Thoughts on Educational reform - Creative Destruction versus Destructive Creativity

"Collaborative innovation, technology and sustainable ecology"

Educational reform has been at the forefront of pedagogical discourse for decades. Some believe that the primary aim in educational reform for sustaining our future should be “creative destruction”, consciously obliterating the systems and processes that we have come to accept, to make way for a more inventive curriculum in which students re-evaluate their perception of the world and the extent of the role they can take in shaping it.

The concept of creative destruction is inspired and personified by the thought of Sir Ken Robinson – adviser to government on arts education. It stands in stark contrast to the views of our former education secretary Michael Gove whose beliefs could be conversely termed as "destructively creative".

Aside from parental influence, much of our early foundational understanding of our position in society is rooted in education. This system, designed for us and supposedly in our interest, is an enormous influence on what we consider to be meaningful and valuable in our lives.  Under scrutiny, it becomes apparent that outdated ideals are still haunting modern day learning. Many schools still favour a counter intuitive rigidity and structure which prepares young minds for an age and social construct that no longer exists. It could be argued that this leaves a lasting and damaging legacy for each individual, collectively affecting us all. There has been a growing call for a complete overhaul of the experiences we provide young people with, and what this leads them to believe their futures might consist of. Many school age pupils cannot recognise their own value, and never go on to achieve their potential for the benefit of society and ecology at large, as they are not being provided with the freedom and flexibility to explore their own talents.

The 21st Century demands an inclusive focus on skills which utilises all learning styles and intelligence's, through collaboration, social interaction, problem solving and life-long learning. These are relevant and creative learning approaches which harnesses each individuals uniqueness, and we must provide children with opportunities to intellectual challenges, which allow them to fully explore these aspects of the self. In doing so, we would be preparing them to independently tackle larger complex issues important to us all, in their professional lives such as globalisation, climate change, fuel provision and biodiversity.

Ken Robinson (2013) states that we all are born with the capacity to generate creative solutions with value. He goes on to say that as children, one of our greatest talents is our ability to think laterally. This will be a vital thinking skill if young people are to participate fully in sustaining global ecology. Deakin University’s Dr Anne Grant, (2013) explains that in schools today too many young people suppress their talents or became disengaged because they are told to think and behave in a certain way. She goes on to say that as a direct result the child gets frustrated and their behaviour suffers. This story is common and indicative of wasted potential, caused by the delivery of a one size fits all model of mass education, set up in the interests and the image of the industrial revolution, where the focus is efficiency and a disregard for the qualities of the individual.

This traditional format places emphasis on graded assessment, over-structured tasks, and often, boring, irrelevant content which lacks engaging context and delivery. These issues have long been noted and highlighted by educational researchers, initiatives such as PLTS, ILPs, SMART targets and assessment FOR learning have been fed into schools and colleges in a vain attempt to rectify this apparent conflict without true impact. These initiatives support an approach which the model is unable to accommodate.

Ken Robinson (2013) believes that because of this, we are actually educating people out of their creative abilities. He notes a longitudinal study that was carried out, where children were tested for their capacity for divergent thinking, A trend emerged. As children aged and became more “educated” their scores diminished, Our schools are seemingly killing the creativity of our young people and this may worryingly prevent them from becoming valuable and productive in a fast paced 21^st century society. Speak to any teacher who has been practicing for over 15 years and they will tell you that our education system evolves and revolves cyclically. It is ever shuffling the emphasis and it sits uncomfortably, never settling. New initiatives which are theoretically promising never seem to work as we continue to maintain a centralised structure of routine and insist on firefighting issues with “bolt on” improvements rather than considering a complete overhaul.

Our schools are like factories, such batch production education methods are rife with contextual awkwardness, which no longer produce anything of quality. This will continue to worsen as the approach becomes ever more obsolete. Such negligence and failure to innovate is a prime example of destructive creativity. Is “creative destruction” the answer? Will a complete overhaul turn the situation around? Perhaps we need to start from scratch and think deeply about our offer, its relevance to today and its value for tomorrow.

To cope with our changing future, education needs to reassess its sense of linearity and embrace a deliberate empirical approach advocating flexibility and ambiguity. It needs to stop trying to judge, measure, control and label everything. Instead we should embrace methods which heighten students curiosity and help sustain their childlike sense of exploration and creativity, in order to harness their potential to problem solve and tackle worthwhile tasks independently. Robinson believes that creativity now, is as important in education as literacy, and that we should treat it with the same status.

Contrast this approach with that of former education secretary Michael Gove, who wanted to see schools push more generic classical knowledge, and further standardised assessment with less emphasis on an individual’s personal development. He was symptomatic of further destructive creativity, believing that if we all adapted to follow the established and familiar pattern, then we could all be successful. This arguably contrived view disregards ranging contexts and individual aspiration. Adam Tomes (2012) who writes for revolutionary socialist group “Counterfire” said at the time: “The effect of Gove's new system is to narrow our children's education and make it less relevant to the world they live in and need to understand, leaving no space for learning in the widest sense,”

The idea of a return to verbal lectures centred on abstract thought is an archaic ideal that is unnatural and unattractive to many young people today. Had this been implemented, the majority would have been unable to resist distraction. Ken Robinson (2013) affirms that young people are living in the most intensely stimulating time in the history of the earth, yet we are medicating, penalising and labeling them as having disorders such as ADHD because their attention is diverted from the irrelevant and “boring stuff” that we deliver. Focusing on one method of delivery suited best to an auditory learner, as Gove suggested, is far removed from the multimedia platforms that children are familiar with now. It only delivers meaningful content to a small number of participants, making such method of educating ineffective and exclusive. Government must plan for and deliver services thoughtfully, resourcefully and flexibly, so that we, as individuals, can remain diverse, sustain growth and survive challenges by engaging with creative approaches to collective progress. A contemporary curriculum calls for more widespread use of multimedia and technology in provision, making delivery appealing, accessible and aesthetically engaging. This could deliver a truly intelligent experience, flexible and individualised, adapted easily for a broad range of learning preferences.

There has never been greater opportunity to implement personalised and relevant learning than there is today with the development of accessible learning technologies in VLEs. Such digital platforms present a familiar mode of operation for young people which is directly relevant to how they will need to communicate in the future. The range of apps that can be embedded can appeal to broad interests and “ways of doing”, and students have the opportunity to explore at their own pace when supported by remote tutorials and formative online feedback. A new curriculum could harness this technology as a central, versatile system for delivery of work set, to exercise a contextualised and meaningful problem solving approach. Collaborative working could exist between learning groups by embedding social media, and schools and colleges could better use their physical working space for flipped learning experiences that apply the knowledge gained and skills practiced online. Economically this would work to the institutions advantage as they would free up the constant occupation of vital assets (their property and capital equipment) so that it might be used more broadly and efficiently. It would also mean that employees could work more effectively as facilitators, utilising their specialist approaches as consultants to a wider range of individuals through a collaborative, collectively shared experience at prearranged times.

Today our collective vision for education is broader, our nation is more complex and diverse, and our technical capabilities are more powerful. But we continue to assume the factory-model classroom and its rigid bell schedules and age-based grade levels when we talk about school reform. Our focus for sustainable ecology should primarily be to take advantage of what technology can do to revolutionise and assist education to harness individual potential, Used creatively, and designed without restriction in the spirit of revolution, it could facilitate collaborative innovation for the benefit of all our futures.

Definitions:

Creative destruction – Remodelling the school structure and system from scratch. The radical idea of complete change in how we conceive, plan, implement and manage delivery of creative learning experiences to the benefit of all with the goal of sustainable ecology.

Destructive creativity: The production of new educational initiatives and theoretical shifts which are added onto poorly designed systems and threaten our ecosystems

Creativity: The ability to think laterally and generate innovative solutions to problems

Sustainability: to continue to remain diverse and productive over time

Ecology: the study of organisms in relation to one another

PLTS: personalised learning and thinking skills

Ecosystems: a biological community of interacting organisms and their physical environment (referring here to humans and how their educational experiences affect their operational potential in the world)

Flip learning: a form of blended learning in which students learn new content online by watching video lectures, usually at home, and what used to be homework (assigned problems) is now done in class with teacher offering more personalized guidance and interaction with students, instead of lecturing.

VLEs: Virtual learning environments such as “Moodle” or “Blackboard”

ILP: Individualised learning plans

SMART targets: aims which are specific, measurable, achievable, realistic and time based.

Assessment FOR learning: Where the teacher and student work together to assess the student’s knowledge, what she or he needs to learn to improve and extend this knowledge, and how the student can best get to that point (formative assessment)

References

Einstein, A. (1901) Albert Einstein Quotes [ONLINE] Available at:  http://quoteshelp.com/albert-einstein-quotes/, (accessed 01 October 2013)

Grant, A. (2013) Guidelines seek to ensure talented students get their chance to excel [ONLINE] Available at: http://www.heraldsun.com.au/news/victoria/guidelines-seek-to-ensure-talented-students-get-their-chance-to-excel/story-fni0fit3-1226727881205 (accessed 15th September 2013)

Marmer, M. (2013) I’m not voting in tomorrows election, I’d rather see creative destruction [ONLINE] Available at: http://maxmarmer.com/2012/11/no-im-not-voting-in-tomorrows-election-id-rather-see-creative-destruction/ (accessed 14th September 2013)

Papanek, V. J. (1972) Design for the Real World: Human Ecology and Social Change. First Edition. Pantheon Books.

Robinson, K. (2013) How schools kill creativity [ONLINE] Available at:  http://www.ted.com/talks/ken_robinson_says_schools_kill_creativity.html?quote=92. (Accessed 10 July 2013)

Tomes, A. (2012) Gove Levels: the educational abyss [ONLINE] Available at: http://www.counterfire.org/index.php/articles/education/16050-gove-levels-the-educational-abyss-ebacc-gcse-class (accessed 15th September 2013)

Vasagar, J. (2011) Michael Gove to send copy of King James Bible to all English schools [ONLINE] Available at: http://www.theguardian.com/politics/2011/nov/25/michael-gove-king-james-bible

Meaning matters - reflections on communicating value in divergent design and the significance of commercial branding for creative thinkers

Many creative designers begin their careers with what they believe to be a clear conceptual vision for the work they produce. Whilst in education certainly, this is reinforced when credit is offered for work which applies a complex thought process, regardless of whether it can be successfully deciphered and practically employed by commercial agents and consumers. In my experience, this can lead to the emergence of designers lead by thought rather than clear application, which in turn can make for a complex, divergent practice, difficult to communicate succinctly.

As a freelance designer and product entrepreneur with a back portfolio of personal and commercial projects spanning over a decade, developed from concepts which were hailed as credible from my education, I reached a point in my career where I no longer felt a sense of purpose in what I produced. My output had shifted dramatically over a period of time, influenced by a range of "real world" external factors such as technological shift,commercial trends, market pull, access to finance and an awareness of the ever changing opportunities available to design led entrepreneurs. I had produced a vast amount of project work for various people with wide ranging agendas and as a result, I no longer felt assured of where I fitted as a practitioner.

Interest in what I created seemed to rise and dwindle spontaneously with no clear rationale and therefore I felt a growing lack of direction for my work. In 2012, I decided that this needed to be analytically addressed to make some sense of how my practice was perceived and valued, and so I made the decision to embark on a deep exploration of my skills, outputs and beliefs in the hope that I may find a way to pinpoint direction and determine how to better communicate it to regain direction for my design abilities.

I recognised that my skillset was broad and that I was enthused by more than one area of creative thinking and process, so I first needed to establish what ultimately drove me to work in this way. In the past, I strived to produce work which addressed tangible problems, work which applied ecology to material choice and work which held a human story. Over the years this had expanded to include educational aspects, sharing my beliefs on the opportunities that both design thinking and consumer understanding could bring to both individuals and organisations as they developed and engaged with the products we use everyday. I realised that ultimately I wanted to engage people with
the broader significance of the experience of design, and the benefits it can bring to both our emotional state and our practical abilities.

Initially I had thought that the key to this might be in working on bespoke briefs as opposed to designing for industry. Producing things of significant functional and sentimental value to an individual rather than struggling with the complexity of attempting to address issues concerning mass civilisation, global cultures and economic matters when trying to create a product which meets a broader need, which often results in diluted impact due to the nature of corporate operations. With far fewer demands to satisfy, I figured that the imagination is surely only limited by the resource offered by the commissioning agent when working on one off outputs to commission. In considering the balance, it became apparent that whilst I might be more able to deeply involve individuals in the creative process in the realisation of one -offs (and therefore be able to engage a few in the significance of the experience of design), ultimately I would have less impact on a broader scale in communicating the benefits of strategic thinking to larger audiences.

In an attempt to readdress this balance, I considered the potential for advocating craft as a method for self fulfillment in both a practical and emotive sense through trialing the development of DIY product packs which employed self crafting. I figured that this might both allow an individual to adapt a design for personal significance, yet take advantage of current commercial systems to reach a wider market through a standardisation process that would streamline potential reach. For this, I developed a graphic instruction set for individuals to realise their own version of handcrafted lighting from everyday materials thereby reducing labour and material costs. This experiment proved that although self crafting generated design affordability, pride in creation, and the subsequent appreciation of the transformative process, many people lacked the skills, time and dexterity to develop the outcome to its full potential.

Despite the fruitlessness of this exercise in assisting me to identify a way to communicate design value, I did discover the importance of graphic projection in the presentation and subliminal communication of work, and recognised that this was a major factor in the extent to which engagement occurred. More importantly, I realised that in my use of graphics to hand over the crafting process to the end user, the emerging value behind my practice was not in what I produced, but in how I consistently attempt to offer a transformative solution through end user engagement with outcomes. The trick therefore was in finding a mechanism or "hook" to get people to engage and relate to the different aspects of my work in the first instance.

I realised this could only occur through separation of my output into distinct entities. This is where "branding" comes into play to tame the undisciplined designer and allow for rational value to be uncovered from the relevant content assigned to each identity. No matter how much a creative attempts to reveal the meaning of a concept, it will remain unrecognised unless it is directed to relevant parties, and positioned in a context that is relatable. Essentially, it revolves around the basic principle of the marketing mix, (or the 4 p's) price, people, place and product. Output must be accessible (affordably priced and easy to find), understandable and visibly beneficial in the context in which it is placed so that the end user can successfully interpret and imagine its application.

The result of my study lead me to the creation of three distinct commercial entities for my practice, which each spoke in a different tone for a different set of individual needs. I believe that we should not force pigeonhole creatives into committing to a single definition of who they are and what they represent, but we should help them to consider, how they can be, however simple or complex and help them to communicate it effectively to the right people in the commercial world. It took me two years to develop my separate brand identities following nine years of existing practice. It astonishes me that today, so little emphasis on the importance of effective self branding for designers to succeed commercially. Divergent thinkers are essential for contributing to innovation, If educators uphold the principle that graduates need to make impact with the work that they produce, yet fail to provide them with the necessary skills and insight to realise methods for such, then the system fails to assist them in signposting the meaning of HOW their ideas can matter.

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Daring design, decadent detailing, disruption and innovation at the Great Northern Contemporary Craft Fair

This weekend I went out in search of new approaches to craft at GNCCF. Seeking the fearless and provocative, defined by a daring approach to form, fascia and function. As a designer concerned with divergence, meaning, innovation and transformation, naively or otherwise, I didn't hold out much hope that I would discover many creative leaps in work produced by makers often concerned primarily with the perfection of process. Thankfully, hidden within the rows and rows of glass vessels, fine silver jewellery and printed cushions, there were some hidden gems to be found, the first to catch my eye was the work of Anna Collette Hunt.

She is a contemporary fine ceramicist, who creates sensual and emotive subliminal reference, through both a visual and kinaesthetic experience. Instantly recognisable to me, I recently discovered her insect installations at the Yorkshire sculpture park, where swarms of individually and uniquely sculpted bugs infested the interior walls and stairways. Her work retains the "one of a kind" factor you might expect from a crafts person, yet the scale and overall aesthetic lends itself to repeats and memorable impact. This is also true of her new decorative plate ranges which present with a wildly eclectic mix of the wild, obscure and overlooked. Graphically, somehow her combinations of traditional motif combined with iconic symbology, work on a level which both captures the imagination and provides the eyes with a visual feast. 

Infestation, manifestation, rich imagery and metaphor seem to be some of the stronger design elements that merge to form a growing, revolutionary aesthetic trend of late. These themes occur heavily in my own recently launched interior collections, Weather Pattern wallpaper, Emperor lighting and Taming The Wild silk cushions.

There is a dark graphic edginess to such work which both intrigues and disturbs. In a practical sense, there is little invention to report, yet emotively, through visual narrative and subliminal reference the formations speak to a place deeper within us. Aligning with the iconic prints of Timorous Beasties and the eclectic darkness of Fornasetti, the same approach to disruptive detailing can be noted in the work on show by Swarm Design, also exhibiting at GNCCF. 

Director Adam Slade describes his work as:"An eclectic mix of flora, fauna, antiques, anatomy and statuary, which in a bizarre and slightly surreal way, all connect together to form beautiful and unusually enchanting narrative scenes."Subtle repeats, relating to creatures and objects that feel sacred yet slightly creepy, combine to create an opulent and overtly indulgent aesthetic. The prints feel bold and brave featuring a startling visual contrast and just the right balance between the ethereal and the corrupt. 

Eerie... Yet acutely alluring, another designer to project a contemporary twist on objects embodying historical charm, can be found in the new work of Eleanora Edlavich. An MA ceramics graduate from Staffordshire University, she has created delicate vessels with ornate detailing including three dimensional cameos, which project fresh appeal and appear reborn through the fresh pastel colouring. Thus, perceptible  innovation is born of intervention, sensual, subtle twists, that warp our perception of tradition, project exciting possibilities for a new aesthetic in both design and craft. 

Much of the output described thus far has a clear emphasis on the reconstruction of visual language, through colour, image and interpretation thereof. The work makes no claims to add creative practical value, but could still be deemed as inventive as an evolutionary visual shift which heightens user awareness of their own engagement with their surroundings. Two other makers with a more physical approach to decadence and disruption are Eluned Glyn (ceramicist) and Olly from Madmade (fine artist / designer craftsman). Both their stands stood out instantly to me, in the reconfiguration of what we may perceive to be proper and correct.

Eluned Glyn takes existing vessels, deconstructing the forms and recreating from fragments. The resulting objects appear distorted and dislocated. A sort of "controlled chaos" that dislodges our prior understanding of the purpose of geometry in three dimensional form. 

The same can be said of Olly's work, yet his motivation for creation derives from a very different source: "Putting time and energy into saving precious materials through reuse and repurposing, I can save artifacts from deterioration and elevate their status to valued artifact." Whatever the driving force behind production, the outcomes are daring, forcing the us to question both our expectations and our acceptance of the unconventional. Perhaps we could describe the resulting impact as intellectually innovative? 

The idea of decadence in design, celebrating decay, moral decline or that which disturbs, could be said to be the key element in the growing trend behind inventive approaches to emotive response. 

Emilie Taylor builds large scale ceramic vessels immortalising modern day urban icons. In sharp contrast to early European sgraffiti and frescoes which tend to glorify the gods and the gentry in all their divinity, the resulting artifacts bear a more meaningful relationship to our everyday experience. The images prompt us to form a deeper affinity with the work as a direct reflection of first hand encounter.  

All these examples are brave. Some might call it degenerate, I prefer to think of them as inventive responses to the very concept of what constitutes innovation. 

In a time when technological advancement seems to be the benchmark for creative value, I ask, are we forgetting human response and relatability in favour of the machine?

These designers have all a conceptual focus which visually taps into our inner psyche forcing a mental shift. This perhaps, it could be argued, is fundamentally more valuable as innovation than a shorter term practical advancement which relies heavily on current technological capabilities... 

All views are my own. Email your thoughts to ilsa@ilsaparry.com

Ilsa Parry Design Studio - New identity, new collections and first book published.

Following two years of research to "better communicate practice value", Ilsa Parry will launch her self-developed, new identity as a "Multidimensional Design Deviant" next month at the Manchester School of Art. This will accompany the launch of three recently developed interior collections, and a sneak peak at her first book published.

   

Best known as the winning designer on BBC 2 "Design for Life" with Philippe Starck, way back in 2009, Ilsa had been practicing as a freelance product designer and design educator for just four years, with a focus on innovation. Flooded with a wealth of opportunity following her sudden success, she embarked on a new journey involving several projects, and multiple design methods, for which, a single identity simply did not fit.

In an attempt to clarify and order her historical activity, manifesto, abilities, and practice approach, in 2012 she embarked on an MA in Design and Art Direction. During this period, she unpicked her thinking and re-established her beliefs whilst both continuing to work freelance, and attend trade shows to market her growing “Rethinkthings” products.

The journey saw her realise a wealth of complex new work in response to her practice led research. This culminated in - A "Kaleidoscopic" map of practice, a 102 page book entitled “Metamorphosis”, deciphering her first ten years in practice, a 115 page website, marketing materials, and new collections, for not one, but three brand new commercial identities.

Ilsa Parry Design Studio now offers a range of decadent and daring interior collections alongside a multidimensional approach to creative consultancy spanning eight disciplines. Rethinkthings LTD has evolved into a trade only, witty home and gift brand. whilst MYNE.boutique is a brand new online retail store, where customers can shop for affordable design led gifts, categorised by sentimental value.

Rethinkthings and MYNE are still undergoing development and will be re-launched later in the year, when the new designs for Rethinkthings are in production. These will be available through the very first “MYNE” high street concession, in Liverpool City Centre to compliment the new online offer.

Please join Ilsa to be the very first to preview the new work at the ManchesterSchoolofArt Postgraduate degree show next month. The private view will be Thursday 2nd October, between 5.30 and 8pm at the Benzie building, Higher Ormond St Manchester. Alternatively, the exhibition will be open and available for public viewing, weekdays until 12th October. 

Twitter hashtags #designdeviant #endofthebeginning

Get a taste for the new work, visit www.ilsaparry.com

The value of good design

Ilsa Parry design talk in Leeds - BoConcept 

In November 2013, Ilsa was invited by Julie and Jamie Kerner of BoConcept Leeds to host an event for customers of BoConcept, Heals and Calligaris where she introduced new product collections and reviewed the classics. The focus of the evening was to present the innate design qualities behind the concept and manufacture of key pieces and uncover the hidden value in the function and purpose of each piece. The event took place at Redbrick Mill in Leeds and alongside competitions, drinks and nibbles, Ilsa shed new light on what it truly means when we talk about a design classic.

Ilsa noted the qualities of half a dozen pieces of classic contemporary and modern furniture and put them in context of design history. She began with a focus on HOW we make judgement on quality when choosing furniture for our homes.

"We know that a design classic generally means something that has stood the test of time."

But how do we then judge what is “good” about new design?

Ilsa put forward the sentiment that Designs which prove themselves as classics are usually based on deeper values and aspects of life enhancement which are relevant to human existence beyond the realms of context. She cited Dieter Rams,  a very successful designer in the 1970s, in her talk when he declared that the ten commandments of good design should be items which are innovative, useful, aesthetic, understandable, unobtrusive, honest, long lasting, thorough, environmentally friendly, as little design as possible. Ilsa believes that essentially, these observations are still relevant yet the essence of such insight can be captured much more succinctly. Ilsa believes that "good design" which has the potential to transcend changes in taste and fashion is evolutionary and transformational.

That which transforms how we live by removing difficulty, by enhancing experience, by causing a spark of reflection on our own existence and thereby generating further change in how we live is by definition what Ilsa concluded as "good".

The Promo video can be viewed here which will give you a taste for the event: 

The talk focussed upon the design thinking in concept and construction terms behind the following key pieces:

BoConcept Function Coffee Table

Heals Master Chair

Calligaris Jam Chair

Calligaris Bloom Chair

Heals Togo Sofa

BoConcept Hamilton Chair
To Book Ilsa Parry to speak about design at your next event email info@ilsaparry.com

More free design for all!

BURO 1.5 IS SET TO LAUNCH!

Futher to our last post introducing the Buro graphic design collective and free publication, I thought I would give you a free sneak preview into the next edition...

Theme: Holidays

Format: A5 postcards

Print and pack: Screenprinted in either a range of three colours or black on white card packaged as sets of ten.

Check out the Büro facebook page to find out the ideas behind some of the contributions for the latest (holiday postcards) edition which will be launched in Manchester very soon. 

By liking the facebook page you'll be able to keep up with all the developments and bag yourself some decent free artwork! as shown below!

www.facebook.com/buromcr

New Manchester Graphic Design Collective Dish Out Free Artwork

Last year I decided to do an MA in Graphic Design and Art Direction part time to assist me in better communicating the products and services of the consultancy and the REthinkthings brand. This experience has lead to a whole range of new creations, all communication based and these are soon to be finalised and released as products and services onto our site. 

One project that was more for pleasure but greatly inspirational to me personally was a joint publication myself and my fellow students decided to create entitled Büro. 

Büro is both a recurring creative outlet which follows varying formats and is free where found and is designed, produced and distributed by the collaborative group of professional students.

The first output from the eclectic collection "Büro 1.0" was launched at Odder on Oxford Road and consisted of 22 thoughtfully designed / illustrated graphic posters on the theme of misplaced. 

This summer Büro 1.0 distributed around the North West.

We limited production to  500 copies of Büro 1.0, and ensure this was free to all. In Liverpool they were distributed in F.A.C.T. (foundation for art and creative technology), Bold St Cafe, Egg cafe, The Italian Club, Rennies Arts and Crafts, Ran retro shoe store, Lost Art, 3B records, Leaf cafe, Bluecoat Chambers (art gallery), Camp and Furnace, Baltic Creative, Liverpool Biennial HQ. 

Manchester outlets included Wowie Zowie, Chorlton, Fred Aldous, NQ Takk, NQ Common, NQ Marc the Printers, NQ Magma, NQ The Bay Horse, NQ Trof, NQ Affleck's Palace, NQ The Castle Pub, NQ, Sandbar, Oxford Road Odder, Oxford Road.

Those lucky guys in Leeds even nabbed some copies at  Village in the Corn Exchange!

www.facebook.com/buromcr