easa013 tutorpack by EASA Slovenia

tutorpack easa.013

탑u탑emberk.slovenia.4th-18th.august.2013

CONTENT 5 EASA AS A NETWORK 7 INTRO TO THE NEXT ASSEMBLY 11 CULTURAL BACKGROUND 17 REACTION: FOUNDATIONS 21 REACTION: PRACTICAL SUBDIVISION 25 REACTION: THE PROCESS 29 WORKSHOPS SITES 55 CALL FOR PROPOSALS 61 APPENDIX 63 CREDITS

tutorpack easa.013

탑u탑emberk.slovenia.4th-18th.august.2013

thoughts, through which they study the hosting place, make proposals for development issues, include the local community and interact with the surroundings. The Assembly itself gathers half a thousand students of architecture each summer from more than 200 Schools of Architecture. The main activities are various practical and theoretical workshops held by skilled tutors, accompanied by lectures by local and international architects.

< The EASA community

EASA AS A NETWORK

It is very hard to define what EASA is. Technically it is a Network, the biggest architecture students network in Europe. The European Architecture Students Assembly has more than a three-decadelong tradition. It was established in 1981 in Liverpool with the purpose of connecting with students from other European countries. Attendees exchange experiences and cultural knowledge, ideas and

The Network moves to a new venue every year, providing fresh views and challenges in practical spatial design and theory. The organizing process is run by individual volunteers, who make the core of the assembly by combining the location and theme, finding partners and sponsors. The Network and its events always happen at a certain location for a specific reason. This can arise from the desire to socialize, create, learn, change, draw attention to problems, civil initiative etc. The success of the assembly depends on everyone’s personal involvement, i.e. ‘the more you put in it, the more you get out of it’. For two weeks the EASA community becomes selfsufficient. It brings a unique creative spirit among the participants, also known as the EASA Spirit which is difficult to describe but easy to feel. 5

< A historical drawing

INTRO TO THE NEXT ASSEMBLY

Idea The essence of the event is to be found in the connection between the location and the given theme; defining the problem and the context. In the process of devising a proposal the team tried to define both simultaneously and thus reached the following conclusions. The criteria for the selection of the location arose from the natural conditions of the Slovene land, which can be abstracted as green and blue: vast forests and a rich and clean water system. By focusing on nature and the countryside, it became clear that the theme will function very locally with a touch or feeling of the global. The castle was the icing on the cake â&#x20AC;&#x201C; as a symbol of cultural heritage, the token of history, the object exposed to different regimes and ideologies, changes in the intended use etc. 7

Sandy ground above green river, On its top a castle stays, History spread all over, Growth, Bloom, and Decay. Tone Pavček: Žužemberk The poet outlines the place and its history in four lines. His poem is a good starting point for further research. Tone Pavček (1928 - 2011) was one of the most influential Slovene poets, translators and essayists from the first post-war generation.

< Main square with the church still intact

Location Žužemberk is situated on both banks of the river Krka and is the capital of Suha Krajina (Dry Land), a part of Lower Carniola region in the southeast of Slovenia. The town was and still is dominated by a medieval castle surrounded by strong castle walls. The castle is uniquely placed in the very center of the town, being a vital part of the central square. Theme The EASA theme works as a frame; on its basis students think,

research and create. It can be oriented very architecturally or simply socially. Reaction as such refers to the people, to villagers, to the response to the state of society. Nowadays active involvement into processes that change our environment is very important. The theme Reaction explores the possibility and the importance of the public’s participation in shaping the space through researching the past, the cultural and social background. On one hand Reaction is very locally oriented, on the other it explores similar issues in other parts of the world. How to properly react to the current situation with the world crisis and consumer society? What is actually the architect’s primary job and the job of architecture? How can we help the community when designing public space, even when the architect’s direct influence is not present? How to preserve the knowledge, skills and qualities of construction and design from the past? The theme Reaction is a very wide notion, one that can be interpreted differently by each participant. It is only important that everyone asks themselves how an individual can contribute to a higher quality of coexistence. The theme Reaction is divided into three practical sub-themes, linked

to location, tradition and craftsmanship. The three subthemes were not chosen randomly, but follow the classical division of the EASA workshops into theoretical, practical and workshops which combine the two. Goals During the two-week-long workshops students will use their academic knowledge in practice, make analyses and concepts, develop their ideas, debate, socialize, solve issues within the work groups, exchange ideas and experience etc. They will interact with the surroundings, learn how to use tools for material treatment, work with the locals and be introduced to local crafts. Within two weeks the workshops, which might be only at the stage of an idea or conceptual design, will be brought to a realization. They will be concluded with an evaluation and presented at an exhibition. The EASA network stimulates intercultural dialogue. It encourages the collaboration among students of different Schools of Architecture, nationalities, backgrounds, opinions, which benefits the development of an individual’s thinking process. There is no hierarchy in workshops and activities so everyone can contribute to the project’s evolution. 9

neokrnjena narava

< Local tools

CULTURAL BACKGROUND

A bit of history Historically the development of the valley was affected by its inhabitants, first the Illyrians and Celts, and later the Romans who built an important road through it. From the village a medieval market town Žužemberk evolved. The present day site developed around the castle, from which the name Žužemberk originates. Since iron was excavated in the

nearby courtyard, called Einsenberg (today’s Zafara), the castle was given the name Seinsenberg, which the local people changed to Žužemberk. This is only the first of three derivatives of this name. Another suggests that the name of the castle and town originates from an Old German word “sousen”, which means to rustle or to roar, after the rustling sounds the river Krka makes. It is also said that the name derives from the Slovenian name Zožen breg (narrowed bank), which was changed into Seinsenberg and then again back to Žužemberk. Local crafts and economy Iron foundry From pre-Roman times to the 19th century the valley of river Krka was known for iron production. In Dvor, a village in Žužemberk Municipality, the Auersperg family established an iron foundry in 1796, which produced both cast iron and wrought iron products until its downfall in 1891. It was one of the largest early manufacturing plants in the Slovene lands and the largest iron foundry south of the Alps. The wide variety of iron products included everything from artistic castings (candlesticks, decorative plates, tombstones), which are the first specimens of industrial design in the Slovene lands, to simple objects for everyday use (kettles,

nails, sheet metal) and more exacting industrial and construction products (water pipes, bridges, furnaces, wells), which were even exported. Among other things they produced the iron construction for the old Shoemakers’ bridge in Ljubljana and the first railway carts for the Postojna cave.

Water-mills The tufa layers of the river Krka create favourable natural conditions for the exploitation of water power. This led to the construction of numerous water-powered mills, 40 of which were still active at the beginning of the 20th century. The economic and social changes that followed the Second World War led to a decline in the exploitation of the river’s energy and in 1952 milling in peasant mills was prohibited by law. Nowadays the few remaining water-mills stand as cultural landmarks and reminders of the area’s cultural heritage.

Paper mill In 1716 a Žužemberk local bought the ruins of the castle mill and turned it into a paper mill; thus one of the three oldest paper mills in the Slovene lands was established. The paper mill was in operation until 1875, when it was sold and converted into a tannery. 11

< River Krka and the castle

Tannery Žužemberk has a long tradition of leather treatment and trade; its tannery was established in 1875 on the ground of the old paper mill. The leather artisans united and formed a guild, which became the largest guild in the region and stayed active until the beginning of the 19th century. Among other things the tannery provided the Partisans with footwear during World War II, but was burned down during the bombing of Žužemberk in 1945.

Powder magazine In 1730 Žužemberk even had its own powder magazine, although it was closed down when the national powder magazine was established in Kamniška Bistrica. river Krka The central water system of the Lower Carniola region, the river Krka, has one of the most picturesque tufa waterfalls or barriers right under the castle. It used to be full of well known Krka crabs, which were regarded as one of the most delicious dishes at the imperial court in Vienna. In the summer, the river offers different possibilities for sports and activities such as rafting, bathing and fishing. The total length of the river Krka is 111 kilometers and the overall drop is just 140 meters (0,1%); still it is known as the river with the most waterfalls in Slovenia. There are beautiful tufa waterfalls next to Žužemberk and Dvor, both 2 to 5 meters high. This geographical characteristic was very useful for building mills, which were once an essential infrastructure for local farmers.

The castle It is difficult to say when the castle was built. The year 1000 is sometimes mentioned, since it was

engraved above the entrance into the rectangular Romanic tower, along with the castle chapel of St. Ulrich, built in 1046. Several buildings were added around the tower many times in its history; however the main annex to the castle was enabled by the so called Turk tax, by means of which the prince bishop Krištof Raubar fortified the castle with seven defence towers or bastilles between the years 1526 and 1533. The castle became an unconquerable fortress. After being abandoned in 1825, the castle started to show its age. The roof above the northern part collapsed, as did the courtyard facade a decade later. During World War II the castle was attacked several times, and it received the most destructive blow in February 1945, when the allies bombarded Žužemberk. As a consequence the tower collapsed in 1948 and the castle as well as the town lost their vertical accent. In 1957 renovation of the castle began and in 1996 the Board for renovation was established. Nowadays Žužemberk’s summer cultural events take place in the castle courtyard and the former wine cellar, some of them even on the square in front of the castle. 13

< Monument Cvibelj

tor Marjan Tepina. Along with the crypt it was built in memory of 1140 fallen Partisans who lost their lives in battles in Suha Krajina (Dry Land); among those are also foreigners, members of international partisan units, who were part of the Slovene National Liberation Army. Memorial monument Cvibelj stands on a 305 meter high hill called Tumplac that rises above Žužemberk. People Zalla Zarana (1897-1967) was the first Slovene actress who performed in Hollywood. She was only 17 when she moved to the US where she appeared in 20 silent films. She retired from acting at the dawn of sound films. Leon Štukelj (1898-1999) is an important figure in Slovene sports history. As a gymnast he won 20 medals, 6 of which were olympic (the most any Slovene athlete ever has). Up until his death from a sudden heart attack just a few days before his 101st birthday he practiced daily on gymnastic rings at his home apartment.

Memorial monument Cvibelj The monument was erected in 1961 and is the work of sculp-

Janez Vajkard Auersperg (16151677) was a descendant of the elder line of the Auersperg family from Carniola. He held several positions at the Austrian court; among others he was the secret adviser to emperors Ferdinand

III and Leopold I and the teacher of Ferdinand IV. He held great political influence and became the Prince of Auersperg, the Imperial Prince of Tengen, the Duke of Münsterberg and even the Prime Minister of Austria. Social context In a way Žužemberk is a miniature Slovenia with its natural beauties, forests and a clean river as well as problems of division among people; this division showed its cruelest form during World War II when both sides took up arms. After the war the town was reconstructed, the church removed and a quick industrialization occurred. New settlements sprung up next to existing ones; shock workers came, who did not get along with the old inhabitants. Thus immigration started decreasing in the 1970s, people moved away to bigger cities and returned to Žužemberk only during the weekends. Mid 1990s the slow awakening of national consciousness stimulated the revitalization of the castle ruins and the parish church on the hill. After Slovenia’s emancipation divisions among people and attempts to appropriate community property reappeared. Nowadays Žužemberk and Slovenia are in a recession, people are moving away, a new development strategy is wanted. 15

< The locals with the castle

REACTION FOUNDATIONS

A point of view Every year since the first EASA in 1981, the assembly gathers architecture students to find solutions to a specific problem. Young minds respond with spatial manipulations to more or less important dilemmas of the world. After three fruitful decades of the EASA journey we entered into a time which can be compared to the situation that caused EASA to appear in the first

place. Some would dare to say that the current situation has gotten even worse. In the last decade we witnessed rapid changes going on in the world: globalisation, capitalism, loss of identity, visual media domination, information age and lastly the global financial crisis. All these phenomena contributed to a change in people’s state of mind. Usually when society hits rock bottom revolutions start. In a way a revolution is happening now, but it isn’t really going anywhere. There are numerous initiatives around the world, like Assange, Occupy movement, Anonymous and others who do win battles but not the war. Why is that so? How come no one can push the level further to a better future? One of the reasons is the lack of unity. Almost everyone wants something different and compromises are getting harder to achieve as people’s identities disperse further on. Ironically the majority of important decisions being made today need a compromise or rather to say democracy is built on them. We’ve walked to a dead end, where nothing is being decided anymore. Endless talks eventually end with status quo. On the other hand more and more people are unsatisfied with the current situation and they want to change that, but are unable to. It’s

a time of passive activism. Furthermore people don’t know what they are anymore. Globalisation caused that two persons living on opposite sides of the planet can buy the same products. They watch the same movies and listen to the same music. The world became united merely in a materialistic sense and capitalism got greedy with it. For the first time in human history we have access to everything. The sky is the limit, as the richest of the rich display every day! We want to be what we see in the media; may it be actors, singers or just celebrities, who actually don’t do anything useful. Our plans and motives are manipulated by others and we don’t listen to our hearts or minds anymore. Our mind is so polluted with an endless array of options, that we lost the sense to see what we excel in, what we are born for and most importantly what the thing is in which we are so good that we can contribute something to the world. The theme Reaction deals with all of the stated issues. Our wish, as organisers, is that you critically look at today’s society and also yourself to find new ways to reconnect people, the environment and nature. Žužemberk will be a test ground for new quality symbiosis, a part in a Reaction. 17

< Knight games

Public participation “In the beginning participation was truly authentic. Then it became an instrument of politics and frequently abused. If I think of the sixties, two things were fundamental back then. The first was the student revolt, the second the new consciousness of the workers. At that time I designed two projects that were based on the idea of participation, for the residential area Terni and for the center of Rimini. After this era society became bureaucratized and participation became formalistic and stupid. For me the problem changed; the real question became how to design architecture that will encourage participation on its own, that is the question of the language of architecture. How to develop a language which people will understand, break through and use? This makes the process much more lasting. Participation is something that needs to be triggered and then – this you must not forget – it lasts forever.” (Martina Malešič, Giancarlo De Carlo – architecture liberates, ab 173-174, 2007)

In the beginning participation is always authentic. Whenever you personally ask people about their opinions and listen to them, they reciprocate to the same extent. As best they can, they try to give you their best opinions, stories, beliefs. They are happy that someone is listening to them and that they are given the opportunity to express their opinions. They are glad to have direct contact, instant exchange of opinions and quick reactions to carry out solutions. Such encounters give fast solutions and immediate results, but take a great deal of commitment from individuals and mutual trust. Problems arise later, when we simplify this process and write it down like a recipe. By simplifying, may it be through technologies or bureaucratic procedures, we actually make the process complicated and useless. We leave it to bureaucrats on one side and media on the other. Both have in common the disinterest for longterm solutions and innovations, which is understandable in a way as the issue of space does not affect them directly. The principle of such design is Top-Down, where ideas are created on top and solutions transmit and substantiate through media downwards. The result of such an approach is a

space which occurs and is typical of almost all modernist cities and neighborhoods. In contrast to that are old city centers which were not designed by any urbanist, but are still beautiful and pleasant. They were created through negotiations, discussions and comparisons between the people and experts. Nowadays these spaces are the goal of participatory design. The principle standing behind it is Bottom-Up, where ideas for solutions are sought from the needs of inhabitants. The goal of such workshops is collecting and organizing information, extracting the final image of an object/space through a process of questions and answers and finally to form a proposal that will logically follow these suggestions. Meanwhile we have to be conscious of weaknesses such as an excessive emotional attachment to space, vagueness of ideas and the inability to form a final proposal as a consequence of fear of taking responsibility. All final products are presented publicly.

You can read more about these principles on the internet or in literature which discusses system theories. In practice these are being used mostly in computer science and biology, lately also in observing social processes. 19

< Blacksmithing

REACTION: PRACTICAL SUBDIVISION

The primary goal of dividing workshops is the practical breakdown of the general theme, which can be interpreted differently by each participant, into three sub-themes, linked to location, tradition and craftsmanship. The three subthemes were not chosen randomly, but follow the classical division of workshops into theoretical, practical and workshops which combine the two. Proposals for EASA workshops should follow these three sub-themes – the concept of the workshop can belong to one, two or even all three subsets. When designing the proposals always keep in mind your future participants. Breaking point The theoretical workshops associated with this title directly address the main theme Relation – Response – Reaction. It is the widest open set, which should primarily explore your relation towards the present situation, in it seeking your reaction, reaction of participants and reaction of Žužemberk. Remember the problems which were already solved in history and opportunities that might appear in the future. Don’t forget the site that you are dealing with. Your own town and Žužemberk. Compare them, bring some interesting

examples of good (or bad) practice from your experience. Elaborate on a theoretical level and find practical solutions. Make an impact on public opinion, encourage participants to express their own ideas. Prepare for a public presentation, prepare for interaction, prepare for Reaction. Craftsman work Žužemberk has a rich history of craftsmanship like shoemaking, leather working, flour milling, iron working, blacksmithing and others. For more details look at the section Location’s cultural background. So called compound workshops are concentrated on exploring and learning some basic principles of craftsman works. There are a variety of approaches on how to organize your workshop. You can bring your own knowledge, share it with participants and design products in local workshops. If you have a good idea but don’t know how to implement it, you can choose one of the local craftsmen (list in appendix) and design a workshop with them. You can also bring some of your own craftsmen with you. The door is open to do what you want to make an excellent workshop. With this you can contribute to the conservation of the cultural herit21

< Genius loci of the town

age, actively preserving it with its implementation into modern construction knowledge. We encourage you to work with your hands. We encourage you to make a practical execution at the location. We encourage you to identify some basic tectonic principles you might use during your work as an architect.

Site opportunities In its turbulent history Ĺ˝uĹžemberk was demolished and rebuilt many times; the most recent is the severe damage it suffered from bombing during World War II, from which it is still recovering today. This is also an opportunity for EASA to sensibly fill up the space with its interventions. With this group of workshops we encourage the feeling for the so called Genius Loci. Through this tutor pack we want you to feel the site, its patina of history and potentials for future development into a sustainable town. Design appropriate, thoughtful and creative solutions for the spaces (listed in appendix), use their spacial potential, seek small, hidden suggestions, intimate quality that might lie just before us/them, and we/ they havenâ&#x20AC;&#x2122;t even noticed it. Seize the opportunity to contribute to the town with your knowledge. 23

blacksmithing?

“When we established the Board for renovation in 1996, we realized that communities which do not respect their history are not worth a future. We were aware of the financial difficulty of this project, but also of Krek’s motto: It has to be started, that’s the whole secret.” (Slavko Gliha, president of the Board for renovation of the Žužemberk castle).

< The workshop with Žužemberk’s locals

REACTION: THE PROCESS

When designing the theme and preparing appropriate workshops we often wondered what the opinion of the people who reside there is. In accordance with the theory, described in the section Public participation, we organized a conference in Žužemberk on October 5th 2012, to which we invited the locals. We divided them into three groups and asked them about their opinions on the castle, the park and the square.

Group CASTLE The locals in this group said that they see the castle as a cultural center of the region and that its content should facilitate integration between the two divided groups of inhabitants. They see it functioning as a carrier of cultural tradition, old knowledge and objects to future generations. They want an upgrade of events and activities already being carried out at the castle (knight games, fencing, medieval writing, wine cellar, cultural events). Group PARK (area of the demolished church) In the park locals mostly want a

programme that would bring them to the square; a place for informal socializing, a bench, perhaps a smaller fairground to promote local products. Spatially they see the park as a symbol that, because of its distinction from built surroundings, informs them they are in the center upon arrival. In contrast to the castle, which they perceive as a closed object, they want an open, always accessible space there. They are aware of the fact that a church, which was removed after World War II, used to stand on that spot and think it is appropriate to preserve its memory, but are opposed to the idea of putting a reconciliation monument in its place as they feel it would divide them even more.

Group SQUARE The locals in this group agree with experts’ findings that the square is undefined by border objects. It serves as a parking lot, which they think is improper but convenient. They also emphasize the fact that there are not enough activities taking place there. They perceive the focal point of the square to be the well that used to serve as a unifying element since villagers had to go there to get water. The lack of this vital element gave the valley its name and thus the well acts as a symbol of the town. 25

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< Workshops site map

SITE LIST

1 The square 2 The castle walls 3 The castle trench 4 The pavilion (competition) 5 The old tannery 6 The round path 7 River Krka and its banks 8 School courtyard 27

that the Competition for an EASA Pavilion is planned for this area.

< Historically the main square was a popular meeting point

WORKSHOPS SITES

The church After the war Saint Jacob’s church was demolished, which indicated an extremely strong intolerance of the authority at that time. The location of the demolished church is today partly occupied by the road; the rest forms a green oasis in front of the castle. When a passerby comes from the direction of Ljubljana, his gaze is caught in the green scenery of the tree tops, which draws attention to the once present church. The church is a symbolic building, a building with a spiritual and sometimes political purpose as well. What does this empty space, that once served a purpose, mean for the square nowadays? What was taken away from the square and what should be returned to it? To what extent should we take into consideration the fact that a church once stood there? Perhaps a programme that would animate the area and benefit it for different purposes? Please bear in mind

The square The square is bordered by the municipal building on the north, the store, post office and restaurant on the west, a lawn, a few trees and buildings on the east and the castle on the south. In 1399 Žužemberk acquired market rights; in the Middle Ages these were the rights to an annual fair, weekly fairs and a seal, but not to a city wall. Thus people got an opportunity to sell and exchange their products, meet and exchange experiences. Nowadays the main road Ljubljana – Novo Mesto divides the square into two separate halves. The square’s central element is the cast iron well, such as the ones produced in the iron foundry Dvor in the 19th century. It was cast in the 1960s and has been preserved to this day, still proudly adorning the main square in front of the castle and reminding us of Dvor’s skilled iron founders, for which no work was too demanding and too difficult. The spot by the well used to serve as a popular meeting place for Žužemberk’s inhabitants. The square was a place for meeting, exchanging material goods, news, tips. Nowadays it is occupied by motor traffic as it is intended for parking. 29

< Empty, unused space between the castle walls and the square

The castle trench The castle trench is one of the bigger ambients in Žužemberk’s central area; a mighty, several meters high and wide hole in the ground, right next to the square. This site once served as the castle’s first line of defense, but has since been abandoned and is now unused. Given that this facility will never again perform its intended function, it would be interesting to think about what to place there. It is certainly a special place and therefore suitable for a wide variety of interventions. 33

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5 34

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< map of the castle

SITE LIST

1 square with the well in the middle 2 castle courtyard 3 the pavilion (competition) 4 the old tannery 5 river Krka 6 water mill 7 the castle trench 8 inner trench 9 castle core 10 main chamber 11 path around the castle

The castle walls The castle stands on a terrace above the river Krka and represents the center of the settlement. The Board for renovation of the castle is in charge of its revitalization. The inner courtyard is in order. Wooden guardrails protect visitors from falling to lower levels, which are accessible via wooden stairs. Castle walls are clean and renovated. The wooden shell gives the visitor a sense of the castleâ&#x20AC;&#x2122;s former architectural magnificence. Most of the areas are clean, open and accessible to visitors. The restored castle offers space for different cultural events in its courtyard and in the wine cellar, which is used by the community for meetings and presentations. Nowadays the castle is quite open and airy. Former magnificent windows open up a view of Krkaâ&#x20AC;&#x2122;s valley in both directions. In the past the interior was filled up by additional buildings which made the castle saturated and introverted. 35

< The old tannery before it was torn down

The old tannery Of the once respectable building beneath the castle hill merely ruins remain today; only the circumferential walls are partly preserved. Inside there is a lot of chips and rubble, overgrown with bushes and young trees. Due to the proximity of the river the ground is somewhat damp or marshy. By the following summer the municipality is supposed to mend the ruins. The terrain will be cleaned, unstable walls will be torn down to a safe height and stabilized. A large empty space will appear, ideal for a workshop that could reestablish some of the buildingâ&#x20AC;&#x2122;s vibrant past. 45

AĹ K 2010 Slovenija

< The River’s surroundings

River Krka and its banks The river Krka is a fairly shallow river with a weak and slow river flow. The river’s surroundings are mostly overgrown with shrubs and meadows; the embankment is not steep. The “camp” area has a volleyball court in the sand. During the summer months young people like to use the river for a quick refreshment, to ride canoes etc.; fishermen often fish along the entire length of the river to Dvor and beyond. Because of the small height difference between the river’s source and its outfall into the river Sava (only about 140 meters), Krka’s current is (on average) slow. This allows the limestone to be slowly but steadily deposited on the riverbed, which in some places creates characteristic tufa waterfalls. 47

<<< Around the castle < The path around the castle

The round path The once existing path around the castle walls can somehow be understood as a symbol. The round path around the castle may represent only an old, overgrown footpath or a possibility to see the townâ&#x20AC;&#x2122;s history and cultural heritage through a different perspective. The path descends from the square through former vineyard terraces to the river Krka, crosses the ruins of the old paper mill/tannery and stops at the old water mill. The narrow path then ascends by the steep and majestic castle walls with a magnificent view of the valley and the surrounding nature, which is especially poetic in the autumn morning hours with a foggy background. Before it returns to the square with its cast iron well, it crosses the park with the area of the demolished castle-church on the right and the castleâ&#x20AC;&#x2122;s protective trench on the left. All these objects bear witness to the townâ&#x20AC;&#x2122;s past, the mightiness of the fort and crafts. 49

< Remains of the Auersperg iron foundry at Dvor today

Other locations Following a subsequent arrangement with the municipality workshops are possible throughout Žužemberk and in the wider area (gaps in the urban fabric, plains, forests etc.). Neighbouring towns can also serve as locations, some just as interesting both historically and as an ambient. You can find some examples on web maps: Dvor, Drašča vas, Dešeča vas, Klečet, Šmihel, Prapreče etc. When searching for interesting workshop locations outside of Žužemberk we ask you to consider the distance from the accommodation. 51

< Collaboration among participants

CALL FOR PROPOSALS

The purpose of this call is to select quality workshop proposals that will be carried out during the 33rd European Architecture Students Assembly in Žužemberk. A workshop is an idea, a concept, a reflection, an experiment, which corresponds to the given theme and sub-themes. During the twoweek-long event it will be executed from start to finish. The tutor or tutors, who conduct the workshop, decide how it will be executed, how many participants they will accept and how they will steer the workshop to produce tangible results. The team is supposed to produce a result that can be presented via a selected medium (text, photograph, video, sound, model etc.). The results of the workshops will be presented at the event’s final presentation. Teams The proposal should be submitted by an individual or a group of two or three people. The applicants should understand the concept of EASA. Although the call is intended for students or graduates of architecture, we would like to expand the event beyond this field. As one of the concepts of this Assembly’s theme is to discover con-

nections with other professions; we encourage students of other fields to think about this concept and contribute their views to the selected topic. We recommend that members of the group know each other and already have experience with organizing or conducting a workshop. We stress the fact that an EASA workshop is a method of working in groups, working with people from different countries and cultures. We expect the applicants to be responsible, communicative and independent people, who would, by gaining the title tutor, become a fundamental building block of the largest European student workshop-type event. Register Please register your team here. This first step is intended to keep a record of how many proposals the organization team can expect until the call’s deadline and to have the necessary contact information of the teams at all times. Questions Please send your questions to workshops@easa013.si until Sunday, December 17th 2012. The answers will be published on our website www.easa013.si and other communication channels no later than December 24th 2012. 55

< Workshop Revitalisation of ruins in Nemska Loka

Proposals The process of transferring the idea or concept into a proposal is without any doubt the most difficult part. The whole thing is mostly up to you, but for technical and evaluation reasons we divided the proposals into two parts. The first part, the technical part consists of filling out the application form, which guides you through most of the thinking process. You can find it in the confirmation message after your registration. The second part, the graphic part is simply an exhibition, a concept poster. The technique of the poster is not determined, only the format is. We ask you to adhere to these restrictions when making it: 800 x 800mm, .pdf format, print ready (cropmarks, bleed), 20Mb max. The evaluation will be divided into two parts, where each can receive up to half of the points. For this purpose we encourage you to perfect the proposals technically as well as graphically. Submitting the proposals The organizers will provide a server especially for this purpose to which the teams will be able to submit the proposals. Access to

this server will only be allowed to registered teams, which will only be able to add files. The files will be secure, which means the only people who will be able to access, delete, copy or open them will be the administrators (organizers of the call). This system allows the call to be anonymous and eliminates the possibility of missing files. Filling system Please follow these instructions to name the files: yyyy-mm-dd_app form (or) poster_three digit code. The proposal should consist of two .pdf files inserted into a common folder. These folders will be automatically created after your registration. Evaluation committee The committee is composed of 3 members of the organization team easa013, an architect as a past tutor and a member of the Municipality of Žužemberk. Aljoša Merljak, student of architecture, organizer Aleš Kobe, student of architecture, organizer Matic Brdnik, student of architecture, organizer Aleksander Saša Ostan, architect, past tutor Vlado Kostevc, member of the municipal Administration Office 57

< Working with tools

land, Finland, France, Germany, Iceland, Italy, Liechtenstein, Malta, The Netherlands, Northern Ireland, Norway, Scotland, Spain, Sweden, Switzerland, Wales, International Group 2 (80%) Cyprus, Ireland, Moscow, Slovenia, CLEA Group 3 (60%) Croatia, Czech Republic, Estonia, Greece, Hungary, Latvia, Lithuania, Poland, Portugal, Slovakia Group 4 (40%) Bulgaria, Montenegro, Romania, Serbia, Turkey

Fees The registration fee for tutors corresponds to the registration fee for participants. The participants are divided into 5 groups. The registration fee for participants from the first group is 300eur (100%) and it is reduced proportionally by 20% for each subsequent group. Thus the registration fee for participants from the fifth group amounts to 60eur (20%). You can find more information in the document EASA Guide by contacting your National Contact. Group 1 (100%) Austria, Belgium, Denmark, Eng-

Group 5 (20%) Albania, Armenia, Azerbaijan, Belarus, Bosnia and Herzegovina, Georgia, Kosovo, Macedonia, Moldova, Russia, Ukraine Important: The organizers of each event reserve the right to move a country upwards by one group according to travel expenses with the approval of the representative NCs. Rewards The reward for getting a workshop is above all the invaluable experience one gains and the opportunity to co-create the 33rd EASA. In addition, for motivation and appreciation of the effort, the tutorsâ&#x20AC;&#x2122; registration fee is symboli-

cally reduced by half (for example: a participant from Austria pays 300 eur and the tutor 150 eur. The registration fee covers the costs of accommodation, food and materials for the workshops throughout the event. Obligations By acquiring a workshop the individual or team commits to working conscientiously and responsibly. They must be willing to create optimal conditions to coordinate the workshop; coordination starts with the selection announcement and lasts until the meetingâ&#x20AC;&#x2122;s start-off. The tutors also commit to joining the organizers at least a day before the commencement of the assembly in order to enable the preparation and organization of the workshop at the best possible level.

Important dates Registration opens: 26/11/2012 Deadline for questions: 17/12/2012 Answers announcement: 24/12/2012 Registration closes: 04/02/2013 Deadline for proposals: 11/02/2013 Call results announcement : 25/02/2013 59

< Workshop preparations

APPENDIX

These are lists of some materials and tools that will be possible to obtain during the assembly. Material use and treatment in the architectural field are things which have to be thought through. Feel free to add some new materials to your proposal if you feel that they are vital for your workshop, although we kindly ask you to keep in mind the costs. Local craftsmen collaboration Below you can find a list of local crafts, still managed in the area of Ĺ˝uĹžemberk. These craftsmen are willing to collaborate with students with the hope that something good will come out of such intercultural and interdisciplinary workshops. Local crafts: artistic blacksmithing and metal sculpturing, casting metal, metal and wood construction, artistic woodworking and wood chasing, burning charcoal mining, calligraphy, basket weaving, honey products (local tradition), paper producing (optional). Material list Plywood, fibreboard / OSB / LSB, wooden beams, wooden semiproducts,

metal sheets, metal beams, metal semi-products, plexiglass, glass rope, string, metal rope, wire, bricks, construction blocks, paving tiles, cement, sand, stone, clay insulation material (different types) fixings / screws / nails / nuts and bolts / rivets, chemicals, glues, paint, spray paint, paint brushes, paint rollers, helium tanks, fabric, protection fabric, clothes, electrical products, lights / LED, cables, switches office material, pens, pencils, paper, cardboard, duct tape, paper glue, sticky tape, cutters, scissors, rulers, erasers, staplers. Tools list Pliers, keys (French, Hex etc.), screwdrivers, hammers, rivet guns, staple guns, clamps, table vise, crowbar measuring tapes, rulers, squares, extensions, cables, working lights concrete mixer, wheelbarrow, trowel, shovel, chisels, garden tools. Drills (cordless driver, percussion), saws (circular, mitre, jig-saw, hand-saw), sanders, grinders woodworking tools, metalworking tools, protection material and clothes. Welding machine, welding accessories. 61

< Ales Kobe

< Matic Kasnik

< Pia Mikolic

< Tadej Pavlic

< Aljosa Merljak

< Marta Vrankar

< Andraz Lecnik

< Matic Brdnik

62 64

CONTACT

Univerza v Ljubljani Fakulteta za arhitekturo

Društvo študentov arhitekture EASA Slovenija Kersnikova 4, SI-1000 Ljubljana e: info@easa013.si w: www.easa013.si CREDITS

PROJECT PARTNERS

Issuer

Municipality of Žužemberk

This Tutor-pack is issued by the Team easa013 and the Association of Students of Architecture EASA Slovenia in collaboration with the Municipality of Žužemberk.

Students Organisation of the University of Ljubljana University of Maribor, Faculty of Civil Engineering University of Ljubljana, Faculty of Architecture IPCHS, Novo Mesto Regional Office MEDIA PARTNERS Spem Communications Trajekt < Team EASA013

Chamber of Architecture and Environmental Planning of Slovenia

Photography by Marta Vrankar, Andraž Lečnik, Aljoša Merljak, Aleš Kobe, Matic Brdnik, Matic Kašnik, INDOK Center’s archive We thank Ksenija Zdešar, Tabita Jerant, Jure Henigsman, Teja Krušec, Eva Logonder, Sara Badovinac, Larisa Kazić, Nina Eminagić, Maruša Debevec, Katja Škorič, Saša Grujič, Jera Živa Puterle, Nina Vidič, Aleksander Saša Ostan and Anja Korsič Mravlje for content support and Vlado Kostevc for contacting craftsmen and overall support. 63