ajde trial

8/2/2019 Ajde Trial

http://slidepdf.com/reader/full/ajde-trial 1/15

TRIAL ISSUE

All About IWAGUMI Layout Special Feature

8/2/2019 Ajde Trial


Nature Aquarium Goods have been developed from our experience ofmaking and maintaining aquariums, and with its rich product lineup, it

is possible to make aquarium layout of your own style. In order tobring you a sense of satisfaction and continuous joy, all products are

strictly controlled by the highest inspection standard and deliveredwith our quality assurance. All products are safe and free of radiation

contamination. You can create an ideal aquarium system with theNature Aquarium Goods.

NATURE AQUARIUMGOODS FOR THE IDEAL

AQUARIUM SYSTEM

8/2/2019 Ajde Trial


All About IWAGUMILayout Photographs by Takashi Amano

Text by Masatoshi Abe

Tsuyoshi Oiwa

Eriko Sekine

An Iwagumi layout reflects the tradition, culture, and spiritual-ity that have been cultivated over the long course of history,although it is modeled after natural scenery. This may bewhy it strikes a chord that resonates in the hearts of Japa-nese people. The number of Iwagumi enthusiasts is increas-

ing throughout the world as Nature Aquarium gains popular-ity. In this feature segment, we are going to study the appealand know-how of an Iwagumi layout from various angles.

5This is a Trial Issue. Click here for details and Sign Up.

http://www.adana.co.jp/en/aj/


8/2/2019 Ajde Trial


In real life, stones exist in natural environment. Therefore,

everything one can learn from observing stones in nature, for

example, the direction and angle of stones, and position with

other stones, gives an idea of making a beautiful Iwagumi.

Observing the nature










8/2/2019 Ajde Trial


StyleⅡ StyleⅣ

StyleⅥ

StyleⅤ

StyleⅠ

StyleⅢ

石組のスタイルパ

ターン

f you trace Iwagumi layouts to their

origin, you will find a layout that Takashi

Amano created approximately 30 years ago. It

was a simple layout created by arranging river

rocks and planting solely with Echinodorus

tenellus. According to Takashi Amano, while

some people did not seem to be surprised verymuch by the layouts that he had created through

trials and errors up to that point, when they saw

this Iwagumi layout, they seemed truly amazed

by its unique and unusual beauty. Iwagumi

layout style did not exist back then, and no one,

including Mr. Mitsuo Yamazaki, the importer of

E. tenellus, had any detailed information on the

plant. It was truly an original creation by Amano

that no one had seen before. Ever si nce that

time, various styles of Iwagumi layouts were

introduced by Amano and the allure and

fascination with Iwagumi layouts has increased.

I

This is the Sanzon Iwagumi

style that forms the founda-

tion of Iwagumi. The marked

presence of an Oyaishi

(main rock) dominates the

overall impression of the

layout. The role of each

rock is clearly defined in the

composition as in Oyaishi,

Fukuishi (secondary rock),

and Soeishi (supporting

rock). Rocks with a massive

appea r ance , s uch as

Hakkaiseki, are especially

suited for this style.

Unlike in other Iwagumi

styles, rocks are arranged

in the image of a reef or

bedrock instead of stand-

ing upr ight. Expansive

scenery with parts of an

immense monolith exposed

out of ground is easy to

express in a horizontally

long aquarium. A school of

small s lender fish gives

emphasis fur ther on the

vastness of the scenery.

While the composition of

this Iwagumi style follows

the Sanz on Iw agumi

pattern of the style II, a

different atmosphere is

created with the use of

cosmetic sand. Cosmetic

sand can brighten up an

aquas cape o r add a

sense of depth, depend-

ing on the way it is laid. It

also conjures up an image

of Kare Sansui (Japanese

dry garden style) built with

white sand and rocks.

This is considered a separate Iwagumi style

with a new t wist in expression, although it

still follows the basic compositional pattern.

Layouts in this style are created with master-

ful rock arranging skill, such as a composi-

tion with a pair of main rocks or another with

a novel rock arrangement using Ryuoseki.

This is an Iwagumi style in which slender

rocks are arranged in a radial pattern.

Since rocks are arranged pointing upward

and spreading outward, the shape of their

tips is especially important. R ocks are

arranged with careful attention to their

angles and the balance with other rocks.

This is a layout that was created with

petrified wood, a piece that is not used

much anymore due to its propensity to

increase water hardness, to produce an

impression of a highland. This Iwagumi

layout, which was planted solely with

Glossostigma, made a big splash when

published in 1991.

2003 W180×D60×H60

1993 W60×D30×H36

1991 W180×D60×H60

2005 W180×D60×H60

2001 W60×D30×H36

2002 W60×D30×H36

2002 W90×D45×H45

2002 W120×D45×H60

2007 W90×D45×H602009 W180×D60×H60

2001 W120×D45×H45

2001 W180×D60×H60

1997 W120×D45×H45

2003 W180×D60×H60

2006 W180×D60×H60

Origin

1985 W120×D45×H45

*The number below each photograph denotes the year the photograph was published.

T h e e s t a b l i s h m e

n t of N a t ur eA q u ar i um w a s al s o

t h e b i r t h of t h eI w

a g umi l a y o u t .I w a g umi l a y o u t s

c anl ar g el y b e d i v i d e d i n t o af ew

s t y l e s .

Iwagumi Styles
















































































































































































































































8/2/2019 Ajde Trial


anging stones in a tank based on what one has observed in

ure is nothing but recreating the nature. With the arrangement

he stones, one can create a water flow in the tank.

rranging stones in a tank









8/2/2019 Ajde Trial


重厚なる親石

の存在感

B

A

reating a layout using locally produced

rocks is another great way to enjoy an

Iwagumi layout. The Hakkaiseki that are

presented here are well-known viewing stones

found at the foot of the Hakkai Mountains in

Niigata. Those with the type of indentations

called Mushikui are highly prized. Such

well-shaped Hakkaiseki have the stately and

dignified presence of Oyaishi. T hese two

Iwagumi layouts are the type of work that takes

full advantage of the charm of Hakkaiseki. Both

of the Iwagumi layouts were created using the

same Oyaishi. The large panoramic aquarium

above has two groups of rocks and the tall

aquarium below has one group of rocks. Using

two grouping of rocks makes it easier in general

to create a composition in a horizontally long

aquarium. The planting of a single type of plant,

such as Echinodorus tenellus, works well to

accentuate the presence of Hakkaiseki. The

clean and simple composition of such a layout

strongly brings out the spirituality of Iwagumi.

C

Top: The distinctive charm of Hakkaiseki is brought out by the

dimples called Mushikui, which render unique shading in a layout.

Bottom: The left and right balance is achieved in a panoramic

aquarium using two groupings of rocks.

If the impression of Hakkaiseki as

Oyaishi seems too strong, some plants,

such as Eleocharis vivipara, should be

planted in the background. Doi ng so

can soften the impression of the rock.

This aquascape exemplifies Nature Aquarium Iwagumi layout.

H ak k ai s ek i – ar en own e d v i ewi n g s t on e

A w el l - s h a p e d H ak k ai s ek i

h a s a c

omm an d i n g pr e s en c e.

The substantialpresence of Oyaishi



































































































































8/2/2019 Ajde Trial


Spirituality and philosophy is often discussed

in reference to Iwagumi layouts. When did

you start getting conscious of such concepts

in relation to Iwagumi?

The material that I used for my first serious

attempt at creating a layout with aquatic

plants was, in fact, rocks. Iwagumi was

already established about thirty years ago. I

started getting conscious of the distinctive

realm of rocks around the same time in my

early 20’s when I started looking at Japanese

gardens. Many of the Japanese gardens

were created as symbols of power or abstract

images of nature rather than to recreate

nature faithfully. However, they served as a

useful reference in terms of the concept of

Iwagumi.

When did you consciously start studying

rocks and their formation in nature?

I think it was about the same time that I

thought of studying the formation of rocks in

nature. In the beginning, I went to rivers andlooked at river rocks. Later, I visited various

places and saw all kinds of rocks. Man-made

gardens are full of exaggerated expressions,

but rocks in nature are untouched and

genuine. I might have been getting firsthand

knowledge of the invisible law and order that

nature had created.

You have a lot of old books on Japanese gar-

dens and rocks on your desk. Did you collect

these books then?

Yes. When I get intereste d in a subject, I have

a tendency to pursue it to great depths from

various angles, so I read a lot of books. I was

interested not only in landscaping, but also in

a wide range of things, such as Suiseki (the

Japanese art of stone appreciation), Bonseki

(the Japanese art of creating miniature

landscapes on a black lacquer tray), and

garden rocks. There is a limit to how much

you can learn from aquascapes alone in

terms of compositions and creativity. Since

we are trying to create a layout and sublimate

it into art, it is good to explore various fields.

Speaking from a more general point of view,

you mentioned in a seminar that the choice

of aquatic plants vary depending on the per-

spective of an aquascape, such as, for

example, an aquascape created in the image

of a close-up view of a scene in a mountain

stream or that of a distant view of a mountain

range. What is the relationship between a

composition and plants?

You must be referring to the discussion on

matching plants with the perspective of a

composition, as in using aquatic plants with

large leaves for a close-up view and using

those with light colored leaves or fine leaves,

such as stem plants, for a distant view. It isthe same principle as the way scenery

appears in photography. Although I generally

have an idea whether it is going to be a close-

up view or a distant view when I start creating

a layout, its impression sometimes changes

when the composition is finished, or it some-

times changes with planting. We need to be

flexible when it comes to the expression of

perspectives.

You are quick and decisive when arranging

rocks nowadays. When you were still new at

creating Iwagumi, did you rearrange rocks

many times?

You cannot produce a good Iwagumi unless

you work at a quick pace, building momen-

tum. When you take time and think about it

too much, it often turns into a dull and unnatu-

ral looking layout, lacking a sense of rhythm.

However, there were times that I rearranged

rocks this way and that way for hundreds of

times. I often worked late into the night until I

was satisfied and then found the work quite

disappointing the next morning. Having

experience and instinct sometimes count

more than the artistic sense when arranging

rocks. Although I think that the artistic sense

is important in the end, it is important to first

have confidence in your idea that “rocks will

appear this way when placed like this”. When

you gain experience and develop your

instinct, you will gain speed and a sense of

rhythm, which will enable you to create an

unstable, difficult, and delicate composition

that renders the powerfulness and the sense

of stability of nature.

It was about thirty years ago that you were in

your 20’ s. Internet did not exist back then

and I believe that the information that you

could obtain was somewhat limited. Devel-oping your own concept of Iwagumi and

shaping the concept into the practical

method must have taken a lot of time and

efforts.

That may be true, but on the other hand, such

difficulties might have strengthened one’s

conviction in the past. It took a stronger

resolve to get what you wanted than you do

now. You can get just about anything quickly

and easily nowadays. Abundant information

may be making it difficult to develop the drive

to pursue something to the end with strong

conviction. Be it Nature Aquarium or ADA’s

products, I developed a burning desire to

produce them myself because they did not

exist at that time.

Things are very convenient nowadays, but it

seems that persistence may not be as nec-

essary as before.

It may sound like an exaggeration, but I

believe that the same thing is true with

Iwagumi. Although a lot of information is

made available and many different methods

are proposed, what’s important in the end is

how determined you are to create a good

layout rather than how much information you

have amassed. Especially in the case of

rocks, one’s efforts and passion are directly

reflected in the work since it is a type of

material that easily reflects the intention of a

designer and does not allow any fudging or

superficial cover-up.

What kind of attitude is important to master

Iwagumi?

As I mentioned earlier, while it’s necessary to

practice arranging rocks many times, it is

important to develop the sense to look atthings, not with your eyes, but with your heart,

because there are many aspects of Iwagumi

to consider such as rhythm, shading, stability,

powerfulness, tranquility, Wabi, Sabi* and so

on.

(*Translator’s note: Wabi-sabi represents a

comprehensive Japanese world view or

aesthetic centered on the acceptance o

transience. Source: Wikipedia)

How does one go about developing a sense

for the spirituality and philosophy that

Iwagumi possesses?

Flexible mind-set is required for creating a

layout as well, rather than making a faithful

reproduction by thinking only about your

know-how of the ratio and balance, you see.

There are many hints hidden in something

seemingly unrelated to things inside an

aquarium. For example, the amazement and

excitement that you feel when you come face

to face with nature provides a spark for the

originality or the natural feel of a layout. Or

you may get a feel for the arrangement of

rocks by watching rocks scattered in moun-

tain streams. These intangible expressions

that are often used for a layout, such as

“natural feel”, “flow” or “rhythm”, can only be

elucidated by replacing them with the senses

you have within yourself. These senses are

something you must develop yourself. The

wider the range of experience you have with

which to sharpen your senses, the wider the

range of expression becomes. Of course, it’s

important to do research and make efforts to

understand practical methods to create a

layout. No matter how many ingredients you

gather, you cannot make a tasty dish unless

you know how to cook them. I think it is impor-

tant to develop in a balanced manner both

practical skill through producing layouts andexpressive ability, which is acquired indirectly

I feel that the process to master Iwagumi wil

make my own way of life more profound as

well.

An interview with

Takashi Amano

The Philosophy of Iwagumi

Since the old days, rockshave been a product of naturen which people often find

some special meanings. InNature Aquarium, they havealso been a type of materialhat is often discussed witheference to a philosophical

element or profound spiritual-ty. In this interview, we askedhe founder, Takashi Amano,

about the profundity and phi-osophy of the Iwagumi layout.

4 15This is a Trial Issue. Click here for details and Sign Up.








































































































































































































8/2/2019 Ajde Trial


Stones are the objects created by nature, thus each one of

them is unique and has the beauty of nature. By understand-

ing such characteristics and optimizing their uniqueness and

beauty, one can create an impressive Iwagumi layout.

The beauty of natural material










8/2/2019 Ajde Trial


石組のもう一つの楽

しみ

After

Before

h i le p la n t s w i l l c h a n ge th e i r

appearance with the seasons in a

tural landscape, rocks have invariable

stence. The same is true with an Iwagumi

out. Sozo Haishoku enables us to replace

uatic plants without changing rock work

d enjoy a change in scenery. As shown in

se two layouts, the impression of an

agumi layout changed with the use of stem

nts in the background of the layout, which

s previously planted solely with Cuba Pearl

ass. Cuba Pearl Grass is often used with

uoseki. This aquatic plant is easy to

form Sozo Haishoku with, as compared to

er aquatic plants, since it does not root

ry deeply. Sozo Haishoku should be

ried out by replacing the Aqua Soil used

the substrate without breaking up the

agumi. An Iwagumi layout will appear

autiful and well-balanced after the Sozo

ishoku because the origina l rock

angement is solid and its composition is

cellent, as demonstrated by this layout.

W

Top: The combination of a sprawling rock arrangement and

fine-leaved Cuba Pearl Grass can create scenery of vast

expansive land. Bottom: Stem plants are shaped through

trimming by using the ridgeline of the Iwagumi as the guide-

line for trimming.

Because the layout is planted solely

with low-growing Cuba Pearl Grass,

the Iw agumi o f Ry uos ek i i ts e l f

becomes the main subject in the

layout and therefore requires an

advanced rock arranging technique.

Echinodorus tenellus, which is planted between the rocks and the

stem plants in the background, softens the impression of the

Iwagumi. The rock arrangement functions as the framework of

the U-shaped composition produced by stem plants in this layout.

The outline and continuity of the ridgeline of an Iwagumi is important for this type of layout

created in the image of a rock shore.

R y u o s ek i ,wi t h m an y v ar i a t i on s i ni t s ex pr e s s i on s ,i s q ui t e

s ui t a b l ef or anI w a g u

mi c r e a t e d i n t h ei m a g e of ar o c k y

s h or e.

H er e ar e s om e ex am pl e s f or S oz oH ai s h ok u

( c r e a t i v e pl an t r e ar r an

g em en t ) of s u c h al a y o u t .

Another Joyof Iwagumi


















































































































































































































































8/2/2019 Ajde Trial


he nature, stones do not exist by individual. If there is a

ne, several stones of same kind exist around it, a nd in

me cases, they are connected under the ground.

xpressing a series of stones









8/2/2019 Ajde Trial


02

01

構成する石は質感

を統一する

The surface of a relatively rare Mantenseki with a rounded shape. When slightly covered with algae on the surface, it will

e an appearance more settled in the life underwater.

ht: A fast swimming Slender Tetra goes well in panoramic scenery with a wide, open space.This layout was planted with Willow

Moss and Cobra Grass to accentuate

the details created with the small

rocks. T he slightly visible rocks that

are almost hidden by the aquatic

plants add depth to the scenery.

appearance of the aquascape [02] right after Mantenseki were arranged. The small

s were placed in the foreground to articulate details, and the small rocks toward the

k add perspective.

Since Mantenseki is not a river rock,

many of them tend to have this type

of rough surface. However, their

appearance varies greatly.

Green Neon Tetra with subtle hues

goes well with the combination of

warm-colored Mantenseki and Hair

Grass.

antenseki are well recognized as

standard rocks for an Iwagumi layout

among the fans of Nature Aquarium. The

supply is stable at present and a variety of

sizes are available at shops. The rock is often

thought to lack variations in the expression as

compared to other type of rocks, but this is not

true. The basic rule is to use the rocks with

the same texture for all the rocks, from Oyaishi,

Fukuseki, and down to Soeishi. Otherwi se, the

Mgroup of rocks lack uniformity and look

unnatural together. The two Iwagumi layouts

above are both arranged with Mantenseki.

The aquascape [01] was created with rugged

Mantenseki with sharp edges whereas the

aquascape [02] was created with rounded

Mantenseki. Although many rocks are used,

both layouts have natural and cohesive

appearances since their rock arrangements

are made of Mantenseki with uniform textures.

An Oyaishi should be selected first,

and then other rocks with the same

or similar texture. When selecting

an Oyaishi, check if there are other

rocks that can be arranged with it.

Select Rocks with

a Uniform Texture.

M an t en s ek i h a s b e c om e e a s i er t o o b t ai n an d t h er e-

f or em or er e c

o gni z a b l e.R o c k s s h o ul d b e s el e c t e d

n o t onl y b a s e d on t h ei r s h a p e an d s i z e , b u t al s of or

t h e uni f or mi t y

of t h ei r t ex t ur e a s w el l .





































































































































































































































8/2/2019 Ajde Trial


Harmonious Combination of Iwagumi and Stem Plants

Iwagumi layout is occasionally produced in combination with stem

nts. In such a layout, if the sense of scale produced by the Iwagumi

different from the sense of scale produced by the stem plants, the

out will appear strange. Since the foreground of a layout forms the

se-up view and the background forms the distant view, the layout will

ve a more natural perspective if the close up view is expressed with

agumi and the distant view is expressed with stem plants. When the

tant view is expressed with Iwagumi, it spoils the perspective and

layout will appear unnatural. A somewhat large space should be

otted for planting by keeping this in mind, if using stem plants.

Tank /

Lighting system /

Filtration system /

Substrate system /

CO2 system /

Air /

Additives /

Water change /

Water quality /

Cube Garden W90×D45×H45 (cm)

Grand Solar I (NAG-150W Green / NALamp 3 6W Twin ×2) Lighting for 10 hours a day

Super Jet Filter ES-600 EX, Bio Rio, NACarbon

Aqua Soil-Amazonia, Power Sand Special M, Bacter 100, Clear Super, Tourmaline BC,

PENAC W for Aquarium and PENAC P

Pollen Glass Large 30Ø 3 bubbles per second with CO 2 Beetle Counter

Aeration with Lily Pipe P-4 (14 hours while lighting is OFF at night)

Brighty K & Green Brighty STEP 2

1/3 water change once a week

Water temperature: 25°C; pH: 6.8; TH: 20mg/

Rotala rotundifolia (Green)

Rotala macrandra (Green)

Rotala nanjean

Rotala sp.

Ludwigia arcuata

Myriophyllum mattogrossense (Green)

Echinodorus tenellus

Glossostigma elatinoides

Riccia fluitans

Aquatic plants / Trigonostigma hengeli

Caridina japonica

Otocinclus sp.

Fish species /

D A T A
























































8/2/2019 Ajde Trial


Each rock used in Iwagumi has its own name. There are

special rules of Iwagumi, such as the way its substrate is laid

and the order of rock placement. This section discusses the

basics of Iwagumi that every beginner should know.

Although the thickness of the substrate for a layout with

driftwood is kept low in the front of an aquarium and

increases gradually toward the back, the substrate for an

Iwagumi layout is laid thin and evenly initially. This is different

from the way the substrate is laid in other layouts.

●The names and functions of rocks

●Iwagumi Layout Procedure

●Oyaishi 親石 ●Fukuishi 副石 ●Soeishi 添石 ●Suteishi (a sacrificial stone) 捨石

●Lay a thin, even layer of the substrate.

It is the cardinal rule to start an arrangement by placing the

Oyaishi first. An attractive and well-balanced Iwagumi can be

created by placing the Oyaishi following the golden ratio of

1:1.618 (roughly 2:3).

●Arrange Oyaishi according to the golden ratio.

Following the placement of Oyaishi, remaining rocks are

placed in descending order of size: Fukuishi first, then

Soeishi, and Suteishi last. The positions of rocks are decided

by watching the balance of the angles and orientations of the

rocks.

●

Since aquatic plants can soften the

strength of rocks, aquatic plants are used

to create a balance in the strength among

the rocks. Low- growing plants are used

to accentuate the details of a rock

arrangement. Planting aquatic plants

next to or in-between rocks is key for

enhancing the natural feel of the layout.

●A key point for planting

Mound soil by spreading additional Aqua Soil over the

existing substrate using a small plastic container. Let some

Aqua Soil flow in between rocks to produce a sense of

continuity. Finish the substrate by spreading powder type

Aqua Soil over the mounded soil.

●Finish the substrate by mounding soil.

Oyaishi

親石

For someone who wants to try an Iwagumi layout for the first time

［ ∼ S p e c i a l e d i t i o n ∼ ］

An Introductory Guide to

Iwagumi

Fukuishi

副石

Soeishi

添石

Soeishi

添石

Suteishi

捨石 01 02

03 04

Th is is the p r im ary rock in

Iwagumi. It is the largest rock as

well. Select the best one in terms

of shape and character. Its height

should be approximately 2/3 of the

height of an aquarium.

This is the second largest rock and

is placed on either left or right side

of the Oyaishi. Selec t a rock with

the same or similar texture as

Oyaishi to give uniformity to the

overall Iwagumi.

It is smaller than Fukuishi and is

placed next to the Oyaishi, along

with the Fukuishi. It plays a key

role in the flow that the Oyaishi

creates by bolstering the presence

of the Oyaishi or accentuating the

strength of Oyaishi.

It is a small rock that does not

s t a n d o u t i n t h e o v e r a l l

arrangement of Iwagumi, and it

may even become hidden by

aquatic plants occasionally. Its

presence has a subtle, simple

elegance.

POINT! POINT!

POINT! POINT!

●What is Sanzon Iwagumi?（三尊石組）

It is the most basic composition of Iwagumi

in which the largest rock is placed in the

center and a smaller Fukuishi and Soeishi

are placed to the left and right of the Oyaishi.

This type of composition is called Sanzon

Iwagumi due to the resemblance of the rock

arrangement to Buddhist triads.

●

It is considered good to have an odd number

for the rocks that play the major parts in

scenery. An even number of rocks tends to

look symmetrical or makes scenery appear

split. Iwagumi looks more attractive if the

center of the balance is somewhat shifted to

one side or the other.

An even number of rocks

tend to split evenly.

Having an odd number of

rocks prevents the even split.

●

While Sanzon Iwagum i in Japanese

gardens, such as those in the dry garden

style, often appears upright, the Oyaishi in

Nature Aquarium is placed in an angle to

express the flow of water by appearing to

bear the force of the water.

❶

❷❸

Should the number of rocks be seven,five, or three? Why is the Oyaishi tilted?

Arrange the remaining rocks from the largestto the smallest in descending order of size.

2 3


















































































































































8/2/2019 Ajde Trial


N a t ur eA q u ar i um i nf or m a t i onm a g azi n e

Di gi t al E

d i t i onT RI AL I S S UE

P u bl i sh e d

b yA q u aD e si gnAm an o C o. ,L t d.

8 5 5 4 -1

Ur u

s h

i y am

a ,Ni i g

a t a- s h i ,Ni i g

a t a 9 5 3 -

0 0 5 4

J A P A N.

h t t p: / / www. a

d

an a. c

o. j p /

C o p yri gh t©2 011 b yA q u aD e si gnAm

an o C o. ,L t d.

A l l

ar t i cl e

s an

d ph

o t o gr a

ph

s ar e

c om

pl e

t el y

c ov er e

d b y A

q u aD

e s i gnA m

an

o C o. ,L

t d .

c o p y r i gh

t

.

N or e

pr o

d u c t i oni n

an

y m

e d i um ( i n

cl u

d i n

g el e

c t r oni c

) i s

al l ow

e d wi t h

o u t p er mi s

s i on

of

t h e p u b l i s

h er .





















































































































































































































































































































































































ajde trial

Documents