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Section Five : Appendices
Section Five: Appendices
Introduction The final section of the Report is upon us, and it is fact, image and spreadsheet heavy. This section is a far from exhaustive archive of information produced during the three years Nov 2007 - Nov 2010, but should include a host of useful and relevant material for future organisers. Believe me this is the tip of the iceberg of our hard drive and google docs archive. It should all be rather self explanatory so this section is light on text on the whole. [cma]
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The Bid Opposite, invites to the bid launch and promotional material (front and back) from the night also used as part of bid. Following pages, receipts of donations and letters of support. [cma]
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easaHQ Competition entry and drawings for planning permission. Followed by SESAM / EASA Exhibition report. [cma]
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Newsletters Issue 1 of 14 (to date) newsletters produced by easaUK2010. [cma]
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Licence and Planning Final drawings as submitted to the relevant authorities, including risk assessments and escalation procedure agreed with Marpol. Followed by Fire injunction and Police report from national evening. [cma]
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Fire risk assessment for easa010 Downtex Mill Space: Aviary Risk: Emergency escape unfit in case of fire. Requirement: The room needs 3 distinct routes of escape. Work: Fix existing roller shutter, re-open exit, build escape staircase. Risk: Overcrowding in relation to number of usable emergency exits. Requirement: Calculate and submit maximum occupancy figures. Control access to the space. Work: Put up signage denoting maximum occupancy at entrance; restrict access to one controlled point staffed by a steward with occupancy clicker. Space: Bar / Aviary Risk: Smoke and fire transference between spaces. Requirement: Compartmentalise spaces. Work: Build a wall and fit fire doors between spaces. Space: Stair cores Risk: Smoke in escape cores during evacuation. Requirement: Smoke compartmentalisation and fire doors on every floor. Work: Fit fire resistant plaster board to all non fire doors and with self closers
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on all doors. Space: Front stair Risk: Escape from ground floor door to street. Requirement: Door to remain unlocked and open in direction of movement. Work: Fit a push-bar to door. Space: Loading bay Risk: Blockage and trip hazards in escape routes. Requirement: Keep clear of obstruction and create a clearly marked, protected, escape route. Work: High visibility used tape to demark ‘clear zone’ which is to be monitored by stewards. Risk: During events 450 people could need to use the loading bay as an escape route. Requirement: Provide adequate means of escape for 450 people. Work: The roller shutter will be open at all times during events in the bar space and lounge. Space: Tin room extension: Risk: Smoke and fire transference from loading bay. Requirement: Compartmentalise spaces. Work: Fit fire doors between spaces.
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Space: Basement: Risk: Storage fire hazard. Requirement: Storage for non-flammable items only. Work: Access restricted to organisers only, no flammable materials to be stored in the basement. Space: Event space / Bar / debate space / cafe Risk: Overcrowding in relation to number of usable emergency exits. Requirement: Calculate and submit maximum occupancy figures. Control access to the space. Work: Put up signage denoting maximum occupancy at entrance; restrict access to one controlled point staffed by a steward with occupancy clicker. Risk: Inability to raise the alarm in event of a fire. Requirement: Alarm must be audible above level of music. Work: Alarms at noise level higher than music will be placed in the location of music. Space: Throughout Mill building Risk: Smoke leakage between floors. Requirement: All floors should be compartmentalised, no holes between floors. Work: All gaps between floors and in existing chimney will be sealed with fire
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retardant plasterboard. Risk: Detection of smoke. Requirement: Complete coverage of the building with smoke detection. Work: Inspection and maintenance of existing fire alarm system. Addition of radio connected smoke detection. Addition of call points to all exits. Pairs of stewards will patrol both the tin rooms and the mill building, these stewards will inspect walk ways and escape routes for obstructions, inspect for fire and in the event of a the radio smoke detectors sounding will raise the alarm through the existing alarm system. 1st Floor Risk: Overcrowding in relation to number of usable emergency exits and sleeping spaces. Requirement: Restrict sleeping capacity to 100 persons. Work: Produce sleeping layout and allocate sleeping spaces, demark all sleeping spaces in high visibility tape. 2nd floor Risk: Overcrowding in relation to number of usable emergency exits and sleeping spaces. Requirement: Restrict sleeping capacity to 100 persons. Work: Produce sleeping layout and allocate sleeping spaces, demark all sleeping spaces in high visibility tape. Risk: There is a trip hazards on uneven parts of floor and change of level. Requirement:
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Remove steps and change of level. Work Fill holes in floor, ramp half steps and use hazard tape to indicate change of levels. Space: External passage to rear of tin shed Risk: Trip hazard and low visibility in hours of darkness. Requirement: Ensure the escape route is clear of hazards and there is adequate emergency lighting. Work: Remove obstructions, and cut back vegetation. Perform maintenance to existing emergency lighting system. Space: Emergency exits to outside of building: Risk: Blockage or locking of fire exits. Requirement: All fire exits to be accessible and clear of obstruction at all times. Work: Welcome presentation to include explanation of fire strategy, including demonstration of fire alarm and exits. All fire exits to be manned and monitored for both security and obstructions.
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Escalation Procedure Drunkenness 1. In the event that a patron attempts to buy alcohol while in an unfit state: The Bar staff will refuse service of these people. 2. In the event that the patron becomes belligerent: An on duty member of the organising team will politely ask the patron to be calm and move away from the bar area. They will not put hands on the patron. 3. If the situation continues: If the National Contact of the patron is available they will be asked to advise the patron to be calm. 4. If the situation escalates to the point where the patron is aggressive of violent: Under no circumstance is a member of the organising team or steward to engage in physical contact with the patron. If there is no recourse but to remove the patron from the bar area a SIA registered member of door staff must be contacted. In the first instance the door staff will remove the patron from the area of alcohol consumption to the loading bay area; a final warning will be issued to the patron to be calm. 5. If the patron continues to act violently: The SIA door staff will have the ability to decide if the patron’s behavior warrants their removal from the premises, the coordinating steward for the shift can also request the removal of the patron. In this instance will be removed from the building by an SIA door staff. If the patron is cooperative, a taxi will be called and they will be directed to the Hatters hostel in the City centre. If appropriate the police will be called. The following day the DPS will meet with the patron and their National Contact to discuss whether the patron will be allowed to rejoin the assembly. Punishment can include, a final warning, banning from the page 482
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bar area, or ultimately removal of their wristband and expulsion from the assembly. All participants will be notified of this procedure on registration. Aggressive behavior Aggressive or violent behavior towards members of the organising team or delegates will not be tolerated. 1. In the event that a delegate becomes aggressive: An on duty member of the organising team will politely ask the patron to be calm. They will not put hands on the delegate. 3. If the situation continues: If the National Contact of the patron is available they will be asked to advise the patron to be calm. 4. If the situation escalates to the point where the patron is violent: Under no circumstance is a member of the organising team or steward to engage in physical contact with the patron. If there is no recourse but to remove the patron from the area a SIA registered member of door staff must be contacted. 5. If the patron continues to act violently: The SIA door staff will have the ability to decide if the patron’s behavior warrants their removal from the premises, the coordinating steward for the shift can also request the removal of the patron. In this instance will be removed from the building by an SIA door staff. If the patron is cooperative, a taxi will be called and they will be directed to the Hatters hostel in the City centre. If appropriate the police will be called. The following day the DPS will meet with the patron and their National Contact to discuss whether the patron will be allowed to rejoin the assembly. Punishment can include, a final warning, banning from the bar area, or ultimately removal of their wristband and expulsion from the assembly.
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All participants will be notified of this procedure on registration. Intruder Under no circumstance is a steward, organiser or delegate to physically challenge any intruder. 1. In the event that a steward, organiser or delegate spots an unrecognised or suspicious person on the site: They will approach the person and request to see their wristband. 2. In the event the person doesn’t have a valid wristband: A delegate or organiser will inform the nearest steward. The steward will ask the person to come with them to the info point to check their details against the resister. 3. In the event the person refuses to provide information / go to the info point: The steward will contact the nearest hired member of security. The security member will then escort the person from the premises. 4. In the event the person becomes violent or aggressive: The member of security can request the organisers to call the police. Participant ignoring regulations On arrival all delegates will be given written documents covering all the terms and conditions of accommodation and participation in easa010. These include, but are not limited to, fire safety, maximum occupancy, alcohol strategy and stewarding. 1. In the event a delegate is observed contravening the system by an organiser or steward: The organiser or steward will approach the delegate and very politely remind them of the rules. In most cases the infringement will have been a mistake and approach this will be enough to prevent future incidents. 2. In the event that the delegate is abusive or unrepentant: At a convenient time the organiser / steward will inform the lead page 484
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steward. The lead steward will contact the delegate’s National Contact and meet with them and the delegate to discuss the issue. 3. If the delegate at any time becomes aggressive or violent: The steward will contact the nearest hired member of security. The security member will then escort the person from the premises. The delegate will be advised that if they continue with this course of action they will have their wristband removed and ejected from the assembly. Following these events the DPS will meet with the delegate and their National Contact to discuss whether the patron will be allowed to rejoin the assembly. Punishment can include, a final warning, or ultimately removal of their wristband and expulsion from the assembly. 4. In the event the person becomes violent or aggressive: The organisers can decide it is appropriate to call the police.
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FWIN 2728/080810 - Night crime log.
FWIN 125/090810 - Architecture students international (beer) festival at industrial premises at 17 Mary Street, Strangeways called in by NWAS due to levels of intoxication by some participants. 4 taken to hospital by NWAS, due to level of intoxication, several others checked over. Premises visited by myself at 01:20hrs & DPS (details as per FWIN) spoken to. There is a license to sell alcohol until 1am & the fire certificate has recently been modified to prevent people sleeping at the premises. It appears that this is gathering of international architecture students which has been happening for around 20 years in different parts of the world, this year cosmopolitan Strangeways being the host. DPS adamant that students had brought their own food & alcohol into the premises to celebrate different cultures from around the world & some had over indulged in relation to alcohol consumption & that no one was served at his bar who was drunk. The merriment took place in a seperate room separated from the bar area by closed doors. Private room visited where remnants of food & alcohol visible on various tables. Two Marpol security staff on site. No apparent licensing offences. For consideration of follow up by City Safe.
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Sponsors
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easa010 specifics More details on the lay out of easa010 using extracts taken from the welcome guide. In an effort to commit to our mantra of Reduce Reuse Recycle we e-mailed out the 69 page long Welcome Guide in advance of the assembly, this also gave participants a chance to read it at their leisure. On arrival each participant was given a lanyard to wear around their neck with a single piece of folded A4 with a map, timetable and key phone numbers. [cma]
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EASA essays Identity Identity and creativity The identity of a process of education and self-education. Because individuals are not born but as a born identity since birth and its attributes. Will. Freedom. Mind. I would add one more attribute-expression or a thirst for creativity. Identity is so multifaceted and so different that there is not the same as people (ie individuals) or not identical inner worlds - every person is valuable as a carrier of a “special� non-transferable “inner world and is valuable as a possible creator. Creative person is prone to empathy throughout the round - as a state of mental experiences of events around the world both real and invented - caused by his own reality. Dreams, dreams, emotions, inspiration, motivation and feelings-all the imagination of man. Where they occur, why it is so different - A wild mix of reality and their corresponding feelings and fantasies of birth personality, individuality is no similar patterns in the sand against the wind - perhaps they can only look similar, but the grains are still different. Reason of life of creative personality seems to me, lies in the very process of creation. How to play the mind perceives the process of creation - and here he takes on one of the attributes of personality - freedom, but in this case, freedom of creativity and as a result of freedom of expression. Create a new people, perhaps, is an internal draft of the game with his own imagination. So he loves the ideals of toys, which creates in his imagination and in his thoughts. And if we imagine the human personality is not as substance but as a creative act of creating a new impression of the value of each individual and the more creative person. And then create a new impression not only on the value of a particular individual, but also about the value of all created - for it is the efforts of a particular person - who suffered worked through their happiness and all their fears.
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Person in contact with the world, otherwise it would be impossible for her existence - but this process in this case is not one-sided. Bright individuality can not stop your spiritual growth only on consumption - and they are looking for an outlet for his I. His emotion experiences. His creativity. So art itself engenders, spur and grow themselves. What a man seeks: in music? Painting? Be in the sculpture? Or the mother of all arts - architecture? Inventing something new or improve old? Reveals something in a new light seeing it a new fresh look? But on the other hand passing through the prism of the human perception of the human mind and his personality each time creating something unique - a kind of masterpiece - even a masterpiece for yourself. And then a person becomes a carrier of life, for which the unity of its essence as an individual is embodied in its creativity and self-expression - that persist throughout life. In this respect creativity itself begins to form the next person, but not vice versa - and the direction in which begins to develop individuality in this direction it will develop a learning and on and on. In this case, the essence of man and his experience in creative activity is a mechanism that ensures a healthy human desire for selfimprovement. The creative act is always a person to overcome themselves and the release - it is an experience of power - everyone, to do no matter what: music, painting, sculpture, drawing a house, he shows the power of mind and reveals all its fears of joy all his pain and love in its creation - and here we again come to educate themselves - building itself as an individual - and the creation of its nature and management of their own creation in the right direction. Moreover person represents himself in his works - it’s like a diary their emotions. So personality becomes open to the public. And not only for society - but for the new: experience, new developments and knowledge. And again we are led to the development of creative personality in itself. Here subtle psychological relationship between man and his own creations and his own process of creation. What ultimately may be more beautiful art and that may be interesting pronounced personality disorder? Is there something which is able to copy the process of abstract thinking substance? And the capacity to
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substitute for the vision and sense of beauty? For me, the answer is obvious.
Mustafayeva Renah Shahin gizi Third year student Azerbaijan Architectural - building University.
Identities in an Era of Globalization and Multiculturalism The topic of identity is of special interest to psychologists who study how and why people perceive themselves the way they do. What factors contribute to the growth and development of the “self” ?When a person has a clear and stable sense of self, we can say that he or she has an “identity.” That identity is firmly rooted in one’s culture and, at the same time, it reflects one’s culture. In the modern West, identity refers to the achievement of a stable and familiar sense of self, which depends on “physical and sexual maturity, competence in abstract thought, and a degree of emotional stability” Nowadays, the Western culture has left behind the indigenous and traditional beliefs, ideals, norms, and values of the local populations in many developing countries. We now see that members of the younger generation in Eastern cultures are moving rapidly in the direction of Western ideals, i.e., individualism, competitive success, and materialism, and putting personal goals ahead of group goals as well as defining one’s identity in terms of personal attributes rather than group behaviors. This is in contrast to the concept of collectivism that is more representative of the cultures in the East. How to respond to the growing challenges in order to preserve cultural identity in the 21st Century? Our lives are blending mixtures of memories, experience, dreams and believe. We are facing the need of higher hopes. We define ourselves by our taste of music, art, fashion, architecture…. Pieces of art are much more than hollow
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structures or dead artifacts—each image carries with it a piece of our collective history, snapshots of the human soul as it slowly matures through time. These pieces are alive with living memory, a sliding calculus of perspectives, circumstances, and social priorities that became codified into design. Our constructions continue to construct us, imprinting our personal and collective identities in subtle but powerful ways—landmarks of experience that are always coloring our perspectives, housing our visions, and sheltering our dreams. Our consciousness is inextricable from our environment.
Colors, angles,
textures, and lights all conspire to sway our moods and shape our experiences; molding our conscious and unconscious minds according to the prevailing social norms and cultural trends of the time. We can feel this every time we walk into a room, a very subtle but noticeable reaction to our surroundings— perhaps a sense of calm and spaciousness, or of creativity and energetic vibrancy, or of anxiety and claustrophobia. You can feel this right now as you read this, your immediate habitat inescapably affecting the sound, feel, and meaning of every word. There is no simple mathematical equation to make sense of the connection between consciousness and environment, as the same surroundings can elicit entirely different reactions from psyche to psyche, culture to culture. Adding to the complexity, we often surprise ourselves by naturally surrounding ourselves with environs that dramatically contrast our interior states. Sometimes we seek what is familiar, orderly, and predictable in the world we build. But sometimes we don’t. Sometimes we seek the new, the shocking, the slightly crazy. Every building embodies a message. Buildings speak of risk-taking or cowardice, of individualism or conformity, of nature or artifice, of wealth or poverty, of handicraft or machinery, of the local or the global, of representation or abstraction, of permanence or change. And so on. We admire the buildings that speak our values -- or, at least, the values we wish other people to perceive in us. Every building we see emphasizing varying combinations of
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Beauty, Goodness, and Truth according to the changing aesthetics, values, and technologies of society. Each architectural design represents the individual’s image of society, as well as society’s image of itself—a gateway between interior and exterior, between culture and consciousness, and between the past and the present. Each style represents a unique alchemy of ever-deepening form, function, and meaning, balancing masculine and feminine design elements in very distinctive ways from building to building, culture to culture, epoch to epoch. Katerina Serbezova
CENTRAL-EUROPE IDENTITY AND SPIRIT OF THE AGE The definition of the identity clearly indicates that it is nothing else than a substantial uniformity and conformity of two subjects, ideas or trends. It is a logical rule, according to every idea should be identical with itself in the specific time period and relation. The identity means the feeling or experience to associate with oneself or with some group. Nevertheless, this expression has much more definitions, which always substantially and essentially concern our society. Nowadays, we can say that the world is in serious crisis, not only in economical but also in moral, cultural, political, social or ideological. Many new trends emerge, fighting with each other, which sometimes extinguish or extremely reinforce themselves. There are enormous gap between continents, their countries, nations, groups and individuals. On the other side, there is one acceptable world and within it the acceptable Europe, where we can see an open, tolerant dialog from the highest structures till the lowest ones. This world allows free flow of technical achievements, basic curiosity and individually created thoughts and observations. There is one place in the world – called as Central-East-Europe. In this part of the world several centuries old traditions, impression of the 20th century dictatorships
or a modernity of the 21st century are equally present. In
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a transferred sense, all these characteristics could be also applied to the architecture. We can find here bald building estates, functional
concrete
aggregations as well as groomed historical quarters. May be there is an analogy, although slightly strained, between these phenomenons and the results of the science of proxemics. The proxemics is the study of set of measurable distances between people as they interact. The results of proxemics research indicate that most American feel most comfortable when people keep armslength away during conversation. Contrarily, near east people are standing so near to each other that they can fell one another breath. Central-East European people are also characteristic by keeping a distance. Scientific observations of the proxemics show, that all animals and humans are surrounded by two concentric circles.
The outer and larger circle represents
a space for an
escape and the second one is a space for an attack. When somebody enters the second circle, we charge at him independently on his power. I think that for our region is very typical that the territory and environment have developed living out of consideration the rules of proxemics. It is an interesting mix, which influenced the development of Central-East-european countries. People in this area also have other characteristic feature. They are simplehearted and to some extent opened. There are certain conventions such as instinctive rejection of new things. To change them is a very difficult and long-winded task. Of course, it is not true for all people but we can allow some generalisation which are supported by sociological survey. The mentioned characteristics clearly indicate that the first and the most important task in all areas – for example in the architecture - is to change human thinking to be able to create the world more tolerant and more opened. In my opinion the only way to achieve this aim is a dialog and communication between different cultures. EASA IDENTITY ESSAY Ester RaÄ?ek -Slovakia
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Articles A collection of press clippings followed by the text. [cma]
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Identity The way we see ourselves, our identity, is the product of a balance of nature and nurture. It is a combination of the genetic code taken from our parents that forms the basis of our personality and our personally attested experiences collected over the course of our lives. It is a combination of things that have happened to us and all the stories we have been told. Our identity is a simplification of all these things, and provides us with a frame with which to judge the world around us; a set of values to hold in contrast with the experiences we are yet to have. We can if we like, attempt to express our identity though signs and signifiers; the way we dress, the way we walk, the way we talk, the food we buy the people we associate with, can be tuned in an attempt to represent how we see ourselves. We will, however, only ever succeed in representing how we wish to be seen. The propagation of a mutual identity aids social cohesion. Members of a homogenous group will interpret each other’s actions, and importantly, potential actions from a point of mutual understanding, meaning that less errors in interpretation are likely. Social identity of this kind draws on shared history and values and allows confidence in predicting the outcome of interactions. This group identity also allows strength in dealing with outside groups. Values of the society can be attached to the individual, or sub group of individuals, without them necessarily needing to demonstrate them to the third party. City Cities have always needed to relate to other urban environments, whether locally or, in some cases, globally. At this scale their reputation would have grown in part due to their character, but in the main due to their raisen d’ete – their reason for being. Traditionally cities grew from the necessity of improving trade and social functions through density. More often than not they were sparked into being by some kind of geographical advantage, be it a sheltered natural port, the confluence of trade routes or the abundance of a natural resource. Over time cities have grown individually into complex organisms, with populations in the thousands or millions. Understanding a city, in the true sense, is impossible, but the feeling of comprehending it is not. Advances in communication and transport systems allow for commercial practices, which were traditionally bound to a given geographical spread, to take place remotely anywhere in the world. In the developed world, this has lead to the traditional geographical advantage and functions that saw cities grow being undermined and are now in competition with urban environments with similar facilities around the world. Branding Identity, as we have seen, is a combination of components of values and experience, in a society these are grouped and pooled and transmitted through teaching and propaganda. Externalised identity, the identity given to a subject by an external observer,
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is a mix of the observer’s personal identity and the projected image from the subject; the information from the subject attested against the observers own value sets. Simplification of the projected image allows for a feeling of comprehension to be achieved more quickly, and with less effort on the part of the observer. This simplification of message is known in the commercial world as branding. Taken at the city scale branding can target demographics – essentially just another social grouping – to stimulate investment and development. As we have seen branding is the control of projected image, when aligning to the values of a demographic the brand essentially makes promises of experience in future interaction. Externalised image Barnsley is a former coal mining town in Yorkshire, UK; its raisen d’ete was the vast coal fields in the area. The decline of the industry had hugely negative effects on the economy and, in turn, saw a trend towards depopulation. In reaction to this the Barnsley Development Agency (BDA) was created, and with Architect Will Alsop worked on a visionary scheme that aligned Barnsley as a ‘Tuscan Hill Town’, drawing on imagery of walled towns, public pedestrian streets and the revitalising of the town market. Despite negative reaction in the press at the idea of a Yorkshire town being similar to that of a town in Tuscan Italy the development that has followed has succeeded in returning the town’s economy back to the levels it reached before the downturn in the coal mining industry. Manchester Manchester, UK, grew throughout the 19th Century as the invention of the Water frame and Spinning Jenny saw Manchester become the world’s first industrial city. Manchester is an example of a city driven by an abstracted internalised identity; throughout the history of the city there is evidence of a rejection of the possibility of nostalgia stifling progress along with a deeply held desire to do things in Manchester. It was in Manchester: that Marx met with Engles to discuss the plight of the working class leading to the Communist Manifesto (1844); that when port taxes in neighboring Liverpool became extortionately high in the eyes of Manchester mill owners they worked together to build the Manchester ship canal to link land locked Manchester to the sea 36miles away (1887 - 1894); that Rutherford split the atom for the first time (1909); that the world’s first programmable computer - Manchester Small-Scale Experimental Machine - was built (1948). I include these examples to demonstrate the nature of the inhabitants of the city to continually invent and define events of a global scale, though Manchester cannot be called a true global city. Perhaps the best explanation of the identity of Manchester can be seen from the story of Factory Records. Factory was established in the 1970s as a way of promoting up and coming bands in the city, not unusual in itself, what was unusual was the attitude
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displayed by the management and the bands. Factory only had one contract with its bands written in blood by cofounder Tony Wilson, the contract stated that ‘...the artists own all their work. The label owns nothing. Our bands have the freedom to fuck off.’ This attitude was displayed by the willingness of Joy Division to sign to Factory and reject approaches from established London based record labels. Internalised image At the beginning of the 21st century, while Barnsley was redefining itself as a Tuscan hill town in an effort to turn its economic fortunes, Manchester was undergoing a period of regeneration. As part of this the newly formed Marketing Manchester approached graphic designer Peter Saville with a brief to re-brand Manchester, logo slogan and all. This was an opportunity to project an image Manchester and therefore externalise its identity. Saville refused, stating that Manchester didn’t need to be branded. Instead he summed Manchester up as ‘The Original Modern’, not an attempt to produce a slogan by another name, rather to give the council and the city an aspiration. In my opinion this attitude is in keeping with the social identity of Manchester, the ability to both venerate the past and be ever forward thinking, while maintaining an overtone of self-reliance. Saville is now employed as consultant to marketing Manchester. It is also worth noting that Peter Saville was made famous by the work he did as graphic artist - for Factory Records. Chris Maloney Easa010 In summer 2010 the European Architecture Student Assembly will convene in Manchester. The theme for the assembly will be identity, giving the opportunity for students to further explore the implications of identity within architecture in a city that has grown and developed due to strong its strong sense of identity.
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Alternative easa010 If things had gone a little differently easa010 could have been very different. Here is a brief look in to two very different locations that almost played home to the 2010 assembly. The first is a document produced from a feasibility study to see how many people we could fit on the car parks around HQ. Until February 2010 this was easa010, at the time we lost the car parks we had even secured the shipping containers. The second is a quote from a tent hire firm. We approached them in April 2010 as we had been given a 90% notice on land in New , we got the 100% confirmation the day after we signed and paid the deposit for Downtex. [cma]
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Keith Maloney EASA
Our ref: easa2010 Date: 19 April 2010
Dear Keith,
Field & Lawn (Marquees) Ltd. 6/8 Clothier Road Bristol BS4 5PS Telephone 0117 980 1120 Facsimile 0117 980 1121
Re: Marquee for 400 Students, 31st July – 15th August 2010 in Manchester Following our recent telephone conversation please find enclose dour quotation and proposed plan for the above event. As discussed I have quoted based on –
Five separate areas – Dining, Catering, Portaloos, Showers and Sleeping – all based on sizes discussed. They are interlinked via walkways, with screens for privacy etc... as and when needed.
I have itemised out the cost of wooden flooring and carpet for you. Entrance and Fire Exit doors are provided as standard.
I have quoted to supply the site with a Heras Fence throughout and have also quoted for furniture. I also itemised out costs for Portaloos and Showers.
All prices are based on the two week hire period.
I understand there will be alterations to the plans and spec subject to final requirements, power to site, water to site and access. I would recommend we meet on site to measure and check the site; it would also be an excellent opportunity to discuss all the arrangements in greater detail. If you require any further details or prices or would like to discuss the matter further with us, please do not hesitate to contact me.
Yours sincerely National Coverage:
Robert Lamb: Hire Manager Head Office
01506 859 260
Manchester
01925 600 260
Edinburgh
01506 857 938
Glasgow
0141 812 7787
www.fieldandlawn.com Registered Office: 5 Atholl Crescent, Edinburgh Registered in Scotland No.100165
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Field & Lawn Quotation Marquees for 400 Students, 31st July – 15th August 210 in Manchester
SLEEPING MARQUEE Clearspan Frame Structure size 15m x 30m Above structure clad with white pvc to BS7837 Above structure lit with floodlighting on a dimmer control Above structure fitted with double entrance/fire exit doors as standard Linked to Dining Marquee via two walkways DINING MARQUEE Clearspan Frame Structure size 15m x 30m Above structure clad with white pvc to BS7837 Above structure lit with floodlighting on a dimmer control Above structure fitted with double entrance/fire exit doors as standard Linked to Portaloo and Shower Marquee via two walkways SHOWER/PORTALOO MARQUEE Clearspan Frame Structure size 10m x 20m Above structure clad with white pvc to BS7837 Above structure lit with floodlighting on a dimmer control Above structure fitted with double entrance/fire exit doors as standard CATERING MARQUEE Clearspan Frame Structure size 15m x 10m Above structure clad with white pvc to BS7837 Above structure lit with floodlighting on a dimmer control Above structure fitted with double entrance/fire exit doors as standard Hire period 31st July – 15th August (in use) To be built prior to this date and dismantled after – dates TBC All Labour and Transport costs included FOR THE SUM OF
£14,850.00
To have wooden floor and carpet throughout would be an additional
£8,750.00
FURNITURE for two week hire period Folding Samsonite Chair
400
£760.00
6’ x 2’ Trestle Table
80
£432.00
Heras Fence
300m
£900.00
Delivery and Collection
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HIRE
£80.00
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SHOWER UNITS – based on power on site – for two week hire period 4no. Transhower Units Each unit with four showers, each insulated for warmth £3,200.00 Each cubicle has its own drying/changing area Constant warm thermostatically water Delivery, Installation and Collection On site attendant each day of hire to maintain and valet To supply water for showers for complete two week hire period. Based on 30 litres being used per day per guests – total of 12,000 per day. Price includes re-filling four times during hire, hire of tanks and pumps, associated pipework and connectors
£180.00 £290.00 Per day
£5,900.00 PORTABLE TOILETS for two week hire period 12no. Standard Toilet Units On site attendant each day to maintain, valet and pump-out
£2,400.00 £290 per day
(price will reduce if hire on site attendant for both showers and toilets)
Shower Unit Toilet Unit INSURANCE OF EQUIPMENT Please note that under our Conditions of Business, customers are responsible for the safe custody of all equipment supplied by Field & Lawn (Marquees) Ltd while on site. It is a condition of hire that appropriate insurance is arranged to cover damage to, or loss of, the equipment. We appreciate that you may encounter considerable expense and difficulty in arranging insurance and, therefore, for your convenience, we do offer a damage waiver as follows: “Our Risk” Option; For an additional cost of 6% of total hire invoice we agree not to claim payment from you of more than £500 for any damage to, or loss or destruction of, any equipment supplied by us whilst it is on site, i.e. you will be responsible for the first £500 of any damage etc and we will be responsible for the rest. Unless you choose otherwise we will assume that you wish to use the “Our Risk” option. We are not arranging any insurance policy for you or extending the benefit of our insurances to you. Even
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where the damage waiver applies, you should therefore consider whether you need your own insurances to cover other risks (e.g. event insurance and insurance for your own and your guests’ belongings). “Your Risk” Option; If you do not wish to pay the damage waiver referred to above, we require that you take out your own insurance cover on usual all risks terms for the equipment whilst it is on site (“Your Risk”), and show us evidence no later than 14 days before the build date that such cover is in place. Otherwise the “Our Risk” damage waiver will apply, and you will be liable for the 6% cost of this. VAT The foregoing hire charges include all Labour and Transport Costs but exclude VAT This quotation is valid for 7 days PAYMENT TERMS 25% on confirmation of the order 50% 1 month before the build date 25% 1 week before the event date If you wish to pay by Credit Card (Visa / Mastercard / Switch) a 3% handling fee will be charged. CONDITIONS OF BUSINESS All our services are supplied subject to our conditions of business, which are attached
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Numbers Where possible we have included useful quantities throughout with the relevant topics in the previous sections. Here all I can do is collate some of the other data that seems to be a little less tight, and a little more floating around. First up, spread over three double page spreads is the over all budget, this is followed by a simplified version. On the same page is the tools list we worked to. Opposite that is the stationary shopping list and last is Christoph’s best efforts to remember useful quanaties of materials. [cma]
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what I can tell from memory we had about 200m of the 3.5x3.5cm timber, about 400m of the 2x7cm, about 200 of various timber sizes like 4.5x8cm, about 40m2 of different sheet materials, block, ply, osb boards, 10 sheets of that black plastic stuff and the 20 sheets of that shit chip board. most of it got used and it was really important to have some thin timber to start with(not too big because at easa people tend ot over engineer things a lot, a point that i would make over and over again to make sure there is someone to stop people from being stupid and wasting stuff) as for the 2000 gbp, we used it all up during the two weeks as paul pointed out. we payed: competition, metal stud work, various tools, timber, screws etc. cost probably between 300-500gbp flex space: ply cost: 300 gpb syntatitcs: paints, brushes, cost ca 200 gbp amm: they used the chip board sheets and old styro foam,timber, electric stuff costs ca 200 gbp cc: they used all the 2x7cm timber and we bought them some more: 100 gbp interact: paid all their own stuff, timber paint osb, ca 250 gbp tesi: lots of fabric: 100 gbp small I: they could really amke use of all the random peices of wood, sheets
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we had already. we bought some nuts bolts cable and the like: cost less than 100gbp AI: used the 2x7cm timber, some fabric, some card etc: less than 100gbp the gear box: 350 gbp [cho]
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Numbers
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EASA 2010 MANCHESTER Making an introduction about EASA isn’t easy. For me it’s a thing, a gathering that changed my life in more ways than I expected. It thought me about friendship, about making and keeping bonds that last despite the distance that stands between people. It thought me about accepting everybody as they are, respect everybody and it thought me that there are places in this world in which politics, religion, and skin colour don’t matter and where there is no hierarchy. It helps the shy ones to improve their social skills it helps people to learn and speak more languages. Without EASA a lot of people from Architectural University of Belgrade, Novi Sad and Nis wouldn’t be able to travel outside the country because they don’t have enough money for this kind of travel, but people that are involved in EASA think about this kind of subjects and with some decisions that are made at INCMs low standard countries like Serbia and students from these countries get the opportunities that they could never dream about. As I started going to EASA while finishing my first year of architecture I cant help but mention that meeting some older students at EASA it also changed my way of thinking about architecture, about life and I gained friends that helped me through some rough times at the university they thought me how to use programs, they helped me to get through the nights and days of not sleeping while doing projects. Not to make this introduction too long EASA also helps architecture students to learn about building things first hand and also allows students to broaden their knowledge and learn about things such as film making, photography, writing , EASA Manchester was, for me and I presume for a lot of EASA people especially for the organizers, a very emotional thing. This I say because it was the first time after thirty years that EASA came to the place where it actually started. As most of the Serbian participants never went to UK their expectations were very big. The organizers did a great job of informing participants about the regulations, procedures in case of fire and UK law in general as it is a lot more different than the one Serbia has. They prepared us and gave us all the useful information about Manchester, and about the workshops. Also all of us were very happy to come
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to the city of good football (for the boys) and the city that gave us Joy Division, The Smiths, Buzzcocks , Happy Mondays, Oasis. When we came to Manchester we had organizers giving us tours around the city and after a few days we also had architects and artists showing us around the city. I saw the city as way more beautiful than I expected it to be. It had that warmness that I wasn’t expecting of the city that was one of the greatest industrial cities. Architecture is beautiful and people we had the chance to speak to were very open and happy to help. Until the point of fire brigade coming to the event and shutting it down. This changed the feeling of being welcome to the feeling of people from fire brigade wanting us out of Manchester as soon as possible. It also put a lot of pressure to the organizers who planned this for two years and did their best to play by all the rules . The thing that bothered me and my participants the most is that these people that came and tried to make this experience a bad one didn’t take time and didn’t show good will and didn’t trust even their people from their city. And people from EASA along with the organizers really gave their best by turning the music off even before it was due to be turned off, by having people organizers and helpers, and I am writing this as one of the helpers that was in Manchester , watching and not allowing people to smoke inside and to drink outside, having people watching the fire escapes all day and all night long, having people patrolling around the premises all day and all night long making sure that nothing catches fire, by having security counting the number of people in the parties and making sure that only the allowed number of people is at the party and when they got to that number they made sure nobody gets in until someone goes out. On the other hand we also had some beautiful places for workshops and people that showed all the participants how to use tools properly. I can only be thankful to the organizers for keeping it together even though at one point it seemed that everything came down on us and them. This also shows that EASA teaches people how to cope with all the difficulties and problems that can happen in life. And people staying also showed how EASA is a group of
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people who stays together no matter what. To get this to the end I would like to thank the organizers for making us feel at home even though it seemed that some people wanted us not to. I would like to thank the city for making it possible for EASA to come back to its origins and I would like to thank the fire brigade for making us feel unwanted and because of all this I am sure I will visit Manchester a few more times in the years to come. All the best Olga Lazarevic Architecture University of Belgrade Serbia
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Who wrote this This Report was written by the easa010 hosts, who were: apo - Adam Powell ama - Alex Maxwell bmi - Bhavika Mistry cma - Chris Maloney cho - Christoph Holz dgr - Dido Graham eun - Emma Uncles kbe - Keith Bennell kma - Keith Maloney jri - Jack Richards jhi - James Hills jbu - Jenny Burns jki - Ji Kim jsh - Joanna Sharples jcu - Jonny Curtis jfr - Joseph Frame jdu - Julija Dubovik lcu - Laura Collins lbu - Luke Butcher mla - Matt Lambert mre - Miles Reay-Palmer pfa - Paul Farrell sta - Shinnosuke Takayanagi sfa - Steve Farrell tbe - Thomas Bennell
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Who it was written for The UK team would like to thank the incredible EASA network for making easa010 an amazing experience, it was an honour to play host to you all. Igor
Sladoljev+Oleksandra
Demasure+Michal
polyakova+Selma
Sladek+Abdullah
Alihodzic+Emelie
Denizhan+Adam
Berka+Agnete
Plauborg Lorentzen+Aljosa Merljak+Ansis Sinke+Cheryl Ann Bonello+Chiara Anna+Friedl+Daria
Spasova+Darko
Aguday+Dimitar
Krstevski+David
Rahov+Dimitra
Kovarik+Derya
Vogiatzaki+Elina
Spanoude+Elsa
Deconchat+Erdenejargal Rinzaan+Frida Sophie Vang Petersen+Giacomo Neri+Hanna
Kozlowska+Hilde
Iordan+Joana
Vinge
Torres+Julian
Borjesson+Karol
Fanavoll+Hugo
Grossmann+Julija
Pasternak+Katerina
Karlsson+Lala
Pointillart+Ioana
Abdullayeva+Larisa
Ibrahimova+Mari
Rass+Mariam
Hagesaether+Marina
Afonso
Jureviciene+Kajsa
Kamenska+Kleidi Sisoeva+Laura
Eski+Kristin
Bagdonaite+Leyla
Ayvazyan+Marianne
Maia
Goncalves+Marina
Madland
Ilyushina+Marko
Vukovic+Natalia Fedorova+Natasa Jukic+Nikola Jelenic+Patrick Jaritz+Patrick Roche+Pekka
Ijas+Pero
Vukovic+Rrita
Pula+Sara
Badovinac+Stef
Bogaerds+Sven Lechner+Thomas Jochum+Tomas Dirrix+Ville Mellin+Yelta Kom+Zana Lloncari+Iryna Balunenka+Sam Patterson+Alison Katri+Alvaro Leon
Rivas+Andreas
Normstrom+Arvid
Woelfel+Balazs
Danyi+Bence
Pasztor+Blanca Dominguez Medina+Boris Stanic+Brian Sheehy+Cecily QuentinWeeks+Christina Kontana+Christina Tsakiri+Christine Boss-Mortensen+David Engell
Jessen+Donnchada
Gallagher+Emmet
Kenny+Frederick
Beckett-
Nilsson+Hanna Bulanava+Helen Rose Condon+Inger Marit Skorstad+Jasna Cizler+Javier Guerra+Jeanne Wery+Jesus Diaz Osuna+Jose Mayoral+Lucia Rodriguez+Luis
Palacios+Luke
Gleeson+Malte
Wittenberg+Marko
Slapura+Mikkel
Nielsen+Olivera
Lazarevic+Paddy
O’Connor+Pernille
Siggaard+Ricardo Madsen+Sergio
Paternia+Rodrigo Romero+Simon
Castro+Roland
Harrington+Stig
Anton
Nemeth+Rune Nielson+Tonia
Papanikolaou+Yvonne Michel+Anne Katrine Roien+Leanne Martin+Giulia
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Nardi+Ruth Hynes+Wendy Adams+Steven Schreurs+Cecily Norton+Mahyar Moharramzadeh+Edgardo Jose Tovar Perez+Aaron Callejas Moresco+Alba Minguez+Alejandra Trigueros de la Cruz+Alejandro Cano Abril+Aleksandra Poljanec+Alena Darashkevich+Alessia De Angelia+Alex Mcclellan+Alexander Berg+Alexandros Fotakis+Alvaro Viegas+Amy Green+Ana Sulkic+Ana Tovar Garcia+Anahit Sargsyan+Anastasia Kuzi+Anastasiya Andrukovich+Andrada Marcusanu+Andraz Lecnik+Andre Ribeiro+Andrea Trajkovska+Andrei-Dan Musetescu+Andrej Vuk+Andrej Zikic+Andres Morales Sanchez+Andrew Thomas Lasbrey+Andrius Laurinaitis+Anett Farkas+Anna Kropivko+Anna Podrouzkova+Anne
Geenen+Anne-Cecile
Brun+Anton
Ivanov+Antonio
Olaya Camacho+Areg Melikyan+Arnaud Chabut+Arnisa Kryeziu+Artem Staborovsky+Artsruni
Torosyan+Arzu
Eralp+Athina
Rizopoulou+Ayber
Gulfer+Aydan Mustafayeva+Ayse Cagin Sergin+Barbora Zmekova+Basak Kalfa+Beata
Kurajova+Benjamin
Youd+Bernard
Groothuyse+Benjamin
Rogler+Benjamin
Stambolieva+Bojan
Kecman+Bojana
Brennan+Biljana
Boranieva+Boris
Guzvic+Boris
Jurmovski+Cagri
Sanliturk+Camilla
Siggaard Andersen+Camino Maria Sanchez Gonzalez+Canan Erten+Carina Zabini+Carlo
Antonio
Lozano+Cengiz
Muscat+Carlo
Ayaz+Chloe
Goncalves+Cliodhna
Gerundo+Carlos
Raemdonck+Chriysi
Rice+Craig
Valderrama
Gkolemi+Claudio
McCormack+Cristian
Stefanescu+Dan
Branda+Dana Bodnarova+Daniel Guerre-Gomez+Daniel Krucker+Daniele Blasi+Danilo Drobnjak+Daria Madaj+Darragh Farrall+David Lukacs+Dejan Zoric+Denis
Creanga+Dicle
Kockar+Diego
Garcia
Esteban+Dimitar
Stanishev+Diren Coskun+Domenico Grampone+Dominykas Daunys+Dordije Drobnak+Doruntina Orac+Eero
Myftari+Dovile
Alho+Eibhin
ni
Botyriute+Dovile
Chathasaigh+Ekaterina
Kriksciunaite+Ediz Kozorezova+Elaine
Bonavia+Elcin Rzayev+Elias Lindhoff+Elifcan Yumlu+Elise Junge+Emilie Jorgensen+Emilio Roldán Zamarrón+Emmi Jaaskelainen+Enni Oksanen+Ester Racek+Etienne
Godfrin+Eva
Koutoulaki+Evangelia
Magnisali+Evgeniya
Pronina+Ewa Szymczyk+Fanny Jacquet+Farid Aliyev+Felix Yaparsidi+Ferry in t’ Veld+Filip Nieuwpoort+Flavia Chiavaroli+Francesco Tonnarelli+Franziska Koppel+Frida
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Korberg
Thurhagen+Gema
Florido
Pendon+Ger
easa010 Final Report
Brennan+Giorgos
Kyriazis+Giulia
Mangiafesta+Halime
de
Gurcan+Hana
Vita+Giuseppe
Casanova+Guilia
Grebenar+Hanna
Kalbasko+Hanna
Larsson+Hanne Vermeiren+Ilda Rodriguez Martinez+Ileana Rogoz+Ilgin Kulekci+Ines Alecrim+Inesa Kovalova+Iraki Khutsaidze+Irene Rossi+Iulia Catalina Cucu+Iuliia Khrystenko+Iurii Ostapchuk+Iva Maria Juric+Ivan Aculov+Ivana
Angelova+Jacok
Beinerts+Janka
Juhasz+Javier
Ulbrych+Jan Diaz
Hora+Jan
Garrido+Jeroen
Veisser+Janis
Jonckheere+Jerome
Clot+Jeyhun Imanov+Johanna Aglassinger+Jonathan Pyle+Jora Kasapi+Jovana Plilipovic+Judit
Nyerges+Julia
Ratnieks+Karolina
Knipschildt+Kamila
Ciplyte+Katarina
Caks+Katarina
Piotrowska+Katerina
Antoniadi+Katerina
Serbezova+Katja
Meyer+Katja
Pluch+Klara
Nicoline
Wengman+Konstantin
Loncar+Lasma
Grigione+Laura
Kawecka+Karlis Dekleva+Katarzyna Kolevska+Katerina
Skoric+Katya
Lopatina+Kerstin
Ikonomidis+Kseniia
Hanley+Leire
Pundyk+Lana
Echevarria
Lopez+Lena
Zeidler+Lenka Olesova+Libor Mladek+Liene Adumane+Linn Osvalder+Lise Barbry+Lise
Thagaard
Norager+Liv
Grete
Stromme
Framgard+Ljiljana
Popovic+Lone Kjersheim+Loren Holmes+Lotta Jalava+Lucia Brandoli+Luigi Nicodemo+Lyubomir Dimov+Maja Dimishkova+Maja Jenko+Maja Lesnik+Maja Milinkovic+Maja Roic+Manos Chatzinikolaou+Mar Vicens Fuster+Marcos Serna Eslava+Marcos Silva Mirra+Mari-Liis Vunder+Maria Economides+Maria Eugenia
Diego
Salvador+Maria
Arshakyan+Marie Dragoti+Martin
Jesus
Bertram+Marija Berg+Martin
Sastre+Maria
Pettersen+Mariam
Strajnic+Marko
Konieczny+Martina
Savic+Marsida
Tagliarini+Mathilde
Zeuthen Lesenecal+Matija Gold+Matthew Cachia Zammit+Michael Atterd Previ+Mika Katarina Friis Pedersen+Mikhail Kozlov+Mikita Lauretski+Milda Kulviciute+Milos Zivkovic+Miroslava Mertova+Monica Martin Grau+Monica Naso+Monica
Pacheco+Monica
Voronina+Natasa Murseli+Niko
Tusinean+Monja
Radakovic+Nathalie
Kejerashvili+Nikola
Abela+Nicky
Ralevski+Nikolay
Johnstone+Narine Nicolaou+Nikki Andreev+Nikolay
Mitov+Nikoloz Bolkvadze+Nina Aalbers+Nina Eminagic+Nina Rojc+Nina Simona
Heeb+Noel
Kohler+Nunzio
Roche+Noemi
Enrico
Gyarfas+Noora
Bonina+Oksana
Lehtovaara+Nora
Lastovetsky+Oleksandra
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Polyakova+Olga
Smirnova+Olwyn
Scheuer+Piotr Cybaite+Rauf
Maciaszek+Pontus Mammadov+Raya
D’Alessandro+Robert
Greene+Oskars
Vavere+Pernille
Ljungberg+Predrag Boyukova+Rena
Hanson+Roberta
Milic+Raimonda
Mustafayeva+Riccardo
Mazzoni+Roman
Zabela+Romea
Muryn+Ronan Kenny+Rosalie Isabel Schweninger+Rosina Shatarova+Saadet Zeynep
Bacinoglu+Sabir
DĂaz+Samuel
Rey+Sanna
Ahmadov+Samir Hjort+Santa
Salakhov+Samuel
Lazukina+Sara
Perea
Dughetti+Sara
Melo+Sarah Riley+Sereh Mandias+Sergio Alarcon Robledo+Sibel Pipa+Silda Kotolloshi+Silvia Ruiz-Poveda Lomba+Simona Stefanie Zimmermann+Sofia Bergman+Soseh Aghaian+Stefav Jovicic+Sukufe Aksulu+Szilard Veisz+Tamara Kalantajevska+Tan
Oktik+Tatevik
Hakobyan+Teresa
Scheibova+Thomas
Klein+Thomas
Roelandts+Tilke
Carro+Tereza Devriese+Tomas
Kubak+Tomas Petermann+Tornike Dadiani+Umit Mesci+Una Dakic+Vanand Andreasian+Vera
Schmidt+Vigan
Etemi+Vitaliy
Avdyeyev+William
John
Mckee+Zacharenia-Eirini Chatzieorgiou+Zsofi Paczolay+Zsofia Vancsura+ Francisco
J.
Rodriguez
Michette+Matthew Clariana+Carlos
Perez+Julie
Duggan+Kieran Cabrera
Bart+Marten
Dashorst+Martin
Donellan+Andrew
Hughes+Salvador
Pernia+Caitriona
Rose
McCarthy+Hana
Draskovic+Milan Dragic+Olga Lazarevic+Pavle Stamenovic+Alvaro+Alice Shead+Boyana
Stoeva+Christina
Patiniou+Dalia
Dimitrova+Elizabeth
Daly+Ellis Bailey-Cross+Holly Lang+Jim Mitchell+Kirandeep Matharu+Maryam Osman+Michelle
Tomlinson+Rachael
Frame+Srisundar
Senthiappan+Suzanna
Smith+Rebecca Kwong+Dan
Prince+Samantha Goldenberg+James
Anderson+Sung Ha Kim+William Burgess+Archna+David+Andrew+Dolores Jeronimo+Dhruva Dinesh+Charlie+Mihai Dinu+Jacky Chan+Shu Wai Sim+Vasa Iamsuri+Jay
Hong+Arthur
Rodreguiez+Tess Moroney
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Graham+Samyuktha+Matthew
Milwid+Aida
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So...
would you do it again? Always baby, always. mda
Absolutely. Huge learning experience which has made me change so much. jbu
no. but im glad i did it the once. pfa
Organising easa is like sleeping with a girl, you do it once, you probably enjoy it, but its doubtful whether you would do it again jcu
yes, because the outcome was incredible. To be able to see freedom of expression through architecture and meet some amazing people was an experience that can never be forgotten, and definitely worth the drama. dgr
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knowing the mistakes i made, the shit we dealt with, the pitfalls, the wasted days and missed opportunities, of course. we’d do it perfectly and sort it out within three months! ama
No, it was the right time in my life to do this and I learnt what I really enjoy doing. Would I do it at all, with the benefit of hindsight? Ask me in a year’s time... tbe
yes jfr
Yes, why wouldn’t I? mre
once in a lifetime. X eun
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