Archipe[LA]go | Sophi Lilles | SP 22 Degree Project by Sophi Lilles

Degree Project: Magic Spring 2021 Booklet

Archipe[LA]go: Deviating the Strip

Sophi Lilles

Archipe[LA]go Deviating the Strip Sophi Lilles Partner: Beren Saraquse Spring 2022 Degree Project Magic Faculty: Adam Elstein, Frank Gesualdi, Saul Anton DPAC Advisors: Dragana Zoric, Ariane Harrison, Robert Bracket III

Table of Contents Project Statement with Beren Saraquse

Archipe[LA]go: Deviating the Strip Design Statement

Weird Montage and Engaged Digitalism Critical Spatial Context Essay

Nobody Walks in LA: How the City and City Life were Flattened 12

The Dense Sprawl Anomalie

Utilitarian Plains of Id

Giving up to the Automobile

The Strip as a Desire Machine

Bibliography | Fall 2021

Bibliography | Spring 2022

Archipe[LA]go: Deviating the Strip Here in Archipe[LA]go, the sun is shining and traffic has never been better. A father makes his way through the islands to take his daughter to swim practice. While he waits, he sits in the shade nearby to work on some emails. Protesters take their stand outside the bank and across the pool to bring awareness to a new city wide issue. An eldery couple patiently waits across the playground for the outdoor movie to start, so they grab some snacks at the grocery store and meander along one of the many paths. The interchange between pedestrians and the urban landscape now merge as one. Our project, Archipe[LA]go: deviating the strip, reimagines the shopping strip typology, a linear commercialized main artery of the city. In a post retail and post caroriented Los Angeles strip, our project offers an alternative that distorts and reshuffles its fundamental armature, the avenue, in order to create an archipelago of urban conditions that transforms the commercial strip into a plurality of public spaces. Archipe[LA]go transforms the shopping strip, a linear commercialized main artery of the city. In Los Angeles, the shopping strip typology emerged from underlying forces that shaped the city’s urban fabric as it developed and grew in the twentieth century. These factors primarily being the lack of geographic boundaries and the development of the automobile. As a result, the strip typology became a necessity for the car. It provided single commercialized shopping stops along the armature and served as a linear viewport. But LA, as all cities do, changes overtime. The caroriented LA that Banham and Ruscha experienced is no longer what LA wants or needs. The strip had repressed certain public and typological requirements of the 4

city. They were flattened by the demands of LA’s version of 20th Century retail urbanism and city life. Archipe[LA]go uses Melrose Avenue as a case study and delaminates its current strip armature and uses game-like methodology to deviate the previously privatized retail into public spaces for the community. By playing a game, we, the urban editors, turn the road into game pieces that redefine the path of the car into typologies. Through emergent reshuffling, the once linear strip becomes an armature that serves the enclaves it forms around, in other words understanding the limitations of the strip to misuse and defamiliarize it. The new armature, which curves, turns, and splits, slows the speed of the avenue. It creates new kinds of edge conditions for opportunities to meander, to have multiple destinations, and to not have a single orientation. This emergent game uses local decisions to make nonlocal consequences; breaking the linearity through piecemeal programs. The remixing of the armature results in recurring block shapes and edge condition consequences: the main road separating the retail and residential will shift away, merging into public green spaces for the neighborhood and locals. The creation of both seams and seamlessness breaks the grid of the flatlands it is located in. The urban archipelago counters the previous strip typology that served as a desire machine to visitors and tourists. The familiar pieces of the past shopping strip are repurposed to serve the new islands of urbanity; like billboards become media screens or become occupiable. The strip experience is no longer walking one direction and u-turning back to the car.

Project Statement with Beren Saraquse

Figure 1: Speculative Postcard for the Archipe[LA]go

The pedestrian experience allows for the parking to serve as the civic gateway to the endless activities the Archipe[LA]go has to offer. Through open grounds and landscape the islands build flexible relationships between the locals and the newly porous grounds. Mundane everyday necessities are dispersed throughout the islands using a 15 minute walking radius, to bring the necessities to the locals and not the other way around! Attending a basketball game, seeing a performance, going to the bank,

or going to the grocery store, Archipe[LA] go functions for the everyday lifestyle of the community. Our project defamiliarizes the experience of the strip through an urban montage of public and private. We have used this as an opportunity to question what exists now and how it has or has not changed with the times. There was Banham’s LA, there was Suisman’s LA, and this is LA reimagined as the Archipe[LA]go.

Project Statement with Beren Saraquse

Figure 2: Massing model of two urban islands

Figure 3: Chunk Model 1 | The previous urban gutter filled as part of the urban island

Figure 4: Detail model images

Figure 5: Chunk Model 2 | Resolving bleb space into public gatherings and repurposing found retail objects

p[LA]y A

deviate / distort / remix / collage

cro

urb

Figure 6: Experimental drawing relating the urban scale to the building scale

pedestrian first, then the automobile

fou

jec

seamless

Emergent Islands: The Game URBAN URBAN ARCHIPELAGO TAXONOMY TAXONOMY Figure 7:ARCHIPELAGO Urban Archipelago Taxonomy

ArmatureArmature Sample Sample

ArmatureArmature Typology Typology

Components Components

ResultantResultant Enclave /Enclave Island Combinations / Island Combinations

Our project critiques the shopping strip, a one-dimensional, front elevation, linear experience of a main avenue. This typology of shopping and consumerism is one that manufactures desire and lays it out in a way that influences the visitor’s experience: presenting billboards, ads, and storefront after storefront, showing you what you want before you even wanted it. The LA strip typology emerged from underlying forces that would inherently affect LA’s urban fabric: the sprawled layout due to the lack of geographic boundaries. The LA lifestyle also emerged around the car, and so the sprawl of the urban fabric was never an issue. But, a city’s values change over time, the forces that created LA are not the same today: what does LA want to be today? Is the LA strip still a desire machine? Island Sample Secondary PathwaysPathways Island+ Sample + Secondary

Archipe[LA]go is played as a game, where the objective is to reconfigure the strip to (1) acknowledge and subvert the strip as a desire machine, (2) break the physical and experiential linearity that originated from shopping and defamiliarize it, (3) shift the purpose from a previously privatized retail program toward local life: implementing public programs and daily life necessities back into the resultant game outcomes. Program Program sizes sizes

bleb space bleb space

continuescontinues to residential to residential

The game of ‘Emergent Islands’ is to deviate from the original linear path of the car, breaking them down into formal modules where the road splits, turns, and curves. These modules can be flipped, mirrored, and repeated, and are then reshuffled to create 10

new outcomes. While the player matches up the armature between the modules through control points, resultant enclaves, the shapes that the roads outline, emerge. It is these new urban islands that become the grounds for the collage of public spaces. The game becomes a valuable design method because it welcomes chance, generates various outcomes, and is non-deterministic. This emergent game uses local decisions to make non local consequences; removing the linearity through piecemeal programs, transferring the emergent decision making to the player, or the urban editor. After establishing the urban scale of the armature and enclave relationship, programs are selected from a catalog of public activities and daily necessities and are implemented from one enclave to the next. To create localized experiences where a resident’s nearest urban islands fulfill their daily routine, a 15 minute walking radius is used as a way to distribute the programs. By taking an island-to-island approach to the program distribution as opposed to looking at the whole reshuffled strip, the method capitalizes on local visibility to create emergent results from iterations. The undulating ground plane allows for occupants to meander seamlessly throughout the archipelago and the various public spaces are interwoven with daily life necessities. By creating porosity and public spaces, the result is a densified strip archipelago. The distorted and defamiliarized strip is returned to the public.

Design Statement

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Case Study: Melrose Ave, Los Angeles, CA

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Figure 8: Emergent Islands Game

Figure 9: Armature and Enclave Taxonomy

Design Statement

service corridor, back of house, behind t

IN COMICS AND GRAPHIC NOVELS... day in the life of the archipe[LA]go

IN COMICS AND GRAPHIC NOVELS...

IN FILM... “Construction

IN THE URBA ‘with

IN intervals’ FILM... suggests that

IN THE URBA

in montage, it is not the elements that are significant, but the “Construction ‘with space in-between intervals’ suggests that them that defines the in montage, it is not the potential depth. The elements that are space of the interval is significant, but the a shallow compressed space in-between space, unfolding in them that defines the time and linked potential depth. The together by the space of the interval is perception and recall of a shallow compressed the observer.” - Stan space, unfolding in Allen time and linked together by the perception and recall of the observer.” - Stan Allen

THE URBA

The urban gutter as a site allo otherwise usually hidden and characterized by its surround than its own physical attribute an on the betwee Theemphasis urban gutter as‘in a site allo urban gutters are hidden spaces and of f otherwise usually divides. characterized by its surround than its own physical attribute an emphasis on the ‘in betwee urban gutters are spaces of f divides. EAT . DRINK . DINE

THE URBA

the scenes, side-street parking store entrance

store entrance roof store window

store window billboard signage

front door roof window

signage garage front door

window greenery front yard

NEIGHBORHOOD GARDEN

front yard

PHARMACY

FOOD VENDORS

BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH service door

service door exterior material

exterior material back facade

backmaterial door exterior

back facade back door

backexterior yard material

back yard

BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH LAUNDRYMAT

parking

roof parking

billboard roof

garage billboard

Originating from comics, the gutter is the inbetween space, is both the connecter and divider. Comic artist Scott McCloud defines the gutter as “the space between panels, an interstitial space where meaning is made by connecting the contents of one panelthe to the next.” Originating from comics, gutter is the inbetween space, is both the connecter and divider. Comic artist Scott McCloud defines the gutter as “the space between panels, an interstitial space where meaning is made by connecting the contents of one panel to the next.”

POOL

roof garage

AMPHITHEATER

greenery roof

greenery

PLAYGROUND

POST OFFICE

OUTDOOR GYM - T

GREEN SPACE

LEISURE RIDING

GROCERY

AN METROPOLIS...

NEIGHBORHOOD GARDEN

PHARMACY

FOOD VENDORS

LAUNDRYMAT

POOL

AMPHITHEATER

PARKING STRUCTURE

BANKING

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at’s

how

the

spra wl was

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AN GUTTER

ows opportunities to reveal what is d behind the scenes. The gutter is dings, what it is in between, rather es. It is not a neglected space. With en’ places, buildings, and streets, owsofopportunities to reveal what is support The the frames it dflexibility behind that the scenes. gutter is dings, what it is in between, rather es. It is not a neglected space. With en’ of places, buildings, and streets, flexibility that support the frames it

AN GUTTER

PLAYGROUND

POST OFFICE

OUTDOOR GYM - TRACK

BASKETBALL COURT

GREEN SPACE

LEISURE RIDING

GROCERY

ANIMAL PARK

Figure 9 (left): A Day in the Life Comic Figure 10 (above): Program Catalog

Nobody Walks in LA: How the City and City Life were Flattened The Dense Sprawl Anomalie

Figure 11: The dense sprawl collage

The strip had repressed certain public and typological requirements of the city. They were flattened by the demands of LA’s version of 20th Century retail urbanism and city life. How could this be reimagined today? Our project critiques the Los Angeles strip typology for being a one dimensional, static, commercially-curated consumer experience, prioritizing capital flow over all, and aims to imagine a new alternative, one that constructs a community and emphasizes public space. This new intervention of the 14

strip encourages self-sufficiency, allows for public exchanges to be formed and celebrated, and to give citizens more local control over the greater urban flow. Exploring the Los Angeles commercial strip allows us to analyze how the iconic site came about and interrogate its success in relation to and in the context of its surrounding neighborhood. Has the LA commercial strip changed over time in terms of its purpose and use? Does this urban typology remain relevant?

Research Essay

Utilitarian Plains of Id The typology of the strip can be understood as a result of the way LA was organized and built out. LA sprawl was a result of the lack of physical boundaries. Compared to how Manhattan, a vertically dense city, is surrounded by the Hudson and East river, the geography of Los Angeles observed the coast and spread outwards without limitations.1 The overall LA urban fabric responded to the natural geography of the area in less so a systematic way. In the words of Robert Kirkman in The Ethics of Metropolitan Growth, “sprawl suggests the city has collapsed, like a drunkard on a sidewalk, and is now spreading inexorably outwards, oblivious to the surrounding countryside”.2 LA is known for its weather and its sprawl typology. People move there because it is so spread out, because they want a backyard. Sprawl may imply low density, but LA poses a paradox: it is both sprawled out and high in density. The city’s allure comes from offering both a variety of activities and 1 Murphy, Douglas. 2017. “Where is the world’s most sprawling city? | Cities.” The Guardian. 2 Kirkman, Robert. 2010. The ethics of metropolitan growth: decision making and the environment. London: Continuum.

STRIP CIRCULATION

opportunities and the horizontal space for it, a pair of characteristics that you wouldn’t find somewhere like Manhattan. In Reyner Banham’s Los Angeles: The Architecture of Four Ecologies, he identifies one of the ecologies as the “utilitarian Plains of Id” or the flatlands, which are “the only parts of Los Angeles flat enough and boring enough to compare with the cities of the Middle West.”3 To Banham, the flatlands were just the means to operate the other 3 characterizing ecologies: Surfurbia, Foothills, and Autopia. To Banham, the majority of LA’s mundane daily life occurs in the flatlands. But, with the strip emerging as a 21st century shopping hub, recognized as a part of LA identity, where tourists and locals intersect, it starts to diverge away from Banham’s definition of this part of LA as dull. The strip gains attention and it becomes a worthy situation to interrogate what LA wants versus what the Angelenos want. 3 Banham, Reyner. Los Angeles: The Architecture of Four Ecologies. University of California, 2009.

HIGHWAY INTERCHANGE

Figure 12: Diagrams of LA typologies

Research Essay

Figure 13: North Elevation of Melrose Avenue 2022

Figure 14: North Elevation of Melrose Avenue in the Archipe[LA]go

Giving up to the Automobile Architect and urban designer Doug Suisman’s book Los Angeles Boulevard: Eight X-Rays of the Body Public researches and explores the LA boulevard and how it came to be. Suisman analyzes how a big part of the creation of LA’s urban fabric was dictated by the car. LA distinguished and drew the line between a path and place, between armature and enclave.4 It had a tendency to do this because of the car. The city gave itself up to the “needs of cars, driving, parking, travel lanes.”5 It was perfect timing, where the period of growth in LA coincided with the arrival of the automobile, the first freeway, the development of new technologies, and the allocation of money for all of it to happen. For the first time, the city could implement a new system that favored high speeds and accommodated large distances. All these factors coupled with LA’s increasing population formed this new urbanism of the dense sprawl. Breaking down the various roadways, Suisman compares freeways and boulevards. 4 Suisman, Doug, and Christopher Hawthorne. Los Angeles Boulevard: Eight X-Rays of the Body Public. Oro Editions, 2014. 5 Suisman, Los Angeles Boulevard

These freeways were intended to “relieve the pressure on the urban avenues and boulevards so they could continue to be for people.”6 But freeways could not be built fast or far enough to meet the demands, so boulevards became the extensions. The sprawl was limited only by the mountains, which were to an extent, still permeable, and therefore the geographical spread made it impossible for a public transit service to keep up. The freeway was successful because it detached itself from the ground level. To Suisman, an effective transit system was about a dedicated path, but if you place this path on the street level, it has the opportunity to both kill and save vpublic space: kill, because it takes up a designated area usually beside the sidewalk, and save, because it creates access. There is this overarching dilemma between the vehicle and the citizen that arose from LA’s history. In the time of Reyner Banham, LA was read best via the car, but Suisman argues that this is changing. Today, the car is not the only way and arguably not the best way to read LA. 6 Suisman, Doug. Interview with Colin Marshall. Notebook on Cities and Culture S4E35: Path and Place with Doug Suisman. 2014.

Research Essay

The Strip as a Desire Machine Consumption is a defining characteristic of 21st century society and the strip is the sprawl typology of consumerism. The commercial strip is characterized as a long avenue, circulated linearly by primarily cars and secondarily pedestrians, and lined with various low rise commercial and retail institutions. Public spaces became oriented toward the activity and generation of consumption and the exchange of capital, of goods and services. By doing this, public spaces were redefined with the act of shopping and disappeared in the emerging importance of capital interests, hyper-production, and privatization. The strip development is a symbol of American urbanism. The experience of shopping on a strip is one that is decided for you. You walk from store to store in a linear order and singular direction. It is ornate with store names, ads, billboards, as if fighting for your attention. The signage becomes part of the language and experience of the strip. Tom Wolfe calls this “electrographic architecture,”7 where ads use desire 7 Whiteley, Nigel. “Learning from Las Vegas . . . and Los Angeles and Reyner Banham.” In Relearning from Las Vegas, edited by Aron Vinegar and Michael J. Golec, NED-New edition., 195–210. University of Minnesota Press, 2009.

inducing imagery, graphics, and lighting so much so that the two dimensional billboard overpowers it’s three dimensional surroundings. In a similar way, which David Gebhard calls “conniving commercialism,”8 facades spell out the store’s name using two-story letter and graphic tactics, turning the building into a billboard. Language and building become fluid, as if the stores are talking to passerbys. The strip, as a seemingly romantic line up of a plethora of stores, as if you could have anything from your wildest wishes, is unveiled as a carefully manufactured desire machine. This invisible tension between (manufactured) desire and reality is reflected in the street zoning of the urban gutter separating the retail buildings from the residential block.

8 Brown, Patricia L. 1989. “CRUISE MELROSE, LA`S COMIC STRIP – Chicago Tribune.” Chicago Tribune.

Research Essay

URBAN GUTTER: interval, gap, interstices, artery, service corridor, back of house, behind the scenes, side-street

THE URBAN

IN COMICS AND GRAPHIC NOVELS...

The urban gutter as a site allows op otherwise usually hidden and behin characterized by its surroundings, than its own physical attributes. It is an emphasis on the ‘in between’ of p urban gutters are spaces of flexibili divides. BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH BLAH

IN FILM...

IN THE URBAN METROPOLIS...

“Construction ‘with intervals’ suggests that in montage, it is not the elements that are significant, but the space in-between them that defines the potential depth. The space of the interval is a shallow compressed space, unfolding in time and linked together by the perception and recall of the observer.” - Stan Allen

SIN

THE URBAN GUTTER

The urban gutter as a site allows opportunities to reveal what is otherwise usually hidden and behind the scenes. The gutter is characterized by its surroundings, what it is in between, rather than its own physical attributes. It is not a neglected space. With an emphasis on the ‘in between’ of places, buildings, and streets, urban gutters are spaces of flexibility that support the frames it divides.

Figure 15: The Urban Gutter diagram

We are interested in the contrast between the strip’s picturesque, alluring, advertising, storefront facades and its back of house, back-alley, service street. We call this the urban gutter. We’re pulling the term “gutter” from the comic and graphic novel practice, described by American cartoonist Scott McCloud as “the space between panels, an interstitial space where meaning is made by connecting the contents of one panel to the next.”9 The urban gutter as a site allows opportunities to reveal what is otherwise usually hidden and behind the scenes. It is characterized by its surroundings, rather than its own physical attributes. It is not a neglected space and emphasizes the “in between” of places, buildings, and streets. They are spaces of flexibility that support 9 McCloud, Scott. Understanding Comics: The Invisible Art. NY: HarperCollins Publishers, 1993.

the invisible comic frames it divides. The urban gutter is the physical connector and divider between the retail and residential blocks. In this way, it is the mediator between the machinic curated desire (retail block) and the reality of everyday life (residential block). Revealing the back of house and backstage demystifies and exposes the “how” of urban life. As a contrast to and critique of the strip’s obsession with the commercial facade, the value of the service space lies in that it is what allows the strip to function. There is this contrast between desire and the real, the urban gutter exposes the actuality of this manufactured desire. How can intertwining and breaking away from a linear “front” and “back” organization reveal and celebrate activities of daily life?

Research Essay

Figure 16: Cover and pages from Sunset Market Plaza

While consumerism, alongside the freeway and sprawl organization (or rather lack thereof), was what helped birthed the commercial strip, LA is populated with strips that operate in varying levels of consumerism and in varying layers of culture. It’s important to understand LA is incredibly diverse, where this characteristic can be reflected in strips that are majority local businesses.10 LA-based design and technology studio, Use All Five, self-published a book Sunset Market Plaza: Meditations on Strip Malls in Los Angeles. The book explores distinctive situations of how various strips affect LA physically and culturally. Jonathan Crisman, an urban planning professor who wrote for the book explained how, “there has been a long, slow, winding history in Los Angeles to bring us to a moment where, now, strip malls have a kind of cultural cache.”11 In contrast to the ultra-consumerist strip, such as one like Melrose Avenue, there are other instances where LA strips provide opportunity to bring together cultures and enrich the neighborhood, “You get several very different uses and even cultures and 10 Brown, Evan N. 2019. “How Strip Malls Reflect the Diversity of Los Angeles’s Neighborhoods.” Metropolis. 11 Brown, “How Strip Malls Reflect”

languages occupying these little spaces right next to each other, creating these amazing little mini-publics.”12 How can the cultural value of this kind of strip override the commercially-driven boulevard? The analysis of the strip points our project into the direction of a reimagination: to identify various strip situations and their visible and invisible characteristics and propose an alternative strip typology and use, one that transforms the strip from a privatized retail experience into a public one. The project critiques the urban fabric of LA: while the sprawl and the strip emerged from an industrialized, capitalist America, is its typology hurting or favoring its embedded, local citizens?

Research Essay

Brown, “How Strip Malls Reflect”

DP Magic Fall 2021 Sophi Lilles

Bibliography | Fall 2021 Stierli, Martino. “Introduction.” Montage and the Metropolis: Architecture, Modernity, and the Representation of Space, Yale University Press, New Haven, 2019, pp. 1–31. Fisher, Mark. “Introduction.” The Weird and The Eerie, Random House Inc, 2017, pp. 8–13. Comaroff, Joshua, and Ker-Shing Ong. “Introduction.” Horror in Architecture, ORO Editions, Novato, CA, 2018, pp. 7–47. Khachatryan, Tigran. “Architectural Context Part 5: Colin Rowe & Fred Koetter.” Medium. May 4, 2020. https://geometrein.medium.com/architectural-context-part-5-colin-rowe-fred-ko etter-cb7952e9e87c. Wong Kin Yuen. “On the Edge of Spaces: ‘Blade Runner’, ‘Ghost in the Shell’, and Hong Kong’s Cityscape.” Science Fiction Studies 27, no. 1 (2000): 1–21. http://www.jstor.org/stable/4240846. Hopkins, Budd. “Modernism and the Collage Aesthetic.” New England Review (1990-) 18, no. 2 (1997): 5–12. http://www.jstor.org/stable/40243172. McCloud, Scott. Understanding Comics: The Invisible Art. NY: HarperCollins Publishers, 1993. Bredehoft, Thomas A. “Comics Architecture, Multidimensionality, and Time: Chris Ware’s ‘Jimmy Corrigan: The Smartest Kid on Earth.’” Modern Fiction Studies 52, no. 4 (2006): 869–90. Barber, Benjamin R. “Shrunken Sovereign: Consumerism, Globalization, and American Emptiness.” World Affairs 170, no. 4 (2008): 73–81. http://www.jstor.org/stable/20672823. Ethington, Philip J., and Vanessa R. Schwartz. “Introduction: An Atlas of the Urban Icons Project.” Urban History 33, no. 1 (2006): 5–19. http://www.jstor.org/stable/44614169. Smithson, Robert. "A Tour of the Monuments of Passaic, New Jersey." Originally published as "The Monuments of Passaic." Artforum 6, no.4 (December, 1967). Vassallo, Jesús. “Seamless: Digital Collage And Dirty Realism In Architecture.” Log, no. 39 (2017): 45–65. http://www.jstor.org/stable/26324002.

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Murphy, Douglas. 2017. “Where is the world's most sprawling city? | Cities.” The Guardian. https://www.theguardian.com/cities/2017/apr/19/where-world-most-sprawling-ci ty-los-angeles. Rendell, Jane. “Sites, Situations, and Other Kinds of Situatedness”. Log, no. 48 (2020): 27–38. Suisman, Doug, and Christopher Hawthorne. Los Angeles Boulevard: Eight X-Rays of the Body Public. Oro Editions, 2014. Suisman, Doug. Interview with Colin Marshall. Notebook on Cities and Culture S4E35: Path and Place with Doug Suisman. 2014. Whiteley, Nigel. “Learning from Las Vegas . . . and Los Angeles and Reyner Banham.” In Relearning from Las Vegas, edited by Aron Vinegar and Michael J. Golec, NED-New edition., 195–210. University of Minnesota Press, 2009. http://www.jstor.org/stable/10.5749/j.cttttpvs.13.

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