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↑ The Hallensteins Virtual Changing Room made me realize it was actually possible to turn speculation into reality. It also won a Silver Lion at Cannes in 2007.
↑ I was based out of the Saatchi & Saatchi, NZ headquarters located at The Strand in Auckland. Though my role also covered the team in the Wellington office.
↗ My digital team at Saatchi & Saatchi, NZ. Tom was in NYC, but insisted we Photoshopped him into the back row. Pua, posing in the blue rugby shirt, also acted in a number of New Zealand TV shows, including the long-running Power Rangers series.
“The secret to great magic is mesmerizing storytelling.” - David Blaine
Our New Zealand adventure began with what we were certain was phishing bait—a letter to Margaret from an “estate detective.” Our corporate attorney brother-in-law in Montreal validated our suspicions, but her estate lawyer cousin in Auckland, far less jaded by North America’s steady diet of cybercrime headlines, seemed confident it was legit—and also not uncommon. The sum was barely worth the trouble, but if real, would fund a trip and long-overdue visit to Margaret’s paternal family. January was high-summer in the Southern Hemisphere, and already enough to tempt us out of a Canadian winter. But man—that was a long flight!
In addition to reconnecting with Kiwi relatives in Auckland—who made me feel like I’d known them all my life—we spent a week along the Bay of Plenty in New Zealand’s coastal sheep country, where I finally understood why the Māori call these islands the “land of the big sky.” We also cycled through Wellington and Christchurch in the South Island, which Kiwis will proudly tell you is the “true New Zealand.” Somewhere along the way, I randomly dropped a coffee-invite email to Aimee Miller at Saatchi & Saatchi. Our schedules didn’t align, but she connected me with Tom Eslinger, their Creative Director for Digital, who happened to be in New York while I was here. On our call, he explained that he was transitioning into a new role as Chief Creative Officer for Publicis, Saatchi’s parent company, and was searching for a replacement.
“Look, I need someone with bigger experience than my creatives in New Zealand, but I can’t convince people to move there,” he said. “If you’re already interested in moving, it’ll make my life a heck of a lot easier!”
↓ Sheep everywhere.
↑ Flying a sport kite on 9 Mile Beach against that big sky.
↗ Cycling to the top of Evans Pass around Christchurch in the South Island.
This turned into a 13,800 km detour.
Tom flew me to LA a month later for a face-to-face with him, Jason Dooris, and Mike O'Sullivan. I remember doing a double-take to make sure I read first-class correctly on the ticket, because until then, business travel always meant the cheapest option a company could justify. This old-school luxury, which I’d only heard about through my mentors from the Mad Men era, would soon become the norm—and frankly, the only tolerable way to handle long-haul flights. The meeting wasn’t so much an interview as an agreement on timing and logistics. I’d partner with Jason, who handled client management, and with Mike, the Executive Creative Director for Australia–New Zealand, on integrated campaigns. Saatchi would cover all relocation costs, and we targeted a September 2006 start date.
The globalization of tech during the rise of Web 2.0 was already fueling a Canadian brain drain—mostly to the U.S.—and several close collaborators, including Fabio Costa and Peter Hong, had landed exciting roles in New York and the Bay Area. I loved Blast Radius, but by then it was part of a dwindling breed of independent digital shops being acquired or outpaced by agencies offering digital as part of integrated strategy. Saatchi was global, paid three times more, and gave me a wider playground for experimentation. Of course, I would soon learn that great creative freedom came with great responsibility—but we’ll get to that later. In the meantime, we rented our house to our friend Karol at a discount (on the condition she cared for our cat Bosley, sparing her a three-month quarantine if we brought her along), packed up everything into a shipping container, and set off—via Manhattan for a Saatchi global creative director workshop, and San Francisco for friends and family. This was also Margaret’s introduction to first-class air travel, and like me, she was immediately smitten by luxury.
↖︎ Arriving at the Saatchi & Saatchi, NZ office for the first time.
↑ Brian quietly focused at his desk.
↗ Jason and I solving a client brief together.
Whether or not it was Tom’s intention, I arrived in our new land with my ego riding a few notches up—creative leaders were expected to be bold and edgy, after all. And coming off the high of finishing Ironman Canada, I felt invincible at 35. Despite the pitfalls, it’s an appropriate time in a person’s career to hit that powerful intersection of drive, foolishness, and reward, and imagine anything was possible.
Time, team, support, leadership, market economy—and the convergence of social platforms, mobile, and rich media—all combined to make this a particularly innovative period for us. Being a big fish in a small pond also gave me the credibility to propose and execute brave ideas. Which, as it turned out, was exactly what Tom wanted—needed, in fact, to win awards. That was the only metric that mattered to his bosses.
He explained when this initially confused me: “Awards raise brand and stock value. Some offices, like New Zealand, exist to win awards. Revenue is secondary. C’mon, how much money can you really make from a small economy?”
Once I reconciled this outlandish model, it freed my imagination from the pragmatic, profit-oriented mindset I’d been conditioned to operate within. The goal for account teams became finding clients willing to experiment—and my job was to pitch ideas so bold, so convincingly, that clients believed they could win. I was learning the art of creative theatre. Of course, obligatory clients like Telecom NZ and New Zealand’s home-grown eBay, TradeMe, had practical problems that needed to be solved. Telecom, for instance, was exploring elaborate technical solutions to reduce support calls for ADSL modem setups—until I took them through an exercise that showed them we could cut calls by 80% just by including a well-designed, IKEA-style quick-install sheet. But when Cannes season rolled around, it was the big ideas that took over.
↑ Winning a Gold Lion at Cannes, Stark was an early social media campaign that subtly seeded the word “Starkish” into New Zealand’s everyday vernacular months before the Vodka drink launched.
Adobe Flash ruled the browser, and Java dominated the pre-iPhone mobile applet space—but digital tools were still wildly fragmented. Creative teams had to be scrappy, resourceful, and inventive to get things done on the lean budgets and tight timelines afforded to us as the poor cousins to mainstream media. When I arrived, two interns had just launched a brilliant campaign for a new vodka drink called Stark from DB Breweries—subtly seeding the word “Starkish” into everyday Kiwi slang months before the product went-to-market. For just $12K, it became shorthand for anything cool—like “those sneakers are starkish”—an early, genius example of social media marketing, that also won a Gold Lion.
↓ Sol City was a virtual city where users created sombrero-wearing Mexican caricatures that could explore and interact with other players.
↑ Experimenting with 3D AR Animals on mobile phones for the Wellington Zoo, visitors could learn about animals from QR codes on the exhibit labels.
↗ We created Bluetooth Sniper for the NZ Army that used Bluetooth to ping mobile phones when they were near one of the outdoor signs, asking them to respond with the coordinates of a hidden sniper.
They were an example of the kind of raw, fearlessly creative talent I got to work with. My senior creative lead, Brian Merrifield—a quiet Flash designer—brought home another Gold Lion in 2007 for Sol City, an irreverent, slightly politically incorrect viral experience that let users explore a whimsical virtual city filled with user-generated sombrero-wearing Mexican caricatures, riffing on the classic “Mexican riding a bicycle” joke. At one point, we had so many Cannes Lions, we used them as doorstops. But while Lions were the outcome—and edgy microsites got all the buzz—real impact, to me, has always meant transformation: using technology in category-defining ways to solve real problems. Techno-pop culture has a fickle curve, and whenever I sense a trend peaking, my instinct is to look for the next emerging signal instead. That’s how I began to grow my team. The Hallensteins Virtual Changing Room encapsulated that idealism most completely—but it inevitably, and necessarily, required some additional ingredients.
Auckland, I began to discover, was a strange melting pot of hidden international talent—wonderfully brilliant outcasts who might have held top roles in the U.S., Europe, or the U.K., but had chosen, for one reason or another, to trade rank, privilege, and pay for refuge in this harmless little corner of the world. One of them was Steve Castellotti, originally from Philly, who came to New Zealand so he could viably live on a sailboat. I met him through his Kiwi business partner, Paul Treacy, who was soliciting contracts with Saatchi on behalf of their company, EyeMagnet. They had developed a private streaming platform capable of delivering centrally managed digital content to any screen, anywhere. Paul installed one of their units—originally about the size of a G4 Cube—for free at Saatchi, so we could run a playlist of Mike’s TV commercials on the big screen in reception.
After showing me how easy the system was to use, he said, “If you have any ideas, my business partner can build anything.”
↑ A later cut of the case study for the Hallensteins Virtual Changing Room, produced for posterity when I was at Quizative.
↑ Installing the hardware at their flagship store in downtown Auckland.
↗ In-store customer using the AR changing room to try-on clothes.
Around that time, we were brainstorming an integrated campaign for Hallensteins. It included the usual brand TV, conventional media, and UX updates to their online shopping portal. But then I floated a problem: customers—particularly men, who made up a large share of Hallensteins’ demographic—didn’t like trying on clothes. Yet shopping online meant you never really knew how something would fit. What if we could let them try on clothes… without actually trying them on?
I’d recently been inspired by the gesture-based interface in Minority Report, and asked Steve, “Is it possible to deploy an augmented reality changing room in stores using your platform—and control it with hand gestures?”
Steve didn’t say I was nuts, which would’ve been the typical response, even from a lot of engineers today. Instead, he said, “Hmm, interesting… let me get back to you tomorrow.” The next day, he returned with a crude working prototype using an off-the-shelf security cam as the input device. “I think it’s possible,” he said.
“Then all we need is a great design,” I replied. For which I recruited Denise Burchell—formerly from Frog Design—who was now in Auckland with her eccentric partner Jeff, an original Silicon Valley startup guru. I shared my vision for the user experience, connected her with Steve, and within 45 days, we had a polished version. The only hurdle left was selling 80 of these to the client for rollout across New Zealand.
That’s where Sandra Cook came in. She was a German I hired as an account manager, who had married a Kiwi rock-star, Steve Cook. She combined classic German pragmatism with a dose of Kiwi “Number 8 wire mentality,” making her the quintessential get-shit-done person every kick-squad team needs. We worked together on the stagecraft, leading with the expected elements of the integrated campaign, then finishing with one-more-thing: framing the opportunity, pondering our what-if, and teasing a few screens of the design. Sandra had set up our live demo in another room, and when the clients asked, “Wow, is this all even possible?” I finally had my Steve Jobs moment.
I said, “It is. Would you like to see it?”
It felt magical—not just for Hallensteins, but for my team, and for me. A lot of hard work, against the odds, went into this, and it was the first time I’d dared to pull off something this ambitious. To see—and sense—an audience become completely mesmerized by the spell we were weaving was a reward no amount of money could buy. But there had been no egos, no politics, no excuses. Working with an A-team was pure performance, perfectly executed through purposeful design, breakthrough engineering, and persuasive presentation. And although it only won a Silver Lion at Cannes that year, it set the tone for many other innovative ideas this team delivered.
↑ An ambitious multi-panel touch-screen Flight Wall we designed for Emirates Airlines in their main airport, allowed passengers to create an entertainment playlist for their journey that synced to their cabin seat.
↗ An overhead mounted interactive screen featuring word Clouds, meant to evoke the feeling of driving a Lexus convertible.
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Architectural Masters Shaping Vienna’s Narrative
In the heart of Vienna’s architectural landscape lies a tapestry woven with the threads of innovation, irony, and eco-consciousness, spun by the hands of visionary masters who dared to challenge convention.
At the helm stands Gustav Peichl, a maestro of both structure and satire. His journey, intertwined with the Academy of Fine Arts Vienna, saw him sketching blueprints by day and caricatures by night, navigating the complexities of identity amidst the shadows of wartime occupation. Peichl’s architectural legacy, epitomized by the EFA Radio Satellite Station, echoes his wit and wisdom, transcending mere mortar and steel.
Beside him strides Hans Hollein, a pioneer of postmodern architecture, whose canvas extended beyond mere buildings to encompass the very essence of urban landscapes. With his iconic aircraft carrier collage, Hollein redefined the boundaries of architectural expression, blurring the lines between industrial prowess and artistic vision. His legacy, etched in landmarks like the Haas House, continues to shape Vienna’s skyline with audacious strokes of innovation.
Lebbeus Woods, an architect of the avant-garde, lends a philosophical hue to Vienna’s architectural narrative. His visionary projects, steeped in the ethos of crisis and possibility, beckon us to reimagine the cityscape as a living, breathing entity, responsive to the ebbs and flows of human existence. Through Woods’s lens, Vienna becomes a stage for architectural experimentation, where the boundaries of convention dissolve in the face of boundless imagination.
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Yet amidst the cacophony of creativity, the city bears the weight of its past, embodied in the stark silhouette of Flak Towers. These concrete behemoths, relics of wartime fortifications, stand as monuments to resilience and remembrance, casting a shadow over Vienna’s architectural landscape.
As Vienna stands on the precipice of transformation, these architectural luminaries converge to inspire dialogue and action. From Peichl’s irony to Hollein’s innovation, from Woods’s philosophy to Hundertwasser’s eclecticism, each voice adds a layer to the symphony of architectural enlightenment.
And so, as the Fabrication Gap symposium beckons, Vienna prepares to embrace the future with open arms, weaving together the threads of tradition and innovation to shape a collective vision of architectural excellence and sustainability. In this crucible of creativity, the city’s narrative unfolds, a testament to the enduring spirit of architectural ingenuity and collective endeavour.
Just got this email today at acme from the Italian architect Bruno Minardi. Admired his drawings greatly as a student and they still make me smile today. Do not know if the email is legitimate; in this day and age you can never be too careful, but perhaps there is an opportunity out there in the digital ether.
Bruno Minardi is an Italian architect known for his innovative designs that blend modern aesthetics with traditional influences. He was born in Italy and has made significant contributions to the field of architecture both nationally and internationally.
Minardi’s architectural style is characterized by a focus on clean lines, geometric forms, and the use of high-quality materials. He often incorporates elements of nature into his designs, creating spaces that are both functional and aesthetically pleasing.
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In addition to his work as an architect, Minardi is also involved in teaching and research. He has lectured at various universities and institutions around the world, sharing his expertise and insights with the next generation of architects.
Overall, Bruno Minardi is celebrated for his innovative approach to architecture, combining traditional craftsmanship with contemporary design principles to create spaces that are timeless, elegant, and sustainable.
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