Santiago Viale and Juan Manuel Juarez use screens for Córdoba offices
CategoriesArchitecture

Santiago Viale and Juan Manuel Juarez use screens for Córdoba offices

Local architects Santiago Viale and Juan Manuel Juarez have wrapped the offices of an animal feed plant in Córdoba with a perforated metal screen.

The 18,040 square foot (1,676 square metre) administrative building is part of a larger 199,000 square foot (18,460 square metre) industrial complex for Biofarma, which produces feed for animals including poultry, swine and cattle.

A long industrial buildingA long industrial building
Local architects Santiago Viale and Juan Manuel Juarez have wrapped an office building in a metal screen in Córdoba

Santiago Viale and Juan Manuel Juarez organized offices, meeting rooms, printing areas and lounge areas across two rectangular floors, punctuated by two internal courtyards at the centre.

The courtyards, along with wood-clad staircases at either end of the building, create collaborative and interactive spaces for employees across the two levels, according to the team.

The front doors on a facade of an industrial buildingThe front doors on a facade of an industrial building
The building is part of an industrial complex that produces animal feed

The office and meeting spaces were distributed along the internal perimeter, with one side abutting floor-to-ceiling windows that span the exterior and the other, a central passageway.

Glass partitions enclose several office spaces, while others were left open.

A building wrapped in a metal skinA building wrapped in a metal skin
A perforated metal skin wrapped around the exterior provides sun protection

“The company managers’ offices are distributed around a double-height space that connects with a hierarchized entrance on the ground floor, reinforcing the sense of institutional identity,” said the team.

Visitors enter the building’s lobby through a concrete vestibule that extends out from underneath a metal screen enclosing the exterior.

Wooden staircase in a lobbyWooden staircase in a lobby
Two internal courtyards and staircases create interactive spaces for employees

A small auditorium sits next to the lobby, clad in wooden panelling with integrated lighting running through its ceiling and walls. Large windows extend along its side.

Lounge areas and a coffee break space provide additional gathering spaces on the second floor, while a dining area opens onto a roof terrace.

Couches and chairs in the lobby of an animal feed buildingCouches and chairs in the lobby of an animal feed building
The offices line the internal perimeter

Reinforced concrete was used for the building’s structure, which was then wrapped in pre-painted grey galvanized expanded metal sheet skin.

A gap of 27 inches (70 centimetres) sits between the metallic screen and the building’s exterior to create sun protection.

Lobby area with concrete ceilingLobby area with concrete ceiling
Concrete was used for the building’s structure

“This skin plays a significant role in the project, as it forms an intermediate shaded space between the glass closure and the exterior, reducing direct sunlight radiation and, consequently, the building’s energy consumption,” said the team.

Moveable panels were also integrated into the cage-like wrapping, while integrated vertical blinds provide further sun protection for inhabitants.

“It also gives the building the language and institutional character of the company,” said the team.

Two large metal-framed openings were placed on either side of the building, which open onto the outdoor dining area.

A small wood paneled room with theatre seating and large windowsA small wood paneled room with theatre seating and large windows
A small auditorium, dining spaces and terrace were also integrated

A metal “Biofarma” sign was also placed on the exterior.

Other projects recently completed in Córdoba include a black concrete house by AR Arquitectos and two modular cabins by Set Ideas.

The photography is by Gonzalo Viramonte.


Project credits:
Collaborators: Salvador Viale, Tito Maximiliano Gonza, Francisco Gavilán, Nicolás Macasso, Santiago Viale Beviglia, Rocío Cornacchione, Emiliano Pino, Nicolás Borra, Lourdes Bruno, Fiama Ríos, Ricardo Cortesse, Eduardo Storaccio, Sonja Czeranski, Juan Macías
Deployed metal: ETC.
Integral front: Abest
Curtains: Suquía Curtains
Vinyl floor: Julia Sol
Auditorium Seats: Rassegna



Reference

Neri&Hu creates a tactile fashion boutique in Shanghai with fabrics screens
CategoriesInterior Design

Neri&Hu creates a tactile fashion boutique in Shanghai with fabrics screens

Chinese studio Neri&Hu has completed a store interior for Ms MIN in Shanghai, China, to showcase the fashion brand’s diverse use of materials.

Located at the Taikoo Li shopping complex in central Shanghai, the 195-square-metre store was designed to evoke a sense of traditional home-based atelier that places materials and craftsmanship at its centre.

Neri&Hu Ms MIN shop Shanghai
Neri&Hu designed the store in Taikoo Li

“Before the Industrial Revolution, textiles were made by hand in villages across China by individual families; carding, spinning and weaving all took place in farmhouses, indeed a loom could be found in every well-conditioned homestead,” Neri&Hu explained.

“We harken back to the notion of a traditional fabric atelier, showcasing craftsmanship, rich materiality, and a domestic sensibility.”

Neri&Hu Ms MIN shop Shanghai
White fabric sheets were hung to divide the space

The space was divided into several zones by a series of floor-to-ceiling open grid wooden structures.

White fabric sheet was hung in between a wooden grid to serve as lightweight semi-transparent partitions situated on left and right side of the shop. These were designed to allow plenty of natural daylight into the store.

“Natural daylight and the chaos of the shopping mall are filtered by the sheer fabric screens, giving the space an overall sense of calmness,” Neri&Hu said.

Neri&Hu Ms MIN shop Shanghai
The flexible panels can be re-arranged and interchanged with different materials

The same wooden structures with overhanging eaves to the right side of the shop form a series of more private rooms.

These are used as a reception at the front of the store along with a VIP lounge, VIP fitting room and studio area at the rear of the shop.

Neri&Hu Ms MIN shop Shanghai
An internal courtyard was formed that can accommodate exhibitions

The central display area was arranged by a series of panels, either made with micro-cement or marble and framed in brass, which form an internal courtyard that can be used as an exhibition space.

These panels can be re-arranged and interchanged to suit the changing fashion trends in motifs every season.

The entire shop was paved with curved roof tiles stacked and inlaid, a traditional pavement commonly found in the region.

Neri&Hu also created custom mannequin figures for Ms MIN. According to the studio, the linen-made mannequins have a skin-like subtle texture.

Neri&Hu Ms MIN shop Shanghai
The lightweight semitransparent partitions allow natural daylight into the shop

Neri&Hu was founded by Lyndon Neri and Rossana Hu in 2004 in Shanghai. Other recent interior projects completed by the studio include cafe brand Blue Bottle’s latest shop and a flexible office space, both in Shanghai.

The photography is by Zhu Runzi.


Project credits:

Partners-in-charge: Lyndon Neri, Rossana Hu
Associate-in-charge: Sanif Xu
Design team: Muyang Tang, Zhikang Wang, Amber Shi, Yoki Yu, Nicolas Fardet
Lighting: Viabizzuno (Shanghai)
Contractor: Shanghai Yali Design Decoration Co.

Reference

Eight interiors that use lattice screens as walls and room dividers
CategoriesInterior Design

Eight interiors that use lattice screens as walls and room dividers

For our latest lookbook, we have selected eight interiors that use lattice screens to conceal and divide spaces without blocking sightlines.

Lattice screens can come in a variety of materials and provide a versatile alternative to solid walls and room dividers, offering a way to create privacy between two spaces while still maintaining a connection between them.

From concealing bathrooms to establishing connections between interior and exterior spaces, this lookbook presents eight different ways in which lattice screens have been used in residential, hotel and restaurant interiors.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring period home renovations, open-plan interiors characterised by bold dining tables and interiors with reclaimed materials.


Lattice volume in Dende Duratex House by NJ Studio
Photo by Denilson Machado

Dendê Duratex House, Brazil, by NJ+

Brazilian architecture studio NJ+ took cues from Bahia, the Brazilian state that studio founder Nildo José grew up in, to create the interior of Dendê Duratex House. Here, it integrated a white latticework structure that separates the living space from the bedroom.

The volume encompasses the one-bedroom apartment’s bathroom and kitchen amenities while introducing texture to the monochrome minimalist home.

Find out more about Dendê Duratex House ›


P Duplex interior with lattice guardrail by Pitsou Kedem
Photo by Amit Geron

P Duplex apartment, Israel, by Pitsou Kedem Architects

The second floor of this apartment in Tel Aviv was transformed into a mezzanine that overlooks a double-height living and dining room by local practice Pitsou Kedem.

A black metal guardrail wraps the upper level, tracing the route from the staircase to the upper floor and offering security while allowing views of the floor below. The see-through lattice design features triangular shapes compiled into rectangular modules.

Find out more about P Duplex apartment ›


Sulwhasoo Flagship Store interior by Neri&Hu
Photo by Pedro Pegenaute

Sulwhasoo Flagship Store, South Korea, by Neri&Hu

This five-storey flagship store, designed for Korean skincare brand Sulwhasoo, is characterised by large expanses of brass rods that form a lattice network. Used throughout the store, the latticed walls form see-through room dividers as well as shelving.

The framework continues from the exterior into the interior of the store, guiding visitors through the five floors. Architecture studio Neri&Hu’s concept was informed by lanterns and their role in illuminating journeys in Asian culture.

Find out more about Sulwhasoo Flagship Store ›


Wooden lattice screen in a restaurant
Photo by Andrii Shurpenkov

Virgin Izakaya Bar, Ukraine, by YODEZEEN

Timber screens and red metal webbed structures conceal and divide spaces within this Japanese restaurant in Kyiv, designed by Ukrainian architecture and design studio YODEZEEN.

The wooden lattice screens were introduced to soften the restaurant’s cold material palette, consisting of raw concrete and brick surfaces.

Find out more about Virgin Izakaya Bar ›


Casa Octavia boutique hotel by PPA ground floor
Photo by Luis Garvan, Luis Young and Maureen Evans

Casa Octavia, Mexico, by PPAA

Thin latticed timber screens shield this hotel’s interiors from harsh sunlight and cast intricate shadows throughout the day.

The screens aim to serve as a mediator between hotel guests and passerbys, fostering interaction between residents of the La Condesa neighbourhood in which its is located and the hotel itself, while maintaining a level of privacy.

Find out more about Casa Octavia ›


55 North bar with sliding lattice screens by Luchetti Krelle
Photo by Tom Ferguson

Manly Pacific, Australia, by Luchetti Krelle

Sliding lattice screens separate the reception from the bar in this hotel in Sydney, which was renovated by Australian studio Luchetti Krelle.

The partitions allow the two distinct spaces to blend together without losing their individual character, which is defined by contrasting material and colour palettes.

Find out more about Manly Pacific ›


Mimi Kakushi restaurant interior by Pirajean Lees
Photo by Maha Nasra Eddé

Mimi Kakushi, Dubai, by Pirajean Lees

London studio Pirajean Lees was informed by Japan’s jazz age, combining a variety of materials and textures such as beaded curtains, stained-glass windows and sliding gridded screens in this restaurant in Dubai.

The flexibility of the moveable lattice screens allows the restaurant to host events of varying crowd sizes, partitioning the open-plan layout into a variety of smaller spaces.

Find out more about Mimi Kakushi ›


Hiba restaurant in Tel Aviv features oak and granite interior
Photo by Amit Geron

Hiba, Israel, by Pitsou Kedem Architects

A combination of solid and hollow oakwood components forms a gridded screen that allows visitors to glimpse between the dining area and the entrance of this restaurant in Tel Aviv.

Alongside oakwood, the restaurant’s interior features granite slabs and concrete. Designers Pitsou Kedem Architects aimed for the raw material palette to reflect the restaurant’s use of fresh ingredients.

Find out more about Hiba ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring period home renovations, open-plan interiors characterised by bold dining tables and interiors with reclaimed materials.

Reference

Crushed TV screens cover Hundred Acre Wood house by Denizen Works
CategoriesArchitecture

Crushed TV screens cover Hundred Acre Wood house by Denizen Works

Recycled TV screens cover the walls of the seven-bedroom Hundred Acre Wood house, which architecture studio Denizen Works has created on a site overlooking Loch Awe in Scotland.

Named Hundred Acre Wood, the castle-like dwelling was designed for a couple with six children on former Forestry Commission land with its own private lochan – a small lake.

House in former Forestry Commission land by Denizen Works
Denizen Works has created the Hundred Acre Wood house

Denizen Works has lowered the house into a hollow in the landscape, making it appear as though it emerges out from the ground on the north and south elevations.

According to the studio, this aims to give the home a protective quality, with the help of its monumental appearance that references the work of Spanish sculptor Eduardo Chillida.

Hundred Acre Wood beside lochan in Scotland
Its located on former Forestry Commission land with a lochan

“The brief was for a family home for our clients and their six children – as well as an increasing number of grandchildren – that would reflect their personalities and provide a lasting legacy for the family,” project architect Andrew Ingham told Dezeen.

“Conceptually, it was conceived as a sculpted solid, referencing the work of Eduardo Chillida, to heighten the sense of a protective shell that appears as a robust object in the landscape.”

Side profile of Hundred Acre Wood house by Denizen Works
The building has a monolithic form

While referencing the work of Chillida, the form of Hundred Acre Wood has also been developed in response to the home’s environmental context.

Its layout aims to ensure it has the least visual impact on the nearby road, it makes the most of its vantage point above Loch Awe and its rooms align with the movement of the sun.

Close-up of facade clad in recycled TV screens
It references the work of Spanish sculptor Eduardo Chillida

“The plan is narrow on the west elevation, where it was considered more sensitive due to views from the road below,” said Ingham.

“The form responds to the environmental context, key views and the site’s topography.”

Close of facade clad in crushed TV screens
Its rough exterior is clad in recycled TV screens

One of the most unusual features of Hundred Acre Wood is its facade, which is covered in recycled and crushed TV screens for a low-maintenance, pebbledash-like finish.

This was developed by Denizen Works as a “take on a traditional Scottish harling” – a rough wall finish that is made from lime and aggregate.

Hall of Hundred Acre Wood house by Denizen Works
The hall is the home’s centrepiece

“We sourced a decorative glass chipping created from recycled TV screens collected in Scotland which come in a lovely range of blue-greys which we felt was appropriate for the moody Scottish skies,” Ingham explained.

“Our client is also not keen on TVs, so there was an element of playfulness in their use.”

Circular skylight
It is naturally lit by an oculus

As the material had not been used on a building before, the studio had to develop prototypes with the construction materials company Sika to test its performance.

“Large sample panels were produced for client sign-off and to help convince the planners that the system would be successful,” added Ingham.

Inside, the focal point of Hundred Acre Wood is a central, double-height hall lit by an oculus in the ceiling.

This was designed to accommodate a five-metre-tall Christmas tree – one of the client’s main requests for Denizen Works.

Pared-back interior of Hundred Acre Wood by Denizen Works
Living spaces are arranged around the hall

Around the hall are the main living spaces and the seven bedrooms, all arranged to maximise views of the loch and sun throughout the day.

The majority of the interior has a deliberately pared-back finish to retain focus on the client’s furniture collection, but the hall is designed to be more dramatic.

Living room overlooking Loch Awe
The rooms have views over Loch Awe

“We wanted to use the finishes to create a sense of drama,” said Ingham, referencing the studio’s design for the hall.

“It features a recycled paper ceiling, clay walls with gold mica flecks and a screeded floor with exposed mirror aggregate,” he continued. “A large, gold-lead-lined oculus is situated over the Christmas tree pit and casts a warm glow into the space.”

Kitchen with sculptural pendant light and glazed wall
The interiors of deliberately pared-back

The thick walls of the home are visible in the deep window reveals of each room, bringing the sense of protection granted by its sculptural exterior to the interior.

Finishing details of the house include a ground source heat pump that provides heating and hot water, while a private borehole provides fresh water to the whole house.

As part of the landscape design, reed beds have been introduced to treat wastewater and rainwater, which is sent to the lochan.

Interior of Hundred Acre Wood by Denizen Works
The client’s furniture pieces have been used as focal points

Founded in 2011 by Murray Kerr, Denizen Works is an architecture studio with offices in London and Glasgow.

Other recently completed projects by the studio include the Floating Genesis church, which is crowned by a pop-up roof, and a house on the Scottish island of Tiree with a gable-shaped glass wall.

The photography is by Gilbert McCarragher.


Project credits:

Architect: Denizen Works
Project team: Charlotte Airey, Matthew Barnett, Andrew Ingham, Murray Kerr, Dimitri Savitchev
Client: Private

Reference

FADAA uses bio-concrete screens to shade D/O Aqaba retail space
CategoriesInterior Design

FADAA uses bio-concrete screens to shade D/O Aqaba retail space

Crushed shells were used to form the bio-brick partitions at this store for a decor brand in Aqaba, Jordan, by architecture studio FADAA.

Designed by the Jordanian studio for Decoration One, the D/O Aqaba retail space is a flexible showcase for the local brand’s craft-focused homeware and ornaments.

Objects on display in the D/O Aqaba store
Bricks made from crushed shells act as sun shades and spatial dividers in the D/O Aqaba store

To protect the interior from the harsh south sun, the studio implemented partitions of stacked hollow rectangular bricks based on the traditional mashrabiya screens found in Islamic architecture.

These bricks are made from the shells of oysters, mussels and clams left over as waste from the coastal city’s seafood restaurants.

Bio-brick screens used as spatial dividers
The bio-bricks are stacked into gridded screens

The shells were crushed and used as aggregate for a bio-based concrete that sequesters the carbon from the molluscs’ protective calcium carbonate coverings.

This material is pressed into a mould to form the brick shapes, dried to harden, and finally assembled into the gridded screens.

Store interior with furniture and displays

As well as shading the shop, the partitions help to divide the boutique and guide customers around the interior.

“Working alongside Decoration One’s craftspeople, a materiality-driven approach created the concept of a flexible retail store that embraces craft and low-carbon materials,” said the FADAA team, led by architects Bisher Tabbaa, Sarah Hejazin and Qussai Yousef.

Sales counter clad in blue tiles
Colour is introduced through blue zellige ceramic tiles cladding the sales counter

Lime-plastered walls and native plant species also feature in the store to create a “healthy indoor environment”.

To accommodate Decoration One’s ever-changing collections, modular oak tables and sheer curtains can be moved and rearranged to organise the space as desired.

More tables, made from hand-chiselled local basalt and limestone, contrast the wood furniture and offer alternative ways to display the products.

A splash of colour is introduced by the zellige ceramic tiles that clad the curved sales counter.

Crushed shells form an aggregate for a bio concrete that is moulded into bricks
The bio-bricks are formed in moulds and feature hollow centres

“Embracing the craft nature of the project as well as economically supporting local industries, materials such as zellige and mother of pearl inlaying were used throughout the design,” FADAA said.

D/O Aqaba is shortlisted in the Sustainable Interior category for this year’s Dezeen Awards, along with projects including a restaurant in London and an office in Tokyo.

The bricks offer a sustainable alternative
The crushed shells form aggregate for the bricks and are visible across the surfaces

Bio-bricks are growing in popularity as a sustainable building material and a variety of compositions have been trialled over the past few years.

Bricks made from mushroom mycelium, sugar cane, charcoal and even human urine have all been put forward as environmentally friendly options.

The photography is by Bisher Tabbaa.

Reference

The Future of Materials: Terracotta Rain Screens and Cladding
CategoriesArchitecture

The Future of Materials: Terracotta Rain Screens and Cladding

How can architecture be a force for good in our ever-changing world? During Future Fest, we’ll pose this question to some of the world’s best architects. Launching in September, our three-week-long virtual event will be 100% free to attend. Register here!

Terracotta is a material that spans millennia. Durable as it is beautiful, terracotta has a range of inherent building properties that makes it an ideal choice for construction. In contemporary architecture and design, terracotta is specified as a way to redefine building envelopes with both rain screens and cladding. With a range of colors, textures, and forms, this ceramic is a material used throughout history. Now we’re inviting experts in materials, architecture, and interiors to discuss the Future of Materials for an entire week this September. The virtual event, Future Fest, will be 100% free to attend.

Register for Future Fest

Dating back to the Babylonians, terracotta continues to be a material selected for diverse building types around the world. It’s also redefining the future of how we design. By definition, architectural terracotta refers to a fired mixture of clay and water that can be used in non-structural and structural capacities on the exterior or interior of a building. Each of the following projects reinterprets terracotta and its application in diverse building types.


Pope John Paul II Hall

By Randić and Associates, Rijeka, Croati

Sited in one of the most important pilgrimage sites in Croatia, this Great Hall was designed alongside the Pope’s visit to Rijeka. Housing cultural activities of the monastery, the project also creates a new major entrance for the pilgrims and a large public walk. A pixel-ized terracotta volume was designed to filter light inside the structure while a columned portico forms a new public square outside.

The building features a single terracotta-brick surface. By varying the gaps between the terracotta bricks, the pixelated structure brings light into the hall. Architectural terracotta is slightly different from normal bricks, they are plain or ornamental with a glazed coating and larger in size than brick. The color goes compliments existing construction at the monastery and imitates a simple hip-roofed barn.


The Wellin Museum of Art

By Machado Silvetti, Clinton, NY, United States

TerraClad façade by Boston Valley Terra Cotta

Located on the Hamilton College campus, the Wellin Museum of art was designed as part of a new arts quad. The building includes admin offices, seminar rooms, galleries, and a monumental two-story glass archive hall. Dark terracotta cladding was used along the central volume to reinforce its role programmatically and organizationally.

The TerraClad façade product made by Boston Valley was forming using an extrusion method. The enclosure combines both terracotta and precast cladding with curtain wall fenestration. The system was chosen to ensure that the thermal performance of the exterior enclosure would contribute to the building’s success and meet the College’s sustainability goals.


The Diana Center at Barnard College

By WEISS / MANFREDI, New York, NY, United States

Terracotta Frit Panel by Goldray Industries

Located at Barnard College, the Diana Center includes a gallery space, a library, classrooms, dining, and a black box theater. A slipped atria links spaces vertically and becomes connected through ascending stairs. Luminous terracotta glass panels were used throughout the building envelope. Surrounded by a campus defined by brick and terracotta, the Diana translates the static opacity of masonry into a luminous curtain wall.

The building’s color is created by a pale terracotta-colored frit on the #2 surface and the bright red painted back panel beneath. The glass panel, provided by Goldray Industries, is acid-etched on its exterior surface to give a matte texture, and the terracotta frit is on the interior surface.


Mercy Corps Global Headquarters

By Hacker, Portland, OR, United States

LONGOTON Terracotta Rainscreen Panels by Shildan

The Mercy Corps building was built to exemplify a sustainable, community-focused approach while encouraging visitors to engage with contemporary issues. Doubling the size of the historic Portland Packer-Scott Building, the landmark project combined a green roof, with resource-friendly landscaping and a glass and terracotta envelope.

Certified LEED Platinum, the project uses Shildan/Moeding LONGOTON® terracotta with extruded, double leaf, 40mm panels. The panel has increased strength from a chain of internal I-beam supports. The panels were chosen because of their flexibility in being able to be incorporated in both horizontal and vertical support systems, as well as a flexible orientation in layout.


School of Art & Design at New York State College of Ceramics

By Ikon.5 Architects, Alfred, NY, United States

Terracotta panels by Boston Valley Terra Cotta

The terracotta tube façade for this ceramics pavilion screens both rain and solar heat, while its staggered pattern was inspired by pottery racks. The Art Pavilion was created as a “ceramic vessel” holding both light and art. The design was inspired by the region’s history of manufacturing ceramics, and incorporates the unglazed, hollow tubes with an off-white pigment.

Boston Valley’s terracotta façade system recalls the interior program while defining a material and haptic boundary. South-facing galleries are protected from direct sunlight, while the pavilion dramatically engages campus on-lookers as a piece of ceramic art. It allows passerby to see inside the exhibition gallery and places student work on public display.


The Center for Asian Art at the Ringling Museum of Art

By Machado Silvetti, Sarasota, FL, United States

Terracotta panels by Boston Valley Terra Cotta

The John and Mable Ringling Museum of Art features both a permanent collection and temporary exhibition galleries on a historic sixty-six acre estate. Believed to be originally envisioned as one of the most comprehensive art museums in the world, the Museum was ahead of its time in assembling a significant collection of Asian Art. Now governed by Florida State University, the Museum establishes the Ringling Estate as one of the largest museum-university complexes in the United States.

The Asian Art Study Center is an addition and ‘gut renovation’ and to the West Wing galleries on the southwest corner of the Museum complex. The addition’s façade is composed of deep-green, glazed terra cotta tiles that address the client’s requirement of a new monumental entrance. Machado Silvetti collaborated closely with Boston Valley Terra Cotta to develop the color, form and installation technique for the panels.

How can architecture be a force for good in our ever-changing world? During Future Fest, we’ll pose this question to some of the world’s best architects. Launching in September, our three-week-long virtual event will be 100% free to attend. Register here!

Reference