1 0 & 2 0 manifest & toolbox by Hildegunn Halvorsrød

BORDER CONDITIONS

Mending Ă&#x2DC;restad with seam and embroidery

1.0 & 2.0

PROJECT CONTENTS

This book contains the written part of the project: 1.0 :The manifest & 2.0: The Toolbox while 3.0 the Mendings , will be presented on boards at the final critique.

1.0 2.0 3.0 ‘BORDER CONDITIONS’ 1.0 The Manifest, and 2.0 The toolbox

The

M a n i f e s t A dictionary of the APPEARING OF ARCHITECTURE

The

To o l b o x F r a g m e n t s o f d i s c u s s i o n a n d t h e o r y

The

M e n d i n g s Project sketches, hands-on Ørestad

Hildegunn Halvorsrød Vejleder: Hans Feldthusen 01.01.2013

This manifest present 4 pairs of words juxtaposed, each word interpreted into an analogy for different stages in the process of making architecture. To comment on certain problematic tendencies of the present time in architcture.

And to propose possible alternative strategies for the future. These words form a personal dictionary on the appearing of architecture.

1.0

The M a n i f e s t

A dictionary of the APPEARING OF ARCHITECTURE

1.0

M AN I FEST

A d i ct i onary of t he AP P EAR I N G OF ARCHI TECTU R E Th i s f i rst p art p resent s four ways of def ining t he word ap p earing, seeing t h e m a s dif ferent st ages in t he m aking of a work of architect ure: From t h e s t a r t ing p rocess of ideas and design, t hrough t he b uilding com ing i n to t h e context and it s way of rep resent ing it self , and f inally to what it a cco m plishes.

ap·pear (-pîr)

intr.v. ap·peared, ap·pear·ing, ap·pears [1. To come into existence ] [2. To come into view or come into a place] [3. To seem or look to be] [4. To perform or act]

_________________________________ Source: Farlex Dictionary

I n o rd er to describ e how and what architect ure could p erform in each of t h e s e four st ages, I p rop ose p airs of words interp reted into analogies for t h i n k i ng ab out architect ure. One word working as a crit iq ue, and one as p ro p o s al for an alternat ive st rategy of t hinking.

1.00 1.01 1.02 1.03

1.04

INTRODUCTION

Readers’ guide

[To come into existence ]

WORDS ABOUT PROCESS

THE CONCEPT & THE CONFLICT MONISM & PLURALISM

[To come into place ]

WORDS ABOUT CONTEXT

THE ‘ORGANIC FORM’ AS IMITATION/ SIMULACRUM AND THE ‘ORGANISM’ AS MIMESIS / SIMULATION 21 [To seem or look to be ]

WORDS ABOUT REPRESENTATION THE MASK & THE FACE PRESENTATION & REPRESENTATION

[To perform or to act]

WORDS ABOUT PERFORMANCE THE MACHINE & THE INSTRUMENT EFFECT & AFFECT

29 13 13

PAGE EXAMPLE ap·pear (-pîr) intr.v. ap·peared, ap·pear·ing, ap·pears 1. To come into existence 2. To come into view or come into a place 3. To seem or look to be 4. To perform or act

Th e topic, rel atin g to differen t defin it ion s of th e wo rd a p p ea ri n g

WORD #1 OPPOSED TO WORD #2 dictionary definition word #1

dictionary definition word #2

1.00

INTRO Readers’ guide At the top of each page are dictionary definitions of the chosen words, and below them is a list of my translations of these words into analogies with properties relating to architecture. On the left side are the words that describe what I find as being problematic tendencies in architecture, and on the right side, an alternative way of thinking or doing.

The function of the dictionary definitions is not to describe accurately every possible meaning of the words, instead I have chosen definitions that are instrumental for me in trying to describe distinctions between different phenomena in architecture. The words are there to represent certain personal attitudes. The words written in italic, are dictionarydefinitions and quotes. Words written in regular typeface are by me. Word #1, translated by me i nto an analogy for arc hi te ct ure. . . . . . 14

Wo rd # 2, t ra nsl a te d by m e i nto a n a n a l o g y f or a rc h i te c t u re. . . . . .

1.01

WORDS ABOUT PROCESS THE ‘CONCEPT’ AND THE ‘CONFLICT’MONISM AND PLURALISM

In this first section, To come into existence , I talk about my view on the process of making architecture, using the ‘concept and the ‘conflict’ as analogies for different strategies in this process.

ap·pear (-pîr) intr.v. ap·peared, ap·pear·ing, ap·pears 1. To come into existence 2. To come into view or come into a place 3. To seem or look to be 4. To perform or act

17 17

ap·pear (-pîr) intr.v. ap·peared, ap·pear·ing, ap·pears 1. To come into existence 2. To come into view or come into a place 3. To seem or look to be 4. To perform or act

Words a bou t the process of ma kin g a rchite ctu re : 1. TO DEVE LO P/ TO COME I NTO E XI ST E NCE

THE ‘CONCEPT’ AND THE ‘CONFLICT’MONISM & PLURALISM con·cept

con·flict

1. A general no tio n o r id e a

1. The o p p o s it io n o f p e rs o n s o r fo rces that g ives ris e to the d ram at ic ac t io n in a d ram a o r f ic t io n

Syno nyms : generalizat io n , co n ce p t io n , generalit y, no tio n , s te re o t yp e

‘Concept’ AS Process The imposition of a existing design to a new site Neue Nationalgalerie, Berlin

Mies used his design for one of his earlier projects, the Bacardi office Building (1957), Santiago de Cuba, as a concept for the new museum in Berlin. As it turned out that the space between the infinitely flexible glass facades was inappropriate to display art, the answer from the architect was as followed: ..“I am fully aware that this kind of space means great hardship for the exhibition of art. But it has such potential that I can not just take into account these difficulties. “ Mies also rejected a request from the National Gallery of extending the underground area of the building because the expansion - for being invisible underground - would have compromised cubic perfect proportions of the building.

2. Co m p e t it ive o r o p p o s in g ac t io n o f in co m p at ibles

_______________ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

___________________________________________

mo·nism

plu·ral·ism

Ph ilo s o phy: T h e view in metap hys ic s that re alit y is a unif ied wh o l e an d that all exis t in g thin g s can be as cribed to o r d es c ribe d by a s in g le co ncept o r s ys te m .

1. The co n d it io n o f be in g m u lt ip le 2. a. A co n d it io n in which n u m e ro u s d is t in c t e thn ic , relig io u s , o r c u lt u ral g ro u p s are p res e n t an d to le rate d within a s o c ie t y. b. The belie f that s u ch a co n d it io n is d es irable o r s o c ially be n e f ic ial. 4. P hilo s o p hy: a. The d o c t rin e that re alit y is co m p o s e d o f m any u lt im ate s u bs tan ces . b. The belie f that n o s in g le exp lan ato r y s ys te m o r vie w o f re alit y can acco u n t fo r all the p he n o m e n a o f life .

Farlex Dictionary

‘Concept’ properties:

‘Conflict’ properties:

Clarity

A m b ig uit y

Consistancy

‘CONFLICT’ AS PROCESS Hotel Matignon, Paris Jean Courtonne Example on Process of handling conflicting preconditions with the mediation between two axis.

Claims to h ave all d em an d s m et in o n e ‘h oly ’ entity of fo rm / sym b o l S elf su f f iciency

The ‘concept’ demands: E xclu sion Overru ling

In c o n s is t an c y

In terd epen d en c y

The ‘conflict’ demands: In c lus io n Med iat io n

1.02

WORDS ABOUT CONTEXT THE ‘ORGANIC FORM’ AS IMITATION/ SIMULACRUM AND THE ‘ORGANISM’ AS MIMESIS /SIMULATION

This second section , To come into view or to come into a place, is about architecture in relation to context, time and place, using the analogies of ‘organic form’ and ‘the organism’ as examples on the important distinction between imitation and mimicry.

ap·pear (-pîr) intr.v. ap·peared, ap·pear·ing, ap·pears 1. To come into existence 2. To come into view or come into a place 3. To seem or look to be 4. To perform or act

21 21

ap·pear (-pîr) intr.v. ap·peared, ap·pear·ing, ap·pears 1. To come into existence 2. To come into view or come into a place 3. To seem or look to be 4. To perform or act

I am here not criticiszng the organic form in its true meaning, but the lable ‘organic form’ that is often (mis)used to describe buildings with curved shapes. The problem with these buildings is that they often seem to come out as so-called ‘blobs’ and as objects floating in space, lacking important thresholds and isolating themselves from context. Architecture sometimes also need to be attractions for tourists, but perhaps as exeptions rather than as a rule.

Wo rds abo ut how the bu ild in g s ho u ld e n te r the s it u at io n in te rm s o f s ite / co n text an d t im e :

2. TO COME I NTO A PL ACE

T HE ‘ O RGA NI C FO RM’ AS I MI TAT I O N/ S I M ULAC RUM AN D T H E ‘O RGA NI S M’ AS MI ME S I S / S I M ULAT I O N

or·gan·ic

or·gan·ism

1. Of , relating to , o r d e rive d f ro m livin g o rganis ms

1. A bo d y m ad e u p o f o rgan s , o rgan elles , o r o the r p art s that wo rk to ge the r to carr y o n the vario u s p ro ces s es o f life . Cap able o f g row in g , re p ro d u c in g .

‘ORGANIC’ AS IMITATION Batumi Aquarium Henning Larsen Architects

2. A s ys te m re gard e d as an alo go u s in it s s t ru c t u re o r f u n c t io n s to a livin g bo d y 3. Res e m blin g a livin g o rgan is m in o rgan izat io n o r d e velo p m e n t ; in te rco n n e c te d

_______________ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

________________________________________

1. To us e o r fo l low as a m o d el. 2. To co py exactly 3. To appear l ike; res e m ble .

1. The im itat io n o r re p res e n tat io n o f as p e c t s o f the s e n s ible wo rld , es p e c ially hu m an ac t io n s , in lite rat u re an d art .

im·i·tate

mi·me·sis

_______________ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

2. Bas ic the o re t ical p rin c ip le in the c re at io n o f art . The wo rd is Gre ek an d m e an s “ im itat io n ”, tho u g h in the s e n s e o f “ re p res e n tat io n ” rathe r than o f “ co pyin g ”

sim·u·la·crum

‘ORGANISM’ AS MIMICRY Neue Staatsgalerie, Stuttgart James Stirling

James Stirling’s design for the Neue Staatsgalerie in Stuttgart is an example of building/buildings as urban system, as seam between inside and outside, between history and the city.

1. A material im age , m ad e as a repres entatio n o f s o m e d e it y, p e rs o n , o r th ing 2. So meth ing h avin g m e rely the fo rm o r appearance o f a ce rtain thin g , witho u t po s s es s ing its s u bs tan ce o r p ro p e r qu alit ies 3. A mere image, a s p e c io u s im itat io n o r likenes s o f s o me thin g Farlex Dictionary & Encyclopedia Britannica

Properties of the ‘organic form’ as imitation:

Mostly concerne d w it h vis ib le feat ures as pictu re, not as how t hey af fec t us . Th e retinal pict ure o f o rgan ic

Of ten a u nif ied m as s / a s in g ular o b j ec t to wh ich noth ing can b e ad d ed o r s ub t rac ted with ou t ru ining t he un if ied who le.

________________________________________

sim·u·la·tion

1. The te chn iqu e o f im itat in g the behavio r o f s o m e s it u at io n o r p ro ces s , by m e an s o f a s u itably an alo go u s s it u at io n o r ap p arat u s ”

Farlex Dictionary & Encyclopedia Britannica

Properties of the ‘organism’ as mimicry:

T he im po rt an c e o f how a t hin g perfo rm s , an d ab o ut it s p ro p er t ies, rat her t han what it lo o ks lik e A f fec ted by im pac t f ro m in n er an d o uter c o n d it io n s , Open to g row t h & reo rgan is at io n Mult iplic it y

1.3

WORDS ABOUT REPRESENTATION THE ‘MASK ‘AND THE ‘FACE’PRESENTATION AND REPRESENTATION

To seem or look to be, is the topic regarding the representation of a work of architecture, often about the facade, where I put the ‘mask’ in opposition to the ‘face’, as examples on the distinction between the presentation & the representation.

ap·pear (-pîr) intr.v. ap·peared, ap·pear·ing, ap·pears 1. To come into existence 2. To come into view or come into a place 3. To seem or look to be 4. To perform or act

“Vision and perception are not processes that passively register or reproduce what happens in reality, they are active, creative understandings Images do not imitate reality, they hint at it..” Rudolf Arnheim

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ap·pear (-pîr) intr.v. ap·peared, ap·pear·ing, ap·pears 1. To come into existence 2. To come into view or come into a place 3. To seem or look to be 4. To perform or act

Words a bou t the re prese n ta tion of the bu il t 3. TO S E E M OR LOOK TO BE

FACADE AS ‘MASK’ MINISTÈRE DE LA CULTURE PARIS Francis Soler

A 2d pattern is applied to two existing buildings from two different epoques. Its function seems to be to smooth out traces of history, to hide what is behind it , and it seems to lack connection to both inside and outside. The facade and what is behind remains two separate and unconnected layers.

THE ‘MASK’ AND THE ‘FACE’PRESENTATION & REPRESENTATION mask

face

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1. An artifact that covers something else 2. A covering worn on the face to conceal one’s identity

pre·sen·ta·tion

1. A formal introduction of someone. 2. A demonstration or display of a product or an idea. 3. An exhibition or theatrical performance 4. A display

Oxford dictionary/Theasaurus & OED online

FACADE AS ‘FACE’ ÉGLISE SAINT ROCH , Paris Jacques Le Mercier, , Jules Hardouin-Mansart, Robert de Cotte

Despite of several architects being involved in the building, and a range of changes (ref. conflicts in chapter 1.1) through different periods, this facade still remains to keep a whole, even though it has grown and changed over time. (as in mimicry of an organism, chapter 1.2)

In contrast to most churches, it is oriented to the north instead of to the east , because of the site and the context asked for this important facade to mediate out to the square. It shares sidewall with the neighboring building. Even though it is sewn in as a part of the city fabric instead of standing as an object , it still manages to keep its authority.

In this example, the different changes through time is possible to read in the facade, and gives an extra layer to it . It does not try to create a literal image of what is inside, but still it is fully connected with both outside and inside. It comes out not as an indifferent mask, but more as a representative face, with more to read into it at a closer look. The use of depth, scale and levels in this facade invites to sitting, meeting and being by the facade:-The facade becomes a place, an instrument ( as mentioned in the last chapter of the manifest .) By skilfully modelling the facade of this large building, the scale and intimacy is transformed, and the impression of intimacy is created. This facade invites to interaction, talks to the imagination, the body, works as image, as object and as placemaker.

1.Outward appearance 2a. The expression of the countenance; a happy face 2b. A distorted expression; grimace

rep·re·sen·ta·tion

1. showing with another meaning behind it. (As in, you bring flowers representing your love for someone) 2. Symbolizing something else, or indicating something below the surface of what you’re presenting Oxford dictionary/Theasaurus

http://wilcoxae.wordpress.com/2011/02/16/

‘Mask’ properties:

‘Face’ properties:

Made to cover and to present

A representation

Lack of interplay with- and nerves to- the inside and the outside

An imitation

Pictures something ‘To look at’

Is always a product/result of inner and/ or outer reaction, of which you can read something from. Can also seem to be ‘a mask’ , for the reason to mediate with the surroundings: can deceive can be fake can be dishonest can be exaggerated can be unpredictable can be contradictory can be representative Hints at something ‘To see with’

This distinction can be examplified with the difference of reproducing a work of art (ref. imitation), and the art of representing its meaning or ambience with different means or medium. (ref. mimesis) Because the object(s) shown within a picture is not the same as The Subject of the picture – what the picture is about .

“A representation is both motivated and arbitrar y. Spirit and material meet in the representation” Per Aage Brandt

1.4

WORDS ABOUT PERFORMANCE THE ‘MACHINE’ AND THE ‘INSTRUMENT’ EFFECT AND AFFECT

To perform or to act, is about the performance of the work of architecture, regarding the use of- and the final accomplishment of the building. This topic is discussed using the analogies of the ‘machine’ and the ‘instrument ‘.

ap·pear (-pîr) intr.v. ap·peared, ap·pear·ing, ap·pears 1. To come into existence 2. To come into view or come into a place 3. To seem or look to be 4. To perform or act

“Sometimes it’s more important to be human, than to have good taste.” Bertolt Brecht

29 29

ap·pear (-pîr) intr.v. ap·peared, ap·pear·ing, ap·pears 1. To come into existence 2. To come into view or come into a place 3. To seem or look to be 4. To perform or act

4. / / TO PE RFORM O R TO ACT / / T h i s pa r t is a bou t the fu n ction , the u se a n d the a ccompl ishme n t of the bu il din g

THE ‘MACHINE’ AND THE ’INSTRUMENT’EFFECT & AFFECT

FACADE as ‘instrument’ Carpenter Center, 1961 Le Corbusier

Despite le Corbusiers’ refering to some of his buildings as ‘machines’, many of his works are in my opinion working as instruments. In this example from the Carpenter Center he has created a facade that invites to interpretation with the use of sunscreens/ verandas, something to sit on, something to be inside.. The facade is affecting different use.

ma·chine

in·stru·ment

1.A device used to produce a stage effect A system or device, that performs or produces

1. A means by which something is done; an agency.

_______________________________________________

ef·fect

_______________________________________________

af·fect (verb)

(noun)

1. Something brought about by a cause or agent; a result .

1. To have an influence on or effect a change in: 2. To act on the emotions of; touch or move.

(Note that effect is a noun, while affect i is a verb.) Oxford dictionary/Theasaurus

FACADE as ’machine’ Dexia weather tower, Bruxelles J. Eyers & Partners

Weather tower projecting temperature on the facade. The facade produces an effect

Properties of the ‘machine’:

Properties of the ‘instrument’:

Impeccable outcome

Unpredictable outcome

To turn on/off

To offer an explanation A ‘speech’

Dependent on technology

Planned effect , planned output Doesn’t require a subject in order to work.

The machine is uninfluenced by emotions or personal prejudices. The outcome of the machine is based on observable phenomena; presented factually: an objective appraisal.

To make use of

Invite to interpretation/misinterpration A ‘conversation’

Independent of technology Causes affect

Dependent of a subject , the body

The input and the handling is perhaps the most important “..The important abilit y of architecture to transcend necessit y..” Col i n S t . W i l son

M AN I FEST COM M EN T. AFTER M ATH The concep t and conf lict of t he m anifest , - t he m anifest as inst rum ent and m achine

I n it s nat ure, a m anifest is dogm at ic. I t is a p roduct of deep ly sub ject ive st atem ent s, and for t he st atem ent s to com e out as som ewhat clear and com p rehensib le, it is to a cert ain degree necesarry to p ut into classes, and to generaliz e.

By p ut t ing words up against each ot her, as done in t his m anifest , I am already in a sort of conf lict wit h my own views, b ecause by sharp ly ranging one t hing over anot her, m at ters can com e out as b lack and white, and t he m anifest can easily b e t aken as b eing a concep t in it self . . For t hat reason, it seem s im p ort ant to say t hat I regard t hese p rincip les not as st rict rules of et hics, b ut rat her as uncert ain and unf inished inst rum ent s to b e interp reted. Because t he world is rarely eit her- or, b ut rat her b ot h- and. -And b ecause dif ferent sit uat ions dem and dif ferent m eans.

These four p air of words could all have b een rep laced wit h words t hat would give t he sam e, - or p erhap s m ore m eaning to t he sub ject , and t hey all have som et hing in com m on. Also t he classes overlap at cert ain p oint s. The words on t he lef t side are m uch ab out clarit y, self suf f ience, ob ject ivit y and ignorance to context and circum st ances, while t he words on t he right side has a lot to do wit h inclusion, am b iguit y and interdep endency. I n dif ferent ways, t hey sum t he dist inct ion b et ween ‘im it at ion’ and ‘m im icry ’ in dif ferent st ages of t he p rocess, as well as ‘m onoism’ and ‘p luralism’.

S om e references are hard to categoriz e and p ut into t he right class. A ‘conf lict ’ p iece of architect ure could have t he out look of a ‘concep t ’, or a facade t hat looks like a ‘m ask’ could b e what I def ine as ‘face’. I n order to b e ab le to decide wit h cert aint y in what category to p ut a p roject , it is im p ort ant to st udy t he b uilding deep ly, b ot h in it s context , it s t im e and it s p rogram m e. The reference- p roject s used as exam p les for each analogy should t herefore also b e looked at wit h a degree of uncert aint y .

2.0 34

The

To o l b o x

Fragments of theory and discussion

35 35

2.0

TO O L B OX

Frag m e n t s o f the or y a n d discu ssion

This second part contains fragmented and independent quotes, definitions, subjective meanings as well as practical strategies and references.

They are meant as a box of tools for my work in Ørestad. This discussion present ‘bigness’ as a general problem, and working with ‘seams’ (the edge) and ‘embroidery’ (the ‘unpragmatic’), as strategy for mending unrelated parts.

ABOUT ‘OBJECTS’ AND ‘BIGNESS’ 2.01-2.07 Discu ssion s con tr ibu tin g to my ta ke on Øresta d

a s a sel f su fficie n t a re a tha t n e e ds con n e ction s with the ou tside

2.08-2.14 ABOUT EDGES & SEAMS

Discu ssion a bou t how the e dges is a ke y to cre a te these con n e ction s, with the stra te gy of me n din g w ith se a ms, u sin g rel a tivel y sma l l phy sica l me a n s.

ABOUT ‘EMBROIDERY’ (ORNAMENT) 2.15-2.36 G e n e ra l discu ssion s on or n a me n t , a n d in spira tion on how the

‘ n on -fu n ction a l ’ / the ‘ excessive ’ ca n work a s a psychol ogica l me n din g for Øresta d

FINAL COMMENT 2.37

37 37

2.01 Th e ‘wow ’-ef f ec t of t h e ob jec t Th e p rocess of involving a ‘ con ce pt’ (as t he word is def ined in t he m a n i fest ), of ten lead to t he design of a b uilding t hat is fascinat ing at t he f i rs t glance, p roducing a ‘wow ’- ef fect .

M a ny of t he b uildings t hat receive t he m ost m edia at tent ion ap p ear to h ave b een conceived f rom t he exterior, p erhap s f rom an elevated vant age p o i n t , and t he result is of ten a b uilding t hat has few exp erient al q ualit ies s e e n from t he eye level of a p erson. B u t t here are also ot her p rob lem s wit h ‘ob ject - b uildings’ such as t hese: t h ey rarely cont rib ute to a collect ive cit yscap e (t hey are ‘ ma chin es’ m o re t han ‘ in str u me n ts’) and t hey are of ten dif f icult to exp and (not as ‘ o rgan ism’ ).

I t s e em s im p ort ant not to forget t hat architect ure is m ore t han only ‘f ine a r t ’, b ut a p ract ical art , t hat also serves ends ot her t han it self .

2.01-2.07 OBJECTS & BIGNESS

“Libeskin d’ s design con sists of ge ome tr ic, tita n iu m-cl a d a n gl es, which re fl e ct the n e a rby Rocky Mou n ta in pe a ks a n d rock cr y sta l s.” P roj e c t de sc ri bt i on on Arc sp a c e . c om

Denver A rt Mus eum . Dan iel Lieb es k in d ( a ‘c o n c ept ’ w it h t he appearan c e o f ‘c o n f lic t ’? )

2 .0 2 The convenience of th e ‘ co nce pt ’ Th e u s e of t he word ‘co n c e pt’ i s pe rh a ps e a sy to mi s i n te r p re t , a s c o n c ep ts are necessary to o ls fo r d e s i g n , fo r la n g u a g e a n d fo r cl a s s i n g the wo rld in general. I n th i s text I a m re fe rri n g to ‘co n ce p t ’ a s t h e i d e a o f - a n d the p riorit y of a c e rta i n o u tlo o k, a bove a n u nd e r s t a n d i n g o f a pro b le m. These typ es o f ‘ c o n c e pts ’ o fte n i nvo lve ma k i n g t h e wo rl d m o re s i m pl e t han it is.

Co n c e pts are, in my opi n i o n th e mo s t pro d u c tive i f they co n t a i n a n id eo l o gy or a way of thi n ki n g , bu t o fte n i n mo d e rn a rch i te ct u re , i t s e e m s a s tho ugh t he concept i s mo re a bo u t th e a ppe a ra n c e t h a n a b o u t t h e u n d er s tanding of a phe n o me n o n , wh e re th e a rc h i te c t s o f t h e s e b u i l d i n g s h ave b een st riving to a c c o mpli s h a c e rta i n symbo l a s a n e n d re s u l t . Th e a dvantage, but also th e pro ble m wi th th i s ki n d of co n ce p t , i s t h a t i t m a kes it easier to give a n a n swe r to d i ffe re n t d e c i s i on s i n t h e p ro ce s s o f m a kin g a p iece of arch i te c tu re , by le tti n g th e qu e s ti on s b e m o re o r l e s s d i rec tly answered by th e c o n c e pt .

I n c o n trast to the ‘con c e pt’, th e ‘ c o n fli c t’ a c kn owle d ge t h a t a l l d e m a n d s c a n n o t be met by t he i mpo s i ti o n o f o n e g e n e ra l ru le a s g u i d e fo r eve ry d ec ic ion. This strategy d e ma n d s g re a t i n s i gh t a bo u t t h e p a r t s i n t h e c o n tex t of the building , th a t be i n g pra c ti c a l, phys i c a l , p h e n o m e n o l o g i ca l , h i s to r ical, social.. Th e c o nflict demands m e d i a ti o n be twe e n c o n fli c ti n g p a r t s o f a s i t u a t i o n , a n d th is leads to a proc e s s mu c h mo re c o mplex a n d d i f f i cu l t t h a n t h e s tra tegy of the ‘concept’. I t is i mp ort ant to say t h a t a d e s i g n ra re ly s h o u ld me di a te eve r y co n f l i ct in a g iven situat ion. an d a ls o th a t th e o u tc o me d o e s no t h ave to h ave t h e fo rm o r shap e of a com plex ‘ c o n fli c t’.

I n te g ra t i on of a b ig b uilding wit h context Th o m a s Cub it t K i n g ’ s Cross in London

2 .0 3 S e l f suffic ienc y and i nde pe n de ncy Th e ‘c oncep t’ is often d i re c te d towa rd s i ts e lf, a n d more co n ce r n e d a b o u t c re ati ng a self sufficie n t sys te m o f i ts own , th a n me di a t i n g w i t h t h e s ur ro undings. I t hink t h i s i n d e pe n d e n c y i s a pro ble m i n m o d e r n a rch i te ct u re . Co n c e pts often create i s o la ti o n , th ey d o n o t h ave to de p e n d o n fa cto rs o u ts i d e itself to give me a n i n g , to be wh o le o r c o mplete . T h e co n ce p t i s s e l f s uf f ic ient , exist ing next to i ts s u rro u n d i n g s i n s te a d o f to g e t h e r w i t h , a s a wo rl d of its ow n. Th ere are p laces for t h e s e u n i qu e s tru c tu re s , s u c h a s t h e re wa s a ro l e i n the m edieval cities for th e c a th e d ra l. Bu t a ll bu i ld i n gs ca n n o t cl a i m t h i s a tte n tion.

2 .0 4 Patch 1. A s mal l p iece, p art , or sec t ion , espec ia l l y tha t which d i f fe r s f ro m o r co n t ras t s wi th the wh ole. O x fo rd d iction a r y/ T h e a s a u r u s

2 . 0 6 . S eb a st i en Ma rot on B ig ness “. . B i g n es s is n o l on ge r a pa r t of the u rba n tissu e . On ce in side , the ou tside b e co m es n ot on l y ir rel e va n t bu t a l so in a ccessibl e .” . . T h i s i ntrove rc y ca u ses su dde n l e a ps from on e se qu e n ce to the n ext , withou t any re al tra n sition whose rel a tion s a re ye t to be de ciphe re d a n d inve n te d. .” S ebastien Maro t . S ub - U rb an is m & t he art o f m em o ry

2.07 O. Pa i l os : B ig ness in Context “ I n s i d e Bign ess is a progra m of the cl a ssica l cit y tha t ha s be e n a esthe ticize d, cle an e d u p, ma de sa fe , va r n ishe d, a n d u l tima tely impove r ishe d. T h e Re f usa l to a ddress histor y a n d con text l e a ds bign ess down the dou bl e pa th o f a b u re a u cra c y of a u the n ticit y doome d to sel f-destr u ction , a n d of a pu re m i rro r of the worl d it re pl a ces” Jorge Ote ro Pailo s . Big n es s in Co n tex t

2 .0 5 Koo l haas’ theory of ‘ B IGN E SS’ ba s e d o n five t he o rem s: “1 . Be yond a certain cr it ica l m a ss, a bu il din g becom es a B I G B u i ld i n g . Su ch a ma s s can no longer be con t rol l ed by a sin g u l a r a rchite c t u ral ges t u re , o r e ve n by a ny combination of a rchitec t u ra l gest u res. The im p o s s i b i li t y t ri gge rs th e a uto nomy of its p arts, which is differen t from fra g m en tat i o n : th e p ar t s re m ai n co mmitted to th e wh ol e. 2. T he el evator-with its poten t ia l to esta bl ish m echa n i cal rath e r th an a rchi tectural connection s- a n d it s fa m il y of rel a ted inve n t i o n s re n d e r n u ll a nd vo id th e classical reper toire of a rchitec t u re. I ssu es o f co m p o s i t i o n , s cale , pro po rtion, d etail are n ow m oot . The ‘a r t ’ of a rchitec tu re i s u s eles s i n B I G N ES S . 3. In BI G N ESS, th e distan ce bet ween core a n d envel ope i n c re as es to th e p o i n t whe re th e façade can n o l on ger revea l wha t ha ppen s in s i d e . T h e h u m an i s t ex pe c tation of ‘ h onest y’ is doom ed; in ter ior a n d exter i o r arch i te c t u res b e co me sep arate p rojec t s, on e dea l in g with the in sta bi li t y o f p ro g ram m at i c a nd i conograp h ic need s, the other- a gen t of disin for m at i o n - o f fe ri n g th e c i t y the a pp arent stabilit y of a n objec t . Where a rchitec t u re re ve als , B I G N ES S pe rplexes; BIG N ESS tra n sfor m s the c it y from a su m m a t i o n o f ce r tai n t i es i n to an a cc umu lation of mysteries. Wha t you see is n o l on ger wh at yo u ge t . 4. T hrough size alone, su ch bu il din g s en ter a n a m ora l d o m ai n , b e yo n d go o d an d b a d. T h eir imp act is indepen den t of their qu a l it y. 5. To geth er, al l th ese b rea k s- with sca l e, with a rchitec tu ral co m p o s i t i o n , w i th t ra di t i on, with transp a ren c y, with ethic s- im pl y the fin al, m o s t rad i cal b re ak : BIGNESS is no l onger pa r t of a ny issu e. I t ’s exist s; a t mo s t , i t co ex i s t s . I t s s ubtext is fuck context .”

Re m Kool haas, ‘Bigness, in S , M, L, XL

O.M.A. has develop ed a ve ry s pe c i fi c a ppro a c h towa rd s u rb a n i s m a n d a rc hitect ure. Instead o f wo rki n g a ga i n s t bi g n e s s , th ey e m b ra ce t h e s e c o n d itions and declare th e m a s th e s ta rti n g po i n t fo r t h e i r p ro j e ct s .

obje cts v s fa br ic 43

Bign ess Ă&#x2DC;resta d, Cope n ha ge n

2.08 Ed ge 1 . T h e p oin t a t which some thin g is l ikel y to be gin : 2 . A m argin of su pe r ior it y ; a n a dva n ta ge : a sl ight e dge ove r the opposition 3 . To g ive a n e dge to (a bl a de ); sha r pe n . 4 . To p ut a borde r or e dge on : ‘ e dge d the qu il t w ith e mbroide r y ’ Ox ford d ic t io n ary/ T heas aurus

2.09 Rol e s of t h e t h resh old “ T h e th reshol d ha s 3 roles: A U t i li ta r ia n rol e A P ro te ctive Rol e A S e m an tic rol e

ST E P S -EAVES -GAT ES -DOORS -BA LCONI ES -WI NDOWS -ORNA ME NT. . : All th ese a re a rchite ctu ra l se a ms, tha t con trol the pe r me a bil it y of a l imit”

2.08-2.14 EDGES & SEAMS

“ H i s to r i ca l l y, the tra n sition spa ce l in ks to the ex iste n ce of a r itu a l . T h res h o l ds a re both sy mbol s & vehicl es of pa ssa ge I t i s th e threshol d which re ve a l s the n a tu re of the l imit . B u t th reshol ds a re , e ve n more , in dica tion s which procl a im the n a tu re of the p laces to which the y give a ccess or which the y re prese n t . “ Pierre Vo n Meis s , ‘Fro m fo rm to plac e’

2.10 Th e i mp or t a nce of ed g es . .”A f i g u re fin ds its a u ton omy to a l a rge exte n t by its e dges, its con tou r s, th e re fo re , by the con ta ct it ha s with the exte r ior, the rest of the worl d. I t i s n o t a ccide n ta l tha t in cl a ssica l a rchite ctu re the ba se , cor n e r s & cor n ice are acce n tu a te d. I t is a s if the re we re gre a te r con ce n tra tion of in for ma tion an d excita tion a t the e dge tha n a t othe r poin ts”. . Tzonis & Lefaibvre

Basic objectives: 1: To string and to bind 2: To cover, protect and enclose Distinction between -String -Band -Hem -Seam -(Cover)

(The wreath continues) It often has a functional meaning; that is, it is used as a symbol of a simultaneous or alternating function in contrasting directions or forces working in opposition

using these as metaphores for the design

The string Point neither upward or downward and is therefore neutral

The chain is active only in the sense of holding the units togehter, it does not actively relate to what it surrounds. Thus this symbol is always used to characterize something as bound, but rather it enhances a objects independence

The band (the string expresses the concept of binding only when its elements are joined, and relate to a central reference point) The band, by contrast, joins parts that do not belong to it, or connects them as it frames them

Even more forceful expression on the basic concept of binding is achieved by plaiting

Unlike a string of pearls. the wreath is not neutral, but rather points expressively to both at the same time and mediates the two.

N otes f ro m S e m p e r ab o u t d i f fe re n t t yp es o f e d ges i n text i le 48

Notes from S e mpe r a bou t diffe re n t t y pes of e dges in textil e 49

2.11 ‘A s f ou nd ’ “ T h e d iscove r y of tha t which is su ppose dl y u n impor ta n t , a n d the gift of m ak i n g some thin g impor ta n t from it . To bu il d rel a tion ships a n d rel a te to wh at al re a dy ex ist .” Peter Sm it hs o n

2.12 “ Wo rk on good prose ha s thre e ste ps: a mu sica l sta ge whe n it is compose d, an archite cton ic on e whe n it is bu il t , a n d a textil e on e whe n it is wove n . “ Walter Ben j am in The belt has a double function, in this case as a longitudinal link, and as a seam, that is something tended longitudinally and transversely at the same time. A load placed on it can amplify the longitudinal tension

2.13 S e a m a nd p a tc h es T h e s eam p enet rates t he fab ric, leaving only a t hin t hread and a sm all h o l e . Desp ite of b eing sm all, it m anages to at t ach even large p atches of d i f fe rent fab ric wit h each ot her so t hat t hey b ecom e intert wined and i n s e p erab le

2.14 S u st a i na b le sea ms I n a t i me where we need to t hink ab out sust ainab ailit y, and to b e ca re f ul wit h resources, I f ind it im p ort ant to look at p ossib ilit ies for t ra n s form ing p rob lem - areas wit h t he use of sm all m eans. By analysing t h e q ualit ies of t he exist ing, it is som et im es p ossib le to m ake new s i t u a t ions b et ween t hings t hat already exist , by b uilding relat ionship s/ t h re s holds rat her t han m aking new ob ject s. This leads to t he st rategy of t h e s e am as an analogy for t he p hysical link b et ween det ached p atches, a n d to t he em b roidery as t he ant rop ological- or t he p sychological link.

The concept of binding is associated witht that of connecting. (Something that is connected must once have been separate(d)) Thus- a band is used when something is to be connected and articulated. It serves to emphasize both the unified nature of the parts and their relation to the whole and to mark the articulation

Existing next to something

being attached to something

N otes f ro m S e m p e r ab o u t d i f fe re n t t ypes o f e d ges i n text i le 50

2.15 Th e a n e cdote and t he resum é P re te n d to sum up a long t ravel into a short resum é. By doing so you ef f icient ly m a ke cl e ar t he highlight s and t he fact s ab out t he t rip , b ut you would m ost l i ke ly l o o se t he narrat ive im age of it , t he am b ience & exp erience. 2.16 o r · n a· m e nt

P u rely d e cora tive el e me n ts in a rchite ctu re a n d the de cora tive a r ts 1 . S o m e th i n g tha t de cora tes or a dor n s; a n e mbel l ishme n t . 2 . A p e r s o n con side re d a s a sou rce of pr ide , hon or, or cre dit: a sin ge r who is a n o r n am e n t to the worl d of ope ra . 3 . M u s i c A n ote or grou p of n otes tha t e mbel l ishes a mel ody. t r. v. ( -m n t) or ·n a ·me n t·e d, or ·n a ·me n t·in g, 4 . to s e r ve a s a n or n a me n t to

2.15-2.36

EMBROIDERY/ ORNAMENT

T he A me rica n He ri t a ge ® D i c t i on a ry of t h e En gl i sh L a n gu a ge & W i k i p e di a

2.17 O r na m e nt a nd excess T h e wo rd “ornam ent al” is alm ost always accom p anied by t he word “excess” or “ exce s s ive.” This discussion can b e found b ot h in architect ure, as well as in l i te ra t u re and m usic: 2.18 “ O r n am e n t is whe re min ds div ide , bu t l ess in the se n se of ta ste tha n a s th e p o i n t whe re the ce n tra l the ore tica l qu estion s of the pe r iod cr y sta ll ise : o rn am e n t is the ba ttl e fiel d of the or y.”

Jörg H. Gleiter, Orn am en t : T he Bat t leg ro un d o f T heo ry

2.19 “ W h at i s o r n a me n t good for ? Re a son de ma n ds u til it y a n d u til it y a rgu es a ga in st o r n am e n t ” Adolf Loos

2.20 “ I t i s by the or n a me n t tha t we ma y give gre a te r str u ctu ra l e n tit y a n d gre a te r h u m an s i gn ifica n ce to the whol e bu il din g tha n cou l d e ve r be don e othe r w ise ”. . F.LWrigh t

‘ GAT E’ example Funct i o ns of orname nt : S C A LE _ IN VITATION _ H I E R ARCH Y _ PR E PAR ATI ON _ R I TUA L _ D IR ECT IO N _ A NT I CIPAT IO N 54

2 .2 1

E x t ra c t f ro m t h e M ani f e s to of E zra Pound:

“1 . To use th e language of com m on speech, bu t to em pl oy alway s th e exac t wo rd, n ot th e nearl y-exa c t , n or the m erel y decora t ive wo rd . … 5. To prod uce p oetr y th a t is ha rd a n d cl ea r, n ever bl u r re d n o r i n d e f i n i te . 6. Fi nal l y, m ost of us bel ieve tha t con cen t ra t ion is of th e ve r y es s e n ce o f po e t r y…”

2 .2 2 “I ho pe for p oetic exp ression s tha t a re a gg ressive, ba ro q u e an d es o te ri c ; I pre fe r ridicul ous and em ba r ra ssin g to per fec t ion . O n th e li te rar y m arke t , whi ch is dominated by the a esthet ic a n d soc ia l idea l s o f th e u p p e r m i d d le clas s , i t i s un accep table to be excessive in a ny wa y – on e a dje c t i ve to o m any an d yo u’re out . Th ere’ s a st u bbor n cl iché tha t the sober, qu i e t an d ele gan t , th e s o - ca lled “sim p le” is ca tegor ica l l y m ore in for m a t ive th an th e n o i s y. T h e f les hy, s c re a my and overd one, the vu lga r, despera te a n d pa the t i c are s o tab o o i n o u r c ult ure th at th ere must be a dea d ra t bu r ied in the phe n o m e n o n .” Swe d i s h Po e t Aa se B e rg i n “ I t ’ s N o t O K to b e a Fa ts o.”

2 .2 3 ”T he c risis of ornam ent is the “expression of a con sc io u s n es s o f th e c ri s i s i n mo de rn ism” Ra u l e t Ra u le t , G é ra rd & B urghar t Sc hmid t . K r itis c he The or ie des Ornaments

2 .2 4 Abou t lac k of arc hitect ura l e l a bo ra t i o n ‘Whe n much building is exper ien ced in a c t u a l it y, it s ph o to ge n i c q u ali t y i s de ni ed, by th e p overt y a n d br u ta l it y of it s deta il in g . A go o d b u i ld i n g de ma nded , h eld and foc u sed a t ten t ion l ike a photog ra p h . .’ Ke n n e t h Fra m p to n

2.27 “ T h e e n t i re cor pu s of a rchite ctu re ha s be come de cora tive . T h e e m o t i ve qu a l it y of or n a me n t is n ow so re du ce d a s to se e m re du n da n t” I rénée S ch a lb ert

2.28 . .“ T h e e cle ctic de cora tion of the 19th ce n tu r y is de ca de n t in this se n se : An aes th e t i c o bje ct a dde d on to a bu il din g, tha t cou l d su r v ive qu ite wel l w ithou t th i s ad d i t ion . A s a n a esthe tica ll y pl e a sin g ve n e e r, su ch de cora tion ma y dra w ou r at te n t i o n , w ithou t sta n din g in a ny n e cessa r y rel a tion ship to the a rchitcton ic wh o le , as i f gl u e d to some box .”. . Broch

2.29 O r na m e nt vs d ecora t ion : . .” T h e exampl e of a bra cel e t , whose poin t is n ot so mu ch to be a ppre cia te d as a s elf s u fficie n t be a u t y in its own r ight , a s to re -prese n t the or n a me n t b e are r. D en ie d its re -prese n ta tion a l fu n ction , or n a me n t tu r n s in to a rbitra r y d e co rat i o n ”. . K.Harries ‘Th e eth ical f un c t io n o f arc hitec t ure’

2.30 O n or na m ent a nd ed g es: . .“ T h e m o ld in gs, the be a d, the fil l e t . . a re n ot in the l e a st ‘ or n a me n ta l ’ or d e co rat i ve in the se n se of a fr ivol ou s a dju n ct of a n a l most su pe r fl u ou s elab o rat i o n . T he y a re pa r t of the esse n tia l str u ctu re of the cl a ssica l sy ste m, v ita l to i t s p o e t ics of orde r. Alth o u g h the mol din gs a ffe ct sma l l sca le a spe cts of the composition , the ir impa ct i s m ajo r. : T h e y can bl u r distin ction s a n d cl a r if y the m. T he y ma ke te r min a tion s v isibl e a n d th e y can s h a r pl y de ma rca te the m. T h e o rn ame n t , ca n ma ke or bre a k the cohe re n ce of a cl a ssica l composition .”. . Tzonis and Lefaivre

2 .2 5 “M o de rn societ y h as becom e in ca pa bl e of inven t in g or n am e n t ” Loos 2 .2 6 “Whe n Mod ern arch itect s r ig hteou sl y a ba n don ed or n a m e n t o n b u i ld i n g s , th e y unco ns ciously d esigned bu il din g s tha t were or n a m en t .” Ro b e r t Ve nt ur i

2 .3 1 Ornament in the tec h no l o g i ca l a g e : Th e o rnament-curiosit y o f mo d e rn a rc h i te c ts c a n s e em m o re d i re cte d towa rd s the process of reprodu c ti o n th a n to o rn a me n t i ts e lf, wh e re a rch i te ct s b o rrow, c o py, enlarge and adapt exi s ti n g pa tte rn s . T h i s o fte n l e a d s to a n a rch i te ct u re whe re the image of wha t te c h n o lo g y ma ke s po s s i ble , s t a n d s b e fo re a p r i o ri t y towards t he quality of h u ma n expe ri e n c e a ro u n d th e b u i l d i n g . Th i s s trategy of modern o rn a me n t , o fte n pro d u c e s a m o re o r l e s s f l a t s cre e n wi th a pattern on it , wh e re th e s u rfa c e wra ps th e bu i l d i n g , a n d h e l p s f u r t h e r to s tre n g then t he image o f th e bu i ld i n g a s a n ‘ o bje c t’ 2 .3 2 “Whe re we can differen t ia te a n a n thropol og ica l ( a n thro p o s = h u m an ) s i d e f ro m a m aterial and con st r u c t ion a l side with respec t to th e o rn am e n t , we can thus s p eak of th e ornamen t ha vin g a dou bl e on tol og ica l p o lar i t y ( o n to lo gy = the s t u d y of being). In the or n a m en t both the m a ter ia l - co n s t r u c t i o n al an d th e a nthro p ol ogical asp ect s becom e on e a s a visibl e presen ce .” J ö rg H. G le i te r

2 .3 3 The m ediative func tio n o f o r na me n t : Th e o rnament has agenc i e s mo re i mpo rta n t th a n to m e re ly d e co ra te . A n im po rtant agency is to m edia te:

..B e tween different wo rld s : To pre pa re a n d to i nvi te as a p a rt o f a r i t u a l . To c re ate ant icipation ..B e tween t he imp ortan t a n d th e le s s i mo rta n t: To make h i e ra rchy ..B e tween different sca le s : To me d i a te wi th s i z e a n d p e rce p t i o n

..B e tween t he building a n d h u ma n s : To c re a te i n h a bi t a t i o n , to a f fe ct t h e eye , t h e s kin .. ..B e tween t he human an d th e g o d s : To me d i a te wi th sy m b o l s

..B e tween t he present a n d th e pa s t: h i s to r ical and cult ure symbo ls . O rn a me n t fo r e n h a n c in g m e m o ra b i l i t y ..B e tween Close & dista n t . S c a li n g o bje c ts

‘ CA RPET ’ exa mpl e Fu n c t i o n s of or n a me n t: D R ES S I N G _ I NH A BI TAT I ON _ MOVE ME NT _ DI RECT I ON _ FRA MI NG _ H I E RA R CH Y

2.34 p e r ·ce p ·t i on 1 a. Re co g n ition a n d in te r pre ta tion of se n sor y stimu l i ba se d chie fl y on me mor y. 1 b . T h e ne u rol ogica l processes by which su ch re cogn ition a n d in te r pre ta tion a re af fe c te d . T he A me rican H e ri t a ge ® D i c t i on a ry of t h e En gl i sh L a n gu a ge

2.35 “ T h e p ro gressin g ra tion a l iza tion of mode r n l ife ha s to me a n its disin te gra tion , p ro fes s i o n a l iza tion a n d compa r tme n ta l iza tion : de ca de n ce a s Nie tsche u n d e rs to od it: ‘ Wa r is wa r ’, ‘ bu sin ess is bu sin ess’. . Al l this sa y s the sa me , it a l l b elo n g s to the sa me a ggressive ra dica lit y, tha t u n ca n ny r u thl essn ess, to tha t c r u el lo g ica l spir it tha t l ooks to-a n d on l y to- the ma tte r a t ha n d, tha t does n ot lo o k ri g h t a n d does n ot l ook l e ft . Su ch ma ste r y de ma n ds obje ctiv it y. To a pproa ch o b je c t i v i t y we mu st a tte mpt to fre e ou r sel ves of the wa y in which mood a n d i n te res t distor t wha t we ex pe r ie n ce , tra n sfor min g ou r sel ves in to spe ca ta tor s of wh at i s th e ca se . T hu s obje ctifie d, re a l it y ha s n o room for va l u e .” We re we to e qu a te obje ctifie d re a l it y with re a lit y. T he n , me a n in g cou l d on l y be fo u n d i n a tu r n to the a esthe tic. Bu t obje ctifie d re a l it y mu st be u n de r stood a s p res u p p o sin g a more e n compa ssin g re a l it y. I t is this re a l it y tha t a r t , a n d more es p e c i ally a rchite ctu re shou l d re ca l l a n d in te r pre t for u s, tha t toda y re ma in s its m ai n tas k. .” K.Harries Th e eth ical f un c t io n o f arc hitec t ure

2.36 “A p rac t i ca l a r t a l wa y s ha s promises to ke e p; in the se n se in which it is an s we rabl e to a wa y of l ife , a rchite ctu re is grou n de d in the e thica l.” Colin S t . W ils o n Classical Theo ry an d t he aes t het ic fallac y

Fu n c t i o n s o f o rn am e n t ‘COLU M N S & A RCA D ES ’ exam p le

2.37 F i na l Comment F l a t n es s a n d e d ges vs El a b ora ted e d ges Re - re a d i ng my gat hered f ragm ent s of text s, I f ind t hat all t he t hem es have a cr i t i q u e ab out edge- ‘f lat ness’ in com m on.

Th e ‘ o b jec ts of b ig n es s ’ (2. 1- 2. 7) have a st rict b order sep arat ing t he inside a n d t h e out side world. . , A n d wh e n I f urt her t alk ab out ‘ed ges ’ (2. 8- 2. 10), it is wit h t he view t hat t hese s h o u l d work as m odulat ions instead of b reaks, t hat t he edge should b e a p lace o f i t s ow n. Th e cr i t i que on t he use of p at terned screens of ten used as orn a men t in m o d ern a rch itec ture (2. 27, 2. 28 & 2. 31), also has to do wit h t he p rob lem of ‘ f l a t n e s s of exp erience’. Even t hough m any of t hese screens work wit h dep t h a s v i s u a l ef fect s, t hey rarely have real p hysical dep t h, t hey work m uch as ‘ m a ch i n e s’ instead of ‘inst rum ent s’, t hey p roduce a visual ef fect , m ore t han a f fe ct s e ncouraging to interp ret at ion of use.

2.37

Th i s i s what I have b een t rying to accom p lish by working on dif ferent edges of Ø re s t a d i n p art 3. 0, t he last p art of t his p roject ; to m ake a p l a ce on t he edge.

FINAL COMMENTS

Bibliography: As wi th the manifest , th e ga th e ri n g o f th e o ry fra g me n t s h ave h e l p e d m e to s ee m ore clearly t he co mmo n th e me o f my a tti tu d e s ; Th es e at tit udes and t h o u gh ts fro m d i ffe re n t a rc h i te c t s a n d d i f fe re n t e p o q u e s h ave c ont ributed as ‘pa rtn e rs o f d i s c u s s i o n’ fo r my pro j e ct o n h ow to m e n d Øre s tad. In many ways th ey h ave be e n h e lpfu l, bu t bo t h t h e m a n i fe s t a n d the readings of theory h ave a ls o ma d e i t d i ffi c u lt to m a ke d e ci s i o n s , fo r the s imple reason t hat i n th e text a n d i n th e ma n i fe s t , I a lways ca n f i n d a c o u n ter- argument agai n s t my own i d e a s . Ju hani Pallasmaa abo u t u nce r ta i nt y a nd th e ’u ncerta i n ’ p ro ces s : . .“Cre a tive th inking is work , l a bor, in the proper m ea ni n g o f th e wo rd , rath e r tha n merely an unexp ec ted a n d effor tl ess fl a sh of in sig h t . Su ch m i racles ma y o n l y h ap p en to a tr u e gen iu s, bu t even in su ch a cas e th e ge n i u s h as la b o riously worked h is /her wa y to the threshol d of reali s at i o n . A s e ns e of certaint y, sat isfa c t ion , a n d fin a l it y tha t a r is es to o e arly can b e ca ta s t rop h ic. Th e h esita n c y of the dra win g it sel f expres s es an d m ai n tai n s my ow n inner uncertain t y. Most im por ta n tl y, the sen se o f u n ce r tai n t y ma i ntains and stimulates c u r iosit y. As lon g a s u n cer tai n t y i s n o t p e rm i t te d to es ca la te into h op elessn ess a n d depression , it is a dr ivin g fo rce an d s o u rce o f mo t i va tion in th e creat ive process. D es ign is al ways a search for som ethin g tha t is u n k n own i n ad van ce , o r an ex plo ration into an alien ter r itor y, a n d the desig n pro ces s i t s elf , th e ac t i o n s o f the s e arch ing h and s, ne ed to express the essen ce of the m e n tal jo u rn e y.”. . J u h a n i Pa lla sm a a . T h e T h i n ki ng Ha nd: ex i stential a nd e mbod ie d wis d om in arc h itectu re

Ornament an d Crim e Adolf Loos 1908

Ornament: T he Bat t leg ro un d o f T heo ry I n: Zona #4, Orn am en t . Ret urn o f t he Repres s ed ( S upplem en t to Ab it are # 494, 8/ 2009) Jörg Gleite r Th e dynam ic s o f arc hitec t ural fo rm R .Arnh eim From form to P lac e P.Von Meiss Lau sanne. 1986

Th e eth ical f un c t io n o f ac hitec t ure K.Harries

S u b-Urban is m an d t he art o f m em o ry S ebastien Maro t Bigness in Co n tex t Jorge Otero Pailo s

Cru cial Word s Conditions fo r c o n tem po rary arc hitec t ure Gert Wingård h an d Ras m us Wæ rn 2007 Oase, issu e # 65 Ornament

Th e f u nctio n o f o rn am en t Farsh id Mous s avi

Forelæsnin g : Gud s æ s tet ikOm værker o g virkelighed Per Aage B ran d t 1991

Th e oth er t rad it io n in m o d ern arc hitec t ure Classical T heo ry an d t he aes t het ic fallac y Colin S t . W ils o n Ox ford dict io n ary/ T heas aurus h ttp://ox fo rd d ic t io n aries . c o m / E ncyclopedia Brit an n ic a h ttp://ww w. b rit an n ic a. c o m / Farlex dict io n ary

h ttp://ww w. t hef reed ic t io n ary. c o m /

t h e p o ms m k i r t ” r t d eu p f l i aps eh y cp oi rp ae-t i o nd- e c o -rt ar ti emd e ci no w r ai ttaiho n c hpe iacppo inns gi as;nt di n g“ p n o b n o n m n n h h ph o o d m b p mp e oh e h k m p o p de m w o h p p n g a ya ;n d “ at p hf uep rl ni isqsm b aas r e w t er d uap ” l i wv a sb l eo anl li n t te arari so uh aei nl lg- st o w- on f d e co o r a t i o n b o n h h o w o d n u n o n d o a p p q u e e w on o nu a ao d e o o na o u c c- o -g di lea dcn o r ta ht e eo rwnliait m h s t u c c o w o r k ; “ s t u c c o e d c e i l i n g s ” e n t i n t h e s h a p e n h p d m o n m n o h B o n A m l y, p a i n t t h e l i l y a d o r n u n n e c eu sn su a r i l y h p p d o u n n n d e c ot rh a(e ts eo -mhreieltdt ho i tnhoge f d e c ao r ta h t si aowtno ro df a n ioa srp a r t d m ae gnagtl eror er ah do u h e y pn p a n h e a m o d n d g o d yse b e ma ou ut i df un l ) d yo o na d o mn d u n n eb e nn te- l s -h ad pe ec d m e t a l o r n a m e n t o f t h e B r o n z e A g e o o n m n o n o o m e h n gn h no h awood b e a un u v e romr ai tc eu wl ai tt he p a- n e dl se; c “op ra an te el t hwe i wt ah l l sw wa ivt yh w oo ro d ”w i n d i nu g dl i n e s n o p a p e a d d y o lj de iwn eg l , aj e -w e l a d od re nc o r a ot ir v e d e c o rs at rt ei p w i t h n h d o m h n m b n od d oe v eh m u h a de o a ne wo h w n dd n og n e d w ao v y oo n o n t oi bo ndghr te sl si en se ”s c r o s s i n g ne a c h e c i o u oss rmn oa cmke n- t e sa tm n en e ls l; i s h b y o sr“ ej w e wi n e lg e id nf i sn ti rs ah ii g h u d n o n m n d o h b hy h nn e oo m o k e m b e e w no ug n n d a ug h n n g e a b nt eba llwil niy gt ; h “ aT lhtaehc eef oo lf k ghde eoaam nd ce te rr i sco w sl oe m fd eo sr i eg ns sm o c k e dn s h i r t s ” t , e ft ihol iltnehgte -r dd eircaeogs reoam d o o n w o n b o u h n nw o e o n mmo nk e d n o h e n d ao g no n ma npyo m m T h e o n ko b d a n e h i s a s a n do er v i c e h ua sne gd d eo rc no ar ma et ne t a l f u r n i s h w i tph u o h n o b o n h h o w o d d e c o r ast oi omn e t h i nw go r n t h; e n “e H c ka n g d e o a e o u n h w o d o m h a n g u h sa ub so up te n d e d w a ol l p a p e r ” u n u n h p d m o n m n o h ra l l o p t ipg rh at- n k dn ee cc ok-rl aa tc ee )d r ae nsa ss e d ga oen r wo i rtdnhea cm oe srn cat at l el o p s ; s h o w i l oy d o w o o d n p p d u oo m e h n g ud np e n d e d m o d n H a n g w ad poa p e o r m o u o a f e o l i a t e d e o a d e e c o r a t e w h w i t h e a v e l e a v e s a t ro i m m i n gn o r a d o r nn dm en n t vren i s hm aa -t e ar n i ay sl c da el (cl sooupr caehtd i o na s a sd kd ier dt ” a s ha ey e r g aodufr de si lsdye ;c o r ah tga“iadR m n o d o p n d d o o n p a n k d e o d e o a e h o w y o oa g o s e s e r e k i n arg ad tdi eo dnt hi ane ss c r ai bl etadrwi om nn”mr i onc gk s oo rr wa ad l ol sr n m e n t d e n o o ad e eco o r a m t eo wu hd w i t h f l a g so ; n m h en “ t oh ne g prapar o fw r upurrrdatf a eata in w iozoe dn v e n e e r )ag lfnif eii stdd ihe, c go-orrvaaea d t rfn ei yt o ad- ea c so scdoteeencl o e s s l y o n u n u o w o a gd n fn l a g w o ng a u d y R on e h w e e d o m p h a nn k n g m b h en ha w n s e l - a d o r hena arcr nw o w efarclituotai hrdokaneet si doftnel icatnoghsasreta litesi doh unt nhigen( sta rcs era iedtbsa e”p d aov gfreiifadtnithgtoe, irt w , i pangalasrli eanh lfta;fensid“ghtsiio e s ot rny )or noo nc k a sw ao l rlb w neds isn a vt iis an dnn u a l dld sbn uog i l d i on ng w a u w a s a g gpef dl a g g eo d o f o r h e t h eh o d ahyo l i d a y ” hni ps t y l -e o f dc g peg -c- oadrw o d u w h n e a ed ao v en w hn n e h n o w a k ed n e e dn h oe n m e en esr gic-as,otw ri niadngltedleocohfowarf;nal “iogt tnrei hanelg cm-(aoofdl otdeiocfcdcsoa )hrs , ateltaei p o- e)ra sn w ow t dei rsoehh cuf oalnvageesr( hea dys w a i tt ah po he as nt gr yi n) g os n”b daa hewdaol lbaabread , d e b e, rpw a dr reh cosogvdnie n rwna i l sl hs t, oa r r dtt ir ni nmu a nsa lt lhas anw o a r daepm apd u t o a pa a o cn a op na r wi so o nn eag i n l e a v ,eaos a gc a op na rupi ps odod nue, h e odnnr uedpse s o ua p peu aedget rh ee uc poo- ”fv reornet d dweoicdft ohe r hatoaht nem e g so”w i t hw h n a h e a p a n d bou a h h dv oaeutlrsholeae-rdrn wap aa yr ;s dl ee cy “o tr ha et oi oo twoa im wn ean a“- atrerhnteat nacwloaol sdfo r cfnaoaasomltdlesen ftwot alaliorlanst tew d onsort wn ;b mau “ c a op nadr i sohoaen o htn h me hd o r s oeb s u f ho er p i t hr nor soom a pm o n o n a ; p o e t e h e v f e e s t o i v e a o o c n c a s i o n ” o h n n -idt nh ghne tsgnhd” ee m c oaonfrwruaaoft anect t u r eow heea y h o h de a y ho ooorooraaddst e w o io taicm cfo leeandgt ob m c ttrsaiek;onm;n b “l s“eottmruan m a o w n b a w a a a e d u p o rfi ttvnhhiaem he edb def eal ad og -s oa;d e eoc ob “ry ta htw urf i aet gahtg do s ate u cf eu io l n i ma -s tt hu ecdacet cor oi -cr aadlt ee ,c h w on rctpnccraoaomrd-w eu no i cm m d ee” wb yn gs ebhwe iandg boo eunan od s ob n et oa ;d “ bh ee a w d et dh de w n ge dgodo iwn ngd g oow n ” ea enol ”co;rduds et“cat otrorii foamnt i, o inaa n c rm ussahctdoaaeprt i o nb wy-ei m a db o dl w ee cm ob r atu iti ci lvb e ai on c ood af t i n gaatp oh fe e c of nl atmo rgaapgnsnaetuid n agbn d g w s f o r t h e h o l i d a y o r m u r b d a o n d e u p p u a a p a o n u m o n n o u o n p n h u o d e o a e w h u o w o k u o e d e n g ec e r ac mhr ireci ds et m a s t r e n ” h a f c t u r e r c o ra te - re d o t h e d e c o ra t i o n o f a n a p a r t m e n t o r h o u s e d o p e n pdni rpees s n - udm t rn-i wm h m w ih tp h p n n gp oi pd i n g p; p e “ op i p ehwe o o d t h ek n s k i r t ”p p m aett coeor ri aart lee v; te“hadaletc k i tts hh eea p p gl ri eo du n td o a l sy u” r bf aa cr ed o, w ad e c ks , u br ef da ic ge h t , ldaeyc ek r -e dao lae-tua i,nynad gnooyrocn fado npevc caeh srythopai on p erli taaw ea gd d e do a s hae tpr ei m m vn eg oo ei d o a n do nn o a n a p a m e n d oo a a dl le sc owr iatantghsianvrwadenbnoi acsoarhiodn oorrn oshn,t i n oo r a aade o ron nm ee ndot o m h e n d e p h o nu p a n e l - d e c o ir ndon a lftca erya uwcs iut tra -hvt ei po aon nna, eai l nspc; dlrha“euanpclseoal tsrnatawehtt iiali toothtnnhh eo- l w a up ep l i q u ep - e w s e w o no w o na a sa a d e o adn e coonr a to i o n e t b y f i ”p t taiorn igns omn pn i e cohensa; p p “ cqm rs nt ao m o ne n t - c od ne sc ios rt ai tn eg m w i te hr i as lt r it nh ga st oi sf f lpopwl ei e r sd ; t “oT h ame a psd u f si ict tiaa,hn g r ai n f fl iat yo d- oe ar or ou vda ee redl ea cy oa rbpa atbir yoi ns oi n n s c r ietboh ep eda nno ge n r o c ok ds be oe rao w aa l les w bae ecgpear ad faw w d a t a u r f n o n u n u o w o d n n w o n h p a n e p a n e h e w a w h wn o oo d b e j e w e l , j e w e l a d o r n o r d e c o r a t s l o t s i n a s u r f ao c eng m d n g i hl ed o n t h ey n l ip l ayo, n n do c en ef dr o i mnf ot t orh e tc he ep n rt eh rpo al ri ed da y ” p rsantimrhneyent) t o n ta h ey l i l yda d o-o n a do u o n r nn e ue n n ae c de sy soa r i l oy n u tb el ri c w i bt hu ial nd ii nn gc sr e aws io ei nrf eg d fi eswts oat oo h o r s ednehsrca eono sgr siabnteygfi so,og”nwra ra nul ilfds ihhctbaot-tnenihgaansiend sirocatn tiehivasoedend et dh aa ts oi asc hw ct uraei nmsdgmi di(onagnbsn ”eaog r t eaa pw r caeio te d oe e d gny g td-i e ncd ogefp g o w nuewwa lel a dn o n o d e o a eu w omaubtsl, e s i and nlesalcpyaor, yras, y t ooor fn i-eln esst au;e vrr efiaaos cr oe r fdwlde“oiecjw ehoe rw co r aasetet liineo oa d nnm e l - m a dode o ru on vd e rd ag rw pa fi fnoi tdi ou, w bg r; a f“if tsi n u hk ds t ow e h m g t n a h a s a e a d a y l r e a d y b e a u b e u a u t i f u l ) t oe - c ao rl udo d c em ds e otc( olns r ao w tn i o ne i snhsw ci re i rbge e d coooh nv w re orc e r d wt tah l o lhs a n gbi n g is h nnat m tehl a pt r-ree cs cie o t o h a e a l l i ” o e a dps l po et -s d ionebanrgraclintneio rm a tadl neehtydae ndw er nawast nhd ioaa gn grs iemhw s t er nyth) ooen ua wwa l l k ps eah roi nemgd b sba h uy r f ai rndp cagd tseeidoop pbhoserppa-aa tedd o nmei n g o r o a d o r n m e n t e hw e e d dm oe e ot-iffes dt ient chg oetwrhoae ootl dae o sui u atcco neildra c cu elf auoporrfrfne ig f yw att rihfnaa i sgon h,n w-aaidlan arg es ici n oo arg r rt no tim m t rni nw ngig s( a opnr eny sme aap l- ee tn ,t fd iel ccl ooe rntaso nv-tt nri deoi men cmoam on nau dtoti ornw o tao def dhe do tn g nauu doea c roeo rec an ahsw a hvt y r i mw l a y o r nf ai m b y es t r iggoarcafr fn fhidistnohie,ao-sg dr iaa nfgfyli nit oodvsher-aac ggn a m e n t a o r m e n t o n t h e f e v e r a m i e c l a t e d e o d a w i t a a o v y w o r n d n w g i n d i n n g e l i n e s o m o m u d o o n a r a r f u f d i e t i , d e g c r o a r f a f i t t i o o n i a n s r c u r d i e b e d d e c o o n r a r t o i c o k n s i o n r s c w r a i b l l e s d o n r o c k s o r w a l l s a w i n td h ;a e “n he l di e tdl ei w it e toh -hdaa e n rg ui nd c l om i n t e r i o ro r - bde el atc )no r a t i oo rnnoa nm te o-na;tpp po d eiq“ncuboenero ra otdtvihe ore n s ewi cso tw nc ao dgs hw nhagnul nal gsnw(agwada rlselaarf etf aigcpt eoiosv, t erw p aoe um pt-w n ogue sud”aoefe acmocorotabutniro endr ien s cor i b ae d eo n rwo c k s ho r wa a l l s a e gyra r)en aod fn”fwai w o n w oao d ,vd t re, l o o g e o m e d e g n brwtonai olalnmht aeshocnancwhgteatio oe hangh ino g, o w adl l h a n g h io noh gfoa- n inr s g hh u (oaaern sam ta i o tbanopltree snatm ym ia s) eo w at l ln o fm a tn sa en rc te i n g( a s s, tr o n se hk, ineol bd a n d m e t a l tncm it k c bh aoe on m fgt h, eb tfbhrh ddg ei cn ogor,aaw - dn eg cm atrw n g ie o ie n hg eaet iw h n o u o o k s m o e h l l y s h e w b y n s n i n g i a n g s h t r a i g n h e t l i n o e s c n r g o s e s a i n h g e a c h n w a l l a n g i n g d e c o r o n t h a t i s h u n g ( a s a t a p e s t r y ) o n a w a l l f t h e l a y o uoetend c bo ora xat nht fdieroonms fhCuihrl itnn ias” hopif ni pg oesr gao v e-rnoda sfwtw aed; h“ gtooahorrw loc ivoioiselvhtrrdy aahco-awfbs iat nllnpdp eyowa rcv aeaeie“srdm i n o rw en ed lel“ g stiohiw earcrg to ep l deeri w w ip at lahle w aane grttie n cig om sev”meair ned wkoi rtihn aiawad;gp en r dosih m ;oecdnoh rah daat ont”gruiinmnnmnag esgnnn” utmefoa fc tecu roebnr at r a s ty i n g t caqi ul fe irn - c -o a t o wn iet h lo af o y o cn ren troteii lo d d ssah rrh mdgsm h o w d o o n h d c a b l e m t i c o f t h e c qf ua e r a;p “a Ai rbl aa cl oql fu e r d e n c r u t a t i o n , i n c r u s t a t n a d e c o a t i v e c o on rd v ef rr oaon ctwn i nodf o lw ; h “e;l ts h e“ cT o lhdkec a s d tf l a w a l leso dw u ea r n e w u o n o d r n a m e n t nt i , o rgo nrr aan m a fm tn t - -a ornu a dn e t h hd o eee rc no arf m r oe nntott nh ia oo fnrc o heeeo ty oe n l k cc oeov erpr seed wwi t m oh rhoaaeondgkdinsneegm dsm” o cn kh e do n s h 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r oo l i f o f ian t e r lo h ac pe declrw d eceicisnoen rd ac tit rihtore anmito cb sc at l i anbgh lt ioewfs eat an n- at peylal ti fo t e, ft rew n nle g b rdi be sras zm o n w k m oo r d i n n e r w d e o a e ut cri h e omu bl dl bai noz goo,kn , oamacl, oetolerw uyr iri -tn,ahigdl le cc oo(frsl iao o rtgo- rasf- aiati;irptwanrarnaniadcntcdedooedeerrridrrysyonhnl-ab-faeam t crm o nd -rc aoa w ns d si inesgct sio”n rg a ot f e a n w o pi et nha dpfd ae dtct aoes rlpt on rsi p ssn ve er n s dooe farcecoipirfn a f nl r arscvde r eh m frnosgrwao if ds taepfm oap rv ao trei n o n l aeot rae at o tey iw o n c i( nagus rm f leu ochrow neroaie ttrio uoos rnu l oa l sim no w gs o f hf l o r a l omn oo t ih f dl etl o,cf e ootdrrg ae ttiacin odo sh t on ism b rn sdr ofd m aocmoiw iireo w yaaw t ehodoe trrhow oeo rn n elnl ny thaar leob )on oc oddn s fi sootoi d si evpm sv heo sw y iooo a t and so bn a aa sm im c aw w httism -e m ab lnh dosepa c otari anpw ts eltp ayrr- rso a nlfgeea m reeolnaatm s p r i g m n t h a e m e r l a l fv e n d en ea r ) p a ae p h cp l i eaf di n n io dv te a er t a r oa c e dns-, u r- f ta acpieula f i nt r a t - d e coo nr eab tei jv oVeeeb b b b o n b r b 1 . V e r b o r n a m e 1 n . t m a k o e r n a m m e o n r t e a t t r m a a c k t i e v e m o r e a t t r a c t i v e w e l , j e w e l a d o r n o r d e c o r a t e i t h r i v e t , s t u d o r n a m e n t c o n s i s t i n g o f a c i r c u l a r d e oo -ar apvopal dol ela tecutscee orl rey as ts i;t vh ea t o“ah ara lrnolag anmsg eenmt teehne tehhd ee ctdioyn rs ae w n n w a m wr ri no daj ena cdl tslbisen olglr , nwaoim d e ec doditdrrnionsazigntseih v ennw el g d e c oh rni am ege lt aa r so sc- e d a d o er tu n“ sc eod l o rw i t h t h f eop bw ry sae w i rn e- oa rr wa a rf e m m en ”a fogmibf ney nd uat po, adriatderudbcnc ;”biaeoestnsprellnigookrll uslg,a-arocne,osafcrmneudwehea etptmitmioconwnel(eo.l d;taanrtcam iao n o fi t oh -o msnw ph a r tod n e o e l a -hp hr n oet ic opon a b yn d afe o irso t , “oD ceb o c loe o ed r e re af twbehinontvdaetpfi laoocni w thnhei;t em iworolnuaiarnedrt ta,tedh rv gaecit tluahcm tta hitipeeenomlotdgtt eht ma ocobotfko a ea , c i r c auwsl ba lrt h m afm eb ornmdn er” an t ti so m ;n b mnu d“s et dr oi m h a s ls.cte; r o o“o Dorsemeeicrhd s“-rhe eml rt t)a t an se d rn ts o p daw mr o o gadrm w h essnt aarhrtlooeim roo tpahtitu s“fm ob“ v i a dn s rt ay iytl l eh eol alf adc agrsava rw e d nfordraebspdpoai m i nnecw t eo dt - dlhgleoea cfmo sr armt eeieshost etnat“m r e ofco rri oreet eihuavepsdsrfeoicopntutaa,,nrtrtdeyfet”rod;ao”ytgifsfsfoalh“ogrtptbrenero a tcerhbeee r ys - s dee cs oy”r tadi tnaw i yoh”lgnae w o p e no h t t e r na o f inn tget e s sep ane l nd ge e fejaottuae cf etydhe pnehehtreiceysfaeglysssabtlssplloetf ;aoeloayeros-toritshesoulyatalitfehr”fwyis;nl b ow ae yl oesueprdes- ce ailanasf slpuaischcapfchsadoaanarntueiyrvzsosd ul ca esctohhnimehsniaksanlt goeidnrngosaowefgbnta en lw T hluae cai nt d r ihicbeas l w e a ovr en m o nv ig ee d ph reo d u cdat i o ieyoun”vrtges r gfd rleati ch ri”dea o ulfshsts ep edpceoit cahrpol earm oy on r ei n n n i l i“ eT cnhf ade o cg ceu t- s “a d; kor-lroatonw osci ect luh e t sa tehfhstr-ii itn wn eg teaa;r o“ cTe hdseh- alw ce sh, s ose-s m m ruastts li ief h (oet ehla atnmlihegeisnlt seraglrhao,cyc oeetwod,f himnn-ed(h sn t ) “ hdtf e rc oiaa tr oatatgdp trifhnsoi h,entr,iu oih ricd i i nw ootbw ogreadt a idtdoohhr rn na dp p n ,o u n d dtee h cdoa eeo, r g r a cd ee ,c o r yactpaeie beac b e ea m u tbw i ef ilsyc lnm suahaa rr,n iww e ee ” ; aahr ro ot wp n d w ow w ihn od boo wn ” m nh dh bse lt l bm , e aa w i tye n )ideem lt d ct hri m am rm a to i v e n g d es m h e no s doer c do irana nt ee r nww a r e ) c o n s s t i n g o f f l o r a l m o t i f s so a tv oe , ) dt o i ofa (h k e lt a e rdoric s em dha rd - e fs fc soe e rro d d ,a m i srltta e , ho s fi n r a g o m t o g e t h e r l o o s e l y s o t h e w i n d c a n c a u s e t h e m t o n p r o j e c t i n g a b t e e n e r a a u t o m o b i l e a d d e d f v o r d e c o r a t i o n i t h f e a t h e r s ; “ f e d g a n a r r o w ” w f i l e t , f i l l e t r i t h s g r a f f i t o a c e r a m i c o r m u r a l d e c o r a t i o n m d ee eas notg-mreie ;eho-ct toanhmu isa”nekrooge nt oedy m op eaotr ansddl l ee yc)o or r a gtadli aeos sn os o ar ep odt ot emr oy w t h ahot n hh a n ga w da nsegoievh ealoa rdl nit feiyrsf, hsi - nces hdm gm ct i o h ,gia c coa aonfug seet,-l a od cni irfhoyn ie fl csf rh ead rapo(en e tfeh;;w m ec p d e n to; m o h r o tf nr eemt t raa i pl a- n a tf hd o vaenat ocl io t are rail osetc see sd ; euhsw t e od dt e“hra -lales t aa rn o ca ent dhei ern toer rn la atmci enensdtaeal gtlle arf , i dncnhe n n e e d on n buo ua h oa d nogb ar t tm n oeo md am w a osnfegmu poair ka eem ee saaai tfistf rre oarefm , t i , i l f f i n m u f l f p o h b V e r b 1 . o r n a m e n t m a k m c t i v e m t i n s e l a s h o w y d e c o r a t i o n t h a t i s b a s i c a l l y a d e c o r a t i o n u s e d a s p ehntioi;dwsf ehe“ tsTta hhrmek b ia uogl en , yldede cmesdso orccearkt tai hoot-enc hadwi einnecgd o rc aadon tfe fe c ;aku “sa edheet sch uekhmr aft athco ee t hiwn akl lal eylhse rhwo i tt ohy h ro el vl ey a”l rt“t to “T n era) to t t hee d d a t r a na o drcm ieo n ; am i p dr am vy ti od eb, efe aaarud tcv eoe ede m n cotd-bk ef ivrh t rohm t okm da aue tsdw rdob fti lolo,amg cu eshe l h arihawroen; rssstnnpflaeaooaemm gecd os eb li d ow h tn i we cs kl ll ae wt e h t l e- n ga ap r“ n;dsi esl ech no ar pa th it oi w n- aert ta r owc seoo dorf m n- el et nh ai pna gb o u t a ( s utcm ah n eelsirecf asep avpwvejacaw eethronatthb so ie r“h T c D he aeo dh d nrwa ,e otwno tyro ho m pmb bi lee u ootot trerhsrhaeesstenlerfica-migpt m oe dom el e nsbkden gyar; abtyoh aaifgim oltowd lh.nveat et”serhdeta,ee-ir lkh rtccpcieeade em nt” r aam c ptaiuevum t oo m ams- n ho w a s h p h paa nr s l e yn) L eu p p a n d a w p etn h he h eo g yrnao umnd aw y epn hra o auclitettt v”b eogoy h l et elrpa ew a hdttg teten no e mm oi cgrr f tor“tiol ir hu;n t tsty-act”me. ;t;rfs on oh d feew ”oe;fee “ rTtom h sm “e h f “n on i oa oeaamn l a n d s c a p e e m b e l l i s h h t r a c e r y d e c o r a t i o n c o n s i s t i n g o f a n o p t e r f b V o m o r t e ”n y l l1 h tr i w s l l a hc e i htn k c regdn“ a ; em t a reo c es , t h g i d e b ,g k caa er dkenbe i s h t h e a t r i c a l o r m o v i e p r o d u c t i o n s o m e t h i n g ( s u c h asggge uneti dri tafs b p he ec i a a li e y” ” r va osyrn -ftodcdhri esa ccnuotg shredseadieteohincTpom“aonyr; rhstc ryaoae ”swtn;tohsl iifincos“kfhbtoinam ontuoiydytw olofeouneucrtahhsrnrsoioee, nclprtekfdaaioitne-sttfgotseoincurron dh e“eD- es cto d s ;ha e c u“ rTv he e o n a p l a nue ht h a w e(t faur ro c e d p i e rcoe a dndroeordd a nn e a” sbto u aero omt l eu h t e , ws ipt i hr a n l g-s to rr in no a gm se n t ocooof w n se i fd s lt o i nwg e or fT t i-t goh t l e waenj e c k ,d l laiecsweh e) j e b fa os r a nf l dai svc out osirsm rni otnsnr aea cm wo pemtte e of f u it n t e ieen gt ,oaf y aohm lr am c iesnese gdc bies sw m m lrheo arred w t orha aaom a ,dhedke ia n dgdt eiha ny .edon;tln ao sr nheaobem m w h gtei hfrtcn a ect e , agsw bo h btetw e an u ttn mlut iephsm mt, h ean ait fihym e donri oswoh mbwma s fi owcrma l l y f l auv obr m e a n o on a m ebno o m o a d do osrf,;g e cn rm oke o ta rtw gm bm m a to h ed an w -iy aio d“dee w wse eh trnhai sdv l;ei eu“sh wi a i n d aatyt’eis;rob.sn ee nl loo ,tfms aoldradw nmobd -ki eea l aw r em ra aaatbf”eboatsytwdeort-irol relrvdd ms is ce r d op ovrl ear nl am eneniacd t ysud ;re al el- w e jdw sersycanuattoipivcceehe ri- pm me a m y V r -w eedi acen cdo t, h”lw erldcdetoeurweoehr,stcrrhotayoerte,rihmtra”wtcabeacto; heohtrdon ym ,a,tetehcc i m aeenhwri eeu d elrccsihou rnltracfegeeimtle”abaid vfe eoem aiv w n gsn eriw tw in- dnao dm u gseomtigrwhfl1trriedao.td gaence”etsin;eaw es” reat ero ot uio- onow fdne” maesadtcok o od tnemw erooodorrweo i dt hdfaeaothctnorrera ianc ntt diicovortnehehnoaes i nd gpahpydw oi ls it dhda na cy eo” f rb o mn dt h e c e un ot e miv ann reu e s r o-c au a“ ee “cr Lob lre 1 t eta rh u rna( u em am t,wto em m i n c r( uvss a tu, l c eunhcer lu se t s , bsaeil;snt ece trr u - s dtecem ceebao“ nnrp caaga rsyb veeb c sothrai l,afuyy tays le(p aor som ry cob ioot vcb he gr-- eaec aVlvse i) rs;nh yb akw hf ifgsem ep bi l oll erf w eenwn lf oel t a le c a sefvicremeeafu“otfp eim el lm pw ryn n ya h t l a se st am ct e di n s et-,ol, neahdnn-ah o uaw ory o yot; ”a tfel ne“m raryhaeei l dl it ash tco omo n u ir sf ea dc ecgoiorrltndle aamym l eo ecdeo etrtasnhr aevo m nlocldeoir atflnp nrl mabpnhsraimaas)”l m n eecydonod-m htr eha tae t rt eh es e mr obo lme s C ah s p r a m a f l e a v e s o r f l o w ee er o ptgaioi w ao, aptlu em anrfarrmtoawi abtirtbe n nresaohcftrdoeo t pnlnb t ,h em oe elreeg naf tfot oe c o gae,ri dodao rocawoeadrr,vi bec nobm bgesee aptw ur t ii fg aa d o b n ret t c o. v;g eltrao“s ;Dsb er aa cihdtoeror-a“asrocsdutfeetercraofyrpaprhai t-cetosae ccedhdtbaeowreuetsraisceitnedho,rm -abf lro drm cm saodt teirhom sb;o; trga dTm rshg aguhao lo a atdm eitem sa “i“ b glo iatsrry e s n i batb n o r n a m e n t d d i n o n , l o r , e t c . ; “ D e c o rfl -r dea ivhnew eca eneondengf etr- ,o r t)uem lr li, ieef o d w w ncwsya lggtaiwA-rni“ieom atawteatdtm ew- srpolseerouecwkqcf hcni ataatl hthnphloegmea-lmeato; cnt p ,ef w yero nl ita ;ncmil naTogy r,ni ob s o ur an ds eunr f a w c en h wT iheot nh a m e e ynd aoom ep l n dn d d d o h rrcve, a”h-tela ntayei nhiaCogelwmstdmenoeoear,brfcrecxn obti adhdon se uieiqfd oaealun n rd”alc n;;ek wo teaem w t hd lrriom, drohe asa d ccw u teo“io Ta nrf hkkdtn hno taeire m drm h tuecqhde n iee ttem yo eili n bl rb o io d ep r , et o -gkee m bberae ore ibtc dad reeyoo oook teeteerdre t;nrw he g cfpn tceaeloartec o l a s o f r s c a l i h s n t c o ro nosrsines m t i n g o f a c u r v e o n a p l a n e t h a t e d g h d e d e o a e d e k h e h a w h h o y t h e wt h pe 2 a mr ti ys s” u; e T “rb io e va e un t i ,a f ym e y osnut rus d f o- r t h e r ns ap m eb c i ea l d a y ” arneetuia ie totddja em oraodccceetyhe stcda i gtden pwkidieml tlirghyceweo mb(tt, jhsdhmeleuiicgnctsnksheui rnt fhgaa,fcdtoel i;rapg em a n o n a m e n l i fd s p et ch i e, ah tm lii wet ”ohw u ol o a a m n gt e- da tt hSo ceg ae nt dhpi ean rra tvtyih”la ;eon o sst“eybll eye a ou fts i cofCay h a l ei n r vrt ehi ydseotoum rr wsap eisa n n t e dsfctoiadcrkn e - ci cnow dad snebd nt rtihgh bi tbom vr er rhh aaoi sun af ntaae-tem eaoc rw t h em s p utera if rt avscha ea gottc ah ra snso hdbc”en suct e c le e;e”yt )os ocngyne umf enebneytl fui enT o c i r c md w d esiuetslciscloceukr, sa s-t- ieaocd onwl ovw -li ewea yf oi a ad- sava rmifrtl aaeb gr aecw g t ir dn q sim lf o r r omc an h th a d re iil om Td e one anceitdy;ethladohedgyalwoi“ltur,n on sgboee w r towoion dgh wo oe onodntddeu,nt nisf aytocnoowdnn esmi, seat w ni andognhm e t oaf ln h o a ri d nesy,eooto re”u a” t eem , uaoorb m i t h a n( ai sn co rn e fa us ri nn ig t ud rig t ra rrnnnicw,seahlf lr so m t h e c e n t e r hh -s ondad ateud taretma ebbw cei kfns “tbawen iirfg hm iottw csk u m k ie nea tamehoe ece oarfsta kishe eh esfryi ra se r tdoew ”ural elto rlodeoem khhfurf eoieawrdgsrt tretehatarhecedvu ”oeercso ho lyld a esd i ssf ehsa ,twh“ res ert ais ctad m d e d dh fol worm f ralh-sktapeehvryseovp; eerad r o e”ndmr; im Tudohs hee pe, anront oaogtmudc m (iem caeoolm er h yal ryw ) ueo eb m el ;nl di cs mhe ,a k e( a ds i bf ef eaoh m o u Tn ne ;oa v a unlC t h ou r s ha i e l d o rp b ee l et llet o r ab lsed h s a vu)d m efptb a l tnu en etr-iw ep d t mvhdsee sem tlhnantai stm cana i rtis;w yoy 2 . oa r senpgard m ea oon t - o r d de ic-nobnroeeawrt- ewe ra, sr pse aoo) lnmcl aoecngts shr iai scnotegir,nng “a otmfh ef“ielsn oennnrelg aea p iedu gtat o am au petnitd eoi cfm;- iseani lycsl1truo.us gutcscaltoqkarvaweesut irisstn st tr ,asotem cp irlr yuc ssu tm ,a mbe e ts a ewt li l-taah ceo htet i,tgoee msm u tsot rf a t V esn oge mt oeeli- wloal tonrm m qpom cpr(gr-u osrelvn;ttairiansealnoeopbhgr-rl,rlyewoei(w ccalaslhbsuoasospwatanuilorth qhif usy“st eulhh-eaae” ctc qw uAwe r b; a e “wsqAh p ecgdq uebe or ex d rdbesono tp m x a fC rhgoom ne a C h i n ad ” n m ty r a tcw taieim v) tew a ot l lr aec ssseemt bh l tei sw aea s m ceh iod r as r e ah hcet;h in wat ne tga e r od e d o z a l bt mhe i n, nko zim a n n d e c o r a m w ai yoldtnode nfer a,dl e- ac veh eta asantr goooecr ,e ddf el m o rd ai ft yi o dn -i s hc ua su es de f o tb oae sd “cii p eete o;r brm mob in f e n t d abifu st -rid nerefba cg alre mo yrm t h m m z e n d c o r a t e t a m lh l ua s ln tb rag artv “rsk a-iacl e ao; std o o k a w i t h b o o k d a w i n w g i s t ” h d r a w i n g s ” f i n , t a i l f i n , t a i l f i n o n e o f a p a i r o f d e c o r a t i o n iluo du ss d o r a t e w i t h b r a i d s r i b b o n ; “ b r a i d a c o l l a r ” a r f r d e c o r a t i o n c a u s e a t r a n s f o r m a t i o n ; “ T h e a d v e n t o f t h e a u t o m o b i l e u w e e e o o n e d o h e h o d a y d e c o r a t c o p a aefetl doh weoertrgohsronaemvme d o t ai n ek l e g oa e o n a mh e n e m b e o h mboe a u yp o dmu a k oyc w oe t a r o cte dh e l ow c i , rn l o c , nc za b m e he o gr na a m t e d t r hdl ae r C h r i s t m a s g a r l at nod g btey rt he- aeedrw”d birgarneaodglraoi ldotraehnnoreod, sr”- senredoanllwoem et ohmbhnrtrrtiaas , cor ab r , r tow eb c u. og ;d Doh er,sasrocl sl;n a mtroceef aa tunh t ese h s e n “t s dt ea pcr ooslnl sa ic ss t i n ror ntnlne doi saeug tw em ic-m bio d id oitd fthetshe o“t nd dem p -c k h w i w w ha cl l oaw r ar iftebelela twh g ead ni ak m o fe n eoohyi cri“r“n nl l tegewridoelra dkyd”p, t rghsoei tj teeogd” crmot w l d at be ron v eo f - dtthehe e oc i t aydr ” ee; 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u w ef re, “aa-f ettThaedh h ega ufsera kan teeohym eclw fs lA o”“inrb tia ”f yitc tio n ao; “ w lr eesa ha b a s i c a ol lu h td i we er brig e rpb s tg i rnwa f fai pt io vh as u -l t aa a d ei tnca g er ro ac emo ircan l aot- m o er np ti h,m ao l sl eo r ud e , ct oh r ea p t gica oa.t ;ntr efnl re idnn“gsm aaedo,dafyclefdei goodthr rtnrt a, hi-bbtm yrea ,ti o d d - mh os ia io bds w h d c r t D t r o o m f o r h r e s d e c o r a t e ( f o d ) , a d a d i s h f o r f l a v o r w r e a t h e o r d c l f h d s s d d e o a e h e u a e o b y a y o d i f ey-hw t Lw “ awni g ; es t; n a l pm a k i el l u s m ow h e mp a y b e a u y y o u e o h e p e a d a y l ol aui nsd ttgerh y t o s ’ t ed t a h af tee i ro nen esn e ;o A ao lat b euro, r cirh era ,,te”e d rw m - d”meecpr aa csusudspn eapl l-A cm h d ti rm fh t d; o n - s- co rnmae ta ckho f a p a i r o f d e c o r a t i o n s d i s c u s s i o n h a s c h a n g e d m y t h i n k i n g u t i s s u e b e m b r o i e c o r t e w i t h l e w o r k e m o r e a t t r a c t i v e b y a d d i n g o r n a m e n t , c o l , s r a t s “ ; o t t n e m a n r o n a e b t n e m a n r o v a l u e l e s s ; “ a l l t h e t i n s e l o f s e l f p r o m o t i o n u m i n l a l u e m i n a t e a d d a d d e m b e e m b h e m l e l i n s h m e n t s a n d a n d i n g o f f e - a ps saserur trdyf a” c; e, m i r“ltba ey ea , ruh ts ii nft ry o a g r ye ov u e ar w ls ei lt tfhh e V ep g r oss eul ent ay d l el ut sr o i nt ch r u s m e r l a vo i s n h l ym ( a s nw i t h og en m s ) moaealnm rtn; s i tr h C“ d t r a s”tseefo o eo”ha k ”elt est ert a- o n cataa nith m c dtweu ic vo eer a at ae oeprb cyomvwe em or etrrw ia ta fsal n rt oht ha w eoonbn fett ,oopeoiarneudcedradrtrcaosfouneewl mrsoidattwon,thwegbkeaebrsi m n f reroacebarrau 1 n sg“t.hii ded oe”ercbno rwToa- htareebyt-wn ndj eaekttenncweoaebdtmi m c k -a nr crtonaeevp w ait tdm hv em s u ir td e , ) dr eov oao frl (u t ef ,ee tnsa dpr eoi rrc ase ldtw h b e h t ia n gcgool fl aa ar ”ne o pn e an dop oa t tne r un ob fe ianoutne r l aypc i n ng r i bbh a i d r iabtbim is d r oeofatrtonh aeamn- erdno et ac uco otr yona em tm vda -nreor oo s oidstme s ew afmhacecirenetbo”r;dr o - s de o eodfcuroon(e st l eioossrrbotaairi pltnedeg e, co khf t wai wi tc hugrw v are ec aeo t,nh sa ; p“ aw l da dne thheheaa“l gsvttolatehirir lcsenakanhalgd t,m mieam ermn t h ne aartchdhCe rr oeso e crtnn ” eo; u “ Tst h awtyuttiorhnind ,erftn neiypnemttpmagahhnaaneatnaerrtrgotm io nf srr“aog;;Do.iti2tsbddheteeehc“froe-o,oftrcrreid atieytcm tteevorrew m vt eae oodn nsi ;wneci ovt“ hbnarsla iw awno rnuk m a npun s c dr i p t sn ) he dml en o m h n o f l a t n e m a n r o r-de oh ny gb o“gtep .usdb;rtrn oy m rradm t e afmet sai b olia sel ” eoereeam yo r n , d e c r o ra ot a vw ests ;s,h Tla h ehu nw ea tk ds t“ebqys so t ax t rumo e ”iehdr o e m b d e c o r n e t r i m d c o r e , a w i h e y dw ei cn od rs a at ri oo nu n d aa t h a t i s b a s i c a l l y a q u e w a q u e A a u e e d b m C h n a m m , h s i l l e b m e , t n e m a n r o , e c a r g , e t a r o c e d , n r o d a it ni cw cer nu tset r, w e ni tc hr uasnt , i nb ce rs ee at- s -i nd m hu slt syei ilfroll(enuads gst erh, w i l ti ghhct hg ae- n m uacndtisea; wloi tbh eodol o k a t himant dFpn i eor cw a d oc e b; n ae d dhepec o raa btoi ve e e va er r ayo nwg he m eo ewen gd-eesdc )o r a m y sw ui ttphhpi lnfyw i tn hge r s ; a bw“ oif lu t ha en e irl a s usu us ”te r”w cehhieh ge cdoi rs at ta en co er fc roov me r t hl ae vd cii sesc n htad- rge t “ ; s t n e m a n r o ha ta e eo aiae w ptghaee r ;-t dy e”m ; a art fsaek “ bo re d ad eu fm yte o;nabtulhrkesa e“ o l efrm se” acptoieirnodp ye o”co t rsnw s ,t ibc fkt m oo v n et r h nrl zod j,c tithm nem zcee m ot dm e- mo ad enbal em awt e h w ehe es au r f dah-m e r a l da i c m a r m s msa; z lf ta ei dr , s a-s ec lhdf ,ae-ecpnt orag roreaom, tcoee tdm onid”t ihf y b ir r-a ti d cs a uo sr te h reit bobbc etohhgncresh ade tna “m i c fttrk mfiar”b ei iyrm no t h e t i n s e l o i o w rs ct orrna teeec”w w tg he z w ra w aw t h iewn ti d h gw rbo a l” v ea asm im ern i m a s t e ; “ s h o p d o b r w ; b r a i d a o l l a “ i l l u s a t e b o o k t h d a w i n g s ” w A m e g d d e e w h ehmace u e s rf kyueody f b e fmo ree t a yol o u n os m p o t t e r y t h a t h a un “ s t i c ke m o m t , h eor fs i n p bi te er r v n e g i lt a” s s o n o r d n i w s p rpi og h s- a na o r n m ai rmt e“ n t ; t ” he ae tr t r e s se amm bt ls ei rs h ac s p er ha t y o f l e a v e s o ar d foi lnr ocnrw,u es tr, se n c r uds et ,cwbo ers ae tt e- ,d e c o r a t m ecieltm eh ,r l l aa vz i o s hnloy, ( m wm s r)o ed om ooci vtneb oassbu olh ilfgseoeahm-u l o rttl ui ow d e- oh ads oe ec oit lrhl uaew h n o c ca oun ls oe r s t o;h e m m f ,l o o w e rs sc tcel ereamdanc bin n ; “d Teo hcf b t ci ut hlboagefar rdl ai ngtndhhe eet w orknbboei lgoaAderrezcaw-m nade u po s tt reawt h ii onn d sw ; i tc oa b“ ta r;eo eo frc o,ei ra rshogfgi o rsn a,skti csieo oe re adtaaeeodc vk e,c nbi w d l -weaiwu otmroakm rel ydm li os ht ihnt g ir wiovsf el lat an cpedad tc eur-tis ro dn nt- eakrm ,t tn irddcireebom b , h oe ph ets nkt u td-i enb g er nltaasdoin; l debl uea“cdscbn tordhrasoarai tdanwe gt ateeh o;e;cf o l w d npto; so ew uli tym a i d o er al, et ea, vm h d ber c a ig d se y c o ramu r si b lqa arum ”t to defpb o b n o n u o h dt o o t i n bk l m a l t e rrra eg lbawoo m edagtoueudet ”nih fg o- hr ad en cg e so; th s tt m rh a tea en o or c h“ i m; se rr eo wu -on l df e d af o p sdr geo nct m rati asecy trk iahv-nh me eed-acn ot rntvaohato u oe dw “wirw ci att othh ra “tewih lielt ruhsm w ar kawklgsaw i kpet h a npw ai tih n snt o m e t w ihd nriaanwgimn g sw” a r m eet ls tw t oearhrtb nr pob, ii deeteolrch fn e d gt edehm ebf rlosiowguh iteftrlady-locims”nfed;y;e- c“ oTd“r-ohaT dtd eh oe wwaonw dlar osrr onnwnh n siuort b o ve aee( rtraara deeenrdd o tbs hjh“eidce etpl scda ktn h me ichdra ceo e feeh eeyedm d” teci acw e fgi trohor w i ”tm s ohww (oo snu ec h t o pn e s a” s o p ao r s l e yo ev sraalonntcgo h o ,a ;w “ lf nll h g lee n n o n d me n aratf ,cl)eee u m a d d m b e n a n d c a u s t r n s f o r m a t i o n ; “ T h e a d v e n t o f t h e a u m o b i l e g a r l a n d a d o r n w i t h b a n d s o f f l o w e r s v e r a n d r dvte eh cuoe ai tted s tg hd t p-ine ra cw e do t hroehn s umr f ai w cte h ; nm dr m n naeo bw “o s,oiptstoiscctteutkaf esi rlsefysi rioon bckeoifrsnota igrtc eikmo - naycsoo ” iw siwtsohnu ogeb e”j fe rcotiw nw et h- sa ghft enaoai sndt ehlh i aeu nrcbosgh f ac ni lngab eu dpt ph ae i m i enom ghimeeetofyydwr” w i nT ghngteTaeor;hl eaw “n T h adaove e w etdhaie vsh hen rg efs dtrafitounrehg” ee d fnt ladha ve o rs c a or fo ”r d i l oo rh f i n e gh, lt a strsao i f l od ref in nd em a “dco d e cu o ro amt oi o r tyu o mnla o em aoh vne sa;wto h Tad de eb n b fr ekf set yh t dop nany“- s tdi n ekagc voseobr muaoe otau eltsfteeew ow ;wd ryw no “ul T os sti tnhrweiwt nh egg rstouhm vfaooTeatrr ter esm p; t h“m ch aw tr ihete drh r kftee h yfd w bepew s ef e r vm e ai etn” u p ta hn ee pwhr iton a an i jwde c t eci cn , ayhettaeh ntaiha w he it ln i bul rolsruevoe sea tt rth el m h o; i m e , mo f l i a gThpet ec -o e c ooe r na t m e hww i w f e a t ho e r s ; “ f l e d g e a n a r r o w -ne id et c,roteoa aro rtac- i tnek-f loeernl dedemesracusnkpepwl oyi ft h w hl eu hsntatw hsr- ea tdgi corhnaoasvsn;uegp epseoldiynm t eT ”m b ff roy werw a ”oca ek ded e o n gm nod re esh i g na t t r a c t i v be wwt i tthhhu finl ne ddk- ge wntrsd a g f r u csaaw ap nru heb alw udt stn l “liuo uw igldl ua s d tar”b a toi ou ;V tew ibszuco ssbdrts iriiealn otaee ng m i ln m tr hbne 1 im s. si ut aeh n ” m r n aa nmn ehneot w ian -teeddr l m i c l s w e r e f e s t o o n e d t h e h o i y m w b a n b a z o n d e o a e w h h e a d a m e t hf io nt ig n s ee lc a f r( us- su c h i“an a s p a r s l e y ) w l my d (rhaa swa iwon i gdt sh” wgabeno m owe- e dm wienw ie l chl tru uss tshrtoa,ew tteeya nr co cr euddse tc , o bra -ae ts i eo tny -a ldn ei tbchooaortka t e iosor co o w ww eh odk s w w ict a h rda b w gh sm ”iahsdhh dngiprw nuagniav w o rptnleaa” mn ee ns t; , “ L caeontl ’d o su hrl , a p ed tsc c.h;ae “a Dt ehd c eo r yao at er d ” t h e r po o omm o f oo ) bvraei e“tsriahil tlclwuhaas eltvnrl id-aystod n l a p n e d s e p m e b h l l t n h L t n e p e y m w e c o r a t e o r d e c k w i t h w r e a t h s ; “ w r e a t h e t h e e s i w e n a m e l t , i y o r s u a c e w i t h e n a m e l dr n a , eo gnr ao rt sl a nodr , d odo wc o r a ta i dogonnr i nt r e s n i w i t h i es m h f o f l a v e g-om aar c l na on da - no l ao au,o dmowrn n wnriotf hm b a n d s o f f l o w e r s e m b z n o d e o a e w h o o h o o d m n o n o n h o n o h b a n d s o f f l e r s w m w a gr eta ym u ta oi m fn ye n t yono u ro s et lonf ; o p f aon r p “ s tt ha ern so s pne c i a l v a l u e l e s s ; e li t h i tos, n; e”l en a“cv b b “r aa li ld - t dh ee c o r a tt ei n s w bo rf a i d s s eol rf - p rri ino bm dno”s; ) n o a “mboeeorannn nd a y c ob rouot sn r ur sa ti , d b e“ aTs he etyco-o dl nle aa c rom”roeawrtn m ed eaod m r ce w on vt e re l a v i -bss th yu e (”t ahbseeawwni t phm n e mlt w o b d e r e u q c a l A “ ; r e u q c a l h t i w t a o c “-yTr he u q c a l t i h C m- to rr af cx m w wb i n l a y -r d e icl iteoghherst a; t-wm es t a t ut h msg aur erl aaftn a h mb yw aa n audwo rnnodu, n e b em ”e p caro ser; on “ rf li oebt dhfw m d e c ow r a tn ed , e m b e l l i s h , b e na u t m i f e rayk -e d e c omr ooa rrrt eiooi nd ce oar nt,l tes ria savtceitsnei ;gvmeobf r aonibd op mg ar as c e , wwibtohr rh g eonTm e er ne yp a t t- e r ng oa frdli eanhcnt oeod orre ldadbaotrc eai f noil edgod gr ei-t,bhwsefdh e c o rw a t dae enc eowreaidttelh ew , rdtol oi gm n ,adTamkfi w ode orsnwhna e n aemm d e n t oebm d en natsna; wlmao “r rbo rhw ao”m eainldt e tra ,h ec cnohl al an rg ”eC, h m Cimfh yar i s-ht m eheda n gtoer ;e e m ” ake li ow u r , w ei etn tadcr .o ; c ebde“ lDl e, c -ob ti engddel ,i tg hf cel hi gi m u, m a hr r aosowtn ”oo m f rl w ea d h - n -e d ef oc aro ,r da l tidegeecbw i at ht i v feie na st n he err rrt usai n ;nngggee“ fml oem eannd dtgwoe on o a dnw n e d o d c a u s e t o c d i f f e r e n e o r a n n g e T h e w e a v e n g e d h e a o p o m o o p o h h t w d ne ac omrom a rn tn e a m e w it t h n-mebe ed l e w ob rek a n ve, hce itr ai wla n ddf iad ye” cs oa r a tr eo w i t h o bmj e c bt rs o ti dh ea rm t , p i e re cmebp rpt oh i ed edsr u2wromf a c- e ;2u o. dy i ou uq ri ls e l f r o f ra se lt i t ch kde l o- g cs o f gy f o p e n a n o n a m o e r n n a m e n t o t o ; h n n o o m t e w wihit thh oabnj e cl tas c ntq hue “ Twh en d a d v en n t ou f t h eh ma u t oo m o b inl o f p i e c e s oe“ fs t i cmkde dt aas l o m e o r- f egal taehst sea nr is mo ur il lni p ot h t tee rl yat cu qr tk uheseaeytrti c kb he- af nco-gor ve ed re o sd a et r p;ami e erwcd ecm at uh e e es uh ar gf an ct erwao ; no s f o r m a t oi o n ; h yamodnocudoaaod seteec or vr oaenw i t ”m g sr tagnceeetm, hhes ri l l el boem ma “ s mtdma ru sr k oeby Cn habimm oeaorn”r ne aenm dmy oemuna ty eps dne hr av vhehmee i ta ”l tt h e re e dC h t h eo mCm gh rarho i wsn tt hm a ps a t t e er ue n h to rf e et ”h e c i t y ” ;p “ T h oms be el yl l i (ssho , t h e b we ia nu dt i f yc a n c a u s e t h e mn n k l e p i -r c s cut ao n ua sme ltd ai itcctikq at“ ons w m b e m ennfhm wm h s t rm aa tkee odt i f f e r e- n st g; n i t n i a sp u p p l y “ A o had upseeorme edn foiel am l tuhb septorm rxs a pt ii n o n dstf ;hr eo m t me t o cl ah va e-inil gdl eeu ;m mceu w o o o d i s u s s i o n h a s c h a n g e d m y t h i n k i n g a b o u t h ed i os s u e m a d o n a d d o e r n o , a d e e c o r g a t a e , e g r o a c n a , m o e r n n a m e e m n b t e , e m b h e l b l i e s a h u , b e y a u t m i f a y k e m a k e g a r n i s h s o m e t h i n g ( s u c h a s p a r s l e y ) d d d o d h o o ot r a c i d l a r e h h t i w e t a r o c e d n o z a l b m e , n o z a l b a tg t hei l d , -i l dd r a w -i ns g u p penl cyd o rmaa m w iwt ih t m i lm l u s ty raa t d i om n s ; bk e dg i pl odi al, l nu s tw er nim g d t e h , L e a p e h e “ i l l u s t r a t e a b o o s ” o n ; “ T h e a d v e n t o f t h e a u t o m o b i l e m m n o d om m o o ne m ern a toeeo nnotor , u ao r d “e icl ol u r as tt im o l o c a hd t di ew d e t a r tooc e d r o ld o ci s h , r u o l of o c r , n o z fa l l ab vmoer md ce noc kle owui rt ,h w eia q aud m ti tvd roe am cgw b toyi itlovhdnae d db y nwomgarVn ed aoddtbrih 1 n ang-imndoeg eD tr mece a. ;t oh “s ;aD “e ewm c rooera at th ee t h e g r a v e s i t e rwoa int te h , baro oo krl m anew scn”o ar m m l dba e fl le m o r a s i f g o a f o e n o tg r oVm we rtr ahbw 1 p an ti. t e rt nn igaaoporrf n tm h e c i t y ” ; “ T h e o n a m e n a n o n a m e n o a l aahn d a d o r n w i t h b a n d s o f o w e r s o h o u n d u n h n o b n o m m ty, eb t iewn t s l l a- w emhat k e r o l omc “o r e a t t r a c tg iavrel a n db y - m a d o r nh e i et h r oo o mh bfeaonprmda st h ey p ao rifbn o towhm t eyc dra” du;ushn“tf b,lpoeeywna oeycurrotnsuu i sf m yn eo sue rtos - eo dl eofhcufeoor rapt tee h oe r asc po dev eacDryi al alo vdi sa hy l ”y ( ah s w i t oh o gme m s ga ec sd e h at mdd yde gi n gm it glh alpeuro lm d es m m m eCnnht s na an d h b r a im o eer hnTat “b, o; eugctnoil lreof tauahvrehe, t si w ; ie nst rsc ou. d;e a” - ““eTDg hne iceroyf r a t e nndae tde f ol ree-n adovbte hs ae; d m tn ab t eu l elo”i snmh m oarim m n igtr hf ir noe kvr ain n ea w d - e ae dt ue ec ”o r a t e b w i ut h b r a i d s o r r i b b oo n s ; “ b r a i dp a c o l l ad r oor o mm e n “ Thhee y k n edecemd cegkaa ,n or luaad o r aesdtm)e b, et ohmeebmr obhhdi ed le l rsig,tpm s ha , e g r aa cd eo , n a d ob r-e na , u o udb eeycao ur ta it fe y b e - w i bht he e sc ekd w it thdhee cwa rl ep w th haet u ei, wt ti hff eyl ieggt rahayrtvoo ecu er-sdsi et del fe”- c o frtoae rrt fe t w r aea ttr nht isy ;” ;“ n f alr e“e d e hodetngn e -( madhenedc io eadr rvahe ra ol wb w ”ed i eod nhel ged srg sedb;o, a y nf“”tlfaoil m m n e e d b l e w u o r ba eg h ei t hp as oipf nee 2cta iift a am n st hc er riwspo;ot m nf al emd eg ne da on n a r or o w e” md b r oo i d e r m b h l g t e t h f e a “ m monl o tk o - w d e c oar da ot re no,hr s ic lol ve eb rm l a v i s h l y ( a s w i t h g e m s ) b e a u b e u a u t o i f u a l o o k F a o t w ; e “ F l o a w d e o r s n a e d o r h n e e d a t b h e e t a e b v l e e s y w e v h e e r y e w h e r e ” u n u n h p d m o n m o h B o n A e e p a c s d n a l s t i c k - ec oe vh e rn a n d dmeoc do r a t e w i t h u o b j e c ot s t hh a tn p i e r cme t h e ds u r f a c e d e c o r a t e , g r a c e , e m b e l l i s hb, l a z o n ,ba ee amu bt il fay z oon n - adm me ec o n r ae tdme w i t h hh ee r a l d i Cc h a r m s m a h a y b r a ai ldt see hr ,to r c hr ai n be gbp eoa ,n c ss d;mn oa“d l bi rf ay i d -s ’at ce aLcu“o sl el a r t” o; s t cn h a la pn g e ; m o d n d o p “ s t i c k s o m e f e a t h e r s i n t h e t u r k e y b e f o r e y o u s e r v e me amkmb e olauad dzdioof fnnen, r ec nd t ; n o m o n T h d n o h u o m o i bt o el o uo r ,a c eo l o gr -a d ee c oo r an t ae mwe int h ceoml ob re s ; h b ne ua uh n y t s “ - c a;66 o tsd ee c otarn ae tmte ar n nh aa t i o nenb o n m n o n o i lm l u s t r aht e y h w i t nh u a rn os fwo ir tm ; e e d“ lT-ehwe o rt kna ed m v ea nn rt o o f t “hce uo l oadru t ot m oe b i w l eao l l s d h s u p p ol w p o h i l l u s67t r a t i o n sT h w i t h p a i n t i n w a r m t o n e s ” a n r o ar tt e w mi ta hy o sbha jamevtcest isr hat Clht ae tr epdi e r tcehehe t t h ge r os w u rt fh ad ce etp n;a et m n h d o m h n m b n h h d o a v e b y a d d n g o r n a m e n “ icdl o l u so tu r ua tr eo n a h n dhr a w i n g su t e r n o f t h e c i t ym” a; k e“ T m h eo e a h d b omo k h n nw i t h b o u . 2 i n t ntd ehi m es ca un trs uos ri ko en y n a hb ae sf oe rb ec h ay no- gu e d st en remvmye a n ri tot h” i n d a o“ T n hme n w i t uh f r i n g ne ; g awr lda n d h a d oo r nd f l o w e r k i n g a b o uf tr i n t gh ee n i- s s u ea ”hd o r n d - o w w i ht hw hb a n d ws h o f h r t s u p p sl ya m t s i r h C w i t h e h t di el lt u n se tmraant ri oo n s ; s r a t s “ n e g r a v e s i t e ” d o o n w o n b o u h o r n nu l e a v e s ; “ T h e y g a r l a n d e d t h e w r e a t h e d e c o r a t e o r d e c k w i t h w r e a t h s ; “ w r e a t h e t h n u b d o o o h w s tha t u em i l l e b mbe o o k , t n e m a n r o w i t h, e c a r g , edt ra ar w o ci en dg s ” , n r o d a o h n n n g emd, n f l i dg h t o f ol be d d e cwo r aht e b w i tdh f oe a t h e br b s ;o n “ f l e dbg e a r ro o w i n c r u s t , e n c r u s t , b e s e t - d e c o r a t e o r c o v e r l a v i s h l y ( a su w i t h pg e m s ) da n s e v a e l h t i w e t a r o c e d e t a i l o f e h t “ ; s g a l f h t i w e t a r o c e d g a l f ” y a d i l o h e h t r o f d e g g a l f s a w g n i d l i u b n o s i r a p a c a t u p p u s s e r d , n o s i r a p a c , e d r a b , d r a b ” n o i s a c c o e v i t s e f e h t r o f s e s r o h e h t n o s i r a p a c “ ; n o s d a e b g n i w e s y b e t a r o c e d d a e b ” n w o g g n i d d e w e h t d a e b “ ; o t n o h; tgi n wi p i p e tha tr io w c e d ee t pa ii lpo f ” t r i k s e h t s e v ae epl i p “ m i r t; ss gaa l f g aa l f n o i t a r o c e d e h t “a n oh t i w w e s e t a r o c -e d e u- q i l p p ” y a d i l o h e h t r o f d e g g a l f s a w g n i d l i u b y l i r a s s e c e n nn uo s i nr ar poa dc a a -t u py l -i l p ue hs st e r td n i, na ops i r , aypl ai cl , ee dhr ta b d , ld ir ga b ) l u f i t u a e b ” n o i sy adc ac oe r el va i t s e f e sh it r o f s te a s rho th e h t ng ons ii h r at pe am c “o s; (n o e lsi dwa e br o e tt aa rr oo ecc teea ddr o c -e d e t a l- u- c i m rdea ve eb t a i l o f iw w e sh t i w y e b s e n i l gs en vi da n yhvgtani w b- “ hb t i w h s ei hl tl ee bt m a re odca ee d g a l f t h g i a r te sh t “ n” in w o g; gs ng ia wl fe gs n i d d ey w k c -o; omt sn o ” t r i k s e h t e p i pr “ o f ; g n i pdi p e gg gnhaitlsi fws o r cm isr at w - s e ne gip lni pi d l i u b ; y l l a n o” gy aa i dd i ln oo hi t a rro ec heedt ho t h cs aa e a n o w e s e u q i l p p a d ne ha, tnd ot ns ii ar pka lp,oya fl ci l , eeh d r adT lb“i g , d r a b ” s t r i h sn o s i rd aye lpki arc acos m et h sa esc e tn un p u e rn- o r owp d au - s ssy re l ierl c ” n o ih ss a)i lcnucrf oiut fu ea ev bi t s er foy dea he tr l a re ot fa r sso iec se rd o ht a h et h -t ngon si hi gtr enamapohas c( “ ; n o h t i w n “i ew s r o y v; d ayweb d hnt ei w a l tuec- m i mor se v d a e b ” r e p a p sl ld aa we b s e n i l gggnnnia di Hw p s eeut tsa ar ro co ecde d-g ne it h t h g i a r t s n i g n i w e s y eb h t h s i l l e b mde a e b- “ k c o m s ; o t n o r o y” l ni w w oo gh; sy l l a n o eg ta gai dnr io dc de edr w r o s s e r d k n a e h t o h c a e g n i s s o r c s er np i l ” n w a l ” t r ei k h st ” s t r iehghsnt i k nd eae pkr cipop m“ s e ;r geernw “ ;l yoi frl it d u eah- gT “ e p i p o iwp i p ss e r eshcont Rai dw km - - l e s ng eni u ; l e s n i t n o i t a rh ot icwhe td i w h s ai n r u f sn ar o rdo a n o e t a r owc- ee ds ta hq i l p p a ” r e p a p l l a w g n a H “ ; d e d n e p s u s g n i h t e m o s ndreol de as n i- t y l i l e sh et k at l nf i a p , y lwi lo n es h d l i g ” s e e r t y l i r a s se eh ct e n n u “ t r o y l i w o h s e t a r o c e d r o s s e r d k ni ahr tp e m o s ( y h s a l f ) l ud f ni at ”un aw eapbl a e h ec h t y da a gen rinkl ian a r p e t a sre iro ecwe d st ea-sho tR “ p u ; yglt n i rd au ta g a rs o c ee- dh t “e ;tlyae asl nw u i ct i m r e v ” p u d se et nr ia lt ; lge nsl nli aidt n i w s a wr oh t riywavba w n hwt noi rtwo- dl ale at m n i owcec sud te sl e h - uo tn ss “ k c o m s hg tw sy ntbii t w e ht sa irsl o el kce aebl d fm e ” s g n i l i tehc g di ae ro” tscesce ur tt s n“ i ; k re o - o c cw nh i c a ee- t a r o c e g d ne it -sa sr ooprcu ce d ter ra t s e n i l n o i t a r o; yc le lda n yoh gs aa l i f de h dt n a r pe ahe toh ocd e ra ” p u d e t r a t l l sa s a w n w e h tk“ l o f; y a w e r o rwa b s or te- cl lna am ds e h T “ e s u o h ” s t r i h” ss gr noi l i de ce kd ec ooc m c ut tns e“ m ; ktr ro aw p oac c u t s h t i w ent aa r o c e d - o c cf uot s w s nl ol ai twa rheo sh t a er to a-c reodc e d e t- a lr e-o cn eadpe r g n a h ” d o o w hh tt ii w c iet nd lr eunf a p e“ h ;t s lr eo n a p o d he tr ei w ” re et pa ar ope scl uleoadhw e pe sj u s n ,a l e w e gj ne ibfho t e m o s rg on na rHo“ d a t n e m h t i w r o - ; tdr ea pdl an e w ; ys ll ei nwd a ope hl s s s e -r ds u o i c-lee rn pa p k n a r p ” s e s s e rr do e w e j h“et ti aw r o c e d; es tea nr oor ctoesd ” d o o w h t i w s l l a w e h t l e n a p “ s n g i s e d” n cwi ar tl he tmi wo ee hg te ft oa r eo ccg eandli ka n rhao tr ipw n er ot dae arr oe cw -e d -l estweeesl j ol iRf “ , ,l te ew le ;ij eyf bl i d u a g ; l e s n i ” ts e s s e r d h t i wd e l e w e j “ n r o d ; as e n o t s l e s n i t s u o i c e r p ” s e e r ts n g i s e d c ei rht te m o e g f o de ec al le as nh ti it w e t a r o c es de k- at el lf l i f , t e l i f w o n s “ d n a e g pd ae e h c n a a t r a t ; s p o l l ayc hs s a l fh t i w e nt ai r o ce et da r o c -e d p o- l l a pc us n w os ts- el rl ad m s e h tt ““ ; y a w ” t r i k s ” p u d ;des epp oto lrll ala atc sc s l lh at i w as a ewg d e rd aanbha e t a r o c e d p eo h l l a c s y l s s e l e” ts sgant i l” it er ick sd e o cecdt ueaptrosol“lca;eckds r o w ao c c u t d-sa hh t i w se ste ar nrd o e zc ie dd ee h-bt o“ c c u t s n oh i t t i awry ol scs eepd re ob c e d e r l ie h t ssa t - p i- h s s g a l f a e h t e et ta arr oo cc oee ddd e r sn see zet i ard d ast sn eeerm t dat r ro ac ep, dm p i, hh ssn i an sr sae gr d a i r -t f o s a , ) ed souoof h( s g a l ef t a rh ot i rcwoe d p i h -s s a t i w , ) ds ol ol fa (w e eht ta rl oec ne a d p “ -; s l es sn ear pd h t ,i mwi r et t a r, o h sc i en dr a -g l e n a p s d o o f ” d o l oa wt snh h t hi twi w deo m o fa n r o l a t n e mra en h r ot o r e hrt oo ry o e l s yr ea l ps r a p m i r t “ h t ; i swt n me imretat“ na rr oo; sc t en de hmta inwrro o sh at inwr o ,des aat a r o, e-ct ea rd o cl ee dw- e j - m imr, iltret w e j e b r hdo sd n i w a p o dm “ ; i ”r et “e r t ; ” e ; essr eat nmotstsasimrt hs ic r h c e h se uth ot i c e r p he si lr et w a“ e j m ” w o d n i ”ws e s spe”ow ; e t a r o cs en dg i s e; edt acr -io rc te ed m o ek gc - ef do e c ak cl e ad, thht gi iwd, teehbtg ai dr eo bc e d , k- c,t ekecdleeldibef b , t e l i f ” y l l o h h t i w s l l a h e h t k c e d “ ” y l l o h h “t i w e h T ; s r e w o l f f os l sl ga nhi r t s h t i w e eh t ta r o c e d - kn co e o tds “e f e h T “ ; s r e w o” yl fa d i lf oo h se gh tn i rr ot fs d h e nt oi owt s e e f t ae rr eowc e sdg n i -d l i n u bo o ct isl e b uf p a , y asl gne int ai d r, tol aicouec bd - c i -ll ebmua pnp eo l l a c s wn o o e cteasg f erdu ” y a d i l o; hs p oel hl l ate cm sarnoe f hhtdt iiew f es e rr oen w e, d tt aa a l en i ar o ho cc e d - s -sl ee rmday n e h t “ l e m a n e ” t r hi kt isywb e cf doa ef pr uo sle lc aa fcrr suo s , y eaahl tn i n oc tes d , d o o w g n i t r e snn ei z i d e b yf ol s s e ll eae ttces amaf tr u s d n a e h et t a, re o y b e t a r o c e d y a l n i ; r e u q c a l h t i w t a o c r e u q c a l a l a t e m s g a l f d” annah , pe minhoorstf s t ri eh ss n iA “ s s e r d i ht Ci w x oe,btd aor oo wc e d d e r e u -q gc n a li p o “c e; d ” a n i h C sma o r f ,x, )hodt biowo d fe (r e eut qaerctoaac l re dA r e- u q -c da ll i ghs ts ie wr ,dtd al iog cn, em - ir re tu, dq lci ag, hel bs i n r a g i ueq m i l a- n rr oo s d o eo tf ad rl oo gc leadtd n yf ei ,l ds lrs iaa gpe br o h t i w , h t i w d f la i ergl e h tdol o , gd l i r,ghont iew t n ae m h s i l l e bhmt ei w dsdaa a n i m u- l l i md i i rut q“ idl n a ; s rt on es m , e -t a r o ceset ad m i r t d l o g f an er lo ) s t p i r c s u n a m lda lv oe ig d e m (, h t i w o t f i s g n i t nr i oa p ” w so td nnseimm wr ha s i cpl i ldoelhabsrme he ah t i w md iedrt aat r“ o c e d; ” -e- e rn to z a el bts maa enm i tm io rlz hla ilc b e h t d n a ,sn u a ra om - e ie dt ae r m e gb n, ni ot zna il ab m ; c s re odl o c h lt a i wv o c(ke cd e dr oo l ot c , t , h r ugoi l do cs ) s t p i r c; se ut n p, ke c e d e b w ee he ht, tn o zr oa l l obc “ k c e d “ ”c yi d l ll oa hr” es ehn o t h t im wrh atwi ew t na i r o ct ne i da ps l- l hat hinwo z as ll lba m s m r a ; e g n i r f a h t i w n r o d a - c e d e g n i r f ; s r o l o ce h Th “t i ”w;f sr ar cees twaor l of c eefdhot -s g nr iodr letogsnc i r hf ,t ri uwo l oer cet va ar e,ow n o z a l b- emh enT “o o t s e f og hi s e dne ih t d et crnaoil fra ept nd i e n ” s e n o t ” y amdri alnw h o tnioawt s eh fts i lwl ea rwee wt a reoshc get nd i dr l-oi lu obtce “r cf i l b u p , t a o ec ep ag cn-s id rn fal le m a n e ; e g n i r fl e m a n he ta i w h t i w h t ie wch as if l rl eu bs m en rr oo d a , y a l- n i e c a fdr eu gs n i r f e h t o c e d y a l n i ” f r a c s y b ef oh t r ee vt aa er w e -h T “ ,he t ni ow t s n g i s e d l a t ed m e c a l r e t nd i n a n a e t a r o, cd eo do w t eg rn fi t r e s n i ” a n i h C m o r f x o b d e r e u q c a l A “ ; r e u q c a l h t i w t a o c r e u q c a l h t i w h s i l l e b m e e p a c s d n a l e t a r oe cp ea dc s d n a -l d lsi ’ gt e L “ , d l i g n; 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