Page 1

F E L I C I T Y M AY ARCHITECTURAL DESIGN

SELECTED WORKS


CONTENTS

SELECTED ARCHITECTURAL WORKS S Y D N E Y C U LT U R A L PA R K

Extension to the Art Gallery of

N ew S o u t h Wa l e s

Architectural Communications

+ Design Studio

Yr 3 Sem 2

RECLAIMING THE RIVER

An Oyster Farm / Wine bar

Design Studio

Yr 3 Sem 1

M F PA : M U S E U M F O R PA C I F I C A RT S

Cockatoo Island, Sydney

Design Studio

Yr 2 Sem 2

BERLIN TRACINGS

F E L I C I T Y U n i v e r s i t y

o f

S y d n e y ,

B e r l i n ,

e -

M A Y A u s t r a l i a

G e r m a n y

f m a y 2 1 3 5 @ u n i . s y d n e y . e d u . a u m -

0 4 1 5

7 6 2

8 3 9

The Art of the Streets

Berlin Intensive Studio

W i n t e r Tr a v e l i n g S t u d i o ;

Yr 2 Sem 2


S Y D N E Y P H A S E

C U L T U R A L

PA R T 1

O N E :

P A R K

T R A N S F O R M AT I V E

S K I N S

•

A R C H I T E C T U R A L C O M M U N I C AT I O N S

+

D E S I G N

T R A N S PA R E N C Y / TRANSLUCENCY Graduating Studio Yr 3 . Sem 2

S T U D I O


P A R T

1 .

T h i s i s n oMt aA wTe aEr aRb l Ie A g a Lr m e Sn t T . U D Y This is an experimental design process. We do not are about fashion. We care about light and skins and bodies and s p a c e.This is not a wear able gar ment. This

This is not a wearable garment. i s T ahni s iesx ap n e r ei m l ed x pe en rt iam n et as li gdn e s pi gr on c e s s .

Clothes are used to cover the process. We do not are about huieo body, W c oef nadcs ohe ianolon, t. haW ir dee eacbaaow r ueat yaf .absoW t n l. i W g het c a r e l o o k t o a nr de v es ak li ,n s e xa pn od s e b oadni eds a n d about light and skins and bodies and play t h sr po aucge h. delicate and c a r e f u sl p a c ei .n t e r j e c t i o n s and i n c i s i o n sC li ontthoe st haer ef au bs er idc .t o c o v e r t h e

body, conceal, hide away. We C l ol ot ho ek s taor e r ue sveeda l ,t o e cx opvoesre t ha en db o d y , play through delicate and t earyj. eW c tei ol no so k t oa nr de v e a l , c o nc ac er ea fl ,u lh i d e i n aw incisions into the fabric. expose and play through delicate and

careful

interjections

and

incisions

into the fabric.

v i m e o . c o m / 1 0 3 3 2 4 9 1 3


P A R T

AC T I VAT I O N O F S C R E E N

T H E

I N T E R FAC E

2 .

T H I R D

S K I N

Breathings

is

exploration in

living in reacting to face must be active.

of

architecture.

performance

ut.

an

movement

shifting

of

the

between

A skin

interiors

and exteriors. Each an

arm

is

activated

individual

coded

programatically

move that

in

specific

assist

movements across

the

by

micro-robot

or

to

moments

contradict distributed

scale

of

the

skin. v i m e o . c o m / 1 0 4 6 8 4 4 5 1

AC T I VAT I O N O F S C R E E N I N T E R FAC E

In order to reciprocate the processes of living in reacting to human engagement the modulated interface must be active.


P A R T

3 .

MODULATED

SCREEN

A

modular

series

of

INTERFACE

bricks

that

solidify varying levels of undulation. From

a

smooth

landscape to

the

explore

captured remains

in

wave

to

prototyping

how a

a

movement static

undefined. The

jagged

attempts

form.

can

be

Scale

modular

has

the potential to be a fragment of a facade skin or an unveiling landscape.


P AFR K A R T GCAU LL TL UE RRAYL O N ST WWO : EEX XT E TN SEI ONN ST OI OT H NE A R T

S Y D N E Y P H A S E

G A L L E R Y

O F

N S W

•

A R C H I T E C T U R A L C O M M U N I C AT I O N S

+

D E S I G N

ARCHITECTURAL STUDIO Graduating Studio

II

Yr 3 . Sem 2

S T U D I O


INCREASING CONNECTION TO O P E N P U B L I C S PAC E S

PA RT 4 . S U N PAT H F O R S U M M E R A N D W I N T E R

MASTER PLAN

The sites context is disconnected from

A RT G A L L E RY O F N E W S O U T H WA L E S

the cultural fabric which is clustered along

the

which

create

to

made

be

foreshore entry to

of

S y d n e y.

points

the

main

Slits

allow art

links

g a l l e r y,

P R E VA I L I N G W I N T E R W I N D S

t h e c i t y, t h e d o m a i n , c r o w n s t r e e t a n d the

new

proposed

train

station. They

p r o v i d e m i n i m a l i m pM o sAi tSi oT nEsR t oP tLhAe Ns i t e but

create

vital

connections

to

R E TA I N I N G O P E N S PA C E S O F LANDSCAPING

the

context. The sites context is disconnected from the cultural fabric which is clustered along the foreshore of Sydney. Slits which create the main art galler y, the city, the domain, N ec rwo w nS sot rue te ht a nW d at hl e e sn e wa i pm r osp o steo d train station. They provide minimal impositions i t st eo ltfh e isni tte ob u ta cnr e aAt er vt i t aM l cuo sn e n euc m tions to the context.

T h e v i s i o n o f etnht rey peo xi ntt es na l sl oi wo nl i n kt so t ot bhee m A a dre t t o Gallery

of

‘transform

f o r t h e 2 1 s t c e n t u r y, w i t h a p r o p o s a l for

a

major

serving a glo

Tehxe p v ias ino s n ioo f tnh e eaxnt edn s i of no tco ut hs e a o r t ng a l l e r y of new south wales aims to ‘transform itself b ian lt o aaun dair et nmcu es e. u’ m f o r t h e 2 1 s t c e n t u r y , with a proposal for a major expansion and f o c u s o n s e r v i n g a g l o b a l a u d i e n c e .’

u r ar el nl te ar r yt g o a l fl e rN y o T h e c u r r e n t ATrh te cG e fwn e wS os ouutt hh

wales provides a traditional space for art works

a snhai gl h sa p r ta . ce for W a l e s p r o v i d etso bae dti rs pal da yietdi o

a r t w o r k s t o bHv eios wi odenviaesrr yp l saepynuesr eedsl y ai s s onhbo si eglrohvni ngage rr t a. dt he rqouuagt he st century art p u rfceoe rnl yt au r 2y 1 o a nbd s teh r e vf ui n t ugr e

galler y. The 21st c atl lhs rf o o ru agr h t to be the everyday whilst of spectacle. We therefore propose a gallery f o r a 2 1 s t c e n itnu trh ye f ao rrmt ogf aa l cl uel rt uyr .a l Tp ha rek t2h 1a ts fto c u s e s on sound, touch, movement and response c e n t u r y a n d t- ha er t i nf sut ta lul art ei o n cs cael nl osg r afpoh ry . aA ur dt i e n c e s are needed in order to complete what the t o b e m o r e a ca cr tei sst ss iabn dl ec u tr aot o rts hhea v ee sveet rt oy dp laa yy - j u s t as the garment needed a body in order to w h i l s t s t i l l af ul ll foi l wi t is ni ngt e n at i ro nt s . t o h a v e a

However

more

accessible

to

PAT H WAY C O N N E C T I O N A G N S W TO C U LT U R A L PA R K

N E W A RT G A L L E RY O F N E W S O U T H WA L E S T R A I N S TAT I O N

NOISE FROM TRAFFIC THOROUGHFARE TO HARBOUR BRIDGE

PAT H WAY C O N N E C T I N G C I T Y TO C U LT U R A L PA R K

v i s i o n a r y s e n sset isl l iasl l onw oi n g l oa rnt g teo r h aavde e aq up oa sti tei o n

position

of

spectacle.

propose

a

cultural

park

touch,

gallery that

movement

in

We the

focuses and

MAIN PEDESTRIAN ACCESS TO C U LT U R A L PA R K O N S I R J O H N YO U N G CRESCENT

therefore form on

response

of

a

sound, -

U N D E R G RO U N D C A R PA R K E N T R A N C E

art

i n s t a l l a t i o n s c e n o g r a p hy. A u d i e n c e s a r e needed in order to complete what the artists and curators have set to play just as the garment needed a body in order to fulfill its intentions.

NOISE FROM TRAFFIC THOROUGHFARE ON CROWN STREET

P R E VA I L I N G S U M M E R W I N D S


PA RT 5 . E M P L OY M E N T O F FAC A D E The

garment

were of

was

constantly

the

stretch

fabric these

-

a

study

testing how

we

boundaries

in

which

we

the

materiality

can

extend

and

play

with

and

its’ strengths and material properties in new and wonderful ways. The roof pulls you in as it opens up to the

streetscape. This

temporary for

the

creates

autonomous

sense

of

a

space.

Indirect

these

undulations

internally

zones,

allowing

continually

changing

light

softly

and

illuminates

spreads

d i r e c t i o n s l i g h t i n g t h e g a l l e r y.

to

all


Fluidity

of

space

is

created

through

The

outdoor

ramps

and

seating

areas

continuity both visually with the use

are

of transparency and through the use of

art spaces but also for reading books

gentle slopes connecting the pavilions.

and eating lunch. The pathways are for

This

the

gesture

just

intending

for

alternative

our

former

initial

garment

from the city allowing for a small urban

studies with the use of one piece of

pleasure in ones day - interaction with

fabric and the gentle manipulations to

the public which the current art gallery

the

of

explorations

one

echoes

not

in

our

plane. The

glass

walls

allow

use

new

of

passersby

south

wales

as

paths

l a c k s . Yo u

to

do

and

not

for the collection to be visible from

have to enter a building in the cultural

both

park to engage with the artworks. The

inside

and

outside

its

walls,

allow for a sense of shifting between

public

areas

b e a p a r t o f t h e e v e r y d ay.

of

interiors

and

exteriors

thoroughfare

allows

for

art

to


PA RT 6 . C U R ATO R I A L P R A C T I C E

The

outdoor

ramps

and

seating

areas

are

not just intending for alternative art spaces but also for reading books and eating lunch. The

pathways

are

for

the

use

of

passersby

a s c o n n e c t i o n s t o a n d f r o m t h e c i t y . Yo u d o not have to enter a building in the cultural park to engage with the artworks, instead the public thoroughfare allows for art to become an everyday experience.


PA RT 7 . D E TA I L I N G

Self compacting concrete has the potential to express these manipulations and its formation into undulations tests and explores the concrete to its fullest potential. The columns of the gallery differ in height from 3m to 12m and seem randomly distributed, but the

roof

remains

an

equal

thickness,

giving

continuity to the form as well as material and c o l o u r. ,

harmonising

distribution

and

the

scale

space.

of

the

the

irregular

columns

allows

for different spaces - some are open, some are intimate - by turns of promoting interaction and concentration with the artworks.

1 1

1

2

4

2

5 6

3

2

windo

3 5

4

3 5

4

1

1. 2. 3. 4. 5. 6.

7 8

1

60 hex sili wa 10m sili

windo

1. sili 2. 20 3. 40 4. rei 5. 9m 6. ste 7. 5m 8. ste 9. zin 10. re

D R A I N A G E D E TA I L

colum

s e c t i o n 1 :5 0 0 1

1

2 3 4

1

9

5 6

7

10

8

12

11

9 15

1

1

13 14 16

2

6

3 10

4

1

C O L U M N D E TA I L

5 6

7 8 9

6 10

G RO U N D C O N N E C T I O N

1. 3m base 2. 200 3. 10m 4. roo 5. roo 6. ste 7. 200 8. 100 9. 200 10. 80 11. 60 12 . s 13. re 14. m 15. an 16. co


R E C L A I M I N G A N

U R B A N

T H E

F A R M

+

R I V E R :

W I N E

B A R

•

D E S I G N

S T U D I O

Yr 2 . Sem 2 AWA R D E D H I G H C O M M E N D AT I O N I N T H E A U S T R A L I A N INSTITUTE OF ARCHITECTS FIRST DEGREE STUDEN AWARDS


R E C L A I M I N G A N

U R B A N

T H E

F A R M

/

R I V E R ;

W I N E

B A R

Intricate links exists between the well- being of

the

human

individual

population

and

and

the

technological

Earth.

As

developments

deplete the Earths’ resources, nature begins to l o o s e h e r v i t a l i t y. T h e w o r l d d o e s n o t e x i s t s a s a resource to be freely exploited by Humans. The survival of any part is dependent on that of the whole.

S o c i a l s i t u a t i o n s o p e r a t e i n a s i m i l a r m a n n e r. Different amateurs allow for different resulting forces and factors. I.e. a social situation with good company and good wine would result in a good time, In the same way as a season with good rain fall and good soil would result in a good crop. This proposal looks to do both. LOW TIDE An

Urban

Farm

and

a Wine

Bar

are

brought

together on a bridge. The built and the natural sitting comfortably side by side. This scheme looks

to

create

an

architectural

ecosystem

focused on the importance of interactions, to nourish and restore the symbiotic connections that exist between the well- being of the human population and that of the Earth.

The project is a proposal to nurture an active oyster culture and reed system to regenerate the quality of the water and the surrounding ecosystem. This living reef is constructed from a

field

millions

of of

harnessing

poles

and

gallons the

grid

of

biotic

networks

harbor

water

processes

cleaning through of

tidal

movements.

MID - HIGH TIDE


T I DAL

P OOLS

With the change of the tide spaces emerge As

and

the

disappear

tide

rises

p a r t i a l l y.

pylons

and

p a t h w ay s a r e s u b m e r g e d e n t i r e l y, becoming the

tide

untransversable. falls

water

is

As

trapped

at different levels in deep pools as the pathways emerge and life resumes. At

neutral

bath a

spaces

warm

tide

tide

pools

to

lounge

create in

on

summers

d ay.

At

low

amphitheater

like

pavilion

stairs to enjoy a glass of wine, and and

at

high

become

submerging

tide

are

submerged

unwalkable, the

oyster

fully

clusters

in the aquatic environment.


M

O

D

U

L

A

T

I

O

N

S

Modulating pylons emerge from the bank as an extension of the landscape. The

natural

flow

of

the river has been interrupted through

the

incision

monolithic

blocks,

the

rising

subtle

of

harnessing and

falling

m o t i o n s o f t h e r i v e r. Poles

rise

from

the

ear th

dwarfing inhabitants and acting as a visual references to what is lying just below the surface.


SITE MODEL 1:200


P A T H W A Y S

/

C O N N E C T I O N S

The architecture is tr ying to force the occupants to interact through constructed spaces. At a personable level intimacy is created through human connection to

the

architecture.

Ever y

relationships pondered

detail

considered

ever y


The design looks to create an environment to nourish and

replenish

and

man

and

connections man. The

between

architecture

man looks

and

nature

to

create

spaces that nur ture the environment through grid like modulars of constructed river reed and oyster systems, but also to create small nooks and great expanses of o p e n s p a c e s i n t a n g i b l e a t c e r t a i n t i m e s d u r i n g t h e d a y, where human interactions take place.

Attempting

to

create

an

architecture

of

connections

with respect for nature and the inherent worth of other beings.


I S L A N D

M F P A :

M U S E U M

P A C I F I C ( C O C K AT O O

I S L A N D )

•

D E S I G N

F O R

A R T S

S T U D I O

Yr 2 . Sem 2


C U R A T O R I A L

A

new

typology

centered visible

around

or

museum

is

reduces archivable

ingrained

with

n e g a t i v i t y. T h e

to

make

visible,

the

making absence

not

Tr a d i t i o n a l

to

of

void.

what

creation

objects

sheer

curation

the

absent.

ar tefacts

seek

of

around

Centered

sense

D E S I G N

a

voids

invisible

apparent of

the

the

culture

surrounding ar tefacts on display and giving a voice to the silent or the absent. This approach to curation looks to

not

deny

rightful,

and

the

objects

inevitable,

Ar tefacts

are

elements,

able

exposed to

be

their death.

to

the

touched,

played with, used in a way that they retain their dignity as an ar tefact

not

reducing

them

to

archivable objects, mere shells o f t h e i r f o r m e r g r a n d e u r. Over to

M /

M F

/

D/ I

M P F

E

A PF

X

A :P C O A :C K C A O TC : OKC OAO TCI OK S OLA ATI N OS D O L A IN S DL

H

I

B I

SD/ EI C SD ETI CIS O T E N C I OT S N I O S N

D E

S I G

T

time

the

decompose,

ar tefacts similar

begin to

the

way pacific islander culture has

rough I Ot h N A N D

western inter vention.

S

N

THE PRE-EXSISTING THE PRE-EXSISTING BUILDINGS THE PRE-EXSISTING BUILDINGS ON THE ISLAND BUILDINGS ON THE CREATE ISLAND ON THE CREATE ISLAND CREATE A LIVING, BREATHING A LIVING, BREATHING AMUSEUM LIVING, BREATHING AS MUSEUM BUILDINGS AS MUSEUM BUILDINGS THAT AS BUILDINGS THAT THAT LIE IN THE LIE PATH IN THE OF THE LIE PATH IN MAIN THE OF THE AXIES PATH MAIN ARE OF AXIES THE DISSECTED MAIN AREAXIES DISSECTED ARE DISSECTED BY THE CANALS. BY THE THE CANALS. BY CUTS THETHE REVEAL CANALS. CUTSSPACES THE REVEAL CUTS AS SPACES REVEAL THEY ASSPACES THEY AS THEY WOULD NOT WOULD HAVENOT PREVIOUSLY WOULD HAVENOT PREVIOUSLY BEEN HAVEEXPOSED PREVIOUSLY BEEN EXPOSED BEEN EXPOSED LEAVING THE LEAVING SPACES THE LEAVING OPEN SPACES TO THE ROT OPEN SPACES AND TO ROT DECAY OPEN AND TO DECAY ROT AND DECAY CREATINGCREATING AN OPEN CREATING AN AIR OPEN LIVINGAIR AN MUSEUM, LIVING OPEN AIR MUSEUM, LIVING MUSEUM,

v i m e o . c o m / 7 7 8 9 2 8 9 8

THIS APPROACH TO CURATION LOOKS TO NOT DENY THE OBJECTS THEIR RIGHTFUL, AND INEVITABLE, DEATH. ARTEFACTS ARE EXPOSED TO THE ELEMENTS, ABLE TO BE TOUCHED, PLAYED WITH, USED IN A WAY THAT THEY RETAIN THEIR DIGNITY AS AN ARTEFACT NOT REDUCING THEM TO ARCHIVABLE OBJECTS, MERE SHELLS OF THEIR FORMER GRANDEUR.

OVER TIMEOVER A MERE TIMESHELL OVER A MERE TIME OF SHELL THE A MERE BUILDINGS OF THE SHELL BUILDINGS INOF THE BUILDINGS IN IN THEIR PREVIOUS THEIR PREVIOUS GRANDEUR THEIR PREVIOUS GRANDEUR REMAIN, GRANDEUR SPARKING REMAIN, SPARKING AREMAIN, SPARKING A A CONVERSATION CONVERSATION BETWEEN CONVERSATION BETWEEN THE SLOW BETWEEN THE DEATH SLOW OF THE DEATH THE SLOW OF DEATH THE OF THE ISLAND AND ISLAND THE LOSS AND ISLAND THE OF PACIFIC LOSS AND THE OFISLANDS PACIFIC LOSS OF CULTURE.. ISLANDS PACIFICCULTURE.. ISLANDS CULTURE..

OVER TIME THE ARTEFACTS BEGIN TO DECOMPOSE, SIMILAR TO THE WAY PACIFIC ISLANDER CULTURE HAS THROUGH WESTERN INTERVENTION.


L O W

T I D E

L O W

F L O O D E D

The

rise

and

fall

of

the

water

levels

C A N A L S

With the change of the tides space emerge

remains as a constant reminder of our

and

i s o l a t i o n f r o m o n e a n o t h e r, a n o b j e c t s

and canals the light and water level reveal

isolation from its’ context, the pacific

the

islanders

canals become flooded and are unwalkable,;

culture.

isolation

from

their

stolen

disappear passing

p a r t i a l l y,

of

the

inside

the

voids

hours. Eventually

the

the spaces become isolated. Re-representing introduces Objects

artefacts

transience

become

opportunity difficult.

a

to

more view

via

and

valuable

them

water

e p h m e r a l i t y. as

becomes

the more

H I G H

T I D E

T I D E

M I D

T I D E


D I S S E C T I O N S The

pre-exsisting

create

a

living,

buildings

on

breathing

the

island

museum

as

buildings that lie in the path of the main axies

are

dissected

by

the

canals.

The

cuts reveal spaces as they would not have previously been exposed leaving the spaces open to rot and decay creating an open air living museum, Over time a mere shell of the buildings in their

previous

grandeur

remain,

sparking

a conversation between the slow death of the

island

culture.

and

the

loss

of

pacific

islands


T H E

A R T

O F

T H E

S T R E E T S

•

D E S I G N

S T U D I O

In conjunction with Aedes National Campus Berlin (ANCB)

B E R L I N A

S T R E E T

T R A C I N G S :

A R T

I N T E R V E N T I O N

Tr a v e l i n g S t u d i o Yr 2 . June/July


B E R L I N

/

T R A C I N G S :

A N I N V E S T I G AT I O N I N TO T H E

A RT O F T H E S T R E E T S

C O N C E P T I O N ; A C I N E M AT I C D O C U M E N TAT I O N

An

The project looked to draw attention to the power of street ar t as a social com m e n t conception a r y , e s t a b l i s h i stage n g a d i a lof o g u ethe The w i tBerlin h i n t h e c Tracings i t y a b o u t t h intervention e role and e x hestablished i b i t i o n o f a r an t a initial s t h e w amapping, lls of the street take over the role of an understanding of the nature t h e g a l l e r y, h i g h l i g h t i n g t h e b l u r r e d of street art as a social indivision between site and non-site, strument, it’s reaction to the institutional and non institutional city and the city’s reaction to spaces.

it.

The project follows an exploration The project looked to draw atthrough the c i t y, exploring the s e dtention u c t i v e p oto w e rthe o f power s t r e e t of a r t street to commentary, i n f lart u e n c e as a na d social dictate movement t h r establishing o u g h s p a c e s . A cae l edialogue b r a t i o n o f within the e p hthe e m e rcity a l a n about d t e m p the o r a r yrole n a t u rand e o fext h ehibition a r t i s t i c m eof d i uart m . as the walls of

v

the street take over the role of the gallery, highlighting the blurred division between site and non-site, institutional and i non m e institutional o . c o m / 6 9 spaces. 0 9 1 3 2 0

/

BERLIN TRACINGS: investigation into the art of the streets A

The conception stage of the Berlin tracings inter vention established an initial mapping, an understanding of the nature of street ar t as a social instr ument, it’s reaction to the city and the city’s reaction to it.

Conception

cinematic

documentation


/ Implementation T R A C I N G S :

B E R L I N

A S T R E E T A RT I N T E RV E N T I O N

BERLIN

The implementation stage saw the installation of the physical street ar t inter vention. A series of architectural projections were taped onto a typical urban wall, the n o n - s i t e , i n a s t r e estage t a r t h saw u b i nthe b e r linstallation in. implementation

The of the physical street art intervention. v i m of e o architectural . c o m / 6 9 3 6 projections 6 6 2 1 A series were taped onto a typical urban wall, the nonsite, in a street art hub in berlin.

TRACINGS entio

I M P L E M E N T A T I OAN ; s A tP r He Y SeI CtA L aI r Nt T E RiV n E NtTeI O r Nv + C I N E M AT I C D O C U M E N TAT I O N A

physical cinematic

intervention

documentatio


/

B E R L I N

A

T R A C I N G S :

A S T R E E T A RT I N V E R S I O N

A

P L AY B A C K ; A C I N E M AT I C P R O J E C T I O N

The playback stage of the ber lin tracings inter vention provides a juxtaposition as the non-institutional space is represented in the institutional space. In

projecting

our

recordings

of

t h e w o r k i nstage t o a g aof l l e r ythe s p a cBere, The playback new layer s of meaning are added lin Tracings intervention proand the ideas of the ephemeral videsa n da i njuxtaposition as the teractive nature of street non-institurional space is a r t a r e c h a l l e n g e d i n t h i s n erepw resented the institutional c o n t e x in t. space.

In projecting our recordings of the work into a gallery space, new layers of meaning are added and the ideas of the ephemeral and interactive nature of street art are challenged in this new context. v i m e o . c o m / 8 4 5 7 3 7 3 6 v i m e o . c o m / 8 4 5 7 4 3 7 1

BERLIN street art

images of projections

Playback

TRACING inversi

cinematic

projecti

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