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Reinhard Steger, Actar Pro
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Printing
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as "supramateriality" - liberates built form {rom a dualist approach that separate ideas from
substances, objects from subjects, and production from perception. Today, abstract and
dynamic materials can be precisely measured and visualized with the aid of digital software,
and merged with concrete materials used to produce the design of built forms. lt allows built
forms to address multiple causes and hybrid concerns, and it allows us to redefine the role
of function in built forms, aligning it with the way it is understood in other disciplines.
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Such hybrid concerns cannot be addressed through binary thinking. They require a change in
our approach toward materiality, away from an understanding of material as exclusively physical
and tangible, to include both the physical and the non-physical - climate, sound or economics
as well as wood, steel or glass. This expanded notion of materiality - one could describe it
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ln his essay "Critical Architecture",3 Michael Hays outlined two possible positions for architecture
to adopt vis-d-vis culture: architecture is either an instrument of culture, or it is an autonomous form.
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could be used to determine the external appearance of objects and relate them to their context.
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ln the same period, Viollet-le-Duc advanced his theory of structural rationalism, which concerned
itself with functional efficiency and the honest expression of structures and materials as the basis
for the external appearance of forms. For Modern Movement architects such as Walter Gropius,
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built forms. Later in the twentieth century Aldo Rossi proposed a system of structural and spatial
typology as another objective basis for style.
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Conversely, approaches that focused on the intellectual processo rather than the practical result
include much of the literature on disegno, which was elaborated by Leon BattistaAlberti in
Florence and was later taken up by Vasari. Disegno meant more than the practice of "drawing"
and more than the modern notion of "design" (in the sense of composition or pattern), although
both words have been used to translate it. Crucial lo disegno was the intellectual idea or
concept present in the mind of the artist. The principles of perspective enabled artists and
architects such as Leonardo da Vinci and Andrea Palladio to create their own ideal visualization
of an object or scene, as distinct from its actual appearance, and to place it in a harmonious
relationship with human beings. Discussions of architectural character, led in the seventeenth
century by PerraultT and in the eighteenth by Boullee, Ledoux and others, sought to establish
a new language of forms - a "speaking architecture" (architecture parlante) based on simple
geometrical forms - that would enable people to grasp the purpose and character of buildings.
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simple geometric objects that could be easily grasped. His use of the Modulor as a universal
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of their visual harmony - reflected his interest in the way forms would be perceived rather than
the way they were produced. Later in the twentieth century, the CIAM group, including Siegfried
Giedion, Josep Lluis Sert and Fernand L6ger, and others such as Alison and Peter Smithson
(New Brutalism) and Aldo van Eyck (Structuralism), were more concerned with collectivity
than the production of the object, and attempted to incorporate a humanistic approach into the
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milk or cream as well as sweeteners, Starbucks can make your coffee in 70,000 different ways,
Denim jeans, once a ubiquitous uniform, have been diversified into cuts, wash-types and designs.
Now they can be low-rise or ultra-low-rise, stone-washed, black, blue or white, flare-leg,
boot-leg or straight-leg, with front pockets, back pockets or both, with or without studs, with
or without colored stitching, branded or not, etc. ln the automobile industry, sensorial qualities
are being incorporated into the design of cars to multiply the options available to consumers.
The appearance of a Fiat 500 can be customized in over 500,000 differeni ways by the addition
of accessories or interior and exterior colors. Volkswagen cars, whether you are considering
a Polo Maich, a Polo Blue Motion or a Polo SE, may all be pretty much the same as technical
systems, but they can be differentiated by endless options, including color, upholstery, internal
lighting, sound system, or the shape of the rear lights. Such variations may not change the
way ihe car functions technically, but they diversify the perception and sensation of driving it.
lndustry crossovers have created another genre of differentiation, from internet caf6s and
music store caf6s to crossovers between different fashion categories. ln traditional tailoring
and sportswear, decorative motifs, inscriptions, humor, textures and patterns which are typical
of one have been transferred to and merged with the other. This interaction between two
very different areas of fashion has not only introduced decorum to sportswear and comfort
to traditional tailoring, but has fostered a multitude of novel fashion identities. Differentiation
has also played an important role in the sciences and in the engineering of new structures
and materials. All proteins are constructed from only twenty simple molecules of amino acid.
However, the number of molecules and the sequences in which they are assembled determine
the different proteins, each wiih a different function, enabling an organism to function in
different ways. The multicolored flash of an opal is created by the organized self-assembly of
identical building blocks. ln this case, the difference in size of small spheres of quartz crystal
that measures only in thousandths of a millimeter determines the wavelengths, and therefore
the colors, of the reflected light. Similar principles underlie the design of photonic materials
that direct the communications signals in the bundles of optical fibers that form the backbone
of the internet. Even more intriguing, millimeter-scaled metal rings and other shapes are being
assembled into special cloaking devices, whereby different orientations and slight variations of
these elements can make the objects placed inside them invisible to the outside world. Finally,
in the emerging multidisciplinary field of supramolecular chemistry a new family of molecular
structures is being created from a small set of molecular building blocks, or sub-units.
Designed with special connecting points on their ends, these sub-units have a unique structural
outline and set of electrostatic charges which enable them to link up with complementary
points on other sub-units. The way these connections are made can be altered by a change in
the chemical environment, making it possible to create a variety of "supramolecular" structures
Oppos te page; nflatable dresses from AW03 Kinship Journeys by Hussein Chalayan. Photos courtesy
o1
Hussein Chalayan.
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of novel forms, culture will become stagnant and homogeneous. The fundamental challenge for
architects and other producers of culture is io imbue the production of forms with a diversity
of goals and causes which are not solely market-driven, thereby contributing to an environment
that connects individuals to multitude of choices.
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Though practicing in very different stages of the capitalist era, Mies van de Rohe and Rem
Koolhaas are two architects who have succeeded in diveriing market-driven causes towards
architectural goals. Mies, who witnessed the advent of Fordism, recognized its huge potential
for the building industry. Modern steel-frame construction enabled built forms to be liberated
from the solidity and opacity of premodern construction, allowing for the development of a new,
freer relationship between the interior and exterior of a building. Adopting the elements of Fordist
building culture - the repetition of prefabricated steel components - Mies created careful
architectonic assemblages, embedding spaces with an opennesst transparency and tranquility
that would contrast with the chaotic nature of the city. ln each of his buildings, Mies dissected the
tectonics of the frame (slab, rolled angles, channels, l-beams, and H-columns) and the enclosing
skin differently. For example, in some of his long-span structures, the beam is placed inside
the space, while in others it is above the roof. These beams could be part of a system based
on a one-way frame, a two-way frame or a space frame; the exterior skin, almost always made
of glass, would fill the spaces between the frame, which in turn could be left as raw structure
or embellished with additional columns attached to it, in order to embed it with an affect of
verticality. Mies sometimes used l-shaped columns, and cruciform columns at others; the junction
between the columns and the beams or slabs was detailed in different ways, but always revealing
the difference between the two elements. Such variations were internal to the frame, however,
and did not alter its form. According to Mies, form was abstract, devoid of building problems
that he was interested in. Mies believed that "it was not the task of architecture to invent form
. . . it was a question of truth"le directed "towards a spiritual purpose"'2o And, with regard to the
similarities between the Bacardi building and the National Gallery in Berlin, he said he refused
"to design a new architecture every Monday morning. The Greeks needed hundreds of years
to complete the Doric Column, and it's all to do with completion." lnstead, Mies focused on
creating ideal spaces through the repetition and variation of the steel-frame system. The success
of this approach, he believed, was to be measured by its "beauty" and truth.
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ln his essay on the Ugly, Mark Cousins has written that, "from antiquity and massively reinforced
by Christianity, we inherit a philosophical trinity of the Beautiful, the Good and the True" and
this trinity has survived in the grouping of the negative of these terms - Ugly, Evil and Error which "produces the theoretical basis for persecution and stigmatization".2l "True", for Mies,
meant building according to the logic of materials; "good" meant serving the purpose for
which the building was intended. Accordingly, a building made in this way would be "beautiful".
Given the multiplicity of contemporary culture, it seems inevitable that the idea of truth or beauty
T-e ce'cect on
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other, albeit in different ways.23 ln order to explore forms as multiplicities, designers need to
focus on their affective funciions.
We are very familiar wiih the affects Mies pursued: rationality, order, lightness, disappearance.
It is also well known that he was interested in more than merely the raiional assembly of
architectonic elements, or the most efficient means of assembling a structural system. Rather,
he sought the appearance and experience of rationality. He saw in the steel frame an opportunity
to create ideal, free spaces which avoided both the "chaotic" affects of the modern metropolis
and the heayiness and representational figuration of classical architecture. Mies well understood
the affective potential of architectural forms, and in his works these affects are finely tuned and
directed at eliciting a singular and clearly defined experience. The simple repetiiion of the steel
frame contributes to the appearance of rationality. The way the elements are combined is always
visible and the different elements of the forms remain distinct. Columns never merge with slabs,
the mullions of the frame never merge with the infill panels. There is always a connecting element
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Certain parallels could be drawn between the way Mies's forms work and gym equipment, The
typical piece of gym equipment is fixed and one-track-minded, developing a single muscle at a time
through linear or isolated patterns of movement. A bench-press works your arms, a butterfly-press
works your pecs, over and over again. The exercises require no coordination or concentration
Opposite page: History Flow, designed by IBM's Watson Research Center, is a tool for creating images of the evolution oJ a text and
the interactions of mu iiple authors. The iliustration above shows the Wik pedla entries on abortion and chocolate. The vertical llnes
tTack new vers ons and lhe colors track the contr butions of rndividual edltors. The form o{ the resulting pattern is intrjnsic to the material
being combined at a g ven moment, reflectlng lhe transversal nature o{ Wik pedia as an information forum. Credits; Fernanda Viegas
and Martin Wattenberg, Vlsual Communication Lab, IBM Research
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(p' 76) stacks tower
figure" with a stepped profile which is reminiscent of art deco. 111 First Street
at a series
blocks on top of one another. Looking up at the tower, you wonder if you are looking
you
of
top
on
fall
to
about
- or,
boxes
pile
heavy
of
of weightless towers, floating towers, or a
and
torso
legs,
the
resembte
blocks
three
indeed, if this is a giant looking down at you' since the
of
result
or
the
cosmetic
head of a human being. For Rem Koolhaas, "coherence . . . is either
or that design
self-censorship".zs ,n of course does not mean that forms do not need coherence
"of censorship (selection). The work of Koolhaas/OMA questions the image
is by nature not an act
of coherence in order to avoid limiting the building's affective possibilities.
is the
Other projects that perform as a multiplicity are documented in this book. One example
Breuer
Marcel
by
Abbey
John's
(p.
St'
Although
392).
Yokohama lnternational Port Terminal by FOA
they
plate
structure,
(p.
folded
a
use
386) also
(p. 352) or the Air Force Academy Chapel by SOM
percept,
a
single
simply repeat it to produce a single, undifferentiated space and, consequently,
system of
triggering the same affects of pleating, axiality and uniformity throughout. The material
yokahama lnternational Port Terminal is a hybrid composed of steel folded plates and pairs of steel
length
girder bridge systems, which together make it possible for the form to vary along both its
requirements
services
and
structural,
circulatory,
programmatic,
and its width to cater for varying
bridge systems allow
as well as those of the predetermined asymmetrical foundation piles. Girder
order
to accommodate
in
to
shift
the orientation, geometry and length of the circulation system
and sectional
folding
of
disparate requirements, while the folded plates shift in orientation, scale
of this
nature
profile to accommodate different spans and changes to the girders. The hybrid
percepts
and
material system results in a complex form providing spatial variety as well as multiple
and ef{iciency,
affects. The parking 1evel transmits affects of flatness, pleating, openness and axiality,
and
purposefulness'
and
asymmetry
diagonality,
pleating,
while the terminal level transmits arching,
perambulation'
and
mountain
valley,
landscape,
the roof plaza transmits undulaiion, smoothness,
ship deck,
These diverse affects contribute to a variety of percepts - origami' landscape; a whale,
meaning'
or
interpretation
pier or wave and ensure that ihe terminal is not reducible to a single
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between
Modernism sought a new approach, a rational system for determining the relationship
production' Mies van
whole and its parts, based on principles derived from the processes of mass
modern industrialized
der Rohe's Seagram headquarters is an example of a building based on
as mentioned earlier,
Although,
construction.
frame
building technology, using glass and steel
Mies pursued the
system,
frame
steel
the
from
any number of silhouettes could have been derived
period
Le corbusier,
the
same
During
simplest option in order to achieve the image of rationality.
relating the
of
system
proportional
with his idea of the Modulor,2s sought to establish a universal
sections
modules,
different elements of a building, from three-dimensional space to structural
rather
height,
predetermined
and elevations. This system relied on the human eye, posilioned at a
Thus the Modulor was also
than the intrinsic dimensional requirements of its constituent parts'
control'
essentially an idealized system of visual
lslamic architecture' in
A very early example of the bottom-up approach to form can be found in
figures to produce
geometrical
of
which a system of mathematical formulae governed the repetition
(Dutch
structuralists
whole surfaces. ln the 1g60s and 1970s, functionalism, as proposed by CIAM
the
and
Team 10
such as Aldo van Eyck, Herman Hertzberger and Piet Blom), and later by
produce an architectural
Metabolists, advocated the use of "modules" that could be repeated to
this approach'
exemplifies
Kurokawa,
Kisho
Metabolist
the
by
whole. The capsule Hotel in Tokyo,
a central
around
stacked
capsules
articulated
The fourteen-story tower conlains 140 individually
of flexibility
idea
this
However,
replaceable.
and
core, with each capsule designed to be detachable
of
an
addition
is
essentially
whole
is limited to the possibility of replacing the capsules and the
the
same
During
needs.
identical parts, As in other bottom-up systems, it cannot respond to specific
spatial
in
which
period, Louis Kahn and Robert Le Ricolais produced alternative modular systems
this topological approach
and structural requirements were related topologically. The intention of
Bui, because such
properties'
the
same
retaining
while
was to enable the parts to change shape
isomorphic wholes'
in
resulted
they
system,
the
to
internal
changes were limited to needs that were
Transversal systems
ln a transversal system'
This book proposes a transversal approach to the production o{ forms'
supramaterial whole
a "base unit" assembles a variety of causes and concerns into a complex
is not
- an amorphic rather than hylomorphic whole; that is, the way the elements combine
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This split began with Plato, for whom abstract, intelligible ideas (Forms) inhabited the world of
pure reason, while sensible and physical things (forms) were a refleciion and imitation of these
archetypal Forms. The question of whether the physical or the non-physical has priority has
We therefore need abandon the polarity of simple v. complex repetition, which considers
simple repetition as mere replication. Difference is to be measured noi only in spatial extensity
- that is, the way a form is spatially varied - but also in the intensity of a form and according
to the specific way it affects us. Architects can embed the environment with difference in two
ways: by producing different kinds of ideas for built forms and by exploring dif{erent ways of
actualizing ideas as built forms, Current architectural investigations are mostly focused on
internal geometrical variations of forms, rarely focusing on how the ideas they embed differ from
other ideas or on how the built forms they produce differ from other built forms. Yet two forms
that actualize an idea differently but involve no internal variation can embed the environment with
a greater degree of difference, by affecting us in very different ways, than two forms that are
internally differentiated but actualize an idea in the same way, thus transmitting identical affects.
This book explores the idea of architecture as a continuous process of creating novel forms
and ideniities through the repetition and differentiatron (tessellation) of virtual forms. ln doing
oql ol curcods sr leq] leuoleLu Ll]lln ourqLuoc o+ poou {eqt tng 'e;eqm{ue eleut6tlo uec se3:
'ecrlcerd lernloolrqcre oql lo uorlezrleqoq6 aq1 ssorppe o] suorlecol ro serqde.r6oe6 ssolce F;1ele1:
)ulq] ol sn solqeuo ssecord,{reuorlnlone ue se uorlrledoJ }o uotstler stql'stuto};ecrsfqd la,rcecnpord 01 suotlecol luoro]]rp ur {;1uare}}lp peleeder uooq seq leql Bopt len}.tt^ eLues oq} uo posec
sr slcelord 1o stred osoql ]o qcel '(669 'd; ;eurLurel Uod leuorleuro]ul eueqo)o eq] o] (Zge o
,{eqqvs,uLlof 'lSro'(O0t'd)nlCC01(86 d) zsrsoqlro}sel46urp;rnglleloll}ro'(06I'd) exy
'1g0eol(BL;'d) uor;rnegssele oql 1o{1r.re;ruurseq1 leld.relur plnoqse^ }eq}1q6r; srqtul sl }l
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6urp.rocce pue r;etleds ur
,{1rsue1xe
sJeprsuoc qc
'lenlse eql
Llu/v\ uor1ez1pliq,{q
lo souos e lsure6e polsol uoeq seq ]run oseq qceo '1er:e1euu leurolxo srql ele6tlso^ul
suollcnllsuoc
1o edocs oql utr.lilm lou st lt qOnoqlly sersap o^tlca]]e ro suotllpuoc crleLu!lc '(slsoc
'sleDpnq; euoltrc ctulouoco '(i{1rc.re;ncrlred e 1o ernl;nc uor}cnllsuoc eq1 'Luel6ord; secue}suncllc
lelnllnc pue lercos '(seurleprn6 6uruue;d; sercr;od ,{ro1e1n6e.r se Llcns letlolelu lo slndut leuloixo
e6uer e ,{q pelearlce ore }tun eseq qceo 1o serlrcedec pue s}uter}suoc ol-1} 'seuoLll lo s}xo}uoc
1o
'se;{1s 'senbruqcol }uolo}}tp q}rM pssn}ut sr turo} ueq,r,r se6rer.ue etue6-qns lo erue6 lonou e oloqM
'crsnLu ur to 'Lusrueojo puB outqceLu ]o uorsn] oql so^lo^Ut teqi 6.roqric e ut sV 'sLulol luolo+]lp
ecnpo.rd ol (polellossol) peuen pue peleeder sr UUn oseq eq1 se uels{s oqi }o s}ulel}suoc se lloM
se sorlrcrlceds se ureuror leql sollrcedec lernlcnrls pue serlr;enb onrlco+Je oql outlop o1 {e,rn enbtun
e ut polqLuosse ele leql siuoLuolo ]o souos e sor+rluop! ]lun oseq qcef 'polcerlxo uooq seq r-ue1s,is
eseq lo 'eepr lenut^ eql puE ')ooq srql ur porpnls ueoq a,req sLuals,{s lelro}eL! }uare}}lC
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ouo ut 'pourelureu.t
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se llom se put) ur socuoro++rp ecnpotd ol suorlcu!1s!p pue suotltsoddo uee,r,rleq sstlepunoq oq]
srnlq ornlcolrqcre leql uro] Urnq +o LunrpoLu eq1 qDnorqt sr ll 'sleuoleur ;ecrs{qduou pue ;eclsriqd
sr LUro+ llrnq
pue ;ecrs,{qd uroluoc ]eq] sLue]s,is leuoleu ore )ooq stql u! pelqLuosse sLulo] lenul^ oq1 orn]n+
aql ur sorlrluopr pue su.uoi lo^ou ozrlenlce o1 ;er1ue1od rreql 6ur.ro;dxe pue ,{lolsrq lnoqOnorq}
poleorc ueoq o^eq leq] suuo] pezrlenlce pue lenlir^ 6urz{1eue ,iq ern1n1 s}t pue lsed s,etnlcelrqcle
uoomloq drqsuorle;er enrlcnpord e qsrlqelse o1 s)oos 1r 'peelsu; 'osnec lectlolstqsuell ';esreatun
e ,iyluepr ol st!telc 1eq1 {roeql ,{ue uuor; 'r.usr;erluesse Luotl ,{ea,re sullo} }llnq e^oLU o} s)oos }l 'os
lBluopuocsuer]
environment where they are to be actualized to produce novel forms. Forms in this way motivate
the generation of other forms and they perform transversally, addressing locally multiple criteria
and concerns which may belong to different geographies or time in history.
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crqderg 1iol ir,taN / u^\orE 'alilrl :uolsog) dnpailq)rv tst^1cnqsuoca1'(uosuqof dll!qa qtlm) ,{e16t6 1tey1 6.
Z d (9961' 'arnlcelrqcrV
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srede6 uy u.ropo!\ +o urnesnf! oqf :)ro1 /\^oN) a-lnjrailq/atv ut uouctpe4uoC pue ,(1rxe1dtuo3'unluen uaqou
'l.t- l. Ie dd 'lueqpeorg ,(arl1oeg ,(q ',,ue1s,{3 uDrg cruoc; ue se uOtsa6
6urplrng,, pue'8ll--f Z dd 's1cue; saHeqC,{q ',,uBrg Irnlca}tqcrv eq1,, :satlooeleo s,oc.llod }o oull}no reolc
,{ra.r e eprno]d '(OgOt 'trel!M :)irol MoN) s)cuof seFeqC pue }unE preLlcru '}ueqpeorg {el1loag ,iq palrpe
'arnpalrrlotv pue 's1oqwtrg'sudrg looq aqi +o suorlcas orvrl ,{1t;euelelu uo luepuedep sr }eq} auo aq} sl xopur
'suuels,{s u6rs eelq1 oqi }O '{}rlereua6 ro ',{lrun 'lepro ',{ltnutluoc '1q6noq}'uotlelueserdet i{q palsaltueu
pue ',,1ce[qo lecruleu,(p,, s]t 01 acuoro]or e se pelardrelut sr 1eq1 u6rs e sr (ecualuos to eserqd 'proM ro
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:lueulnuout e leLrLoldrp ro ldrecet'1epar-u ',{qdorl e apnlcur lqOrL! solduexe) loqui(s y',{1r1en1ce1 Lo,{1r;en1ce
'{1r1ee.r'{1r;esnec'uot}ceal 'uor1ce,{q pa}sa}rueur se',,1celqo ;ecrLleu,(p,, s}t }o ecuenl+ut eq} salerlsuoulop lEq}
r)colc e se qcns) xapur uV ,{1rcrldr1lnLu to ttLopoa-l}'6ur1ee;',(1r1enb
uBrs e sr (Luo1dLu,{s lectpeLU ro.to}otltoulreq}
,{q pelseyueLr se',,}oolqo lecrLueu,{p,, s1r 1o serlrlenb eq} soler}suotrJop }laslr qcrqm u6rs e sr (Ller6erp.lo lopoul
'e6er"ur 'ernlcrd e) uocr ue 'ac]led o] 6urptoccy loquLFs -ro 'xopur 'uocr se su6ts pat;rsselc '{tnluec qlueoloulu
or.ll ul 'oqm oclod slopues solleqC i{q sr uorlerpetu lern+ce}rqcre }o }unocce entsueqarduroc }souJ eql
'6[ 'd '(Bg6t 's1oog i(lercog
crqderg Iro MoN / umorg 'ol1+rl :uolsog) unpatuluv tslNpnLsuoca1'(uosuqof dlttqd qtlm) ,{e16rg yeyl
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'enbrlucolne ue ]cnp
oql pue lry;o ,{roisrg oql ro} le}uoc ,{peg eq1 :cluoli^l e}ues) uemlcl/\ sr6ey elpu; ,{q pale;suel1
'(egg t) s,rualJuV eqt ]o poqpw aql )alle suunpc Jo sputy e^u oql toJ ecueuuopro']lneliod opnelS
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'e96 d '(166t 'ssord auolqlv oql:uopuol) uo44adeg pue
aJualalJtO'oznolag sallte !! ctlcoletp uerla6ag oq] ur salc.rc eq1 1o,{1r;erluecouot-u ptdtsut eLl} uel{} orotll slql
]uo.ro]]tp,{;qelt,reur
sr
smoqs 6urqlop loslno aql ulor+ porluelc,ipearle sr orncsqo aql'peu6ra1 ere sseurppt6 pue uorlecrxolul eql
'acuato++tp lseleetB aql st uorlcrperluoc ]Eq]'lecrluapr eql +o uotlcun] e se 'leclluept oq] o] uollelor ur ,i;uo sr
'tqBnoql eq pup ]srxo o] ocuorollrp ro, uorlrpuoc ]uorcr,+ns oql ,{lrluopr 6urleuu ',i1r1uepr ol )ceq 1t sbuttq qctqa,r
pua peop e sr qled srql lnq 'lrurl oql ol ecuoro+]rp qsnd o1 s.reedde uorlcrpelluoo uer;a6ag,, 'solu^ oznala6
+o ,{lluepuedeput pue
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{reroduleluoc }o ..to^1o
oie luotuuoJr^ua eql ul ]
'qceotdde dn-euolioc
"ro}]eu
o1 toud 'uulo1 oql urqltm seprsel 6urueeu lo uorsserdx3 ,i1rlen1ce ue lcelqo oql seleLu pue o^tlce st qclqM
'ulol pue'a,rrssed st qctq^\'iolleLu +o pasodu.roc ere slcafqo leualeur 'tusrqdtouLolt(q;o ldecuoc s,ollolsllv ul
6a-, L'dd' (?B6r) teu) no f
p)npailLluv ap1 aql :16 elcadua4',,ulrol pue aln]lnO ueomlog :o.rnlco+rqclv leclulC,, 's,{eg laeqctyl y
'(Zg6l. ''oC 3 uouoN M M :IroA MaN)
GG6L acuts atnpaltqilV :e1t{1g puupuLarul aql'uosuqof drlrq3 pue '1f ')icocqcllH 1;essn6-,{rue;1
'(9261-'s)oog uV uroquslirM:)ro1,rnoN) s1uy1yL1111 rotlto pue s1eq3 uaye)Lepuly ur pelrc'6-tot dd
'(968t qcren) 7g euze6eyl s;yocudd11 ',,paroprsuo3,(1;ecrlsryy 6utpltng lle-L oql,, 'ue^rllnS H srnol
.r
seloN
euoltrc e;dr1;nLrL,{11eco1
ele^tlouj {em srql ur su