Podcasts about ravensbourne college

On this week's episode of the Glossy Podcast, we catch up with Clare Waight Keller, named Uniqlo's creative director early this month. Waight Keller discusses her transition from designing at luxury fashion houses to leading the creative direction at a global retail giant, and her plans for Uniqlo's future. After studying at Ravensbourne College of Art and Design and earning her master's degree from the Royal College of Art, Waight Keller held design roles at Calvin Klein and Ralph Lauren. She later worked under Tom Ford at Gucci before taking the helm at Pringle of Scotland in 2005. In 2011, she became the creative director at Chloé, where her feminine, free-spirited designs took off. In 2017, she made history as the first female creative director at Givenchy, where she famously designed Meghan Markle's wedding dress.  Waight Keller is now taking on a new challenge at Uniqlo, merging her luxury design sensibilities with the brand's technological innovations and global reach. “Good design is good design, whether it's on a luxury runway or in a global retail store,” she said. For Waight Keller, the appeal of Uniqlo lies in its integrity and focus on quality. “What was most surprising to me was how similar the design process at Uniqlo is to that of a luxury house," she said. "We approach it with the same level of care and craftsmanship. The difference is in scale." But she doesn't see the size of Uniqlo's operations as a hindrance. Instead, she embraces it as a unique opportunity to reach a broader audience while maintaining a high standard of design. But one challenge she is realizing is merging fashion with innovation. “The innovation at Uniqlo is unparalleled," she said. "The access to cutting-edge fabrics and the [company's] commitment to performance-based design is something I'm really excited about.” In addition to innovation, Waight Keller is focused on sustainability. As she steps into her new role, she's pushing Uniqlo even further toward environmentally conscious fashion. “We're already doing a lot, but I believe we can do even more," she said. "Sustainability is crucial, but so is longevity. We want to create pieces that last, both in terms of style and durability." Uniqlo's focus on essential, timeless pieces has been refreshing, Waight Keller said. “At Givenchy, I was designing up to 10 collections a year. At Uniqlo, it's two. But the pressure is still there — it's about making sure every piece is perfect. We're creating wardrobe staples that can stand the test of time, and that's where I find the challenge." She added, “Fashion doesn't have to be fleeting. With Uniqlo, I'm designing for everyone, from teenagers experimenting with style to professionals looking for the perfect tailored suit." Her vision is to make high-quality, stylish clothing accessible and inclusive, across all demographics and generations. Men's fashion at Uniqlo is a category she plans to expand. “From the first collection, we had so many men asking when we'd launch menswear. Now, it's here, and the response has been incredible,” she said. As Waight Keller looks ahead, she's excited to build upon Uniqlo's strong foundation, she said. “I've got so much access to the tools I need to push the boundaries," she said. "My goal is to take Uniqlo to the next level, without losing what makes the brand special: quality, accessibility and timeless style."

Neil Koenig, ideaXme Board Advisor and former Senior BBC Series Producer interviews Artist, Anthony McCall. Neil comments: In the face of today's flood of information from the internet and social media, it can sometimes take courage to retain belief in the strength of self-generated ideas. But for some, it can pay off. As the British artist Anthony McCall explains, “there's a certain moment in any artist's life where your own ideas become more vivid than anyone else's, for yourself”. Anthony McCall is certainly no stranger to vivid ideas. His ground-breaking piece from 1973, “Line Describing a Cone”, has had a big impact not only on his own output, but also on the work of many other artists. After studying graphic design at Ravensbourne college in the 1960s, Anthony McCall moved to New York in the early 1970s, and he has lived and worked there ever since. He is perhaps best known for his “solid light” installations. His work has been the subject of numerous solo and group exhibitions at institutions all over the world and can be found in the collections of many major museums. In this interview with me for ideaXme, Anthony McCall talks about how he first became interested in becoming an artist, how he approaches the process of creating his works, and about his future plans, including an upcoming show at Galerie Rudolfinum in Prague, and a major exhibition which will be celebrating his work and his influence on other artists, at Tate Modern in London in summer 2024. ANTHONY McCALL BIOGRAPHY: McCall, was born St Paul's Cray, England, in 1946. He lives and works in Manhattan. McCall is known for his ‘solid-light' installations, a series that he began in 1973 with “Line Describing a Cone,” in which a volumetric form composed of projected light slowly evolves in three-dimensional space. More: http://www.anthonymccall.com/about LINKS  http://www.anthonymccall.com/ https://www.skny.com/artists/anthony-... https://www.galerierudolfinum.cz/en/e... https://www.tate.org.uk/whats-on/tate... Music: Space Heroes by MaxKoMusic https://maxkomusic.com/ Music promoted by https://www.free-stock-music.com Creative Commons Attribution-ShareAlike 3.0 Unported https://creativecommons.org/licenses Further credits/links: Voice over for ideaXme introduction: Neil Koenig Music for ideaXme introduction. ideaXme https://radioideaxme.com Contact: Andrea Macdonald ideaXme's founder: andrea@ideaxme.com ideaXme is a global network - podcast, mentor programme and creator series. 40 countries. 12 platforms. Mission: To Move the human story forward™. Passion: Rich Connectedness™!

Join us ‘in conversation' with Alison Wilding OBE and A Level art students from Hardenhuish School and St Mary's Calne in Wiltshire, discussing topics including the artist's use of conflicting materials; connections to myth and ancient artefacts in her work; the influence of artists such as Rachel Whiteread and Barbara Hepworth; and the sustaining power of the creative process.‘Wilding was born in Blackburn, Lancashire. She studied at Ravensbourne College of Art and, from 1970 to 1973, at the Royal College of Art in London. Her sculpture is closely concerned with the physical qualities of materials. She uses traditional as well as contemporary sculptural processes, such as modelling, carving, casting and constructing to explore the contrasts and relationships between materials. Her sculptures often consist of two separate elements, which suggest opposites such as positive-negative, male-female, light-dark. She uses a wide range of materials, including copper, wood, beeswax, lead, galvanised steel, transparent plastics, silk, fossils, rubber and paints; these enable her to establish unusual juxtapositions of form, colour and surface. She was shortlisted for the Turner Prize in 1988 and 1992. Wilding's work can be found in major collections nationally and internationally, including Arts Council of Great Britain, British Council, Art Gallery of New South Wales, Australia, Musée de Beaux Arts, Calais, France, and Scottish National Gallery.' (Source: New Art Centre website)The Roche Court Educational Trust works with over 6,000 children, young people and specialist groups annually, at both the Sculpture Park and elsewhere. We encourage an exploration of modern and contemporary art through our specialist looking, thinking & speaking approach.As an independent charity, we rely on donations to deliver our program. For further details of how to support our work, please visit our website at: https://rochecourteducationaltrust.co.uk/support-us/ Follow us on Instagram https://www.instagram.com/_ilovesculpture/ To find out more about Alison Wilding, follow this link: https://www.karstenschubert.com/artists/26-alison-wilding/Thanks to: Dan Coggins and Zach James for co-producing this episode. Thanks also to the New Art Centre and finally, Alison Wilding, for generously giving her time. This podcast has been generously funded by RSA Catalyst Award and The Arts Society Wessex.Photo credit: Alison Wilding, Shrubs 1, 2019

Hello and welcome back to Cracked with Chevonne Ariss! My guest today is Jane Littlefield. Jane works with stained glass from her workshop in Great Longstone, Derbyshire.  She studied Fine Art at Ravensbourne College and has worked in different areas of design over the years.  Jane works to commission and has produced work for homes, schools and businesses.  She also runs glass workshops. Her own work consists of stained glass panels that have multi – layered, painted glass images that are inspired by the Peak District, its nature, history and folklore. "I use images of creatures, landscape features and organic motifs to create these glass panels."  The glass is hand painted using traditional stained glass paints and translucent enamels, often using many layers and textures, that are fired in the kiln.  They are assembled using lead and solder.  Let's get into it… Join me as I crack it wide open!! For the Cracked Patreon page Jane is gifting one of her blackbird eating a warm small suncatcher pieces that's about 9cm or just about 3.5” and also a pack of 5 owl rondel greeting cards. All so so cute. I'll be doing a drawing for that in my Instagram stories on Sunday Jan 29th 2023. To see more of Jane's work, her instagram is @jane.littlefield.glassand her website is linktr.ee/Janelittlefieldglass.Honorable mentions from this episode:Well Dressing historic-uk.com/CultureUK/Well-Dressing/Castleton Garland castleton-garland.comCappy Thompson cappythompsonInternational Festival of Glassifg.org.ukGlass artistsLilly Eris@lekkasukaLiz Huppert @lizhuppertstainedglassThank you to this episode's sponsors:For episodic sponsorship opportunities please email hello@runaglassworks.com.Hoevel Technologies Time Saving Tools for the Stained Glass Artists!Canfield Technologies Canfield sets the standard for the Stained Glass industry. Monarch Glass Studio Kansas City, Missouri's Finest Glassblowing studio.Support the show

Taking us Behind the Scenes this week is one of British television's busiest and most experienced entertainment directors. Mick Thomas charts his incredible TV career from Ravensbourne College and LWT to directing the RVP, Comic Relief and the most successful quiz shows currently on our screens. Oh. And Mick also ‘reveals' what happened to him at the opening of EuroDisney. Steam, Smoke & Mirrors Theme music composed by John Orchard and arranged by Ian English Facebook: colin.edmonds.73 Instagram: colinedmondsssm Twitter:@ColinEdmondsSSM Website: https://www.steamsmokeandmirrors.com/ Buy Steam, Smoke and Mirrors Available at Caffeine Nights Available at Amazon Available on Audible Buy The Lazarus Curiosity: Steam, Smoke and Mirrors 2 Available at Caffeine Nights Available at Amazon Available on Audible Buy The Nostradamus Curiosity: Steam, Smoke and Mirrors 3 Available at Caffeine Nights Available at Amazon

In episode 50 UNP founder and curator Grant Scott is in his shed considering the various skill and digital demands made of a photographer in the 21st Century and the importance of writing within a photographic practice.  Plus this week photographer Alys Tomlinson takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' Having grown up in Brighton in the UK, Alys went on to study English Literature and Communications at the University of Leeds. After graduating, she moved to New York for a year and was given her first commission by Time Out magazine, before returning to London to study photography at Central Saint Martins College of Art and Design. She has recently completed a part-time MA in Anthropology of Travel, Tourism and Pilgrimage at SOAS, University of London, which connects with her long-term, personal project concerning pilgrimage. Alys combines commissioned work for editorial, design and advertising clients such as the BBC, Bloomsbury Publishing, Condé Nast, 
The Guardian, Harvey Nichols and Penguin Books, with personal work, which she publishes and exhibits. Amongst many awards she was named Sony World Photography Awards, Photographer of the Year in 2018, shortlisted at the 2019 Rencontres d'Arles, New Discovery Award, exhibited as part of the Taylor Wessing Portrait Prize, National Portrait Gallery, London in 2017, won the Magenta Foundation/Flash Forward, in 2008 and shortlisted for the 2003 Jerwood Photography Award. She is also a visiting lecturer at Central Saint Martins (UAL) and Ravensbourne College of Art & Design. www.alystomlinson.co.uk You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-life and Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer in Professional Photography at the University of Gloucestershire, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019. He is currently work on his next documentary film project. He is currently work on his next documentary film project Woke Up This Morning: The Rock n' Roll Thunder of Ray Lowry. His documentary film, Do Not Bend: The Photographic Life of Bill Jay has been screened across the UK and the US in 2018 and will be screened in the US and Canada in 2019. © Grant Scott 2019

Jazz Rasool is a Researcher at Ravensbourne College in London, a well-known training centre where the likes of David Bowie or Stella McCartney studied. He is working in advancing the use of Multimedia, Augmented and Virtual Reality in Education. Jazz is also the creator of Atmascope, a 'Resonance Engine', that enables people to discover their purpose … He began this work with Unilever in 2004, providing a Health & Wellbeing experience for Global Directors during their Rebranding programme. I’ve known Jazz for more than a decade now, when I’ve learnt his system at the time called Energy Diamond and I was part of a team of coaches to work on hundreds of case studies to help people create momentum in their life. His system merged western and eastern philosophies to uncover deeper Intentions vs interests, Priorities rather than preferences and look at our Being rather than our behaviours. Jazz also provides coaching, mentoring and Executive presentations to stimulate creativity in individuals, teams and organisations. In our conversation, Jazz shared how he was determined to become an astronaut and ended up studying Mind Body medicine. He also shares how he became homeless and being close to death and what that taught him. He explains where his deep desire to help people improve their well-being and make a difference come from. He offers a simple yet powerful method to identify what drains us out of energy in life and how to take control to change it - as well as practical steps to turn values into valuables to become successful. Jazz believes that true compassion helps people discover the truth that brings them life as opposed to disable them! This conversation is really deep and insightful as I was expecting; anytime I have a conversation with Jazz, I have a new level of understanding and I am sure you will too. Key points discussed The three core elements that bring life to people and a simple exercise to discover your real purpose and keep momentum in your life The hard way that he learnt that you can end up failing life if you fail to collaborate with others and why helping others to help each other became the focus of his work. How to see money as a resource amongst others and learn to attract the others to create a virtuous circle The profound impact that an encounter with a young Syrian refugee in Jordan made on him And much more Now, listen to this insightful conversation with Jazz Rasool

Daniel Eatock is a designer and artist based in London. He studied design at Ravensbourne College and earned his MA from the Royal College of Art. In this episode, Daniel talks to Jarrett about studying design and discovering conceptual art, his resistance to labeling his practice, the role of teaching in his work, and how he's working towards being more present. Links from this episode can be found at scratchingthesurface.fm.

In episode 32: In this sound recordists special, we finally get to talk with our old friend and mini-golf champion, Richard Eades.  The role of the location sound recordist has gone through enormous changes over recent years.  With the rise of ‘shooting PD’s’ and return of ‘separate sound’, how has the job changed?  Often expected to be a camera assistant or even now a DIT specialist, is this the best way to keep the diary full?  We also discover the easiest way to wind-up your own sound recordist in the middle of a busy day! EVA, URSA, Venice, Amsterdam… lots to discuss from this years exciting IBC show, but which camera do we think is going to replace the FS7 as the default choice for Television production managers? As Steve returns from cycling in Turkmenistan, and the Monkey has to change his pension arrangements, Paul needs to know what settings will make his F5 look like a 1970’s 8mm home movie camera? It really is a packed episode… enjoy.   Steve & Paul   Available on ExtraShot.co.uk Available on iTunes ExtraShot on YouTube ExtraShot on facebook Our twitters: @extrashotcafe @gomediavideo @paulream Links:  Richard Eades - Linkline http://linklinecrew.com/wp-content/uploads/2016/01/Eades.pdf Ravensbourne College https://www.ravensbourne.ac.uk BBC Screen Test https://en.wikipedia.org/wiki/Screen_Test One day to see Venice https://youtu.be/SxDzsue2Uc4 1st looks at the EVA1 https://youtu.be/NfJuz8Ox6uk  

In a chaotic post-EU referendum political climate, the deep-rooted division in society is plain to see. Blame, insults and criticism flow freely whilst we all try to make sense of the bedlam and prepare to face what comes next. Shaz from Addatif joins me to discuss her creative workshops at youth centres, Ravensbourne College, National Art & Design Saturday Club and her upcoming workshop, 'Inclusion.' Addatif produced the 3D print used in the Arrest All Mimics branding and we discuss the great power we have as creative professionals to help bring together people from all different backgrounds, the role the arts will play in healing the damage caused in our society and how we can actively start to make a difference. Episode 28 is supported by Illustration Ltd: http://illustrationweb.com, Heart Internet: http://heartinternet.co.uk and Printed.com: http://printed.com http://www.addatif.com/ - Addatif official website https://twitter.com/Addatif - Addatif on Twitter https://www.facebook.com/addatif?fref=ts - Addatif on Facebook https://www.instagram.com/addatif/ - Addatif on Instagram http://www.ravensbourne.ac.uk/ - Ravensbourne college http://saturday-club.org/ - National Saturday Club

The O'Reilly Design Podcast: Designing for the IoT, design's responsibility, and the importance of team dynamics.This week's episode of the Design Podcast features a conversation I had with Martin Charlier last fall. These days, Charlier is a freelance design consultant and co-founder at Rain Cloud. He's also a contributing author to Designing Connected Products and a speaker at the upcoming O'Reilly online conference "Designing for the Internet of Things," September 15, 2016. In our chat, Charlier talks about designing for the IoT, design's responsibility, and the importance of team dynamics.Here are some highlights from our chat: Holistic IoT design How I got into the Internet of Things is an interesting question. My degree from Ravensbourne [College of Design and Communication] was in a very progressive design course that looked at product interaction and service design as one course. For us, it was pretty natural to think of products or services in a very open way. Whether they are connected or not connected didn’t really matter too much because it was basically understanding that the technology is there to build almost anything. It’s really about how to design with that mind. I’ve always looked at products and services that way, that they might be connected or they might not be. It’s really almost like electricity. You might have an electric product or you might have something that isn’t powered. When I was working in industrial design, it became really clear for me how important that is. Specifically, I remember one project working on an oven. ... In this project, we specifically couldn’t really change how you would interact with it. The user interface was already defined, and our task was to define how it looked. For me, that was where it became clear that I don’t want to exclude any one area, and it feels really unnatural to design a product but only worry about what it looks like and let somebody else worry about how it’s operated, or vice versa. It seems to me that products, in today’s world especially, need to be thought about from all of these angles. I think you can’t really design a coffee maker anymore without thinking about the service that it might plug into or the systems that it connects to. You have to think about all of these things at the same time. Designing with the environment in mind Designing a physical object is less, I want to say, less task-driven. The usability, the task aspect of it, is only one facet of the whole experience. You have to think about the aesthetics and much more about the emotional qualities of a product. I think materials and manufacturing processes as well, and that also relates to an environmental responsibility, for example. As an industrial designer, if you design a physical object, you have to think about where that goes when it’s at the end of its life cycle and what kind of material do you use to make it and where do those materials come from. The Fairphone project, for example, is interesting. One of the things they talk about is that they use only conflict-free materials. It’s not just about the material being renewable or coming from a sustainable material source, but it’s actually also about the social responsibility and how do these, especially precious metals, for example—where do they come from? What are the labor conditions where they come from? Combination interfaces What I see already is that there are new combinations of input and output types that are being put together to form interfaces. A really good example is the Nest Protect. It speaks to you; it uses synthesized voice to give you information, like which room was smoke detected in. I think that’s a really interesting one because it’s not really a voice. I wouldn’t classify it as a voice interface because I’m not interacting both ways through voice. Voice, for me, would be something like Siri, where I’m speaking to it and it responds to me. What I’m interested in seeing is products that come up with a certain combination of some kinds of inputs and some kinds of outputs that happen to be appropriate and make sense for their particular product. I think that’s where it starts to feel natural, where you don’t really think about whether Nest Protect is a voice interface or another kind of interface. It just makes sense that the device would try to give you more information through the medium of speech because that’s actually the best way for it to do that. Equally, I think touchscreens are probably going to stick around for a very long time because they’re such a commodity. Everybody knows how to use a touchscreen now. People now go to screens that aren’t touch screens and want to touch them because they have this expectation now that you can touch a screen and interact with the elements on it. I’d like to see these new combinations. A former colleague of mine from Frog, Jared Ficklin, did a brilliant demo. They call it RoomE, which is a connected room. They’re exploring the idea of what room-sized computing would look like. What if the computer was my house, effectively? One of the things they’re doing in the demo is this idea of multimodal input. In his demo, Jared is pointing at a lamp and saying, “Turn this lamp on.” And it knows which lamp you mean and it’s able to make sense of, “What do you mean by this lamp? Which lamp do you mean? And why are you pointing at a lamp?”—it puts them together and figures out, “Right.” It feels like, “Why am I even explaining this? It’s so obvious.” I think it’s a long way away to have that stuff in practice. I’m sure there are a lot of things we have yet to experiment with in terms of whether that actually catches on. I’m not sure.

The O'Reilly Design Podcast: Designing for the IoT, design's responsibility, and the importance of team dynamics.This week's episode of the Design Podcast features a conversation I had with Martin Charlier last fall. These days, Charlier is a freelance design consultant and co-founder at Rain Cloud. He's also a contributing author to Designing Connected Products and a speaker at the upcoming O'Reilly online conference "Designing for the Internet of Things," September 15, 2016. In our chat, Charlier talks about designing for the IoT, design's responsibility, and the importance of team dynamics.Here are some highlights from our chat: Holistic IoT design How I got into the Internet of Things is an interesting question. My degree from Ravensbourne [College of Design and Communication] was in a very progressive design course that looked at product interaction and service design as one course. For us, it was pretty natural to think of products or services in a very open way. Whether they are connected or not connected didn’t really matter too much because it was basically understanding that the technology is there to build almost anything. It’s really about how to design with that mind. I’ve always looked at products and services that way, that they might be connected or they might not be. It’s really almost like electricity. You might have an electric product or you might have something that isn’t powered. When I was working in industrial design, it became really clear for me how important that is. Specifically, I remember one project working on an oven. ... In this project, we specifically couldn’t really change how you would interact with it. The user interface was already defined, and our task was to define how it looked. For me, that was where it became clear that I don’t want to exclude any one area, and it feels really unnatural to design a product but only worry about what it looks like and let somebody else worry about how it’s operated, or vice versa. It seems to me that products, in today’s world especially, need to be thought about from all of these angles. I think you can’t really design a coffee maker anymore without thinking about the service that it might plug into or the systems that it connects to. You have to think about all of these things at the same time. Designing with the environment in mind Designing a physical object is less, I want to say, less task-driven. The usability, the task aspect of it, is only one facet of the whole experience. You have to think about the aesthetics and much more about the emotional qualities of a product. I think materials and manufacturing processes as well, and that also relates to an environmental responsibility, for example. As an industrial designer, if you design a physical object, you have to think about where that goes when it’s at the end of its life cycle and what kind of material do you use to make it and where do those materials come from. The Fairphone project, for example, is interesting. One of the things they talk about is that they use only conflict-free materials. It’s not just about the material being renewable or coming from a sustainable material source, but it’s actually also about the social responsibility and how do these, especially precious metals, for example—where do they come from? What are the labor conditions where they come from? Combination interfaces What I see already is that there are new combinations of input and output types that are being put together to form interfaces. A really good example is the Nest Protect. It speaks to you; it uses synthesized voice to give you information, like which room was smoke detected in. I think that’s a really interesting one because it’s not really a voice. I wouldn’t classify it as a voice interface because I’m not interacting both ways through voice. Voice, for me, would be something like Siri, where I’m speaking to it and it responds to me. What I’m interested in seeing is products that come up with a certain combination of some kinds of inputs and some kinds of outputs that happen to be appropriate and make sense for their particular product. I think that’s where it starts to feel natural, where you don’t really think about whether Nest Protect is a voice interface or another kind of interface. It just makes sense that the device would try to give you more information through the medium of speech because that’s actually the best way for it to do that. Equally, I think touchscreens are probably going to stick around for a very long time because they’re such a commodity. Everybody knows how to use a touchscreen now. People now go to screens that aren’t touch screens and want to touch them because they have this expectation now that you can touch a screen and interact with the elements on it. I’d like to see these new combinations. A former colleague of mine from Frog, Jared Ficklin, did a brilliant demo. They call it RoomE, which is a connected room. They’re exploring the idea of what room-sized computing would look like. What if the computer was my house, effectively? One of the things they’re doing in the demo is this idea of multimodal input. In his demo, Jared is pointing at a lamp and saying, “Turn this lamp on.” And it knows which lamp you mean and it’s able to make sense of, “What do you mean by this lamp? Which lamp do you mean? And why are you pointing at a lamp?”—it puts them together and figures out, “Right.” It feels like, “Why am I even explaining this? It’s so obvious.” I think it’s a long way away to have that stuff in practice. I’m sure there are a lot of things we have yet to experiment with in terms of whether that actually catches on. I’m not sure.

Our guest for this episode is Christoph Burgdorfer, a holder of a Master of Arts degree in Networked Media from the Ravensbourne College of Design & Communication/London and the Zurich University of the Arts. In 2009, Christoph set up coANDco UK in London, focusing on building connected platforms for web and mobile. Christoph is a public speaker, on TEDx, amongst others.