D/zine Issue 1 by The Dub Designers

D/zine

ISSUE ONE

CONTENTS

Letter from the Editors The Window Project

Sian Williams 12

Lane-way To Go Real Studio QUT

16 18

APT7 ‘Hang On’ Brisbane 21

The Fleet Store Emma Elizabeth Fukutoshi Ueno

25 29

The Dub Events

The DUB is a new design collective set up by students of the new School of Design within the QUT Creative Industries faculty. We are excited to unite the disciplines of: Architecture, Interior Design, Industrial Design, Landscape Architecture, Fashion, Urban Design and Interactive and Visual Design. The collective also aims to achieve interaction across year levels and beyond the confines of QUT.

If you don’t want to keep me, recycle me

CONTRIBUTORS 01 Editors Shahmen Suku Kristen Mather Art Direction Alice Glenane Editorial Contributors Subhadra Aullen-Mistry Kristen Mather Alice Glenane Shahmen Suku Printing Allclear Printing

COVER PHOTO BY

PRASHANT ASHOKA contactthedub@gmail.com

Prashant Ashoka is our photographic contributor who enjoys travelling the world in search of paradise and documents these places in his amazing photographs. The cover image featured in this issue is a Yurt, located in Kyrgyzstan. Traditionally they are portable bent wood-framed structures used by Turkic nomads. http://www.flickr.com/photos/prashantashoka

LETTER FROM THE EDITORS Hello Designers, It brings us great pleasure in welcoming you to our very first issue of D/zine. In this issue we feature key events that have taken place as well as interviews and collaborations that we have done. We started off 2012 with a celebration for the new School of Design launch at Lightspace, which was a great success. In line with the theme of celebrating the merge in the School of Design, one of our main aims has been to focus on encouraging collaboration and engagement amongst design students. We also started our own lecture series, D/talks that ran in Semester 1 and 2 and saw a total of 9 speakers representing each discipline in the School of Design, which is an amazing achievement. A big thank you to all our speakers and committee members who made it happen. Also special thanks to Coral Gillett who was a key person in encouraging us to pursue the idea for D/talks. During the Indesign weekend in Brisbane, The Dub team were also approached by ECC Lighting + Furniture to create an installation in their refurbished showroom. Some of our members were also involved in “The Window Project” at Artisan Gallery that have been featured in this issue. Lastly, our latest events, Ideas Need Lovin’ too, hosted in conjunction with QUT innovation space and the Design Ball in partnership with Architects Anonymous, SONA and Tarmac were both great collaborative experiences. We look forward to new and continued projects in 2013 and would love to hear from you if you see yourself as a future contributor. Thank you also to The School of Design and Paul Sanders for his support of The Dub. The Dub would also not be possible without the students from The School of Design, so here is thanks to you. Last but most importantly a big thank you to our most amazing supporter and mentor Marissa Lindquist for her continued interest and encouragement in our programmes and events. We are ending this year on a high note with the launch of this zine and hope you enjoy the content we have put together and would like to express our thanks to the contributors of our first issue of D/zine. Yours Sincerely, Shahmen Suku & President The Dub

Kristen Mather Vice-President

THE WINDOW PROJECT 2012 ARTISAN, Brunswick St, Fortitude Valley Window One: FRACTUS

Window Two: THE DENTIST’S CHAIR

Inspired by Christina Waterson’s Bloom series, ‘Fractus’ is a celebration of geometry and nature, expressing the symbiotic relationship of intricate interlocking male and female pairings to make new form. Predominantly produced from corflute, a material used by the artist in prototyping, this installation highlights the beauty and complexities of repetition, patterning and layering created by the artist in her folding and weaving process.

‘The ‘Dentist’s Chair’ displays Gregory Bonasera’s Wunderkammer skeleton artefacts within a gothic aesthetic reminiscent of the Tim Burton 2007 film version of the urban legend Sweeney Todd: The Demon Barber of Fleet Street. Inspired by the artist’s use of porcelain and its use in dentistry as veneers for teeth, the deconstructed dentist chair, not unlike the fateful barber’s chair in the film, evokes ideas of vulnerability, fragility and suspicion of the sinister.

Design Team

Jonathan Morehen (Architecture) Vanessa Parker (Interior Design) Karlee Blackburn (Interior Design) Rebecca Shaw (Interior Design) Rachael Gwaro (Interior Design) Natalie Wright (Lecturer in Interior Design)

Erin Dawson (Interior Design) Jade Taniora (Interior Design) Sarah Vize (Interior Design) Shahmen Suku (Interior Design) Steve Szell (Interior Design) Natalie Wright (Lecturer in Interior Design)

Photographs: Andrea Higgins

Interview by Shahmen Suku

INTERVIEW WITH SIAN WILLIAMS Sian Willliams owns and manages Atavist Books in Winn Lane, Fortitude Valley Atavist sells mostly second hand books that have been handpicked by her and carefully curated. You can always expect to be surprised every time you pop into Atavist, with its wide selection of alluring books.

Photograph: Nicholas Threapleton

Why a book shop and why now? We know that most bookstores are closing down but also some niche ones are booming, what do you think? Economically, when I started looking into the idea I found out that even though big book shops have closed down, en masse almost, second hand book sales have been really strong and always really steady.

We really love the design of the store, who designed it? It was designed by Arthur Apostolos who manages this laneway. It’s really beautiful and he was really willing to discuss about the design. I could never really comprehend that a store would fit into this space. When Arthur said he had a space for me I was like if you can build it yes of course I’d want it.

What have you done before this and what got you here? I graduated, did couple of jobs, taught English and some other things. I went overseas and I was doing some freelance scriptwriting in Germany which I thought I would do when I returned but I could not find that sort of job here in Brisbane. I also worked at GOMA for the children’s art centre. I really wanted to stay in Brisbane - I just love the weather here and all my friends live here and it is close to my family.

Thank you so much for taking the time to talks with us. We look forward to all the interesting things that are in store for you and Atavist Books.

We read somewhere that you collected books before this? Yes, I just had a really big book collection that got a little bit unruly. That is kinda what led to the idea. Atavist means a return of a characteristic or a habit? What returned for you? I think it is reading, I don’t know, everyone I talked to about opening a book store kept saying, oh you know there’s E books now and one of the words that kept being thrown around was ‘kindling’. I guess it is sort of a nod towards technology but also keeping in mind that people like to read real books and have tangible things.

And do you have any design books? I do, but they come and go in a cycle. They get sold and then I find new ones. It depends on what day it is. I had a 50’s architecture book on design model making. I always look for amazing, interesting books to collect. All the books in the shop are handpicked and carefully curated.

Photograph: Nicholas Threapleton

Do you write books as well on the side? Well there is going to be a publishing project involved in the store. The first project we are publishing, which is still in the pipeline, is a children’s book from a New Zealand graffiti artist.

Atavist Books 5M Winn Lane, Fortitude Valley Brisbane, QLD 4005

Words by Shahmen Suku

LANE-WAY TO GO ARTHUR APOSTOLOS Arthur Apostolos is currently a student at QUT studying Architecture. He is also a business and accounting graduate and a practising accountant. Arthur also runs his family business and is the landlord of the infamous Winn Lane. The Dub met to talk to him about the beginnings of Winn Lane and what is to come in the near future for the laneways of Fortitude Valley.

Photograph: Nicholas Threapleton

During our conversation, Arthur filled us in a little on the history of Fortitude Valley. “From the 1950s – 1970s, it was a busier shopping district than the city. There was a Myer store, the TC Beirne store and Waltons. Over time the city and shops in the suburbs grew and the Valley’s focus changed to a night economy. Arthur hopes to return this daytime economy to the Valley and Winn Lane’s success has triggered other interesting outcomes”.

“From what used to be car parks at the back of The Zoo, Winn Lane’s early beginning was very organic’, says Arthur. “It grew from demand, starting with The Outpost 6 years ago, followed by the Alibi junior which was then taken over by Flamingo Café - who will expand to include a bar. They inserted stalls into the original heritage listed buildings’ fabric and put shop fronts between the pillars. They later noticed a demand for small and affordable spaces by young entrepreneurs and so expanded Winn Lane”. The design of Winn Lane was a collaboration between Arthur, the builder and the tenants and this would also carry forth into these new lanes. When asked about the future of retailing and retail design in Brisbane Arthur had this to say; “Retailing is going through a huge transformation. The way people are shopping and spending their money is very different and some people will adapt and some will not and I think landlords will have to adapt too. Looking at David Jones and Myers they will all be downscaling and moving partly online. They have this saying - ‘brick and clicks’ - so that is going to be the model for a lot of retailers: having an online presence while still having a physical presence that would be significantly smaller. From a property owner point of view, that will affect how people will shop and how we will design and that is what Winn Lane is all about, some people want large spaces but not everyone needs it”.

The future of Fortitude Valley’s laneways points towards the Bakery Lane and California Lane project. Bakery Lane which is located between Laruche and Fabrik hair salon has been designed by Kevin Hayes architects to include an incubator residence with workshops enabling tenants to live, work and sell from. “Young business venturers cannot really afford to pay three rents, one for sleeping, one for their workshop and one for a retail space”, says Arthur, “being in the valley heart they would already be part of the shopping precinct”.

“California Lane, located behind New York Slice and stretching out to The Beat, will included two levels of retail, bars and cafes designed by Guymer Bailey, which would see an addition of 17 new stores made using shipping containers and pallets to push the theme of a recycled lane. Neither laneway would target big chains like James Street or the Emporium, as the focus would be on catering to young designers and people who want to make a start, thus creating a creative hub”. “These three laneways will enhance each other rather than compete. The location of these three would form a golden triangle that would essentially benefit other stores located in the precinct, making it a whole day experience filled with opportunites for living, shopping, eating, drinking and designing. This will hopefully bring people back to the original Valley where people did shop and spend their days there”. We are looking forward to the construction of these two laneways and the energy and opportunities they will provide and wish the Apostolos family all the best in this exciting new project.

‘HANG ON’ BRISBANE The Dub wants to congratulate the QUT ‘Hang On’ group for their huge state and national success. The group of 3rd year Interior Design students; Claire Flego, Alice Norton, Louise McKnoulty, Jared Thorp, Stephen McClenahan and Hanya Leo, designed a piece of laneway furniture that uses the surrounding built environment and activates the space it inhabits. Their design comprises a giant peg that “pegs” around existing bollards and light poles to form a seat bench.

Following their Queensland State level triumph, the group travelled to Melbourne for the annual Furniture Industry of Australia Awards. Up against 14 other finalists from across Australia, the group walked away with first prize leaving a trail of timber pegs upon the other industry professionals and awards ceremony guests.

Photographs: Michael McClenahan

16 Photographs: Stephanie Manieri

Words by Alice Glenane

REAL STUDIO QUT MURPHYS CREEK Real Studio QUT, a design-build studio, was created in June 2011; born in response to community opportunity, student interest and a passion and need to produce design with substance. The five design students, Joel Alcorn, Stephanie Manieri, Timothy Sickinger, Daniel Bignall and Sophy Nhim, proposed the re-design of the rural agricultural shed on the Bicentennial National Trail (BNT) at Murphys Creek.

The project won the Regional Commendation at the Darling Downs Regional Architecture Awards as well as the joint Building of the Year with Wilson Architects. It then went on to win the State Award at the Queensland Architecture Awards. Since winning the State Award the team are automatically entered into the National Architecture Awards for 2012, which will be held in Perth on 1st November.

The previous facilities were destroyed in 2011’s January flash flooding, taking with it lives, homes and buildings; and leaving a trail of structural, financial and emotional damage. The design provided a renewed sense of community and the Australian Institute of Architects praised it as a ‘marvellous jewel of architecture both compositionally and functionally’.

The Dub is proud to be sponsoring Joel and Stephanie at the National Architecture Awards, 2012.

THE 7th ASIA PACIFIC TRIENNIAL OF CONTEMPORARY ART The APT7 marks the twentieth anniversary of this series and is the only recurring exhibition in Australia to present the contemporary art of Asia, the Pacific and Australia. APT7 will feature new and recent work by 77 artists and artist groups from 27 countries across the region, including painting, installation, sculpture and photography by Indigenous Australian artists; new works by artists from Papua New Guinea, Indonesia and Vietnam; and a special focus on West Asia, with works and major commissions by artists from Turkey through the Middle East to Iran and Central Asia.

Rapid urbanisation, flux of people, trade and influence are key current events, and our relationship with place considering these factors will be explored in this APTâ&#x20AC;&#x2122;s theme. This is explored through the idea of temporary structures, representations of changing landscapes; and varied engagements with the city. We, The Dub, cannot wait to see the major commission of architectural structures by artists from the East Sepik province of Papua New Guinea (PNG) at this APT.

PARAMODEL / paramodelic – graffiti 2010 / Installation view, Otani Memorial Art Museum, Nishinomiya City, Japan, 2010 / Photograph: © Paramodel

Simon Goiyap / Kwoma people, Mino village, East Sepik River, Papua New Guinea / Haus boi / natural pigments on pangal and carved garamut with sago leaf thatching / Photograph: Michael O’Sullivan, QAGOMA

Opening Weekend Celebrations Saturday 8 and Sunday 9 December 2012 | Includes performances, artist talks and discussions 8 December 2012 — 14 April 2013 | Gallery of Modern Art (GOMA) and Queensland Art Gallery (QAG) | Free admission | Exclusive to Brisbane Opening Hours 10.00am — 5.00pm Monday to Friday 9.00am — 5.00pm Saturday and Sunday 9.00am — 5.00pm Public Holidays Closed Christmas Day

PARAMODEL / paramodelic – graffiti 2010 Paramodel is an “art unit” formed in 2001 by Yasuhiko Hayashi (2001 Fine Art graduate from the Kyoto City University of Arts) and Yusuke Nakano (a Nihonga [Japanese-style painting] graduate from the same university). Their title comes from the combination of the words, “Paradise” and “model”, and the fusion of these two concepts is essentially the launching point of their creations. Although the unique talents and interests of these two individuals hardly ever intersect, they manage to work in parallel towards the same vision of constructing intricate models of Paradise using toy parts, like plastic train tracks and mini-cars. Engaging in this poetic, yet paradoxical practice of remodeling paradise, this art unit presents their visions in a variety of media, including installation, objects, animations, painting, sculpture, and photography. Simon Goiyap / Kwoma people / Haus boi / Three Abelam artists — Waikua Nera, Nikit Kiawaul and Kano Loctai, were invited to create a new work responding to the Korumbo (Spirit house) created in their village of Brikiti — Apengai. These artists are among ten Papua New Guinea artists who travelled to Brisbane to create new works for APT7.

QAGOMA staff Michael O-Sullivan and Ruth McDougall, and guest co-curator Martin Fowler travelled through Maprik and down the river to Ambunti, Tongwinjamb and Yessan, where there were opportunities to view spectacular ceremonial men’s houses and Koromb (Spirit house) created from locally sourced, ephemeral materials. The extraordinary presence of these structures and the art created for them provided the impetus to propose two major commissions that responded to the ongoing tradition of Sepik men’s houses, for APT7. The capacity for change is exemplified in these works, adaptability demonstrated through the incorporation of new ideas and materials. That said, the works are powerfully tied to strong cultures. These works stand apart, as a reminder that while we live in an environment of transition and global exchange, the ways in which we communicate our ties to place, history and each other are unique.

Interview by Subhadra Aullen-Mistry

INTERVIEW WITH THE FLEET STORE The Fleet Store is an on-campus pop-up shop showcasing the talent of QUT design students and making waves in the Brisbane creative community. I caught up with Dobin Moon, one of the Fine Art Fashion/Business double degree students involved in the 2012 edition of The Fleet Store, to chat about the challenges of establishing a retail store and how they go about supporting emerging designers.

How did the idea to open The Fleet Store come about? Originally the idea was set out to merge the business and fashion sides of the double degree, this was a perfect way to practice in a real world environment while actually utilising and combining our skills from both faculties. How long did the process take-from concept to opening in August? The team has been working hard since first semester throwing around concepts and ideas, however a lot of the finalisation has happened in the past few months. For many of the designers, The Fleet Store is their first stockist, how does this benefit these young designers at the beginning of their careers in such a competitive industry? It’s not easy to get stockists. Learning what stores expect of designers and their product has been a perfect way to get a grasp on the notion of stocking in a real store and it is a great learning curve for students. Two have been stocked already in a store; buyers and stockists are more inclined to buy your merchandise as you have already acquired a basic understanding and level of professionalism. The Fleet Store operates like a real industry store when it comes to interacting with the designers and going through the process of stock production right up until the point that the product is ready for retailing. The last time The Fleet Store was open was in the Wintergarden on Queen Street Mall. What was behind the decision to open at the QUT Gardens Point campus? I think keeping it a university project was vital this time around, involving collaborations with other design students with the installations and store fitout as well as the designers from other faculties; this became more accessible having the store on campus.

Photograph: The Fleet Store

Also the space was so ideal, there wasn’t a lot of room in the Wintergarden last time and most foot

traffic was through word of mouth and knowing we were located there. Not many people popped in from seeing our store. I think having it at QUT is aimed more at our target market. What part of the process was the biggest challenge for the team? I guess team work always presents itself with challenges, such as getting everything together on time for when each individual person needs it by, especially given that the double degree students are in their final year of fashion and producing a collection at the same time. Other than that the team worked well together and I think really enjoyed the process. It seems that The Fleet Store is inherently a pop-up, playing on consumer interest in the novelty and resources available, do you think in the future it could become something more than this, perhaps a permanent fixture in the Brisbane retail scene? I think for the moment it will continue to be a temporary instalment as this creates the hype of the store. But definitely it would be great to have a permanent store which stocked students’ work, it’s just a matter of finding a group of people to be really willing to dedicate a lot of time into it. How did you go about getting stockists for the store? Is there continuity in designers showcased from previous years or is there a focus on the new? It’s really a bit of everything and whoever wants to be involved; we really wanted to showcase a wide array of the students’ work and what the QUT fashion course embodies. How did you go about designing and merchandising the store with such a diverse group of designs? I think initially it was difficult. Looking at the stock as it came, it all seemed so diverse. However in the end the Visual Merchandising team did a fantastic job making it all mesh well together. I think it might have been the high quality of work that was given to us made it a lot easier to work with.

Are there similar initiatives happening elsewhere in universities globally to engage and support young design talent? There is London College of Fashion doing something similar, and I think fashion faculties are really getting on board, as itâ&#x20AC;&#x2122;s an excellent way to promote the course and support their students. How do you gauge the success of an initiative like this one, other than the obvious monetary value? I guess the amount of people who have positive things to say about it, and how word travels. Just like people who are in the industry knowing what The Fleet Store is, and being interested. We are happy to be making a small mark in the fashion community of Brisbane.

students. I think this time The Fleet Store has made a real connection with new connections and collaborations being forged so I hope that is also something we can look forward to: a united design faculty. Which Fleet Store designers should we be looking out for in the future? There are so many! All diversely talented and unique, I really canâ&#x20AC;&#x2122;t say. It would be too hard!

What more can we look forward to from QUT fashion students in terms of group projects like this? Well I hope there are new innovative approaches to The Fleet Store or even new projects that demonstrates the amazing talent of the QUT

Photograph: The Fleet Store

Interview by Kristen Mather

INTERVIEW WITH EMMA ELIZABETH

Photograph: Andy Lewis

You started studying Interior Design at QUT, what led you to complete your studies in Italy? I started Interior Design at QUT, completed one year and felt I wanted more of a challenge. I spoke to the exchange department and was offered a one year exchange to Politecnico Milano. After 6 months there I still wanted to find a course that offered more creativity and technicality, so I found a course at a private design school, Istituto Europeo di Design. They offered a course called “SCENOGRAFIA” which essentially was a fusion of Interior Design and Industrial Design. We were taught directly by people in the industry, we presented to clients and had to really push ourselves creatively and technically to finish the works, as we were only a small group of 8 students. How many years have you been exhibiting at the Salone del Mobile and its satellite events? I exhibited for the first time in 2006 at a solo exhibition within Zona Tortona, and in 2010 again within Zona Tortona in a group exhibition called

‘HIDDEN HEROES’. In 2011 I exhibited in a group showcase called “The Other Hemisphere” with a group of young Australian designers, curated by Sarah K, and in 2012 in a solo exhibition in a large warehouse space within Ventura Lambrate. I went to Milan in 2004 so I have been to about 9 Salone events so far. It has been a great experience to see how this show has grown and changed over the years. As it remains a premier event on the world design calendar, how important is the Salone del Mobile and the satellite events to you as a designer? Whether you are exhibiting or just visiting I feel as a designer you should attend. It’s a great place to meet like-minded creatives and become inspired or uninspired. I feel you need to know what’s going on out there in the design world to be able to create things that don’t already exist.

The Ventura Lambrate event has only a run for a couple of years, is it becoming an satellite event that is just as important as the Salone? Nothing will ever compare to Rho Fiera; halls and halls of exhibitions that the Fuori salone shows cannot compare to, but they do engage and inspire a point of difference, and you do have big names like MOOOI and TOM DIXON who do not show in the main Fiera and choose to show in the more free-spirited Fuori sections. Ventura Lambrate saw how Zona Tortona was just becoming really commercial and expensive and was not allowing the younger, more innovative designers to exhibit their work, so they decided to reclaim a zone in the city and create their own Fuori zone. This year was its 3rd year and some of the bigger names have come across to this area like Jaime Hayon, Lee Broom and Ikea so I feel this area will grow and we will see some of the big brands turn to this new freedom of space. How does Ventura Lambrate fit into the context of the Salone event? Is there a different focus? There is a strong focus at Ventura Lambrate on craft and process and development so a lot of the designs being exhibited are unresolved and not able to be produced commercially in some sense or another. So it becomes more of a platform for designers to just show what they are capable of. This is not to say the underlying idea isn’t commercial, but there is a lot more freedom given to these areas, whereas the halls of Rho Fiera are confined to commercial sales-driven approaches, against the backdrop of a very expensive scenographic space.

Are Australian designers and design well received at the Milan fair? We are definitely the minority at these shows and people are astounded at the distance we travel to show our designs. When we showed with ‘The Other Hemisphere’ a lot of people thought we must have been Dutch or Danish due to the look of the works. I think the unique thing about Australian design is that it does not have a specific look or style like that of other nations which makes it hard for people to directly decipher it, but I feel this is an advantage. What have you been working on since returning this years’ Milan fair? I got straight off the plane from Milan and attended Wool Modern in Sydney where I was exhibiting two of the marble rug pieces. Then I was off to ICFF in New York where I was invited to be part of an incubator group by BEDG.org which is very exciting, as it’s quite a commercial buying show compared to Milan. It will be great to have the opportunity to break into the American market. I tend to not know what I am doing too much in advance, such are the joys of being a freelance designer. Later in the year, I am working on Visual Merchandising projects here in Australia for some big commercial clients, along with some experiential design works, but after New York who knows where the journey will take me.

Tell us about your latest collection you exhibited at Ventura Lambrate this year. I was showcasing 3 new rug products, manufactured by Designer Rugs. After the success of my first design with them, ‘Round Diamond’ I really wanted to continue the play on a round form that in reality is based around something hard and reflective. Glass marbles were the first thing that came to mind, so I spent days researching the different forms and came up with three designs: TWIRL, SWIRL and CAT’S EYE.

www.galleryoh.com.au

10am-4pm/ 7days @Megan Morton 85 Dunning Ave Rosebery NSW 2018

curated by Sarah K

gallery Oh http://www.emmaelizabethdesigns.com/

Photograph: Jade Taniora

Photograph: Fukutoshi Ueno

Words by Fukutoshi Ueno, Shahmen Suku

FUKUTOSHI UENO The guiding principle of Fukutoshi Ueno’s work is to bring elements of the traditional culture of his own country Japan into the culture, craft and lifestyle of his adopted country Australia. Long before the images of “Memoirs of a Geisha” swept through the West, his work was animated by a sense of duality – the old within the new, the face behind the mask, things immediate yet timeless, mirror emotions and images. These concepts inform every aspect of his work. In recent years, he has been designing in a number of dimensions – working with paper in creating greeting cards, Small Products, creating fashion accessories for Akira Isogawa and bamboo public art objects with Hiroaki Eba (Japanese Flower Artist). He enjoys any opportunity to bring opposites and sensations together in a single work of art in ways that are surprising and often startling. Vivid colours, angles, and the asymmetrical shapes of

Nature highlight the basic functionality and purpose of each of his pieces. Though carefully considered and executed, his works are playful and tease new connections in the eye of the viewer. He is happiest when people smile when they first see his work. Fukutoshi Ueno enjoys the thrill of collaborating with various design disciplines and has recently finished a project with the fashion label Easton Pearson. The Dub and Fukutoshi Ueno have also recently collaborated in a James Street, Fortitude Valley pop-up store exhibiting some of his works. We are extremely grateful of this opportunity and are quite excited for futures projects with him. So if you are ever down in James Street do look out for us, our installation is not fixed on a particular venue so you never know which store we will be at next. We like to keep you on your feet here at The Dub.

DUB EVENTS

The Dub & ECC for Up Late InDesign installation D/talks

First Year Soirée

Ideas Need Lovin’ too

We would like to express our sincere thanks to everyone who has planned, hosted or attended any events held by The Dub in 2012.