EVE TALTY-SANGHERA
ARCHITECTURAL PORTFOLIO
CONTENTS I STUDIO 3.0 PROJECT SEPT 19 - JUNE 20 II TECHNOLOGY 3.0 PROJECT SEPT 19 - JUNE 20 III PROFESSIONAL WORKS - OMI ARCHITECTS JULY 20 - SEPT 22 IV PROFESSIONAL WORKS - SIXTWO ARCHITECTS JULY 19 V EXTRA CURRICULAR JULY 20 - SEPT 21
I STUDIO 3.0 PROJECT
IOM AR
‘ORIGINS OF SPACE’
IOM AR STUDIO 3.0 BRIEF ‘ORIGINS OF SPACE’ “We will be working with Shrewsbury Town Council and Shropshire Council to relocate the Old Library from the city centre to a parkland named ‘The Quarry’, located on the outskirts of Shrewsbury bordering the River Severn. We will be asking you to develop ideas for a building generated by programmes which are directly related to, complimentary with or which set up a dynamic relationship with the ambition of the Council to relocate their offices and the library from their current location in the Grade I listed building on Castle Gates which was formally Shrewsbury School.” The accumulation of historic and contemporary architecture within Shrewsbury has crafted unique spatial patterns throughout the town’s landscape. Concentrations of man-made
structures founding the basis of tight, pressured spaces and vast areas of flora allowing for open, release spaces. The continual shifting from pressure to release environments builds a spatially dynamic user experience. The concept of pressure and release, found within the ‘empty’ spaces of Shrewsbury, is the driver of form and spatial composition within the new library complex. The flow paths and areas created within mimic the historically entrenched spatial composition of Shrewsbury, allowing the powers of both types of spaces to be celebrated. FIG. 1 shows conceptual sketches and the Ground Floor Plan of the Library. The conceptual sketches show a serial vision
journey through Shrewsbury, these sketches found the basis of the design. The Ground Floor Plan expresses the pressure and release spaces implemented throughout the scheme. The darker areas being pressured transitional spaces and the lighter being open release spaces holding the majority of programme within the form. FIG.2 shows a visual of a reading cove within the library - labelled on the GF plan as 6. Libraries are places of study, reflection, isolation, community, and sanctuary. The dynamics crafted within the spaces indicate the character of the programme; release spaces providing a space for reflection and community and pressured spaces establish spaces of study, isolation, and sanctuary.
I STUDIO 3.0 PROJECT
FIG. 5
‘ORIGINS OF SPACE’
IOM AR FIG. 3 shows development sketches. This set of iterative plans explore the spatial composition of the scheme regarding pressure + release and lines of sight, and how these concepts have been integrated into the programme of the library complex. The drawings above show the placements of pressure and release as well as how they serve each other; the pressured spaces are transitional spaces between the release spaces which occupy the main programme functions. The sketches in the right-hand corner explore external window placement and internal door placement creating lines of sight through the building. The lines of sight maintain a vital connection between the Shrewsbury and the new development of the library, crafting a visual boundary extension.
FIG. 4 shows the library’s sensitive design in regards to Shrewsbury’s landscape, the form of the building falling with the decline of the Quarry. FIG. 5 shows an external axonometric. This drawing explores the morphing of the landscape in response to the library complex, creating connection beyond Shrewsbury’s old town boundary. Moreover, through this drawing we can see the visual connections in terms of form; it reflects Shrewsbury’s linear and curved built environment. The building as an extension of landscape provided a vital connection between new and old, helping overcome the town’s historical boundary.
IOM AR
I STUDIO 3.0 PROJECT
IOM AR
‘ORIGINS OF SPACE’
IOM AR FIG. 6 shows flora studies taken in the exploration of the interior qualities of the scheme. The interiors of the library are to be concrete, dyed with warm hues to allude to sandstone which was previously mined in the Quarry. The flora studies above are taken from site and are to be implemented around the interior thresholds. Beneath the floral embossing’s will be diamond forms which will indicate, through the arrangement the spatial qualities of the rooms that lay ahead. Additionally, the implementation of the diamonds within the interior will craft a relationship between the exterior and interior aesthetics. The floral elements seen above later feature in detail studies of cast concrete forms where
the flora forms are delicately embossed upon the concrete. With Shrewsbury holding an annual botanical show these natural forms threaded throughout the scheme craft a link between. FIG. 7 shows an exterior elevational perspective. This visual depicts how the form of the building rises and falls with the landscape and can be seen as an extension of Shrewsbury’s landscape. Between these two drawings we can see the interior and exterior relationship through the diamond form. The diamond terracotta bricks on the external facade create a warmth in contrast to the colder interiors, whilst also being contextually sensitive to Shrewsbury’s materiality palette.
ARCHITECTURAL INFLUENCES: Peter Zumthor ‘Therme de Vals’
FIG. 8
I STUDIO 3.0 PROJECT
FIG. 10
‘ORIGINS OF SPACE’
IOM AR FIG. 8 shows a sectional perspective of the library. This drawing brings together the main concepts threaded throughout the design: the building as an extension of landscape, the building as a host, and pressure + release. This sectional perspective was hand-drawn FIG. 9 shows an exploded axonometric of the library. This drawing emphasises the layering of pressure and release spaces within the scheme as well as highlighting the main release space within the scheme. Moreover, this drawing expresses the journey that can be taken between the two forms of the library complex. The journey between mimics that of the spatial qualities expressed in the serial vision taken whilst navigating through Shrewsbury. This is intended to create a seamless journey from the
old town territory to the new. FIG.10 shows an internal axonometric. The contrast between emptiness and busyness is a concept that is central to the spatial build-up of the library complex. Within the pressured spaces objects take up volumes of space, building upon the close atmosphere. Within the release spaces functions of programme are either integrated into the building structure or absent. The polarisation of spaces within the library complex creates a hierarchical journey to which the user will be familiar. Through the integration of this concept, we can view the building as a host, for spaces, programme, and social interaction. This internal axonometric depicts the integrated reading coves within the central release space of the library.
ARCHITECTURAL INFLUENCES: Yi Architects ‘The Stadbibliothek Stuttgart’
I STUDIO 3.0 PROJECT
A B
‘ORIGINS OF SPACE’
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‘In the tectonic, column, wall, beam, and roof surpass their structural rationality and reveal meaning. Therefore the tectonic responds to gravity by “analogy” rather than “efficiency” or “adequacy”. In this context, ornament is not a crime, but a necessity. With the help of detail, ornament acts much like clothing…Constructional form is the image of what the mind’s eye of an architect might see,which, once it is revealed, will sing and speak as such.’ Gevork Hartoonian from ‘The Ontology of Construction’, 1994.
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The alterations seen within the materiality palette of my library complex was a development due to the need, in my opinion, of having familiarity within an unfamiliar development. Previously I stated my building would be sandstone due to it mimicking that of St. Chad’s, however this is representative, as a material, of Shrewsbury;Majority of the structures surrounding my site are red brick. The red brick is intergrated throughout Shrewsbury’s heritage and throughout Shrewsbury itself. The change in materiality allowed for a smoother boundary transition; creating the ‘familiar, unfamiliar’ within my building complex. The importance of having an aspect of familiarity within my structure allows me to introduce new concepts and objects into an environment under the ruse of comfort; people are more likely to accept the change. A ROOF MATERIAL Copper roofing materials B RAIN GUTTER Made with Aluminium C TERRACOTTA BRICK RUNNERS Steel. They are the components that attach the terracotta bricks to the facade of the building. The runners project out of a reinforced concrete structure D DAMP PROOF MEMBRANE E DOUBLE GLAZED WINDOW The windows within my building will be double glazed (when facing out towards the park) and triple glazed (when facing the road). The detail here shows the double glazed edition. The reason for the varying in amount of panes of glass is due to me wanting to reduce the amount of noise pollution within my library F STEEL I BEAM This is a component of the steel frame work at play within the structure of my building. Steel was chosen due to its highly sustainable values G INSULATION H CEILING SOFIT Ceiling build up consisting of plaster-wall, plaster and white paint I POURED CONCRETE FLOOR Polished finish J HORIZONTAL STRUCTURAL STEEL K DIAMOND SHAPED TERRACOTTA BRICKS, GRADUATING IN HUE. (100mmx100mmx30mm) L REINFORCED CONCRETE STAIRCASE M INTERIOR WALL BUILD UP; PLASTER-WALL, PLASTER, WHITE PAINT WITH BLUE HUE The interior of the building will be clean, fresh, open and airy whilst the exterior maintains whispers of history seen through its new take on the classic red brick N BREEZE-BLOCK Provides structural integrity for this embedded part of the building O UNDERGROUND WALL INSULATION The insulation seen in the wall build up where my building is submerged into the ground will be made of a more dense material due to there being lower temperatures underground P STRIP FOUNDATIONS Q DIAMOND TERRACOTTA GRADUATING IN HUE I have taken the classic red brick, a material commonly used around my site, and morphed it into something new. This new forms maintains the familiarity of the old red brick whilst obtaining an aspect of historical development. The terracotta tiles will graduate in tone vertically. This helps soften my buildings impacts of main vista points. R RENDERING WITH A BROWN/RED HUE. The texture seen throughout the precedent that heavily influenced this design, Z33 Art House, is something I wanted to integrate into my design. The rendering around the windows furthers the textures seen throughout the design of my facade. The colours within this support the contextual factors I am integrating into my building design.
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I STUDIO 3.0 PROJECT
FIG. 14
‘ORIGINS OF SPACE’
IOM ARCA EV ETALAYE-SLYSAELNV -GYHVRAGY ARCH FIG. 12 shows experimental castings of the library scheme as well as interior details. The sectional models seen towards the top depicts the atmosphere within the reading coves and embedded portions of the library complex. Within, light is used to create pressure and release, with the height of the spaces providing vertical release. The composition of this model involved creating the volumes of space which lay within the library complex and placing them within a rectangular cast. Pouring the concrete around these components created voids within the mass, forming the interior spaces of the library. FIG. 13 show castings which explore the implementing of floral prints into the interiors of the design. As previously mentioned, the
floral embossing’s craft a relationship with the Quarry’s botany as well as softening the monolithic nature of the library. These casting were creating using rectangular casts. Flowers were placed at the bottom of the cast and concrete then poured on top. Once dried the casts were removed the flowers were extracted, leaving delicate forms behind. FIG. 14 shows an iterative landscape model visual. This model was used to explore how the building could form part of the landscape, lessening its impact visually and architecturally on the landscape. The model was created using cardboard, grey-board and small elements of wood.
IOM ARCA EV TAELYE-STSA TNGHS A ARA
I STUDIO 3.0 PROJECT
FIG. 16
‘ORIGINS OF SPACE’
IOM ARC FIG. 15 shows flora studies taken in the exploration of the interior qualities of the scheme. The interiors of the library are to be concrete, dyed with warm hues to allude to sandstone which was previously mined in the Quarry. The flora studies above are taken from site and are to be implemented around the interior thresholds. Beneath the floral embossing’s will be diamond forms which will indicate, through the arrangement the spatial qualities of the rooms that lay ahead. Additionally, the implementation of the diamonds within the interior will craft a relationship between the exterior and interior aesthetics. The floral elements seen above later feature in detail studies of cast concrete forms where
the flora forms are delicately embossed upon the concrete. With Shrewsbury holding an annual botanical show these natural forms threaded throughout the scheme craft a link between. FIG. 16 shows a visual of an archive area within the library. The archive spaces manifest in the parts of the building set into the ground allowing for a solitary and dynamic space. Libraries are places of study, reflection, isolation, community, and sanctuary. The dynamics crafted within the spaces indicate the character of the programme; release spaces providing a space for reflection and community and pressured spaces establish spaces of study, isolation, and sanctuary.
FIG. 17 shows the library’s sensitive design in regards to Shrewsbury’s landscape, the form of the building falling with the decline of the Quarry. This drawing explores the morphing of the landscape in response to the library complex, creating connection beyond Shrewsbury’s old town boundary. Moreover, through this drawing we can see the visual connections in terms of form; it reflects Shrewsbury’s linear and curved built environment. The building as an extension of landscape provided a vital connection between new and old, helping overcome the town’s historical boundary. Moreover, this drawing emphasises the Old Cathedral’s role in the form of the new library scheme and it’s built environment through The Quarry.
FIG. 17
II TECHNOLOGY 3.0 PROJECT
INTEGRATIVE DESIGN PROJECT INTEGRATIVE DESIGN PROJECT “You will each, individually, be assigned a site context, climate condition, structure and envelope systems for your office building. You will, individually, analyse and appraise these systems. You will then compare them within your group of four.” 1.1i APPRAISALS - CLIMATE (MUNICH) Due to the site being located within a temperate climate, creative drivers such as low annual temperatures, high volumes of rainfall, strong winds and accessibility into the building were at the forefront of the office building’s design. During this stage of project development the pressure induced by wind, rain and sun, a passive ventilation system, a passive lighting system and a passive heating system were explored. Moreover, contextual creative drivers such as light accessibility and noise pollution informed the design decisions made due to the site’s proximity to a main road. 1.1ii APPRAISALS - SITE The conditions of the site meant that it was rather sheltered; the two buildings bordering, blocked light on the east and south facades. The site was also located near a noisy main road meaning the atmosphere surrounding was polluted hindering the development of a passive ventilation system. Creative drivers produced by the conditions were lighting, air quality, noise pollution, vistas and the surrounding roads.
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1.2ii APPRAISALS - STRUCTURE + SKIN The core configuration was influenced by creative drivers such as vistas from within the office building, passive light and heating systems and internal circulation.
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FIG. 2
FIG. 1 TRIPLE GLAZED CURTAIN WALLING FIG. 2 TRIPLE GLAZED CURTAIN WALLING WITH TIMBER LOUVRES FIG. 3 SOLID TIMBER CURTAIN WALLING WITH TIMBER LOUVRES A RAISED PERIMETER ROOF B METAL STRUCTURAL DECK C STEEL I BEAM D STEEL CLIP E CELLULOSE INSULATION (250MM) F CEILING SOFFIT: 9.5MM PLASTERBOARD G CONCRETE POURED ON TOP OF METAL DECK H PIPE HEATING AND COOLING SYSTEM USING THE THERMAL MASS OF CONCRETE I PASSIVELY LIT CONFERENCE ROOM/SPACES J FACADE BUILD UP PROVIDING PARTIAL PASSIVE LIGHTING TO THE GROUND FLOOR OF OFFICE K SOLID TIMBER CURTAIN WALLING WITH TIMBER LOUVRES L TRIPLE GLAZED CURTAIN WALLING WITH TIMBER LOUVRES M TRIPLE GLAZED CURTAIN WALLING N GROUND FLOOR SET BACK TO OFFSET NOISE
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FIG. 1
1.2i APPRAISALS - STRUCTURE The main conflicting factors within my site and climate were how to create a building where there was a high amount of glazing as well as the building being sufficiently insulated due to the lack of sunlight and the annually low temperature Munich receives. Within this component of the integrative design project different types of curtain walling were explored: glazed curtain walling, partially glazed curtain walling and solid timber curtain walling, all sharing similar aesthetic properties.
2.3 INTEGRATIVE ENVIRONMENTAL DESIGN Testing the office building design through the means of Seferia allowed for the refinement and alteration of the office building for maximum efficiency. The environmental and design factors explored within the Seferia testing stages were amount of glazing, glazing u-values and glazing distribution. Within the office building other systems such as underfloor heating which utilised the thermal mass of concrete, passive lighting of individual workspace through an atrium and passive heating were at play.
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FIG. 3 The curtain walling systems above create continuity in aesthetics whilst all performing different functions.
FIG. 4 ENVELOPE BUILD UP
FIG. 5 TECHNICAL SECTION
III PROFESSIONAL WORKS
IOM AR EV TALYE-EYLSTNLYYETNGHHN
OMI ARCHITECTS
IOM AR EV TALYA-SNELNLGSAH T
IOM AR EV TALYE-EYLSTNLYYETNGHHN LAYSTALL STREET (McCauls) RESIDENTIAL We are working with McCauls to create 89 homes in a new building and 8,000 sq ft of workspace within a Grade II Listed Building already on site. Located at 32-34 Laystall Street, just off Manchester’s Great Ancoats Street. This project has an approximate budget of 13 million GBP. This is a Design and Build Form of Procurement. The project has recently been submitted for planning approval where the plans will see the restoration of the 1879 building into commercial space. The building was initially constructed as the offices, showroom and workshops of John Armitage & Son’s terracotta and fireclay manufacturing company.
IOM AR EV TALYE-EYSNLGETHRCCH
The existing building will be extended to the corner of Laystall Street and Pigeon Street, with a contemporary addition to provide a new vertical circulation system for the building. To the rear of the existing showroom, a nine-storey residential development is configured in a horse-shoe arrangement around a landscaped courtyard. During my time on this project, we were preparing for pre-planning application. The project required design work and additional research into the treatment of the Grade II Listed building on site as well as implementing affordable units within the scheme. Both these ideas were introduced and explored through design iterations, site research and modelling.
Participation whilst working on this project: Sectional Axonometric Drawing (1:50/ Vectorworks/Photoshop/SketchUp/Analysis of Space created with Proposed Internal Works) Listed Building Modelling (1:1/SketchUp/ Modelling of Proposed Internal Works) Massing Model (Scale N/A/SketchUp/ Proposal Visuals for Pre App) Visuals (Courtyard CGI/Courtyard Gateway Sketch) CGIs, 3 seen above (Scale N/A/For Planning App/Photoshop) Site Elevations, seen above (1:200/Sketching on Site for Surrounding Buildings) Site Sections (1:200/Sketching on Site for Surrounding Building)
III PROFESSIONAL WORKS
REVISION
OMI ARCHITECTS
P01
DATE JAN '20 JAN '21
IOM AR EV TALYE-ESNLGHYEHRCHO UO
DESCRIPTION PLANNING
ISSUE
PLANNING
ISSUE
KEY 1 LIBRARY OFFICES 2 SENIOR N ROOM RECREATIO 3 SENIOR OFFICES 4 NOVICE ROOM CHAPEL) 5 PRAYER (VIEW INTO 6 BALCONY OOM BEDR R 7 SENIO BEDROOM 8 NOVICE E 9 LINEN STOR 10 PLANT 11 WC 12 SHOWER E 13 KITCHENETT CE WORKSPA 14 INFORMAL
M3 7AQ om , Manchester, miarchitects.c Road, Salford om / www.o 31Blackfriars miarchitects.c 3242 / info@o +44(0)161 832 ORNE HOUSE, HARB MANRESA PLAN T PROJEC BUILDING LEVEL 00 PROPOSED SCALE PE DRAWING DRAWN BY AUG' 19 L1010 - P01 DATE JOB NO.
IOM AR EV TVTALYE- TSNYEVGHN
IOM AR EV TVTALYE-LSL-ENGEV-HR
IOM AR EV TALYE-ESNGHRECYCVLR GH MANRESA HOUSE (HHSmith) COMMUNITY Working with the Society of Jesus, we are altering and significantly extending their existing novitiate in Harbourne, Birmingham known as Manresa House. This project has an approximate budget of 5 million GBP. This project is a Traditional Form of Procurement. Construction has started at Manresa House. Envisaged as a ‘monastery in the city’ a novitiate is a place of residence and training for prospective members of the Society who come to live at Manresa House during the first two years of their training. This group of ’novices’ is supported by a small group of permanent residents. The key design drivers have been maximising the connections with the large
IOM AR EV TALYE-E SNGH RHE
landscaped garden, providing clarity to the circulation and creating a highly sustainable building that will be able to serve the community and domesticity as well as carefully balancing the requirements of openness and privacy, collective and private study as well as a quiet and reflection. The scheme has been designed to achieve BREEAM excellent and includes technologies such as PVs, ground source heat pump and grey water recycling. Manresa House was recently awarded the Manchester Society of Architecture award in the ‘Community Unbuilt’ category.
Participation whilst working on this project: Construction Drawings (Various Scales/ Vectorworks/Photoshop) Planning Drawings (1:100/1:200/Vectorworks) Landscape Drawings (1:100/Vectorworks) CGIs, seen above (Vectorworks/Sketchup/ Vray/Photoshop) Context Elevations (1:200/Sketching on Site for Surrounding Buildings) Attending Multiple Site Visits Attending Construction Meetings
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III PROFESSIONAL WORKS
IOM AR EV TALYE-ESLNGEHNERCOEULYYEODROI HI
OMI ARCHITECTS
IOM AR EV TVTALYEL-LSNGHTRAEGTE-HAGLYECOH-YHRU
IOM AR EV TALYE-ES NGAHRCOATR BAND ON THE WALL (Armitage) MUSIC VENUE We are working with Armitage to see the venue’s capacity increase from 340 to 520, and the derelict Cocozza building to the rear of the property brought back into use. the Iconic Manchester music venue have secured £1.4m of funding from the National Lottery. This funding is in addition to £1.7m received from the Arts Council last year, and means that the venue has raised the bulk of the funding needed for the £3.5m project. This project is a Traditional Form of Procurement. The existing Picturehouse Bar will be remodelled with an external terrace space and will include an 80 capacity second venue designed to host smaller concerts and
IOM AR EV TALYE-ESL NEVGNAG emerging artists. The funding will also be used to add additional education facilities including a rooftop AV suite and learning spaces to house the venue’s archive. During my time on this project I mainly focussed on the visual elements – CGIs and computer rendering to aid the client on marketing this project. As majority of funding for this project is charity based the marketing of it was extremely important. This project has provided many challenges due to the poor condition of the original building. It has been invaluable being a part of adaptive design processes as problems arise on site.
Participation whilst working on this project: External CGI (Vectorworks/Sketchup/Vray/ Photoshop) Interior Atmosphere CGIs, seen above. For funding purposes (Vectorworks/Sketchup/ Vray/Photoshop) Construction Drawings (Various/Vectorworks) Planning Drawings (Various/Vectorworks) Materiality Palette (By Hand) Modelling of Entire Scheme (Vectorworks/ Sketchup/Vray)
IV PROFESSIONAL WORKS
IOM AR
SIXTWO ARCHITECTS + CHANNEL FOUR
IOM ARC
IOM AR
IOM ARC
IOM AR IOM ARA EV TALY-SNGHALY-SER-ACRA-O CIVIC COMMONS SUSTAINABLE + AFFORDABLE RESIDENTIAL AND LANDSCAPING SCHEME Our involvement within this project mainly lay with the landscaping of the scheme. This included implementing gabion walls, floating plant beds in the canal, providing solutions to surrounding transport issues through flexible modular structures and educating the surrounding community about the historical value their homes are placed within. CURRENT PROPOSAL 21no. modular homes 54no. apartments (along Rochdale canal) Aims of the project include achieving ‘zero carbon’ status through the housing scheme and its landscape.
IOM ARA EV TAL Y-ESNV GH-RTHVCTVHY
POSSIBLE OUTCOMES 1. Minimise impact of cars How will driver-less cars impact the homes? At present all the modular homes have a car space. There is a 50% allocation for the apartments 2. Create public open spaces of high quality Can we link the housing scheme to the neighbouring canal and its tow-path? 3. Develop a structure to house bikes Can this be integrated into the new public spaces? FURTHER INFORMATION The existing road layouts are fixed The master-plan of the housing scheme is fixed All solutions but fit to the ‘zero carbon’ agenda
FIG. 1+2 An exploded axonometric showing our proposed modular car parking structures we are to place in the communal areas of the scheme, these are seen in FIG. 4 FIG. 3 This modular structure promotes the use of bike activity within the scheme, lessening the need for cars. FIG. 4 The design of the car parks within the housing complex were most important to us. We proposed a flexible car parking design, phasing from a car park to an outdoor natural space. These visuals express our design. FIG. 5 A photograph during the filming of the presentation of our scheme with George Clarke for his Channel Four documentary. FIG. 6 A photograph during our presentation to Manchester City Council.
IOM ARC
V EXTRA CURRICULAR
PAINTINGS, LIFE DRAWINGS AND SKETCHES
IOM ARA EV TALVY-VYSARCHIATAHEUL
IOM ARA EV TEA LY-YS NGHLNY ARCHITEUILUEI TP
IOM ARA EV TALVY-VYSARCHIATAHEUL
IOM ARA EV TALVY-VYSARCHIIATACIIIE