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Henry Stephens | Undergraduate Architecture Portfolio
Undergraduate architecture portfolio. Work towards a BAS degree at Victoria University of Wellington, and an exchange at UC Berkeley. All credit to my teachers and peers.
Henry Stephens, [B.AS, BA] School of Architecture: VUW CED: UC Berkeley PORTFOLIO special thanks to: Jansen Aui Evan Brenton-Rule Moni Eckey John Faichney Hannes Frykholm M. Paz Gutierrez Holly Keane Chris Lloyd Rikke Mathorne Rasmussen Nick Roberts Kyle Steinfeld Paul Stephens Liz Sullivan Simon Twose Rhys Williams "Is this what I used to dread?" - Seneca PROJECTS year 04 - 2012 Woolopolis year 03 - 2011 Earthquake Museum [construction] A Visual Abduction* PFA* Elastometric Module* Elastomer Wall* Cinemetrics* Sub-Terrarium City Pillows of Justice [construction] A Seasonal House year 02 - 2010 Changing Room Superlink Love Hotel Room of Sand Solar Decathlon House [construction] Junction year 01 - 2009 A Shelter from Safety Of Earth And Water A+D TRACE Sketchbook Photography * projects completed on exchange at University of California, Berkeley Exterior perspective WOOLOPOLIS FIRST PLACE D3 HOUSING TOMORROW 2012 this project completed with: Hannes Frykholm Modern rural environments represent a totally undescribed and highly volatile condition in which new, unique architectures and communities are only just beginning to develop. No longer a site marked by nostalgia and tradition, the unrelenting speed of global processes have left behind a weird territory of genetic experimentation, international migration and agricultural mechanisation in the global countryside - a halfway house between the old and the new. Our project, Woolopolis, aims to consolidate the various functions and programs of New Zealand's wool production into one dynamic community. Traditionally the programs associated with New Zealand's wool economy - pasture, housing, shearing, production facilities and markets have been separated by both geography and context. This separation is no longer effective in a globalised world, so we turn to cohesion as a means of improving performance. Thus, Woolopolis takes the form of a complex network of programs - processing facilties at ground level, housing units lofted above, with the market functioning as the communal centre of the complex and mediating between the two. The architecture functions as a machine in which sheep can be fed, shorn, the wool processed and sold, all the while housing a diverse community of farm and factory workers, shearing hands, agricultural scientists, designers and investors integral to the wool economy. Housing units Production facilities Marketplace NEW ZEALAND WANGANUI-MANAWATU REGION TE APITI WINDFARM ONLINE ORDERS 0h PRODUCTION STARTS 12h 24h 72h 96h FINISHED WOOL PRODUCTS MERINO KNITTING WOOL FASHION DESIGN FASHION GARMENT PERENDALE SHEEP FARMING SHEARING DRYING SCOURING TOPMAKING SPINNING DYEING WEAVING CARPETS ROMNEY DRYSDALE CARDING INSULATION 7. CATWALK + MARKET 6. FINAL PROCESSING 2. TRANSITION TO SHEARING SHED 3. SHEARING SHED 1. ENTRANCE/SHEEP RUN 5. SECONDARY PROCESSING 4. PRIMARY PROCESSING 7. CATWALK + MARKET 3. SHEARING SHED 1. ENTRANCE/SHEEP RUN 4. PRIMARY PROCESSING 5. SECONDARY PROCESSING 6. FINAL PROCESSING 2. TRANSITION TO SHEARING SHED Wool production + unrolled section drawing. Exterior perspective. EARTHQUAKE MUSEUM SARC 321: CONSTRUCTION TUTOR: PHIL MARSH construction details shown are to scale at A2 size Earthquakes exist at two completely different scales. The immense scale of geological time, and the immediacy of human experience. The Wellington Earthquake Museum acts as an attempt to reconcile these differences in scale within the context of a modern exhibition space. From its position on the waterfront, the Earthquake Museum appears completely out of scale with its surroundings - characterised primarily by its huge, blank, sloping facades, strong material quality, and sheer physical mass. This overwhelm- Aerial perspective. ing absence of any human scale in such a prominent position serves as a potent reminder of the latent potential for an earthquake to completely destroy Wellington city. As visitors move underneath the colossal mass of the museum and through to its interior, elements of human scale are gradually re-introduced through material quality, lines of sight, and constructional elements - visible indicators of human scale. The museum houses a variety of exhibition spaces, and education facilities, aiming to create a complex array of spatial conditions through a restrained material palette and programatic specificity. Though this project begain in a design studio, it was used in a construction course to explore ideas of scale and how these might be reflected within construction details. I chose to detail the building's skin, given that it offered the most potential to explore design ideas while still dealing with a host of practical issues. Entrance to the museum. SECONDARY VERTICAL SOLDIERS, STEEL U COLUMN DIAGONAL BRACING STEEL TUBE STEEL KNEE BRACING FOR LATERAL SUPPORT ROUGH-SAWN 90X45X2500 TIMBER SHUTTERING, TONGUE AND GROOVE VERTICAL TIMBER SUPPORT STUDS NAILED TO SHUDDERING, MINIMUM 50MM DEEP ADJUSTABLE STEEL SCREWS DOUBLE C-FLANGE STEEL HORIZONTAL BRACE BASE STEEL FEET FOR FORMWORK UNIT D18: EXPLODED ISOMETRIC - CONCRETE FORMWORK FOR MEMORIAL SPACES DIAGRAM SARC 321 CONSTRUCTION HENRY STEPHENS 301020623 TUTOR: PHIL MARSH WELLINGTON EARTHQUAKE MUSUEUM A12 ALUMINIUM PARAPET FLASHING TORCH-ON NURAPLY GREENROOF MEMBRANE 12MM PLYWOOD ASTM C-578 TYPE IV EXTRUDED POLYSTYRENE INSULATION IN ROOF CAVITY BITUMINOUS TREATMENT VAPOUR BARRIER POURED CONCRETE ROOF DIAPHRAGM 5MM STEEL TRAY DECKING 5MM PAINTED GIB PROTECTING METAL TRACK DECKING TIMBER BLOCKING FOR ALUMINIUM FLASHING ALUMINIUM FLASHING FIXED TENSION UNIT AT TOP. ADJUST AT BOTTOM. 200X200 SHS BEAM WELDED-ON WEB STIFFENERS RIGIDLY FIXING CURVED STEEL U-COLUMNS TO SHS BEAMS D05: MEMBRANE WELL/ROOF DETAIL 1:10 PTFE TEFLON COATED GLASSFIBRE MESH MEMBRANE 70MM POURED CONCRETE TOPPING CURVED UNIVERSAL COLUMN, 300PLUS BLUESCOPE STEEL STEEL GRATE FIXED TO CONCRETE SLAB FOR CLEANING ACCESS METAL GRATE FIXED TO CONCRETE SLAB FOR CLEANING ACCESS PTFE TEFLON COATED GLASSFIBRE MESH MEMBRANE 12MM REINFORCING WELDED TO STEEL PLATE TYING CONCRETE TOPPING TO STEEL STRUCTURE 12MM REINFORCING IN TOPPING TCREATING DIAPHRAGM DICORE 250 9-STRAND PRECAST CONCRETE FLOOR PANEL PLASTIC BEARING STRIP 200X200 SHS BEAM D06: MEMBRANE WELL/MIDFLOOR DETAIL 1:10 12MM REINFORCING IN TOPPING TCREATING DIAPHRAGM 70MM POURED CONCRETE TOPPING PTFE TEFLON COATED GLASSFIBRE MESH MEMBRANE STEEL GRATE FIXED TO CONCRETE SLAB FOR CLEANING ACCESS GREENLINE SHADE NZ 5MM FOLDED STEEL MEMBRANE FIXING DICORE 250 9-STRAND PRECAST CONCRETE FLOOR PANEL 5-10MM COMPRESSIBLE SHEET PLASTIC BEARING STRIP TRANSVERSE BEAM, 300PLUS BLUESCOPE STEEL 410UB53.7 SECTION, RIGIDLY CONNECTED TO STEEL HYBRID TRUSS SYSTEM STEEL ROLLER FOLDED GREENSTUF 20MM BLANKET INSULATION FIXED INSIDE TRANSVERSE BEAM OR RESTING ON HUNG CEILING 300MM DIAM PVC VENTILATION DUCT NZGRC 15MM DECORATIVE GRC PANELS FORMING HUNG CEILING FOR OUTDOOR/ATRIUM SPACE SERVICES TRAY TENSION FIXING FOR MEMBRANE ADJUSTABLE CONCEALED TENSION UNIT FOR MEMBRANE. NEAREST CEILING PANEL MUST BE REMOVED FOR ADJUSTMENT. RECESSED STEEL TENSION TIES HANGING CEILING, ATTACHED TO DICORE SLAB D07: MEMBRANE WELL/UNDERFLOOR DETAIL 1:10 SARC 321 CONSTRUCTION HENRY STEPHENS 301020623 TUTOR: PHIL MARSH WELLINGTON EARTHQUAKE MUSUEUM A08 Permanent gallery space. Entering the body of the museum. ACODRAIN KLASSIKDRAIN K100 TORCH-ON NURAPLY GREENROOF MEMBRANE NURAPLY GREENROOF MEMBRANE EXTENDS FALL INTO DRAIN ROOF MEMBRANE CONTINUES UNDER FLASHING TIMBER BLOCKING AT PARAPET TO FIX ALUMINIUM FLASHING TO CONCRETE ROOF STRUCTURE 12MM PLYWOOD BITUMINOUS TREATMENT VAPOUR BARRIER ASTM C-578 TYPE IV EXTRUDED POLYSTYRENE INSULATION IN ROOF CAVITY STIFF CONCRETE MIX TO CREATE ROOF FALL TO DRAIN POURED CONCRETE ROOF DIAPHRAGM 5MM STEEL TRAY DECKING 5MM PAINTED GIB PROTECTING METAL TRACK DECKING 200X200 SHS BEAM CONCEALED ALUMINIUM FLASHING DIRECTING WATER DOWN RAINSCREEN CHANNEL FIBRE C GRC RAINSCREEN PANEL W/ ROUGHENED SURFACE TEXTURE TO CONCEAL RAINSCREEN JOINTS VERTICAL ALUMINIUM RUNNERS FIXED TO STEEL FRAME AND EUROFOX CLIP-ON ALUMINIUM FITTINGS FOR GRC RAINCREENRAINSCREEN TEKTON BUILDING WRAP RUN 100MM UNDER FLASHING AT BOTTOM OF PANEL 300X300 SHS OF HYBRID TRUSS SYSTEM RESENE WHITE INCUMENSCENT PAIINT EUROFOX CLIP-ON ALUMINIUM FITTINGS FOR GRC RAINCREENRAINSCREEN D08: TRANSVERSE WALL/ROOF DETAIL 1:10 ASTM C-578 TYPE IV EXTRUDED POLYSTYRENE INSULATION IN WALL CAVITY GRCNZ 15MM INTERIOR DECORATIVE GRC PANEL W/ ROUGH AGGREGATE FINISH TIMBER BLOCKING TO FIX FLASHING PE RAINSCREEN FLASHING CONCEALED BEHIND CAVITY DETAILIN FIBRE C GRC RAINSCREEN PANEL 25MM DIAM STEEL NELSON BOLT WELDED TO PLATE TYING SLAB TO PERIMITER OF STRUCTURE DICORE 250 9-STRAND PRECAST CONCRETE FLOOR PANEL TEKTON BUILDING WRAP RUN 100MM UNDER FLASHING AT BOTTOM OF PANEL 70MM POURED REINFORCED CONCRETE TOPPING 200X200 SHS BEAM EUROFOX CLIP-ON ALUMINIUM FITTINGS FOR GRC RAINCREENRAINSCREEN D09: TRANSVERSE WALL/MIDFLOOR DETAIL 1:10 VERTICAL ALUMINIUM RUNNERS FOR INTERIOR PANEL FIXINGS ASTM C-578 TYPE IV EXTRUDED POLYSTYRENE INSULATION IN WALL CAVITY EUROFOX CLIP-ON ALUMINIUM FITTINGS FOR INTERIOR PANELS 70MM POURED REINFORCED CONCRETE TOPPING PE RAINSCREEN FLASHING CONCEALED BEHIND CAVITY DETAILIN FIBRE C GRC RAINSCREEN PANEL CONCRETE COURED INTO CUT ICORE SLAB TO FIX CEILING TIES STEEL TENSION TIES FIXED TO DICORE SLAB HANGING CEILING PANELS DICORE 250 9-STRAND PRECAST CONCRETE FLOOR PANEL 300MM DIAM PVC VENTILATION DUCT FOLDED GREENSTUF 20MM BLANKET INSULATION FIXED INSIDE TRANSVERSE BEAM OR RESTING ON HUNG CEILING 25MM DIAM STEEL NELSON BOLT WELDED TO PLATE TYING SLAB TO PERIMITER OF STRUCTURE 10MM STEEL PLATE WELDED TO SHS AND NELSON BOLT VERTICAL ALUMINIUM RUNNERS FIXED TO STEEL FRAME AND EUROFOX CLIP-ON ALUMINIUM FITTINGS FOR GRC RAINCREENRAINSCREEN 300X300 SHS OF HYBRID TRUSS SYSTEM NZGRC 15MM DECORATIVE GRC PANELS FORMING HUNG CEILING FOR OUTDOOR/ATRIUM SPACE EUROFOX CLIP-ON ALUMINIUM FITTINGS FOR GRC RAINCREENRAINSCREEN D10: TRANSVERSE WALL/UNDERFLOOR DETAIL 1:10 SARC 321 CONSTRUCTION HENRY STEPHENS 301020623 TUTOR: PHIL MARSH WELLINGTON EARTHQUAKE MUSUEUM A09 Lecture Theatre Thinking Room Atrium Public Space/ Disaster Assembly Site +16m +12m +8m +4m +2m 0 -4m Longditudinal section. ALUMINIUM DRIP FLASHING 200X200 SHS SKYLIGHT FRAME STEEL GRATING FOR LIGHT DIFFUSION, GALVANISED, LAQUERED. AUTOMATED WINDOW CLEANING SYSTEM TORCH-ON NURAPLY GREENROOF MEMBRANE CONTINUES UNDER FLASHING 12MM PLYWOOD ASTM C-578 TYPE IV EXTRUDED POLYSTYRENE INSULATION CAVITY CREATED BY SKYLIGHT STEEL FRAMING 8MM TOUGHENED GLASS 11MM LAMINATED SAFETY GLASS FLOURESCENT TUBE TORCH-ON NURAPLY GREENROOF MEMBRANE 12MM PLYWOOD BITUMINOUS TREATMENT VAPOUR BARRIER LIGHT FITTINGS. 6MM ACRYLIC GLASS PANE, TRANSLUSCENT, LIGHT DIFFUSING. D11: LONGDITUDINAL SKYLIGHT/FRAME DETAIL 1:10 ASTM C-578 TYPE IV EXTRUDED POLYSTYRENE INSULATION IN CAVITY CREATED BY SKYLIGHT STEEL FRAMING TIMBER BLOCKING 200X200 SHS OF SKYLIGHT FRAME SYSTEM 5MM PAINTED GIB COVERING METAL TRAY DECKING D12: LONGDITUDINAL SKYLIGHT/ROOF DETAIL 1:10 GRCNZ 15MM INTERIOR DECORATIVE GRC PANEL W/ ROUGH AGGREGATE FINISH Temporary Exhibition Permanent Exhibition D15: RETAINING WALL - GROUNDPLANE DETAIL 1:10 TEKTON BUILDING WRAP RUN 100MM OVER FLASHINGG AT BOTTOM OF SCREEN FIBRE C GRC RAINSCREEN PANEL W/ ROUGHENED SURFACE TEXTURE TO CONCEAL RAINSCREEN JOINTS EUROFOX CLIP-ON ALUMINIUM FITTINGS FOR GRC RAINCREENRAINSCREEN 20MM STEEL PLATE BOLTED TO COLUMN AND TOP OF RETAINING WALL 25MM DIAM BOLTS FIXING COLUMN TO RETAINING WALL ALUMINIUM FLASHING 12MM DIAM REINFORCING THROUGH WALL AS REQUIRED BY ENGINEER ACODRAIN KLASSIKDRAIN K100 WITH BRICKSLOT OPENING. MINIMUM 12MM CLEARANCE TO AVOID BLOCKAGE. REINFORCING THROUGH SURFACE SLAB AS REQUIRED BY ENGINEER CAST IN-SITU RETAINING WALL, SEE A12-13 FOR FORMWORK SIKAPROOF SB DPM DAMP PROOF MEMBRANE TANKING UNDERSIDE OF SURFACE SLAB 50MM SAND BLINDING 150MM COMPACTED HARDFILL BAG BOYS GREYWACKE GRANULAR FREEDRAINING DRAINAGE METAL SIKAPROOF SB DPM DAMP PROOF MEMBRANE TANKING RETAINING WALL 12MM DIAM REINFORCING TYING SLAB TO WALL AS REQUIRED BY ENGINEER BAG BOYS GREYWACKE GRANULAR FREEDRAINING DRAINAGE METAL COMPACTED BACKFILL MINIMUM BOUNDARY 1:30 SLOPE TO SURFACE. GEOTEXTILE FILTER FABRIC GEOTEXTILE FILTER FABRIC BOUNDING DRAINPIPE 100MM DIAM PERFORATED PIPE WITH FALL TO STORMWATER OUTLET. BASE OF PIPE AT MAX 200MM DEPTH FROM INTERIOR FFL. EARTH 50MM SAND BLINDING 150MM COMPACTED HARDFILL OOTING DETAIL 1:10 D16: RETAINING WALL - FLOORSLAB DETAIL 1:10 QUAKE MUSUEUM A11 JJZ109 JJZ109 JJZ109 JJZ109 JJZ109 JJZ109 Diagram analysis of a clip from the film `Bullit'. A VISUAL ABDUCTION SPRING 2011, CED: UC BERKELEY TUTOR: KYLE STEINFELD This project completed with: Hannes Frykholm Amy Tong ARCH 101: ADVANCED DESIGN STUDIO The first part of this studio examined inductive, abductive, and deductive methods of design through the creation of various analyical constructs. Beginning with an analysis of the relationship between architecture and cinema, the stuio then developed into three interlinked modules, each with a specfic purpose. Module A/Abductive: A film and film set, exploring a series of spatial constructs through the disembodied eye of the camera. Module I/Inductive: A set of analytical drawing constructs that could be applied to different contexts as a projective design tool. Module D/Deductive: A device to record site information. Broadly, this project examined the relationship between continuity and discontinuity in cinema and architecture. Featured on www.socksstudio.com. 0.00.44 0.01 180� 142� 74� Cinemetric analysis of a clip from the film `Bullit'. Intial dis 3� tance 10s= 240� 155 � .20 0.00 .32 90� 329� 0� 0.00.00 0.01.48 BATTERY GUTHRIE BATTERY RATHBONE Analytical drawing construct applied to battery stations in the Marin Headlands Drawing analysis of movement around Battery Spencer. Film analysis describing continuity and discontinuity through movement of objects in space Skalman: Drawing machine describing relationship in continuous environmental conditions (sun/wind) across discontinuous sites. DIRECTION OF MACHINE 165 SEC: WALKING OFF PAPER 9 SEC: SPEEDING UP START START 25S 60S 10S 170S 125S 150S Date ddmmyy 270211 Position Latitude/Longitude Time hh:mm 12:54p Intensity Conclusions BAT. MILLER 37�48'20.63"N/122�28'36.67"W Slope � Wind m/s Sun Direction/North Weather conditions approx. N CLEAR SKY, SUN Length of reading ss 165 Change of weather SUN none +clouds +sun DIRECTION OF MACHINE 85 SEC: SPEEDING UP START 220 SEC: STOP STOP START Date ddmmyy 270211 Position Latitude/Longitude Time hh:mm 12:45p Intensity Conclusions BAT. MILLER 37�48'20.63"N/122�28'36.67"W Slope � Wind m/s Sun Direction/North Weather conditions approx. N CLEAR SKY, SUN Length of reading ss 220 Change of weather SUN INTENSITY HAVE IMPACT ON ROTATION CF. MILLER 12:54p CF. RATHBONE 3:52p SUN none +clouds +sun PFA SPRING 2011, CED: UC BERKELEY TUTOR: KYLE STEINFELD ARCH 101: ADVANCED DESIGN STUDIO The project takes the form of a film archive set across the entire Marin headlands. The archive is a buried retaining wall made up of hermetically sealed capsules, accessible at certain points within the landscape by large stone towers. These buried walls form a network of paths across the Marin headlands, linking in with existing hiking trails and accessway. The buried wall is created by a series of earth removal and burial machines, archival printers which organise the multiple wall systems based on the archival content. As the walls grow, access and projection towers are constructed along its length, acting as markers at the scale of the landscape, and as points of access to the archived content. As the walls form paths and then networks over time, the towers allow both walkers and technicians means of accessing the archival content. Each tower is outfitted with an interface that allows walkers to access content at a personal level, but the towers are also geared to providing for mass consumption. As the patterns of pilgrimage and event emerge over time, the towers become sites of ritual in the consumption buried films. The architecture becomes an event - a mediation between the direct, phenomenal experience of something, and the the replayable, rewatchable, anywhere, on-demand nature of watching film in the 21st century. This project was also part of a studio focused on the act of drawing as a means of guiding the process of architectural design. Instead of typical plans, sections and elevations, we were asked to construct dense, atmospheric, perspectival `money shots' to convey our ideas. The project mediates between architecture's relationship with vastly different timescales and forms of occupation, specifically in the overlap between extreme permanence, and extreme temporariness. This buried film-wall shows that a tension between the permanent and the ephemeral can play a role in understanding architecture's relationship with extreme, geological timescales, and architecture's relationship with the immediacy of the event. Section through buried film wall. A AA Archival Printer: Plan, 1:20 B Archival Printer: Section A - AA, 1:20 BB A Archival printer and film burial ceremony. Archival Printer: Section B - BB, 1:20 AA 15000 Section rough Tower, 1:50 Section through film tower. 1. 2. 3. 4. 6. 5. 7. 8. 9. 1. walking surface 2. doublle braced spring protection unit 3. interior climate control/air ow device 4. environmental stability module 5. fallout-proof outer shell 6. connective bracing unit 7. hermetically sealed storage unit 8. sealing door 9. nameplate Film screening at a camp along the PFA trail. 6. 5. 4. 3. 2. 1. rst placement 2. aggregation 3. bracing & structural support 4. hermetic control integration 5. burial 6. placement of walkable surface 1. Isometric: film container | Isometric: film wall. Ruined film tower in the landscape. MATERIAL STUDIES: horizontal stretch 0mm +20mm horizontal +40mm horizontal +60mm horizontal +80mm horizontal +100mm horizontal +120mm horizontal +140mm horiztontal 0mm +20mm +40mm +60mm +80mm +100mm +120mm +140mm 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 PHOTOGRAPHS: horizontal stretch 0mm +20mm +40mm +60mm +80mm +100mm +120mm +140mm MATERIAL STUDIES: horizontal stretch w/ multiple aggregation 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 4 1 2 3 4 1 2 3 4 0mm +10mm vertical +20mm vertical +30mm vertical +40mm vertical +50mm vertical +60mm vertical PHOTOGRAPHS: horizontal stretch w/ double aggregation 1 2 3 4 1 2 3 4 1 2 3 4 MATERIAL STUDIES: vertical stretch 0mm maxiumum tension deformation: vertical stretch +10mm vertical +20mm vertical +30mm vertical +40mm vertical +50mm vertical +60mm vertical 0mm +10mm vertical +20mm vertical +30mm vertical +40mm vertical +50mm vertical +60mm vertical maxiumum tension deformation: vertical stretch 0mm +10mm vertical +20mm vertical +30mm vertical +40mm vertical +50mm vertical +60mm vertical PHOTOGRAPHS: vertical stretch w/ double aggregation ARCH 129: THE NATURE OF ELASTOMERS TUTOR: M. PAZ GUITERREZ HENRY STEPHENS #22569936 MODEL STUDIES maxiumum tension deformation: vertical stretch Analysis drawings of material behaviour. ARCH 129: THE NATURENATURE OF ELASTOMERS ARCH ARCH 129: THE NATURE OF ELASTOMERS 129: THE OF ELASTOMERS TUTOR: TUTOR:GUITERREZ GUITERREZ M. PAZ M. PAZM. PAZ TUTOR: GUITERREZ HENRY STEPHENS #22569936 HENRY STEPHENS #22569936 HENRY STEPHENS #22569936 DIAGRAM: FIBROBLASTS FIBROBLASTS AND THE WOUND HEALING PROCESS DIAGRAM: FIBROBLASTS AND THE WOUND HEALING PROCESS DIAGRAM: AND THE WOUND HEALING PROCESS nsion deformation: vertical stretch [fig 6] - Human fibroblast-cells maintain the structural integrity ofintegrity integrity of connectivehumanthe human body, bybody, by synthe- [fig 7] - More critically, 7]critically,critically, fibroblast rolecriticala critical role When the healing. When thebreached and is breached and [fig 6] - Human fibroblast cells maintainmaintain the structural of connective tissues within body, by synthe- synthe[fig 6] Human fibroblast cells the structural connective tissues within the tissues within the human [fig 7] - More - More cells play a critical cellsin wound healing. inhealing. epidermal epidermal layer is breached and [fig fibroblast fibroblast cells play a play role in wound wound When the layer is epidermal layer sising the extracellular matrix. That is to say, theyThat is to say,of thecreate much of the structural framework thattissue. up animal tissue. tissue is removed or dies,is removedcells flock cells flock to the wound site to form a new, provisionalprovisional extracellular sising the extracellular matrix. That is tocreate much they structural frameworkframework that makes up animal tissue. sising the extracellular matrix. say, they create much of the structural that makes up animal makes tissue is tissue fibroblast fibroblast to the woundflockand grow and site and grow a new, extracellular removed or dies, or dies, fibroblast cells site to the wound grow to form to form a new, provisional extracellular Fibroblasts are found beneath are found beneath the humans, functioning as a grid beneath the a grid beneath the skin that holds extracel-matrix (ECM) by excreting(ECM) by excreting collagen this process, fibroblasts fibroblasts deform wound [site] condiFibroblasts are found beneath the epidermal layer in humans,humans, functioning as skin that holds that holds extracelFibroblasts the epidermal layer in epidermal layer in functioning as a grid beneath the skin extracelmatrix (ECM) bycollagen and fibronectin. In and fibronectin. In this process, fibroblasts relative to wound [site] condi- condimatrix excreting collagen and fibronectin. In this process, deform relative to deform relative to wound [site] lular tissuelular tissue together. together. tissue together. lular tions to create new tissue. create new tissue. tions to create new tissue. tions to [fig 8] - As [fig 8] - As the - Asittheheals, smaller through the action through the action which establish aestablishthegrip on the on the the wound heals, is made it heals, it is made through themyofibroblasts, of myofibroblasts,grip on establish a grip [fig 8] wound wound is made smaller smaller of action of myofibroblasts, which which a wound edges andedges and contractcontracta mechanism similar mechanism similarmuscle cells. In themuscle the maturation wound wound edges and themselves using a mechanismthat in smooth in smooth muscle cells. In cells. In the maturation contract themselves using themselves using a to similar to that to that in smooth maturation and remodeling phase, remodelingcollagencollagenrealigned along tension lines along linesthat linesnothat are needed no longer needed and remodeling phase, remodeledremodeled and realigned along tensioncells andare and cells no longer needed and collagen is phase, is and is remodeled and realigned and tension cells longer that are are removed by apoptosis.apoptosis. are removed by are removed by apoptosis. This project looks to examine the way in the way the way in which a dynamic structure composed of deformable modulesmodules might: This project looks to looks to examine in which a dynamic tensioncomposed of deformable modules might: This project examine which a dynamic tension structure tension structure composed of deformable might: a) Function as a response to externalto external external conditions, a) FunctionFunction as a response to conditions, a) as a response conditions, b) Generate structural complexitycomplexity through through forms offorms of aggregation, b) Generate structural through varying forms of module aggregation, b) Generate structural complexity varying varying module module aggregation, c) Generate form as a result as a result of result of the material of each module. module. module. c) Generate form of form as a the varying varying material condition of each c) Generate the varying material condition condition of each 1 2 1 2 3 Human fibroblast cells maintain the structural integrity of connective tissues within the human body, by synthesising GE: horizontal SPRING 2011, CED: UC BERKELEY n stretch w/ multiple aggregation COMPOSITE IMAGE: vertical stretch w/ multiple aggregation COMPOSITE IMAGE: vertical stretch the extracellular matrix. That isw/ multiple they create much of to say, aggregation ARCH 269: NATURE AND ELASTOMERS the structural framework that makes up animal tissue. Fibroblasts are found beneath the epidermal layer in humans, TUTOR: M. PAZ GUITERREZ functioning as a grid beneath the skin that holds extracellular tissue together. This was a graudate research seminar project. Exhibited at California Academy of Sciences, `Design by Nature', August - September 2011. Using fibroblast cells as a precedent, this project looks to examine the way in which a dynamic tension structure composed of deformable modules might: a) Function as a response to external conditions, b) Generate structural complexity through varying forms of module aggregation, c) Generate form as a result of the varying material condition of each module. ELASTOMETRIC MODULE ELASTOMER WALL SPRING 2011, CED: UC BERKELEY TUTOR: M. PAZ GUTIERREZ ARCH 269: NATURE AND ELASTOMERS Can acoustic spaces be reconfigured through material behaviour alone? Using modular elastomer components, this project proposes an acoustically responsive wall system with a dynamic membrane to modify acoustic environments. Though made up of individual modules, the wall system aims to modify acoustic spaces by functioning as a continuous whole. Fixed to a structure with a double-curvature for stability and controlled by servo motors connected to a microphone, the membrane deforms from input by a fast fourier transform to reflect the dominant frequency waveforms within a space. This is only gestural as a visualisation tool though - the wall could be programmed to behave in any number of ways. This was a graduate research seminar project, completed as a group of 10. Exhibited at California Academy of Sciences, `Design by Nature', August - September 2011. DIRTY HARRY [.2] [.7] [.5] [.1] [.3] [.2] [.5] [.6] [.4] [.8] [.3] [.6] [.6] [.4] CINEMETRICS SPRING 2011, CED: UC BERKELEY TUTOR: KYLE STEINFELD ARCH 101: ADVANCED DESIGN STUDIO Completed over a weekend, cinemetrics was the first assignment for an advanced design studio completed on exchange at UC Berkeley. Two exercises were completed in the process of analysis the opening scene of Dirty Harry. Firstly, a story board investigating the temporal narrative of the film clip, and secondly, a spatial map analysing the scenes and displaying the spaces within the clip at the scale of an aperture, rather than the scale of a person. MODULAR FARMING PLATFORM OPERATION SUNLIGHT REFLECTED SUNLIGHT NUTRIFIED WATER IN WASTE OUT SUB-TERRARIUM CITY JULY 2011 VUW SOAD 24HR DESIGN COMPETITION This project was completed with: Amanda Crosby Completed as part of a 24 hour competition, sub-terrarium city speculate how food distribution systems might function within Wellington in 500 years time. The proposal envisages a world where extreme climate change has forced humans underground, where colossal farm-pits with modular growing platforms provide the only means of sustenance, where farmer overlords rule with an iron fist, where light-fed vegertables are a delicacy and peasants can only afford to eat meat. [Layer 1] rain/sun screen [Layer 2] weatherproof [Layer 3] structure PATTERNED BRONZE SCREEN MODULE PIN JOINTFIXING SCREEN TO CONNECTION BOLT 20mm BOLT FIXING SCREEN TO CONCRETE MOMENT FRAME IN-SITU REINFORCED CONCRETE MOMENT FRAME STRUCTURE PRECAST CONCRETE BEAM WINDOW PRECAST CONCRETE COLUMN SECONDARY TIMBER STRUCTURE SUPPORTING FLOOR TO CEILING GLAZING FLOOR TO CEILING GLAZING FLOOR TO CEILING GLAZING 10mm SHS HOUSING VENTILATION CONCRETE GUTTER VENTILATION AND AIR SUPPLY FIXED UNDER WINDOW FRAMES Supreme Court of New Zealand: Existing skin, exploded section. PILLOWS OF JUSTICE TRIMESTER 2 2011 SARC 321: CONSTRUCTION Using the Supreme Court of New Zealand as a testbed, how can the performance of buildings be improved through the constructional elements of building screens? This project suggests that the implementation of a new screen for the court building offers the potential for greater performance. The current condition is a repeated detail around the perimeter of the court building, irrespective of any program or site orientation. Through an analysis of different building screens and skins, including the Sendai Mediatheque by Toyo Ito, and the Signal Box and Allianz Arena by Herzog and DeMeuron, the report suggests that the screen could be changed to become more effective performatively. A new screen detail comprising modular ETFE pillows fixed to a timber frame favours greater flexibility in terms of control of privacy, responsivness to program, light transmission and thermal comfort, and use of renewable materials. these `pillows of justice' surrounding the courtroom will only serve to strengthen the actual pillars happening inside. INSTRUCTOR: PHIL MARSH [Layer 1] rain/sun screen [Layer 2] air cavity/ ventilation/ thermal performance [Layer 3] glazing/weatherproof ALUMINIUM GLAZING FITTINGS FIXED TO STEEL SHEET ON FLOORPLATE OUTER GLAZING, TOUGHENED, HEAT-TREATED W/ PRECAST HOLES FOR FITTINGS STEEL SUPPORT BRACKET FIXING GLASS SUPPORT RIB TO STEEL FLOORPLATE JOINT FLASHED TO PREVENT WATER ENTRY INTO STEEL FITTINGS AT END OF FLOORPLATE STRUCTURAL GLASS SUPPORT RIB STEEL GLASS FITTINGS CONNECTED TO FLOORPLATES STEEL TENTION TIES FIXED TO GLASS FITTINGS SUSPENDED CEILING FIXED TO STEEL SHEET ON FLOORPLATE INTERNAL GLAZING RAISED FLOOR CONNECTED TO STEEL FLOORPLATE STEEL FLOORPLATES HONEYCOMB CONCRETE INSIDE STEEL FLOORPLATES CERAMIC FRITTING CONCEALS STEEL FLOORPLATES BEHIND OUTER GLAZING Sendai Mediatheque: Existing skin, exploded section. [Layer 1] weatherproofing/ visibility/ thermal performance [Layer 2] secondary structure [Layer 3] maintenance/ services LIGHTING UNIT SECONDARY STRUCTURE, 120/220MM SHS PRECAST SPUN CONCRETE COLUMN RETRACTABLE MAINTENANCE WALKWAY 50MM PDE TUBE SECONDARY STRUCTURE, 50MM SHS FLASHING AT JOINT ALUM WEATHERSTRIP SEALING ETFE PILLOWS 1250/900MM REINFORCED CONCRETE FLOOR BEAMS 300MM/200MM STEEL RHS WITH TRAVELER 100MM DIA. AIR DUCT TO FACADE CUSHION, 0.2MM ETFE SHEETING MAINTENANCE LADDER Allianz Arena: Existing skin, exploded section. 180X90X1600 TREATED GLULAM TIMBER FRAME POLYOLEFIN SEAL ON ALUMINIUM WEATHERSTRIP OPTIONAL ETFE PANEL INSERT [REFER TO SPECS] STEEL PIN JOINT FIXING TIMBER FRAME TO CONNETION BOLT 30MM DIA. STEEL BOLT FIXING SCREEN TO CONCRETE FLOOR CUSHION, 0.2MM ETFE SHEETING AIR SUPPLY 50MM DIA. PDE HOSE FIXED TO EXISTING COURT VENTILATION SUPPLY STEEL TENSION BRACING FIXING WELDED TO 10MM FOLDED STEEL BACKING PLATE 180X90X8000 TREATED GLULAM TIMBER FRAME 10MM DIA. STEEL BOLT FIXING TIMBER FRAME TO STEEL BACKING PLATE. 10MM FOLDED STEEL BACKING PLATE ETFE PILLOW FIXINGS WELDED TO 10MM FOLDED STEEL BACKING PLATE 180X90X1600 TREATED GLULAM TIMBER FRAME AIR SUPPLY TO PILLOWS STEEL PIN JOINT FIXING TIMBER FRAME TO CONNETION BOLT 30MM DIA. STEEL BOLT FIXING SCREEN TO CONCRETE FLOOR AIR SUPPLY 50MM DIA. PDE HOSE FIXED TO EXISTING COURT VENTILATION SUPPLY 5MM DRAINAGE GAP PLATE EXTENDS TO CONNECT New skin system: Proposed details. 5MM GAP BETWEEN MEMBERS FOR DRAINAGE 10MM STEEL BOLT FIXING GLULAM FRAME TO STEEL BACKING PLATE STEEL TENSION TIE BRACING ALUMINIUM WEATHERSTRIP AIR SUPPLY 50MM DIA. PDE HOSE FIXED TO EXISTING COURT VENTILATION SUPPLY STEEL TENSION FIXINGS WELDED TO STEEL BACKING PLATE 180X90 TREATED GLULAM SCREEN FRAME POLYOLEFIN SEAL ON ALUMINIUM WEATHERSTRIP 180X90X8000 TREATED GLULAM TIMBER FRAME OPTIONAL ETFE PANEL INSERT [REFER TO SPECS] CUSHION, 0.2MM ETFE SHEETING 10MM DIA. STEEL BOLT FIXING TIMBER FRAME TO STEEL BACKING PLATE. STEEL TENSION BRACING FIXING WELDED TO 10MM FOLDED STEEL BACKING PLATE ETFE PILLOW FIXINGS WELDED TO 10MM FOLDED STEEL BACKING PLATE Section: Summer 2231 d inside a ost houses lope from weden. Innt times of w dialogue STORE FIREPLACE READ WASH SUMMER WINTER SLEEP EAT WORK TRADITIONAL HOUSING BREAKING UP THE ENVELOPE HOUSING IN THE WILD Section: Winter Plan, with seasonal inhabitation cycles Perspective: Summer SUMMER WINTER Plan, with seasonal inhabitation cycles Perspective: Winter A SEASONAL HOUSE JULY 2011 SHELTER STUDENT ARCHITECTURAL DESIGN COMPETITION 2011 This project was completed with: Hannes Frykholm Houses today are defined by their separation from the wilderness. Tube-fed by an army of machines, most houses exist in complete separation from the environment that surrounds them. This proposal removes the envelope from the archetypal house, physically separates its functions, and spreads them around a forest in Hemavan, Sweden. Inhabitants of the house fall into seasonal rhythms by inhabiting different parts of the house during different times of the year, forcing them to engage and experience the wilderness as part of a daily routine. Summer and Winter. Facing: Concept diagram | plan | Sections, summer and winter. ? Changing area ? Toilets Showers Entry/Exit CHANGING ROOM TRIMESTER 2 2010 INTEGRATION ARCI 212: ARCHITECTURE DESIGN INSTRUCTOR: MATT FRASER A refit of the Freyberg Pool changing rooms provides an interesting opportunity to investigate how transitions in form and materiality can enhance the sensory qualities of architecture. Traditionally, a changing room provides a point of transformation for the user, whether it is a shift in clothing, mindset, or environment. As the current changing rooms at Freyberg do not reflect this, the refit has been designed with these degrees of transition in mind, in program, form, materiality, and experience. The main features of the room are gradually shifting axes of transition, in both form and materiality, which follow logical pathways between the different elements of the program. Responding to the waterfront site, the mass of the room is projected out of the pool volume, where a skylight roof gradually breaks down into a wall opening. This break in form is clad in copper, which increases in patina and perforation over the course of the axis, reflective of the changing degree of exposure one experiences traveling across the space. Materials have been chosen specifically to weather along these axes of transition. Timber, copper, and concrete all reflect varying degrees of exposure depending on their position in the space. 02 01 DN DN 03 DN plan with sections marked section 01 - poolside entry section 02 - axis section 03 - transition from reception entrance Ceiling Weathering screen Portal frame Cloudform lighting system Changing room axis from showers | axis from changing area facing | exploded isometric: atmospheric and structural features SUPERLINK TRIMESTER 2 2010 INTEGRATION Superlink is a light rail station, transport hub and flexible public space for a proposed light rail network running through Wellington city. Typically, subterranean buildings are defined by an abrupt transition from base to surface level. By creating a porous, flexible surface canopy, and by injecting a public space in between the platform and surface levels, the programmatic features and gradients of transition that define subterranean and uinfrastructural buildings are blurred and fragmented. Spaces within the station overlap and have been planned to provide a visual connection between the building's different functions. Circulation routes between programs also overlap at points to force interaction between different user groups. The result is a dynamic, human and continually fluctuating public space and infrastructural development. ARCI 212: ARCHITECTURE DESIGN INSTRUCTOR: MATT FRASER plan in context section 01 section 02 section 03 commuter circulation Commuter circulation public circulation Public circulation public transport Publictransport exploded isometric: function + circulation 02 - horizontal perforations allow for low-angle sun in the winter. 03 - placement of vertical perforations follow the sun's path and allow for daylighting during hours of peak occupancy. [27] interior perspective: public garden physical model: exploded levels showing arrangement and relationships between spaces. interior perspective: Hub overlap on-site study: building footprints and volumes mapped with ephemeral parameters LOVE HOTEL TRIMESTER 1 2010 ARCI 211: ARCHITECTURAL DESIGN INSTRUCTOR: SIMON TWOSE Drawings from this project published in issue #10 of Arkhitekton Magazine. The Love Hotel is an architecture realised through the very idiosyncratic process of drawing, in response to a very unique script of site phenomena that are experienced individually within Opera House Lane in Central Wellington. In terms of program, the Love Hotel is defined by a singular axis that follows the course of the site. As the user moves through the building, the site disappears from physical view, but is reintroduced through treatment of material, massing, surface and projection. The programmatic elements of the hotel, walkway, threshold, tower and dwelling, provide a figurative an d experiential gradient that marks removal from site. Treatment of surface and material reflects the drawn projection onto the site, while the machines physically project into the site. These machines record and compress the events happening within the building onto a single surface - a screen within the Opera House. Thus, the very act of inhabiting the building is transformed into a performance, a reflection of site qualities that transcend physical parameters. The Hotel takes place not as a cohesive whole, but as a series of projections, cast by intangible moments and events that are experienced within the site. The act of drawing is informed by these projections - projecting the building onto the site, through the site, and finally - deep into the site. In doing so, a position in favour of the discursive and subjective nature of symbolic architectural representation is established. section 01: walkway machine plan section 02: threshold machine section 05: journey section 03: tower machine section 04: dwelling machine [1] projection onto site: Alley overhead [2] [3] [4] projection into site: Opera House screen projection through site: megamachine SOLAR DECATHLON HOUSE TRIMESTER 1 2010 SARC 223: CONSTRUCTION The Solar Decathlon House is a synthesis of modular construction techniques and the kind of timber frame structure traditionally found within the residential architecture of New Zealand. As part of a group project, I was assigned to design, detail, and physically model a modular wall panel system that could be transported in a 20ft shipping container, assembled quickly and easily on site, all whilst acting in accordance with NZS3604 to ensure full weatherproofing and consistency with New Zealand building standards. The result is a compact, modular system that combines functionality with the bach typology outlined in the design intent. INSTRUCTOR: SUNIL BAKSHI project completed with: Bel Fraser, Ian Hopkins, Belinda Martin & Matt McFettridge. physical detail: roof system physical detail: wall module - floor module connection physical details: wall module to roof, canopy and floor module connections facing | modular component system: solar decathlon house model physical model: component wall unit assembly overlay study: urban mass to projection map ROOM OF SAND TRIMESTER 1 2010 ARCI 211: ARCHITECTURAL DESIGN INSTRUCTOR: SIMON TWOSE Room of Sand was an experimental studio where we were asked to create a room that was bigger on the inside, than on the outside. The conceptual foundation of this project revolves around two closely linked ideas: 1.) It is possible to project oneself outside the physical constraints of a space, through the consumption of information. 2.) The way we perceive physical constraints and boundaries is dictated by the information that one is able to consume within a given space. The studio explored projections, models, and illustrations, before culminating in a series of abstract spatial drawings, and the development of an architectural position. The program consists of two rooms. The inside room consists of the structure and massing at either end. The outside room consists of the fog of information within the building's centre. The transition between the spaces is gradual but the contrast is severe. Upon entering, the structure and concrete massing of the space gradually dissolves into an overwhelming blur. Through a series of membranes surrounding the outside room, layers of information are compressed and projected into the interior. As the building disintegrates, the viewer is left in an overwhelming sensory haze, and the physical constraints of the space disappear. This project featured in the VUW School of Architecture faculty publication for 2010. room of sand: projection membrane room of sand: interior perspective i: NYC ii: Los Angeles iii: London A: real information [raw data] C: structure: physical model [eventual dissipation] iv: flexible mould projection v: solid mould projection v: ephemeral data projection B: [physical model/data recordings] projected information D: structure: drawn process [speculative investigation] E: room of sand [cumulative architectural position] N 1. max. building volume PRIVATE CIRCULATION PUBLIC CIRCULATION BEDROOMS GARDEN SPACE 2. stagger for daylighting COMMUNAL AREA THIRD FLOOR STAFF/ADMIN VERTICAL CIRCULATION SERVICES/ACCESS PUBLIC SPACE SECOND FLOOR 3. green space FIRST FLOOR 4. extrusion for circulation exploded isometric: program Junction is an Elderly Care Centre and Art Gallery located within Oriental Bay, Wellington. The aim of the project was to normalise the process of ageing by allowing common, everyday practices to permeate the boundaries of what are usually hidden building typologies. This is achieved through a program that encourages shared use of space, and purposely overlaps public and private circulation routes. While regular interaction with others is proven to be beneficial for the elderly, the Centre provides privacy and comfort for its patients. The building is arranged around a series of courtyards and is angled to make use of all-day sun and spectacular views of Wellington Harbour. JUNCTION JULY 2010 ARCHITECTS FOR HEALTH: STUDENT DESIGN AWARD 2010 This project completed with: Nick Roberts [29] A SHELTER FROM SAFETY TRIMESTER 1 2009 ARCH 102: ARCHITECTURAL DESIGN INSTRUCTOR: HOLLY KEANE A Shelter from Safety is a temporary installation located on the Wellington waterfront. A response to climate change and envionmental damage, the shelter seeks to expose the false safety of the built environment, and reveal the violence and excess that comes with our everyday way of life. OF EARTH AND WATER TRIMESTER 2 2009 ARCH 112: ARCHITECTURAL DESIGN INSTRUCTOR: HANNA O'DONOGUE This proposal for a salt-water pool complex at Point Jerningham seeks to absorb and intensify existing site qualities rather than contain them. The complex consists of three separate pools for paddling, swimming and bathing, a caf�, changing room facilities, and a pool control area. The project began by investigating the spatial conditions that surround paddling, bathing and swimming at a series of different scales in the form of physical collages, before the development of an architectural position. Within the complex, the positions of the individual pools are informed by existing site conditions - weather, topography, and bathymetry. All three pools are linked by an axis that runs the length of the complex, acting as a means of circulation, and mapping transitions across the site. Across its length, the axis takes pool users from a very contained, hermetic paddling space to a swimming area that extends into open water, completely exposed to the elements. Paddling Pool [enclosure] Bathing Pool [transition] Section 01: Transition across axis Section 02: Site bathymetry Plan Swimming Pool [exposure] Moment 01: Canopy Moment 02: Pier 25 x Iterations of a cube [analogue] 25 x Iterations of a cube [digital] A+D TRIMESTER 2 2009 ARCH 102: COMMUNICATIONS INSTRUCTOR: MONI ECKEY A + D stands for Analogue + Digital. This studio investigated the design process itself, through an exploration of typified analogue and digital design methodologies, and their various potentials. By developing a cube over twenty five iterations, both digitally and by hand, the potentials and limitations of analogue and digital design processes are revealed. Wireframe Model: 8x Analogue Interventions Final Analogue Intervention Final Digital Intervention 8x Digital Interventions TRACE TRIMESTER 2 2009 ARCH 102: COMMUNICATIONS INSTRUCTOR: MONI ECKEY Trace investigated a site in context, through abstract pathways and journeys, then representing them through analogue and digital modeling and drawing techniques. The analogue series of models depicted here represent the journey across Evans Bay from Point Jerningham - depicting the changing coastal landscape. The digital models represent the journey from Point Jerningham through to the Wellington CBD - showing a changing urban environment and increasing urban density. Seated figure drawing. Petra, Jordan. Changing room: Experiential progression. SKETCHBOOK/DRAWINGS VARIOUS PROJECTS 2009/2010 Love Hotel: On-site analysis drawing. Room of Sand: Section through floating panopticon [perceived spatial mass]. Mammoth Mountain, Mammoth, California, USA, March 2008. Tiger Park, Harbin, China, December 2009. PHOTOGRAPHY TRAVELS 2007-2011 Sunrise, Borobodur, Java, Indonesia, November 2009. Catedral Metropolitana de la Asunci�n de Mar�a, Mexico City, Mexico, June 2011. skills: Hand drawing Painting [oil/acrylic/watercolour] Woodwork/woodshop use Metalwork [basic] Model making Laser cutter 3D printing CNC mill Casting, plastics, and elastics Digital Fabrication [basic] Photography Audio Production [basic] software: Photoshop Illustrator InDesign Adobe Flash SketchUp Revit Rhino 3D V-Ray for Rhino Grasshopper Revit CAD functions AutoCAD Maxwell 3D Studio Max Ecotect Logic Studio details email@example.com issuu.com/henrystephens thepapercity.tumblr.com


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YIELD: Serves 6
Place mussels in heavy large Dutch oven, cover and cook over high heat until mussels open, shaking pan occasionally, about 5 minutes. Drain mussels, reserving liquid. Transfer mussels to bowl; discard any that do not open. Tent bowl with foil.
Melt butter in same Dutch oven over medium-high heat. Add shallots and garlic and sauté until tender, about 3 minutes. Add 3 tablespoons parsley, lemon juice, lemon peel and reserved liquid from mussels and bring to boil. Season to taste with pepper. Drizzle garlic butter over mussels. Sprinkle with 1 tablespoon parsley.

subset: commoncrawl


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Suzuki Sedan Reviews
Autobytel has reviews that will walk you around a car, give you a peek under the hood and get you behind the wheel with an industry expert. Browse by category or get into a specific brand to see how well a car does when put to the test.
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2008 Suzuki SX4 Sport First DrivePsst: Fun doesn't have to be expensive
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2004 Suzuki ForenzaCost Conscious
With the introduction of the Forenza, Suzuki goes head to head with the big boys in the hotly contested compact class. Segment leaders Civic and Corolla have long had a comfortable chunk of...


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Average Customer Review
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8 of 8 people found the following review helpful
5.0 out of 5 stars Life Saving Stuff
Some bands legacy will always be greater after they break up, and BRMC, White Stripes et al are strong evidence of the fact that the Jesus and Mary Chain, like the VU before them, will be more revered after the fact than they were in their day.
In turn, they were also a band who wore there own influences happily on their sleeve, and here (from T-Rex and Dylan on...
Published on 10 Nov. 2003 by Indie Kid
2.0 out of 5 stars Won't play
This is a great remastering of a superb album. Unfortunately it seems to have some sort of anti piracy on it which means it jumps on my CD player and crackles on my PC. Fortunately I found another PC to import it to my iphone and my car CD player plays it OK.
Published on 28 April 2013 by S. Garforth
Most Helpful First | Newest First
8 of 8 people found the following review helpful
5.0 out of 5 stars Life Saving Stuff,
Some bands legacy will always be greater after they break up, and BRMC, White Stripes et al are strong evidence of the fact that the Jesus and Mary Chain, like the VU before them, will be more revered after the fact than they were in their day.
In turn, they were also a band who wore there own influences happily on their sleeve, and here (from T-Rex and Dylan on "Blues from a Gun" to VU on "Here comes Alice") again those influences were reconstructed as something completely new. How many other bands made so many great covers (check out Barbed Wire Kisses to see what I mean), and who else took a bass line or hook and made them so completely their own? At least with the Reids they took to make something greater again, unlike those who now ape them.
Rumoured to be after a mental breakdown, in Automatic it's clear that by '89 the tours of North America and their experiences were deeply shaping the brothers and their music, from the Americana of "Coast to Coast" to the skewed TV evangelism of "Take It". This is rage and fury being vomited out in the screams and feedback more of Psychocandy than Darklands, and even the acoustic moments are uttlery twisted. However, the noise is more controlled and directed, adding to the sonic rather than distracting from it, and giving a far greater intensity.
In 1989 only Doolittle by the Pixies and The Stone Roses, two more bands heavily influenced by the JAMC, could hold a light to it, and it was a top 3 album of the year in almost all of the polls that mattered. If you've just been dumped and need a rage inducement as a soundtrack - this is your baby - it was for me. If you haven't, you should buy it to remember "screaming automatic pain".
6 of 7 people found the following review helpful
5.0 out of 5 stars Rock Masterclass,
K. K. Jakubczyk "Sofa King" (Subversive Surrey) - See all my reviews
This album serves as a highly accurate blueprint for producing the near perfect rawk record. If the Marychain really did set the controls to automatic whilst producing this piece of work then their genius is truly confirmed. Vocals, lyrics, bass, drums, geetar and production are all tuned to perfection - it's a cliche but there really are no duff tracks here. It is that good. So good infact that Billy Idol was (at the time) rumoured to have approached the boys to produce his next album - shocking stuff.
I remember buying the original vinyl gatefold of this record and rushing home to listen to it. Suffice to say it's been blowing my mind ever since.
The first side is, quite frankly, unbelievable. The dirty vibe of "Here comes Alice" and "Blues from a gun" has never been bettered; William's guitar on "Blues" is simply awesome. Then there's "Between planets", which remains so completely valid over seventeen years later.
Side two is equally inspired. Whilst the single "Head on" is genuinely very good (so good that the Pixies covered it folks), the real stand outs are "Her way of praying" and the excellent "Take it", which has to be heard (live, ideally) to be believed. "Halfway to crazy" provides welcome, if slightly unexpected respite. Finally, there is no better album closer than "Gimme hell". A masterclass.
6 of 7 people found the following review helpful
5.0 out of 5 stars 'Automatic' for the people,
Mr. Jon Peache "Jon P" - See all my reviews
If you own, or have heard any of Psychocandy, JAMC's brilliantly apocalyptic debut, you'll know what the Reid brothers are capable of. And although 'Automatic' isn't quite up to their early standards, it is a fine rock n roll record nonetheless.
The squall of feedback is all but gone, as is their habit of recording in disused tube lines, but this isn't necessarily a bad thing, making the album as a whole more accessible than its predecessors.
Opener 'Here Comes Alice' is fairly standard fare, with some nice 'doo doo doo's towards the end, whilst 'Blues from a Gun' apes Dylan lyrically, but is years apart sonically.
Highlight of the album for me is 'Between Planets', a track which surges along with a guitar part so uplifting, it renders the lyrical content obsolete.
It's hard to say exactly how this album fits in with the rest of JAMC's canon, and more difficult still to imagine its place in the UK scene on its release. It is clear however, that it has been extremely influential, possibly more so than Psychocandy, due to the band's heightened pop sensibilities. But, as an introduction to one of the finest bands to come out of East Kilbride, this is ideal.
5.0 out of 5 stars A work of Beauty,
P. Frizelle (England) - See all my reviews
Automatic is the third album by Scottish alternative rock band The Jesus and Mary Chain. The Mary Chain on this record is basically the core duo of brothers William and Jim Reid, with a drum machine providing percussion, and even a synthesizer filling in on bass guitar. At this point in the band's career they were veering away from the 1-2 minute punk tunes and trying to assert themselves as musicians who had a love for creating beautifully chaotic perfect pop songs. The Jesus Mary and Chain are one of those forgotten alternative indie 80s bands. Highly influential and ahead of their time the Jesus Mary and Chain combined punk, pop, sludge, noise, and walls of feedback to create some of the most inspiring music to come out of the early indie scene. As for sibling rivalry, these two make the Noel and Liam (Oasis) look like pusycats
What makes TJMC so great is that they sang songs about sad, depressing themes, but yet played them with a pop sensibility. ". The songs are depressing psychotic miserable tunes equipped with the usual wash of feedback and distortion, but yet makes you want to sing and dance. The Jesus Mary and Chain sound is what would happen if the Velvet Underground got into a fight with the Beach Boys or if Echo and the Bunnymen collided with the Smiths and Joy Division and were given the kiss of life by the Cure. Better than all of their competitors, they never quite made it past the finishing line. The Jesus Mary and Chain masterfully blend and craft catchy pop tunes and disfigured them beautifully with feedback and distortion.
On 1989's AUTOMATIC, the Jesus & Mary Chain take the pop-tinged sound of DARKLANDS, and roughen up the edges with a slight industrial tinge. Though it's certainly not a complete return to the ferocity of PSYCHOCANDY. Automatic is a worthy attempt at taking back the fierceness that had been diluted somehow although the feedback isn't the dying tangle of their first album. .The sound is still fresh and exciting injected with venomous pop sensibilities complemented by powerful guitars and hardened melodies. The whole caboodle is raw but yet pure, an energetic rush of polluted and wonderful rock & roll soaked in class, cockiness and beautiful laziness. Take a peak into the world of Indie today and we can see their influence splattered liberally all over the place
5.0 out of 5 stars A rock powerhouse!,
Being a bit of an oldie I came to JMC via The Raveonettes and then bought 21 Singles. From that cd I realised I absolutely loved the tracks from Automatic and Darklands. Automatic lays down its hard rocking template on track one. It powers up several notches with track two and some blistering guitar and hard driving rifts and moves seamlessly into the mighty track three. And so it goes on - unrelenting but beautifully unrelenting. The guitar work is oh so clean but paradoxically oh so dirty. Much of the distorted feed back so beloved by JMC purists is possibly too toned down although it does cut through track three like a chain saw hitting hard steel and so we keep powering on remorselessly through to the bitter end. Wonderful but possibly not a huge favourite among JMC purists. But speaking as a good old fashioned rocker I have no hesitation of giving this 5 stars
5.0 out of 5 stars My favourite JAMC album.,
sunnybluesky "sunnybluesky" (London) - See all my reviews
For me this is the most under rated JAMC album. It is full of punchy tight tunes throughout.It ooses with sleazy psuedo-American guitar pop culture which is what the Mary Chain were all about.
The first album (Pychocandy) is generally the most highly regarded, but in my opinion has weaker songs. I was a big fan of the second album (Darklands) when it came out but now I find it quite bland compared to Automatic with only a couple of standout tracks like Nine Million Rainy days.
Automatic is full of energy from the off. Here comes Alice sets the up-tempo tone that last throughout with highlights including Blues from a gun.
I never felt that reached this level after Automatic. A minor classic in my opinion and strangely under rated.
5.0 out of 5 stars Rock'n'roll perfection,
This is the last of the three truly great JAMC albums - just like Psychocandy and Darklands it has its very own sound, completely different from the one before. Some people hate the drum machine here, I think it is used perfectly and very creatively - perhaps it forced the band into a more focused, minimalist, tight sound, but that is a good thing - as the result is a sexy, driving, hard-hitting and extremely cool album that seems as relevant today as ever. One of the best and most wonderfully stupid, nihilistic rock'n'roll POP albums ever. Obviously a great inspiration for so many bands to come, yet the actual sound of this record is still as totally unique as that of Psychocandy.
2.0 out of 5 stars Won't play,
S. Garforth "sam26079" (UK) - See all my reviews
This is a great remastering of a superb album. Unfortunately it seems to have some sort of anti piracy on it which means it jumps on my CD player and crackles on my PC. Fortunately I found another PC to import it to my iphone and my car CD player plays it OK.
4.0 out of 5 stars Dark and brilliant,
This is a great album which never loses the dark, raw yet electronic vibe. The entire thing has very nice beats with driving guitars that may bury at least half of its tunes deep within your head for a good few days.
2 of 4 people found the following review helpful
3.0 out of 5 stars Automatic,
Xepha (Bristol, UK) - See all my reviews
Here Comes Alice, Blues From A Gun and Between Planets are slick and sexy, but the rest of the album is predictable rawk and soon becomes monotonous. A far cry from Psychocandy. The pounding drum machine is ever-present and oppressive - bring back Bobby Gillespie!
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Automatic [VINYL] by Jesus & Mary Chain (Vinyl - 2012)
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Man shot by neighbor Monday after dispute, Corpus Christi police say
CORPUS CHRISTI - Corpus Christi police say a 46-year-old man was shot in the arm and abdomen by a neighbor after a dispute ended in gunfire early Monday.
Officers were called to the 2600 block of Elizabeth Street at 1:18 a.m. where they found the shooting victim. Witnesses told police the neighbors became involved in a disturbance during a barbecue cookout. That escalated to a 63-year-old man shooting the other man with a handgun, which was found at the scene by officers, police said.
The 46-year-old man was taken to Christus Spohn Hospital Memorial in stable condition, according to the police report.
Angel Nunez was arrested for suspicion of aggravated assault with a deadly weapon. He was being held in Nueces County Jail on a$75,000 bond.
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Uniting Technologies from Multiple Fields, Strengthening the Molecular Bioassays Market
MOUNTAIN VIEW, Calif., June 9 /PRNewswire/ -- Based on its recent analysis of the molecular bioassays market, Frost & Sullivan recognizes Cisbio Bioassays with the 2009 Frost & Sullivan North America Technology Innovation of the Year Award. Its innovative, pioneering Tag-lite(TM) technology for cell surface receptor investigation, in particular G protein coupled receptors (GPCRs), brings together homogeneous time resolved fluorescence (HTRF(R)) and SNAP(TM)-tag technologies.
(Logo: http://www.newscom.com/cgi-bin/prnh/20081117/FSLOGO)
GPCRs, or receptors that mediate signaling between a cell and its environment, are critical for maintaining homeostatic processes. Any irregularities in signaling through these receptors can result in obesity, atherosclerosis, arthritis, asthma, cardiac dysfunction, depression, anxiety, and pain, among others. The contribution of GPCRs to disease pathways has resulted in this class of receptors accounting for more than 50 percent of the high-throughput screening (HTS) programs in the pharmaceuticals industry and subsequently, nearly 40 percent of current drug targets.
With more than 1,000 genes, the GPCRs make up the single largest gene family of the human genome. As cell surface receptors, GPCRs are easily amenable to targeting without the issues of cell permeability. The high therapeutic relevance of GPCRs confers greater significance to the development of the Tag-lite(TM) technology by Cisbio Bioassays.
However, the structural studies and analysis of these receptors have been limited by the fastidious nature of GPCRs in the context of crystallization. The other, very active area of scientific pursuit has remained the functional characterization of 7TM receptors by emplo
|SOURCE Frost & Sullivan
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|47 posts found
Novice Member
Joined: 1/07/04
Staff Writer Neil Thompson discussed message boards, their problems and how game developers could better gather feedback from their communities.
The whole editorial is available here.
Dana Massey
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Novice Member
Joined: 1/13/04
Although I see the point about "opinions as feedback being a problem", I disagree. Of course, everyone has an opinion and they all have a right to be heard on forums. However, not all opinion are about class being overpowered, or something like that. There will be players with opinions about the game that may actually help a developer. The point of the editorial is better made when it discussed opnion polls and what the masses of players/subscribers think. Devs will get a pretty good picture if most subscribers sent them feedback, even if it was merely about how overpowered/underpowered their class may be.
That's not saying that the voices of many should outweight the few (I am not a Star Trek fan, so don't get on my case). I believe that there are some very objective players who post honest opinions to improve the game (not just their character). It's hard for a dev to know who is being objective and who just wants some perks.
Actively participating in Dev chats, constructive forums topics, etc. is a good way to get devs to know if you're there to help the game, or to help yourself (or to troll and make everyone miserable). We play these games with many other people, we should also be helping to make them better by actively posting on the forums and giving our opinions and feedback.
Novice Member
Joined: 11/05/03
I''m like a Super Hero without any of the powers or motivation.
Nice article, good read.
I agree, forums are supposed to be a place to discuss game mechanics. Unfortunately, many have turned into nothing more than places for subscribers to post nonsense seemingly for the purpose of increasing that ever important post count.
I have a subscription to CoH, and their forums have turned almost useless lately IMO. I view post history of people with >10,000 posts, and can find no posts relating to the game. I can't even bring myself to post there anymore.
Tymora...I agree with you, some forum users are constructive in their posts, what I was saying with this article is that there are better ways to garner feedback.
I have been playing MMORPGs for over 10 years and have yet to receive a request from a developer for feedback.
From what I see developers main tool for collecting this feedback is via forums.
Now, if you read the general forums here on MMORPG.com (which I'm sure you do) you will have seen many posts about how all games are becoming simlar. I put this partly down to developers reading forums to see what people want from a game.
I have seen many people actively posting on the boards of numerous different games...and I'm sure you will agree that many posts are negative...after all, it is human nature that we voice our complaints but not our satisfaction.
The point of the article is simply to state that there are better ways to get feedback than thoes used at present.
I agree that forums are useful and I am all for free speech and peoples right to opinion, but forums do have their dangers which need to be alknowledged.
Notice: The views expressed in this post are solely those of the author and do not necessarily reflect the reviews of MMORPG.com or its management.
Neil Thompson
Novice Member
Joined: 1/13/04
Wouldn't it be nice if a developer asked you for your feedback? I wasn't sure if my post came across as being in opposition to your editorial, it is not what I meant. I thought that what your wrote was accurate, I simply wanted to stress that there are good posts mixed in with all the crap. It must be very difficult for a developer to find them.
I thought that the part about polls and asking a wide range of game subscribers for their feedback was very positive. I am surprised that more devs don't do this with their games.
I have been reading these forums and I have noticed the many posts about how mmorpgs are becoming too similar. I never would have thought it was because of devs taking feedback from various forums, but it does make sense. I don't really agree that mmorpgs are becoming similar, in fact, I am finding some to be refreshingly different, but that is my opinion :)
Novice Member
Joined: 4/08/05
I think your wrong, You say people are posting their opinions but you fail to realize that these people are posting what allot of people in the gaming community are thinking. When I post a negative comment about a game im playing it's a problem that my clan members and others on the gaming world see. Just most people rather not deal with the fan bois cutting their post down or the devs deleting and locking threads that might hurt their profits.
The problem is that dev's don't listen to their player base and only hear their fanboi posters, which ends up tearing the game apart. Most mmorpg's out today are made by big company's who offer no new ideas.
MMOrpg's today suck people are subscribed to games to kill time and are waiting for the next good mmorpg. Blame the Developers not the players trying to improve the game.
lol...if anyone wants to oppose my article...go ahead..the whole point is to start a discussion after all.
I have thick skin...I can take it...and I only cry sometimes...at night, when its dark and no-one is listening;-)
Notice: The views expressed in this post are solely those of the author and do not necessarily reflect the reviews of MMORPG.com or its management.
Neil Thompson
Ray12k...if you read the article again you will see that I am blaming the developers.
Now, I wasn't distinguishing between fanbois and trolls, and you will notice that I did alknowledge that some feedback is good...but you must agree that the majority is not.
As for the fact that you think you are posting what a lot of people think...perhaps you are...we will never truely know but I'm sure you also realise that for everyone who asks for a change there is someone who is happy with the way things are.
Like I said, it's human nature to complain so we very rarely hear from the people who are happy with a game...they are too busy playing, but, once someone becomes unhappy what can they do but vent in the forums?
Lastly, it's not upto the players to try and improve the game, that's the job of the developers, they do however need to get the opinions of their players as to how the game performs. What I am saying is why should developers only seek the advice of people who are unhappy about a game which, as I have already mentioned, make up the majority of feedback...surely the people who are happy with the game should have a say too?
Notice: The views expressed in this post are solely those of the author and do not necessarily reflect the reviews of MMORPG.com or its management.
Neil Thompson
Spotlight Poster
Joined: 3/02/05
There are a lot of problems with message board feedback, but it can still be useful to a company who has someone on staff to sort the wheat from the chaff (assuming they are skilled at doing that).
For years I have been urging that there be polls at log in. That way no one can dismiss opinions as those of a mere "vocal minority." Every player in the game has an opportunity to give input (or not). It is very easy to put that in, and some games have done it. Those are the companies that really care about player opinion.
EQ1, EQ2, SWG, SWTOR, GW, GW2 CoH, CoV, FFXI, WoW, CO, War,TSW and a slew of free trials and beta tests
Novice Member
Joined: 3/17/06
Current MMO dev teams = Keystone cops.A pure comedy of errors,sadly its not as intentional.
FIRST off you need to drop that " the people happy with the game are playing it, not wasting spending their time on the forums".
Its an utter falsehood.
It uses the fact that far too many people will be "happy" with whatever crap they get, no matter what shape its really in, becuase they are simply far too complacent, to support the falsehood that happy players dont post on forums.
In short it greatly lowers the mark for what a "happy" player is.
IF you really put any effort into looking, you WILL find that the people who want the game to be the "best it can be" will post even years after a game is dead in the water.
As long as a player who feels the game should be more can go and post, he will, til he loses faith (and even a bit after that).
NEXT you need to drop that whole "negative" label for posts.Its FAR too abused by any who wish to use it.Even the most "negative" post you can imagine like --- "This game sucks !#$^%#%!$" has its helpful point.
From it you can establish that THAT person is truly unhappy with the game(IF see this post from alot fo different people,you SHOULD be worried about your product).An intelligent person who really cares about the game itself will put aside his knee jerk emmotional response to said post and seek to engage the poster with a reasonable conversation.
Random person poster : This game sucks *%*&%*&*&
Intelligent game DEV: I can see you feel strongly disappointed in this game.Would you please help us out by expanding on, in what ways "This game sucks &&#$#$&$".
The intelligent DEV or mod should politely push to get this poster to engage in the discusion he (the poster )started>While at some point the dev or mod may have to politely disagree and walk away,he owes it to those who paid for the game to make a reasonable effort to find any measureable flaw in the product.Of course fixing it after its found is important, but thats whoel nother issue in which devs fail badly nowadays.
Now again, at some point after a REAL effort has been made by the DEV to get any gems this poster may produce,they would of course be free to walk away with an open issue/disagreement.
Game DEVs , especially on MMOs come off as incredibly arrogant.The whole "vision" thing.They rarely ever can be seen to really care about the quality of the product.
They need to remember that they do make and sell a PRODUCT. It will have flaws.They have a tremendous FREE think tank at their disposal.And nothing shows a DEV cares more about his product than slogging thru any unpleasentness that arrises to get whatever information that can from this think tank, and than using it to improve the product.
Of course, once again they'ed have to get past this arrogant attitude /stance, and the accepted hero worship they sooooooooo embrace.And start to simply think of themselves as making a product some of their customers feel strongly enough about to give them FREE information for.
tkobo...I am not saying that all happy people are playing the game...but there is a very small percentage of players who actually sign up to forums...so I think it's also valid to assume that is is complacent to believe that every player feels the same as thoes that post.
Also, maybe the negative label for posts is abused but it is that way for a reason and I personally think that I am right to make this point. The majority of posts are negative...but I see what you mean...the developers could ask that person why they are upset.
However, this isn't the point of the article, the point is that the devs listen to what is usually a pissed off minority...not the whole player base. If a person starts a negative thread you can be sure it will gain support as people jump on the bandwagon...supporting ideas that aren't their own. By emailing every player...or having a questionaire at log in people would be forced to act independently and true grievances with a game will be heard.
Now we are going a little off-topic here but I agree that devs do sometimes come across as a little arrogant but to tell the truth, sometimes I don't blame them...not all times though.
Many threads that are posted aren't done in a professional manner...in my opinion it's people venting, and this is fine, but once you get a few unhappy people venting at the same thing, but maybe not 'about' the same thing then this just develops bad feeling.
Now, I have a question for you. Say a game has one million subscribers but only five thousand sign up and use the forums and therefore only their voices are heard...is it fair that the devs only take these people into consideration when fixing/changing the game? Should they assume that all the other players who aren't posting on the boards want exactly the same thing?
Notice: The views expressed in this post are solely those of the author and do not necessarily reflect the reviews of MMORPG.com or its management.
Neil Thompson
Novice Member
Joined: 3/17/06
Current MMO dev teams = Keystone cops.A pure comedy of errors,sadly its not as intentional.
Im sorry, ive played MMOs for over 10 years now.I started with The Realm and Merdian.
I have yet to see any solid evidence that the DEVS listen to anyone who is NOT part of their special little circle.
Whether its the big name guilds ,the market team,the DEVs themselves ,or their buddies(ALL of which are in those special little circles)ive seen NO evidence that they actually listen to the forum posters AT All if they arent a member of this closed self centered group.
Its why all the MMOs are making the same mistakes over and over.Its why at one time 300k subscribers was considered "good performance",when the market had a HUGE potential beyond that.
The Devs thought they knew what would sell. -They didnt.
The devs thought they could just cater to guilds and it would maximize sales.- It didnt
The Devs thought we will waste money on marketing teams, do what they suggest, and the game will reach its potential sales.They did, the game didnt.
The devs thought "WE (the devs) know best".-They didnt.
The simple fact is the DEVS dont listen to the forums.The same great ideas have been floated on the same forums for over a decade and we STILL dont see them in a game.
Ive said it before, the MMO's biggest flaws are the people making the product/decisions about the product .They simply dont have a simple clue, dont listen when theyre given said clue, and stumble on secure in the hero worship they foster while turning out the same repackaged dreck each time.
So im sorry but your "point" of the devs are listening to a vocal minority from the forums doesnt stand true.
They are simply listening to themselves( and thier hand picked little circles) over and over again.
To say the forums have zero effect on the games or the devs would probably be technically incorrect.
But im just not willing to split hairs fine enough to spend the next decade typing out the decimal point followed by zeros and finally ending in a one that would probably be the technically correct number.
As for your question.I almsot forgot to directly answer it.
The DEVS should listen too and engage EVERY voice that raises itself.They should truly examine whats said and spend the time and effort seeing for themselves if its correct.
Doesnt matter if those voices are comprised of 1% or 100% of their customers.They shoudl use whatever percentage of voices are directed at them/ their product to make conclusions.
As its stands now they dont.they listen to the same bad information theyve listened to for 10+ years.The information comes from their owns voices and the hand picked little circle of yes men.
Novice Member
Joined: 6/05/05
It's my job to be objective, it's my right to have an opinion.
Here's my 2 cents on feedback and MMORPG's these days.
As others have mentioned, not all users browse the official forums, and as such, they are not heard at all. Other valid points were made, including the fact that only those who are active and participative are heard, and even they are ignored sometimes. Usually these people are in the big-name guilds, or people who play 10+ hours a day, and spend several hours a day on forums as well.
I don't believe that forums are ineffective, just the way they are used by companies. Allow me to explain.
As sad as it is to say, some people need to be ignored. However, even a fool possesses some bits of wisdom. The same guy who might be screaming "omg NeRf TeH ClErIcS!!!" may be useless on that matter, but they might be able to contribute some productive ideas on another matter. Let's say that the aforementioned n00b is a Warrior. He might be able to offer some suggestions that would improve a Warrior's chances against a Cleric in PvP. Thus, instead of having to just nerf the Cleric, you could merely enhance the Warrior's playing field a bit.
The point I probably failed to make in the above example is that the only true way to determine the best course of action for your game is to actively participate and interact with your community. What better way to learn players' behaviors, attitudes, and playing styles than to actively immerse yourself with them? By conversing with your players, talk to them, all of them, play with them, get to know and understand them. Forums are fine and dandy, but in my experience, all forums will tend to acquire "Board Icons", or people who generally dominate thoughts, fads, and the spread of discussion and ideas on a board. These are typically the people that I feel devs DO listen to, but unfortunately, they're not always right.
I think devs would be able to get a lot more out of forums if they actively engaged in conversation with their customers. Sorry, asking a poll once every 2 months about whether or not I liked that last patch isn't immersing yourself.
By immersing yourself with your fellow gamers and players, you'll get a broadened perspective on the direction of the game, the community which you're serving, and how to improve the game. Plus, maybe if devs spent time talking with their customers, smaller bugs wouldn't go overlooked for massive periods of time due to their own indifference.
Another thing immersion on forums could provide is a more generalized focus and insight on the game. Instead of listening to the guys who raid 5 times a week, have 3 characters, and the "uber" guild, remember that guy who's in a pretty good guild, who raids once in awhile, and hasn't even hit the level cap. Your customer base has many different players and player types, and they all have different wants and needs. Ignoring the many in order to serve the few is not the correct course of action. Try to incorporate improvements that benefit or enhance everyone's gaming experiences. That's a particular gripe I had with WoW. I'm glad there's tons of new raid content, but that doesn't really improve gameplay for my level 26 Priest alt a whole lot, now does it? And yes, flying mounts sound great, but what does that really do for the level 43 Warrior? Not a damn thing. Devs need to remember there's more to games than the end-game; there's a damn big gap in between the start and the finish, and it always seems to me that the body of the game is the one that's the most neglected.
A final point I'd like to make about forums regards the seemingly obvious. Everyone has an agenda when they post an idea or suggestion. Devs need to consider the reasons and benefits behind everyone's advice. For example, people who yell "Nerf Priest, pump Shaman" might just want the Shaman to compete more effectively in PvP...or they might just want Priests to suck worse, so that they can dominate them in terms of PvP, usefulness in raids, and exp situations. No one offers advice without a personal motive, and I think a lot of the time, these motives are overlooked for the obvious "Great idea", without considering the implications of an idea. For example, a dominant end-game guild might ask for a new Super-Boss-Monster thing. Sure, it's a new challenge for players. However, it's also another oppurtunity for a guild to expand their reputation and dominance, as they can be the first/guild with the ablility to kill that monster, thus, drawing in more reputation, loot, and players to their guild. Does that make sense?
Anyway, I hope this provided some insight. In a nutshell, forums would be more effective if Devs immersed themselves with their playerbases, and realized that there's no such thing as an "innocent" suggestion. Build your game for all players, not the just beginning or the end. Lastly, learn how your players think, play, act, and interact, and you'll be able to build a much higher quality product.
Waiting for something fresh to arrive on the MMO scene...
Joined: 9/14/05
Look at SOE, They nerfed SWG in to oblivion. They listened to the worst player feedback and applied it to their game. Now the game is populated with only the 12yr olds who came up with the ideas and they can't get any good feedback to fix the game again. LOL @ SOE.
tkobo...if devs listen to that 1%...or however many it is...but definitely a minority then they risk ruining the game for others.
I have been ion games where this has happened...a vocal minority cry for changes that some of us do not want, but, because we do not visit the forums we don't know this debate is going on.
Think of what brought Trammel to UO...is was people complaining of being pk'd...how many people do you know who though UO was a better game post Trammel?...not many I bet.
The truth is, as pointed out many times previously, developers should be looking at a wide range of feedback...I agree with you, they should listen to everything that they are given...but they need to balance this out by asking the rest of their players whether this is waht they want too.
As Cymdai points out...most forum posters have an agenda and this needs to be understood before devs can make an informed decision...a decision that can only be gained once they have polled a majority.
However, MMORPGs are not democracies. We don't own the games, we only pay to play them, and therefore developers often do have a vision.
If devs always listened to their players then all games would be the same...however, we all want different things from the games we play and no one game can satisfy all our wants...horses for courses is what I say. Devs have the right to ignore our feedback if it doesn't fit in with their 'vision', and thank god they often do.
Notice: The views expressed in this post are solely those of the author and do not necessarily reflect the reviews of MMORPG.com or its management.
Neil Thompson
Apprentice Member
Joined: 2/09/05
I agree with Neil that forums arent representative of the general player base, and in both directions, ie some happy so dont bother to use play time for forum reading and posting, and as some so unhappy can't be bothered and unsubscribe.
Brief surveys on log in page would be a far more reliable means by which to gather feedback that is representative, and the forums could be a source of issues of concern that the devs then survey in addition to those they elect to survey themselves.
I also agree with posters who say devs tend to listen only to the chosen few, and even when effort is made to be objective by running focus groups, these tend to be populated with longer term players, and usually the more vocal among them - not a representative sample, and it needs to be for the devs to get a true picture of customer satisfaction.
Novice Member
Joined: 9/12/06
It''s not the fall that kill''s you. its the sudden stop at the end....
I've been playing MMO's for about 6 years and never did i really go and post on the Forums until i got into Archlord Beta(i did a few times on WoW). it was nice, alot of people changed my opinion as mine changed theres. but i think, comparing to other MMO forums. People just, forgot the main focus of forums, to give GOOD realized feedback, opinions and ingame content stuff. but, overtime everything changes. I think people use the forums more for COMPLAINING rather than actuall feedback. I love love love LOVE the idea of the monthly feedback thing. when the feedback is sent it should be sent in sections, those who have played 1-3 months, 4-6 etc. that way you could not focus on the 1-3 as they prolly wont have the best opinion as much as complaining, but people who would have been playing 4-6 may have more detailed feedback about an actuall imbalance. I totally agree with this article. especially the part where "staff writer" said that, people who post on forums want to get into the community :) but, that to has been lost I think.
Example: When I first started posting on Archlord Beta forms, it was nice, a new thread every 5 hours. I could keep track of people and what not. When beta keys were a week away....it was horrible, people spammed threads and complained and i couldnt keep track of anything anymore. I see it as, people wanted to play the game and didint care about the community, just playing and complaining about what they've heard about it.
Advanced Member
Joined: 1/30/05
I've seen games inwhich the dev's listen to some of the feedback and most of the time it works out well. If it's implemented correctly, especially if the game is in a perpetual state of being polished [which in my opinion should be the case of the MMO genre], can allow the game to flourish. If they don't game will die on the vine, so to speak. If they could, in addition to the feedback forums, implement some type of random sampling from their subsciber base it may help eliminate some of the white noise of the detractors [those that never offer anything costructive to the conversation, instead they just complain].
Novice Member
Joined: 9/27/06
Sorry friend, but I think your tack on the value of posts like 'this game sucks' is 'an utter falsehood'
There are constructive ways for people to make their complaints heard and when someone goes out and says 'this game sucks' isn't trying to be constructive. It goes beyond venting. It's meant as an attack. This kind of poster isn't looking for a dialogue to fix his problems or has the foresight and couresty to respect others worksand opinions. And you think an intelligent dev should spend on what little time he/she has on what this guy has to say? I wouldn't be surprised if they ignored it right off after seeing the first three words.
The problem with forums is that many people use them to attack others and ram their opinion down their throats. They stand out from the rest because they want to (see poster in red text above). Basic human nature here...someone goes off on long winded rant...people avoid and ignore. That inlcudes everyone reading the post, dev's included.
So do devs ignore what's going in forums. I think so, especially if most of the forum is filled with crap about how 'this sucks' or 'that sucks Im quiting.' But I also think they do read and listen what people have to say if it's put across well. If that wasn't the case. MMO games today would be just as flawed as the very first ones that came out. Dev's also care about what they're making so of course they're going to listen to feedback. Sometimes they listen too much or to the wrong thing and games come out the worse for it. Sometimes it works for the players too.
Bottom line here is that its a matter of respect and attitude for another person. Not just to devs, but every poster and reader out there. Respect is too rare in forums and if something gets ignored, can you blame them?
Novice Member
Joined: 3/08/06
I wish tkobo was wrong but he isn't.
The comical part is that the rest of corporate America spends billions of dollars just to enjoy the privilege of receiving honest, and sometimes very harsh impolite feedback. As an example, I was called yesterday by a service that my car dealer employs to check on my recent experience with their body shop.
MMO's get this same feedback without having to even work at it and don't seem to have a clue how to make use of it. And maybe because it is free and unsolicited they don't have the corporate buyin to use it that a paid opinion gathering effort would have.
In the last days of AC2 the developers made a post revealing some internal banter about forums that was very consistent with tkobo's read on the developers. One chiding another for even reading and replying in forums since it was just feeding a crying baby bird that would never be satisfied. If anyone still has that saved off or a link to it, it would be a good add to this discussion.
Its always struck me that MMO companies are 30-50 years behind the times in customer relations. One of the next big leaps will be when an MMO company finally starts operating more in line with the times and uses that advantage to crush the competition. I don't think even WoW has come close to fully tapping this market.


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End of Financial Year Appeal 2015
Donate to our where most needed fund.
PHILIPPINES (Sep 19th - Oct 3th)
UGANDA (Nov 13th - 29th)
Latest Update from Nepal!#NepalRelief #partnersinternational
Posted by Partners International on Thursday, May 7, 2015
Latest Update from Nepal!#NepalRelief #partnersinternational
Update from Nepal
Watch the latest video from our alliance partner.
Nepal Earthquake Relief
You can help by prayerfully considering making a tax-deductible gift to support Children and Families in Nepal.
Christian Fellowship Ministries
Donate to church planting activities and evangelism in Uganda
Bangalore City Mission, Sinclair's High School
Donate to the school expansion project and operations in India.
Philippine Missionary Fellowship
Donate to support 30 outreach workers in the Philippines
I am a Missionary
Check out this amazing video clip from Loren Cunningham, who has been challenging young and old alike to get involved in God's greatest adventure since the 1960's.
HEAL Africa, Partnership Opportunities
Read about the current Partnership Opportunities in the DR Congo and donate now.
Website by Blackbaud


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LaFollette Grapples Memorial For Narrow Victory | Schools
Title (Max 100 Characters)
Madison LaFollette (MLF) narrowly defeated Madison Memorial (MM) in high school wrestling dual meet on Friday night 41.0-39.0
Listed below are the results:
152: Ismael Cruz, MM, pinned Ryan Fischer, MLF, 3:00. 160: Karl Knipp, MLF, won by forfeit . 171: Dante Schiro, MLF, pinned Devin Mayfeild, MM, 1:55. 189: Spencer Lowery, MLF, pinned Odkhou Choijantsan, MM, 1:38. 215: Isaac Schaefer, MLF, pinned Carlos Cruz, MM, 5:43. 285: Max Wittig, MM, pinned Kwasi Asari, MLF, 3:14. 103: Pedro Silver, MLF, won by forfeit . 112: Darnell Richmond, MM, pinned Ivan Orozco, MLF, 1:52. 119: Asif Azimulla, MM, pinned Jermaine Coleman, MLF, 3:26. 125: John Morrison, MM, pinned JJ Razafinanja, MLF, 5:24. 130: David Vang, MLF, maj. dec. Blain Hyde, MM, 16-6. 135: Dylan Breunig, MLF, pinned Jesus Rojas, MM, 1:57. 140: Vinny Johnson, MM, pinned Gareth Collins, MLF, 0:34. 145: Khalil Boggs, MM, dec. Jeremy Johnson, MLF, 12-10. (MLF Unsportsmanlike conduct 1.000)


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1. In a bowl, add the cut beef.
2. Add the egg white and cornstarch and mix the meat in it well.
3. In a wok, heat oil.
4. Add the beef to the wok and saute for 2 minutes.
5. Drain the oil out.
6. Add some more oil to the wok along with garlic and onion.
7. Add the beef back into the wok.
8. Add oyster sauce, soy sauce, sugar, black pepper and scallions and saute.
9. Lay out the watercress on a plate.
10. Add the sauteed beef dish onto the watercress.
11. Garnish with cherry tomatoes, lime juice, salt and white pepper.
12. Serve hot as main course.


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[List of all Poetry Sections] [more poems from ] [Mice Section]
DLTK's Crafts for Kids
What a messy kitchen,
What a messy house!
What a messy bathrobe –
Around that messy mouse.
Tidy up the kitchen,
Tidy up the house,
Tidy up the bathrobe,
And please chase out the mouse!
Try our Mouse Paper Bag Puppet activity to go with this poem