text:
After my IQTD dream I had another lucid dream. This time "It" was the narrator. He was messing with me until I realised it was a dream. Well actually, "It" told me.
"Who are you?" I ask again.
"IMPOSSIBLE! Give me your e-mail address!"
"Fine let's battle!"
"YOU'RE ON!" we are transported to a white background known as Nothing. I create a pie and throw it at It (don't ask). He/she throws a blackhole at me which also sucks in the pie. I throw a blackhole at the blackhole and we both get sucked in. Inside I float by many doors. I open one which contains a weird workshop. Another one contains a man and a woman having a picnic. Another door reveals heaven which I slam shut.
"None if these doors contain It!"
"That's because I am a door!" I get sucked inside It disguised as a door. I wake up with the theme song in my head for a minute. I see It as a shadow on the wall. I wake up... again. Theme song plays briefly. I try to go back to sleep. It mutters 'Sweet dreams" I'M SCARED LIKE SH!#. Then I fall asleep.
Sweet dreams,
It Is Back AGAIN?!
A place to share and analyze your dreams (lucid or otherwise) to better understand your dreams' subconscious symbolism.
8 posts • Page 1 of 1
It Is Back AGAIN?!
- Worldenterer1
- Posts: 335
- Joined: 03 Sep 2011 19:35
- Location: Earth
Re: It Is Back AGAIN?!
Lucid Dream Count: 10
Normal Dream Count: 100+
Goal for next LD: Think with portals.
Normal Dream Count: 100+
Goal for next LD: Think with portals.
Re: It Is Back AGAIN?!
Thats some serious funny. U got some real courage, first u scared then u fall asleep. That some realy hevy s*+t
"A curious mind cannot be afraid of Unknown. It searches for the answers untill the end of time."
Re: It Is Back AGAIN?!
Jamjam your dreams are like episodes of the hitchhiker's guide to the universe. I'm happy that you did not use your jello spell on it and then have your dream self and It each each other. I'm pretty sure It is you also.
"There is only one God and his name is Death.
And there is only one thing we say to death "not today"
- Syrio Forel
And there is only one thing we say to death "not today"
- Syrio Forel
Re: It Is Back AGAIN?!
Crazy s*i#.
I really don't know what to make of this aye.
Do you actually think its another Lucid dreamer that has had multiple shared dreams with you?
Or do you think its just a random and confusing re-curing dream?
I really don't know what to make of this aye.
Do you actually think its another Lucid dreamer that has had multiple shared dreams with you?
Or do you think its just a random and confusing re-curing dream?
- Christopaz
- Posts: 21
- Joined: 15 Mar 2012 10:37
Re: It Is Back AGAIN?!
I love that your subconscious is toying you, probably you have someone in your life that is toying you also
Hope can do you many things, shed light in the darkness and grant you even the most complicated wishes, but you still lack something there, WILL.
check out my Triond profile : http://www.triond.com/users/Christopher+Opancia+Jr.
check out my Triond profile : http://www.triond.com/users/Christopher+Opancia+Jr.
- Posts: 26
- Joined: 24 Jul 2012 22:57
Re: It Is Back AGAIN?!
Worldenterer1 wrote:woah
exactly what i was thinking!
i can relate to your dream world, my mind operates the same. i had a dream once where i had the oppertunity to see heaven, and i screamed NO, and turned and ran away. it wasnt a lucid dream mind you, but a vivid one. this 'it' creature, next time dont battle it. defeat it with love. thats my advice, then u can get to the bottom of what 'it' is, but otherwise i got no clue. false awakenings huh? also about the theme music playing, ive had the same thing. my first flying dream superman theme music was playing 'da da daa..' and when i woke up for the first few seconds i could hear the music like i had headphones on. weird. and i was really awake!
lucid dreams for somereason are much harder to interperet. u may have some inner struggle oversomething and you feel like your losing your will power to some desire or fear or something controls you and is so overwhelming it laughs at you in the symbolic sense. anyway thats my 2 cents. very cool dream.
Re: It Is Back AGAIN?!
Worldenterer1 wrote:woah
I agree with rainbow dash
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text:
Martha Ann (Alexander)Freeman, Emery Edwin Freeman and my grandfather, James Albert Claude Freeman at their ranch in Fallon, Nevada probably taken about 1915?
Posted by Delia Furrer
Wednesday, May 26, 2010Labels: Photos, Wordless Wednesday
at 7:40 PM
2 comments:
- www.SoldOnFernley.com said...
Great photo! I love looking at the old photos and I love Fallon's history. I have a FB for Fallon, Nevada maybe we could post some of them?
- May 26, 2010 at 8:40 PM
- Cindy Bergeron Scherwinski said...
Terrific photo Delia! Several members of my family in collateral lines migrated 'out west' in the early part of the 1900s so I always enjoy looking at photos from this area and time period. How are the wedding plans coming??
- June 2, 2010 at 3:50 AM
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subset: commoncrawl


text:
|By Elizabeth White
Article Rating:
|July 4, 2014 10:00 AM EDT
Click Here to View Video on YouTube
"As the move to the cloud started, we stayed ahead of that by providing security solutions to our enterprise customers, financial customers, and now a whole new range of customers, which are application developers," explained John Gunn, VP of Corporate Communications for VASCO Data Security, in this SYS-CON.tv interview at the 14th International Cloud Expo®, held June 10-12, 2014, at the Javits Center in New York City.
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The growth and success of Cloud Computing will be on display at the upcoming Cloud Expo® conference and exhibition in Santa Clara, CA, November 4-6, 2014.
All main layers of the Cloud ecosystem will be represented at the 14th International Cloud Expo® - the infrastructure players, the platform providers, and those offering applications, and they'll all be here to speak, sponsor, exhibit and network.
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Cloud Expo® delegates can pre-register for Cloud Expo® Silicon Valley with Early Bird Savings here.
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Cloud Expo® is a registered trademark of Cloud Expo, Inc.


text:
The Cherry Goody Goody/
Last week I blogged about how some cocktails are borne out of late-night necessity. This week my cousin Mark created a cocktail from just such conditions, although he did it way better than any of my own attempts.
This cocktail's got it all. It's full-flavored but light-bodied. It's not sugary; it's just sweet enough, truly suitable either before or after dinner. It's well-rounded -- no too-sharp, vodka-cran tang. It begins with antioxidant-riddled pomegranate seeds, so you can easily rationalize why you should have another. (Because antioxidants cancel out alcohol, duh.) And with the holidays upon us, I picture it as something that would equally please a sherry-sipping grandma, your 22-year-old cousin who's never downed anything stronger than a Woo Woo and cocktail snobs such as ourselves who will be impressed by the double dose of bitters.
Lastly, I wrote the recipe so you don't need a shaker. Because most relatives' houses don't come with shakers. Although hats off to anyone ballsy enough to bring his or her own shaker to Christmas dinner.
And, as you can see by the miniscule amounts of myriad ingredients, you should be able to pull it off even when the cupboard is bare.
The Cherry Goody Goody
1 3/4 ounces Ketel One vodka
1/2 ounce Creme de Cacao (white)
1/2 ounce Pimm's
1/2 ounce cranberry juice cocktail
3 or 4 dashes Fee Brothers Rhubarb Bitters
2 or 3 dashes Fee Brother Aztec Chocolate Bitters
Pomegranate seeds
Muddle a handful of pomegranate seeds into the bottom of a highball glass.
Fill glass with ice.
Add all liquid ingredients except the Coca-Cola. Stir well.
Top off with Coca-Cola and stir again.


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The Salvation Army Central Oklahoma Area Command Boys & Girls Club will host the 2nd Annual Football Camp, hosted by S.W.I.F.T (Students with Integrity, Fundamentals and Tenacity.)
The camp will be held from 6 to 8:30 p.m. July 9 – 12 at the Boys & Girls Club, 2808 S.E. 44th for ages 9 to 18. The camp is free to all children in the metropolitan area, but spots are limited to 150.
Registration for the free football camp begins Monday, June 25. To register, call Myron Mosely at 405-677-4781, Ext. 106.
S.W.I.F.T celebrity coaches for the football camp include former University of Oklahoma cornerback Mike Woods, former OU wide receiver Quentin Chaney, former OU linebacker Rufus Alexander, former University of Tulsa running back Tarrion Adams and former TU fullback Cody Madison.
In addition to running drills and working on football fundamentals during the week, the youth in the camp will also hear from special celebrity speakers about such topics as integrity, tenacity and learning the fundamentals.
"This camp is a fun week for youth interested in football, but it offers so much more," said Coach Mosely. "Yes, they will run drills and learn technique, but S.W.I.F.T will also show them the importance of character in sports."
S.W.I.F.T aims to impact metro youth with positive activities, like sports camps.
Again, registration is limited to 150 children. Registration for the camp begins Monday. Call Myron Mosely at 405-677-4781, ext. 106.
For more information about The Salvation Army Boys & Girls Club, contact Megan Brown-Ellis at 405-677-4781.


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A recent story in Variety connects the dots around various real-life and large- and small-screen stories and comes up with a disturbing picture: One way or another, 2009 was a high-profile year for adultery.
The headline reads "Infidelity scores Oscar noms," but Variety writer Diane Garrett sees a larger pattern that includes the public scandals of Tiger Woods, Governor Mark Sanford, and John Edwards, revelations concerning small-screen personalities David Letterman and "John & Kate Plus 8" stars Jon and Kate Gosselin, and what Garrett suggests seemed like "nearly every other movie released in the past six months," including the 8½ musical remake Nine and the Meryl Streep–Alec Baldwin comedy It's Complicated.
The kernel of the story, though, is that extramarital liaisons of one kind or another are central to four of the ten Academy Award Best Picture nominees: An Education, A Serious Man, Up in the Air and Precious. Garrett writes:
The nommed pics vary greatly in mood and setting, but cheating is pivotal to all four. Tellingly, the heroes or heroines of the movies are each unwitting or unwilling parties to the infidelity. Each is betrayed, not betrayer.
There aren't any easy fixes for the fictional characters—no hightailing it to a sex rehab clinic or laughing it off with latenight jokes. But there is plenty of drama—and dark comedy—in their predicaments.
Does this mean that the collective effect of these stories is not to glamorize adultery? Well, yes, in part, but like the movie title says, It's Complicated.
Two of the films, Up in the Air and An Education, initially put a glossy face on illicit sex, but in both films the protagonist is unmarried and believes the partner to be unmarried, and revelations to the contrary come as an unwelcome surprise and a signpost that the protagonist is on the wrong road. Still, it's possible to wonder whether these turning points completely counteract the romantic tone of the early chapters. (E.g., see John Podhoretz on An Education.)
A Serious Man never makes the protagonist's cuckolded state less than excruciating and humiliating, though the Coens' typically belittling portrayal of their schlemiel of a protagonist may cast doubt on whether his betrayal, or his marriage in the first place, is really all that significant in the grand scheme of things. As for Precious, the overriding issue there isn't adultery, but incest and child abuse.
Were there no countervailing cinematic depictions of happily married couples?
A few. There was Julie & Julia, with its criss-crossing accounts of two loving couples based on the real-life marriages of Julia Child and blogger Julie Powell. But even that story was complicated by the real Julie Powell's tell-all account of her own subsequent affair with an old boyfriend with whom she apparently reconnected after becoming famous.
A few bright spots could be found even among Best Picture nominees.
The Blind Side offers a happy (and explicitly Christian) depiction of real-life couple Leigh Anne and Sean Tuohy. Pixar's Up celebrates the lifelong love of its widower protagonist Carl and his beloved Elie.
Even James Cameron's über-blockbuster Avatar, with its hippy-dippy utopia of Noble Savages living in harmony with nature and one another, rejects the flower-child ideal of "free love" in favor of monogamous pairing for life (presumably faithfully, given the idealized integrity of Cameron's aliens). Infidelity may be everywhere, seemingly, but our culture hasn't entirely forgotten that fidelity is the ideal.
Copyright © 2000– Steven D. Greydanus. All rights reserved.


text:
How many of you writers differentiate properly between the usage of the hyphen, the en dash and the em dash? Not yours truly! Until today, that is. I hereby vow—well, not exactly, of course—to explain to you how to use these three little beauties properly in your writing and to then use them properly myself.
According to this piece on Get it Write Online…
The hyphen is used like this:
The en dash (which is the width of the letter N) is used like so:
August 17–September 2
And the em dash (which is the width of the letter M) is used like this:
I went to the store—the one on Keren Hayesod—and I bought the damn apple.
The apple turned out to be rotten—or so I believe.
Now how do you create en and em dashes in WordPress?
Aha! This is the second most exciting part of this post. Turns out WordPress is all ready to go with en and em dashes. I learned from this post that if you simply write two hyphens next to each other, without spaces, you'll get an en dash and if you do the same with three hyphens, you'll get the em dash.
– this is a hyphen
— this is an en dash
— this is an em dash
All this being said, is this whole topic passe or do you think it really is good for writers to make sure to use these punctuation marks properly?
According to this piece, the official way to create en and em dashes is like this:
In any software program that handles text, the em dash can be typed on an enhanced keyboard as Alt + 0151—that is, hold down the "alternate" key and type, using the numerical pad on the right side of the keyboard, the numbers 0151. The en dash can be typed as Alt + 0150.


text: To ensure that our diagnostic tools actually do as they say they will, we will try to test as many kits as possible, on as many vehicles as possible. So when we are able to obtain a vehicle we will purposely trigger faults within these cars in order to trigger a fault/trouble code and dashboard warning light such as engine, ABS or airbags etc. On this occasion we were able to trigger these faults on a Porsche 911. The photos below were taken when reading & clearing the fault codes on this vehicle. All of the tools we used on this vehicle are available through our stores. If you cannot find the tool your looking for please just email us.


text:
Xbox 360 Controller Buttons Symbols X Y B A Gaming Gamer Video Game T-shirt 16 Colours - to 2XL
Brand: Stupid Tees Outlet
Product Code: OUTLET
Reward Points: 100
Availability: In Stock
Product Code: OUTLET
Reward Points: 100
Availability: In Stock
Price: £10.00
Price in reward points: 1500
Price in reward points: 1500
Qty: Add to Cart
Funny slogan printed onto a soft style T-Shirt. All our shirts are printed in the UK and made with oodles of love and attention to detail.
Part of the Stupid Tees Outlet range. Heavy 100% Cotton T-Shirt with a funny print to the front.
Write a reviewYour Name:
Your Review: Note: HTML is not translated!
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text:
Log In needed $26,995 · 2018 Forest River Rockwood Geo Pro G19FD -Report Ad
Price: $26,995
Stock Number: R351
2017 Forest River Rockwood Geo Pro G19FDThe Rockwood Geo Pro line of travel trailers are for those campers that value being environmentally conscious and have chosen to drive today's more fuel efficient ''crossover'' vehicles and smaller SUVs. With floor plans that weigh within the towing capacity of these type of vehicles, the Geo Pro combines a traditional approach with modern amenities to enhance your camping experience.The Geo Pro has gone to the next level with its refreshing two tone fiberglass exterior, modern touches like LED exterior lights, available roof mount flexible solar panel system, and distinctive décors with Euro style cabinets. The Geo Pro. an exciting new way to go camping with the vehicle you drive every day.
Ad #32034219
PostedJuly 18, 2018
ExpiryOctober 16, 2018
DetailsCommercial Seller
CategoryAutos › RVs
EditMy ad
SellerRevy RV (formerly Countryside RV)
PhoneNot available
|Last hour
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text:
In the one-liners last month, we linked to a story about what the Browns were trying to do to cut down on the amount of passes that quarterback Brandon Weeden had knocked down at the line as a rookie.
There was talk of more five-to-seven step drops with Norv Turner calling the plays in 2013 as a way to create more space between Weeden and the defensive lineman as well as a mention of the need for Weeden to get rid of the ball more quickly after ProFootballFocus.com pegged him as the league leader in batted balls last season. Weeden would like to cut out his habit of patting the ball before he throws it because it gives defenses a clue about when he's throwing, but he's unconvinced that spending a lot of time trying to fix the problem will lead to positive results.
"You really can't work on it. It's something that if you think about it all the time, it will probably create more problems," Weeden said on the NFL Network. "I think there are a lot of reasons they happen. One being me patting the football … It's just a part of taking three-step drops from under center, as well. When you are under center you are not very far from the line of scrimmage and you are trying to throw over guys that are 6-4, 6-5, with long arms. You got to throw it through the windows. Unfortunately, it happened last year. I don't know why, but I'm going to do my part, whatever I got to do to throw around those guys to make it happen."
Whenever thoughts turn to how Weeden will fare in his second season, Turner's name comes up and with good reason. Plenty of quarterbacks have thrived in his system and Weeden's skills should be a good fit with what we've seen from Turner in the past, including the kind of deep throws that are unlikely to be knocked down at the line of scrimmage. An improvement in that area should be part of an improvement across the board for a quarterback who appears to be well positioned to succeed thanks to the changes on Cleveland's coaching staff.


text:
ECE 695A Lecture 32R: Review Questions
Additional materials available (3)
Licensed according to this deed.
Published on
Review Questions:
- Why do people use Normal, log-normal, Weibull distributions when they do not know the exact physical distribution?
- What is the problem of using empirical distributions? What are the advantages?
- If you must choose an empirical distribution, what should be your criteria? (Nos. of parameters, physical principles, etc.)
- Why does everyone suggest the use of CDF for empirical data-fitting, rather than PDF? (Obviously one can go from one function to the other)
- There are all sorts of distribution functions (e.g. survivability function) ? If everything is related to everything else, why do we need so many?
- How would you determine the BFRW failure rates? Mean Hazard rate?
Cite this work
Researchers should cite this work as follows:
EE 226, Purdue University, West Lafayette, IN


text:
SAN FRANCISCO (Reuters) - International Business Machines Corp's patent demand against Twitter Inc as it approaches an initial public offering highlights how few patents the social media company possesses compared with the established tech players.
IBM has accused Twitter of infringing three IBM patents, one of which relates to online advertising, according to a Twitter securities filing on Monday. Twitter said it has "meritorious defenses" to those claims, and IBM has not filed a lawsuit.
A Twitter spokesman declined to comment beyond the filing, and an IBM representative also declined to comment.
Long a prodigious stockpiler of intellectual property, IBM currently holds nearly 87,000 U.S. patents and published applications, according to a government database. Twitter, meanwhile, has only three. This suggests that the legal maneuvers involving IBM and Twitter will increase the pressure on Twitter to buy more patents, in order to build its leverage against older tech companies, patent experts say.
"It's not about the patents, it's about signaling to the market that you have a strong position so people don't line up to sue you," said Ron Laurie, a specialist in IP and investment banking for Inflexion Point Strategy.
Patent claims against companies approaching an IPO are relatively common, as plaintiffs hope the need for a target company to minimize risks might force a lucrative settlement. In September, Twitter was sued twice for patent infringement the same week it announced its plans to go public, according to records maintained by Westlaw, a Thomson Reuters unit.
Twitter raised the top end of its IPO price range by 25 percent on Monday, to $23 to $25 per share.
Last year Yahoo Inc sued Facebook Inc for patent infringement two months before Facebook's IPO. Yahoo eventually withdrew the lawsuit after a new Yahoo chief executive took over.
However, Facebook ramped up a patent-buying spree shortly after the lawsuit was filed. Facebook bought 750 patents from IBM for an undisclosed sum, and then paid Microsoft Corp $550 million for hundreds of patents that originated with AOL.
Leading up to its IPO, Facebook had disclosed 559 U.S. patents and applications. The company currently owns 2,151 patents and applications, according to the government's database.
Twitter has been vocal in the ongoing debate over how strong patent protections should be when it comes to software. Last year the company announced that it would not use patents for offensive purposes without permission from the employee who invented the technology. The company would only use patents defensively, it said, which means the patents could be used to countersue anyone who had struck first.
While the specific patents cited by IBM may not stand up in court, it is the threat from a company with so many resources that affects Twitter.
"It may turn out that these patents, under close scrutiny, are not terribly impactful," said Sanjay Prasad, an intellectual property consultant in Silicon Valley. "But there's a different issue of public perception, and in an IPO that can be important."
Editing by Matthew Lewis


text:
Sale Sets Agricultural Land Price Record in Spink
ABERDEEN - Spink County has set a new agricultural land price record as two tracts of cropland near Mellette sold for $8,200 per acre.
The Aberdeen American News reports that about 200 people attended the auction Thursday for land from the estate of Dianne Goldin Craft.
Other parcels sold from $4,250 to $7,700 per acre. More than 1,000 total acres were sold at a total price of $7.39 million.
Auctioneer Val Jark says it's not often that people get to see that good a package of land coming up for sale. Jark says most of the land had been in the family for five generations.
Spink County director of equalization Kim Markley says the auction marked the first time land has sold for more than $8,000 an acre in the county.
Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


text:
Reminder: Nittany Lion Shrine closed for renovations this summer starting May 13
Reminder: Nittany Lion Shrine closed for renovations this summer starting May 13
UNIVERSITY PARK, Pa. -- Beginning May 13, Penn State's Nittany Lion Shrine will be closed to visitors this summer for extensive renovations to improve lighting, accessibility and landscaping.
Depending on many variables that can impact the progress of the work, including weather, there may be limited access between University Park's Aug. 10 Summer Commencement and Sept. 6, the target completion date of the project.
Although preparatory work on the area began in April, the statue will be open to visitors May 3-5 for Spring Commencement, and May 10-12 for ROTC commissioning and the Law School commencement ceremonies.
The renovations are a gift of Penn State's class of 2012.
Last Updated August 06, 2013


text:
Introduction to the Phase Technology PC-3.5 Speakers and Driver Technology
This Phase Technology Premier Collection Bookshelf Speaker is a rather unique product. Most bookshelf speakers are two-way designs with a single small woofer. The advantages of a three-way design are well known as illustrated in my measured results to follow. A few bookshelves are three-way with a single small woofer. This speaker has two 6.5″ woofers. Its low end can match a floor-standing with similar-sized woofers. Usually this driver deployment is found in speakers designed for in-wall applications where the vertical center channel is behind the screen.
The speaker's footprint is not much larger than a typical two-way bookshelf. The height is not much larger, so it works in any application where a floor-standing speaker is not viable. The weight is higher with the extra drivers in the box. The speaker has curved side panels, which enhance its appearance. The sides curve inwards slightly at the speaker front. The modest 7″ width of the front baffle reduces diffraction effects. Phase Tech also claims the curves reduce cabinet resonance.
The design and size of this speaker makes it classified as an LCR (Left, Center, Right) speaker, although Phase Tech lists it on their website as a center channel speaker.
- Design: Three-way, Ported
- Drivers: One 1″ Soft-Dome Tweeter, One 1.5″ Soft-Dome Midrange, Two 6.5″ Woofers
- MFR: 36 Hz – 22 kHz
- Sensitivity: 91 dB
- Nominal Impedance: 4 Ohms
- Dimensions: 22″ H x 7.9″ W x 12.3″ D
- Weight: 28 Pounds/each
- Price $1,000/each USD
- Finishes: Black Gloss, Natural Cherry
- Phase Technology
- Secrets Tags: Speakers, LCR Speakers, Bookshelf Speakers
The Phase Tech Premier Collection line comes in two finishes: cherry and high gloss black. Phase Tech reports the cherry has a natural finish and then they are coated with a satin extremely durable polyurethane coating. The high gloss black has 8 layers of hand sanded and polished clear polyurethane coating on top of black polyurethane. The high quality finish extends to the front panel, allowing the speaker to be displayed without the grill in a typical home environment. The grill is held on by magnets making it easy to remove before a listening session
The midrange and tweeter assembly rotates for vertical or horizontal (center channel) placement. I tested the assembly in its vertical deployment for both two- and three-channel deployments. You can go to the Phase Technology web site to see the assembly rotated to the center channel position. I am not showing it here to prevent confusion with regards to what deployment of the PC-3.5 was used for this review.
The history of Phase Technology has been discussed in prior Secrets reviews and is available at http://www.phasetech.com/history2.html
Phase Technology is best known for its soft-dome driver, which is the star attraction in the PC-3.5. In 1959, Avery Fisher contracted with the founder Bill Hecht to produce speakers for Fisher. As Ken Hecht, Bill's son, tells the story, the Fisher speakers with conventional hard domes were constantly being damaged at HiFi shows as people poked at them. Avery Fisher wanted a mock up of the tweeter with a soft dome that would not be damaged at the shows. The mock-up, to Bill's surprise, actually produced sound. In 1964, the large Fisher XP-10 floor-standing speaker with a soft dome tweeter was introduced to critical acclaim. Numerous variants followed, but Fisher became more intent on putting lots of drivers in low-cost boxes limiting what Bill Hecht could produce. Hecht, not wanting to be tied to the fortunes of one company, began operating under the United Speaker Systems brand and sold OEM drivers to many companies. With the soft dome under patent protection (3,328,537), the business grew rapidly.
United Speaker Systems sells complete designs to the public under the Phase Technology brand, including the state-of-the-art active speakers called dARTS. The DSP code and the hardware are custom designed by Phase Technology, putting the company in a league with larger manufacturers of professional audio monitors. The speaker, under review here, is one step down from the dARTS system and is passive. An explanation of the name Phase Technology will become evident in the measurement section.
Figure 1 shows the midrange – tweeter module of the PC-3.5. You are looking at soft dome drivers with 48 years internal development. Placing the drivers close together reduces interference effects associated with non-coincident drivers are minimized. In turn, the speaker has good vertical radiation patterns even with the crossover between the midrange and tweeter at a high 4.5kHz. The small distance between the midrange and tweeter is possible as a result of the novel aspects of the Phase Tech driver design. There is no waveguide on the midrange (figure 1). Dome midranges normally have a waveguide to improve efficiency at the cost of wide dispersion.
Note the domes have no protection over them. To prevent damage I recommend the grill be put in place whenever the speaker is not in use.
The woofers are also of proprietary construction. The flat-piston is evident in the accompanying photos of the complete speaker at the top of the review. Figure 2 shows a side view of the solid flat piston driver. The back of the cone is a conventional cone shape, which terminates to a spider and voice coil. The cone is a solid molded material Phase Tech calls Rigid Polymer Foam (RPF). The cone is coated with glass fiber in the front and Kevlar in the conical back. Phase Technology patent (4,566,178) for the RPF driver addresses the unique assembly requirements of the Solid Piston. Most woofers are assembled by centering the voice coil from the front of the speaker before the dust cap (the dome shaped piece in the center of the cone) is glued on. Solid Piston RPF drivers do not have a dust cap or a means of getting to the voice coil from the front so Phase Technology invented a "reverse assembly process" that uses computer aided manufacturing to assemble the woofer from the rear.
Phase Tech says the complete cone is about half the weight of a conventional polypropylene cone. The alignment of the flat front positions the wave launch to start at the front baffle, which is important in the crossover to the midrange as we will see in the measurement section.
The design issue is that the three-3 dimensional structure is more complex to model than a simple cone. Reducing resonance in the cone is thus more difficult. The measurement section below appears to show the resonance of the woofer is comparable with that of a standard driver for a speaker in this price range. For additional details, a YouTube video of Ken Hecht demonstrates the driver's construction. The woofers have butyl rubber surrounds and a cast aluminum alloy baskets.
Speaker systems with high performance to price ratios are often equipped with custom house drivers. Surprisingly, one value-oriented company, well known for driver innovations, introduced a new set of speakers at CES with drivers from an external source. This is clearly not the direction in which Phase Tech will to go.
The Phase Technology PC-3.5 Speakers In Use
I do not judge a speaker on a few CDs. Instead, I use at least 15 cuts ranging from string quartets to Mahler-sized orchestras. With the cuts on one CD-R, I can complete the initial evaluation in ten minutes. Marketing manager Tony Weber (a classically trained composer who studied under some of the most important American composers of the last century), formerly at Phase Tech, and now at Cary Audio pushes the limit farther with nine reference CD-Rs of eight different cuts each. This approaches what I call the random pull test: go to your collection and pull something out at random. I find 30% of classical CDs are well recorded so you have a 30% chance that your random selection will sound good on a well-designed speaker without intentional voicing. If it's cooked to sound good on specially selected discs chosen by the manufacturer (this is the standard CES trick for the $200,000 class) then the speaker will fail the random pull test.
The first reaction to the speaker is its wave launch. Unlike a three-way floor-standing speaker, all instruments emerge from a single point at the center of the speaker. In a floor stander with the woofer – midrange crossed over at 500Hz – 1kHz, the image shifts with the range of each instrument. Low brass and bass violin emerge from the bottom, oboes and clarinets in the middle, and the upper octaves of the violin or flute near the top. This is unnatural compared to the concert hall experience. Some floor standing speakers have a crossover below the frequency that the room dominates (250Hz and below). Floor standing speaker with a crossover that low will not exhibit the shift in vertical image.
The apparent size of lower-pitched instruments increases in the vertical direction as the PC-3.5s woofers become active, emulating the sonic characteristics of instruments that dwell in the music's bass line — think of the size of a double bass or the bell of a trombone. The wave launch of the PC-3.5 increases the depth of the image, with the large brass sounding as if they are at the rear of the stage behind the strings.
On the Vladimir Ashkenazy recording of the Rachmaninov Etudes Tableaux Op 39 (reissue with other works Decca 455234), the hallmark clarity of Ashkenazy's finger work is apparent as is the pianist's joy in playing works of his countryman. The sound of the hammers striking the strings is well conveyed in this perhaps a little too close recording.
Despite its small form factor, the PC-3.5 provides full-range bass response without the port tuning that creates an artificial bump in the 100Hz range. Britten's Young Person's Guide to the Orchestra, which sequentially highlights each orchestra section, well illustrates the speaker's performance at the bottom end. I used the Pavo Jarvi performance with the Cincinnati Symphony (Telarc SACD 60660). The tympani solo has a strong initial whack, but also a clear tonal center thereafter. Differently pitched tympani match in tonality. One clearly hears the mallets striking the heads as the player moves among the drums. In the double bass section, the bowed strings are distant. If you want even more impressive low-end smoothness, add a good room EQ. This speaker loves being EQed at the bottom. Unlike most ported speakers, it is not significantly affected if the room EQ tries to extend the low end with a 6dB boost at 40Hz.
The unique style of Arvo Pärt's 3rd symphony is transitional, sandwiched between his twelve-tone serialism and his minimalist stage. The work ranges from chamber-like intimacy to the full breadth of the orchestra. On Neeme Järvi's first recording (BIS CD434) of the work, the PC-3.5 showed no signs of non-linearity at least to levels that I was willing to tolerate. The fortissimo trumpet solo near the end was clear without any signs of taxing the speaker's limits.
Bernard Herrmann's score for On Dangerous Ground requires a huge orchestra. Charles Gerhardt conducts the RCA Classic Film Score series recording of the work which was reissued last year on the 100th anniversary of the composers birth (RCA Red Seal 88697 81264). Engineer Kenneth Wilkinson preserves the orchestra's great sound and allows Herrmann's music to stand on its own merits without reference to pictures. The large horn and brass sections challenge the speaker to not only avoid compressing the dynamics, but also avoid obliterating the counterpoint of the string passages. The Phase Tech PC-3.5 handles the task nicely, with the strings remaining smooth and distinct. I listened to the CD on several two-way mini-monitor designs; the strings are either lost or turn strident because the woofer has too much to do.
I compared the Phase Technology speakers with a similarly priced Infinity C336 (now discontinued) speaker that also generates close to benchmark-like measurements (I reviewed it for AudioXpress) but uses a aluminum/ceramic driver material, a cone midrange, and a waveguide on the tweeter.
The Infinity speaker sounded dry, yet with a slight edgy coloration. The flute on the Windscape recording of Dvorak Arranged for Winds (MSR 1175) sounds more brittle, while the PC-3.5 floats the flute in space with more harmonic richness.
Without the waveguide, there is a less localization of the cabinet. A good illustration of this is Vaughan Williams Five Variants on Dives and Lazarus (Chandos 8502). The string sound is richer and the ensemble spreads across the stage. The narrow baffle may also help the speaker to achieve this.
There are similar differences with the Jerusalem Quartet's recording of Haydn's Lark quartet (Harmonia Mundi 2962030). As the first violin ascends the E string, the Phase Technology offers a more airy sound.
Without tweaking its placement, the Infinity C336 shines with the smooth octave to octave balance at and above the midrange. This can be attributed to the differences in the radiation patterns. The Infinity C336 off-axis energy is reduced in comparison to the PC-3.5. A 75 degree offset in the horizontal direction the Infinity C336 is down 7dB at 4 kHz in comparison to 3dB down for the PC-3.5. At 10kHz, the difference in respective output levels between the two speakers grows to 6dB. The result is less energy from wall reflections, making these speakers more room tolerant, but at a cost. The C336 tweeter had a resonance at 15kHz peak with an amplitude increase of 3dB from the 10kHz baseline. The audibility of this artifact is debatable.
PC-3.5 requires more attention to toe-in angles and its distance from the rear and side walls. Too much toe-in results in a sound that is too forward in the upper midrange. The distance between the PC-3.5s and the listener is more forgiving since the smaller length of the combined driver set allows the sound field to converge at a closer distance. Both speakers are friendly with respect to seating height.
The Phase Tech is perfect as a matched center. A floor stander in the center of the room looks a little strange. A typical center channel will sound out of kilter.
The typical placement of a center channel in a home theater will significantly degrade the sound of multichannel audio. A detailed discussion on center channel placement is found at the link below. In this Technical Article, We Don't Need No Stinking TV's, the Phase Technology PC 3.5 was often used for subjective evaluations of a system with optimally placed speakers
RCA and Mercury released numerous SACDs from master in the 1950s recorded in three-channel sound. One example is the famous Reiner Chicago Symphony Orchestra recording of Rimsky-Korsakov Scheherazade (RCA SACD 66377) under which the speakers virtually disappear. The sound of the woodwinds from a real center speaker emulates the concert hall effect. Unlike stereo, the mind need not create a virtual center.
The CSO brass require a speaker than can work well at high SPLs when the score requires it, but the sound never turns course in this three-channel recording played on the PC-3.5s. At the same time, the solo violin passages are smooth and well articulated. With the sound directed between the left and center speakers, the violin's wave launch is well portrayed.
It would have been interesting to run five Phase Tech PC-3.5s in multichannel, but it is rare to invest that much money in the rear channels. Phase Tech supplied the PC-1.5 matching two-way mini monitor for the rear installation of a five channel setup. This is more typical of how the PC series can be deployed. The combo of three PC-3.5s and two PC-1.5s in the rear produce truly exceptional multichannel sound on well-recorded SACDs using the Sherwood R-972 AVR with Trinnov EQ on. Unfortunately, most current multichannel classical discs have only ambience in the center channel since the recording engineers anticipate consumers will deploy a thin, on wall, center channel below the flat screen TV. The 1950s recordings, with a true center channel, are much closer to the real thing than these new SACDs, which are, in effect, stereo recordings with ambience from the rear speakers.
The Phase Technology PC-3.5 Speakers On the Bench
I identified crossover frequencies at 950Hz between the woofer and midrange, and 4,500Hz between the midrange and tweeter. The crossover occurs when the acoustic output declines to 0.5 (-6dB). After the transition band, the slopes are approximately 24dB/octave. These measurements imply a fourth-order filter response (electrical plus acoustical). In a properly designed system with even-order slopes, the drives are in-phase at the crossover. Since both drivers are in-phase, the total response is the summation of the magnitude responses. Each driver supplies half the total acoustic output (0.5 + 0.5 = 1.0). The proprietary solid piston flat woofer cones enhance the in-phase property at the crossover to the midrange. Now you can appreciate why the company took the name "Phase Technology."
In-phase drivers at the crossover are critical. Figure 3 shows odd order crossovers are not in phase. Typically these would be first- and third-order Butterworth filters. The drivers are separated by 90 degrees at the crossover. The total response is not only the summation of the magnitude response; the phase difference must also be considered. The summation of the response is, in fact, 45 degrees out of phase with each driver.
Note the 0.7 amplitude of each signal from the drivers in figure 3, not one-half as with the even-order network. We need the extra amplitude, given the drivers' phase offset, to approach unity gain with both drivers active.
For most speakers, as with this one, the drivers are not coincident in the vertical plane. The amplitude response changes in the vertical direction as the arrival time of the wave fronts of the two drivers change and a phase offset emerges. With an even-order network, the result can only be a reduction in amplitude since each driver is producing half the acoustic output on axis to the drivers. With an odd-order network, it is possible to have an increased amplitude response with a change in the vertical offset (0.7 + 0.7 = 1.4). An advantage of the odd-order networks is they produce flat power response which is generally considered less important for speakers designed for home use.
The combination of the fast acoustic rolloff (24db/octave) of the crossover, which minimizes interaction of the drivers outside the crossover region, and the in-phase response at the crossover yields minimal changes in the vertical radiation pattern as the offset angle is increased. More details on how the crossover design affects the vertical radiation patterns can be found in an article I wrote for Sensible Sound (pages 12 – 19 of the Dec 2005 issue). The text is online in The Free Library (www.thefreelibrary.com) but the figures are only in the physical magazine.
Note that the speaker PC-3.5 is not linear phase. For high-order crossover networks, the phase of the far-field response varies with frequency. This effect is rarely audible in double-blind tests reported in AES conference papers above 200Hz. A speaker with poor radiation patterns, however, can be easily discerned by the ear. I was able to bring the speaker into linear phase using the Trinnov room EQ, which does phase and amplitude correction. I heard no audible difference with the PC-3.5s, which yield a near-perfect impulse response with phase equalization enabled (not shown).
Cascading a digital correction filter in front of a passive network is not the optimal way to use DSP. An active speaker with a DSP crossover provides much more flexibility in the optimization of the speakers performance in the time and frequency domain. This is why the next line up in the Phase Tech lineup is an active DSP based system.
Quasi-Anechoic Measurements
Figure 4 shows the NRC (National Research Center of Canada) listening window (direct summed with +/- 15 degrees of the tweeter axis vertical and horizontal). My measurements with the Acoustisoft R plus D software are at 1 meter. Moving farther than 1 meter raises the frequency to which these quasi-anechoic measurements are accurate since room reflection corrupts the measurements in my test room. At 1 meter, the measurements are good to 300Hz, which approximates when the room characteristics start to dominate over the speaker characteristics at the listener's seat (Toole Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms, Focal Press 2008).
A discussion of the pioneering work of Dr. Floyd Toole at the NRC (long before his association at Harman) would be appropriate here, but the space is too limited, and it is best to read his book or for the deep dive, the original AES papers. The Cliff Note version: the NRC team developed a method to statistically quantify the sound of a speaker using a trained listening team and double-blind testing procedures. The measured response characteristics of the speakers used in the listening tests were next examined with the goal of identifying design criteria to yield superior sound quality in the controlled listening tests. Upon achieving the goal, the design criteria were published.
The sequence of events is not arbitrary. Intentionally, the NRC knew the proper order was to first have listeners qualify the attributes of a good sounding speaker, and then attempt to characterize why they sounded good. The date of appearance of the classic AES papers makes this clear:
Toole, F. E. "Subjective Measurement of Loudspeaker Sound Quality and Listener Preference" Journal of the AES Vol. 33, Feb 1985
Toole F. E. "Loudspeaker Measurements and Their Relationship to Listener Preference" Journal of the AES Vol. 34, Part 1, April 1986 April and Part 2, May 1986
Looking at the PC-3.5 it is unclear if Phase Technology engineers have been influenced by the NRC papers in their development work, or established their guidelines for quality-sounding speakers independently. A Phase Technology 3 way floor standing speaker introduced back in 1989 answers the question. The design and independent measurements from Stereo Review show a fully realized modern speaker. 1989 is too early for a production product to have been designed from the NRC AES papers.
Ken Hecht writes: "This was done on our own. We were using FFT analysis back then to analyze diffractive effects and radiation patterns".
I perform many of the tests advocated by NRC as important in identifying a good sounding speaker within a controlled environment. One significant omission from my test set is power response. I cannot measure a speaker's power response, which is also used to calculate directivity indexes with frequency.
Since I am limited to 300Hz, I set the gate time to 45msec for figure 4. The curve is high resolution at 0.1 octave smoothing to highlight significant (and audible) high Q resonances. (See Dr. Toole's text as a reference for this statement). Unfortunately, since this is my first speaker review for Secrets, I have no comparable to present on this website; nonetheless, this result is excellent as the total span of the curve covers no more than 21dB in the Y axis. The response aberrations at 900Hz are associated with the crossover and not a resonance. The midrange also is admirable, with only a small peak at 2.5kHz and perhaps something around 4kHz, although this deviation is close to the crossover and its exact origin is hard to pinpoint. Above 5kHz, in the range of tweeter the curve is as smooth as glass. These results are not magic, but the result of nearly 50 years of soft dome development at Phase Technology.
Figure 5 shows the NRC listening window as typically presented in some magazines and manufacturer literature One-third octave smoothing does not show the resonances clearly. This curve also has a span in the Y axis of 42dB, which is more typical of the range in which these curves are presented in some magazines and manufacturer literature. You can see with the loss of information content as smoothing and Y axis span are altered.
Figure 6 shows the horizontal radiation pattern. This is again a 1 meter near field measurement. Each curve represents a step of 15 degrees from the center of the speaker. These are at one-third octave smoothing to make the overlaid curve easier to read. I did look at these curves at higher resolution smoothing, but found nothing additional to report on driver performance. The curve shows measurements to a very wide 75 degrees. Examining wide angles is critical to account for early wall reflections in the room. Work at the NRC informs us a good sounding speaker (trained listeners in a double-blind test) needs to have monotonic off-axis response with an increasing downward slope as the angle increases. In practice, some non-monotonic behavior occurs around the crossovers as one moves from a narrowing dispersion pattern of the larger driver to the wider dispersion pattern of the smaller driver.
We can see only a small non-monotonic trajectory at 800Hz-1000Hz and a slightly more significant deviation at 1.7kHz– 3kHz at the widest angles (green, blue and pink curves). Again, since this is my first speaker review at Secrets, there are no comparable curves on this website; but this is a truly excellent result.
The NRC research tells us reflections from the ceiling and floor also contribute to the sound at the listening seat. These reflections are dominated by the vertical radiation patterns that can look worse than the horizontals. The crossover dominates and this dynamic exemplifies the company's name. All the drivers are in-phase at the crossover. Repeating from above, the response deviation around the crossover will be minimized and any response deviation should be negative.
Figure 7 shows the vertical radiation pattern. Each curve steps from -10 degrees below the tweeter at 1 meter to 15 degrees above the speaker. Moving back to 9 feet, the listener would be 2.5 feet above the tweeter axis to be the equivalent of 15 degrees above the tweeter at 1 meter. That is an average person standing with the speaker on a 24 inch stand (tweeter at 36 inches). -10 degrees is 1.5 feet down or 1.5 feet above the floor. That is the on-axis response of a child sitting on the floor, but floor bounce is the primary concern at this angle.
Figure 7 shows us virtually nothing at these angles. At negative angles the sight reduction in amplitude in the curves below 500Hz is a measurement artifact. For negative angles the measurement microphone moves closer to the floor and picks up a floor reflection. Ideally the speaker should be rotated instead of moving the microphone but this is not workable for me.
Dual 6.5 inch woofers are equivalent to 13 inches in the vertical direction, so they are somewhat directional above 500Hz and the curve returns to baseline as the 1.5 inch midrange takes over. The crossover leaves few visible artifacts in the curve. No peaking is seen in the curves as expected from the in-phase crossover. The same story holds at 4.5kHz. Extraordinary!
In-Room Measurements
I have had many bad experiences with defective speakers or poorly designed speakers that caused me to waste time listening before identifying the defects in the measurements. The key measurement for finding a speaker's weakness is the in-room response. Measuring this first also permits one to identify the optimal placement in the room and, in the case of a bookshelf, the optimal stand height. I make no apologies now for measuring first since many PC-based room EQs enable the listener to make measurements to improve speaker placement.
Figure 8 shows an averaged measurement at 9ft back at the listening seat. This is a full range curve with a 500msec gate time. The measurement incorporates all the early reflections in the room. The span of the Y axis is again 21dB. This is a spatial average of nine points around 1.5 foot square. Again, it is a 0.1 octave smoothed curve.
Figure 9 shows the nine single shoot curves used to produce figure 8 One sees the single-shot curves are too corrupted by local effects to be usable at 0.1 or finer resolution.
Note how close the in-room curve (figure 8) is to the 1 meter listening window (figure 4). The most prominent deviation is the notch at the 950Hz crossover point. It is not clear why it is more prominent in this curve than the listening window (figure 4). I studied the audibility of this type of notch and found it relatively inaudible, in double blind tests, if the width is narrow.
Cochenour B., and Rich, D. A., "A Virtual Loudspeaker Model to Enable Real-Time Listening Tests to Examine the Audibility of High-Order Crossover Networks" AES 115th Convention, Oct 2003, Preprint 5908
Compared to the listening window (figure 4) the 2kHz peak is not apparent in figure 8, although the 4kHz is retained. Other than this effect, the figure depicts a resonance free result for both the midrange and tweeter. Please note this speaker is not voiced. The response is absolutely flat: the high-end roll off matches the near field, an immediate consequence of the wide dispersion of the drivers' range. The bump in the bottom end in figure 3 is the room gain, not a bump in the speaker's anechoic response. Different rooms, speaker placements, and seat placements will produce different response below 300Hz. The objective is a speaker with a flat anechoic low-end response so speaker placement can achieve a good low-end in-room response. Unfortunately, speakers with an intentional mid-base bumps move more quickly off the showroom floor.
Without the typical dip in the 1kHz – 3kHz range and a more extended top end roll off, the speaker sounds differently than a speaker with intentional voicing. The difference between the best possible passive cone-based speakers selling for under $10,000 and a speaker in six figures is skillful intentional voicing that fools people into thinking the speaker is worth the price of the average house. It appears the higher the price, the more complex the voicing with more peaks and dips intentionally introduced. When compared with the PC-3.5 at matched levels, the voicing is obvious.
Some room EQs allow the listener to put these voicings back in the speaker when desired. It does not work the other way. If the speaker's in-room response has been manipulated, it cannot be brought back to flat because a properly functioning EQ system measures only the in-room response (figure 8). If the direct anechoic response (figure 4) does not match the in-room response, the anechoic response gets messed up as the EQ adjusts the in room response. A room EQ also has no knowledge of the quality of the radiation patterns (figures 6 and 7) and can do nothing to correct sub-optimal ones.
Those who make $200,000 speakers might suggest otherwise, but a speaker's sound is the result of listening window response, radiation patterns, directivity indices, driver resonance, distortion, and in room response. I do not have the equipment to measure distortion to which others have access. A common source of distortion around the tweeter crossover arises as a result of the tweeter getting too much energy below the crossover. First-order crossovers are bad news here.
The speaker does have a low end limitation. After all, it is two 6.5 inch woofers in a bookshelf enclosure. I measured the speaker in a number of locations to examine the low frequency limit. It looks to be -6dB down at 35Hz in-room consistent with the near-field response of the woofer and port (not shown). Floor standing three-way speakers in this price range (not to be confused and, in my opinion, never to be purchased 2.5 way systems) will go slightly lower and produce less distortion in the bass at higher SPLs. This is the advantage of more cone and box area. Higher SPLs can be achieved with the PC-3.5 by adding a subwoofer. The ideal crossover is about 70Hz. Forget subwoofers if a good room EQ is not present in the chain (at this point that is the Anthem ARC outside of 5 figures); otherwise, there sound quality between 50Hz and 90Hz will be compromised.
Conclusions About the Phase Technology PC-3.5 Speakers
The PC-3.5 is designed well, so it sounds great. The key attraction is the speaker's size. It can be placed anywhere a mini monitor can. It goes much lower in the bottom end and has better radiation patterns than is achievable with a 6.5 inch woofer and 1 inch tweeter with the addition of the midrange. Also, a key advantage of the midrange is that resonance effects at the woofer's top end are reduced with the lower 950Hz crossover. Distortion at the tweeter's bottom end is also reduced with the higher 4.5kHz crossover.
Some audiophiles believe a two-way mini-monitor enables a more converged sound space owing to the small baffle. At 7 inches, most mini monitors are actually wider than the PC-3.5. The speaker is only 7 – 10 inches taller than the typical mini monitor.
The PC-3.5 costs more than a typical mini monitor. So if your cash is limited, what to do? Use well-designed high-value equipment from major manufacturers. An Onkyo C7030 CD player (I used a Sony, which is less well crafted, but is what I had access to) sitting on the Yamaha R-S700 receiver (I tested the speaker with an older Yamaha unit that had the equivalent power amp) will work just fine. I heard no degradation in sound quality from the electronics. Total price of the electronics is $750. The $2750 total system cost with the Phase Technology 3.5s is the equivalent of what most audiophiles spend picking a mini monitor and more expensive electronics.
Even with more space for a larger speaker and the cash for more expensive electronics, I would recommend putting this speaker on your list. It is competitive to floor-standing speakers at twice the price for the SPL levels at which I tested; indeed, it may be preferable to some floor standers. Retention of the stable vertical image over frequency and the wide horizontal dispersion of the PC-3.5 with deeper bass and lower bass distortion at high SPLs normally require a four-way system. In the $4500 price range, two PC-3.5s, two well placed mono subwoofers, and a good digital room equalizer/bass management system form a 4 way system which would be competitive with some speaker systems costing over $10,000.


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'all key are easy to feel and press without looking, with deep and clicky feedback to them.'
'Noise cancellation worked well in my tests, as the Z Ultra blocked out a good amount of loud street noise, but I did notice a persistent hiss. '
'It's almost impossible to reach anything in the top half of the display or on the opposite side to your hand.'
'While the overall footprint of the Z Ultra is large the sheer thinness of the phone is very impressive. '
'Nice aluminum design.'
'Fingerprint scanner's location makes it difficult not to swipe the camera lens.'
'excellent display and stellar battery life'
'As with the regular HTC One, image quality is incredibly sharp, while brightness, colour and contrast are all excellent.'
Powerful processor, and a brilliant screen
Huge long-lasting 3200mAh battery
Powerful performance, good low-light camera, brilliant screen
Swift processor, fat battery offset by cheap plastic
'The HTC Desire 601 is a phone that gets close to the sort of specs you'd get in a top-end One-series phone, but at a slightly lower price.'
'The viewing angles of this IPS LCD screen are also quite decent.'
'capable dual-core processor'
Want BoomSound and Zoes but without the expense?
Support 1080p video recording and do a great job in low-light
Sizable display with very good pixel density
The Sony Xperia ZR is a smaller version of the flagship Xperia Z that offers much of the same features
Water and dust resistant, Camera works underwater
Good camera, Great performance, Good battery life
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Welcome to week4paug.net 2.0 - same as it ever was! (but a little more gooder ) Keep us posted on ANY issues you may be having HERE: http://week4paug.net/index.php?topic=18331.0
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Have a good one!
Quote from: nab on April 02, 2011, 07:00:47 PMThanks everyone!Today has been fine as wine so far, and I haven't even cranked up the bbq yet.Happy Birthday!Brontosaurus burgers?
Thanks everyone!Today has been fine as wine so far, and I haven't even cranked up the bbq yet.
You haven't lived until you've had a robot shart in your ear and followed along in the live setlist thread while it happens.
Mister Charlie told you so.
Thanks guys! Pretty low key birthday here due to some bug I picked up on Sunday. Made it out with the family for some good Vietnamese Noodles. Probably the first birthday in a long time that I haven't had some sort of alcoholic celebration. Doesn't even sound good at the moment. I'll just have to make up for lost time later.
what can I say, I like apples
It's like BJ Galore over here!
I use records for that and don't have to justify it to my friends.
Vietnamese noodles make everything better. HAPPY BIRTHDAY!!!!
I'm drunk but that was epuc
The Line still sucks. Hard.
well boys, we fucked up by not being there.
You never drink alone when you have something good to listen to.
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By ,
Published January 13, 2015
A loud auto crash that some passengers thought was shots being fired and an anonymous call reporting a gunman prompted evacuations Friday night at two terminals of Los Angeles International Airport, officials said.
A woman driving on the airport's arrivals loop at about 7:30 p.m. lost control of her SUV, hitting another woman who was walking on a sidewalk before slamming into a parking garage across the roadway from Terminal 5, Los Angeles police Sgt. Mark Guardado said.
People are still nervous following an airport shooting exactly three weeks ago in which a gunman killed a security officer and injured three other people.
"With what recently just occurred here, everybody's still a little bit on edge," Guardado said.
Sounds from the crash spurred reports of gunfire among the passengers inside the terminal, many of whom ran outside, though there were no official orders there to evacuate, LAX spokeswoman Nancy Castles said in a statement.
Both women in the crash were injured, the pedestrian seriously, Guardado told KTTV-TV. Details on their conditions were not immediately available.
Meanwhile in neighboring Terminal 4, airport police received an anonymous call just after the crash reporting a gunman at a specific gate, Castles said.
Police ordered the evacuation of that entire terminal while they investigated, but there were no signs of a gunman and the scene was deemed safe, Castles said.
Passengers and workers were allowed to return, but had to be rescreened by security, causing a huge bottleneck of people trying to get back in.
The false alarms made trouble for travelers on a busy Friday night, backing up traffic coming into the airport and delaying departing flights while passengers struggled to get to their gates. Terminal 4 is home to American, American Eagle and Qantas airlines. Terminal 5 is occupied solely by Delta Airlines.


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Mattie Ross—A Portrait of Feminist Heroism or Traditional Masculinity?
Is True Grit's Mattie Ross a genuine feminist hero or a merely a woman who mimics traditional masculinity?
Panelists Brenda Bethman, Adrianne Russell, and Crystal Gorham Doss — led by moderator Jane Wood — discuss the concept of the female hero and how this image has evolved. They delve into questions of the media portrayal of women (with special note of the Western genre), diversity in female depiction of heroism, and current activism in the Kansas City area to empower women and girls.


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The Neighborhood Advisory Commission proposes and makes recommendations to the Mayor and the City Council and assists City departments on specific programs designed to build upon neighborhood opportunities and strengths, as well as to prevent the decline and deterioration of neighborhoods by recognizing and supporting the aspirations of residents and their neighborhood. (City Code, Chapter 2, Article V, Division 14)
Apply to serve on the Neighborhood Advisory Commission
The Neighborhood Advisory Commission:
- organizes and appoints members of the Commission to serve on standing committees as the need arises;
- reviews projects and concepts developed or proposed by the Neighborhood Program Office staff, the Neighborhood Advisory Commission and citizens;
- advises the Mayor and the City Council and assists City departments on ways in which information on neighborhood topics can be gathered and disseminated, such as conducting surveys and studies, convening forums, seminars and workshops, and sponsoring special event and award recognition; and,
- receives, accepts and acquires by gift, bequest or devise real and personal property of every kind, nature and description in the name of the City for neighborhood purposes, subject to approval and final action by the City Council.
The Neighborhood Advisory Commission is composed of 15 members. Members are appointed proportionately to the geographic distribution of population by zip codes, subject to change as population shifts occur. Each member of the Commission must have been a resident of Tempe for at least one year prior to the appointment. Terms are for three years.
Neighborhood Advisory Commission meetings are typically held on the first Wednesday of each month at 5:30 p.m., in the third floor executive conference room at City Hall, 31 E. Fifth St., Tempe.


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A whole orange goes into this refreshing drink, making it nice and thick.
Wash your hands with soap and water, then gather all your equipment and ingredients and put them on a clean counter.
The word ascorbic, as in ascorbic acid (another name for vitamin C), means "no scurvy"? Scurvy is a disease that comes from not getting enough vitamin C.
For more great recipes, click here.


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By industry estimates, fewer than 370 drive-in theaters remain nationwide, compared to 5,300 indoor theaters. And two of them sit about a half hour from each other flanking the west and east sides of Cleveland County.
At their peak in the 1950s, drive-in theaters numbered in the thousands.
Now, by industry estimates, fewer than 370 drive-in theaters remain nationwide, compared to 5,300 indoor theaters.
And two of them sit about a half hour from each other flanking the west and east sides of Cleveland County.
The Sunset Drive-in west of Shelby and the Bessemer City/Kings Mountain Drive-in are both owned by Rick Stinnett, who was born into the business and grew up in a home next to one of the theaters.
Stinnett, for years, has said drive-ins were more about the experience than the movies themselves.
Recent news articles have extolled the resurgence of drive-in theaters or lamented their continued decline, according to D. Edward Vogel, administrative secretary of the United Drive-in Theatre Owners Association and owner of a drive-in theater in Baltimore.
�There's neither a decline nor resurgence,� Vogel said, noting that the industry's numbers have been largely unchanged in the past decade.
Vogel called drive-ins �a treasure,� although they are far from their golden years.
Nostalgic and affordable
Moviegoers, questioned before a showing of �Monsters University� at the Sunset this summer, said they traveled anywhere from just a few miles to as far as Tennessee to watch a movie under the 60-by-90-foot screen.
Before the movies began, customers played catch and other games in the space in front of the screen.
�I've been every year it's been open,� said Emily Sims of Ellenboro, who brought her husband and daughters, Kaitlyn and Kelsey, to the drive-in. �We like to come as often as we can.�
Sims, whose family of four spends at least $60 at an indoor theater, said a trip to the drive-in can cost the family as little as $25.
�It's almost $30, just to get in an indoor theater,� Sims said. �It's outrageous.�
Many of the other families, which nearly filled the lot that holds 400 cars, said it was some combination of preference, nostalgia, novelty or cost that drove them to the Sunset.
Adam McNeely, who brought his three children from Forest City, said he was continuing a tradition from his own childhood.
He also praised the freedom of the drive-in, with the open spaces to allow his children, ages 5 to 7, to stretch before the show.
�They like being able to play, but the cost does factor in, too,� McNeely said.
Pressures of new technology
Until recently, many in the drive-in industry thought they would soon be out of business.
A shift to digital projection and away from the 35mm film used by many drive-ins doomed the industry, officials said.
At the Sunset, officials feared as recently as December 2012 that they would soon be going under.
But the industry, full of camaraderie, pulled together, said Vogel, a third-generation drive-in owner.
�We're mom-and-pop businesses,� he said. �There isn't a big boy in the bunch. At 99 percent of drive-ins, the owner is on the premise.�
For now, film companies continue producing 35 mm movies, but Vogel and others said it's only a matter of time before drive-ins will be forced to invest in new technologies. An update not all will be able to afford.
�My fear is that we're going to lose a lot of drive-ins between now and next year,� Vogel said. �Hollywood still makes film, but fewer and fewer prints every day.�
Drew Brooks is a reporter for The Star�s sister paper, the Herald-Journal in Spartanburg, S.C.
Want to go?
Sunset Drive-in
3935 W. Dixon Blvd., west of Shelby
Opens at 7 p.m.
Tickets: $10 a car
Food: Concession stand or no penalty for bringing outside food and drink
More info: 704-434-7782
Bessemer City/ Kings Mountain Drive-in
1365 N.C. 161, Bessemer City
Opens at 7 p.m.
Tickets: $10 a car
Food: Concession stand or no penalty for bringing outside food and drink
More info: 704-739-2150


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It turns out that when an application is redeployed the old classloader should be garbage collected which should free up both heap and PermGen memory by removing all the information related to the discarded web application. Unfortunately if something outside your web application holds a reference to even one class within the application which was loaded via the applications classloader then the classloader itself, and hence all the class information it has loaded, will not become eligible for garbage collection and this, eventually, results in exhaustion of the PermGen memory pool. If that isn't initially clear, never fear, as Frank Kieviet wrote a brilliant article (with diagrams) which explains the problem in more detail.
Looking back through the Tomcat logs it seems as if something within one of the libraries I was using is leaking a Timer instance which stops the classloader being garbage collected. I haven't actually managed to fix the problem yet but I did learn quite a few things along the way which I've collected together and turned into....
Cranium is a web application (distributed as a WAR file) that provides information on the memory usage of the servlet container in which it is being hosted. This includes information on all the memory pools (both heap and non-heap) as well as class loading and garbage collection. It also incorporates two different ways of triggering garbage collection to help monitor for memory leaks etc. Rather than trying to explain in detail what Cranium allows you to monitor I'm hosting it as a demo for you to look at (although I've disabled the garbage collection tools so that they cannot be used to make the server unstable).
As with most of my software Cranium is open-source and you can grab the code from my SVN repository or you can simply grab a pre-built WAR file. If you want to track development of Cranium then you can monitor it via my Jenkins server which also produces a bleeding edge WAR file on each build.
I know a lot of the information Cranium displays is available through other tools but I'm already finding it really useful and I hope that at least one other person does too!


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If you have or know a solar project, please submit it to us for consideration as a featured project using Submit an Item. http://www.solaripedia.com/302/submit-an-item.html
The Chenequa Residence is a single family home near Milwaukee, Wisconsin, designed by organic architect Robert Oshatz. The house is designed in response to the existing terrain and environment, sited on a wooded hill overlooking a lake, wrapping around the contours of the land, and set between the existing trees. Because the house uses a steel frame construction method, it was possible to free up large portions of the wall surfaces for glazing. Large expanses of windows provide sweeping views of the forest and lake, using heat mirror glass that out-performs triple glazing. A geothermal heat pump feeds the radiant floor heating, as well as air conditioning that controls the high humidity of a Wisconsin summer. However, most of the summer heat is mitigated by cross-ventilation; cooler outdoor air comes in from the lower ground floor off the lake and rises up through the atrium, exhausted through the upper third story. The upper stories are sheathed in accessible vegetated roofs, with the two most upper roofs scheduled to receive solar panels in 2013. In addition, the 1,800 square foot underground garage is covered with a 12" sod roof. The house was designed to be built in two phases; the first phase consists of the primary living areas, and the second phase will add an indoor swimming pool, an in-law's suite and an entry way.
The central focus of the house is a large atrium that contains a three-story circular stone elevator core and a cantilevered spiral stair case that wraps around it. In the atrium space, the dynamic ceiling steps up as it wraps around the elevator core. Above, the roof is vegetated and has access through a door at the third floor level, with steps leading above the third floor area. Each of the stepped roof segments is separated by glass that form shallow "s" shapes; sunlight moves along the curves and through the glass throughout the day, acting as a sort of sundial.
A strict discipline was applied to the material pallet. Walls that touch the ground are clad in stone, and are usually raked to enhance their visual connection with the earth. Elements that do not have contact with the earth are clad in stucco. The window members are wood, as is the spiraling ceiling. Concrete floors are used throughout. A metal-clad cylinder houses the master bathroom, and wraps around the elevator core.
The house design is complex, but in keeping with the philosophy of organic architecture, there are no random elements. The design is governed by a strict geometric rationale. Where all curves are radial, which means that there are no free form curves in the building.
Almost everything in the building envelope is custom-designed and custom-made, revealing an extraordinarily large amount of architectural detailing. All work was done in-house, including every steel detail and even the details of every window frame. In all, there are nearly 1,000 details in the architectural drawings. The house also required innovative construction methods. One of the more unusual elements was creating the wall plates. Because the wall plates are often curved and derived from multiple centre points, it was difficult to use traditional string line methods. Consequently each wall plate was digitally cut by a CNC router to ensure that geometry was retained. The home was completed in early 2012. The home was built by Signature Builders of Wisconisn.
The following article was written by Andrew Boyne, Junior Architect to Robert Oshatz on the Chenequa project.
Chenequa Residence
On a heavily wooded site adjacent to a lake in Milwaukee's western fringe,
Robert Oshatz was asked to design a home for a growing family.
A thin driveway meanders its way between cornfields and groves of oak
trees before presenting itself upon the house. From the approach, the
house looks small. The radial floor plan wraps itself around the face of the
sloping site and avoids all existing trees; reducing the house's scale and
preventing it from ever being visible as a whole. The spiraling green roof
that twists itself around the stone elevator core also reduces the visual
height of the building.
The main entry to the house is located under the lowest segment of the
spiraling roof. Upon walking through the glass door, the compression of
the low entry explodes into a celebration of light and form. A large circular
opening in the floor exposes a new level below, while the low roof lifts and
spins out of view and is followed by a cantilevered staircase. A solid stone
core stands at the centre of it all, like a choreographer directing the dance
around it.
The entry level accommodates the house's public spaces like the kitchen,
the lounge and the dining room, while the lower floor is used for the family-oriented spaces. The level above the entry hosts the master bedroom, an
ensuite and a nursery. A door opens out from the upper floor onto the roof,
which is made up of a series of stepping roof terraces that overlook the lake
and the surrounding landscape.
Oshatz believes providing connections between the internal spaces and the
exterior environment is beneficial to the occupant's wellbeing. Frameless
glazing provides unobstructed views throughout the house to the lake
beyond. Natural materials are used to tie the house into its environment, as
quartz stone walls appear to grow out of the ground and hemlock ceilings
blend with the exterior tree canopy. Materials are carried seamlessly
through the glazing line to break down the definition between the interior
and the exterior, ensuring an uninterrupted flow of space between inside
and out.
The site originally contained a house that was unsuitable for the family's
needs and was demolished. The owners recognized the site's natural
beauty, however, and stressed the importance of retaining all of the trees
that existed on the site. The clients wanted a building, constructed from
natural materials, which acted as one with its environment and provided
unobstructed views and connections to the surrounding landscape.
Oshatz has developed a reputation for creating architecture that is inspired
by its environment. His projects, built across five US states and Japan,
are each unique responses to their sites and the requirements of the
clients. When asked about his approach to architecture, Oshatz states he
believes that "architecture should be at peace with its environment while the
occupants are at peace within". The clients were drawn to Oshatz's exciting
and dynamic forms and to his integration and respect for the surrounding
The Chenequa Residence has been designed to be constructed in two
phases. The extant building constitutes the first phase of construction
and includes the primary living areas for the family. The second phase of
construction to be undertaken at a later point will consist of a glass roofed
swimming pool area and a suite for visiting grandparents.
From the street there is little to suggest the Chenequa Residence exists. A
single lane drive surrounded by trees turns off the street and runs through
cornfields on either side. As the drive continues, it becomes increasingly
wooded with stands of oak trees. In the early hours of the morning, it is not
uncommon to encounter deer or wild turkeys while following the road. The
approach to the house leads up a small hill and onto a circular driveway
that was retained from the previous house. Upon ascending the hill, the
Chenequa residence emerges from across a grassed yard.
From first encounter, the house appears to be small; its stepping roof and
spiraling stone columns help to reduce its height and obscure its size.
Oshatz uses the geometry of the house to continually hide and expose new
parts of the building, simultaneously creating interest while concealing its
scale. From no single angle is it possible to comprehend the building as a
After parking on the circular driveway, the approach to the house is by foot
and follows a small stone wall which continues underneath a low hemlock
clad roof. Upon walking through the glass door, the compression of the low
entry explodes into a celebration of light and form. A large circular opening
in the floor exposes a new level below and the low roof lifts and spins out of
view, followed by a cantilevered staircase. A solid stone core stands at the
centre of it all, like a choreographer directing the dance around it.
The entry into the house also allows for an interesting juxtaposition of
environments. The approach to the house is down a driveway surrounded
by trees and across a lawn that feels like a meadow amongst a forest.
When entering the house, the lake finally becomes visible and dominates
the view. Endless floor to ceiling glass displays the lake while the roof
and floor planes appear to career outwards toward it. Even though the
house explores these two separate environments, it never feels stuck
between them. The removal of structure from the glazing line, the careful
continuation of materials through the glazing, and the spiral shape of the
house creates a space that has no directional emphasis and ensures that
connections to the exterior are provided in all directions.
By building into the site, entrance to the house is made on the second of
three floors. The entry level is provided with unobstructed views to the lake
and accommodates the public spaces of the building including the lounge
room, dining room and kitchen. These spaces are separated from the
main atrium by low ceilings that help to provide an intimate environment.
The plan of the house wraps itself around the convex topography of the
site which, when combined with the use of floor to ceiling glass, ensures
that magnificent lake views are seen from all the internal spaces. The floor
plan is continued out through the kitchen and onto a cantilevered deck
that extends out amongst the trees. A ribbon of curved steel balustrades
bends itself around the balcony and returns into a heavy stone garden
wall, effectively tying the floating floor plain back to the earth. On the other
side of the house, the helical stone wall that defines the lounge room twists
around a tall oak tree and ties the floor back to the ground in a similar
The floor below the entry level is designed for family-based functions.
Below the main atrium space is a games room, a small bar, a theatre
room and a small study. In the wing that follows under the kitchen are the
children's bedrooms and a guest room. The communal family spaces
are dug below the ground and the view is always filtered by heavy stone
walls where they open up to the exterior. The children's bedrooms are
afforded elevation and views by virtue of the sloping site but are bound by
stone and anchored to the ground. The circulation on the bottom floor is
also much more guarded than that provided to the public spaces above.
The bedrooms are accessed via a tall but thin corridor adorned only
with highlight windows. As one of the few spaces in the house without
commanding views, the corridor provides a sense of security and warmth.
Unlike the main atrium space, the bedrooms are more conventionally
scaled and shaped. They provide views to the lake, but only in one
direction. The bedroom at the end of the corridor is ensured privacy by its
height and an oversized expanse of ceiling to the underside of the deck
which extends out from the kitchen. Where the entry level is dedicated
to public functions and provided with views and open space, the family
oriented rooms on the floor below are provided with a sense of warmth and
The floor above the entry level is dedicated to the master suite and includes
a master bedroom, ensuite and a nursery. From the atrium, the upper
floor appears as a floating volume which wraps around the stone elevator
column. The carpeted floor, which differs from the stained concrete on the
lower floors, helps to isolate the upper floor from the lower levels. A planted
balcony extends out from the master bedroom, helping to enhance the
floating feeling. The bedroom and nursery are both provided with frameless glass, which gives uninterrupted views to the lake and the tree canopy. The stepping spiral room sweeps up over the main atrium it passes over the rooms at a low level, ensuring that they maintain a sense of warmth and protection. The master ensuite is built into a tubular shape that radiates out from the elevator core. The enclosed feeling of the ensuite provides a counterpoint to the openness of the master bedroom.
From the upper floor, a door opens out onto the roof segment which hangs
over the main entry to the house. As the roof spirals around the stone
elevator core, steps follow the roofs, turning each roof into a terraced
garden. Some roofs are fully planted, while others have paved areas for a
deck chair and umbrella. The highest roof section is about 80ft above the
lake and provides commanding views.
The clients had expressed at an early stage that they did not care for
symmetry. Oshatz removed any need for symmetry by utilizing a radial
plan for the house. The plan consists of a series of radiuses, with a number
of different centre points. To achieve a logical and harmonious plan
throughout the house, each radius is related. The primary radius wraps
itself around the contours of the site, following a path that avoids the need
to remove any trees. This radius also maintains a convex aspect to the lake,
which helps to make the house feel as if it is opening up to the views and
the landscape around it. The main axis is centred on a large oak tree that
dominates the site. Each subsequent radius responds to the geometry of
the others, resulting is spaces that feel at the same time free flowing, and
The house was designed to be visually small from the entry way, but
to utilize the steep slope of the site to provide maximum views and
connections to the lake. The resultant structure emerges from the earth as a
series of planes that glide horizontally along face of the hill side. Each plane
is unique, and no plane exactly follows any other; they appear to be light
weight and are separated only by glass. The roof planes, with a different
materiality to the floor planes, spin in their own unique pattern; helping
to provide intrigue and complexity to the design. The lightweight and
energetic horizontal planes are countered by the vertical stone volumes that appear to grow from the earth and help to anchor the building.
Constructing the various radiuses that make up the house would have
proven difficult with traditional construction techniques. To ensure the
maintenance of the design's interrelated geometries and to aid in the
construction of the residence, the house was set out using survey points
taken directly from CAD drawings and all wall and roof plates were cut
using a digital CNC router. The ability to cut and locate components directly
from CAD drawings ensured a level of accuracy and speed that could not
otherwise have been achieved.
The pallet of materials is limited to a few that were chosen for their natural
beauty and their ability to tie the building into the natural environment. The
three primary materials used in the house are hemlock for the ceilings,
Idaho quartz chosen for its unique color and shimmer, and concrete floors
which have been stained a rusty earth color. Additionally, plasterboard is
used as a secondary material to contrast the heavy, anchoring, stone clad
walls, as its lightweight appearance maintains the independent feeling of
the horizontal floor planes and provides the necessary privacy between
rooms. Stucco is also used to highlight the edges of the floor planes and
to define the upper floor volume. Finally, painted metal is used to clad the
tubular form of the master ensuite, making it appear as an independent
The flow of space between the interior and the exterior of the building was
of primary concern during the design of the Chenequa Residence. It is
widely understood that connections with natural environments have very
positive outcomes for residents, and given the idyllic setting that the house
is sited, it became even more important that occupants felt connected
with their surrounding environment and not isolated within the structure.
Floor to ceiling glass is used extensively throughout the house and helps
to provide views, but it is the continuation of materials through the glazing
lines that helps to break down the boundaries between interior and exterior.
Traditional window framing details have been replaced by frames that are
concealed within the structure and behind the finish material, allowing
the material to run unaffected from the interior to the exterior. This helps
to dissolve the boundaries of the space. The removal of the structure
from the building skin is also helpful, as columns are brought within the
glazing line and can no longer reinforce the interior/exterior boundary. The
horizontal planes that appear as independent volumes also help to confuse
the boundary of the building. In some circumstances, it is even difficult to
identify exactly where the window glass is located.
The extent of glazing and the size of the house required a comprehensive
approach to sustainability. All windows are glazed with argon filled, triple
paned units. The glazing is also complimented by a thorough insulation
approach. The primary heating system utilizes radiant floor heating, which
is used throughout the house and is assisted by a ground source geothermal
system. The design also incorporates an advanced central heating
and cooling system which is able to use the latent temperature of unused
spaces to heat and cool areas that are occupied. The house has also been
designed to make the most of passive solar energy.
The Chenequa Residence is a result of an amalgamation between the
site, the building program, and the client. The building twists between the
exiting trees and appears to grow out of the hill, yet it has been designed
to perfectly suit the clients' lives, values and tastes. With its generous use
of natural materials, the Chenequa Residence does not fit the white box
language that appears to be synonymous with contemporary residential
architecture. Yet, the building is undoubtedly contemporary. Its wonderful
geometry, its nearly complete transparency and its lightweight structure are
products of contemporary design and construction methods. Its clean lines
and uncluttered spaces speak of a contemporary lifestyle. Yet at its heart,
the Chenequa Residence is a home for a family. A family that now can live
in a house that celebrates and connects to the magnificent environment
which surrounds it. The house provides connections to the exterior, but
is warm, comfortable and inviting. In an increasingly urbanized world
that celebrates an increasingly urbanized approach to architecture, the
Chenequa Residence reminds us that human beings are innately tied to the
natural world, and that providing access and connections to that world can
ensure a rich and rewarding place for people to live.
Chenequa Residence Case Study (4,361 kb)
Robert Harvey Oshatz (Portland, Oregon, USA)


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Images from Super Bowl week in Indy
They play a game on Sunday. They really do. But the game, as big as it is, is only a small part of Super Bowl week. These photos capture some of the images from Super Bowl XLVI week in Indianapolis. (Click on the first image in the gallery. Then click on the left and right arrows to change images. Click on the image to return to the blog.)


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- Photo size needs to be at least 1 MB.
- When u hv sent us a photo to be inserted, that becomes the final photo to be used, another $5 will incure should you decide to change photo.
- Banner material is PVC canvas with 4 eyelets at the corner.
- Please prepare your own blue tack to paste or string to tie the banner.
- Banner will be ready in approx 1-2wks time after u have confirm the artwork.
- Size : H0.6m x W2m
Additional Information