Brandon Donnelly

Daily insights for city builders, delivered every morning at 6 AM ET. I’m Brandon Donnelly — a Toronto-based real estate developer and founder of Globizen. I’ve been writing here since 2013.

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Category: Art

  • Dwelling in peace

    These “aesthetic monsters” are part of a new NFT collection that I recently bought into. They’re called Angomon (supposedly “ango” translates from Japanese into “dwelling in peace”). And they can be purchased on the Magic Eden NFT marketplace. At the time of writing this post, the floor price is about 1.15 SOL.

    The ultimate plan is for these characters to live in some sort of 3D world that will be called the Angoverse (which is an obvious play on metaverse). The team is also planning to provide NFT holders with the original 3D files for these Angomon so that owners can 3D print their own real-world figurines. Longer term, the hope is that there will be official Angomon collectible figurines available for purchase.

    All of these things are of course future plans. They could happen or they could not. These NFTs could have tremendous value or they could not. I just thought these monsters looked cool and fashionable, and so I bought a few. Right now the plan is to frame them and display them all at Parkview Mountain House.

    But it is also interesting to note how go-to-market strategies are changing in this new world of crypto and web3. Fred Wilson recently wrote about this over on his blog. In web2 (think the Facebook/Instagram era), most consumer applications started out with a tool. The network came after.

    Chris Dixon called this strategy, “come for the tool, stay for the network.” In the case of Instagram, the tool was initially photo filters. People used it to apply those filters that made every photo look brown and hipster-like. But eventually network effects took over and that became more important. There are were lots of people using it.

    In web3, everything now seems to start with some kind of asset or token. People buy in and then become invested in the project, which is interesting because they then begin to market out of self-interest. This post is not about that and is more about sharing something that I think is cool.

    Fred Wilson has proposed a new slogan for this. It is: “come for the assets, stay for the experience.” So these Angomon are now assets of mine. If the experience does eventually come, I guess I’ll stick around. Hello web3.

  • Toronto is missing out on one of the biggest economic development opportunities right now

    Wired published a great article last week talking about “the 10,000 faces that launched an NFT revolution.” What they are of course talking about are the CryptoPunk NFTs that I think most people would agree are one of the “OGs” of NFT art. Initially minted in 2017, they are usually credited with starting the NFT craze that we are all living through today. CryptoPunk #7523, for example, sold for $11.75 million. I think this is the most expensive CryptoPunk in the world. Either way, it is one of the most expensive NFTs out there.

    But as I was reading through the article I was reminded of something. Toronto is doing an awful job celebrating the fact that an immense out of crypto innovation has and continues to come out of Toronto. CryptoPunks, which is Larva Labs, was started by two guys from Toronto who met at the University of Toronto. I know that it is still early days for crypto and web3, but why are we not telling this story to the rest of the world and using it to continue to attract the smartest and most ambitious people to our great city?

    This is a missed economic development opportunity. And the door won’t be open forever. If any of our city leaders are reading this post (which is unlikely), I would encourage you to give this some serious thought and take action.

    On a related note, the above article is great evidence for Chris Dixon’s argument that, “what the smartest people do on the weekend is what everyone else will do during the week in ten years.” Larva Labs was started by two software developers who worked during the day and used their evenings and weekends for new passion projects. CryptoPunks wasn’t their first initiative, but it has obviously come to define them. Smart people need room to play and experiment. Often that happens after hours.

  • Schematic design phase complete for Parkview Mountain House

    Some of you may be aware that Globizen is working on a new project in Park City, Utah right now called the Parkview Mountain House.

    It was first announced on the Globizen Journal back in the summer and then a later announcement was made appointing New York-based Mattaforma as the project architect. It’s kind of a great story because Mattaforma is a relatively new firm that was formed by two architects who used to be at Studio Gang. So we have a long history of working together.

    The vision for the project is a creative retreat in the mountains. A place to unplug, be active, and hopefully a place to foster creative expression, whatever that may be for you. It was inspired by the trip that I have been making to the mountains each year where we try and do exactly this. It’s one of my favorite times of the year and one that I look forward to the minute the last one is over.

    The team has just finished the schematic design phase for the house (see above axonometric). And we are now working through some of the structural and geotechnical issues that come with building in the mountains on very steep terrain.

    To give you all one example, we had initially contemplated large multi-storey retaining walls to hold back the earth and embed the house into the side of the mountain. But that is now being changed to a stepped foundation that minimizes the amount of excavation and reduces each retaining wall to no more than a single storey. This move will also result in more wood and less concrete. It has been a fun learning process.

    The creative retreat concept has also been evolving and we recently decided to make digital NFT art an integral part of the experience. We have a few collections that we have been stocking up on, but if any of you have any recommendations we are, of course, all ears.

    Once the floor plans have been finalized, they’ll be posted up on the Globizen Journal. So make sure to e-mail subscribe and follow along on Instagram at @parkviewhousepc.

  • In real life in New York City

    This past weekend Bright Moments opened up their NFT art gallery in New York’s Soho. This is the company’s second gallery. The first was in Venice, California. And there are plans for eight more cities, with Berlin being the next one. (When is Toronto?!)

    Bright Moments is a decentralized autonomous organization (DAO), which is interesting in its own right but is a topic for another post. You can read a bit more about Bright Moments and DAOs, here and here.

    What I would instead like to talk about today is how Bright Moments is operating at the intersection of NFT art and real-world spaces. They are in effect a community. It’s a place for artists to release/showcase their work and a place for people to connect.

    One of the things that the company is doing with each gallery launch is minting an NFT collection that is tied to the city and that uses the local demonym. When they opened their popup in Venice, they launched the CryptoVenetians. And last weekend in New York they launched the CryptoNewYorkers.

    In each case, 1,000 NFTs were minted and the idea is that once they have expanded to their 10 cities, there will be a collection of 10,000 NFTs.

    I have said it before, but this is an exciting time in the world. Maybe this current NFT craze ends up being a massive bubble, or maybe it doesn’t. Either way, things are exciting.

    But here’s the thing.

    Organizations like Bright Moments show you just how important physical spaces, live communities, and cities continue to be. It doesn’t matter that this is digital art being displayed on a screen and that one could be viewing it from anywhere. People want to hang out in the same room and experience these sorts of new things together.

    I can’t see that ever going away.

  • [Film] CROSSROADS: Life in the Resilient City

    Five cities. Five stories.

    Here is a short film by Nils Clauss and Neil Dowling, which recently premiered at the Seoul Biennale of Architecture and Urbanism. (If you can’t see the embedded video above, click here.) The film is named after this year’s Seoul Biennale (which is going on right now until the end of October) and focuses on five crossroads of city life that were put forward by French architect Dominique Perrault: above/below, heritage/modern, craft/digital, natural/artificial, and safe/risk.

    To illustrate these urban crossroads, the filmmakers visit New York, Seoul, Mumbai, Paris, and Nairobi. But instead of interviewing so-called “experts”, these crossroads are examined from the perspective of people just living through them. The documentary is very well done. And having just come back from Paris, I can say that I think they chose the right city to tackle the heritage/modern crossroad.

    To close things out, I would like to share one screenshot from the film. Here you can see an ingenious little urban table that slips over a street bollard. It’s just perfect. There is so much that can be done to better activate our streets and public spaces.

  • There is no effort without error and shortcoming

    I had a blog post planned out in my mind for today. I was going to write about how the Penthouse Collection launch went this evening at One Delisle (our new website just went live), and the digital NFT art (by Petra Cortright) that we commissioned to accompany each of the 8 penthouse residences.

    But then my partner Lucas Manuel sent out the below quote by Theodore Roosevelt in one of our group chats and it derailed everything. I think it’s imperative that it gets reshared here immediately:

    It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.

    There is no effort without error and shortcoming. But in the worst of cases, that means failing while daring greatly. Because failing while daring greatly is better than not daring at all. These are words to live by. And I would like to think that our team’s efforts to bring digital NFT art to Toronto’s condominium market is daring on some level.

    What is clear to me after speaking with a lot of people this evening is that most people don’t know what an NFT is and they don’t know how this all works. But at the same time, they recognize that real and meaningful change is underway. (I was on Global TV this evening trying to explain this stuff.)

    We may be the first (at least here in Toronto), but I would put money on the fact that we won’t be the last developer to incorporate NFTs into their projects. And that’s a good thing. We should all be building on top of each other’s work. Let’s dare greatly.

  • Louis Vuitton, Frank Gehry, the Impressionists, and NFT art

    La Foundation Louis Vuitton (which is housed in a building designed by Frank Gehry) has an exhibition on right now that displays the art collection of two brothers: Mikhaïl Abramovitch Morozov (1870-1903) et Ivan Abramovitch Morozov (1871-1921). The collection contains mostly early modernist work from the late 19th century and includes pieces by Cézanne, Van Gogh, Renoir, Monet, Matisse, Picasso, as well as others, including some Russian avant-garde work. We went through the exhibition last week when we were in Paris. Partially to see the collection and partially to see the architecture, which is, you know, very Frank Gehry. See above photo.

    As I was going through the exhibition I was reminded of how much I like the Impressionist movement. I like the work, but I also really love the story. The Impressionist movement started in Paris in the late 1800s and many consider it to mark the beginning of modern art. It broke free of tradition and violated the rules of what was considered to be proper art work at the time in France.

    Because of this, the Impressionists were heavily criticized at the outset. So much so that they were routinely rejected from exhibiting in the traditionally accepted art venues in Paris. The annual Salon de Paris was the big and most prestigious one as I understand it. This forced the group to organize their own exhibitions and circumvent the incumbents in order to get their work out into the world, which is pretty much what any “startup” has to do. Obviously the rest is history and now people to go to museums like La Foundation Louis Vuitton to look at Impressionist art work and talk amongst their friends about how we don’t make art like they used to back in the late 19th century.

    I mention all of this because of what is happening today in the world of NFTs. Non-fungible tokens and their application to digital art feels to me like history is repeating itself. We are at the dawn of something new and a lot of people seem to think that what’s happening today is pretty stupid: Why pay thousands or even millions for a JPEG? I can just download a copy to my computer for free. This is not art. How do you even display it? I don’t get it.

    I am sure that most of the NFTs that people are buying today will go to $0 in value; just like a lot of the paint that has gone onto canvasses over the years hasn’t created much value. Art is a funny thing. But that doesn’t mean that cultural value will not be created over time. When people are talking and they think what you’re doing is dumb, you may actually be on to something. The Impressionists taught us this important lesson well over a century ago.

    Photo: La Foundation Louis Vuitton

  • The Petra Cortright NFT Collection at One Delisle

    My two week photo blogging experiment has come to an end. We are now back in Toronto. France was incredible, and I thoroughly enjoyed practicing my French and messing up which nouns are masculine and feminine. Expect some follow-up posts in the coming week(s). I was jotting down notes throughout the trip.

    I must say that the experience of getting back to Canada was far easier than I was expecting. Besides having to run around to a few different places for our PCR tests (sante.fr gave us some addresses that wouldn’t take us), it was relatively painless.

    I am now swimming through my inbox (butterfly stroke kind of thing). There’s a lot to catch up on and a lot that I want to write about. But here’s something pretty special. Today I am excited to share that Slate Asset Management just announced an NFT digital art collection by Los Angeles-based artist Petra Cortright.

    The collection consists of 8 works of digital art that are exclusive to each of the 8 penthouse residences at One Delisle (1/1). We believe that this is one of if not the first example of this — NFTs being commissioned by a developer for future condominium residents.

    Since the beginning, we have wanted to make One Delisle a “project of firsts.” We wanted to create something remarkable and usually that means you have to do something for the first time. We are fortunate to have been able to partner with Studio Gang for both the architecture of the building and its interiors.

    The Petra Cortright NFT Collection is the next step in this commitment to new ideas. And on October 6th the team will be revealing both the One Delisle Penthouse Collection and hosting a one-time gallery viewing of the eight digital art pieces. If you would like to attend here in Toronto, please send an email to info@onedelisle.com.

    For more information about what all of this means (including a bit about NFTs), here’s the full press release from earlier today.

  • Paul Smith on being “childlike”

    British designer Paul Smith was recently interviewed by Monocle on Design about his recent collaboration with BMW and Mini. If you like Mini cars, you’ll probably like the episode. But he also raises two interesting points about his business and about how he approaches design.

    The first is that his business is a balancing act. In the front, he wants it to be pioneering, flashy, and self-indulgent. But in the back, he keeps the lights on by selling lots of navy blue suits and polo shirts. Both are important, because if you stop pioneering then you stop being relevant.

    The second point he makes is about how he approaches design. Paul Smith’s London studio is famously cluttered. He likes to collect a lot of stuff. Some might call it hoarding. But for him, the space helps him think laterally and also remain “childlike.” (Where we work apparently matters.)

    Children, as we know, are honest, curious, and free in a way that adults aren’t. They don’t have the same reference points and that can be very empowering. Forget the way that things are currently done and challenge yourself: “What if?” I like that a lot.

    To listen to the Monocle on Design episode, click here.

    Photo by Boris YUE on Unsplash

  • Meatspace vs. metaverse — what is the best way to flex?

    With every passing year, the Matrix feels less and less like science fiction. With the continued rise of the metaverse — Zuckerberg is betting all of Facebook on it — we are increasingly living our lives between two worlds: one is offline and one is online. What this will ultimately mean (for us and for our cities) is of course up for debate. But what is clear is that the traditional trappings of real life have quickly made their way online into the metaverse. Arthur Hayes recently penned this fantastic article about the future of the world (it’s the metaverse) and the role of art (including NFT art). In it, he makes the argument that to “flex” is integral to the human experience. Here’s what he means by that:

    As social beings, the sole purpose of many activities and purchases is to publicly display how much energy you can waste. The nightclub economy is extremely a propos to this concept. Individuals walk into a dark room, listen to loud music (art), dance (a waste of energy akin to a mating call), and pay exorbitant amounts of money to drink liquid. Everyone gets dressed up real nice in articles of clothing that serve no useful purpose other than to demonstrate that the wearer spent a lot of money to display their social status to the rest of the clubbers present.

    People go to clubs to flex. In the words of the late Clayton Christensen, that is the “job” to be done.

    Why this matters is that many of us are now doing the same kind of things online. Buying a CryptoPunk (an OG NFT) for a large sum of money and posting it as your social media profile pic is a flex. Is this rational or irrational behaviour? Whatever your answer, it is akin to paying several hundred dollars for a t-shirt from some cool streetwear brand. The real job to be done is not that you desperately need a t-shirt to cover your upper torso. It is the signalling that goes along with owning something scarce and valuable. One of the things that is so special about NFT-permissioned stuff is that there’s now a simple way to prove and enforce all of these things: ownership, scarcity, and so on.

    What’s equally fascinating to me is how offline and online will end up interacting with each other. (Arthur refers to our offline world as the meatspace. I don’t know if he coined the term, but I’m going to rolling with it for the purposes of this post.) If people end up preferring to flex online instead of offline (and I’m sure many already do), what does that do to our meatspace(s)? And what does it do to our cities and how we build? I have no doubt that these questions are coming.

    Photo by Richard Horvath on Unsplash