{"product_id":"161372","title":"The era of handcrafting ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jYFs3n6D6DxSMKBmtOEgMZkWlgGoS.png?v=1765006205\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e The era of handcrafting \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/167475141\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003e'Building' is a human instinct and way of thinking.\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e\"The Hand-Building Era\" is a series of lectures on \"Architectural Production Management\" planned by the Department of Architecture at the University of Tokyo, Japan, and contains the practices of 13 architects who have expanded the scope of architecture and worked in the field with their bodies.\u003cbr\u003e They do not conceive of architecture only on drawings.\u003cbr\u003e Cut down trees, build walls, and put up roofs with the residents.\u003cbr\u003e The thoughts and practices of those who broke down the boundaries between designers, engineers, and educators and returned architecture to being a \"human enterprise\" form the core of this book.\u003cbr\u003e The Korean version includes a new work titled 'DIT (Do It Together)' by Professor Yoon Joo-sun of the Department of Architecture at Chungnam National University.\u003cbr\u003e It aims to document the journey toward ‘architecture built together’ and provide a clue to a new cultural architectural movement called DIT. \u003cbr\u003eThe activist architects featured in this book demonstrate that the act of \"building\" is not simply the process of erecting a building, but rather a \"technology of relationships\" that connects people with people and regions with regions.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e preface\u003cbr\u003e Series Lecture 'What is Making?'\u003cbr\u003e Create to live, live to create\u003cbr\u003e\u003cbr\u003e \u003cb\u003eMake x Design\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e MAKER 01\u003cbr\u003e Motoki Araki\u003cbr\u003e Thinking with Your Hands - Design Starts with Making\u003cbr\u003e MAKER 02\u003cbr\u003e Kazuya Morita\u003cbr\u003e From a plasterer to an architect - Bringing Kyoto's earthen wall techniques to modern architecture\u003cbr\u003e MAKER 03\u003cbr\u003e Hiroyuki Yamaguchi\u003cbr\u003e Design and Construction in Okinawa - Engaging People, People, and the Land\u003cbr\u003e\u003cbr\u003e \u003cb\u003eMake x Region\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e MAKER 04\u003cbr\u003e Mei Nishiyama\u003cbr\u003e Designing life in a space closely connected to the local community\u003cbr\u003e MAKER 05\u003cbr\u003e Miyako Kamatoko \u003cbr\u003eRestoring disappearing thatched roofs to revitalize the area\u003cbr\u003e MAKER 06\u003cbr\u003e Haruka Kuryu\u003cbr\u003e Restoring the bathhouse and village ecosystem\u003cbr\u003e\u003cbr\u003e \u003cb\u003eMaking x Materials\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e MAKER 07\u003cbr\u003e Tadafumi Azuno\u003cbr\u003e Creating a new culture by upcycling building materials from old houses.\u003cbr\u003e MAKER 08\u003cbr\u003e Iori Hitosugi\u003cbr\u003e Waste reborn by the hands of experts\u003cbr\u003e MAKER 09\u003cbr\u003e Futoshi Mizuno\u003cbr\u003e Combining the family business of pottery and design\u003cbr\u003e\u003cbr\u003e \u003cb\u003eMaking x Education\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e MAKER 10\u003cbr\u003e Junko Sanada\u003cbr\u003e Technology that supports the stone-walled landscape\u003cbr\u003e MAKER 11\u003cbr\u003e Toshiki Hirano\u003cbr\u003e The Essence of Architecture in the Post-Digital Era\u003cbr\u003e MAKER 12\u003cbr\u003e Hiroko Yamamoto\u003cbr\u003e Design-Build Education: Thinking with Your Hands and Building with Your Body\u003cbr\u003e MAKER 13\u003cbr\u003e Yoon Zoosun\u003cbr\u003e Regenerating the village with foot and arm architecture\u003cbr\u003e\u003cbr\u003e Editor\u003cbr\u003e Nao Kono\u003cbr\u003e Making 'building work'\u003cbr\u003e\u003cbr\u003e Tomoyuki Gondo \u003cbr\u003eWhy focus on 'making' now?\u003cbr\u003e\u003cbr\u003e Conclusion\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate6181\/MidCate008\/618078238.jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e At the time, I was completely unaware of the site, so I started the demolition work on Sunday without reporting it, and received a huge protest from the manager [Figure 4].\u003cbr\u003e The next day, I was going to start cleaning with my tie on, so I said everything.\u003cbr\u003e For this project, we separately ordered the installation work, finishing work, and furniture work, and directly supervised them.\u003cbr\u003e We did everything ourselves from A to Z, including painting, laying the floor, and getting the client to approve the project with Mr. and Mrs. Sasaki.\u003cbr\u003e\u003cbr\u003e --- p.48\u003cbr\u003e\u003cbr\u003e I also met a wandering technician who travels to various sites with only his skills. \u003cbr\u003eMr. Kiichiro Miyazawa (宮澤喜市?) [Figure 6] whom I met is a master of the plastering technique called \"Migaki\" that can be seen in earthen warehouses, etc. He used a technique called \"Otsumigaki\" to make the entrance wall of \"Kadoya,\" an old banquet facility in the Shimabara area of ​​Kyoto, sparkling.\u003cbr\u003e Because these special skills are in limited demand, itinerant technicians are constantly traveling around Japan to work.\u003cbr\u003e\u003cbr\u003e --- p.67~68\u003cbr\u003e\u003cbr\u003e Now, construction begins.\u003cbr\u003e Around the time the wooden frame was completed, the client, Mr. Seiichi, moved to Okinawa.\u003cbr\u003e From then on, the collaboration began.\u003cbr\u003e Just like in “Takashiho’s House,” the client came to learn about field work.\u003cbr\u003e The target of this 'repetitive work operation' was approximately 100 pyeong of pine boards to be attached to the exterior walls of the four buildings. \u003cbr\u003eMr. Seiichi, a diligent student, researched examples in books and videos and experimented with various methods to learn how to carbonize boards in his own way [Figure 15].\u003cbr\u003e\u003cbr\u003e --- p.93\u003cbr\u003e\u003cbr\u003e 〈Hello Garden〉 is an open space designed with the concept of ‘a village experimental square that creates new life.’\u003cbr\u003e At first, it was just an empty lot, but as time went by, I gradually developed the space by trying out various things to figure out what would be fun to do and what kind of place would be needed to do it [Figure 10].\u003cbr\u003e In order to try growing even a little of the basic necessities of life, 'food ingredients', we cultivated the land to grow vegetables and herbs, and titled it 'an experiment to create a game that everyone can enjoy together', we packed food and enjoyed a picnic.\u003cbr\u003e\u003cbr\u003e --- p.109~110\u003cbr\u003e \u003cbr\u003eThe thatched roofs of the remaining 13 teahouses in Seiyoshi were to be replaced one per year, and the research lab began a three-year replacement project.\u003cbr\u003e We distributed 12,000 promotional flyers in local newspapers to solicit participants.\u003cbr\u003e In the recruitment conditions, it was written, ‘Someone who is serious about it’ and ‘Someone who can participate for three consecutive years’ [Figure 9].\u003cbr\u003e\u003cbr\u003e --- p.131\u003cbr\u003e\u003cbr\u003e What is more serious is that when the bathhouse disappears, the old houses and villages that used the bathhouse as living infrastructure also disappear.\u003cbr\u003e A 100-year-old apartment building suddenly disappears, or a shop that once served as a bathhouse for customers closes.\u003cbr\u003e The loss of a bathhouse can have the same impact as the loss of a village.\u003cbr\u003e Witnessing such a sight made me realize that there exists a 'local ecosystem' centered around the bathhouse.\u003cbr\u003e \u003cbr\u003e--- p.142\u003cbr\u003e\u003cbr\u003e The social problem facing Japan today is population decline.\u003cbr\u003e Due to population decline, 13-14% of all housing units nationwide are now vacant and are being demolished one by one.\u003cbr\u003e Most of the waste materials from demolition operations are recycled, but almost all are turned into chips to produce plywood or used as biomass fuel, and only a small percentage are recycled into building materials.\u003cbr\u003e\u003cbr\u003e --- p.165\u003cbr\u003e\u003cbr\u003e There are three principles that guide our activities.\u003cbr\u003e The first is ‘not working’.\u003cbr\u003e Because when you think of it as work, everyone becomes too serious.\u003cbr\u003e Second, because the key is to utilize waste, we do not outsource production or purchase materials.\u003cbr\u003e Third, activities should be participated in voluntarily according to each person's own motivation, without any compulsion or directive system.\u003cbr\u003e Basically, everyone has a main job, so they are only active on weekends. \u003cbr\u003eEven though no one called them, they go there on their own and create something called a project [Figure 3].\u003cbr\u003e\u003cbr\u003e --- p.182\u003cbr\u003e\u003cbr\u003e What I've learned from designing multi-family housing is that if you only promote the charm of the town and the buildings after they're built, you'll fail to attract residents and you might not be able to repay your loan.\u003cbr\u003e We created a city plan to consider how Tokoname City could become a place where people would want to live [Figure 4].\u003cbr\u003e Tokoname used to be a train terminal and a cultural hub, but with the opening of Chubu Centrair International Airport and the subsequent train passage through the area, it was relegated to being a bedroom town for Nagoya.\u003cbr\u003e\u003cbr\u003e --- p.198\u003cbr\u003e\u003cbr\u003e At first, the school's main activity was to connect the three elements: a teacher teaching stone wall building, a student wanting to learn, and a stone wall that wanted to be repaired. But at some point, requests started coming in. \u003cbr\u003eFor example, a local group contacted me and said, “We have people and a place in our neighborhood to teach you, so please come teach us.” A local government contacted me and asked me to repair an old country road. A university requested, “There is a stone wall near the area where our lab passes, and there is a problem. Please come and let us know.”\u003cbr\u003e\u003cbr\u003e --- p.218\u003cbr\u003e\u003cbr\u003e The 'Age of Connection' was an era in which diversity was guaranteed within a single framework.\u003cbr\u003e On the other hand, the 'age of disconnection' is a state where there is no shared framework and everyone is completely disconnected from each other.\u003cbr\u003e I think one of the factors that led to this situation is the vastness (excess).\u003cbr\u003e There are hundreds of millions of photos on Instagram, and a huge amount of information flows through the internet every day. \u003cbr\u003eBecause the amount of information is so vast, it has been dispersed across various systems, without a single system or framework to contain it.\u003cbr\u003e\u003cbr\u003e --- p.233\u003cbr\u003e\u003cbr\u003e There are four design concepts that are important to consider when building a house.\u003cbr\u003e First of all, it is education.\u003cbr\u003e We want to make this a learning opportunity for not only students, but also landlords, their families, volunteers, and local residents.\u003cbr\u003e Therefore, we strive to create designs that make everyone who participates semi-professional.\u003cbr\u003e The second is Ecology, which pursues homes that can be lived in using only little energy and require extremely low maintenance.\u003cbr\u003e When trying to build such a house, you naturally look to methods that have been passed down from ancient times.\u003cbr\u003e\u003cbr\u003e --- p.249\u003cbr\u003e\u003cbr\u003e I was thrilled to meet a Japanese architect who had been working on a project I had only vaguely imagined for nearly 10 years. \u003cbr\u003eBeyond certainty, I developed a desire to do this no matter what.\u003cbr\u003e I suggested that we hold the first DIT workshop together in Korea, and we held the first DIT Village Regeneration Workshop in Gunsan in December 2019.\u003cbr\u003e The local planners and young carpenters I had worked with for a long time all opposed the project, saying, “Who would come to work renovating someone else’s house with their own money?” and that even if they did come, half of them would run away midway. However, having experienced the power of architecture done with feet and arms, I was confident.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- p.267\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eCreate × Design\u003cbr\u003e Architecture begins with the memory of the hand, and the site soon becomes a design studio.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Motoki Araki, Kazuya Morita, and Hiroyuki Yamaguchi are architects who cross the boundaries between design and construction.\u003cbr\u003e They spend more time in the field than at their desks. \u003cbr\u003eBy directly plowing the ground, cutting timber, and building earthen walls, the 'act of making' is accepted as part of the design.\u003cbr\u003e Araki describes his work as “thinking with his hands.”\u003cbr\u003e Drawings are drawn in the head, but space is created by hand.\u003cbr\u003e Morita inherits Kyoto's traditional plastering techniques in a modern way, reviving the texture of earthen walls and the depth of light in the language of architecture.\u003cbr\u003e Yamaguchi incorporates the rhythms of Okinawa's land, people, and nature into his designs, demonstrating how \"participatory architecture\" can transform the local landscape.\u003cbr\u003e Their common attitude is clear.\u003cbr\u003e Architecture is not something you do at a desk, it's something you do with your body.\u003cbr\u003e In the flow of moving from 'making to design' rather than 'design to construction', we return to the essence of architecture, 'art built by people'.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eCreate × Region\u003c\/b\u003e \u003cbr\u003ePeople rebuilding disappearing places, regions soon becoming building materials.\u003cbr\u003e\u003cbr\u003e Nishiyama Mei, Kamatoko Miyako, and Kuryu Haruka practice architecture that restores local memories and reconnects people.\u003cbr\u003e Nishiyama runs a local Fab Space, where anyone can work with machines and materials to offer the possibility of \"upgrading\" their own lives.\u003cbr\u003e For him, architecture is not the exclusive domain of experts, but a 'life skill' that anyone can participate in in their daily lives.\u003cbr\u003e Kamatoko restores the disappearing thatched-roof teahouses together with the local residents, bringing local memories back to life in physical form.\u003cbr\u003e His work is a 'reproduction of memory' through architecture, and in the process, he demonstrates a new community model in which architects and residents collaborate as equal actors.\u003cbr\u003e The detention center restores the village's ecosystem by restoring an old bathhouse. \u003cbr\u003eThe 'regeneration' he speaks of is not simply the restoration of buildings, but the 'regeneration of life' in which people gather again, converse, and live together.\u003cbr\u003e Their architecture is revived in the outskirts of cities and in villages on the verge of extinction.\u003cbr\u003e Instead of grand projects, we start with the materials and relationships at hand.\u003cbr\u003e We can see that the phrase 'building a region' is not just a metaphor, but is implemented in the field as an act of changing actual space.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eMaking × Materials\u003cbr\u003e Hands that breathe life into discarded materials, from materials to thoughts!\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Azuno Tadafumi, Hitosugi Iori, and Mizuno Futoshi focus on 'reusing' materials.\u003cbr\u003e They collect discarded materials, combine them into new forms, and give new uses to discarded materials.\u003cbr\u003e Azuno dismantles the materials of an old house and reassembles them to create a completely new space. \u003cbr\u003eHis work preserves the layers of time inherent in materials and explores the aesthetics of ‘deconstruction and reconstruction.’\u003cbr\u003e Hitosugi shines light on waste with professional techniques.\u003cbr\u003e By rediscovering the material properties of abandoned things, architecture ultimately proves that ‘architecture is an act of discovering values ​​that did not exist before.’\u003cbr\u003e Mizuno is a ceramicist and architect whose work combines earth, fire, and a sense of space, demonstrating how the “skill of the hand” transcends the boundaries between art and function.\u003cbr\u003e Beyond the slogan of 'sustainable architecture', they speak of an attitude that respects the time and stories embedded in abandoned things.\u003cbr\u003e Creation that begins with ‘reusable materials’ rather than new materials.\u003cbr\u003e They demonstrate through their actions that this is the ethics that today's architecture should embrace.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eMaking × Education\u003cbr\u003e Architecture: A place to learn and build together, a place to learn through experience.\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eJunko Sanada, Toshiki Hirano, Hiroko Yamamoto, and Joosun Yoon are each practicing a new educational method that connects 'learning and making' in their respective positions.\u003cbr\u003e Sanada reminds us that 'technology creates landscape' through stone walls and stonework.\u003cbr\u003e Hirano emphasizes \"hand-thinking design\" in the age of digital fabrication, exploring the new creativity that can be created through collaboration between machines and humans.\u003cbr\u003e Through his \"Design-Build Education,\" where he designs and constructs buildings with his students, Yamamoto demonstrates that architecture is completed on-site, outside the classroom.\u003cbr\u003e And finally, Professor Yoon Joo-sun's writing brings the contents of this book to life again in real time and space.\u003cbr\u003e Through the DIT movement, he has gained experience in creating places together with architects, students, and residents. \u003cbr\u003eBeyond 'building with feet and arms', a new possibility of building the world with everyone's hands.\u003cbr\u003e That is the ‘architecture of the future’ that ‘The Age of Do-It-Yourself’ speaks of.\u003cbr\u003e\u003cbr\u003e \"The Age of Handcrafting\" shows that architecture is not simply the act of building structures, but an act of building new lives.\u003cbr\u003e It is a new grammar of architecture that goes beyond drawings, with actions rather than words, and participation rather than instructions.\u003cbr\u003e This book provides inspiration for \"a life we ​​build together\" not only to architects, but also to citizens who desire authentic spaces, those who want to build their own homes, and those who want to redesign local life. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e November 28, 2025\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 304 pages | 414g | 125*203*30mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791189534585\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 1189534584 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default 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