Ericka Mina Song ’20 MArch Columbia GSAPP

Ericka Mina Song

Outro

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Copula Hall The Sacred & The Servile Courtyard Homes Broken Plates\ Greenpoint Theatre R(urban) Sensory Trail Motion as Monument

Motion as Monument Advanced V Studio + Fall 2019 + Instructor: Michael Bell

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Recent development of autonomous and electric vehicle technology has put the trucking industry in the spotlight with the possibility of selfdriving semi trucks projected to completely upend the massive trucking industry. This project looks to the future, where goods transport may exclude a human in the driver’s seat but will undoubtedly result in the formation of new industries, particularly those tied to enegy generation to service the new, rapidly proliferating electrically-powered technology.

What kind of a toll will this put on our landscape? This project probes at whether human and machine labor can coincide with the natural and manufactured environments.

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Drawing “Home” aka The Truckstop

Drawing “Home” aka The Truckstop

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Motion as Monument

Motion as Monument

Typical Energy Production through Solar Panels

5473 MJ 5518 MJ

Solar Energy Required for Electric Semis

5518 MJ 5470 MJ

Energy production per day during Summer Solstice

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9 2513 MJ 2385 MJ 2519 MJ

Energy production per day during Winter Equinox

Motion as Monument

Motion as Monument

2546 MJ

Site: Tahoe Reno Industrial Center

Site: Tahoe Reno Industrial Center

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Motion as Monument

Motion as Monument

Site: Walmart Distribution Center

Site: Walmart Distribution Center

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Motion as Monument

Motion as Monument

Site Plan

Site Plan

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Motion as Monument

Motion as Monument

Energy on a Monumental Scale

Energy on a Monumental Scale

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Motion as Monument

Motion as Monument

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Sliced Landscape

Sliced Landscape

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Motion as Monument

Motion as Monument

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Motion as Monument

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R(urban) Sensory Trail Advanced IV Studio + Spring 2019 + Instructor: Nahyun Hwang + Collaborator: Allison Fricke

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The project poses the question “who is nature for?� by designing in a way that takes up the various lenses of neurodevelopmentally diverse and differently abled people.

A new nature trail is proposed that links two underused lakes that have been damaged through pollution and neglect. The proposal capitalizes on and aids current efforts to rejuvenate the lakes. Interventions along the trail are designed based on psychological theories of environmental and sensory processing. The trail makes accessible outdoor recreation experiences typical to rural settings in an urban context, benefitting adjacent low-income and elderly communities as well.

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Theories of Environmental & Sensory Processing:

Environmental Load Modulation

Spatial Legibility

Prospect & Refuge

Sensory Integration Therapy

Accessibility

Social Integration

Sensory Calming

r v e R i

l l s

An Illustrated History of Crystal Lake, Newburgh

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n g D o w n i

S k e n a a i c k s s u a

P a r k

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R(urban) Sensory Trail

R(urban) Sensory Trail

Who is nature for?

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h k i t s

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e k r e

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Proposed Sensory Nature Trail in R(urban) Newburgh

Proposed Sensory Nature Trail in R(urban) Newburgh

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R(urban) Sensory Trail

R(urban) Sensory Trail

Suspended Lake

Suspended Lake

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R(urban) Sensory Trail

R(urban) Sensory Trail

Prospect, Respite, & Refuge

Prospect, Respite, & Refuge

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R(urban) Sensory Trail

R(urban) Sensory Trail

R(urban) Infrastructure

R(urban) Infrastructure

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R(urban) Sensory Trail

R(urban) Sensory Trail

Modulation / Excitation

Modulation / Excitation

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R(urban) Sensory Trail

R(urban) Sensory Trail

Sensory Models (Texture, Smell)

Sensory Models (Texture, Smell)

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R(urban) Sensory Trail

R(urban) Sensory Trail

Greenpoint Theatre TECH: AT III / ATIV + Fall 2018 + Instructors: Sarrah Kahn + Gabrielle Brainard + Collaborators: Allison Fricke, Luiza Furia, Helena Musetti Pestana

Greenpoint Theatre uses three distinct masses to represent the three essential space types: Frontof-House, Back-of-House, and Theatre. By isolating these programs into separate masses, we were able to consolidate mechanical systems and deploy them strategically to each part of the building, thus having greater control over noise, an essential component of the theatre.

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Mechanical Consultant Ciaran Smyth WSP

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NO.

DATE

REVISION

27 NOV 2018

03

DD SUBMISSION

23 OCT 2018

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SD SUBMISSION

02 OCT 2018

01

CD SUBMISSION

GSAPP GREENPOINT THEATER he

Theatre

Ampitheatre + Public Park

Back-of-House

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SITE PLAN 001-00 11-13-2018

rk

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Project number

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pit

Pa

Date

Greenpoint Theatre

Architect David Burke Grimshaw Architects

Structural Consultant Amy Harrington Silman

Front-of House

us

Designers Allison Fricke Ericka Song Helena Pestana Luiza Furia

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Enclosure Consultant Tom Reiner Talweg Studios

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ea

ck

Greenpoint Theatre

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n ro

f t-o

Th Ba

u Ho

Am

+ tre

b Pu

lic

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SM

Scale N

11/27/2018 2:09:40 AM

A100

Street-frontage of existing building on site.

Site Massing, Use of Existing Structure

Site Massing, Tie into Contextual Scale

Existing steel structure and brick masonry shell.

Strategies: Site, Sustainability, Systems

Strategies: Site, Sustainability, Systems

Tie Massing to different program types: Front-of-House, Theater, Public, Back-of-House

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RAINWATER COLLECTION RAINWATERRAINWATER COLLECTION COLLECTION GREEN ROOFS ROOFS GREEN ROOFS RAISED GARDEN LEVEL RAISED FORGARDEN RAISED LEVEL GARDEN FORLEVELGREEN FOR GRAY WATER REUSE GRAY WATER GRAY REUSE WATER REUSE FLOODWATER RETENTION FLOODWATER FLOODWATER RETENTIONRETENTION RE-USE EXISTING RE-USE EXISTING RE-USE EXISTING RESILIENCY RESILIENCY RESILIENCY PERMEABLE PAVING: PERMEABLE NATIVE FLORA PERMEABLE PAVING:LANDSCAPING: NATIVE PAVING: FLORA NATIVELANDSCAPING: FLORA LANDSCAPING: INFRASTRUCTURE INFRASTRUCTURE FOR RAINWATER INFRASTRUCTURE FOR RAINWATER FOR RAINWATER HIGHEST POINT: 12’HIGHEST ABOVE GRADE POINT: HIGHEST 12’ ABOVE POINT:GRADE 12’ ABOVE GRADE COLLECTION COLLECTION COLLECTION

INDEPENDENT USE INDEPENDENT OF BUILDINGS INDEPENDENT USE OF BUILDINGS USE OF BUILDINGS

Retain existing brick walls.

Upcycle brick from demolished walls for front facade.

REUSE EXISTING RETAIN & REUSE EXISTING WALL WITH MASONRY WALL WITH UPCYCLE BRICK MODULES UPCYCLE BRICK MODULES S OPENINGS CYCLED + UPCYCLED RECYCLED MATERIALS + UPCYCLED RECYCLED MATERIALS+ UPCYCLED MATERIALS

Limit openings on south facade to reduce heat gain.

Consolidate all Mechanical Rooms to ‘Back of House’ massing volume to isolate noise

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BLACKBOX THEATER BLACKBOX MECH BLACKBOX THEATER MECH THEATE FRONT OF HOUSE MECH FRONT OF HOUSE FRONT OF MECH HOUSE MECH LOBBY MECH BACKSTAGE/DRESSING BACKSTAGE/DRESSING ROOMBACKSTAGE/DRESSING ROOM ROOM MECH MECH MECH

ZONED HEATINGZONED + COOLING HEATING ZONED HEATING + COOLING + COOLING

Retain existing steel structure to re-use as park canopy.

MINIMIZE COOLING LOAD MINIMIZE COOLING LOAD MINIMIZE COOLING LOAD (REDUCE GLAZING ON SOUTH (REDUCE FACADE)GLAZING ON SOUTH FACADE) (REDUCE GLAZING ON SOUTH FACADE) OPERABLE WINDOWS FOR OPERABLE WINDOWS FOR NATURAL VENTILATION NATURAL VENTILATION UPCYCLE BRICK MODULES

OPERABLE WINDOWS FOR NATURAL VENTILATION

LANDSCAPED MINI AMPITHEATERS LANDSCAPED MINI AMPITHEATERS LANDSCAPED MINI AMPITHEATERS GUILLOTINE FACADE: CONNECTION GUILLOTINE BETWEEN FACADE: CONNECTION GUILLOTINE BETWEEN FACADE: CONNECTION USED BETWEEN AS PROGRAMMABLE SPACES USED AS PROGRAMMABLE SPACES USED AS PROGRAMMABLE SPACES INDOOR/OUTDOOR PROGRAMMING INDOOR/OUTDOOR PROGRAMMING INDOOR/OUTDOOR PROGRAMMING FOR COMMUNITY GATHERINGS FOR COMMUNITY GATHERINGSFOR COMMUNITY GATHERINGS

HIGH PERFORMANCE ENVELOPE HIGH PERFORMANCE ENVELOPE HIGH PERFORMANCE ENVELOPE

LOBBY MECH L

Greenpoint Theatre

Greenpoint Theatre

Green Roof + Park tied to Underground Water Collection System

RE-USE EXISTING INFRASTRUCTURE RE-USE EXISTING FOR INFRA SHADING AND OUTDOOR PROGRAMING SHADING AND OUTDOOR (RIGGING, LIGHTS, MEDIA DISPLAYS) (RIGGING, LIGHTS, MEDI

BERMING: PROGRAMMING BERMING: PROGRAMMING BERMING: PROGRAMMING

Sections: Back-of-House to Front-of-House

Sections: Back-of-House to Front-of-House

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Greenpoint Theatre

Greenpoint Theatre

Facade Systems (Terracotta Screen)

Facade Systems (Rainscreen Brick + Glass Brick)

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Greenpoint Theatre

Greenpoint Theatre

Facade Details: Rainscreen Brick + Glass Brick

Perspective: Rainscreen Brick + Glass Brick

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Greenpoint Theatre

Greenpoint Theatre

Full Building: Structural System

Theatre View, with outdoor ampitheatre beyond

THEATRE ROOF BEAMS AND TRUSS TYPE 1

Theatre Roof Beams and Truss Type 1

Architect David Burke Grimshaw Archite

Structural Consu Amy Harrington Silman

Mechanical Consu Ciaran Smyth WSP

Steel Levels 1 & 2

STEEL: LEVELS 1 AND 2

Enclosure Consul Tom Reiner Talweg Studios

Designers Allison Fricke Ericka Song Helena Pestana Luiza Furia

Trusses Types 2, 3, 4

TRUSS 2, 3 & 4

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DATE

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02 OCT 2018

CIP concrete: Slab on grade and cores

CAST-IN-PLACE CONCRETE SLAB ON GRADE AND CORES

GS GREE THE

FOUNDATIONS

Foundations

INTE PERSP Greenpoint Theatre

Greenpoint Theatre

Project number Date

EXISTING BUILDING MATERIAL RETAINED

Drawn by

Existing Building Material Retained

Checked by

STRUCTURAL EXPLODED AXO

A

Architect David Burke Grimshaw Ar

Structural C Amy Harring Silman

Mechanical Ciaran Smyt WSP

DATE

Enclosure C Tom Reiner Talweg Stud

NO.

23 OCT

02 OCT

Designers Allison Frick Ericka Song Helena Pest Luiza Furia

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27 NOV

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03

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STR AS DI

Project numbe

Date

Scale

Broken Plates\ [TECH ELECTIVE] Transitional Geometries + Fall 2019 + Instructor: Joshua Jordan

The circle, the plate, has been broken.

How many times can we piece it back together?

Using two variations of the same base form, the goal of this project was to create a geometry that could be activated on all faces to re-create a complete circle.

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Concrete cast mold drawing

Transition those Geometries!

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Broken Plates\

Broken Plates\

Transition those Geometries!

Transition those Geometries!

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Broken Plates\

Broken Plates\

Keep Transitioning those Geometries!

Keep Transitioning those Geometries!

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Broken Plates\

Broken Plates\

Courtyard Homes CORE III + Fall 2018 + Instructor: Hilary Sample + Collaborator: Joud Al Shdaifat

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At the center of this city block in the South Bronx is a community centre and a public plaza. Framing this central plaza are six courtyard buildings composed of highly transparent units. The porosity of the units connect the external public layer of the perimeter streets to the internal private layer of the courtyards, and again to the central plaza. It is a study of living within these layers, where the boundaries between yourself and your neighbours are blurred, the street and the courtyard are in conversation, and the notions of a home’s boundaries extend to one’s threshold of comfort.

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Studies: Opening up the apartment block

Aerial View: 6 Courtyard Buildings and a Plaza

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Courtyard Homes

Courtyard Homes

Courtyard Homes

N AVE

3RD AVENUE

WASHINGTO

Components of the Courtyard Building

RKWAY

Ground Level Plan

68 CLAREMONT PA

Courtyard Homes

EAST 171ST STREET

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Street Perspective

Screen and Shadows

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Courtyard Homes

Courtyard Homes

Typical Units (Modularized)

Typical Units (Modularized)

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Courtyard Homes

Courtyard Homes

Accessible Rooftops

And Open-Air Circulation

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Courtyard Homes

Courtyard Homes

Sunken and Centralized Community Space

Sunken and Centralized Community Space

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Courtyard Homes

Courtyard Homes

Community Plaza

Community Plaza

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Courtyard Homes

Courtyard Homes

The Sacred & The Servile [TECH ELECTIVE] Modular Anatomy + Spring 2020 + Instructor: Andreas Tjeldflaat + Collaborator: Morgan Parrish

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The Sacred & The Servile tests the role of modularity in crafting the living environment of a nun in an urban context. The lifestyle of the urban nun can be relatively structured by daily spiritual practices such as prayer, worship, and meditation. However, the nuns’ ministries and community outreach vary, requiring spaces that accommodate different permutations of interfaces between the active public zone, the private living quarters, and sacred places for worship.

The variations in component forms take a minimalist approach, echoing the nuns’ restrained style of living. Instead, manipulations to daylight, material, and height dictate changes in functionality and programmatic hierarchies. Discrete wall modules (closets, plumbing walls) are then deployed to further reinforce required functions.

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Superstructure Scaled to Site

Modules within Superstructure

Superstructure

Worship Space

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Private spaces (office, meditation, bedrooms) Service spaces (bathroom, circulation, systems) *Yellow denotes special wall construction for acoustic prop-

The Sacred & The Servile

The Sacred & The Servile

Public program spaces

Superstructure Scaled to Site

Scale of Infill modules determines type of program

Living Quarters Nuns’ Dining

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Public Dining Worship Space Nuns’ Offices

The Sacred & The Servile

The Sacred & The Servile

Public Bookstore

Construction Sequencing

Construction Sequencing

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The Sacred & The Servile

The Sacred & The Servile

Expanding the System

Voids between modules creating space

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The Sacred & The Servile

The Sacred & The Servile

Copula Hall Advanced VI Studio + Spring 2020 + Instructors: Stephen Cassell + Annie Barrett

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This project takes place in the fictional cities of Beszel and Ul Qoma from the novel ‘The City & The City’, by China Mieville. The two cities, while co-existing in the same physical space, are forbidden to acknowledge one another due to a long history of cultural strife. As a result, the citizens painstakingly avoid and ‘unsee’ one another.

Copula Hall is the only point of transfer from one city to the other andin both, represents a significant civic presence. What does a building look like when it belongs to neither and both cities? How can Copula Hall both implicitly represent a threshold and buffer while being able to explicitly take on the required civic roles of both cities?

Physically bridging over the roots of a shared historical archaeological site, a no-man’s land, this Copula Hall is a reminder that despite the differences between the two cities, the ineffable unifying element is at its central untouchable core.

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“ 4”

True, This morning I found a few of the locals I used to talk to, Asked if they'd heard anything.

I didn't have much luck, What do you want?

I don't know her. I don't know her.

What happened?

We’re trying to find out.

Do we need to worry?

We’ll tell you if we think you do, Sayra.

Why are we here?

They're entry-level gangsters, boss, That's pretty much everyone I used to know, She's still a question mark.

I'll arrange to have the posters put around the area.

Really, boss? Commissar’ll go for that?

Yeah, He’ll roll over. It's not that much.

It's a few uniforms for a few hours, and he's not going to not for a We have to shoot for an ID. Fuck it, Ill put them up myself.

You're the boss, boss.

Not really, but I'm the boss of this for a little bit.

Shall we?

I'll walk it to a tram.

Serious? Come on, you'll be hours.

Path as Bridge, Barrier, Buffer

Analysis of every line of dialogue in the book

THE CITY & THE CITY

So we thought it How long after you got here?

Don't know. Couple hours?

Anyone else around?

Saw some guys over there a while back.

Dealers? A shrug.

And there was a van came up on the grass and come over here and went off again after a bit. We didn't speak to no one.

When was the van?

Don't know.

Okay. Vilyem, you guys, were going to get you some breakfast, something to drink, if you want.

Have we spoken to the parents?

On their way, boss; except hers we can't reach.

So keep trying. Get them to the centre now.

This is bullshit, man, Time?

Twelve hours-ish She wasn't killed here.

Done?

Well, hello cause of death Take some without the flash, too, Alright then. Lets get her out of here.

Jesus Christ, cover her.

I'll get going this afternoon. Will I see you?

Naustin, Inspector, Go through it.

Hooker? First impressions, Inspector. This area, beat-up, naked? And He pointed at his face, her exaggerated makeup. Hooker.

Fight with a client?

Yeah but If it was just the body wounds, you know, you’d, then you're looking at, maybe she won't do what he wants, whatever. He lashes out. But this. He touched his cheek again uneasily.

That's different.

A sicko?

Maybe. He cuts her, kills her, dumps her. Cocky bastard too, doesn't give a shit that we’re going to find her.

Cocky or stupid.

Or cockyand stupid.

So a cocky, stupid sadist, Maybe .

Alright, Could be. Do the rounds of the local girls. Ask a uniform who knows the area. Ask if they've had trouble with anyone recently. Let's get a photo circulated, put a name to Fulana Detail. First off I want you to question THE CITY & THE CITY “ 9” Barichi and his mates, there. Be nice, Bardo, they didn't have to call this in. I mean that. And get Yaszek in with you. Call me this afternoon?

A few years ago we’d not have had half as many guys on the murder of a working girl.

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I've emailed you the report, Twenty-four-, five-year-old woman. Decent overall health, apart from being dead. Time of death, midnightish the night before last, give or take, of course. Cause of death, puncture wounds to the chest. Four in total, of which one pierced her heart. Some spike or stiletto or something, not a blade. She also has a nasty head wound, and a lot of odd abrasions. I looked up. Some under her hair. She was whacked round the side of the head.

Hit her on the left of her skull. Id say it knocked her out, or at least down and groggy, then the stab wounds were the coup de grace.

THE CITY & THE CITY

“ 24”

What was she hit with? In the head?

Chapter Something heavy and blunt. Could be a fist, if it was big, I suppose, but I seriously doubt it. And voilà.

Six

What are they?

I don't know, he said. They're not deep. Something she landed on, I think.

Signs of intercourse?

Mahalia Geary. She was twenty-four. American. This is all my constables doing, Constable Corwi, all this information, ladies and gentlemen. All the information in the papers I sent.

THE CITY & THE CITY

“ 16”

American?

Her name’s Marya. That's what she went by. I met her here. Ul Qoma-here. I'm telling you what I can, but I never knew much. Not my business. She was a foreigner. I knew her from politics. She was serious committed, you know?resident Just notintoUlwhat I thought at first.

Shewe knew a lot; noher. time-waster.

She’s Qoma, not Besźel.

Once knew thatshe we was found Corwi did, I mean. She’d been there for more than two years. She's a PhD student.

Look, she studying?

What's That'san allarchaeologist.

I can tell you.Early She lived here.

She's history.

She's attached to one of the digs. It's all in your folders. That's how she got in, even with the blockade.

Bol by a bunch of archaeologists from Prince of Wales University in Canada, which is where Geary was enrolled. Her supervisors lived on and off in Ul Qoma for years Isabelle Nancy. There's a bunch of them She Yean’s was in run Beszel. who live there. They organise conferences sometimes. Even have them in Besźel one year in every few. Some consolation prize for our remnant-barren ground. The last big one was a while ago,when they found that last cache sureCome you all Come of on.artefacts.

He was I'm angry. on.remember.

Not officially. She couldn't. Even if she was, she was here. Go look at the cells, the radicals. Someone’ll know who she is. She went everywhere. All the underground. Both sides, must have

done. She wanted to go everywhere because she needed to know everything. And she did. That's all.

So what is the story with this girl? It was one of the Ul Qomans who spoke, a fat man in his fifties with a shirt in shades that would have made it questionably legal in Besźel.

How did you find out that she'd been killed?

She's been based there, Ul Qoma, for months, for her research, She came to Besźel first, before tomean Ul Qoma, for a conference three years ago. IYou might remember, there was Do the you big exhibition ofhelping artefactsyou andifstuff borrowed Ul Qoma, andthink therethis waswas a whole week orHow two do of meetings so Borlú, she’d if youbeen really that youre stupid and about Im wasting my time. recognized her picture, Borlú. think I'd be I didn't think Ifrom had to?

If I didn't important? you thinkand I found on. people cameposter. over from all over the place, academics from Europe, North America, from Ul Qoma and everything. out?Loads I sawof your fucking Certainly we remember, of us were involved.

Are you alright, Tyador?Plenty You look

So she calms down, it seems, finishes her MA, starts a PhD, gets entry into Ul Qoma, this time, to be part of this dig, do her studies she’d never have got back in here, I don't think, not after that intervention, and frankly I’m Lizbyet. I’ve had a thought. surprised she got in there and she’d been there since except for holidays for a while. There’s student accommodation near the dig. She disappeared a couple of weeks ago and turned up in Besźel. In Pocost Village, in the estate, which is, you will recall, total in Besźel, so alter for Ul Qoma, and she was dead. It's all in the folder, Congressman.

I'm just leaving this for you because I'm probably not going to be in tomorrow. Were not getting anywhere with the street-beat, so it's pretty obvious it's not what we thought someone would’ve recognised her. We've got the picture out to all the precincts, so if she's a street girl off her patch maybe we'll get lucky. But meanwhile I'd like to look in a couple of other directions while we can keep this running.

You haven't shown breach, have you? Not really

I'm thinking, look, she's not in her area, it's a weird situation, we can't get any beep. I was talking to a guy I know in Dissident Unit, and he was saying how secretive the people he's watching are. It's all Nazis and reds and unifs and so on. Anyway it got me thinking about what kind of people hide their identities, and while we've still got any time I’d like to chase that a bit. What I'm thinking is hold on I'm just looking at some notes Okay, might as well start with unifs.

Talk to the Kook Squad. See what you can get by way of addresses, chapters I don't know much about it. Ask for Shenvoi’s office. Tell him you're on a job for me. Go by the ones you can, take the pictures, see if anyone recognises her. I don't need to tell you they're going to be weird with you theyre not going to want you around. But see what you can do. Keep in touch, I'll be on the mobile. Like I say, I won't be in. Okay. Talk tomorrow.

Okay, bye.

Taskin, this is Tyador Borlú. Can you please call me on my mobile tomorrow or when you get the chance and let me know what I might have to do if I wanted to put a case to the Oversight Committee? If I wanted to push a case to Breach. Hypothetically. Keep this to yourself, okay? Thanks, Task. Just let me know what I need to do and if you've got any handy insider suggestions. Thanks.

Copula Hall

Copula Hall

Well was Sitting there. You might have noticed hershe caused a bit ofYou a stink, apparently, accused of Disrespect, some terrible speech Orciny at a presentation.

Almosthave got their chucked out.on.

Lookshe at you, there like even an owl.

Melancholy bloody gargoyle. mawkish bugger.was You don't get any insight,made you know, just because it'sabout night.

Just because some buildings lights

Programmatic breakdown of a City Hall

Cities interlocking within a program

Offices

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Archives + Reading Room

Copula Hall

Copula Hall

Parliament Halls

Site Plan

Site Plan

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Copula Hall

Copula Hall

Ambiguity and Monument

Modes of Interaction

Rare Books & Archives

Public Offices

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Immigration

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Parliament Halls

Copula Hall

Copula Hall

Private Offices

Innards Exposed

Modes of Interaction

Rare Books & Archives

Public Offices

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Immigration

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Parliament Halls

Copula Hall

Copula Hall

Private Offices

Separation/Meeting by Shelves

Separation/Meeting by Light

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Copula Hall

Copula Hall

Ground Level Exposed

Minute movements by Copula Hall

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Copula Hall

Copula Hall

Underbelly Revealed, Historical Ruin at Heart

Minute movements at Copula Hall

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Historical Ruins Public Archives + Reading Room

Dining Hall Ul Qoma

Dining Hall Beszel

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Parliament Gallery

Copula Hall

Copula Hall

Parliament Halls

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ems2306@columbia.edu

May 2020