To celebrate "May the 4th be with you" day, WIRED brought their film crew to our lab to see how stormtroopers would fare against our lasers. Spoiler Alert: Our lasers won this battle.
Our team took turns to head a few blocks away to check out the 3D Print expo at the Jacob Javitz Center in New York City. The print show highlighted the emerging industry of 3D Printing and showcased many up and coming companies and organizations who are pushing the boundaries of creativity and functionality. Check out a few of our favorite items at the Expo.
We all talk about the Stone Age, the Iron Age and the Bronze Age, but what era are we living in right now? People are starting to refer to us as the - far less romantic - Plastic Age. We make 288 million tons of plastic a year, and unlike paper, metal, glass or wood, it does not oxidize or biodegrade, instead it ends up in our oceans, making the ratio of plastic to plankton 100:1. The way to make use of The Great Pacific Garbage Patch? Bionic yarn. Co-designed by Pharrell, G-Star’s RAW for the Oceans collection is the world’s first denim line created from plastic that has been fished out of the big blue and recycled. Find out how we can pick 700,000 tons of plastic up off the sea floor in our documentary, made possible by G-Star, The Plastic Age.
British artist FILFURY is known worldwide for his creative and thought provoking pieces. FABBERZ London had the opportunity to assist FILFURY in the creation of one of his projects that went on to be exhibited in Paris, France. We discussed the motivations and goals behind FILFURY'S work in the interview below.
BB: How would you describe your latest collection?
Filfury: _The latest work I had created with FABBERZ was actually a re-launch of some work I created back in 2008. It's a series of laser cut wooden typography pieces based on slang/buzz words. From words such as Safe! Word! Dope! to Love! and Peace! Words I would use everyday, loudly. The series is called Loudmouth! Inspired by comic iconography and expressing yourself with a volume.
BB: How would you describe your style?
Filfury: _Bold. I love creating art that smack you in the face. Makes you think and smile at the same time. I work both digitally and with sculpture, from creating artworks with my favorite sneakers to crafting large installation work.
BB: Where do you get your inspiration from as an artist?
Filfury: _Life. From the things and people around me. Music, fashion, nature and people.
BB: When did you first discover your creative side?
Filfury: _At school. When at the back of class doodling away whilst paying not attention to the subject being taught.
BB: Where are you currently displaying your latest work?
Filfury: _The current wooden laser cuts were on display in France. However I'm planning a new exhibition in the summer which will be based in East London, I'll send you an invite :)
BB: Describe what kind of art lovers your latest collection would attract?
Filfury: _Hypebeasts, sneaker lovers, grime and hip-hop heads. People who love contemporary art with a street twist to it I guess.
BB: What galleries globally have you collaborated and showcased with in the past?
BB: How do you see a business like FABBERZ evolving in the future to serve artists such as yourself?
Filfury: _I think FABBERZ is already in a good place to help artists like myself. I guess I'd just like to know more, how I could influence my art from the conception knowing the limitations of the process, or more so - the possibilities of the process.
BB: Where do you see your work in 5 years?
Filfury: _On more walls. In more places. ;) Bigger, more exciting, more creative.
BB: Whats the best part of the next thing you are doing?
Filfury: _The unknown. The excitement. I'm planning big new things, change of work style, new mediums, new exhibitions… the journey is what is exciting as I don't know whats going to happen!
Check out more work at filfury.com!
BB: Where did you grow up?
AO: I was born and [semi] raised in Vail, Colorado. I was a highly competitive tennis player/athlete growing up, so I also lived at an elite academy in Texas to train. I traveled a lot for sports, so my upbringing was very scattered in terms of context.
BB: What did your parents do?
AO: _My father owned/managed a contemporary retail store in Colorado which absolutely played a crucial role for both my future and my sister’s (she's now an interior designer)_we would both consistently faked sick to skip school just so we could go to work with my dad. Some of my earliest and most cherished memories are within the retail environment watching him mark up suits and interact with customers. My dad always encouraged creativity_he would let my sister and I merchandise the store, style the clothes in all dimension (on the mannequins, tables or walls), and get extremely experimental wrapping gifts for customers. I was about 6 years old giving advise to men on their wardrobe…they absolutely didn’t care, just listened to be polite_so I guess my juvenile ignorance was true bliss which lead to creative confidence and passion.
AO: _My grandfather owned a textile distributing company, my father was in retail…so we always joke that I complete this family/industry triangle through my interest in design. It’s crucial to know all areas of the industry to consciously integrate into a design process_so I'm very lucky to have a family that has roots within all sectors.
AO: _My mom has been with the American company Steelcase for 28 years in both domestic and international sales.
BB: What is your educational background?
AO: _I hold an MFA in 'Fashion Design and Society' from Parsons The New School for Design in New York City, and a BA in Architecture [minor in Art History] from Miami University in Oxford, Ohio. I also studied Sustainable Design and contemporary Architecture in Copenhagen, Denmark through the Danish Institute.
BB: From the fields of architecture, fashion, and literature, name one major person in each field that influenced you and tell how.
AO: _Jane Jacobs and her ‘Death and Life of Great American Cities’ has always been one of my favorite books. She has a different microscopic view on the world and it’s very logical, functional and highly inspiring to read. I don’t have major architects or fashion designers that influence me. Inspiration to me really isn’t aesthetic, so I’d never look to another designer to influence the physical conception of my work or process. There’s an amazing documentary on 'Marc Jacobs and Louis Vuitton' by french film artist Loic Prigent which profiles his design process and really exposes the culture and dynamic within both design teams and environments he ran. I really enjoy watching how he works and collaborates with people and I think that’s way more influential than the clothes he produces [however beautiful they may be].
BB: How did superstition first enter into your designing garments?
AO: _[knock.on.wood] was initiated through an exploration of personal cognition in which I psychoanalyzed and subsequently surfaced the fundamental significance of my own rituals and superstitious beliefs. I have always been a practitioner of superstitious rituals which I'm certain came from my years as an athlete. Even after I quit years ago it’s quite interesting to see how these subconscious realities have completely directed my design ethos, research, process and subsequent attachment to the physical and spatial world.
BB: Your current line of clothing investigates dialogue between the personal garment as sacred object to retain value thus supporting sustainability... how will you maintain this going forward? and how does that influence your choices in manufacturing?
AO: _my thesis aims to catalyze a sustainable reformation of materialism and renovate the “valuable architecture” of object in which we fabricate our physical and cerebral identities. In terms of society at large, superstitions can be considered psychologically sustainable; they have existed [and will continue to exist] within all realms of spiritual or generic life. It’s more about dissecting the term “sustainability” which I feel is so misunderstood within modern context_ it starts at a much deeper, psychological state and the physical is a result of it. We all would love to conquer the manufacturing process and falsely assert the idea that we are “green” because of certain primitive practices…that, lets face it, only exist for market/PR value. The reality of the fashion system is deeply unstable due to the unhealthy, high-speed relationship between supply and demand [product and consumer]. There’s a real neglect for true, valued design within the creative process and life of a product. No matter where my future lies, I will always go forward with these philosophies and attempt to integrate this belief into anything I contemplate or design.
BB: How do you describe your style?
AO: _functional and introverted. I spend most of my time in studio, so I prefer to be comfortable in a t-shirt, basketball shorts, or casual trousers that can sustain my constant movement. When in public, I’m more of an observer and prefer to diffuse more into the general aesthetic_i’d never flaunt about in anything overtly experimental. i wish i could…but it’s just not me! I don't think style really has anything to do with visual representation…I think its the result of being true to your circumstances and self_pre-fabricated stylistic “identities” are highly transparent. Culture seems to think the man with more money has the greatest style. I would award the homeless man a stylistic award any day over the Wall-Streeter in Italy’s finest because his style is guided by necessity, not conformation. This sort of comparison seems to parallel in my work.
BB: What will you be doing in LA?
AO: was recruited a couple months ago to join a very small initiative and newly designed team at the American luxury label and knitwear specialist, St. John [HQ in Irvine, California]. Within the very small team I’m starting at the bottom of the totem pole, and could not be more excited! I have the worlds nicest/coolest boss that really has an interest in mentoring myself and another Parsons MFA [last year] graduate, Hannah Jenkinson. Working culture is of the highest importance to be, and I can say with confidence how excited I am to be well surrounded.
AO: _In industry [knitwear in specific], the normal design R&D process is very scattered_ resulting in a very broad dialogue between in-house “creativity” and long distance resourcing/production. In a typical [woven fabric and tailoring] atelier, you have your hierarchy of design, pattern cutters, technicians, etc. It’s most lucrative when a company is able to have in-house design production because the creative and technical communication is just that…in-house. It’s atypical for a company to have an in-house “knitwear atelier” due to the sheer sizes of the industrial knitting machines and intense quantity of programmers and technicians-- however, this is exactly what St. John has_truly making their design process and innovative capabilities infinite. The design team works directly in unison with the programers and machines to develop knitted textiles_which leverages time efficiency, production costs and most importantly…tangible, authentic creative product of the highest quality.
BB: What’s in store for new work?
AO: _I will present my collection along side my 11 classmates within the MFA at Milk Studios ironically on my birthday in early September 2014. The day after, I’m back to LA to work.
AO: _I’m really not interested in diving head-first into igniting my own label. I feel graduates too often leap out of University with the biggest and brightest hopes of design independence really with no realistic perspective. A close mentor and relative of the MFA at Parsons best describes, “when fashion students graduate, they face one of the most daunting hurdles of their lives." Neil Gilks, Director of Educational Initiatives for the Council of Fashion Designers of America (CFDA), perfectly sums this up, “The challenges that fashion graduates face are the same the world over. They are studying in a densely populated field and vying for entry into an incredibly competitive industry. They may be brimming with creativity, but post university, this has to be translated into the complex world of business. As a designer, it is no longer enough to merely have a vision. A thorough understanding of technical, practical experience is a must, clarity of a brand identity to channel into marketing and PR strategies, and of course, a solid business model to take your designs to the right audience." As Gilks notes “A one-size-fits-all education serves no-one, the successful programs encourage a personal creative approach armed with the ‘must have’ technical skills.” With this sort of mentorship and consistent opinion from other leading industry professionals and friends such as Julie Gilhart and Sarah Broach, I can only say that I am patient to start my own label. My continuing education at St. John_technically, creatively and entrepreneurially is what’s most important to me now. It gives me time as well to really develop my design ethos and how eventually I want it to be understood, consumed and absorbed.
BB: What digital fabrication grows, how do you see it affecting labs like FABBERZ?
AO: _digital fabrication has been slowly integrated into design industries via academic initiative. Back in my undergrad I had a comparative conversation with a professor concerning the bi-polar environments and resources readily abundant in a University creative studio today... [he studied architecture when they drafted technical drawings by hand, and sculpted models with now archaic tools]. In today’s design industry, leaders and design directors come from the same generation and ultimately find themselves disheveled and lost within the unlimited capabilities and what seems to be, labyrinth of modern technologies. As digital fabrication grows, small [and young] business like FABBERZ have the most incredible opportunity to grow along side young designers. As the knowledgeable generation graduates, young companies that offer such services will no doubt prosper.
BB: Do you see manufacturing partners like FABBERZ evolving in the future, to serve entrepreneurial designers such as yourself?
AO: _my collaboration with FABBERZ has been incredible, however it’s been more of a resourceful service than experimental dialogue. I foresee FABBERZ becoming more an Idea-Machine; an inclusive environment that is structured by several different perspectives and individuals from a multitude of diverse design industries. With the machines and means of digital fabrication at your fingertips, FABBERZ lab seems to be a wonderland for any creative.
BB: Tell us the story of how you came to work with FABBERZ.
AO: _I came to FABBERZ upon personal research of digital fabrication services within New York City. Coming from an Architecture background_a laser cutting machine seemed more comfortable as opposed to a sewing machine!…so this natural osmosis between the two industries resulted due to my rebellion of the conventional “fashion” mechanisms—out of the 12 students on the MFA, I am the only one that does not come from a fashion design background. Upon acclimation into fashion design, I approached everything I did with an architectural intention, so without hesitation I naturally bought all the fuzzing and structural fabric aids in the garment district. I soon developed my own techniques in knitwear and embroidery that was directly aided by the production methods of FABBERZ and laser cutting technology.
BB: From couture to mass manufacturing, where does success lie for you between the two?
AO: _from a consumption standpoint the two production methods are completely opposed_ couture garments are completely sustainable; collectors pieces never disposed of. mass manufactured garments designed to reflect current cultural interests; quickly rid of within months. i like the idea of a hybrid garment which involves both processes_which actually already exists in today’s market within the luxury ready-to-wear collections. I think success lies within a steadfast commitment to quality which is a timeless element. However, if the clothes can contain a further meaning detached from the physicality_ laced with sacred meaning, I feel the boundaries between user and garment are fused by sentiment.
BB: Who is the person that wears your clothes?
AO: _I think the women wearing my clothes is much like me_ introverted, stimulated by the quality and meaning/function behind the clothes…more of a connoisseur than compulsive consumer. I'm really inspired by Beatrix Ost and how she transcends her life through objects. She'd be my ultimate user. Arrietty, the main protagonist from ‘The Borrowers’ is a huge inspiration of mine; I love the creativity in how she views the world and re_appropriates objects around her to suit any function of dress or architecture.
BB: Where do you see your work in 5 years?
AO: _To be honest I have no idea nor do I really think that far in advance. If I had a crystal ball I don't even know if i'd look inside_something about the unknown is very natural and exciting. Things evolve for reasons beyond our understanding…so why preconceive them too much? I hope to push these ideas forward into a commercial form with little compromise.
Storey's Ultimate Goal is student liberation from old ideas and hiding places and challenging them to create new experiences within the knowledge and comfort of self.
Scientist at the university of rochester made headline when the introduced the worlds first water repellent metal designed by lasers. Dr. Chunlei Guo and is colleague Dr. Anatoliy Vorobyev, of the University Rochester detail a sophisticated laser-patterning technique that gives metals new properties.
Although the laser pulse lasts about a quadrillionth of a second. It's peak power is equivalent to the energy needed to power North America.
Dr. Guo is hopeful for the potential of this new technique. Creating multifunctional metals with light-absorbing and water repellent properties could lead to more efficient solar absorbers. The benefit being that solar absorbers that don’t rust, giving new life and opportunities to many industries utilizing water exposed metals.
The first micro units design by nARCHITECTS will be unveiled in Summer 2015. The 260 square feet housing units will be the first step in solving New York's demand for affordable housing and spacing for residents entering the New York rental market. The units will be stacked at the Brooklyn Navy Yard this spring.
New York City zoning and density rules originally set a minimum apartment floor area of 400 square feet. However, this regulation was waived for My Micro NY in the interests of creating more affordable housing. The inflated rental market has made it difficult for renters those seeking housing in new york, particularly singles and students with tight budgets. The units will be comprised of 32 stories and 55 individual apartments, features include 9 and 10 foot ceiling heights, Juliette balconies, and concealed storage space.
Pictures: nARCHITECTS / NY Mayors Office
FABBERZ INTERVIEW WITH JEWELRY DESIGNER CRISTINA GABRIELE
NEW YORK, 8.25.14
BB: Where did you grow up?
CG: I was raised in South London, we moved progressively further South as the years went on, I love the UK.
BB: Where and what did you study at University?
CG: I completed my undergraduate degree in Boston actually, with a major in Psychology and a minor in Business.
BB: What did your parents do for a living?
CG: My father was a truly miraculous man, he was an investment banker, amongst other things. My mother has always been and remains a renaissance woman. She taught music, was a food critic & writer, she had a career as a model, I’m very lucky, I have remarkable parents; and an astoundingly brilliant brother too.
BB: What was the first thing that inspired you creatively?
CG: Music most certainly; music was very much part of my childhood, some of my fondest memories have specific melodies and lyrics attached to them, I visit them often in my daydreams.
BB: Why did the cable tie capture your imagination?
CG: What a fascinating object, it’s incredibly intricate and facetted yet it moves / functions so seamlessly. It has a thousand applications, its very suggestive, you find it scattered everywhere (even in the most obscure places). I find its permanence spellbinding; there is an end to it, it cannot be undone. It’s so very detailed, there is this feeling of perfect fit when you play with it; such synergy to be discovered with its interlocking abilities; it is both masculine and feminine. It’s interactive, you get to DO something with it, anything. It provides you with the ability to stage a mini secret 20 second performance (just for yourself) with the pulling action of “zzziiippp...” there is something deeply captivating and addictive about its sound. You’re plugged in. It seems a remarkably harmonious, balanced, almost zen-like object, yet there are these undertones... its aggressive yet graceful, mysterious, provocative, sexless. It’s practical, yet none of it’s functionality takes away from its beauty. For me, it’s an obsession, I’m hooked, there’s no turning back.
BB: What contemporary artist/designer do you admire?
CG: Ying Gao, she’s an astoundingly talented designer from Montreal. Her “Walking City,” dresses were the first to capture me: she conceptually achieved out of garments that which I look to achieve in the future with jewellery. She constructed these meticulously perfect origami / accordion like dresses that literally breathe. The garments are wired with pneumatic pumps that respond to approaching spectators; I liken the experience to advancing towards a sea urchin and watching him swiftly tuck away his spines in response. I’m fascinated by the notion of interacting with design objects as living beings and giving them a life of their own.
BB: How would you describe your style?
CG: I don’t know that I can describe it, only because I am not an observer of my style, rather I’m the one choosing and experiencing it. True style is an expression, an innovation, a constant exploration of self, of identity, but it does not mimic. I believe people with true style dress first and foremost for themselves, its an emotional experience, an emotional response to the self each day; it allows you to connect with yourself artistically and creatively if you so choose.
BB: New York and London design scenes are . . .
CG: . . . remarkably different, London is wilder while New York is more tempered and streamlined, its less eccentric, however very elegant. For me New York is more Parisian in its aesthetic, its sleeker, London is batty, unconventional, outlandish. I feel very fortunate to be able to combine the two: being raised in London while hustling in New York?
I get to be a sleek freak!
BB: Why did you make the move to acrylic laser cut jewelry? What’s in store for new work?
CG: I always knew I would play with other materials and different technologies, there was never a doubt in my mind. I was provided an incredible opportunity this past February to present in New York Fashion Week for AW14 and I decided to leap into the world of acrylic. Conceptually I likened laser cutting technique to Miyake’s “one piece cloth,” the notion of working with one sheet of any material, I find fascinating and energizing. Not only does technology allow you to democratize design with experimental materials, it allows you to become more efficient, resourceful and prudent; also it never provides a ceiling to your imagination. While CROMA is my joy and focus at the moment, I am bustling with ideas, there is much to come.
BB: Who is the woman that wears your jewelry?
CG: Wonderfully, both men and women wear my jewellery; the loveliest part of all is that the designs are becoming increasingly unisex: men are buying “womenswear,” women are buying “menswear,” its brilliant. While I have historically created more male centric or female centric pieces, the designs have always intended to be flexible. My client tends to be inquisitive, detail oriented, intelligent, curious, expressive, confident, empowered, refined and playful; however these remarkable individuals take a thousand forms. CROMA is selling across the board and I couldn’t be happier.
ON ENTREPRENEURIAL BUSINESS
BB: From bespoke to mass manufacturing, where does success lie for you between the two?CG: It depends entirely on what sort of company you are looking to create and run. Ideally I’m looking to apply bespoke ideals to the mass market, I believe technology might be the key to this.
BB: As digital fabrication grows, how do you see it affecting labs like FABberz?
CG: Fashion and Technology are slowly but certainly courting one another, we are continuing to witness the surge of “Wearables,” and of course this will eventually provide enormous opportunities for labs like FABberz and for the designers that choose to engage with digital fabrication. Eventually, I imagine independent designers and fabricators will merge, allowing for local and in house production. Just as we use pattern makers and seamstresses for garment construction, eventually labs like FABberz will be called upon more consistently for digital construction and additive / subtractive manufacturing processes. There is much to look forward to!
BB: How do you see manufacturing partners like FABberz evolving in the future, to serve entrepreneurial designers such as yourself?
CG: I touched on this briefly above, essentially we are imagining the atelier of the future! I’m certain that within the next few decades, these sort of relationships will be abundantly prevalent. Its a very natural, logical and desirable shift: you need the wild imagination of the artist to push boundaries and the technical expertise of the engineer to articulate these concepts and bring them to life. Everything will be more “design” centric.
BB: Tell us the story of how you came to work with FABberz.
CG: Josiah and I met in London just before I launched Heart & Noble in the Fall of 2012; I was drawn to him immediately. Our first real tete a tete was at the top of Dover Street Market; they have a tiny pocket cafe there which had very much become a staple in my existence. Jo was fond of DSM too; it seemed the perfect location for our first meeting: two young creatives coming together, both passionate, eager and looking to dig their teeth into their respective markets. I had referred to the eatery, descriptively, as the “little baby cafe.” Swooping around the corner, I hear the brilliant Jo asking the maitre d’ “Pardon me, is this the little baby cafe?” Fairly bewildered, the kind gentleman ushered Jo into the bistro to find me tucked into one of their miniature corners with an enormous smile breaking across my face; from that moment I knew we were going to become fast friends and would share many a creative endeavor together.
BB: Tell us how being part of Manufacture NY has helped your business?
CG: Being surrounded by bright, motivated, ambitious yet grounded individuals on a daily basis is a huge rarity and an enormous pleasure. Manufacture New York provides support for burgeoning designers by providing a platform; each designer has the flexibility to slot into and out of the infrastructure depending on their business needs, this provides tremendous opportunity.
BB: Where do you see your work in 5 years?
CG: In 5 years Heart & Noble will be known for counteracting the effects of gravity through our “magnetic levitation jewellery.” Ideally, these pieces will double as miniature hovercrafts allowing our clients to arrive to work efficiently and in style; very Jane & George Jetson.
TO CONTACT CRISTINA
CNC milled plywood comes together to create the bones of our new undulating shop wall in London!
On July 22, 2011 FABberz & Google Cape hosted a workshop for 23 students at our very own FABberz nyc lab! The students learned about the process and techniques of digital fabrication and how these new technologies have been implemented in everyday life. They had the chance to design their own 'light cubes' and translate them into digital files to be laser cut. Then as a larger group they clustered their cubes together to form a 'communal light cloud'. Check out our photos showing their team work and hard effort at hammering together their own light cubes! more info on the google cape 2011 programmore images at google cape
A portable product that wirelessly charges your phone, glows to notify you of mobile activity, and plays music loudly and brightly.
FABberz is happy to announce our collaboration with Justin Kaufman to fabricate and assemble a final prototype of his invention: Glowdeck! This is a great product with tons of potential and we encourage our followers to check out Justin's Kickstarter page and support the project!
http://youtu.be/PbnoddFpjRo "We can be ghosts now"
Animator and film director extraordinaire Tom Jobbins has just made this brand new music video for London electronic music producer Hiatus. Who ever thought there would be enough emotion to pull on your heartstrings in this tale of forbidden love, with abstract minimal undercurrents and brooding beats in a glacial landscape?
We are proud to say that lab.ldn played its part in the video, producing a cast of thousands of beautifully formed shapeshifting triangles, amongst other geometric cameos.
See more from Tom at www.tomjobbins.com
On February 7th, Fabberz Lab opened its doors to Architecture for Humanity New York, the local chapter of the international non-profit Architecture for Humanity that specializes in humanitarian design. Each month, Architecture for Humanity New York hosts a Chapter Meeting to welcome returning volunteers and to introduce new members to the organization. Meeting spaces are sponsored by likeminded nonprofits and businesses around the city.
On the agenda for the meeting were several projects including a design-build in Harlem, a mobile yoga studio, and a community design center for New York City. Two competitions – a local “I Love Architecture for Humanity” T-shirt competition and an international re-development design competition – were introduced. The latter project can be found on Architecture for Humanity’s open-source webpage, the Open Architecture Network.
Fabberz Lab is available for space rental for small groups or meeting. Please contact email@example.com for a quote.
This July, the FABberz Learn + Design + Make workshop division is collaborating with Google Ideas at FABberz lab.nyc. Google will be bringing 23 middle school students on a technology field trip to the lab. The students will learn about digital fabrication and its connection to the tech world. Teams will form to customize wooden shelving structures using laser cutting and etching. The FABberz To-Go iPhone app along with scanning and live trace techniques will be implemented in order to create laser templates that the students will cut, etch, and take home with them. Stay tuned for photos of the workshop and student creations!
This is the last call for registration to this weekend's tectonic tiles workshop at FABberz lab.nyc (Saturday and Sunday). The workshop will explore different tiling methods used by M.C. Escher, and introduce parametric tile creation using Rhino + Grasshopper. Tile molds will be laser cut and casted in plaster, and participants will leave the 2 day workshop with their own fabricated tiles. Included in the $175 workshop fee is a 2-hour laser cutting FABpass which will never expire! Some Rhino experience is recommended, and for those who wish to be introduced to Rhino for the first time, we suggest attending the optional rhino introduction on Friday, April 15th, from 6:30pm - 9:30pm ($50). No experience is necessary for Grasshopper.
REGISTER HERE! or call us for registration by phone at 646-781-9448.
FABberz lab.nyc is happy to announce the launch of a new workshop series aimed at teaching digital design methods and translating them into physical, fabricated objects. The first 4 workshops scheduled for Spring 2011 will be weekend workshops (Saturday + Sunday) with optional 1 day Rhino Introduction Courses the Friday before each scheduled workshop. Register Here
Poster PDF: learn+design+make
FABberz lab.nyc is now up and running! Join us and celebrate the opening of our lab in nyc. FABberz lab offers affordable laser cutting services and professional large format printing. We are open 24 hrs by appointment only. Visit our site for more information on materials and pricing : www.fabberzlab.com