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.  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  projection onto site: Alley overhead    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  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 firstname.lastname@example.org issuu.com/henrystephens thepapercity.tumblr.com