Troika‘s latest kinetic installation is on display in the Corus building in Toronto and features a shoal of fish that seem to swim up and down a 50m long corridor…
To create Shoal, 467 ‘fish’ are suspended from the ceiling of the space and rotate on their own axis in order to, say Troika, “display the movements and interdependency typical to school of fish”. Each fish is wrapped in dichroic acrylic, which produces the iridescent colours as they spin.
As the studio explain on their website: “The ceiling architecture is set in motion and appears liquified, changing the spatial experience of the corridor while opening up the surrounding architecture infinitely towards Lake Ontario.”
Shoal was curated by PAM (Karen Mills and Justin Ridgeway) and commissioned by TEDCO as a permanent installation for the Corus building located at Toronto’s Waterfront, Queens Quay East.
With Dare’s Remote Palette app you can paint using both your iPhone and iPad, as demonstrated in this cheeky film referencing a rather famous Warhol performance
The Remote Palette app was developed by Dare‘s Flo Heiss and Perry Price through the agency’s DareLabs R&D division. With the iPhone and iPad connected, the phone becomes a palette, allowing the user to choose colours and brushes with which to paint on the supplied outline drawings on the iPad. Get it here
Including objects made from soundwaves and self-generating forms, Lab Craft brings together traditional craft skills and digital technology “to create objects that move beyond the limitations of the handmade”.
The Crafts Council show, full name Lab Craft, adventures in contemporary craft, features work from 26 of the most experimental names in craft and design. Although it originally debuted in a preview event as part of the London Design Festival, the show now goes on tour, starting at the Turnpike Gallery in Leigh from October 30.
All the works explore the idea of using digital technologies such as rapid prototyping, laser cutting, laser scanning and digital printing to distort or manipulate materials and forms.
Included in the show are the Bravais Armchair (top), a collaboration between Liam Hopkins of Lazarian and artist Richard Sweeney who featured in CR’s first Monograph. The chair is formed in triangular columns of corrugated cardboard sourced locally from John Hargreaves’ factory in Stalybridge, which produces paper from recycled pulp using machinery originally installed in 1910.
Shine by Geoffrey Mann “investigates the reflective properties of a metallic object; in this case the subject was a Victorian candelabra. The reference information was generated through documenting the reflection by using raw data via a planar 3D scanner. When scanning a metallic object the laser beam is unable to distinguish between the surface and the reflection. The spikes represent the intensity of the reflection.”
Gary Allson and Ismini Samanidou‘s Woven Wood “explores how digital making methods can be used to translate magnified textile weave structures into timber”.
Zachary Eastwood-Bloom‘s Information Ate My Table attempts to convey the collision of the material and digital worlds
And Michael Eden‘s Babel Vessel “combines actual and virtual experiences” via the QR code on its surface.
After the Turnpike Gallery, the show will visit Plymouth College of Art, the New Brewery Arts Centre, Cirencester, Leamington Spa Art Gallery and Museum and The Civic in Barnsley. Details here
CR’s Click conferences in the US revealed that software and storytelling are becoming equal partners in the American advertising scene
Last week CR ran our Click conference on digital creativity in New York and San Francisco. New York highlights included B-Reel‘s Ben Tricklebank talking though the making of their We Used To Wait interactive online video for Arcade Fire (see our post here) and former CR Creative Future David O’Reilly providing a glimpse of his latest animated work, The External World, a short film of short films.
And in San Francisco, my personal highlights included hearing from Iain Tait about his transfer from Poke to global executive creative director-dom at Wieden + Kennedy, Tool of North America explaining how they pulled off David on Demand in which, for the entire week of the Cannes Advertising Festival, a Leo Burnett staffer had his every move determined by Tweets and broadcast live online,
AKQA’s Stephen Clements talking through their Halo Reach robot campaign (which we blogged about here) and the ever-charming Vincent Morisset (featured in CR January 2010).
Brett Wickens, Peter Saville’s former collaborator who now heads up Ammunition along with former Pentagram partner Robert Brunner and Matt Rolandson underlined another theme of the day – the development of digital products. Ammunition has a separate company producing apps, one of the most successful of which is the TimeTuner, a clock radio for the iPhone that carries 14,000 radio stations. Wickens also showed another app, this time developed for Nielsen, designed to be used while watching the My Generation US reality TV show.
The iPad app uses ‘sonic watermarking’ embedded into the shows. At the prescribed moment, content on a user’s iPad is triggered by this watermark as they are watching, taking advantage of the fact that many iPad owners have the device on their laps as they are watching TV. Thus, they will be able to access Twitter streams, quizzes or additional content about a character or, of course, targeted advertising. The show itself was not a success, being cancelled after just two weeks, but the technology has been attracting attention from all the major US networks.
It was also fantastic to have Eric Rodenbeck from Stamen come to talk about data visualisation and its many uses. In the early 90s I worked on a book series called Browser which set out to document the cool goings-on of a new fangled invention called the information superhighway or World Wide Web. Rodenbeck was, along with the likes of Jodi and Matt Owens, one of the few artists and designers that were genuinely attempting the radical and the new. He was ‘visualising data’ online 15 years ago.
One of Stamen’s current projects is Michal Migurski’s Walking Papers, which encourages people to enhance the OpenStreetMap wiki mapping project by downloading and printing out an OpenStreetMap plan of their area, annotating it, scanning it and uploading their version back to the site.
And aside from all this cool stuff, the two events also threw up some memorable insights on the way in which the ad business is changing.
In setting up the day in San Francisco, our chair, Gareth Kay of Goodby, Silverstein, talked about how marketing communications had moved from staking everything on one big idea – usually executed via a spectacular commercial – to placing lots of small bets and seeing which one looked like paying off. He also noted that marketing budgets were becoming R&D budgets in which companies were testing out new products and services, such as Nike+ which, four years on, is still being held up as the way forward.
Kay characterised the shift in emphasis and skills that this will require as a relocation to ‘Madison Valley’ – whereby advertising will combine the storytelling skills of Madison Avenue with the technical know-how, collaborative working methods and social media awareness of Silicon Valley.
This point was reinforced by Iain Tait who compared the way in which stories and software are traditionally created:
StoriesSoftware Writers Engineers Individuals Teams One version Many versions Done Continually tested and revised
Integrated modern ad campaigns, Tait argued, have progressed from Stories to embrace the Software model and are now work best as a combination of the two. One of the best examples off this must surely be W+K’s own Old Spice campaign, which was one of the first things Tait worked on in his new job.
The campaign began with a TV commercial but what made it really lift off was the day that W+K devoted to shooting bespoke responses to people who Tweeted questions to the ad’s star, Isaiah Mustafa. Read WriteWeb explains it all here.
It seems like, in the US at least, the ad industry is finally getting to grips with the opportunities afforded by the new media reality. In earlier Click conferences there was a lot of talk about the battle between Traditional and Digital. Predictably, the new reality is a combination of the two – what Tool’s Jason Zada painfully termed, with tongue firmly in cheek, ‘Tradigital’. Ouch.
Click London is on Thursday November 11. Details here
During the lunch breaks at both conferences, our partner Monotype Imaging set attendees a distinctly analogue task – to create a book about one of their typefaces using pen, pencils and even Letraset sheets. The SelfMade project is open to all – and you could win an iPad plus £3000 worth of fonts and a year’s subscription to Web Fonts. All details here
Creative Review is now open for submissions for The Annual 2011, which will showcase the visual communication highlights from the past twelve months.
The Annual aims to be the definitive guide to the year in visual communication, including Advertising, Graphic Design, Digital Media, Illustration, Editorial Design, Music Video and more. Full entry details are here.
As the only title to cover all these areas and with nearly 30 years experience, CR will ally its skills and knowledge with that of leading industry figures to select the most significant work of 2010.
The categories are broken down into the following areas:
Online advertising
Print and press
Graphic design
Illustration
Packaging
Interactive and digital media
Commercials
Music videos
Virals
Motion graphics
Editorial design
Other
Judges for this year’s submissions are:
Andy Cameron Interactive creative director, Wieden + Kennedy London
Kevin Stark Creative director, Bartle Bogle Hegarty
Laura Jordan-Bambach Executive creative director, LBi
Georgia Fendley Brand director, Mulberry and founder, Construct
Fernanda Romano Global creative director digital and experiential, Euro RSCG
The deadline for entries is December 17.
For full entry details and to register your interest, please go here.
As Gap ditched its condensed serif and preppy blue square for something more default modern, design blogs lit up with comment yesterday. But in a strange social media-infused reaction to the various ‘reinterpretations’ of the logo that surfaced, Gap has implied there’s some crowd sourcing coming your way, based on those very designs…
Having unveiled the new identity with no fanfare whatsover, Gap’s ‘wall’ on Facebook seems to be the only place where the company has actually acknowledged its new Helvetian look. This, despite still proudly displaying its old logo as its profile image.
The reaction in the design community (see Armin’s write up on Brand New, and Mat Dolphin’s reasoned take on their blog) has largely been one of bewilderment; and this has also crossed over into more mainstream sites, like Facebook.
In gauging the reaction of those irked enough to comment on Gap’s Facebook page, it appears that while hundreds of Gap-fans are clearly venting some spleen, the brand itself just seems to be muddying the waters.
“We know this logo created a lot of buzz and we’re thrilled to see passionate debates unfolding!” chirps the Gap’s wall statement, which sits rather ungainly above a very long list of comments ranging from “terrible” and “tragedy” to “LOL” and the occasional, pertinent “dislike”.
Nevertheless, any user-generated visual ‘tributes’ to the new (or indeed old) Gap logo are, the company believes, all part of the plan. Here’s the post from Gap’s Facebook page:
Thanks for everyone’s input on the new logo! We’ve had the same logo for 20+ years, and this is just one of the things we’re changing. We know this logo created a lot of buzz and we’re thrilled to see passionate debates unfolding! So much so we’re asking you to share your designs. We love our version, but we’d like to see other ideas. Stay tuned for details in the next few days on this crowd sourcing project.
Of course, this being the interweb, there will be plenty of willing contributors to any potential crowd sourcing campaign. But by optimistically claiming that “we’re asking you to share your designs” – it’s as if they’re not only suggesting a response of “I could do better than that” was to be expected, but that it should be (in the way of social media) actively encouraged.
Laird + Partners in New York are apparently behind the new logo (we’ve contacted them for a comment about the design and are yet to hear back) but whether it’s all part of a larger participatory campaign is anyone’s guess.
In the meantime, the blogosphere rages on; design fans debate an identity campaign based on a tiny jpeg; ‘friends’ of Gap denounce the work hysterically on Facebook, and the brand itself resorts to the reckon-you-can-do-better? kind of line.
The end result seems to be a decidedly confused message. Which is surely the opposite of a great identity.
Wired magazine’s Scott Dadich reveals the primary goals of setting out to create a digital version of the magazine
OFFSET festival drew to a close in Dublin yesterday evening and I’m thoroughly exhausted. While I’d love to say I was hitting its myriad satellite events hard, sadly my hotel wasn’t conducive to sleep so I was too knackered to party. Despite that, OFFSET was one the of the best design conferences I’ve ever attended…
And I should point out that it is more than just a brilliantly scheduled conference. OFFSET is a visual arts festival that could (and perhaps should) be considered as Dublin’s premier annual design festival.
Exhibitions, related club nights, discussions and debates focussed on illustration, street art, short film, design, photography, publishing and artistic collaborations have been taking place all week. Way too much, in fact, for a sleep deprived visitor to the city to take in the three days during the conference – although I did check out Daniel Eatock’s show last Thursday night at the Monster Truck Gallery shortly after arriving in Dublin.
Burnt rubber circle created by a motorcyclist to open Daniel Eatock’s show at Dublin’s Monster Truck Gallery last week. Photo by David Wall of Conor & David
The exhibition saw the gallery turn into a studio for a week as Eatock encouraged volunteering participants to create as near perfect a freehand circle as possible, plus other collaborative artworks under his direction. On the opening night of the show on September 24, there was nothing in the space – but a motorcyclist revved up a high performance machine to burn a rubber circle directly onto the gallery’s concrete floor: a spectacular opening to a participatory and fun week long art event. Watch a film of the motorcycle circle being created here.
I should also mention that at the conference there were two rooms running events simultaneously. While talks were delivered in the main auditorium of the theatre, upstairs in “Room Two” a series of discussions and debates had been scheduled. Topics such as routes into illustration/graphic design, the benefits of internships, and getting your childrens book published were explored, and delegates were also offered the chance to ask questions – in dedicated hour-long sessions – to some of the conference’s illustrious speakers, such as graphic design legends Lance Wyman and David Carson.
On Saturday evening I sat in on the Future of Publishing group discussion in Room Two, fronted by a panel comprising Unit Editions’ Adrian Shaughnessy, Stephen Heller (author and former art director of The New York Times), Scott Dadich of Wired magazine (as well as being the creative director at Wired, Dadich is in charge of digital magazine development for Condé Nast), and Hugh Linehan, online editor at The Irish Times.
When Stephen Heller suggested, in his role as devil’s advocate, that the death of print publication was inevitable, Linehan said he doubted that was true and that, actually, almost all forms of communication ever invented, bar the telegram, are still going strong: cinema, painting, magazines, newspapers. All of this stuff still exists and thrives despite the arrival of new technologies and media over the years.
Printed matter may decrease in terms of the sheer amount of newspapers and magazines that are sold, but people will still want the physical things, Linehan added. He then memorably likened the will-printed-publications-disappear situation to the part in Spinal Tap where the band’s manager defends decreasing sales of the band’s albums by saying: “Er, I just think their appeal is becoming more selective…”.
I’d made sure I got to Dadich’s talk on Friday evening (shortly after completing my first post from OFFSET), hoping he’d talk about the development of the Wired iPad app, and he didn’t disappoint.
He explained how he’d been thinking about digital magazines for years and also how he’s been talking to the bods at Adobe for several years about introducing functions within InDesign CS5 that will enable editorial designers to also design and develop iPad versions alongside their print publications.
As well as showing Wired’s approach to structure, and thus the architecture of the magazine’s iPad edition (the slide above shows the basic architecture of the Wired Reader), he talked about various interactions that his team have developed and embedded within the iPad editions of Wired magazine – most notably an interactive feature where users can explore the surface of Mars.
He then showed the difference between how the New Yorker iPad app is different to the Wired Reader because the content demands to be updated more – so it makes more sense to have a much more html-led content management system, rather than an InDesign reliant one.
Each title entering the world of digital editions, either on the iPad or other tablet style gadgets must, he suggested, understand their audience, their content and, of course, the very nature of the interactions possible via said gadget. His goals when working on the Wired Reader (see this post’s topmost image) can be applied by most titles in terms of basic approach.
There were more great talks on Saturday, all of which ran like clockwork until David Carson’s talk, scheduled for 3pm.
At 2.55pm, three of the festival’s organisers were in the foyer of the theatre looking worried. No sign of Carson. But then, hang on – here he is with only a minute to spare. And so relax… I took my seat in the auditorium and waited. And waited a bit more. Carson finally took to the stage fifteen minutes late. Not too bad considering he’s been known to not turn up at all to scheduled talks. The auditorium was packed: apparently there were about 1,200 people in attendance. Carson began by struggling to find his opening slide on his messy-looking laptop desktop…
After making a bit of a show of not really being able to navigate through the myriad images he’d brought along for his talk, Carson did manage to show lots of images.
Predominantly he shared dozens of photographs he’d taken of things that make him tick, things that inspire him day-to-day. Amusing street signage, beautiful rubbish bins in Zurich, a shadow cast by typography on glass, surfboards, and the occasional image of a young woman’s breast kept the audience amused and entertained.
As well as these photographs of things that inspire him, Carson also showed various projects he’d worked on explaining his approach to each particualr piece.
Although his talk lacked any kind of formal structure, the gist of it can be compressed to just a few sentences: “Put some of yourself into the work,” he said. “Nobody can pull from your experience so use it in your work – it will be unique and you’ll have a lot more fun with it.”
Regardless of the fact that Carson then proceeded to run over his allotted time (despite promising to wrap up several times when prompted to do so, thus totally screwing with the well-honed timetable for the rest of the day’s events) – one thing was clear. Carson was putting something of himself over in his talk – and he was clearly having fun with it.
Next up, Mark Farrow took the stage with Adrian Shaughnessy in comfy looking chairs to look through various pieces of work by Farrow’s studio Farrow Design. The interview format worked really well, with Shaughnessy digging for extra insight on working processes without giving the feeling that Farrow was being put on the spot.
Pharmaceutical style packaging for Spiritualized’s Ladies and Gentlemen We Are Floating In Space album
One of several images created for Manic Street Preachers’ Lifeblood album and campaign, art directed by Farrow, shot by John Ross. “To be honest, I consider this image as much my work as I do it John’s,” says Mark Farrow. “I know John feels the same way.”
“I put this in [the slideshow] because, well, I’ve worked with Kylie.” Mark Farrow
As well as talking about projects such as the identity and packaging for Peyton and Byrne, work for Levi’s, artwork and packaging for bands Manic Street Preachers and also Spiritualized, perhaps inevitably it was work done for the Pet Shop Boys that was discussed in most detail, with Farrow talking about the work on the Yes album and the subsequent Pandemonium tour as a special case study.
While Farrow spoke of the collaborative relationship he has with the Pet Shop Boys, Shaughnessy asked about the relationship with the record label who, Farrow told us, don’t get involed, they just “take delivery of the artwork.”
(Actually, we posted about Farrow’s work on the sleeve in March last year. Read that post here. Read about the special edition vinyl edition in our blogpost about it here.)
Shaughnessy asked Farrow at this point about whether he thought that he had copied in any way the Richter artwork. “Where we ended up is far away enough from what was a reference point for us,” Farrow explained. “Gerhard Richter doesn’t own coloured squares.” Shaughnessy then pointed out that Farrow’s ideas get ripped off a lot. “That’s completely fucking different,” came Farrow’s instant and laugh-inducing reply. “There’s nothing wrong with being influenced by something,” Farrow continued. “Where we ended up is so far divorced from that image, I really don’t think it’s a problem.”
Perhaps the most telling revelation about the work on PSB’s Yes artwork – and of Farrow’s relationship with the band – was that there were originally 12 tracks on the album, with one square of the tick on the cover representing a track on the album. “But the tick looked much better if it was just comprised of 11 diamonds,” said Farrow.
The band duly dropped a track to make the album artwork work better. Er, wow.
Lance Wyman’s first ever poster, created at high school
OK – I realise this is a long post – but I just wanted to share one last highlight of OFFSET 2010: graphic design legend Lance Wyman talking yesterday morning.
Wyman condensed his life story into just an hour, starting with his childhood in Kearny, New Jersey, the tales his grandfather told about his contemporaries such as Billy The Kid, through to his studying of industrial design (the term graphic design hadn’t been coined at that stage) at the Pratt school in Brooklyn, and his early days designing for General Motors.
His wayfinding work for the Chrysler Pavilion at the New York world fair in 1964/5 was charming and hinted at the kind of universally readable icon-based work that he would later become famous for / prolific at.
Of course, he spoke of his experience working on the 1968 Mexico Olympics logotype and identity and how, because Mexico didn’t have much money to spend on architecture (Tokyo had spent a fortune on new stadiums and other buildings for the 1964 Olympics) the Mexican Games “became the graphics Olympics.” With graphics being applied to all sorts of things, both on a huge architectural scale, right down to clothing and hats….
Lance Wyman’s original compass drawing showing how the numeral 68, the year of the Mexico Olympics which he designed the identity for, could actually work, graphically, with the five rings Olympics logo
As well as talking of how the icons and other graphical elements of the Mexico 68 work were influenced by Mexican culture, both ancient and modern, Wyman also showed how his graphic work was referenced in work, such as the one above, during the student uprisings of 1968. They found that Wyman had created a graphic language that they could use and recycle to express their feelings visually.
Wyman showed more great work that he created in Mexico over subsequent years, such as the Mexico City Metro logo, typeface and icons created for the Metro’s opening in 1969, and the logo and mascot (shown above) designed for the 1970 soccer World Cup held in Mexico. He also told how he loved seeing the mascot hand painted (not always correctly – see image below) around Mexico city.
Wyman spoke of his return to New York and of setting up a studio with Bill Cannan – Wyman & Cannan. He showed a selection of the studio’s brilliant logo and icons for the National Zoological Park in Washington DC, created as part of a comprehensive branding and wayfinding system…
… and his later studio’s work for Minnesota’s Zoo exhibit areas:
To see Wyman present his work was a real treat and a really good moment for me to bow out of Dublin’s Grand Canal Theatre and head towards the airport to return home.
If it wasn’t press week here at CR towers this week, perhaps I could have stayed for the rest of yesterday’s talks… I was particularly sad to be missing the Wooster Collective talk, and also animator David O’Reilly’s talk too. I bumped into O’Reilly on the Sunday and he’s a different character since I last interviewed him back in 2007 when we named him as a Creative Future and commissioned him to create a new piece of work, Please Say Something. He’s promised to show me new work soon and keep in touch.
So that was my OFFSET experience which, apart from the insomnia, was a thoroughly positive and enjoyable one. My hat is doffed in the direction of organisers Richard Seabrook and team who, to their credit, have entirely self-funded the whole event and who have yet to work out whether this year’s event has even broke even.
Ireland’s economy is just as screwed as ours here in the UK – if not more so, with unemployment rising at a similar frightening rate to property reposessions. Encouraging its own design community to be inspired and to work harder, as well as giving designers and creatives from around the world a very good reason to visit Dublin, OFFSET is a huge asset to Ireland as well as to the international design community at large. I really hope we get to again next year.
This stop-motion ad for Mark Ronson’s new album Record Collection features a variety of his musical collaborators in toy form
“We worked with a really talented toy customiser called Stuart Witter to create custom dolls of Mark and a number of his collaborators from the album, including Q-Tip, MNDR, Wiley, Boy George and Simon Le Bon,” explains Sony creative director Phil Clandillon. “We used off the shelf 1:6 scale dolls and modified the joints by wiring them so they could be moved fluidly for animation. A stylist called Lizzie Burns created really nicely detailed 1:6 scale clothing for them and we built a mixture of 1:12 and 1:6 scale sets out of found toys and also some custom made bits.”
Here’s the ‘making of’
Credits Creative Directors / Directors: Phil Clandillon & Steve Milbourne Producer: Simon Poon Tip Animation Director: Kevin Walton Art Director: Caroline Storey Model Sculpture Artist: Stuart Witter DOP: Marcus Domleo Editor: Luke Biggins Sound Recordist: Lee Grainge Stylist: Lizzie Burns
John Maeda will be in London in November as he takes up residence in a sandpit in the Riflemaker Gallery, interacting with visitors via Twitter, text and drawings…
Yes that’s right, the president of Rhode Island School of Design and one of the world’s most respected authorities on the relationships between art, media and technology, will be dispensing insights via the top floor of the Soho gallery space during a four day stint in November.
As part of a live exhibition visitors can book a ten minute “consultation” with Maeda, who may or may not talk/tweet about his particular passion for advancing the cause of “creative leadership” and advocating the influence that creative minds can have on business and industry.
According to the gallery, following the consultation, visitors are invited to select a piece of art to purchase from choices outlined on the gallery walls – from a £1 John Maeda Tweet, a £50 signed Polaroid, to £10,000 for a handmade computer. “The overall experience,” they say, “will be somewhere between a visit to McKinsey Consulting and a chatty hairdresser.”
John Maeda Is The Fortune Cookie will run from 16 to 19 November, 2pm – 8pm daily at the Riflemaker Gallery, 79 Beak Street, London W1. Follow Maeda on twitter.com/johnmaeda and Riflemaker on twitter.com/riflemaker_soho.
With tour dates in ten different cities around the world this year—NYC, SF, LA, London, Berlin, Mexico City, Sao Paulo, Bangkok, Seoul and Tokyo—the tournament’s pitting of digital designers against each other in design categories of 2D, 3D and Motion Design in live onstage competitions is bigger than ever. Call to entries were open to the public, but are narrowed down to 16 final competitors chosen on their performance ability and portfolio strength. Each city tournament will consist of eight designers competing in 2D, four in 3D, and four in the Motion Design categories. Additionally, there will even be a category open to the public with “Audience Design Contests” that will allow non-competitors to create impromptu designs while feeling the pressure of the big stage.
Each city’s finalists from each design category will ultimately be pitted against other city finalists to compete for the Global Championship taking place in NYC in February 2011. At this final showdown, the global finalists will compete for a global prize that’s currently still in the works, but should be pretty major.
Competitions are judged and curated by design specialists in each city such as Emily Baltz of Core 77, Eric Haze of Intherhaze and Dan Schwarz of Heyhush judging the NYC show, and Brian Chu of the 3rd Ward and Maxon curating it .
Each show is expected to be around three-hours long and—if previous years are any indication—is sure to provide an evening of creative suspense and fun. Check out Cut and Paste’s site for more information on the NY show including tickets which sell for $15 online, and $20 at the door. Doors for the show open at 5pm with a speaker series, continuing on to the design tournament from 8-10:30pm. The night winds up with a celeberatory after party at Gallery Bar nearby in the Lower East Side.
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.
