at each corner of the building facilitate the processing of a large number of visitors, and minimize any queuing of visitors. Each of the four entries is connected to one of four escalators systems that provide fast and efficient distribution of visitors to all parts of the museums. A ceremonial entrance is placed in the center of the west façade, facing the Olympic Park. The articulation of this entrance evokes the silhouette of a Chinese temple.
The building interiors are organized around a series of large public spaces, connected vertically by escalators. These spaces are inspired by pagoda and temple forms- rendered as occupiable voids; the shapes are only legible from the inside. The public spaces provide an orienting device for visitors to easily navigate the large museum, and establish a formal continuity between the shapes of the building façade and the interior of the museum. In addition to providing access to galleries, the public spaces provide opportunities for large scale art exhibit spaces and events.
The organization of the galleries was developed through discussions with NAMOC. Sixty percent of the galleries are dedicated to the permanent collections of 20th century Chinese art, Chinese calligraphy, Chinese folk art, and international art. The permanent collection is housed on the second, third, and fourth floors in gallery types to align with the requirements of the art. The ground floor, fifth floor, and roof top galleries are dedicated to changing contemporary art exhibitions. They are taller in height and have a greater variety of shape and scale.
The museum includes a full complement of supporting functions. An art academy, an art research and conservation institute, five auditoriums, retail stores, restaurants and cafes, and large art storage areas have been incorporated into the design of the museum.
The design for the museum was developed with an integrated sustainability concept. The design is based on a high comfort-low impact strategy that includes concepts for load reduction, system optimization, and renewable resource substitution.
The innovative façade design reduces the heating and cooling loads for the building.
Extensive daylighting of circulation spaces is used to reduce artificial lighting requirements.
Photovoltaic cells are incorporated on the roof, and generate enough electricity to power 100% of the lighting electrical loads for the building.
Geothermal wells incorporated with the building’s foundation system are used to satisfy 100% of the heat rejection requirements of the heating and cooling system, eliminating the need for cooling towers at the roof of the building.
The calculated impact of the integrated sustainability concept is a 57% reduction in energy use and carbon emissions over a standard museum, the equivalent of 275 Beijing households.
Gehry Partners developed a larger landscape and master plan design for the museum’s surrounding areas to link with master plan for the cultural district. A revitalized waterfront park to the west provides new public open spaces and ground level retail areas, and a visual foreground to the museum as viewed from the main axis of the Olympic Park. A connection to the subway is provided at the first level below grade that links directly to the museum. A new park to the east of the museum offers additional public open space and sculpture gardens as an extension of the museum. The roof of the museum has a public garden that allows visitors views to the Olympic Park beyond, and provides a key fifth elevation to the museum when viewed from above.
News: London architect Zaha Hadid has unveiled plans for an 11-storey apartment block that will be constructed beside New York’s popular High Line park.
The residential building is to be built on West 28th Street and will provide approximately 37 apartments overlooking one of New York’s most visited tourist attractions. It will also be Zaha Hadid’s first project in the city.
Hadid’s proposal is for a glass and steel building that will integrate a chevron pattern in its facade. “Our design is an integration of volumes that flow into each other and, following a coherent formal language, create the sensibility of the building’s overall ensemble,” she said.
“With an arrangement that reinvents the spatial experience, each residence will have its own distinctive identity, offering multiple perspectives and exciting views of the neighbourhood,” she added.
Commissioned by New York developer Related Companies, the building will feature a range of luxury features, including a grand double-height foyer, a large roof terrace and an indoor pool and spa. Apartments will feature 3.3 metre-high ceilings and most will have their own private entrance foyers.
Related Companies commissions Zaha Hadid Architects to design boutique residential condominium on the High Line at 520 West 28th Street
Related Companies, New York’s premier residential developer, today announced that it has commissioned world renowned Zaha Hadid Architects to design a boutique condominium adjacent to the High Line at 520 West 28th Street in Chelsea just south of Hudson Yards. The 11-storey residential development will mark Hadid’s first commission in New York City, leaving an indelible mark on the High Line’s architecture map and continuing Related’s storied history of partnering with world-class architects and designers.
“We are proud to partner with Zaha Hadid Architects and to continue Related’s commitment to the very best in urban architecture,” said Jeff Blau, CEO of Related Companies. “This development will be truly unique within the city’s architectural offerings, and will pave the way for future architectural achievements on Manhattan’s west side.”
The development’s bold design captures the richness of the location’s vibrant and historic urban context, where a fascinating interplay between the city and the High Line has created a powerful urban dynamic among the elevated park and surrounding streetscape. The same interplay is seen within the building’s design; a chevron pattern enhances the sculpted exterior, at once separating and merging the two distinct zones. The innovative concept further develops this contextual relationship, giving each residence the highest degree of originality.
“Our design is an integration of volumes that flow into each other and, following a coherent formal language, create the sensibility of the building’s overall ensemble,” explained Zaha Hadid, founder of London-based Zaha Hadid Architects and the first woman to be awarded the Pritzker Architecture Prize. “With an arrangement that reinvents the spatial experience, each residence will have its own distinctive identity, offering multiple perspectives and exciting views of the neighbourhood.”
Zaha Hadid, founder of Zaha Hadid Architects (ZHA), is known internationally for her built, theoretical and academic work. Each of her projects builds on over thirty years of exploration and research in the interrelated fields of urbanism, architecture and design. ZHA’s interest lies in the interface between architecture and its context as the practice integrates natural topography and human-made systems, leading to experimentation with new technologies. Such a process often results in unexpected and dynamic architectural forms.
The firm’s previous work at The MAXXI: National Museum of 21st Century Arts in Rome, Italy and the London Aquatics Centre for the 2012 Olympic Games demonstrate ZHA’s exploration of fluid space. Previous seminal buildings such as the Rosenthal Center for Contemporary Art in Cincinnati and the Guangzhou Opera House in China have also been hailed as architecture that transforms our ideas of the future with new spatial concepts and visionary forms.
The 11-storey development will feature approximately 37 residences of up to 5,500 square feet, focusing on expansive, gracious layouts with 11-foot ceilings, thoughtful technological integration and state-of-the-art finishes and features. Designed with multiple elevator cores, a majority of the residences will have a private vestibule and entrance that adds to the intimacy of the building.
Residents of 520 West 28th Street can enjoy the High Line while maintaining privacy and exclusivity. The double-height entrance lobby offers glimpses beyond to the residents’ communal spaces and an outdoor garden. The generous terraces and courtyard further enhance the residential experience and a substantial roof terrace, indoor pool and spa, entertainment space and playrooms give even greater opportunities to relax and entertain. These offerings will be part of a rich services and amenities program befitting the discerning luxury buyer to which the property will appeal.
In addition to the enchanting High Line park adjacent to the building, the property will benefit from exciting nearby additions, including Avenues: The World School, and numerous hot new restaurants. The site will also hold an important place within Related’s footprint in this valuable neighbourhood – the company is soon launching a new luxury rental property at 30th Street and 10th Avenue as well as the much anticipated Hudson Yards project. This dramatic 26-acre mixed-use development two blocks to the north will include residential, office, retail, parks, open space, culture and entertainment. The first tower, the South Tower, will open in 2015.
Block features a distinctive square case stamped from a piece of stainless steel or brass and a circular face with etched numerals and markers. The watch’s hour, minute and second hands are powered by a high-quality Swiss movement.
The timepiece is available in either stainless steel or rose gold (plated) with matching mesh straps, or in brass with a chunky brown leather strap.
“I’m trying to produce something with an expressive neutrality,” says Dixon in the movie we filmed at his studio in London. “I tend to try and work out what I can strip out without losing character.”
He continues: “I wanted to make sure that you can tell the time. With all too many contemporary watches you really can’t tell what time it is.”
Dixon goes on to explain that the mesh strap featured on two of the watches refers to his childhood. “It’s got this chain link bracelet, which I guess is a reference to when I was growing up – Kojak, maybe.”
“It’s just the minimal elements that you need to make a watch, all reduced to their bare essentials,” he concludes.
News: the West Kowloon Cultural District Authority (WKCDA) has appointed Asian curator Doryun Chong as chief curator of Hong Kong’s forthcoming M+ museum of visual culture.
“We have been searching for a right chief curator for years,” said Nittve. “With his extensive knowledge and understanding of the contemporary art scene, not the least in Asia, Doryun is an extraordinary addition to our growing team,” he added.
Since 2009, Chong has been the associate curator of painting and sculpture at The Museum of Modern Art (MoMA) in New York. Prior to MoMA, he has held curatorial positions at the Walker Art Center in Minneapolis and at the Asian Art Museum of San Francisco. He was the coordinator for the Korean Pavilion exhibition at the 2001 Venice Biennale as well as a co-curator of the 2003 exhibition Time After Time: Asia and Our Moment at Yerba Buena Center for the Arts in San Francisco.
‘I am extremely excited about M+’s vision of creating a unique twentieth and twenty-first century multidisciplinary institution of visual culture,” said Chong.
“I look forward to working with the already accomplished, diverse team of curators at M+ to build a truly global museum that is also locally rooted and contribute to making Hong Kong a great cultural hub,” he added.
It will be one of the first buildings to open in the West Kowloon Cultural District, which is being masterplanned by London office Foster + Partners and is set to contain a total of 17 cultural venues around a 14-hectare city park located in Hong Kong’s Victoria Harbour.
In 2012, Dezeen spoke to M+ curator of art and design Aric Chen who told us that the M+ museum will take an unprecedented stance in “placing Asia at the centre” of design history, rather than on the periphery as western curators have done.
News: a human-powered helicopter by Canadian startup AeroVelo has become the first winner of a 33-year-old aviation prize, after hovering for 64 seconds and reaching an altitude of 3.3 metres.
AeroVelo co-founders Todd Reichert and Cameron Robertson raised over $34,000 last year via a Kickstarter campaign to build Atlas, a quad-roter helicopter that would be powered by a single person riding a bike.
On 13 June 2013 at 12:43 EDT, the team delivered the record-breaking flight at an indoor soccer stadium in Toronto. This was the very first time a human-powered craft has reached the stringent requirements of aviation pioneer Igor I. Sikorsky’s Human Powered Helicopter Competition, originally established in 1980.
To qualify for the prize the aircraft had to hover within a 10 metre-square area for 60 seconds and rise to an altitude of three metres.
American Helicopter Society (AHS) and Sikorsky Aircraft announced last week that AeroVelo had successfully met the requirements and won the $250,000 Sikorsky’s Prize. “It’s been 33.3 years in the making. Today is the day,” tweeted Sikorsky Aircraft.
Here’s footage of that record-breaking flight:
Constructed of very light carbon tubes Atlas weighs only 55kg, but spans 50 metres (162 feet). It has four rotating blades and a pedal bicycle at its centre.
“In 18 months, this passionate team went from preliminary design to achieving what many considered impossible; taking down one of the most daunting aviation feats of the past century,” the AeroVelo team said on its web page.
The $250,000 prize has remained unclaimed since its inception, despite over 20 human-powered crafts built to attempt the challenge. “When Sikorsky increased the prize to a quarter-million dollars in May 2009, many people were skeptical and felt the challenge was impossible,” said Mark Miller, Sikorsky’s vice president of research and engineering.
“This is an incredible accomplishment,” said Mike Hirschberg, executive director of AHS International. “For a third of a century, the AHS Sikorsky Prize has eluded the best minds and technology available. The technological and theoretical advancements achieved in pursuit of our challenge have been astounding,” he adds.
Canadian built Human-Powered Helicopter wins elusive $250,000 Prize
AeroVelo, a Toronto based engineering team has won the AHS Igor I. Sikorsky Human Powered Helicopter Challenge and its $250,000 prize. On Thursday, June 13, 2013, Atlas, their human-powered helicopter, completed a record-breaking flight lasting 64 seconds and reaching a height of 3.3 metres.
Conceived by Todd Reichert and Cameron Robertson, along with the AeroVelo team, Atlas spans an incredible 46.9 metres (154 feet) rotor tip to rotor tip, while weighing only 55kgs (122lbs). The record-‐breaking flight was piloted by Reichert, a cyclist and speed skater who has been working with high-performance coaches to develop the power and endurance necessary for a prize-winning flight. According to Reichert “Lifting off and floating above the ground is an incredible feeling, but it’s certainly no easy task. The sheer power required, combined with the high level of mental and physical control, has made this a worthy athletic challenge.”
In addition to Reichert as Chief Aerodynamicist and pilot, and Robertson as Chief Structural Engineer, the team is made up of volunteers as well as engineering students who are part of an experiential learning program at AeroVelo. This unique program uses human-‐powered vehicles as a design, innovation and learning platform. “Engineering for a human-engine fosters creativity and ingenuity thus providing an eye-opening experience to our students, and inspiring youth and the general public. Team members will go out into industry and society knowing how to do more with less, ready to solve the formidable challenges facing our generation” said Reichert.
The $250,000 AHS Igor I. Sikorsky Human Powered Helicopter Challenge was established in 1980, and requires a human-‐powered helicopter to have a total flight time of more than 60 seconds, reach a height of over 3 metres during the flight, and stay within a 10 metre by 10 metre box. Since its inception a third of a century ago, dozens of international teams have taken on the challenge, yet the prize has remained elusive.
This is not the first time that Reichert and Robertson have achieved a significant aeronautical milestone; in 2010 they became the first team to successfully build and fly a human-‐powered ornithopter (flapping wing aircraft), named Snowbird, while U of T Engineering students. According to Robertson “Our experience with the Snowbird helped develop the innovative approach and techniques critical for attacking this challenge, and endowed us with the persistence required to overcome many setbacks large and small.”
The project is funded by donors in both the academic and corporate communities, including significant contributions from the University of Toronto, U of T Engineering, Bombardier, Pratt & Whitney Canada, Cervelo Cycles, CSR Inc, Kenneth Molson Foundation, the FAI, Bell Helicopter and Cassidy’s Transfer & Storage Ltd.
Looking to the future, AeroVelo hopes to tackle the 2 remaining human-‐powered aircraft challenges, which have yet to be won; the Kremer Marathon Competition and the Kremer Sporting Aircraft Competition. In addition, they have their sights set on the World Human-‐Powered Speed Challenge, where streamlined bicycles, reaching speeds over 130 km/hr, compete for the title of world’s fastest human.
AeroVelo is an elite design and innovation lab, focused on high-profile thought-provoking engineering projects.
This boxy house in Kyoto by Yoshihiro Yamamoto Architects Atelier (YYAA) has a narrow body intended to recreate the proportions of Japanese government-built apartments of the 1950s, 60s and 70s (+ slideshow).
Japanese architect Yoshihiro Yamamoto designed the house for a mother and grown-up son that had previously lived in one of the narrow apartments of one of Japan’s many Danchi complexes. These large housing developments are often referred to as slums, but are also known for fostering close communities.
“When the clients consulted us to build their new residence, they requested a too-narrow house, although the site is large enough,” said Yamamoto. “Danchi was the most precious lifestyle for them. So we designed a minimal house like in a Danchi.”
Named Danchi Hutch, the two-storey house accommodates a garage at a ground level, while the second floor contains two traditional Japanese rooms with a kitchen and dining room between and bathrooms on one side.
Sliding partitions allow the rooms to open out to one another, creating a large open-plan space when required.
A timber structure is left exposed inside the house. Walls, floors and ceilings are lined with timber boards, although the Japanese rooms also have tatami mats across the floors.
Here’s a few extra details from Yoshihiro Yamamoto:
This small house is designed for a craftsman and his mother. They had lived in a Danchi for a long time. Danchi is notorious Japanese housing complex. Since it is too narrow, it is often called “the rabbit hutch.” When the clients consulted us to build their new residence, they requested a too-narrow house, although the site is large enough. As a matter of fact, Danchi was most the precious lifestyle for them. So we designed a minimal house like in a Danchi, which has only three small rooms and a garage.
This chair is innovative and redefines the appearance of regular tubular steel chair forms. Designed through the play and manipulation of the material, while considering proportions, dimensions and ergonomics. This design fits into a box and stacks; these aspects appeal to manufacturers. A light chair that can be easily lifted off the floor onto a table appeals to buyers and shop owners. This chair is something new to the competitive contract market.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
