EASA LINKS_The Tutor Link by EASA Malta

EASA LINKS THE TUTOR LINK VALLETTA.MALTA.2015

The Tutor Link will take you through all the necessary information you need to apply as a tutor for EASA Malta 2015. This document aims to provide an overview of the history and essence of the Assembly as it has unfolded over the years, to inform and remind everyone the intentions of this exceptional event. This is also a resource containing information about Valletta, to give any prospective tutor a feel of the history, culture and architectural context of Malta’s Capital, this year’s EASA Venue. This pack will also delve deeper into EASA 2015, including the theme ‘Links’ and workshop spaces. It is an overall guide to show the potential for workshops this year and to inspire the future tutors of Malta’s EASA Links.

EASA

EASA Links

The Workshop Link

The Tutor Link

Info Links

Timeline & History The Assembly

EASA Malta The Theme Valletta The Site

Genres The Spaces Materials and Tools

How to Apply Communication Running a Successful Workshop

Links to previous Workshops

THE EASA TIMELINE

EASA EASA started in Liverpool 1981 as an improvised gathering of European architecture students and tutors who wanted to discuss any current affairs concerning the profession and urban environments. The relaxed gathering was so successful it was consequently decided to hold another one in Delft, and soon enough it became a yearly gathering that began to host a number of organized workshops. EASA was previously held in Malta in 1998 in a disused 18th century Fort within Marsamxetto harbour. Not only did this event leave an impact on local participants, but it also became the chance for several foreign students and tutors to settle in Malta, seeking education, a place to live, as well as an opportunity to practice professionally and effectively form part of our local artistic community.

THE ASSEM

MBLY

The European Architecture Studentsâ&#x20AC;&#x2122; Assembly [EASA] is a network of architecture students from all over the continent. Every summer this takes place in a different European country whereby 500 design students, graduates and tutors live together in a self-sustaining, community-like setting. The Assembly takes place over two weeks and includes lectures, building and theoretical workshops, as well as other cultural and architectural endeavors. EASA acts as a platform for the exchange of social, architectural and cultural experiences. The people who form part of the EASA event include; the organisers, the participants, the tutors and the helpers. The tutors are in charge of organizing an engaging workshop for a selected number of participants. The tutors are therefore responsible for ensuring that all their participants are involved and that the product of their workshop and its products will live up to the EASA experience. The helpers of the event contribute in anyway possible whether it be serving food or clearing spaces. The dedicated contribution of every person at the event, is what makes the event truly successful. This is also what creates the great sense of EASA spirit that every person attending cannot help being caught up in.

The main focus of the event is the workshops, where around 30 groups of students work on a small project for 2 weeks. The workshops are always linked to the main theme which embodies that EASA but they can range from discussing hypotheses and concepts to photography of local people to cooking of food and to the construction of small houses. At the end the 2 weeks everyone is able to present what they have developed and produced throughout the assembly. The workshops allow the participants to broaden their thinking and teach them new skills.

EASA LINKS [EASA MALTA 2015]

In October 2013, the EASA Malta team proposed for this event to be held in Valletta in 2015. After a long bidding process the team successfully won over their audience made up of circa 150 architecture students and professionals. Said group reached a consensus selecting the Maltese team over their competitors. The 2015 edition of EASA will therefore be held in Valletta, Malta, and themed â&#x20AC;&#x2DC;EASA Linksâ&#x20AC;&#x2122;. Traditionally, universities and other institutions from each country send a number of students to this event and as a rule participation is limited to countries within the European continent. Recently an international team was set up, permitting students from around the world to attend the Assembly with a high level of response from the US, Canada & Asia. EASA Malta 2015 is proposing to expand our boundaries further and enlarge the EASA community by specifically involving neighbouring North African countries to participate. This gesture embodies the nature of our theme for 2015, EASA Links. 5

[THE LECTURE SERIES] An exciting lecture series with both local and foreign speakers is being set up for the Assembly. The lectures will be based around the theme of â&#x20AC;&#x2DC;Linksâ&#x20AC;&#x2122; and will also comprise of interesting debates and discussions.

[DAY WORKSHOPS] Several day workshops will be organised for a selected number of participants where EASIANS will be given the chance to collaborate with Maltese institutions

[THE EXCURSION] An excursion day will be planned as part of the event where the participants will be given the chance the view the beautiful coast of Malta from a boat out at sea.

PROGRAMME AND EVENTS JULY - AUGUST 2015

[EASA] Links EASA serves as a platform for architecture students from all over the world. Whilst on EASA hundreds of strangers become a temporary family, a sense of community fills the site and lifelong friendships are nurtured. Ideas, thoughts and cultures are shared. Easians are exposed to unknown things and become one, working, self-sustaining body, exuding and inducing EASA spirit.

[MALTA] Links Malta is situated on the African plate, strategically located mid-way between two continents. A place influenced by the southern most tip of Italy and the Northern most tip of Africa. An amalgamation of two cultures, resulting in a unique architectural expression; created by people with Mediterranean mannerisms; with a spoken language similar to itâ&#x20AC;&#x2122;s Semitic counterparts.

THE ASSE

THE THEME

EMBLY

[MEDITERRANEAN] Links

[VALLETTA] Links

Malta is the epitome of merged cultures. Throughout its history Malta has been dominated and influenced by the Phoenicians, Romans, Arabs, Normans, Argonese, Spanish, Knights of St John, French and British. It has acted as a platform for trade between distant cultures. Always falling subject to rule due to its ideal location and vulnerable population. Each predecessor has left its mark on our tiny island, one which has contributed to the current populationâ&#x20AC;&#x2122;s identity.

Valletta is located on the peninsula known as Mount Xiberras. It is surrounded by two of the main harbours on the island. Construction of the planned city began in 1566, and the architect was Francesco Laparelli. Named after the grandmaster of the time, Valletta was created in order to strengthen the knights permanent naval base in Malta. The site was divided into a grid pattern system and the buildings were designed in a mannerist style. The architecture of the city soon lent itself to a baroque nature. The city endured great bombing in the war and most of the buildings were rebuilt in a similar manner. The whole city is like an open-air museum and gives a glimpse into Maltaâ&#x20AC;&#x2122;s past, tying layers of generations together in architecture, memory and experience.

[EASA] Links It is said that beneath Valletta lies another city. A network of subterranean routes comprising shelters, cellars, wells and passageways. The roads above ground are mirrored below. This system was designed to allow for an ease of movement in times when the city was under siege. This network is closed off to the public and few are those who have ever experienced underground Valletta. The site consists of a series of bastions and counter-guards that are all linked together with bridges, tunnels, sally ports and rock cut passageways, all giving onto a main ditch that will act as the hub of EASA. From our hub Easians will have direct access into Vallettaâ&#x20AC;&#x2122;s core where they will merge with locals. EASA will create a pulse beneath the city and this will transcend throughout the whole of the 0.8 sq km that are known as Valletta. Forgotten spaces will be used from all over the city as satellite venues for lectures and activities throughout EASA015. Participants will sprout out of hidden tunnels and alleys, right into the core and will leave their mark on this tiny city, adding to its palpable diversity.

VALLETTA [HISTORY] Valletta is a fortified Baroque city that sits on a peninsula in between two of Europeâ&#x20AC;&#x2122;s deepest natural harbours. Valletta was built at a time when Malta was ruled by the Knights of St John, a group of military Hospitallers, that gained prominence during the Middle Ages. At the time, the Knights were looking to secure a base in the Mediterranean after being driven out of Rhodes in 1510. Building a new city effectively meant that they would settle in Malta, that would also become a refuge for the many injured soldiers and pilgrims that were left stranded in the 16th Century Crusades. It was decided that the city would be built following the 1565 Great siege of Malta, one of the worst battles ever to be fought on the island. Having led the Knights to victory, Grand Master Jean Parisot de La Vallette asked the Pope and other European monarchies to aid with the funding of the city. The city was to be called La Valletta, and its construction started immediately, in 1566. It would be built on Mount Xebb ir- Ras which at the time was a barren tongue of land having only Fort St Elmo at its extreme end.

Valletta was design by Francesco Laparelli, who chose to split the peninsula into a grid-pattern layout, an innovative and highly advanced design strategy at the time. The city would be fortified on all sides, with deep ditches and high bastion walls on the land front, in fear of an invasion from both land and sea. At the time Valletta had its own planning department and regulations controlled all construction activities. Primarily, the grid system was employed for sanitary reasons that would complement the Maltese climate. Buildings were not allowed to project into the street as they would narrow the passageway and front gardens and gaps between buildings were forbidden. Every building had to have a sculpture on each corner and each house had to be equipped with a well to collect rainwater. A central underground drainage system was devised and every house had to be connected to it. Further to this, upon acquiring a site, construction had to begin within ten months and the building had to be completed up to three years later.

Aerial View of Valletta, Photo by Matt wilkinson

[VALLETTA TODAY] In the years that followed, Valletta would be embellished with eight Auberges, various palaces, monuments and numerous baroque buildings. Valletta grew to be a rich and fine city that was visited by many during Malta’s colonised years between the departure of the Knights and Malta’s independence in 1964. During the Second World War, Malta’s two natural Harbours on either side of the city were a great asset and thus the city became a haven for numerous military allies due to its strategic location. Air raids throughout WWII caused much destruction in Valletta, leading to the loss of some prestigious buildings such as the Royal Opera house. In 1980 the city was awarded the title of “UNESCO World Heritage Site”, one of three on the island, resulting in the world’s highest concentration of UNESCO sites

The prestige of the UNESCO title is also coupled with many implications and restrictions on the degree of intervention that can be done to the city’s built fabric. All locals consider Valletta as a national asset, however much controversy clouds the possibility of altering and adding to Valletta’s dominant context. Few are those willing to even discuss the introduction of new buildings, with the majority of the population believing the city is to remain untouched and for all new interventions to conform to outdated architectural styles, namely Baroque. The city is currently undergoing a new wave of contemporary injection, with the introduction of the Barrakka lift, and more recently the completion of Renzo Piano’s city gate project, to name a few. Though the latter intervention is considered as generally being “out-of-place”, much of the architectural community hails the project as a much needed stepping stone for the incubation of a new social and physical aspect to Valletta.

Valletta’s future remains uncertain, with the current legislation being adamant on building height restrictions and with a lack of exploitable land. Conscious design coupled with a respect for context will allow for the city to be propelled into the future harboring growth in ways that differ from it’s European counterparts.

In 2012 Valletta was declared European Capital of Culture (ECoC) 2018. The V.18 Foundation aims to develop the sustainability of the cultural sector through the amalgamation of art, architecture and other cultural facets of the city. It is envisioned that Valletta will become the heart of Malta’s creative economy through regeneration and sustainability, such that it can serve contemporary society: Malta’s citizens, residents and visitors. Five centuries later, Valletta’s brief has changed dramatically from the defensive city it was once envisaged as. Today, the city is buzzing with daytime activity and establishing its nightlife activities. However, much of its architecture still conforms to the traditional building styles and materials that have been used for centuries. It is a rich city, a fertile ground for new ideas, boasting context, character and timelessness. Today’s generation of architects will directly influence Valletta’s future. The EASA workshops can pave the way towards a new city: A place that can grow, adapt and coexist with today’s social, economic and architectural realities. Often seen as limiting, Valletta’s urban fabric should be looked at as a breeding ground of opportunity, one that is ready to be embraced by the EASA ethos.

THE SITE

The EASA campus incorporates St Michael’s 3 tiered counterguard, St. Andrew’s Tenaille, The bridge, Tunnels and rooms within St. Michael’s Demi-Bastion and part of the Valletta ditch.

[THE COUNTERGUARD] St. Michael’s counterguard was built in 1640 to protect St. Michael’s demibastion. It comprises of a three tiered artillery platform and is only accessible through a tunnel from the ditch and a bridge that leads into the city. This space has managed to preserve itself well over the centuries: sitting along the western Marsamxett side of the Valletta enceinte, it has always been an obscure but exclusive part of the fortifications. For a long time the place has been a restricted area and off the beaten track due to missing or blocked links with the rest of the City. After joining the EU, Malta acquired funds to restore part of Valletta’s fortifications and make them accessible to the public. Restoration works in this area was extensive and included the reconstruction of the chapel of St. Roche, the removal of harmful trees on the bastions, replacements of weathered stones, reinforcement of the

walls and numerous other similar interventions. All areas of the EASA site were part of this project and have just been completed. In 2010 thousands of people were given the opportunity to visit the counterguard during an open weekend organized by the Restoration Unit. Most of the people who attended, including many Valletta residents, had never had the opportunity to step inside this unique and fascinating outerwork of the fortifications. Although there are no immediate plans for use for the areas after EASA, it is envisaged that EASA will put these forgotten spaces in the limelight and that the counterguard will be successfully re-linked with the rest of Valletta and given purpose.

[THE BRIDGE] The arched masonry bridge spans between St. Michael’s counterguard and St. Michael’s demi-bastion and serves as a quick route into the City. Previously it incorporated a draw-bridge which could be destroyed if the counterguard was lost to the enemy. Most probably, the drawbridge mechanism used was of the ‘fuso con tamburo style’. This comprised of a wooden counterweight wheel pivoting on a stout wooden shaft above the doorway around which was wound a heavy rope. In the run-up to EASA LINKS, the team has embarked on the task to complete the arched masonry bridge by constructing the part previously occupied by the drawbridge. This project is currently at planning application stage and if completed, it will further strengthen the concept behind EASA 2015; ‘Links’.

[ST. ANDREW’S TENAILLE] St. Andrew’s Tenaille is a small bastioned tenaille largely cut out of the bedrock, which was a common way of construction fortifications. It is found beneath the flank of St. Michael’s Dem-Bastion. The tenaille can be accessed from a rock-hewn tunnel which descends from the rear of St Andrew Bastion, across a small bridge. While the tenaille has an open gorge, a small chamber is built into the left demi-bastion. The fortification is made up of numerous interesting spaces that will form part of the workshop locations for EASA Links.

[THE DITCH] The Valletta Ditch surrounds the city on the landward side and was formed by digging or cutting the rock and then using it to construct fortification walls. The ditch is around 1000m long and was completed in around 5 years. Recent plans submitted as part of Piano’s City Gate project included the embellishment of the ditch, an efficient rainwater collection plan and the inclusion of a public garden. Unfortunately these were abandoned due to financial reasons and currently the ditch is used as a carpark.

Workshops are the fundamental framework of the EASA assembly, giving essence to the event and physically leaving their mark once the assembly is over. Although a workshop should aim towards achieving a good result in the little time available, this is not the sole aim: there is also an emphasis on the process. A workshopâ&#x20AC;&#x2122;s success is largely influenced by what tutors and participants have gained from it, which is usually a direct result of how well everyone works together, the level of enthusiasm and the drive to achieve a common goal. In this spirit, tutoring a workshop is not just a case of a professional imparting his knowledge to the participants but rather about exchange of ideas and dialogue. EASA Workshopâ&#x20AC;&#x2122;s essentially reflect the theme and location of the assembly. The workshop proposals should therefore aim to embody the concept of Links on any level the prospective tutor sees fit. The ideas for the workshops should also either work with or against Valletta, but always keeping this great cityâ&#x20AC;&#x2122;s context in mind. It is up to the tutors how to execute this and to ensure the workshop produces tangible results. 26

THE

WORKSHOP LINK

...WORKSHOPS SHOULD ALLOW STUDENT EVOLVE AND HAVE IMPORTANT EXPERIEN MEET NEW PEOPLE, GET TOGETHER SOLVE PROBLEMS AS A TEAM... 28

TS TO NCES, AND

The EASA workshop ethic is in deliberate contrast to the usual introverted and competitive approach in university education, to the output orientated professional context, and expertise and elite approach of many other summer schools. It is the EASA spirit that joins all in a network without hierarchy. This is not supposed to and does not limit the variety of approaches tutors can have to their proposals. Instead it widens the possibilities. We aim for workshops at EASA015 to differ as much as possible in scale, theory, material and media, because we believe that it is important to offer participants a broad range of different subjects and working methods to choose from. We invite everyone to submit unique ideas of any kind as proposals for a workshop at EASA015. Proposals should consider whether: - there is a preconceived output delivered by the tutor; - if the whole group work on the same project; - if all participants develop their own ideas, producing many variations under a common framework provided by the tutor. All these approaches have been realized as successful workshops in previous assemblies. It is up to the tutor(s) to decide which one suits best the idea. 29

[WORKSHOP GENRES] There are no restrictions on the genre and style of workshop you may propose. However, the following types of workshops have been successful during past EASAs:

DESIGN & CONSTRUCTION WORKSHOPS These workshops would develop a concept, design and build an installation throughout the two weeks of EASA. The brief would be very well defined from the beginning and the tutors would have a basic idea of what the finished product could be, but this will ultimately be achieved together with the participants during the assembly. CONSTRUCTION WORKSHOPS These workshops would revolve around a design developed by the tutors in their proposal so that the aim would be the construction and realization of the project. Such workshops are usually larger constructions and should therefore be more focused on detailing, building techniques or use of materials and tools. It is important that the participants are directly engaged in the process of making the structure, rather than just following a set of directions. TECHNOLOGICAL DESIGN WORKSHOPS These workshops incorporate a degree of digital design and may perhaps include

3d printing or laser cutting techniques to achieve the final product. (However, this may significantly affect the budget and should be discussed with the organisers prior to submitting the proposal). Past proposals have included using software like Rhino, Grasshopper, Arduino and Processing.

COMMUNITY WORKSHOPS In these workshops the local community or the EASA community is directly engaged in the project and greatly influences the final result. A community workshop may rely directly on the community for its success (for example Umbrella, Tapaland, EASA FMâ&#x20AC;Ś). Alternatively the community may be involved in ways such as the design process, interviews, discussions and so on. DISCUSSION WORKSHOPS These workshops usually consist of intellectual and theoretical discussions and debates on any subject, usually related to the theme. These workshops will usually still have some sort of product at the end of the two weeks. OTHER Some workshops do not fit into any of the above but may still be accepted at EASA Surprise us!

[TRADITIONAL EASA WORKSHOPS] There are several workshops that have become common place at EASA Workshops. These are usually run by experienced EASIANS and really help bring the community together. Umbrella (EASA Newspaper) Although Umbrella is the international name, it changes every year adopting the local word for newspaper. It is issued every one or two days and covers all the events going on during the assembly, all the rumors, all the workshops, all the parties. EASA TV A workshop dedicated to filming the event and streaming episodes every few days. The episodes always leave everyone feeling the EASA Spirit. EASA FM A radio station that streams live during the two weeks. Everyone is invited to play some music, make a live musical performance, share ideas and even give a speech. EASA Kitchen This workshop is a charming way to share your countryâ&#x20AC;&#x2122;s traditional food or your favourite dish with everyone. 33

THE SPACES [KEY PLAN] Blue - Interior spaces Pink - Exterior spaces Although Valletta is Maltaâ&#x20AC;&#x2122;s Capital City it only covers 0.8sq km. This means that all workshop spaces, including those further from the site, are not more than 15 minutes away.

[1] ST. MICHAELâ&#x20AC;&#x2122;S COUNTERGUARD ENTRANCE

[St. Michaelâ&#x20AC;&#x2122;s Counterguard Spaces] These are wide, open and clear spaces with a fantastic view of Marsamxett Harbour, Fort Manoel and Pieta Creek. Walls are made of Maltese limestone and the ground varies from stone paving to green patches. The walls have recently been restored and the whole area is a protected Grade 1* site. This means that any workshop intervention cannot include permanent modification to the existing fabric and should respect the surroundings. 36

Level 1 can be accessed through the tunnel from the ditch and through the bridge from the tunnel off Sappers street in Valletta. The other levels can be accessed from level 1 within the counterguard.

[2] ST. MICHAEL’S COUNTERGUARD LEVEL 1

Approximate Areas Level 1 = 690m2 (top) Level 2 = 290m2 (exterior) & 250 m2 (interior) Level 3 = 666m2 Footage from the open weekend at St. Michaelâ&#x20AC;&#x2122;s counterguard video gives a good idea of the space: https://www.youtube. com/watch?v=Dkx9Q_WhPrc Video featuring a chapel that is located on the bastions, surrounding areas also featured: https://www.youtube.com/ watch?v=ScOEibmjX2o 39

[3] ST. MICHAEL’S COUNTERGUARD LEVEL 2

[4] ST. MICHAEL’S COUNTERGUARD LEVEL 3

[5] ST. MICHAEL’S COUNTERGUARD TUNNELS

These passageways will be used as circulation spaces throughout the EASA event. The dark and narrow quality of the tunnels make them ideal for workshops involving light and shadow. The spaces, which are rarely explored, would also be ideal for 3D mapping workshops. Any workshops proposed in the space will obviously have to consider the people who will flow through the space.

These small and dark spaces do not have any availability to daylight and so could also be interesting for lighting workshops. The thick bastion walls keep these indoor space at a cool temperature.

[6-7] ST. MICHAEL’S COUNTERGUARD INTERIOR SPACES

[St. Andrew’s Bastion & St. Andrew’s Tenaille Spaces] This defensive structure offers narrow, long spaces which are set on high ground against a limestone backdrop on one side and the Marsamxett Harbour on the other side. Any intervention here must consider that the site can be seen from the higher levels of St. Andrew’s bastion, from the street and from the immediate locations across the harbour.

This fortification can only be accessed via a bridge from St. Andrew’s bastion. The EASA organizing team is currently considering the set-up of an alternative access route for the event.

A number of small rooms may also be found within the Tenaille.

[8] ST. ANDREW’S TENAILLE, PART 1

[9] ST. ANDREW’S TENAILLE, PART 2

Approximate areas Part 1: 215 m2 Part 2: 380 m2 Part 3: 120 m2

[10] ST. ANDREW’S TENAILLE, PART 3

[11] ST. ANDREW’S TENAILLE, PART 4

[12] ST. ANDREW’S TENAILLE, INTERIOR

[13] ST. ANDREWâ&#x20AC;&#x2122;S BASTION, TUNNEL

Similar to the tunnels of St. Michaelâ&#x20AC;&#x2122;s counterguard, these tunnels will be circulation spaces. However, the tunnels of the bastions get more light and have wider space allowing for more workshop opportunities. There are also some small rooms connected to these tunnels. 54

[14] ST. ANDREW’S BASTION, ROOM

[15] ST. ANDREW’S BASTION EXTERIOR SPACES

[16] THE DITCH

[The Ditch & Bastion Walls] At the time of construction, the fortification of the city was top priority. The most important element of this was the huge ditch which ran between the two harbours, separating Valletta from the mainland. The ditch is around 1000m long 20m wide and 18m deep. These fortification walls were completed within 5 years, often employing more than 8000 workers a day. The Ditch areas will be central to all EASA activities, connecting various spaces together. Various openings within the walls, trees and rock anchors may be found on site. The high bastion walls have great potential for projection workshops.

[17] THE BRIDGE TUNNEL AREA

This area is a wide space nestled between two fortification walls and forms part of the tunnel that leads to St. Michaelâ&#x20AC;&#x2122;s bridge. This space has an approximate area of 250m2. Various rooms and parts of the tunnel are also available adjacent to the area shown. 60

SITES AROUND VALLETTA

A - [HASTINGS]

A - [Hastings Garden] This is a public garden in Valletta, located at the top of St. Michael’s and St. John’s Bastion offering views of Floriana, Msida, Sliema and Manoel Island (EASA ‘98 site). Hastings garden can be accessed from Windmill Street (Triq il-Mithna) and occupies an area of approximately 7500m2.

Since this is a public garden, workshops held here must be open to public interaction (whether this is an integral part of the workshop or simply allowing people to visit the workshop does not matter!)

B - [ST. ELMO GRANARIES] B & C- [The Granaries] The St. Elmo Granaries are located at the tip of Valletta right next to the Fort while the Floriana Granaries stretch along Sarria Street right before the entrance to the Valletta Terminus. The Granaries (or grain silos) were stores that were dug in the rock in order to store grain in times of Siege. These silos were bellshaped reservoirs sealed with a large stone cap which was usually circular. These are large open spaces which are accessible to and used by the public.

C - [FLORIANA GRANARIES]

D - [ST. ELMO EXAMS HALL]

E - [ST. GEORGEâ&#x20AC;&#x2122;S SQU

[F - Upper Barrakka Gardens] This is one of the most well known public gardens in Malta, offering unique views of the Grand Harbour including the 3 Cities, Fort Ricasoli and Maltaâ&#x20AC;&#x2122;s shipyard industry. The gardens include a saluting battery, where canons are fired everyday at midday and which is also a popular wedding reception space. The gardens were planted in 1775 on top of a bastion and they were a gift by an Italian Knight intended as a recreation area for the Knights of the Order of St. John. The Valletta Lift can be accessed from this garden and was recently re-constructed to complete the link between the waterfront and the city. Upper Barrakka Gardens are the highest point in the City. 66

F- UPPER BARRAKKA GARDENS

UARE]

G - [THE OLD ABATTOIR]

J - [COASTAL VALLETTA]

H - [BRIDGE BAR & VICTORIA GATE]

K - [VALLETTA LIFT & LASCARIS DITCH] L - [ST. MAGDALENE CHURCH]

I - [SIEGE BELL MONUMENT]

OTHER SPACES [ACROSS THE HARBOUR] Your workshop could potentially include venturing to the neighbouring cities by sea...

[IN THE SEA] â&#x20AC;ŚOr you might want to have your workshop on a boat, in the sea or on the beach.

[OTHER] Every inch of Valletta is worthy of a workshop proposal. We know that! If you find any other space which we have not mentioned here, feel free to propose it. Simply get in touch with us before the submission deadline so that we can let you know whether itâ&#x20AC;&#x2122;s possible and if so we will start making the necessary arrangements.

Aerial View of Valletta, Photo by Kurt Arrigo

The following is a list of basic tools and materials that will be available at request and should cover the majority of workshop’s material needs. If tutors need more specific materials or tools they must ask for it in their application, or better yet, find themselves a sponsor who can provide the material for them.

MATERIALS &TOOLS

Plywood Fibre board - e.g. MDF / OSB / Hard Board Timber Sheet Metal Glass Sheeting Plastic Sheeting Construction Blocks and Bricks Cement Sand Limestone blocks

String / Rope / Metal Rope / Wire Insulation Board / Roll Mechanical Fixings - e.g. Screws / Nails / Nuts & Bolts / Rivets Chemical Fixings - e.g. Glues / Mastics Paint / Spray Paint / Paint Brushes / Paint Rollers Fabric Electrics - e.g. Lights / Cable / Switches Pens / Pencils / Paint / Ink / Glue / Sticky Tape Paper / Card / Mount Board Clay / Plaster Craft Knives / Scissors / Rulers / Erasers / Staple Guns & Staples A variety of hand tools and power tools e.g. Drills, saws, sanders, grinders Projectors/ Audio-visual equipment/ Computers Protective gear 73

THE TUTOR LINK Tutoring a workshop at EASA is a great privilege which no one should take for granted. The individual or team must be dedicated and committed to their workshop. Numerous tutor meetings are held during the event to allow tutors and the organizers to keep each other updated and share any issues, ideas and information. The tutor is responsible for taking care of their materials and tools, ensuring all tools are returned to the “Tool box” at the end of the day. On successfully becoming a tutor, you are responsible for ensuring that your participants get an authentic EASA workshop experience. It is always exciting to see a workshop group grow as a team over the two weeks and the friendships created are an essential part of EASA Spirit.

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, this can expand to other relevant fields. The number of participants to be included in each workshop is up to the tutors and outlined in their proposal. The participants will then choose their preferred workshop at the start of the Assembly in July. All people who participate in EASA pay a fee, this includes the tutors. The exact fee will be announced at a later time.

HOW TO APPLY [DEADLINES] 21st January Prospective tutors will be able to to 3rd March: communicate with members of the EASA Malta team, addressing any comments or queries to easamalta@gmail.com 4th March:

Workshop Application Deadline

18th March:

Announcement of selected workshops

[APPLICATION FORM] To submit a proposal for a workshop for EASA Links in Malta 2015, tutors must download and fill out the form found here: http://issuu.com/easamalta/docs/easa_malta_ workshop_application or download it from our Facebook page: https://www.facebook.com/easamalta015 The application form along with the required attachments, listed in the form, should be sent to easamalta@gmail.com 77

The problems with planning and development of realistic proposals in regard to the work within the public realm require a high level of communication prior to the assembly. We address this issue by allocating liaisons that will be responsible for certain workshops. They will deal with the issues and ideas that arise from workshop proposals, investigate what can be achieved and arrange the necessary steps in advance. This will feed information back to the tutors, and we expect that proposals will be changed to some extent after a workshop is chosen. It is, for that reason, important to note at this point that proposals with a strong concept are more likely to be successful compared with those that propose a finished outcome. Such a detailed design can be worked out with the liaison before the assembly, if applicable. In any case tutors will be asked to provide as much information as possible with their proposals, to allow a better assessment of their viability. It is for this reason that the application deadline is set relatively early. This will allow enough time to deal efficiently with the complications that might arise from the urban context of the assembly. In addition, it allows people whose proposals werenâ&#x20AC;&#x2122;t chosen to apply as participants.

COMMUNICATION

RUNNIN

NG A SUCCESSFUL WORKSHOP The workshops are an essential part of EASA and their success is highly dependent on the tutors and their ability to engage and motivate participants. One of the most exciting things about EASA is that workshops come in every size, shape and form. However the workshops all revolve around leadership, dedication, a distinct skill-set and coherent organization. It is therefore beneficial to outline a list of guidelines to help any prospective tutor understand what is expected of their workshop. These guidelines have been passed down through several generations of EASA to organize a stimulating workshop with exceptional outcomes.

1. Realistic Aims From inception, tutors should make clear what they foresee as the ultimate realisation. This will help the organisers to provide for, and the participants to commit to the workshop. Planning ahead and creating a schedule will always allow a tutor to be realistic in the outcomes of the workshop. 2. Engaging Participants If applicable, the backing of a sponsor can lend a workshop a little extra financial clout. It may allow tutors to provide starter packs for the participants. This is a great way to gain commitment and interest from your participants early. A workshop starter pack may include a participants guide / sponsorship info / workshop t-shirt or hat / whatever raw material may be relevant to that workshop. 3. Informing Participants It’s impossible to assume that the average participant will have the same depth of understanding of the workshop topic as the tutor of that workshop. Therefore it can be very helpful to garner the participants with a synopsis of research done, as well as any other important information and considerations. Workshops should aim to provide both the theoretical platform, as well as the means with which to implement it. 82

4. Maintaining participation EASA workshops are about involving all the participants and ensuring nobody is being left out or set aside. It is important that while tutors do need to be involved, they are also ready to step back to allow the participants to play an important role in the workshop process. Creating a healthy and non-prohibitive atmosphere is an essential part of the EASA spirit. Continuous discussions and exercises are very helpful for both developing ideas, and helping participants to get to know one and other. To get the best out of the short time available, we think it would be helpful if exercises and discussion topics were considered in advance by the tutors and given a deliberate slot in the workshop schedule. A schedule is essential. Everyone should be made aware of the progress expected throughout the workshop period, to allow everyone to gauge the amount of work that needs to be done, giving them more incentive to work harder. While sticking to the schedule is important, the tutors must also be aware that adjustments are inevitable and always negotiable.

5. Safety

6. Sponsorship and Lectures

What may seem obvious always needs to be reiterated as regards safety. During the course of a workshop participants will be using any number of different tools, as well as materials of all descriptions and size. Although EASA has sported a clean bill of health in recent memory, tutors must not grow complacent. Attending the power-tool demonstrations lecture early in the workshop period is a great idea, not only for tutors but for anyone intending to use these tools. Including a small housekeeping and hazards advisory relevant to the proposed workshop in the ‘participants guide’ is clever.

While this isn’t a necessity for all workshops, sponsorships may allow workshops to go a step further in terms of spending money on materials. This can help lead to higher quality workshops while easing some of the financial stress of the organizing team. In past years, donations have even allowed tutors to invite guest lecturers to speak to their participants. A lot can be achieved with a little foresight and organization from the tutor’s side. 7. Documentation Collating written reports and photographs during the course of a workshop will aid in the production of a final report, whether that be a printed publication, an exhibition or a DVD. A well produced body of work is a great testament to the effort put in by the organisers, tutors, participants and also the sponsors. It can also provide a lasting memory for works that may have been more temporary or intangible in nature.

INFO LINKS Click the following links to get inspired by past workshops: http://www.symbioza.bg/view/workshops# http://www.wastelands.fi/workshops/ http://www.easa013.si/ https://www.facebook.com/easaireland/photos_stream http://vimeo.com/17534065 http://zerobasehelsinki.tumblr.com/ https://www.facebook.com/Antiroom https://www.facebook.com/pages/EASA-Spain-2011 https://www.facebook.com/EASA.Bulgaria To find out more information about EASA Malta 2015: http://issuu.com/easamalta/docs/easamalta_info_web_ nolectures_36938699787012

The EASA Malta team looks forward to your proposals and seeing you in Malta in July-August 2015!

Thanks go out to the authors of previous EASA Tutor Packs for all the great information and Alexandra Kononchenko for all her great photos.