A digital IP transformation and experience consultancy floor — teams working at lit data tables

Own

Everything we make, you own.

Not a clause you negotiate at the end, when the leverage has already moved. Your ownership position is written before the work starts, and it reads the same whether you are the institution paying for the work or the person making it.

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The guarantee

You keep the rights. We make them worth something.

The code, the designs, the footage, the curriculum, the artwork — what we build with you transfers to you. Where the work is sponsored by someone other than the person making it, the ownership and the revenue split are a certifiable on-chain claim with programmable splits, recorded before anyone starts. Nobody has to rely on a memory of what was agreed.

Written first — before scoping, before a schedule, before any money moves
Transfers at handover — masters, source files, edits, derivatives, curriculum, code
Recorded on-chain for sponsored work
Survives the engagement — later licensing and resale follow the same fixed proportions

01 · The problem it solves

Value used to end at the ribbon cutting.

You have probably been on one side of this. You commission a piece of work and find, two years later, that you cannot reuse it, because the files sit with an agency that has moved on. Or you originate a concept, hand it over for a fee, and watch it earn for a decade without you in the split.

Both happen for the same reason: ownership gets settled at the end, in a document nobody reads. Historically the value of public work ended at installation. Digital infrastructure means it no longer has to — an asset can be created once and keep creating value for years, provided somebody wrote down who owns what while it was still easy to say.

02 · How the guarantee works

Four things happen, in this order.

It is written first. The ownership position and, where relevant, the split are agreed before scoping.
It transfers. At handover you receive the masters in formats you can open without us.
Sponsored work is registered. The ownership and the revenue split become a certifiable on-chain claim with programmable splits, recorded before the work begins. On-chain code moves the money; the signed agreement governs the rights.
It outlives us. Later licensing and resale follow the same fixed proportions. You do not renegotiate because something worked.

03 · If you are sponsoring the work

You are paying for work that other people will make. Registering the split before it starts tells you exactly what you are buying and exactly what you are not, and it tells the builders the same thing on the same day.

Better entries, because participants can see the terms before they commit their weekend
No renegotiation later, when one of the prototypes turns out to matter
A defensible record for your board, your funder or your procurement file
A pool of work you can point to for years, with the attribution intact

04 · If you are making the work

Your authorship is on record.

Your authorship record matches exactly what you submitted
Your share sits in the code that moves the money
If the work is licensed again in five years, you are still in the split
You can show the record to anyone — a gallery, a funder, a court — without asking us for it

05 · Where it applies

It starts with Gateways.

Design Baltimore: Gateways is the model — a city competition whose selected concepts can be carried into provable digital ownership, licensing and tokenized RWA structures through the Gateways Digital IP Portfolio, an initiative of HCLxR. The indicative value-share below is a starting point for discussion, not fixed.

40%

Originating artist — the creator(s) whose concept originates the work

35%

HarlemCLX and XR Agency & Brokers — split between the partners

25%

Education allocation — curriculum, a student fellowship, digital-literacy / blockchain education

Any actual split is set only in a separate, binding agreement that the artist reviews and signs. The same principle of a defined creator and education share applies to university builder programmes, protocol infrastructure, documentary and rights work, and any sponsored programme we run — wherever somebody makes something and somebody else pays for it.

See the Gateways Digital IP Portfolio → See where this has run →