3NTA_ISSUE#2_REVOLT

May 2014 ISSUE # 2

Learning from students Architecture and Design Magazine

tloV REVOLT

ISSUE # 2/ May 2014

WHY

3nta.com

We are

part of those few people who believe that behind a student project there is a valuable idea and effort that should not be thrown away once an exam is finished.

We are

welcoming new students because we believe that their projects can inspire others in the future. With the projects of those students we are creating a database that can be consulted and promoted online.

We are

an international community students from architecture and design can rely on.

We are

proud of being a social community that is growing more and more every day.

We are

already in Italy, Spain, France, England, and the Netherlands.

We are discovering projects and students that deserve a space and visibility.

We know you have a project to share...

you see, you are already part of us.

We want to become as big as our idea of a shared world.

â–Ş

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WHY

the magazine

Students share their efforts on 3NTA platform this is why we create a magazine to make it tangible.

Here there are the great ideas that we believe are worth to be selected and proposed to you.

What we present in this magazine twice a month is simple: some of the most interesting projects published are commented and analysed by others international students.

In this way the article which are presented are essence of different perspectives, between different people and culture.

Each magazine focuses on a different topic that students from architecture and design have faced with their project.

So now put the glasses that our students offer to you and

S T A R T !

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ISSUE # 2/ May 2014

ISSUE #2

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â—Ś

]Revolt[ 360° students' architecture and design magazine

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B Y T H E E DI T O R S ] To r e v o l t ! [

Words betray, they change colour, just like chameleons. They change their meaning according to the context they are used in. They can have ancient roots, often only symbolic, since their meaning may have completely transformed as a consequence of use, re-elaboration, reconstruction.

Just like cities, our languages have changed over time, spoken on and on by different people, cultures and during dramatic eras.

Rebellion, revolution, insurrection, rising. They are all synonyms for the noun Revolt.

If used as a verb, however, the meaning is different: to rise up, revolt, nauseate and disgust.

Focusing on the less “revolutionary” meaning, we decided to see how an idea, a quote, a reference or a simple concept can change as a result of a creative process, just like words do.

Le parole ingannano, sono cangianti, camaleontiche, mutano il loro significato in base al contesto in cui vengono pronunciate e spesso provengono da radici antiche.

Un' eredità, la loro, a volte semplicemente simbolica poiché ormai stravolto il loro significato originale, assunto, utilizzato, vissuto e rielaborato.

Simili alle nostre città, inesorabilmente attraversate da persone, culture diverse e da epoche drammatiche, i nostri idiomi si sono trasformati nel tempo.

Rivolta, ribellione, moto, insurrezione, avversione: questi i significati che "Revolt", utilizzandone il sostantivo, assume. Il verbo tuttavia è molto differente: ribellarsi, rivoltare disgustare e provare disgusto.

Soffermandoci sul suo significato meno “rivoluzionario” abbiamo deciso di analizzare come un idea, una citazione, una referenza o semplicemente un concetto, possano cambiare, come le parole stesse fanno, durante un processo creativo.

Antoine Lavoisier said: “Nothing is lost, nothing is created, everything is transformed”. Although he was referring to the conservation of mass, this concept can be applied to our field of interest as well. The design activity through which architects and designers have to undergo is not a merely creative idea and we will demonstrate it in the most detailed way possible with our projects and their analysis. We will handle the subject in an analytical and somewhat pro positive way, eager to share our view with you, hoping it catches your interest and, with even less modesty, that it will be of somewhat useful.

“Nulla si crea, nulla si distrugge, tutto si trasforma” per quanto applicata alla conservazione della massa da Antoine Lavoisier, questo concetto è applicabile anche al nostro campo di interesse, quello della creatività. Il percorso progettuale al quale Architetti e Designer sono chiamati è molto più che semplice idea creativa, come I progetti che vi mostreremo e le rispettive analisi tenteranno di dimostrare nella maniera più esaustiva possibile.

La trattazione dell'argomento sarà analitica e con qualche pretenzione propositiva, sperando che il nostro punto di vista possa essere per voi di qualche interesse ed ancor meno modestamente, di qualche utilità!

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Talking back again about the starting idea of a project, it can go through many changes over the process.

Sometimes it totally changes if compared with the initial idea, others it remains the same, crystal clear like the first sketch.

How and by whom to be inspired has always been a bitter debate: sometimes by developing associations, others by those still inexperienced, like students. We will try to illustrate some “trends” or simply recurring predispositions.

History plays an important role when it comes to finding ideas and applications. As stated by Bernard of Chartres “we are dwarfs astride the shoulders of giants. We master their wisdom and move beyond it.

Due to their wisdom we grow wise and are able to say all that we say, but not because we are greater than they.” Although his words spread from pen to pen over the years, they would deserve a more accurate consideration.

Ritornando all'idea generatrice di un progetto, questa subisce notevoli mutazioni nel corso del processo stesso, spesso cambiando radicalmente ed a volte invece rimanendo intatta, limpida e cristallina come nel primo schizzo di progetto si era palesata.

Dove attingere e in quale modo è terreno di aspro dibattito ; attraverso le realtà associazionistiche emergenti o quelle affatto emergenti ma ancora in incubazione o gestazione, quali sono gli Studenti, tenteremo di illustrarvi alcune “correnti”o semplicemente inclinazioni ricorrenti. Grande protagonista del nostro bacino di idee e di applicazioni è la Storia: “Siamo come nani sulle spalle di giganti, così che possiamo vedere più cose di loro e più lontane, non certo per l'altezza del nostro corpo, ma perché siamo sollevati e portati in alto dalla statura dei giganti” B. di Chartres (sebbene queste parole siano passate di penna in penna dopo di lui, ed anche queste, ahinoi, richiederebbero un dovuto sviluppo).

Another important source for our ideas are our contemporaries, those who are still alive and busy in architectural production. This area is still too risky for students, who stand astride the shoulders of giants to justify their choices.

How do future architects put these resources to fruition?

Does the matter strictly remain on an academic/formal level, endlessly quoting that type of language, or does it seek new applications inside the present culture, projecting itself into the future?

The research for common roots is a complex topic and we are certainly not the first generation to look for such answers. Hence, what we offer you is up to your personal judgement.

We’ll just give you the personal point of view of our illustrious writers, which will at least allow you to look at architecture with a different mindset.

Lorenzo Bottiglieri

L'altro sono i contemporanei, mediamente ancora in vita ed in fervidissima produzione architettonica.

Questo è terreno ancora incauto per lo studente che tenta di giustificare la propria scelta mettendosi appunto sulle spalle dei Giganti.

Come utilizzano queste risorse gli Architetti del futuro?

La trattazione rimane solamente su un piano formale/accademico citando all'infinito tale portale e tale linguaggio, oppure trova nuovi spazi di ricerca ed applicazione leggendo tra le maglie dell'attuale cultura proiettandosi in quella del futuro? La psicosi collettiva della “ricerca del padre” è argomento annoso e non siamo certo noi la prima generazione a porci tale quesito. Vi lasciamo dunque in mano lo scettro del giudizio personale su quanto vi presenteremo offrendovi i personalissimi “occhiali” dei nostri illustrissimi scrittori dandovi la possibilità di “leggere” di Architettura in un'ottica, appunto, quantomeno differente.

Marco Mattia Cristofori

Luca De Stefano

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INDEX

by projects/articles

[1 -10]

by Michele Santarelli

Hospital para Piedecuesta/ A HOSPITAL IN PIEDECUESTA

A program of social development for citizens

[11 -22]

by Glòria Serra Coch

Ciudad, Barranca, Rio / A COLLAGE OF ILLUSIONS

The practical development of a new architectural language

[23 -32]

by Flaminia Del Conte

Chevalier - The ladies' companion-/ THE CHEvALIER

The necessary nudge before the woman condom

in this

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Projects from

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[33 - 4 4]

by Giorgio Romani

Performing arts center/ REvOLT THE SURFACE

[45 -56]

by Anežka Prokopová

Enter. Barcelona Youth Hostel/ TREADING ON THE OLD

When new architecture meets an old aqueduct

[57 -74 ]

by Gabriela O’Connor

Haifa breaks ground/ THE FOURTH DIMENSION

A new urban tipology for Haifa

number

Feature writers from

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]Hospital para Piedecuesta[

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A HOSPI TAL IN PIEDECUESTA

A program of social development for citizens

Michele Santarelli

The project for an hospital in the municipality of Santander, in the Colombian region of Santander was planned out by Oswald Leonardo Baron, born in 1993, student at the university of Santo Tomas.

The idea originated from the need to provide a top class, functional and comfortable hospital to the small municipality of Piedecuesta, which is part of the greater metropolitan area of Bucaramanga.

The town doesn’t have such a service, hence the project aims at meeting the health needs of its approximately 50.000 inhabitants.

Il progetto per un ospedale a Piedecuesta, un comune del dipartimento colombiano di Santander, è opera di Oswald Leonardo Baron, studente dell’università di Santo Tomas, classe 1993.

L’idea nasce dalla necessità di fornire un centro ospedaliero di primo livello, con spazi degni e confortevoli, al piccolo comune di Piedecuesta, facente parte della più vasta area metropolitana di Bucaramaga che non dispone di servizi di questo tipo, rispondendo così alle esigenze sanitarie dei suoi circa 50mila abitanti.

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Rendering view

TITLE: Hospital para municipio de Piedecuesta DESIGNER: Oswald Leonardo Baron NATIONALITY: Colombian UNIVERSITY: University of Santo Tomas Bucaramanga, Colombia

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The project shows the student’s ability to adapt to the unique geographical features of the Colombian territory, which in those 344 square kilometres is dominated by valleys, plateaus, mountains and hills.

These territorial irregularities make the landscape unique and the building, seems to be indeed one of them, emerging from tectonic movement, as if the earth opened up, letting new volumes reach the surface and creating new landscapes through crystallisation.

The outdoor space upon which the hospital is built, at a first glance, resembles the architectural mastery of P. Eisenmann. However, it in fact is a repetitive space arranged in terraces, each of which features small green areas and small water bodies connected by large staircases on one side, and symmetric drawings going in random directions on the other; this creates an interesting area where hospitalized patients can relax.

Il progetto mostra la capacità del giovane studente di rapportarsi con la particolare orografia del territorio colombiano che, in quel tratto di 344 km quadrati, offre un elevato numero di valli, altipiani, montagne e colline. Si potrebbero chiamare “incidenti territoriali” che rendono unico il paesaggio e si riflettono in quest’edificio che sembra emergere da un movimento tettonico, come se la terra si aprisse facendo affiorare nuovi volumi che cristallizzandosi creano un nuovo paesaggio.

L’ospedale sorge su un’area scoscesa, lo spazio esterno, che a primo impatto richiama le architetture di un maestro come P. Eisenmann, è in realtà uno spazio ripetitivo organizzato con terrazzamenti che presentano, da un lato piccole aree verdi e degli specchi d’acqua collegati da larghe scalinate che superano il dislivello; dall’altro, a Nord, disegni simmetrici disposti secondo direzioni casuali.

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Rendering view

Longitudinal Facade

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The distributional pattern it follows is aleatory, following a deconstructivist logic which Baron also tries to apply to the building itself.

The images indeed show a structure which does not remind one of a hospital: the lack of people, which may be intentional, creates an aloof building whose main focus is on architecture, instead of on doctors and patients.

The sloping facades, acute angles, the cladding and fixtures all remind of a multi-functional building or indeed a museum.

The operation is courageous but successful: indeed, the analysis of diagrams and section shows that layout and space composition are those typical of a health center.

Il tutto crea un’interessante area per il relax e lo svago dei pazienti ricoverati che non ha un ordine preciso in cui le gerarchie distributive sono del tutto aleatorie e seguono una logica decostruttivista che Baron tenta di riproporre anche nell’edificio.

Nelle immagini, infatti, il complesso ospedaliero mostra un linguaggio che non ricorda affatto un ospedale: la mancanza di persone, forse per scelta, ci restituisce un luogo freddo che vede protagonista l’architettura, in spazi dove i protagonisti dovrebbero essere i pazienti e i medici.

Le differenti facciate inclinate, gli angoli acuti, i rivestimenti, i giochi degli infissi, ci fanno pensare a un edificio multifunzionale o ad un museo. E’ un’ardita operazione architettonica che probabilmente riesce proprio perché, analizzando le piante e le sezioni, mostra come il sistema distributivo e la composizione degli spazi siano quelli tipici di un centro di salute.

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The exterior of the building is a vast glass facade, with fixtures introducing unexpected cuts and longitudinal openings.

The building is completed by an interesting roof plan, which folds connecting the two opposite angles. It changes inclination when the facade changes its rhythm.

The interior is a stereometric volume which hosts the locations dedicated to medical care.

Every one of their functions is planned down to the smallest detail; even the

internal distribution of space com pletely abides by the standard design

rules for an hospital.

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Side section

In pratica è un involucro con grandi vetrate in facciata, con infissi che creano tagli inaspettati e aperture longitudinali, il tutto coronato da un interessante piano di copertura che piega lungo la congiungente dei due angoli opposti e cambia inclinazione nel punto in cui anche la facciata cambia di linguaggio. All’interno è racchiuso un volume stereometrico che ospita gli spazi per le cure mediche.

Longitudinal section

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The two underground floors host reception and diagnosis services, whereas the rooms for patients, the surgical center and first aid room are all located (on the 2 floors) above ground.

In conclusion, the project shows discrete architectural quality, even though it is somewhat lacking in terms of representation and formal coherence.

The final result is a hospital which certainly fosters imagination, which architectural features recalling other contemporary styles.

Diagramatic plan

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Le funzioni sono studiate nel minimo dettaglio e anche la distribuzione interna si attiene alle regole della progettazione di un ospedale. Nei due piani seminterrati sono concentrati i servizi generali di accoglienza e di diagnostica, mentre nei due piani fuori terra le camere per i pazienti, il centro chirurgico e il pronto soccorso.

In conclusione il progetto mostra una discreta qualitĂ architettonica anche se presenta alcune lacune dal punto di vista rappresentativo e di coerenza formale.

Il risultato finale è un ospedale che sicuramente stimola il nostro immaginario, un’architettura suggestiva che offre un richiamo ad altre architetture contemporanee.

Rendering view

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]Ciudad, Barranca, Rio[ 11

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A COLL AGE OF ILLUSIONS new architectural language Glòria Serra Coch

“Good artists copy, great artists steal” is one of the most famous quotes from Picasso. Art, science and life in itself are a succession of copies and references, of looking into the past to build a new future, maybe better, maybe different, but always rooted. If we think about it, isn’t architecture a clear illustration of this process?

Matteo Zerbi presents his project saying that “The aim is the development of an original architectural language”, a “collage of masterpieces of famous architects”. However, what does he imply with this statement? This explanation, and the design that comes with it, indicate a whole process of analysis, distillation and compilation. It reveals a procedure of superposition, fragmentation and articulation inherited from the avantgarde technique of collage.

“El artista copia, el maestro roba” es, probablemente, una de las citas más famosas de Picasso.

Arte, ciencia y la vida misma son una sucesión de copias y referencias, de mirar al pasado para construir un futuro, quizás mejor, quizás diferente, pero invariablemente con raíces. ¿Si pensamos en ello, no es la arquitectura un claro ejemplo de este proceso?

Matteo Zerbi nos presenta su proyecto diciendo que “el objetivo es el desarrollo de un lenguaje arquitectónico original”, un “collage de obras de arte de arquitectos famosos”. Sin embargo, ¿qué implica esta afirmación? Esta explicación, y el proyecto que la acompaña, indican un proceso completo de análisis, destilación y compilación.

Revela un procedimiento de superposición, fragmentación y articulación heredado de la vanguardista técnica del collage.

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Components view

TITLE: Ciudad, Barranca, Rio DESIGNER: Matteo Zerbi NATIONALITY: Italian UNIVERSITY: Politecnico di Torino

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The fragmentation systems derive from a period of re-thinking of the stated rules, a questioning of the main stream that became a greater stream. Dispersion and difference are a result of the crisis of the modern object, a turning point that could be related with our situation nowadays.

However, what is the phenomenon that induces this change of mentality? J. M. Montaner states that “the acceptation of a reality formed by dispersion and difference, summary, superposition and clash of pieces and phenomena leads to the systems of recomposition of fragments�. A process of recognition of the reality is essential for its posterior use. Analysis and comprehension are unavoidable, but also a good compilation and relation of fragments are central to succeed in the attempt. Is it arrogant to try to perform the job of time and history? Is it possible to distillate the possibilities and rearrange them in a new configuration with its own identity?

Collage of element and references

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Collage of element and references

Los sistemas basados en la recomposición de fragmentación derivan de un período de reinterpretación de las reglas preestablecidas, una puesta en cuestión del corriente mayoritario que se transforma en corriente mayoritario a su vez. Dispersión y diferencia son un resultado de la crisis del objeto moderno, un punto de cambio fácilmente relacionable con la situación actual. Sin embargo, ¿cuál es el fenómeno que provoca ese cambio de mentalidad? J. M. Montaner afirma que “La aceptación de una realidad formada de dispersión y diferencia, de la suma, de la superposición y choque de piezas y fenómenos conduce a los sistemas como recomposición de fragmentos”. Un proceso dereconocimiento de la realidad es necesario para su posterior uso. Análisis y comprensión son inevitables, al igual que una buena compilación y relación de los fragmentos. ¿Es arrogante verse capazr de realizar la función del tiempo y la historia? ¿Es posible destilar las posibilidades y reordenarlas e una nueva configuración con identidad propia?

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As we already know, Matteo’s project’s main aim is “the development of an original language”. J. M. Montaner states that “This position is related with the architecture interpreted as a language, with the search of a creative and conceptual position in an architecture of syntax whose essence is to show the processes“. The emphasis therefore is not as focused in the final result as it is in the process, in the possibilities that this method could offer and the erection of a theoretical frame useful for further investigations or practical projects. It demands a capacity of conceptualisation and recomposition of fragments, in this case references of architects. Matteo covers a wide range of sources in space and time, from the still contemporary theories of the neo-classicist architect Etienne-Louis Boullé to the works of Enric Miralles and Sou Fujimoto, including projects of Gunnar Asplund or Louis Kahn and more artistic approaches, like Kandinsky’s or Alexander Calder’s.

This assemblage of references is analysed and mixed, cooked, articulated, pasted and erased, like a palimpsest process that comprises time, space, image and ideas.

The result is a library.

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3D views

Como ya sabemos, el principal objetivo del proyecto de Matteo es “el desarrollo de un lenguaje original”. J. M. Montaner afirma que “Esta postura tiene relación con la arquitectura interpretada como lenguaje, con la búsqueda de una posición creativa conceptual en una arquitectura de sintaxis cuya esencia consiste en mostrar sus procesos”. El énfasis, por lo tanto, no está tan centrado en el resultado final como en el proceso, en las posibilidades que este método puede ofrecer y la erección de un marco teórico útil para futuras investigaciones o proyectos prácticos. Es necesaria capacidad de conceptualización y recomposición de fragmentes, en este caso, referencias de arquitectos. Matteo cubre un amplio rango de fuentes, en tiempo y espacio, desde las todavía contemporáneas teorías del arquitecto neoclásico Etienne-Louis Boullé hasta los trabajo de Enric Miralles y Sou Fujimoto, incluyendo proyectos de Gunnar Asplund o Louis Kahn y aproximaciones más artísticas como las de Kandinsky o Alexander Calder. Esta compilación de referencias es analizada y mezclada, cocinada, articulada pegada y borrada, como un proceso de palimpsestos que comprime tiempo, espacio, imagen e ideas.

El resultado es una biblioteca.

What is a library nowadays?” would be the rational next question to ask. Is its development an old-fashioned concept in conflict with the more differentiated approach of a collage? A library today is the summary of different ideas, also a result of accumulation and superposition of different spaces, concepts and functions. Books are not anymore the main focus, even if they act as reminiscences of the tradition. It is a concept based on past and custom, maintaining itself in the present situation, figuring out how to deal with the future.

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Which could be a better project to experiment on processes, new languages and questions that a concept evolving, adapting to new perspectives, habits and technologies?

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Qué es una biblioteca actualmente? Sería la siguiente pregunta natural.Es el desarrollo de un concepto pasado de moda en conflicto con el más diferenciado enfoque del collage? Una biblioteca hoy es la suma de diferentes ideas, también el resultado de la acumulación y superposición de diferentes espacios, conceptos y funciones. Los libros ya no son el foco principal, incluso si actúan como reminiscencias de la tradición. Es un concepto basado en el pasado y la costumbre, manteniéndose en el momento actual tratando de averiguar cómo enfrentarse al futuro. ¿Qué proyecto podría ser mejor para experimentar con procesos, nuevos lenguajes y preguntas que un concepto evolucionando, adaptándose a nuevas perspectivas, hábitos y tecnologías?

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Sections

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Sections

Matteo Zerbi solves this complex articulation of fragments in a building developed around a courtyard. A main vertical axis is materialised with a monumental staircase that resembles a revision of Kahn’s Yale University Art Gallery.

The object seems to be out of scale, articulating the elements around it without taking the central position that the empty space fulfills

It is a promenade alienated from the other pieces of the collage and, at the same time, bringing them together. The inside spaces of the library are concretised in a more traditional way, with study areas that profit from the differences in the quality and treatment of the space but don’t give a clear answer to the new understanding of the function.

Project models

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Matteo Zerbi resuelve esta compleja articulación de fragmentos en un edificio desarrollado alrededor de un patio. Un eje vertical principal se materializa en una monumental escalera que recuerda a una revisión de la Yale University Art Gallery de Kahn. El objeto parece estar fuera de escala, articulado los elementos a su alrededor sin tomar la posición central que el espacio vacío llena.

Es una promenade alienada de las otras piezas del collage y, al mismo tiempo, construyendo el conjunto. Los espacios interiores de la biblioteca se materializan de forma más tradicional, con áreas de estudio que aprovechan las diferencias en la calidad y tratamiento del espacio pero sin ofrecer una respuesta clara al nuevo planteamiento de la función.

Staircase view

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Plans

However, what is a more appropriate conclusion for this project than a myriad of questions? A collage of unsolved theoretical aspects that induce to reflection in other levels and situations should be the result of the attempt. Discussion, thinking, debating... It doesn’t matter if you love it or you hate it as long as it offers you something to say about it.

As the aim of the project wasn’t to supply a solution, it was focused on inducing questions; it is a natural result to provide an inexistent answer.

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Plans

Sin embargo, qué es más apropiado para la conclusión de este proyecto que una miríada de preguntas? Un collage de aspectos teóricos sin resolver que induce a la reflexión a otro nivel y en otras situaciones. Discusión, pensamiento, debate…

No importa si te gusta o lo odias mientras tengas algo que decir. Ya que el objetivo del proyecto no es ofrecer una solución sino que se enfoca en inducir preguntas, es un resultado natural que proporcione una respuesta inexistente.

Plans

] C h e v a l i e r -T h e l a d i e s ' c o m p a n i o n - [

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THE CHE vAL IER

the necessary nudge before the female condom

Flaminia Del conte

If you want to generate a social revolution you have to find a way to radically change people’s behaviour. This may seem obvious, but accomplishing this mission is not an easy task to do. First the society has to be gently pushed in that direction and get acquainted progressively with the new concept before it can finally embrace it.

Per determinare le condizioni in cui avviene una rivoluzione a livello sociale è necessario trovare una strategia che cambi in modo radicale il comportamento umano. Può sembrare ovvio ma non semplice da eseguire.

In primo luogo perché quando si richiede alla società stessa di abbracciare un nuovo comportamento quest’ultima dovrà essere accompagnata in modo progressivo nella nuova direzione prima di accettare in via definitiva un nuovo concetto.

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© Sarlota Alli

TITLE: Chevalier / the ladies’ companion DESIGNER: Helena Patelisová NATIONALITY: Czech UNIVERSITY: Jan Evangelista Purkyně University in Ústí nad Labem, Faculty of Arts and Design, Ceramic Studio

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A way to explain how new ideas and technologies spread through societies is elaborated by Everett M. Rogers in Diffusion of Innovation (1962) through use of the Bell Curve [1]. This curve is essentially a mathematical model that explains what has been stated before: that for people to get acquainted with any new product an innovation time is needed.

In addition to this it is obvious that people can more easily understand innovations when they are mentally closer to the new concept proposed.

Everett M. Rogers – Bell curve on diffusion of innovation

Un noto studio ,attraverso il quale vengono illustrati le modalità di accettazione delle nuove idee e tecnologie diffuse nella società, è stato elaborato da Everett M. Rogers in Diffusion of innovation (1962) con la curva di Bell [1].La curva è rappresentativa di un modello matematico ma spiega in modo efficace il processo di cambiamento all’interno del tessuto sociale: si impiega infatti uno specifico lasso di tempo per familiarizzare con un nuovo prodotto ed una funzione innovativa. È chiaro che le persone possono comprendere le innovazioni solamente quando queste sono mentalmente vicine al concetto proposto. In questo contesto nasce “Chevalier”( Cavaliere): il progetto è stato ideato da una giovane designer ceca Helena Patelisovà.

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In this frame we can introduce Chevalier, the project conceived and crafted by a young designer from Czech republic, Helena Patelisovà.

Chevalier, the ladies companion, is the new condom box created specifically for ladies. The design is elegant and precious and the small dimension (90x90/105x105 mm) suggests the function of an innocent “powder box”. The real function of this small ceramic object is to contain and preserve two or three condoms.

Project detail

Chevalier -the ladies companion- è una nuova scatola porta preservativi per clienti di sesso femminile. Il design è elegante e prezioso e le piccole dimensioni ( 90x90/105x105 mm ) mascherano la reale funzione richiamando quella di un portacipria, con un tocco di innocenza e semplicità.

La funzione di questa piccola scatola di ceramica è invece conservare due o tre preservativi.

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The choice of using ceramic and portraying a typically gallant rococo scene with a bas-relief technique on the top of the box, are part of the wanted contrast between form and function. This “secret box” is designed in two versions; black and white or total white.

Defining women as the specific users of this product, in this case represents the innovation carried by this project.

In fact various condom boxes were created in the past. For example the renowned company Alessi in 1999 proposed a condom box designed by the Australian designer Susan Cohn. But unlike Chevalier, “Cohndom” mainly focused on the functions: easy to carry and open.

By contrast, Chevalier, due to its fragile and elegant material, is designed to be displayed and not carried around the way Cohndom was. Chevalier symbolises a new era where ladies that keep condoms in their bedrooms are not seen as sexually promiscuous, but as sexually responsible.

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© Sarlota Alli

La scelta di usare la ceramica e rappresentare ,con la tecnica del bassorilievo , una tipica scena rococò, evidenzia il contrasto tra forma e funzione, voluto espressamente dalla designer . La scatola dei “ segreti” è prodotta in due versioni: nera e bianca o semplicemente bianca.

L’innovazione all’interno del progetto Chevalier è stata quella di selezionare le donne come target specifico di riferimento. Dal punto di vista tipologico la bibliografia è numerosa: molti sono stati infatti i progetti per contenitori di preservativi negli ultimi vent’anni, tra questi si può citare quello prodotto dalla rinomata azienda Alessi nel 1999, progettato dalla designer australiana Susan: “Cohndom”. Diversamente da Chevailer questo porta preservativi non ha intenti estetici o di nascondere in maniera giocosa la sua ragione funzionale, è pienamente indirizzato a svolgere le sue funzioni: facile da portare e da aprire. La scelta del materiale, così fragile ed elegante, è voluta così da “esporre” Chevailer nella propria camera, dichiarazione di intenti opposta a quella di Cohndom, nascosto accuratamente nella borsa.

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Female condom

The repression of female sexuality has a long history and although it might sound outdated, the sexual repression of women is still very much with us in the 21st century.

In fact it appears that we have, superficially, become more ‘open’ about sex, but our core beliefs and attitudes haven’t really transformed totally; female sexuality can still produce a degree of fear in some people.

Although an outdated perception of sexuality is deep-rooted in society, much has changed positively. Above all those changes are clearly evident in the debate concerning the female condom that has been going on lately. According to William Kremer, journalist of the BBC, “The female condom flopped when it was launched some 20 years ago, but it never disappeared entirely”. It is interesting that now a number of companies are proposing new products similar to the female condom. This according to Kremer might be the sign that its time has come. Indeed this is possible, thanks also to projects such as Chevalier, that introduce a new mentality to society.

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Chevalier simboleggia dunque un nuovo periodo storico dove per una donna avere i preservativi nella propria camera non è considerato manifesto di un’attività sessualmente promiscua ma, al contrario, pienamente consapevole della propria sessualità e quindi maggiormente responsabile.

La repressione della sessualità femminile affonda le sue radici secoli addietro, ma ancora oggi è fortemente presente nella società moderna: sembra, infatti, che nonostante la società sia diventata più aperta rispetto al tabù del sesso, i valori fondamentali e i comportamenti non si siano trasformati, la sessualità femminile è un argomento che può ancora suscitare un certo livello di paura ed imbarazzo, così come avveniva in passato.

Nonostante una percezione sbagliata della sessualità sia ancora profondamente radicata nella società sono numerosi i passi positivi che sono stati compiuti. I recenti dibattiti che hanno avuto luogo riguardo all’utilizzo e alla commercializzazione del profilattico femminile, hanno portato in evidenza gli sviluppi fino ad ora raggiunti.

Secondo William Kremer, giornalista per la BBC: “Il profilattico femminile fallì quando fu lanciato 20 anni fa ma non scompari mai totalmente dal mercato” [3]. È da notare come al momento il numero di compagnie interessate a prodotti simili al profilattico femminile sia in continua crescita. Secondo W. K. potrebbe essere proprio questo interesse a simboleggiare l’ appropriatezza del nuovo prodotto sul mercato. Il momento risulta particolarmente adatto in relazione a prodotti come Chavalier, che introducono nuove idee di utilizzo e di rapporto con i prodotti.

The Chevalier is not just a case for condoms but it represents the brick on which we can build a new perception: that females can possess condoms without being labelled negatively.

The project of Helena Patelisovà symbolizes the fact that ”women want to be able to take care of themselves”. The Chevalier project with its vintage touch recalls the rococo atmosphere, but it also challenges the current societal behaviour.

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Chevalier should be in every nightstand of a girl with a sexually active life between the book and the lamp. When this happens, society will be fully ready not just for the female condom but also for all those products that will enable women to be empowered in their sexual life.

To conclude and recall the beginning of the article: Chevalier represents exactly that earlier step that society mentally needs to embrace the revolutionary idea of female condom.

Chevalier non è semplicemente un porta preservativi ma rappresenta il mattone su cui potrà essere costruita una nuova concezione: una donna che possiede i preservativi non deve essere etichettata come promiscua. Il progetto di Helena Patelisovà è da stimolo per “tutte le donne che vogliono essere in grado di prendersi cura di loro stesse”.

Il progetto Chevalier con la sua veste vintage richiama le atmosfere rococò, sfidando i comportamenti sociali attuali. Ci auguriamo che Chevalier si trovi, in futuro molto prossimo, sul comodino di ogni ragazza con una vita sessuale attiva, tra il libro e la lampada.

Solo quando questo passaggio minimo ma fondamentale si sarà consolidato, la società sarà davvero pronta non solo per il profilattico femminile ma per tutti quei prodotti che saranno in grado di avere un controllo più attivo e consapevole sulla propria vita sessuale.

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© Sarlota Alli

Per concludere e sottolineare la tesi di apertura dell’articolo: Chevalier rappresenta esattamente quel primo passo, di cui si è ampiamente parlato sopra, che la società deve fare per rispondere in maniera positiva all’ idea del preservativo femminile.

]Performing arts center[

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REvO LT T H E SURFAC E

Giorgio Romani

“I am the legislator of nature: the knower no longer passivly revolves around the object, but it is the subject itself which re-shapes and enlightens the object in its activity with its rules.”

Despite that fact Kant refers to his philosophical perspective while talking about the Copernican Revolution, this concept can also be applied to the architecture and design world, fields of greater interest to us.

The object is the Pottery Factory in Gustavsberg, a centuries old building which dates back to 1820 and is the main reason for the fame of the city bordering Stockholm. The subject is Max Lindgren, a young Swedish student born in 1985 who is currently attending a MSc in Architecture at Delft University.

“L’Io il legislatore della natura: non è più il soggetto conoscente che gravita passivo intorno all’oggetto, ma è lo stesso soggetto che con le sue leggi riplasma e illumina nella sua attività l’oggetto.”

Sebbene Kant in questa sua ripresa della Ri-voluzione Copernicana parlasse in relazione alla sua prospettiva filosofica, il suo antefatto può gettare delle utili basi ad un discorso a noi più vicino, che comprende il mondo dell’architettura e della progettazione.

L’oggetto è la Pottery factory a Gustavsberg, secolare edificio fondato nel 1820 nonchè perno della fama di questa piccola città confinante con Stoccolma; l’uomo è Max Lindgren, giovane studente Svedese classe ‘85, attualmente in Erasmus alla TU Delft.

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General axonometric view

TITLE: Performing arts center DESIGNER: Max Lindgren NATIONALITY: Swedish UNIVERSITY: TU DELFT/ Netherlands

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Performing Arts Centre Remaining manufacturing

Main entrance

Art gallery

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Pottery museum

Exis and bu

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In his project, he cleverly redesigns the unused space of the former Pottery Factory, currently out of service.

The aim is to preserve the building’s essence and blend it with the cultural needs of the city, a city which increased its social-economic potential over the years and now intends to be considered as a reference point in the Stockholm’s outskirts.

sting ateliers d small scale usinesses

Local entrance through library Library

Study model (top view)

Program distribution - axonometric diagrams

Il progetto tratta di una ripresa intelligente di uno spazio ormai inutilizzato - per l’appunto - questa ex fabbrica di porcellana ormai scevrata dalle sue funzioni originali. L’intento è quello di preservarne l’essenza, relazionandola alle esigenze culturali di un città, che negli anni ha saputo accrescere il proprio potenziale socio-economico e che ora vuole proporsi come un grande punto di riferimento nella periferia di Stoccolma.

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But let’s look at this project more closely. What is its core paradigm?

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From the first images we can immediately understand the purpose which lies behind the designer’s idea. He doesn’t present himself as a “passive observer”, on the contrary he wants to highlight something that was not visible before.

From the old building’s milled roof, we can now see strange and pierced walls proudly standing, featuring bright colours which are in sharp contrast with its essence.

Is it made by chance? Is his style one of leadership? Is it a simple play of forms? Not so.

I would rather think it is a clever and refined choice to face a even more difficult topic if related to such a context.

Rendering

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Cirkusdirektörens rum & Manegen

Akrobatens rum

Lindansarens rum

Parakrobaternas rum

Jonglörens rum

Clownens rum

Diagramatic relation between program and materialization

Ma andiamo ad analizzare più da vicino questo progetto. Qual’è il suo paradigma fondante?

Dalle prime immagini comprendiamo subito quale sia l’intenzione compositiva del progettista, il quale non si pone come un “passivo osservatore”, ma tende invece a mettere in luce, qualcosa che prima non era visibile. Dalle coperture zigrinate del vecchio edificio, vediamo ora ergersi con prepotenza strane pareti forate e colori sgargianti in netto contrasto con l’esistenza.

Casualità? Mania di protagonismo? Un semplice gioco di forme? No. Piuttosto credo si tratti di una scelta raffinata e intelligente per affrontare un tema ancor più arduo se messo in relazione ad un contesto come questo.

Plan – Second Floor Second floor 1:500

Plan First Floor First floor 1:500 0m

Ground floor 1:500

Long section 1:500

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Plan Ground Floo

Longitudinal section

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The word “turn over” definitely is the best one to explain this project. Let’s picture our own body.

It’s formed by an external and internal part.

While the former shows us its face and appearance, the latter lets us understand its function and mechanism. By the same token, this project wants to reveal a part of itself. It is turning his external skin over to let us understand its function.

The purpose is not to create a landmark but to open a window into the building’s heart and in the city’s itself in order to transmit its sensitivity, its emotionalism, its essence.

Per spiegare questo progetto la parola “rivoltare” è senz’altro la più adegueta. Immaginiamo il nostro corpo. Esso è composto da un esterno e da un interno. Mentre il primo ci mostra la superficie e l’apparenza il secondo ci permette di comprenderne la funzione e il meccanismo. Allo stesso modo questo progetto vuole mostrarci una parte di se. Sta “rivoltanto” La sua pelle esterna, permettendoci di capirne il funzionamento. L’intenzione non è di creare un landmark, ma piuttosto aprire una finestra nel cuore della struttura e della città stessa,per farne comprendere la sensibilità...l’emotività...l’essenza.

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Once the skin has been penetrated, we can finally witness . The centre of the building, once gloomy and stark, now has been emptied to leave space for five pavilions hanging in the yard which have been redesigned into a wide square where these elements play following a syncopated rhythm of great impact. The five pavilions seem to be off the ground through an alternating system of glass and steel structures. This interesting choice keeps the lightness in the composition, albeit the elements’ dimensions. The mesh on the walls makes the project even more ephemeral. The light is fragmented and the space is featured by shades which drive the project away from reality and lead it to a more abstract and surreal dimension.

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0 cm 50 cm

150 cm

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The participatory exhibition.

Technical section

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The performance laboratory.

Multi-use performance spaces.

Shared spaces. Main entrance, café, theatre lobby area, circulation.

Una volta insinuati sotto l’epidermide, possiamo finalmente osservare il risvolto della preesistenza. Il centro della struttura, una volta maliconico e gravido di austerità, viene ora svuotato, lasciando spazio all’inserimento dei cinque padiglioni che restano sospesi nel cortile, ora rivisitato come grande piazza al cui interno questi elementi giocano in un ritmo sincopato di grande effetto. La scelta interessante di staccarli da terra, alternando vetro e strutture in acciaio, permette di mantenere una grande leggerezza compositiva, nonostante le dimensioni degli elementi. Il gioco di forature sulle pareti rende il progetto ancora più effimero, la luce viene frammentata e lo spazio si carica si sfumature e di accenti che lo discostano dalla realtà, portandoci in una dimensione più astratta e surreale.

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Construction evolution – axonometric diagrams

Staff.

Detailed 3d model view

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Max Lindgen introduces a project which gives the feeling of entering a different world, seeing the other part of the face. I like to think that, according to his work, we are like a needle which penetrates the emotional fabric of this astonishing city. It seems to be grim and austere, but in reality it hosts a deep artistic and cultural importance that is worth experiencing.

La sensazione di entrare in un mondo diverso, di vedere l’altra parte della superficie, è molto forte nel progetto che ci propone Max Lindgren.

Mi piace pensare che nell’ottica compositiva del suo lavoro noi siamo come un ago che subentra nel tessuto emotivo di questa meravigliosa città, che all’apparenza rimane rigida e severa, ma che in realtà ospita sottesa, una grande profondità artistica e culturale degna di essere vissuta.

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Detail model view

] En t e r. B a rc e l o n a You t h H os t e l [ 45

T R E A DIN G AROUND TH E O LD When new architecture meets an old aqueduct Anežka Prokopová

There are many methods to unite old and new architecture. Charles Bloszies in his book about architectural transformations describes how unfortunate the results very often are. New additions or alterations are often designed to blend with the existing building in order to avoid controversy and disputes. Consequently, resulting designs are rather banal, lacking a strong manifestation of their ideology or even worse, lacking integrity. On the other end of the spectrum are designs that brutally show their new domination, trying to represent their ostensible strength by contrast or scale, ending in an unbalanced composition and violent suppression of the old structure.

In case of Anna, Amaranda and Marc’s design of a Youth Hostel in Barcelona, their project also had to find answers to these notions.

The significant and unmistakeable presence of an old, 19th century aqueduct on the site constantly questioned their design steps and the outcomes.

Existuje mnoho způsobů, jak spojit novou a již existující, starou architekturu. Charles Bloszies vesvé knize o novém využití architektury popisuje, jak nešťastná je ovšem většina těchto řešení.

Nové přístavby či změny jsou dle jeho slov často navrženy tak, aby splynuly se současnou budovou a nebudily tudíž přílišný rozruch. To vede k mnohdy banálním a mdlým návrhům, které postrádají jakoukoli silnou myšlenku, nebo v horším případě, jakoukoli souvislost.

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Square – Sketched view

TITLE: Enter. Barcelona Youth Hostel DESIGNER: Anna Araguz, Amaranda Trias, Marc -Romà Trepat NATIONALITY: Spanish UNIVERSITY: ETSAV (UPC Sant Cugat del Vallès) ETSA LS (LaSalle Barcelona)

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It is without doubt always difficult to make these decisions, defining the level and means of retaining integrity while keeping a strong identity of both the new and old. Is it better to be modest and respectful or daring and devastating? Is it better to respect or to revolt? Since nothing has to be black and white, Anna, Amaranda and Marc went for shades of grey.

They were brave enough to physically approach the old aqueduct and literally wrap their new building around part of its structure, but they were humble at the same time, keeping the original bridge element as a whole, untouched and visible, acknowledging its majesty.

Exterior – Sketched view

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Návrh nového hostelu v Barceloně od Anny, Amarandy a Marca se s tímto tématem musel vypořádat také a následně najít odpovědi na to, jak se vymezit vůči již dávno postavenému akvaduktu. Jeho výrazná a neomylná přítomnost neustále prověřuje veškerá jejich rozhodnut a celý jejich výsledek.

Je bezpochyby těžké stanovit si hranice a míru, se kterou se má nový projekt spojit s již existující stavbou, a do jaké míry si má udržet svou vlastní identitu, aniž by tu starou násilně převážil. Je lepší být skromný a bezmezně uznávat vše, co již bylo postaveno, nebo být drzý a bezohledný?Je lepší být pokorný nebo se bouřit?

Nic však nemusí být takto černobílé a stejně tak i návrh Anny, Amarandy a Marca zvolil cestu kdesi uprostřed. Odvážili se přiblížit ke starému akvaduktu a doslova kolem jeho části svou novou budovu ovinout, zároveň však byli do velké míry pokorní a nechali původní stavbu tak jak je, viditelnou a z velké části nedotčenou, uznávajíc tak její majestátnost.

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Located in a suburb of Barcelona, the aqueduct from 1825 stands firm in the river valley and with its six high arches it creates a gentle and seemingly fragile dominance. Even though it is abandoned and no longer in use, it has been a local icon for many years and as such largely contributes to the cultural and historical context of the whole neighbourhood.

This project of a new youth hostel therefore had to make its way through the company of this old, subtle but very dominant structure. It does so by means of winding itself around the first few columns of the aqueduct, as if it was treading lightly around the monument and then decided to grab hold and never let go.

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Akvadukt z roku 1825, stojící na okraji Barcelony, s rozhodností překlenuje údolí řeky a svými šesti vysokými oblouky tvoří jemnou, zdánlivě křehkou dominantu. Ačkoli v současné době chátrá a již dlouho není používán, je zřejmé, že stále přispívá ke kulturnímu a historickému kontextu celého okolí. Projekt nového hostelu musel proto opatrně najít svou vlastní cestu ve společnosti této subtilní, avšak výrazné konstrukce. To nakonec udělal tak, že se omotává kolem jejích několika prvních sloupů, jako by nejprve kolem jen zlehka a opatrně našlapoval a nakonec se rozhodl pevně obejmout a už nepustit.

Rendering view

Through the spatial distribution of volumes located around the aqueduct, it shapes itself into various angles and thus benefits from different views. Turning its back towards an existing building in very close proximity, it provides views towards the aqueduct, and in lower parts it opens up to vistas of the valley.

0m

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view diagram

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Section

Prostorovým uspořádáním jednotlivých části kolem akvaduktu poskytuje nový objekt různé výhledy do okolí. Zcela jasně se vymezuje vůči stávající staré budově stojící hned vedle, když se k ní rezolutně otáčí zády. Otevírá se tak ovšem výhledům na akvadukt samotný a v nižších částech výhledům do údolí.

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Volumes of the building are formed into a terraced composition, which is in harmony with the landscape’s morphology. This way the project not only communicates with neighbouring buildings that are scattered naturally all around the valley, but it also creates some enclosed public spaces.

These can easily become vibrant, lively spots with unique atmospheres enhanced by the present tension between the new and old.

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Program diagrams – plan and section

Celý objekt terasovitým uspořádáním kopíruje přirozený tvar terénu a navazuje tak na okolní zástavbu domků rozesetých v přilehlých kopcích.

Zároveň tak vytváří veřejná prostranství, zčásti krytá hmotou domu. S atmosférou, kterou spojení nového objektu se starým akvaduktem poskytuje, by se tato místa snadno mohla stát hezkým, živým společenským prostorem.

Ačkoli je budova hostelu s akvaduktem v přímém kontaktu, omotávajíc jeho vysoké sloupy, velmi se odlišuje svou formou. Odporuje jeho jemným, štíhlým obloukům, když kolem nich, poněkud brutálně, rozmisťuje kvádry s ubytovacími jednotkami. Nicméně si razí cestu a bojuje tak o svou vlastní zřetelnou identitu.

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Sections

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Sections

Although the hostel building is in very close connection with the aqueduct, entwined around its columns, it differentiates itself by means of form and contradicts the gentle arches of the old structure. Strictly defined cubic volumes are placed around the aqueduct, below its arches, sometimes in a slightly brutal way. However it makes its point, it fights for its own identity by contrasting the old in many ways.

In this way it could stand a chance and escape both of the two categories mentioned at the beginning. Although the lack of some deeper technical explanation which would be in such a case essential is a little unfortunate, the project has the courage to start an interaction; an interaction which is contradictory but resolute.

Such interaction would eventually be questioned by time, and only time could prove it right or wrong.

Dalo by se říci, že tak může utéct oběma z dříve zmíněných kategorií. Ačkoli nedostatek praktických a technických detailů, které by v takovémto případě byly zásadní, je poněkud nešťastný, návrh je odvážný a odvážně přistoupil k navázání komunikace se starým objektem. Tato vazba na akvadukt je rozporuplná, v mnoha ohledech však rezolutní a nepochybující. Až čas by ukázal, zda byla zvolena správně či ne.

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]Haifa breaks ground[

THE FOURTH DIMENSION

A new urban tipology for Haifa 57

Gabriela O’Connor

Urban planners approach cities as two dimensional mappings and “surface” treatments.

But what happens when a city built on a highly topographical landscape such as Haifa, proves these traditional strategies to be unsuccessful?

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Axonometric view

TITLE: Haifa breaks ground DESIGNER: Igor Grushco NATIONALITY: Israeli UNIVERSITY: Technion – Israel Institute of Technology, Haifa, Israel

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Urban Analysis

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Igor Grushko’s Haifa Breaks Ground challenges the traditional urban planning axises of a city.

Haifa, its program, circulation, topography, and active presence as a built environment become the catalysts in redetermining its future as a four dimensional city.

The lower world – Axonometric view

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Grushko proposes a superstructure that intervenes in the Z axis, resolving current planning issues as well as considering the factor of time in exploring future opportunities for the city.

An understanding of the existing context is crucial to the success of a design intervention. Topography has been long understood as a challenge that planners do not seek to alter or use to their advantage.

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Intervention Axonometric diagrams

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Circulation – Axonometric diagram

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As a result, cities such as Haifa succumb to the landscape, and begin to expand either parallel or perpendicular to their environment. Haifa has attempted to grow and connect as an urban cityscape through the development of a tunnel system, railways, and new freeways. However, these means have only proven to create a series of disconnects and problems for the programmatic typologies of the city.

Treating Haifa as a four dimensional scatter mapping pinpoints the opportunity to build in an intersection of space that connects all dimensions of pre-existing activities.

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Initial plan

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Haifa reinvents itself with this intervention at it’s underbelly that projects itself in every direction. This new, utopia superstructurelike approach branches itself out, creating a new series of interrelationships between movement and programming for the citizens of the city.

The proposal for the superstructure is located at the intersection of Moriah Ave and the underground tunnels. Though existing on two different planes, there is a multi-dimensional point of intersection that indicates the possibility for connection and the creation of new space as an extension.

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Urban analysis

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Strategy - diagram

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Axonometric view of the project

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The linear forms of transportations become connected through a vertical linear circulation core. The intervention then becomes a series of “pushes” and “pulls” against the topography while simultaneously carving out new spaces for the city.

The superstructure looks to the future while meeting the needs of today.

Axonometric view of the project- detail

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In the new connections for circulation to be created underground, a fundamental shift in programmatic locations occurs. Though conceptual, it begins to resolve issues of overcrowding, pedestrian and vehicular traffic, and looks to preserve the city’s history and respect pre-existing built boundaries.

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Initial section

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Haifa Breaks Ground acts as a precedent for the future of city interventions.Â

The innovative approach and concept of treating the city in four dimensions allows for new opportunities to be explored that traditional approaches overlook. Thorough analysis and research, as demonstrated through the studies for this project, allows for the resolutions to present themselves in a deceptively obvious manner.

Main sections- diagrams

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Sections - diagrams

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As the built environment continues to grow around us, looking for moments for these interventions to occur and preserve our open space is crucial.

As a city continues to branch out and expand, it’s treatment as a “skin” is no longer applicable.

The utopia megastructure typology is becoming a reality, providing practical resolutions to urban environments and the cities of tomorrow.

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Plan

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STAFF

â—‡ Editors in chief:

Graphic & editing: Lorenzo Bottiglieri

Giulia Fioravera

Marco Mattia Cristofori

Agnese Laguzzi

Luca De Stefano

Translators:

Editor staff: Flaminia Del Conte

Copy editor:

Tommaso Nonis

Valeria Gaudenzi Justin Pepe Frank

Featured writers: Michele Santarelli Politecnico di Torino

Glòria Serra Coch

Escola Superior d’Arquitectura de Barcelona (ETSAB. UPC)

Flaminia Del Conte TU Delft

Giorgio Romani Politecnico di Milano

Anežka Prokopová Czech Technical University, Prague,

Gabriela O’Connor University of Southern California(USC)

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-WWW.3NTA.COMinfo@3nta.com ISSUE # 2/ May 2014