One corridor, three formats.
Two hundred pole snipes at 8.5 by 11 along Broadway, plus 24 by 24 floor graphics on the strip and 24 by 24 sidewalk stencils on the side streets, installed overnight and timed to the Wednesday of a Nashville conference week.
- Placements200+
- Cities1
- FormatMulti-format
- Documented204install photos on file
A conference week, and one day that mattered.
Avvoka had one corridor that mattered and one day to own it. The run went up overnight so Broadway was papered by Wednesday morning.
Avvoka is a legal drafting and document automation company, founded in 2016 by Eliot Benzecrit and David Howorth.
It came to us with one corridor and one day that mattered, and the day was a Wednesday. A conference week was in Nashville, and the client knew that was when delegates would be out on Broadway in the highest numbers. So the run stayed on the Broadway strip and the downtown core around it, and the job was to have those blocks papered by Wednesday morning.
The product behind the run was Curate, which Avvoka released as a standalone tool in August 2026. Curate reads a firm's prior deal documents and surfaces the strongest version of each clause, so a lawyer can build a template out of work the firm has already done. Avvoka opened the wider Curate waitlist the month after this install. Every sheet carried a QR code, and the launch line ran across the set.
The ground formats
Floor graphics on the Broadway strip and sidewalk stencils on the side streets off it, including the pavement outside the National Museum of African American Music.
The corridor.
The corridors came off the client's own placement map: Fourth Avenue South, Broadway, Church Street, Peabody Street and Demonbreun Street, with Fourth Avenue South carrying the heaviest concentration on that map. Street blades in the frames add First Avenue, Sixth Avenue South and Anne Dallas Dudley Boulevard.
Some poles stand in front of the Music City Center glass facade under its warm-lit curved canopy, with docked bikeshare bicycles and scooters along the curb. Others face Bridgestone Arena, under the Jack Daniel's No 7 sign and a row of Predators banners on the arena wall. A stacked pair went up on one pole inside the Printers Alley archway, the lit PRINTERS and ALLEY halves of the sign standing on either side of it. Another looks across a wide crosswalk at the carved lettering of the Estes Kefauver Federal Building and Courthouse. On the strip the poles sit down in the neon, with the Luke's 32 and Ole Red signs on opposite sides of one frame and the Hard Rock Cafe blade a block on. Further out, a sheet stands opposite the lit turrets of Union Station, one under the concrete deck of an elevated viaduct, and one across from the Frist Art Museum.
What we ran.
The sheet wraps the pole, on black banded light poles, bronze poles, a dark green fluted lamp post, a galvanized round. On a weathered wood utility pole the crew stapled the sheet flat to the timber instead.
The sheets do not all sit at eye level. They band the pole wherever it is clear, head height on one and down at the base of the next, and where a pole had the height for it two sheets stack, one line above the other.
Floor graphics at 24 by 24 went down on the Broadway strip itself, and sidewalk stencils at the same size went on the side streets just off Broadway. One of those stencils sits outside the National Museum of African American Music at 510 Broadway, the museum's signage in the same frame. We printed and installed all three formats in house, documenting every placement on the spot.
Two lines ran through the snipe set.
One reads "Meet Curate. New from Avvoka" and the other reads "Put your best work to work," and both carry a QR code. On the stacked pairs the order alternates from pole to pole, and a white sheet and a dark navy sheet share one galvanized pole in a single frame. The ground copy talks to where the reader is standing. One floor graphic, shot in daylight, is a square navy decal reading "You're standing on your best clause," with a QR code and a line about putting it to work with Curate, set into a brick sidewalk inlay in front of an ornate cast-iron storefront with a vertical FRIENDS sign above it.
Overnight.
A full moon sits above the rooflines in more than one frame, including one between two stone government buildings where a second sheet is already up on a pole further down the sidewalk. Noelle's neon blade sign turns up in a different frame, where a pre-existing Notice to Workers flyer shares the pole below our sheet.
The record.
This set came back at 211 frames, split 190 pole snipes, 10 floor graphics, 9 sidewalk stencils, and 2 frames carrying no placement at all, night streetscapes shot along the install route. The photo record and the location log go back as a wrap deck inside five business days, and the audit schedule puts eyes back on the placements at day 14, day 21 and day 30. This install joins the 500-plus we have documented, with no municipal removals on record.
One design repeated down a corridor turns into wallpaper.
Across five streets that is a real risk, so the run carried up to four snipe designs and up to two stencil designs rather than one repeated sheet, at no added cost to the client.
A run locked to a date gets scheduled backward from the morning it has to be readable. Standard lead time is 5 to 7 days from approved creative in a tier-1 market, and an expedited build runs 24 to 72 hours at 80 to 150 percent above standard, which is the clock a fixed conference date runs against.
Common questions.
Yes. A dated run gets scheduled backward from the morning it has to be readable. This one opened a little before ten on Tuesday night and closed at 11:43 Wednesday morning, so the corridor was papered before delegates were out on it. Standard lead time is 5 to 7 days from approved creative in a tier-1 market, and an expedited build runs 24 to 72 hours at 80 to 150 percent above standard.
Why put three formats into one corridor?
They read at different heights. The 8.5 by 11 snipes band the poles, head height on one and down at the base of the next, so they catch a walker looking up or straight ahead. The 24 by 24 floor graphics sit underfoot on the strip itself, and the stencils at the same size carry the run onto the side streets off it. Same corridor, three chances to land.
How many designs go into a run spread across five streets?
One design repeated down a corridor turns into wallpaper. This run carried up to four snipe designs and up to two stencil designs rather than a single repeated sheet, at no added cost to the client. Copy was written to its position too. The pole sheets ran the launch line with a QR code, and the ground pieces talked to where the reader was standing.
What does a multi-format run like this start at?
Published floors are $3,000 for snipes and stickers, $4,000 for floor graphics and $2,500 for sidewalk stencils. Printing and installation are in house and included in those numbers. A run like this one draws on all three floors at once, so format mix, corridor length and sheet count set the real figure, and a scoped quote comes back in 24 to 48 hours.
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Campaign documented by Beyond Street Media's Nashville crew, August 2026.
33 additional installs.
Where the snipes landed.
Corridor-level view of the Nashville run, built from the campaign's own geotagged photo log. Each point is the centre of a street the crew worked and the number of frames documented there, not a wall-by-wall address list.
- 01Broadway · 22 frames documented36.1608°N · 86.7776°W
- 02Church St · 12 frames documented36.1638°N · 86.7788°W
- 03Peabody St · 8 frames documented36.1549°N · 86.7765°W
- 046th Ave S · 7 frames documented36.1576°N · 86.7784°W
- 053rd Ave N · 6 frames documented36.1643°N · 86.7777°W
- 064th Ave S · 6 frames documented36.1584°N · 86.7756°W
- 077th Ave S · 2 frames documented36.1581°N · 86.7802°W
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