DIA- Dessau Institute for architecture

DIA series © 2015 after geometry II - creative mapping tecnique - Studio Terragni

DIA series © 2015 Anhalt University Department 3

AFTERGEOMETRY II

Dessau International Architecture School

Anhalt University of Applied Sciences Department of Architecture, Facility Management & Geoinformation (AFG) Bauhaus strasse 5 06846 DESSAU Phone +49(0) 34051971531 dia-architecture.de afg-hs.anhalt.de special thanks to Katharina Klotz for her graphic inspiration special thanks to Alfred Jacoby for the critic inspiration Editing and layout Attilio Terragni info@studioterragni.com www. studioterragni.com Copyright DIA Graduate school of arcrchitecture Anhalt University of Applied Sciences The authorProf. Arch. Attilio Terragni DAAD Guestprofessor DIA master studio first semester 2015-2016 ISBN-..........

AFTERGEOMETRY II STUDIOTERRAGNI SELECTED STUDENTWORKS

“....Geometry IS an expression OF A mathematically determined and GPS ordered geographical THE world as A starting point....”

This book is another publication out of Attilio Terragni’s hand. He has been a most valued DAAD Guestprofessor at DIA over the past two years.

In this second book, he is taking Geometry as an expression of a mathematically determined and GPS ordered geographical world as his starting point, Attilio Terragni now deals with the visualisation of the impact of accelerated migration onto such an ordered geometry DIA Students come from all over the globe to Dessau. They bring with themselves their own

perception of an ordered geographical/geometrical space.

Attilio Terragni offered them a way to self express and let out into the open their inner disposition towards geometry and order.

This book shows the results of such unleashing of talent.

At DIA we are more than happy to have the opportunity to add this array of individual experience that came to life through the committed work of Attilio Terragni to our DIA Library.

Prof. Alfred Jacoby Director DIA

“Working at the boundaries of the known, the unknown and the unknowable......”

Dear Attilio!

Just back from the “Capital”, and it came to my mind,that I didn’t write,only just wanted to,about the relevance of my ars poetica to your projects.

It seems first of all, that intentionally, or with a great innate ability, all of the students started out with the isolation from the “known” elements, and activated the ones they only “felt”.

The word only should be also in quotation marks, because the feeling-governed creation ( not yet design! ) is a rare treasure, absent of every transcription or reference, it is a pure singularity!

The next step is made also on the emotional level, somebody, around Schinkel’s time, used first this word: Einfuhlung, = to feel into it.

This ‘method’ seems to be applied by your students, to excavate from the material, which at that time is still unorganized, but rich with potentials, a strategy. All in the subconscious level. Then they gradually brought forward to the preconscious domain. (Explanation of the preconscious is, that something one knows, but it is hidden, and the subconscious delivers it, when and how it is needed.)

From here on, it is easier, but due to the singular nature of the phase, as achieved at this point of the process, it still is a novelty, a never before existed “thing”, the physical reality of they respective architecture.

That is why - besides being architecture of a very individual type - they are all artistic productions, looking instead of the obvious (= banal ), they calcitrated a hidden and fuzzy logic, with not only one, but several potential solutions! One doesn’t yet knows the hidden entities, but feels their presence.

And this ambiguity is the major achievement, one could only hope for in any serious ART !

So, I never talked so much about architectural projects. I think, that the relevance of my ars poetica is now a bit clearer..

Again, You are free to do anything with this text, it is Yours.

Wit warmest regards: Peter

“You know the Greek had few forms for a lot of contents while we live with an incredible number of forms with very few contents”

Welcome in our studio every students have 5 minutes to describe their work to our guests. I take my 5 minutes to introduce what we do here.

The studio is a 3 months period and has been divided in 3 phases.The first phase is the most difficult answer the question where to start?

You know the Greek had few forms for a lot of contents (so they worked on refine every small details and a little change would mean another completely different story) while we live with an incredible number of forms with very few contents.

So in the first phase the process is to create drawings with any kind of technique, between the consciousness and unconsciousness, dream and reality, what you know and what you don’t know, and looking and the sign, spaces, voids, vectors, patterns, lights, shadows, that everyone has created with their own originality, find a possibility to express a story, the particular story everybody choose from the studio topic, that this semester is immigration.

Then this process in phase 2 is to move to a 3d representation using computer,so to say physical reality and virtual reality, and stay in between, find 3d that are still open for somebody else to work.

That “somebody” is coming in phase 3 to use the 3d representation to finalize a project that has to able not to lose the qualities and the richness of the preview research.

So 3 months, 3 phases, three personalities.

Attilio Terragni DAAD Guestprofessor DIA

STUDIO TERRAGNI I sit down and my head looks out from a transparent window, doubly transparent, because of the fact that today they do the so-called double glass, to isolate the inside from outside, so you do not have noisy contrasts, and sorry to say it, but very often I would need a bit of air that circulated between the head and the outside world, to hear that extremely distracted crowd, the periphery of a different world.

I sit down and and I try to understand why the glass sheet chasing me for years and bounces all my thoughts like a ball thrown against the wall, but with more force, because the glass plate does not see well the opponent, because of its transparency that always reflects me as I were the enemy of my launch, as if I throw the ball always against me or against someone or something that is not there and that always says the same thing, and I see that there is nobody, only ghosts and reflections, a mess of reflexes, to confuse what there is with what is not there, the good and the bad, up and down, without materialize a clear sign, that quiet stone and painted walls reflection with its precise line, with its clear network and the rules, its inside and its outside, its clear result of point, about who wins or who loses, legal maneuvers and movements, with their precise physical laws that for hundreds years has been designed to give us a sense of security and not having to think more, without having to worry about where the ball will come back, without having to see every second yuo in front of you, in your reflection, in your sporting and suffering effort and without having to worry about what will become of you in five or ten years, and between the transparency of the plate and the warmth of the fireplace, with its stones around, not yet become surreal and abstract and still holding tight the marriage of men with stones, gravity and the Greeks, and the endless needs of everything else, I see this glass becoming liquid glass without any protection as a trademark. Water, water, water...this is the water....

Reflect.

I know. Form glass to water. In this dream that never leaves me I’m standing inside a house and watch a huge sheet of glass that becomes water.

I am doing nothing, watching the water that makes the house looks like an immense reality, much bigger than the greatest thing I’ve seen here on Earth, most of the red square Moscow, most of the world’s tallest skyscraper, in short, more than all the delusions of grandeur of the world. It ‘s really hard to tell how big. But above all there is something extremely complicated.

Sometimes it seems to me to be inside, others than to be out, and when I’m out in the water I seem to really be another, another person, who begs them off someone to recognize it, and I see and tell you, it’s him! I recognize him among the myriad of reflections in the water plate that surrounds the house, my life and the field where I play.

A.T.

WHAT WE SEE AROUND IS WHAT WE PUT THERE: WHERE DO WE CONTACT REALITY ( WHICH HAS NEVER BEEN OURS) ?

QUESTIONS ARE FORMED LIKE BUIDINGS AF-TER GEO-METRY Questions are formed with materials that can be taken from anywhere, like for buildings.

Why the water in our historical Books architecture?

We have tried to find good questions, as we do every day, when we search for a song, a movie, or a television show.

And in exploring the question of identity, little by little, we find that today´s work is more efficient, better connections, has great parking, maybe beautiful stained glass windows, ventilated kitchens, but.... but they have no care and consideration for the “inhabitant of the place”, for the being that lives there. They don’t care about the water...

Most people have stated that modernity has killed this nostalgic idea of “inhabitant of the place”, that the issue of Modernity was exactly to make us free from this.

But this is not true.

All projects are difficult loves

We discovered that there is Modernity different from all the other, unlike any other, made up of works by which we could change and transform ourselves again into the unpredictable and spherical dimensions of human experience. From glass to water....

From here we can today glimpse an exit from very painful question about the end of Architecture.

(Calvino) ARCHITECTS ARE ALL FOOLS: THEY ALWAYS FORGET TO PUT IN THE STAIRS ( FLAUBERT)

first the most difficult ……the question……

where to start?

As the tendril of a vine twists in a spiral around the ancient column, I want to dissolve the rigidity of your erections.

STOP MAKING THOSE BIG THINGS

I’m not worried about the claim of the theory to predict what must happen

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Alltheprojectshastheambitionsofaprocesswhereeveryevolutionisalsoaco-evolution,sotosaystillopenforsomebodyelsetowork.

This is Water BY DAVID FOSTER WALLACE

The measure of freedom lies in the complexity of the breath of our brain. “The fault dear Brutus is not in our star but in ourselves, that we allow ourselves to subdue.

(Shakespeare)

There are these two young fish swimming along, and they happen to meet an older fish swimming the other way, who nods at them and says, “Morning, boys, how’s the water?” And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes, “What the hell is water?”

If at this moment you’re worried that I plan to present myself here as the wise old fish explaining what water is to you younger fish, please don’t be. I am not the wise old fish. The immediate point of the fish story is that the most obvious, ubiquitous, important realities are often the ones that are the hardest to see and talk about. Stated as an English sentence, of course, this is just a banal platitude-but the fact is that, in the day-to-day trenches of adult existence, banal platitudes can have life-or-death importance. That may sound like hyperbole, or abstract nonsense. So let’s get concrete...

A huge percentage of the stuff that I tend to be automatically certain of is, it turns out, totally wrong and deluded. Here’s one example of the utter wrongness of something I tend to be automatically sure of: Everything in my own immediate experience supports my deep belief that I am the absolute center of the universe, the realest, most vivid and important person in existence. We rarely talk about this sort of natural, basic self centeredness, because it’s so socially repulsive, but it’s pretty much the same for all of us, deep down. It is our default-setting, hardwired into our boards at birth. Think about it: There is no experience you’ve had that you were not at the absolute center of. The world as you experience it is right there in front of you, or behind you, to the left or right of you, on your TV, or your monitor, or whatever. Other people’s thoughts and feelings have to be communicated to you somehow, but your own are so immediate, urgent, real-you get the idea. But please don’t worry that I’m getting ready to preach to you about compassion or other-directedness or the so-called “virtues.” This is not a matter of virtue-it’s a matter of my choosing to do the work of somehow altering or getting free of my natural, hard-wired default-setting, which is to be deeply and literally self-centered, and to see and interpret everything through this lens of self.

By way of example, let’s say it’s an average day, and you get up in the morning, go to your challenging job, and you work hard for nine or ten hours, and at the end of the day you’re tired, and you’re stressed out, and all you want is to go home and have a good supper and maybe unwind for a couple of hours and then hit the rack early because you have to get up the next day and do it all again. But then you remember there’s no food at home-you haven’t had time to shop this week, because of your challenging job-and so now after work you have to get in your car and drive to the supermarket. It’s the end of the workday, and the traffic’s very bad, so getting to the store takes way longer than it should, and when you finally get there the supermarket is very crowded, because of course it’s the time of day when all the other people with jobs also try to squeeze in some grocery shopping, and the store’s hideously, fluorescently lit, and infused with soul-killing Muzak or corporate pop, and it’s pretty much the last place you want to be, but you can’t just get in and quickly out.

You have to wander all over the huge, overlit store’s crowded aisles to find the stuff you want, and you have to maneuver your junky cart through all these other tired, hurried people with carts, and of course there are also the glacially slow old people and the spacey people and the ADHD kids who all block the aisle and you have to grit your teeth and try to be polite as you ask them to let you by, and eventually, finally, you get all your supper supplies, except now it turns out there aren’t enough checkout lanes open even though it’s the end-of-the-day rush, so the checkout line is incredibly long, which is stupid and infuriating, but you can’t take your fury out on the frantic lady working the register.

Anyway, you finally get to the checkout line’s front, and pay for your food, and wait to get your check or card authenticated by a machine, and then get told to “Have a nice day” in a voice that is the absolute voice of death, and then you have to take your creepy flimsy plastic bags of groceries in your cart through the crowded, bumpy, littery parking lot, and try to load the bags in your car in such a way that everything doesn’t fall out of the bags and roll around in the trunk on the way home, and then you have to drive all the way home through slow, heavy, SUVintensive rush-hour traffic, et cetera, et cetera.

The point is that petty, frustrating crap like this is exactly where the work of choosing comes in. Because the traffic jams and crowded aisles and long checkout lines give me time to think, and if I don’t make a conscious decision about how to think and what to pay attention to, I’m going to be pissed and miserable every time I have to foodshop, because my natural defaultsetting is the certainty that situations like this are really all about me, about my hungriness and my fatigue and my desire to just get home, and it’s going to seem, for all the world, like everybody else is just in my way, and who are all these people in my way? And look at how repulsive most of them are and how stupid and cow-like and dead-eyed and nonhuman they seem here in the checkout line, or at how annoying and rude it is that people are talking loudly on cell phones in the middle of the line, and look at how deeply unfair this is: I’ve worked really hard all day and I’m starved and tired and I can’t even get home to eat and unwind because of all these stupid goddamn people.

Or, of course, if I’m in a more socially conscious form of my default-setting, I can spend time in the end-of-theday traffic jam being angry and disgusted at all the huge, stupid, lane-blocking SUVs and Hummers and V-12 pickup trucks burning their wasteful, selfish, forty-gallon tanks of gas, and I can dwell on the fact that the patriotic or religious bumper stickers always seem to be on the biggest, most disgustingly selfish vehicles driven by the ugliest, most inconsiderate and aggressive drivers, who are usually talking on cell phones as they cut people off in order to get just twenty stupid feet ahead in a traffic jam, and I can think about how our children’s children will despise us for wasting all the future’s fuel and probably screwing up the climate, and how spoiled and stupid and disgusting we all are, and how it all just sucks, and so on and so forth...

Look, if I choose to think this way, fine, lots of us do-except that thinking this way tends to be so easy and automatic it doesn’t have to be a choice. Thinking this way is my natural defaultsetting. It’s the automatic, unconscious way that I experience the boring, frustrating, crowded parts of adult life when I’m operating on the automatic, unconscious belief that I am the center of the world and that my immediate needs and feelings are what should determine the world’s priorities. The thing is that there are obviously different ways to think about these kinds of situations. In this traffic, all these vehicles stuck and idling in my way: It’s not impossible that some of these people in SUVs have been in horrible auto accidents in the past and now find driving so traumatic that their therapist has all but ordered them to get a huge, heavy SUV so they can feel safe enough to drive; or that the Hummer that just cut me off is maybe being driven by a father whose little child is hurt or sick in the seat next to him, and he’s trying to rush to the hospital, and he’s in a way bigger, more legitimate hurry than I am-it is actually I who am in his way. And so on.

Again, please don’t think that I’m giving you moral advice, or that I’m saying you’re “supposed to” think this way, or that anyone expects you to just automatically do it, because it’s hard, it takes will and mental effort, and if you’re like me, some days you won’t be able to do it, or you just flat-out won’t want to. But most days, if you’re aware enough to give yourself a choice, you can choose to look differently at this fat, dead-eyed, over-made-lady who just screamed at her little child in the checkout line-maybe she’s not usually like this; maybe she’s been up three straight nights holding the hand of her husband who’s dying of bone cancer, or maybe this very

lady is the low-wage clerk at the Motor Vehicles Department who just yesterday helped your spouse resolve a nightmarish red-tape problem through some small act of bureaucratic kindness. Of course, none of this is likely, but it’s also not impossible-it just depends on what you want to consider. If you’re automatically sure that you know what reality is and who and what is really important-if you want to operate on your default-setting-then you, like me, will not consider possibilities that aren’t pointless and annoying. But if you’ve really learned how to think, how to pay attention, then you will know you have other options. It will actually be within your power to experience a crowded, loud, slow, consumer hell-type situation as not only meaningful but sacred, on fire with the same force that lit the stars-compassion, love, the sub-surface unity of all things. Not that that mystical stuff ’s necessarily true: The only thing that’s capital-T True is that you get to decide how you’re going to try to see it. You get to consciously decide what has meaning and what doesn’t. You get to decide what to worship...

Because here’s something else that’s true. In the day-to-day trenches of adult life, there is actually no such thing as atheism. There is no such thing as not worshipping. Everybody worships.

The only choice we get is what to worship. And an outstanding reason for choosing some sort of God or spiritual-type thing to worship-be it J.C. or Allah, be it Yahweh or the Wiccan mothergoddess or the Four Noble Truths or some infrangible set of ethical principles-is that pretty much anything else you worship will eat you alive. If you worship money and things-if they are where you tap real meaning in life-then you will never have enough. Never feel you have enough. It’s the truth. Worship your own body and beauty and sexual allure and you will always feel ugly, and when time and age start showing, you will die a million deaths before they finally plant you. On one level, we all know this stuff already-it’s been codified as myths, proverbs, clichés, bromides, epigrams, parables: the skeleton of every great story. The trick is keeping the truth up-front in daily consciousness. Worship power-you will feel weak and afraid, and you will need ever more power over others to keep the fear at bay. Worship your intellect, being seen as smart-you will end up feeling stupid, a fraud, always on the verge of being found out. And so on.

Look, the insidious thing about these forms of worship is not that they’re evil or sinful; it is that they are unconscious. They are default-settings. They’re the kind of worship you just gradually slip into, day after day, getting more and more selective about what you see and how you measure value without ever being fully aware that that’s what you’re doing. And the world will not discourage you from operating on your default-settings, because the world of men and money and power hums along quite nicely on the fuel of fear and contempt and frustration and craving and the worship of self. Our own present culture has harnessed these forces in ways that have yielded extraordinary wealth and comfort and personal freedom. The freedom to be lords of our own tiny skull-sized kingdoms, alone at the center of all creation. This kind of freedom has much to recommend it. But of course there are all different kinds of freedom, and the kind that is most precious you will not hear much talked about in the great outside world of winning and achieving and displaying. The really important kind of freedom involves attention, and awareness, and discipline, and effort, and being able truly to care about other people and to sacrifice for them, over and over, in myriad petty little unsexy ways, every day. That is real freedom. The alternative is unconsciousness, the default-setting, the “rat race”-the constant gnawing sense of having had and lost some infinite thing.

I know that this stuff probably doesn’t sound fun and breezy or grandly inspirational. What it is, so far as I can see, is the truth with a whole lot of rhetorical bullshit pared away. Obviously, you can think of it whatever you wish. But please don’t dismiss it as some finger-wagging Dr. Laura sermon. None of this is about morality, or religion, or dogma, or big fancy questions of life after death. The capital-T Truth is about life before death. It is about making it to thirty, or maybe fifty, without wanting to shoot yourself in the head. It is about simple awareness-awareness of what is so real and essential, so hidden in plain sight all around us, that we have to keep reminding ourselves, over and over: “This is water, this is water.”

I’m not w orrie d by the dis or der

CRAZY FOR ARCHITECTURE Our ancestors, the Etruscans, used the liver to interpret the signs of the future. For them everything was already decided, and they used the instrument was just to see the reflection of the will of God. So they could know what to do by interpretation. Logic and rational decision will be introduced later by the Romans. For the Etruscans lightning was not the result of the clash between two clouds, but the clouds were due to collide to give birth to their lightning at that precise moment. The idea of the cause-effects that we ause normally didi not exist, replöaced by the idea of the effect-cause, the cause that was obliged to produce that particular effect.

When we were young in the afternoon, after school, we often find ourselves at home of a friend to play. Afternoons spent together listening to beautiful music after school work, boring and uncreative, good and less good. And we listen, listen, listen ..... ‘cause music always wants someone who knows how to listen.

Making architecture for me is that experience: being with some friends and do music together.

Architecture is like music: you are able to do it or you’re not able to do it, you know or do not know how to listen listen listen. There are those who know how to play the guitar, the violin and those who saxophone: who has a beautiful voice and who has a formidable ear.

Architecture has to be shared with people like friends, compagni in Italian, that means companii in latin, people that share the bread, that eat togheter, that are friends because once they eat togheter (eating values) .

With friends we enter in a big cathedral coming from the little streets of our towns, so to say the enter the Books of history. It is not a choice. Things are already all there and we interpret them playing, drawing and dreaminig. No picture can tell these true stories, but some projects could change our lives.

My father once said to me,:“look here! this is all you’ve done!”,. I did not see anything around him, there was almost nothing, just some white wall. I did not know what to think. I said nothing. I looked better, but there was only him. For me it has meant building a better person.

In Australia, the first night I arrived I saw a Venetian gondola in the Yarra River, the one that crosses the city of Melbourne. I thought of a few things that follow you forever even after a jounery of thousands of kilometers away. My first memory of a city s a bit as the first memory I have of myself.

Which is?

Small melodies coming out of our mind and our body ...... it’s just a start... the great one.....

I’m not worried about the claim of the theory to predict what must happen

the city is what is built (structure) around what is invisible (imaginary)

the city is not a theory is a practice

DESIGN STUDIO

The walls are linked with love (Dante)

THE SPACE OF TRANSITION, Anastasija Palagina, 2016

Every painting is a voyage into a sacred harbour. (Giotto di Bondone)

FROM EXODUS TO WANDERLUST: A PASSAGE TOWARDS PEACE, AKUA DANSO, 2016 How long until we get to where we are going, in a land so strange ,where the air feels cooler against my weather-beaten face and the nature so green?

Here at the edge of everything, a step across the border bears so many dreams. A place to rest, eat and lie my weary head.

I can sleep under the stars here, near the moonlight water that bustles with life.

THE NEST, Arpi Mangasaryan, 2016

The Nest: as the most primitive gesture of “home” is meant to house the body and the imagination of the most vulnerable human beings.

A space that becomes a toy allows a different experience with every single interaction. Maintaining the qualities of a “cloud”, it is a living “thing”:transparent, ambiguous and capable of endless metamorphoses.

Being constantly in “in between”, space is never “perfect” or “finished” [...]

As for the idea of “sheltering humanity” in the context of migration: “The Nest” is not an attempt to decorate the space with “uplifting humanitarian ideology” or erect a monument to “high morality”. In this regard, it is rather a place that didn’t discover it`s [self] yet, just as any child or any human being for that matter.

It is a journey to “in-between”: a place that one can never leave and can never reach [...]

The process of creation should rather be seen as an accident: anaccident complex enough to meet one’s biggest ambitions.

THE CLIMB, DAVID CRYER, 2016 Liberland, whilst offering hope and a release from the realities of the refugee’s day-to-day chaos, offers a complete lack of architecture or even shelter. This “beacon” acts as a target and signifies an end to the refugee’s climb. Along with timely architectural installations to guide their path, the refugees are met with an architecture that is completely foreign to their norm, in both scale and aesthetic, creating a totally unique space and memorable experience.

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THE BORDER,

oles horalevych, 2016

Imagine, there is no border between Ukraine and Poland. How can we remind ourselves about all of the hard fates of people, who were crossing this border to find a better life? To work illegally, to leave their families?

Lets put a mirror on the border line. You will see everything behind you for last time, while you are crossing a border.

Lets put a concrete trunks in a front of the mirror. This area is a space between two countries, between past and future. Names frozen on these trunks shows how huge is amount of people, who leaved their homes, change their nationalities. You can not take your name with yourself to other countries. Nobody will call you in the same way. Your name will always stay somewhere on this trunk..

On the opposite side,- side of hope and future, side of unity - I decided to show Ukrainian flag. It has to welcome tourists and ukrainian people back home

ASYLUM , RAYMOND LOW JENG FOONG, 2016 The power of nature is given a presence in the refugee crisis and the monument provides the kind of sacred place that allows every sensation on individual being to speak to their belief as a living bodily organism.

The challenging issue is that how a structure at such large scale is infused with deep feeling for the humanly situation and yet, not degenerating into an overdone grandiosity.

It became a multidimensional space carries concurrent elements.

ABDULLAH, 9, TURKMENISTAN “I had to leave all my toys behind. I don’t know when we left home. i don’t see the days.”

FEELING HOME, Taraneh Bahman Rokh, 2016 Peace, plenty, and contentment reign throughout our borders, and our beloved country presents a sublime moral spectacle to the world. (James K. Polk) This space located in border between Romania and Moldova is a shelter; bring back the feeling of home to all women who have been the victim of human traffic. We are not going to be able to function our world as one spaceship successfully in future if we refuse to see it as a whole spaceship and our fate as common. It is not about nations, but only about humanity.

IL CORRIDOIO DEI SOSPIRI, A JOURNEY, teya koleva, 2016

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BACK TO HUMANITY, Wong Man Hou Nich, 2016 Everyone you meet here is afraid of something, loves something and has lost something.

Transitional perception is intended to recapture refugees’ familiarity of daily life, confidence of some use in society and simplicity of gestures, after losing home, occupation and languages.

THERE IS A STORY.......

Dina Fahim, 2016 The reflection of each story of each traveller is translated into intertwined masses created by tracing the lines of meshing thoughts. Bringing out one unified mass through intersection of other masses, with a central courtyard where the sunlight hits during daytime. Acting like a flower with a gleaming heart, giving birth to intersected leaves bonded around this center.

REFUGE FOR REFUGEE .......

KENNICO SIMULOARA QADRY

2016

No one leaves home if the hurt that will come is greater than the that they will leave behind.

No one leaves home unless sea and forest safer than homes.

Words alone cannot convey the untold misery endured by those people who does this journey.

Those people wanted to end their feeling of despair, a feeling that descended as they realized there is no

THE BRIDGE MOUSTAFA HAMDI 2016 Until you cross the Bridge of you insecurities,you can’t explore your possiblities.

TIM FARGO

INTHISWORLD TOGHETHER

TO BE CONTINUED