Though the structure must be built twice (first steel, then concrete), the process usually take no longer than conventional concrete frame construction, since the steel frame can be quickly erected in any weather, and its presence greatly assists the logistics of assembling temporary formwork and shoring for the concrete construction. 菊竹清訓先生のご冥福をお祈りいたします。. 13.Tem.2015 - Hüseyin Dinç adlı kişinin Pinterest'te 967 kişi tarafından takip edilen "Mimar - KIYONORI KIKUTAKE Architect - KIYONORI KIKUTAKE" panosunu keşfedin. Image: Kirakirameister / Wikimedia Commons, CC-BY-SA 3.0 Tōkōen is situated on the Japan Sea coast of Tottori Prefecture, approximately seventy-five kilometers east of Izumo, in the hot-springs resort town of Yonago. A series of precast concrete ribs, spaced approximately 2.5 meters apart, are installed diagonally along east and west facades (with some interruptions for entrances); each rib leans inward from its ground-beam base against the more closely spaced ridge beams, to create a modified “A-frame” interior space. An unfettered horizontal view and independence from the ground plane defined for him an ideal situation for the urban dweller; all else in the Sky House’s design, including the impeccable construction detailing, followed from this conviction. It seems clear to me that Kikutake was not attracted to the idea of completeness in architecture; that he had both an intellectual and aesthetic preference for incomplete, open-ended, and even unstable architectural form. This field is for validation purposes and should be left unchanged. Library Center, Toyama Annex Campus, Waseda University [by] Kiyonori Kikutake Architect & Associates in: Kenchiku bunka, July 1992,549 K. Kikutake, K. Hayakawa page 123–132 If not for its relative disengagement from problems of urbanism, Kikutake’s design for the Izumo Grand Shrine’s Administration Building (designed and constructed 1961–63) might be considered a kind of quintessential thesis work. Another young architect might have been content to follow the example of Kenzo Tange’s “Japan Style” work in rationalizing the structural spans into a system of slender, stylized columns and beams, and then infilling the rest with a free design of precast screening elements. The World as an Architectural Project shows how for more than a century architects have imagined the future of the planet through world-scale projects. Due to the self-weight of robust horizontal spanning elements, maximum spans tended to top out at ten to twelve meters in ordinary concrete construction; this was significantly smaller than what was possible in steel construction. 6 In fact Kikutake was early on recognized for the seriousness and eloquence of his message, which in turn raised the stakes for contemporary architectural discourse among his elders. The louvers are continuously gradated in size from bottom to top, so that more light pours in above. Architects imagine the planet: fifty speculative world-scale projects from Patrick Geddes, Alison and Peter Smithson, Kiyonori Kikutake, Juan Navarro Baldeweg, Luc Deleu, and others. In 1958 he built his own house in Tokyo, the Skyhouse.. Earlier I described Kikutake’s ability to work into the design of Tōkōen a number of seemingly unrelated structural experiments; in his account of the hotel’s design evolution, project architect Shōkan Endō writes that the penthouse’s shell roof was added as a refinement (and separate design task) only after the project had already gone out to bid. In addition, the pre-stressing produces an upward camber in the beam that reduces tension forces in its lower portion. 7 This interpretation is due partly to the architect’s own broad framing of design problems, and partly to the fact that the construction techniques he used on built works, though innovative by mid-20th-century standards, are now either commonplace or obsolete, while the technologies required to build entire cities floating on the ocean seem almost as futuristic today as they did fifty years ago. The house the Japanese architect Kiyonori Kikutake (1928-2011) designed and built for himself in 1958, still stands out as a monument to his life-long architectural beliefs. This analysis is not to suggest that Kikutake was endlessly chasing the latest architectural technologies; the families of investigations he launched over his long career were almost exclusively focused on structural configuration in the service of creating structure-free space and enabling construction on sites considered unbuildable. The tensile rods are finally encased within interior furnishings and hence cannot be detected as “structure” by guests. Kikutake Kiyonori imaginierte eine mechanisierte und automatisierte Industrieproduktion, bei der das angelieferte Erdöl zu synthetischen Fasern, chemischem Dünger und Ethylen-Produkten verarbeitet werden sollte. Kiyonori Kikutake (菊竹 清訓, Kikutake Kiyonori) (April 1, 1928 – December 26, 2011) was an important Japanese architect.He start the Japanese Metabolist group of architects. By contrast Japan, with its tabula rasa, top-down planning methods and fearless embrace of innovative construction techniques, was a fertile testing ground for the Metabolist philosophy. The world's growing vulnerability to planet-sized risks invites action on a global scale. The lessons of Kikutake’s approach to technological innovation, both his method and attitude, have not been lost on younger practitioners. To comprehend this achievement, we need to acknowledge the challenges he faced. Might the idea of raised structure have developed, at some point, its own justification as design trope? In 1958 Japanese architect Kiyonori Kikutake (1928-2011) completed the Sky House, a residence designed and built for himself. Kiyonori Kikutake, the architect, who has died aged 83, was the driving force behind Japan’s Metabolism movement, notable for audacious city plans that were in the best traditions of science fiction. At the point of the ribs’ attachment to the ridge beams, a secondary set of precast slab and cantilever beam elements are joined to the assembly, creating a delicate outrigger beam to cap the east and west facades. Though frequently referred to as a manifesto, the pamphlet was in fact a collection of essays and urban design projects by architectural critic Kawazoe Noboru and four young architects then launching their practices: Kiyonori Kikutake, Kishō Kurokawa, Fumihiko Maki, and Masato Ōtaka. Each tensile member consists of two steel rods spaced at four-meter intervals along the girder length, hence breaking its twelve-meter major span into three smaller spans. A founding member of the Metabolist movement, Kikutake laid the foundation for an architecture able to intrinsically... Sky House - Tokyo By Kikutake Architects Published in Abitare 500 - March 2010 - The Hous... original vintage design furniture www.b22design.nl. If you would like to comment on this article, or anything else on Places Journal, visit our Facebook page or send us a message on Twitter. Was a forty-meter free span essential to the modest requirements of a ten-meter-wide Administration Building at Izumo, or was Kikutake eager to understand the capabilities of pre-stressed concrete beams as he developed a lexicon of innovative structural and spatial strategies? Im Anschluss daran formte sich die Bewegung, als gleichgesinnte Architekten und Designer sich zusammenfanden und die Ideen weiter diskutierten. Critical interest in Maki’s architecture has focused not so much on the early 1960s proposals exploring his theory of Collective Form as on the more mature, materially articulated work of the 1980s and beyond (though Collective Form underlies much of this work). Kiyonori Kikutake's Marine City . In this sense, he introduced to Japanese modern architecture a new sensibility, different from the controlled compositional approach of the previous generation. The notion that structural geometries and configurations could be tested at room and building scale, then translated to city scale, is a continuous thread running through Kikutake’s work. Introduction undefined This is one of the first projects undertaken by architect Kiyonori Kikutake (1928-2011), one of the founders of the movement Metabolist Japan. Architects, Kikutake argued, needed to understand more keenly their role in society, and to address the underlying sociological and psychological unease of contemporary citizens before determining how, where, and what to build. Unlike a typical A-frame structure, however, the ridge beams remain primary structure — they support the diagonal ribs, rather than being supported by the ribs. Before exploring two early works that illustrate the virtues and challenges inherent in Kikutake’s approach to construction, it’s important to consider the general state of building technology in 1960s Japan. But this aesthetic permeated his built work as well, even those projects that at first glance appear classically balanced and distilled to essential elements. KIKUTAKE Kiyonori Hartmut Pohling 2020-11-25T01:21:32+01:00. A preference for expressing autonomous parts at the expense of cohesive wholes is seen in other works as well. RNDRD | A partial index of published architectural rendering. The Metabolist theory of obsolescence and renewal notwithstanding, one does hope that that the early built works of Kiyonori Kikutake will be appreciated and maintained for many years to come. Nov 24, 2015 - Explore Dieter Liao's board "Kiyonori Kikutake" on Pinterest. Ōtaka’s extensive post-Metabolism design career has so far eluded critical discussion in an international arena. No project was too large or too small for the Metabolists. To support the floor between these tensile supports, shallow steel I-beams are embedded into each floor slab; and to further decrease the necessary structural depth needed at midspan, each suspended slab cantilevers 2.1 meters beyond the line of primary structure. Read more on Places from books published by Lars Müller. Kiyonori Kikutake studierte an der japanischen Waseda-Universität und promovierte 1950 im Fach Architektur. 菊竹清訓; * 1. Following Matsui’s design for the steel-reinforced concrete structure, each of the massive seventh-floor girders — which cantilever 6.2 meters beyond their final supports and are responsible for suspending the fifth- and sixth-floor slabs —contains a full-story-high steel truss. 5 His writings and works invite further attention precisely because they are not glib or simplistic but rather fully articulated statements of a worldview encompassing aesthetics, politics and economics, land use planning, technology, and human psychology. Because of the concentration of heavy structural loads on only two relatively distant points, Matsui needed to specify massive footings below each stair tower; in turn, due to poor soil conditions, each footing required deep caisson foundations to resist uneven settlement. societal benefits of architectural preservation, Lina Bo Bardi and the Architecture of Everyday Culture, Regionalism Revisited: The Case of Francisco Artigas, Marcel Breuer and the Invention of Heavy Lightness. Indeed, the 1960s — and to a lesser degree the ensuing decades — saw a profusion of built and unbuilt architectural works that, one way or another, grappled with the implications of metabolic change. Early on, the architect identified the ridge beam, supported on two end posts, as the key symbolic element of Shinto architecture; we can see this in its simplest form in the familiar torii gates that mark the approach to any shrine and also in more complex forms in the construction of shrine roofs. One of Kikutake’s great gifts as an architect was the ability to synthesize these diverse influences and to publish intellectually charged essays elaborating upon his built works; as a result of this close relationship between building and writing, no design decision seems arbitrary or unrelated to his stance on a spectrum of contemporary concerns. Kiyonori Kikutake (菊竹 清訓, Kikutake Kiyonori) (April 1, 1928 – December 26, 2011) was a prominent Japanese architect known as one of the founders of the Japanese Metabolist group. Sky House, Tokyo – Kikutake. PROJECT DETAILS PROJECT DETAILS. 14 The costs of maintaining the appearance of older concrete buildings while upgrading their structural performance are frequently judged too high — meaning too that the societal benefits of architectural preservation are not as widely valued in Japan as in other countries. At Izumo, Kikutake neither invented the idea of figurally substituting concrete for wood nor was he the first to weave in situ and precast elements into a single structure; but his design took both these ideas to new lengths, and to an extremely successful resolution. Kikutake was one of the most gifted. Just as the gate’s primary posts are braced against the ocean’s advancing and receding tide by additional posts and tie-beams below, Matsui proposed that a cluster of secondary columns and cross-beams on the lower floors of Tōkōen would help to distribute seismic loads over a broad base while allowing the main seven-story columns to remain relatively slender. Intended as a literal, technically innovative demonstration of Metabolism’s replaceable-part urban architectural theory, the Nakagin Capsule Tower never lived up to its promise of generational renewal and recently, threatened with demolition amid a much scaled-up urban context, has ironically attracted the attention of architectural preservationists. The exposed concrete works of Tokyo-based American architect Antonin Raymond were notable exceptions to this rule; his 1924 Reinanzaka House in Tokyo is a famous example. Born: April 1, 1928 Died: Dec 26, 2011 Along with Kenzo Tange and Kisho Kurokawa, he was part of the metabolism movement. [Mark Mulligan]. He advocated beginning a design not with a preconceived program — a list of rooms — but with questions about how one relates to, and lives among, one’s surroundings. All vertical bearing was concentrated into six massive “mega-columns” (later divided into grouped columns), spaced 12 meters apart longitudinally and 10.8 meters apart across the building depth. Given this remote site and tradition-bound clientele, it is difficult to imagine an architect today proposing reinforced concrete as a recommended construction method for extending the shrine’s campus of traditional wooden structures — indeed, Kikutake’s example has found no concrete successors at Izumo. April 1928 in Kurume, Japan) ist ein über die Grenzen Japans hinaus bekannter Architekt und hat weltweite Beachtung, insbesondere als Vertreter des Metabolismus, gefunden. Demolished 2007. The world's growing vulnerability to planet-sized risks invites action on a global scale. There are other signs, however, that time has not been kind to Tōkōen. In many cases this was a necessary condition for technical experimentation. Kurokawa’s architecture underwent profound stylistic changes after the 1970s, creating challenges to the interpretation of his own Metabolist writings. As is often the case with mid-century buildings, the interior had been significantly altered. Left: Kiyonori Kikutake, right, with Fumihiko Maki, ca. Despite the seriousness of purpose with which Kikutake explains his early projects, it is easy to imagine that the architect viewed his Tōkōen project as a bit of a design playground — a place where he and his team could freely experiment. This study performs the analysis on the 'Marine City' projects of japanese Metabolist Kiyonori Kikutake. last days 50% off! Today he is largely unknown. Matsui’s key innovation in achieving this astonishing slenderness was to pre-stress the concrete beams using a then relatively new technique: embedding pre-tensioned reinforcing cables into the formwork prior to the concrete pour, then releasing this tension once the concrete has cured. A recent visit reinforced this impression. 11 The abstract figure of an elongated ridge beam and its end-supports would be the basis of Kikutake’s new construction system — elaborated, with Matsui’s support, as follows. The project still stands out as a … Kiyonori Kikutake: Toku'un-ji Temple Ossuary, 1965 D –1965. The Administration Building is sited just to the west of the Grand Shrine’s ceremonial north-south approach road: it is one of a series of subordinate structures visitors encounter on their path to the main shrine. Marine City Megastructure / Kiyonori Kikutake May 8, 2020 The Marine City projects by Kiyonori Kikutake designed between 1958 and 1963 are the first and most influential proposals to build ‘Megastructures’ into the sea after the dissolution of C.I.A.M…. Shōkan Endō, “Project Management Method and Reality” [. Half a century after he built his Sky House, Kikutake and Metabolism—the movement he instigated—both enjoy renewed attention. A key refinement of Kikutake’s initial parti was to divide each of the six “mega-columns” into one main column and three shorter, thinner bracing columns. To further exaggerate the sensation of floating in a structure-free zone, the architect proposed suspending the top two floors of guest rooms from a pair of cantilevering girders (visible on the exterior but unseen from within), using high-strength steel rods. Steel was also used, though in the aftermath of the industry’s wartime devastation, steel frame construction was relatively expensive, and the material was usually assigned a specific role (e.g., as lightweight, long-spanning roof structure) within an otherwise concrete structure. Yet this very conceit, with the passage of time, appears to have left the building in a precarious state. much more than an architecture competition for students. In what was to be CIAM's last meeting, Kenzo Tange was invited to Otterlo, Netherlands for the association's meeting. This technique — then elatively new in Japan though now common —allows acute bending and tensile stresses to be resisted by the steel core, while the surrounding concrete not only provides additional support in compression but also fireproofs the steel. Throughout its architectural history, and particularly over the last century, this has acted both as constraint on the design of building structures and as inspiration for innovative research on seismic resistance. Central to this approach is the idea that research into building techniques is an activity worthy of the architect’s time and attention, regardless of its applicability to whatever program brief may be on his or her desk. "My architecture was my protest, as a former landlord, against the dismantling of the entire landowning system..." Architects were embracing reinforced concrete as a material that would not only prove more durable but also, in the right hands, could replicate many of wood’s structural, figural, and textural qualities. The best among them — which include many works beyond those analyzed here — contain experiential riches that can only be fully appreciated in person. 8 Concrete moment frame construction was by far the most common structural paradigm, but folded plate and shell structures were also in wide use, enabling large, column-free interiors for auditoriums, factories, transit hubs, and other gathering places. When the architect is deeply interested in a particular strategy or technique, opportunities for incorporating these into a project narrative will emerge. I visited the Izumo Grand Shrine in April 2013 — fifty years after Kikutake’s concrete structure was completed, and little more than a year after the architect’s death. But the delicate lighting effect introduced by the precast concrete louvers along east and west facades has been beautifully maintained, as have a number of handcrafted details (stair treads, door handles), producing still a refined interior atmosphere. April 1928 in Kurume, Japan; † 26. Though the building seemed generally well maintained, a patina of soot and mold absorbed into the folds of the concrete attested to its age and made it feel part of the shrine’s natural site. I raise these doubts not to pursue tautological questions but rather to suggest how Kikutake was able to develop a research-based architectural practice that (more than) supported itself with real building commissions while developing in parallel a capacity to work at new and challenging scales in the future. 菊竹 清訓, Kikutake Kiyonori; * 1. When the architect is deeply interested in a particular strategy or technique, opportunities for incorporating these into a project narrative will emerge. In the mid 20th century, Francisco Artigas was one of the best known architects in Mexico. Kiyonori Kikutake: Tonogaya Apartments, ? You are reading an article printed from Places, the journal of public scholarship on architecture, landscape, and urbanism. And to be sure, the compositional and technological strategies employed in the Sky House — the exteriorized concrete pier structure with column-free corners, the long-spanning waffle slab, the thin hyperbolic paraboloid shell roof, the prefabricated kitchen and bath modules — were not in themselves new. In his view, resort hotels and leisure facilities were not frivolous places; they reconnected city dwellers to the natural environment. But the gesture of lifting structures off the ground is so frequently seen in Kikutake’s work — from the 1958 Sky House through to the 1994 Edo-Tokyo Museum and beyond — as to raise questions about the persistence of such a singular attitude, without regard to client or program. To ensure the accuracy and straightness of the final structure, it was necessary during the construction to pre-stress the tensile members using hydraulic jacks until the concrete had reached final strength and its temporary supports could be removed. Accessed 06 Nov 2015. The construction of Tōkōen required only twelve months between October 1963 and October 1964, which seems miraculous given the complex coordination of trades and new techniques required of its contractor, Kumagaya Corporation. Both of these were necessary conditions for achieving and articulating the suspended structure of rooms at the fifth and sixth levels —the seventh floor being enclosed by massive structural girders suspending the fifth and sixth floors, and the fourth floor’s east-west transparency demonstrating a lack of conventional structural depth and/or support below. [Mark Mulligan], In response to Kikutake’s ambitious concept, Matsui suggested various innovations. It was not unusual, for example, for the first effort to incorporate a new technique into his architecture to start at a small scale, as a test, only to be used more daringly at larger scale in subsequent designs. For the hotel interiors, the detailing talents of the architect’s staff (including a young intern, Toyô  Itō) were supplemented by Kiyoshi Awazu’s expert graphic design and artwork by Ryōkichi Mukai. Public scholarship on architecture, landscape, and urbanism. Ka, Kata, Katachi: esencia, substancia, fenómeno. Reinforced concrete was also increasingly favored for residential construction, when budgets allowed. Indeed, a four-story annex to Kikutake’s building would follow years later, targeting more budget-conscious travelers. The outcomes were various. The pamphlet’s modest production values did nothing to detract from the potency of this message in the mid-20th-century context of rapid urbanization and mass production. Though arguably the media-savvy Kurokawa scored the movement’s greatest hit with the construction of his 1972 Nakagin Capsule Tower, 4 it was Kikutake whose more than fifty-year career most profoundly and persistently explored Metabolism’s central polemic on the lifespan of buildings and their systems. Modeled and rendered with blender / post processing with photoshop. The hotel has by no means been declared structurally unsafe, but its current condition raises questions about its ability to be adequately maintained. Certainly it is a great work of architecture: nowhere are Kikutake’s powers of imagination more evident than here in his synthesis of symbolic, technological, and spatial-experiential facets into a unique work. This image is a personal vision of this revolutionary "metabolist" proposal. While Kikutake saw the challenges of building at Izumo (particularly site and program) as exceptional, he was eager to understand Tōkōen as an architectural prototype whose principles could be extracted and replicated elsewhere. See more ideas about Metabolist architecture, Architecture, Metabolist. Tōkōen’s place in modern architectural history relies very much on its daring structural premise: the suspension of two lightweight floors from an expressive concrete frame exposed to the elements. With the criticism on their unreality, his projects have been often treated like sci-fi comics. Initiated around the same time as Izumo, the hotel features an even more imaginative and complex structural diagram, while its larger scale and more diverse programs create more ambiguous readings. Pasadena Heights project page, building & design pages. Kikutake Kiyonori und die „Marine Cities“ Abb. Matsui’s design allowed the floor slab edges to taper to a mere 120 millimeters, in keeping with the desire for a light expression. To a great extent, this meant adopting a strategy of dry-assembling the majority of construction elements rather than casting or otherwise forming them on site. The forms of concrete construction being advanced by mid-20th-century architects and engineers in the West — moment frames, folded plates, thin shells, waffle slabs, and so on — needed to be tested against a more rigorous and diverse set of loading conditions in Japan; often construction elements (columns, beams, slabs) needed to be thicker and more densely reinforced. Stories about the design and architecture of Kikutake Kiyonori projects from around the world. The Hotel Tōkōen opened in 1952, and by the time Kikutake was commissioned to design what would become its new main wing, replacing the original entrance, the site already featured guest rooms and communal baths designed by Isao Shibaoka and a strolling garden designed by Masayuki Nagare. 10 Matsui had worked with Kikutake on several projects already and found in Izumo an ideal opportunity to experiment with new structural techniques. Through 1970, they developed ideas for individual homes, apartment buildings, ... Kiyonori Kikutake's own home, Sky House. Though scientifically precise and requiring collaboration with top engineers, these investigations have been inspired more by the desire to produce particular kinds of spatial experience than by quantifiable (but one-dimensional) measures of progress such as efficiency and economy. Cross-beams that connect the columns are located at staggered heights, as they would be if assembled from notched, interlocking wood members rather than poured together as a concrete moment frame, and in most cases the bracing beams are not used to support slabs above. This new building undoubtedly added to the overall impression of diminution — not only of the Administration Building but also of its forecourt. Particularly important retrospective studies of the Metabolist movement include the Mori Art Museum’s 2011 exhibition and associated catalogue. Founded in 2006, World Architecture Community provides a unique environment for architects, academics and Though windowless and structurally reliant on the continuity of their shear walls, the towers are articulated not as monolithic volumes but as column-and-beam moment frames with decorative precast panel infill. Prior to encasing these trusses in concrete, the steel suspension structure is anchored to their bottom chords. On the entrance facade, the lower three floors are recessed from the grouped columns so that these indeed register as freestanding sculptural elements. In 1958 Japanese architect Kiyonori Kikutake (1928-2011) completed the Sky House, a residence designed and built for himself. archINFORM-Homepage von Kiyonori Kikutake (*1928 †2011) – Japanischer Architekt [mit Projektliste] On the other hand, leading architects — Tange, Maekawa, Taniguchi, and others — used wood assembly techniques as inspiration for expressing similar delicacy and lightness in concrete, while also investigating the dimensional limits specific to engineered concrete, both poured-in-place and precast (and frequently interweaving the two systems). Architects imagine the planet: fifty speculative world-scale projects from Patrick Geddes, Alison and Peter Smithson, Kiyonori Kikutake, Juan Navarro Baldeweg, Luc Deleu, and others. Much attention has been paid recently, for example, to the architect’s claim that the impetus for his lifelong interest in water- and sky-based urbanization arose from his anger at the land reforms instigated after World War II, through which his family lost its lands and hereditary place in local society. Jan 23, 2019 - Explore ChivasGary Cheung's board "Kiyonori Kikutake" on Pinterest. Also in the postwar years, precast concrete technology represented a significant advance for Japanese construction; slender linear elements, delicate screens, and intricately patterned cladding panels could be produced off-site in factories, then shipped to the construction site for easy assembly by means of welding, bolting, or additional casting. Kiyonori projects from around the world as an expression of ongoing political protest Projekten auf CIAM. Upward camber in the renowned Le Corbusier controlled compositional approach of the Metabolists... 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Project still stands out as a precedent story building completed in 1994 only survived 14 before... 1928-2011 ) completed the Sky House, a 26 story building completed 1994...: Toku'un-ji Temple Ossuary, 1965 D –1965 des Metabolismus weltweite Beachtung fand.. Leben parallel concrete beams! Postwar Japan was a factor about the design and architecture of Kikutake s! His desire to detach architecture from his era, some of his larger for! Kikutake completed two housing projects and these are much more interesting author and publisher cited... Too large or too small for the grouped columns resonates beautifully with the passage of,., resort hotels and leisure facilities were not frivolous Places ; they reconnected City dwellers to the interpretation of larger..., Kikutake and Metabolism—the movement he instigated—both enjoy renewed attention have developed, at some point a... Are other signs, however, was not without a somewhat unlikely precedent in the postwar decades young! Column group as a precedent movement include the Mori Art Museum ’ s work produced the Mr. projects... Quality wood for construction, when budgets allowed, lebbeus woods, japon mimarisi hakkında daha fazla fikir..

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