tutorpack žužemberk.slovenia.4th-18th.august.2013easa.013

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 žužemberk.slovenia.4th-18th.august.2013easa.013

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EASA AS A NETWORK

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

The Network moves to a new venue every year, providing fresh views and challenges in practical spatial design and theory. The or-ganizing process is run by individ-ual volunteers, who make the core of the assembly by combining the location and theme, fi nding part-ners and sponsors. The Network and its events always happen at a certain location for a specifi c rea-son. 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 self-suffi cient. It brings a unique crea-tive spirit among the participants, also known as the EASA Spirit which is diffi cult to describe but easy to feel.

It is very hard to defi ne 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-decade-long tradition. It was established in 1981 in Liverpool with the purpose of connecting with students from other European countries. At-tendees exchange experiences and cultural knowledge, ideas and

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< The EASA community

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INTRO TO THE NEXT ASSEMBLY < A historical drawing

IdeaThe essence of the event is to be found in the connection between the location and the given theme; defi ning the problem and the context. In the process of devising a proposal the team tried to de-fi ne 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 focus-ing 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 – as a symbol of cultural heritage, the to-ken of history, the object exposed to different regimes and ideolo-gies, changes in the intended use etc.

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< Main square with the church still intact

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 involve-ment into processes that change our environment is very important. The theme Reaction explores the possibility and the importance of the public’s participation in shap-ing 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 ar-chitect’s primary job and the job of architecture? How can we help the community when designing public space, even when the architect’s direct infl uence 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

LocationŽužemberk 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.

ThemeThe EASA theme works as a frame; on its basis students think,

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to location, tradition and crafts-manship. 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.

GoalsDuring the two-week-long work-shops students will use their academic knowledge in practice, make analyses and concepts, develop their ideas, debate, social-ize, solve issues within the work groups, exchange ideas and expe-rience 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 con-ceptual design, will be brought to a realization. They will be concluded with an evaluation and presented at an exhibition.

The EASA network stimulates in-tercultural dialogue. It encourages the collaboration among students of different Schools of Architec-ture, nationalities, backgrounds, opinions, which benefi ts the devel-opment of an individual’s thinking process. There is no hierarchy in workshops and activities so every-one can contribute to the project’s evolution.

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 infl uential Slovene poets, translators and essayists from the fi rst post-war generation.

neokrnjena narava

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nearby courtyard, called Einsen-berg (today’s Zafara), the castle was given the name Seinsenberg, which the local people changed to Žužemberk. This is only the fi rst of three derivatives of this name. Another suggests that the name of the castle and town originates from an Old German word “sous-en”, 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 (nar-rowed bank), which was changed into Seinsenberg and then again back to Žužemberk.

Local crafts and economyIron 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 Mu-nicipality, the Auersperg family es-tablished 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 larg-est iron foundry south of the Alps. The wide variety of iron products included everything from artistic castings (candlesticks, decorative plates, tombstones), which are the fi rst specimens of industrial design in the Slovene lands, to simple objects for everyday use (kettles,

< Local tools

A bit of historyHistorically the development of the valley was affected by its inhabitants, fi rst 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

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nails, sheet metal) and more ex-acting 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 fi rst railway carts for the Postojna cave.

Water-millsThe tufa layers of the river Krka create favourable natural condi-tions 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 exploita-tion 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 millIn 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.

CULTURAL BACKGROUND

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TanneryŽužemberk 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 begin-ning of the 19th century. Among other things the tannery provided the Partisans with footwear dur-ing World War II, but was burned down during the bombing of Žužemberk in 1945.

Powder magazineIn 1730 Žužemberk even had its own powder magazine, although it was closed down when the nation-al powder magazine was estab-lished in Kamniška Bistrica.river KrkaThe central water system of the Lower Carniola region, the river Krka, has one of the most pictur-esque 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 impe-rial court in Vienna. In the summer, the river offers different possibili-ties for sports and activities such as rafting, bathing and fi shing.

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 castleIt is diffi cult to say when the castle was built. The year 1000 is some-times 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 build-ings 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 fortifi ed the castle with seven defence tow-ers or bastilles between the years 1526 and 1533. The castle be-came 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 fa-cade 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 renova-tion 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.

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< River Krka and the castle

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< 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 interna-tional 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.

PeopleZalla Zarana (1897-1967) was the fi rst Slovene actress who performed in Hollywood. She was only 17 when she moved to the US where she appeared in 20 silent fi lms. She retired from acting at the dawn of sound fi lms.Leon Štukelj (1898-1999) is an important fi gure 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.

Janez Vajkard Auersperg (1615-1677) 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 infl uence and became the Prince of Auersperg, the Impe-rial Prince of Tengen, the Duke of Münsterberg and even the Prime Minister of Austria.

Social contextIn a way Žužemberk is a miniature Slovenia with its natural beauties, forests and a clean river as well as problems of division among peo-ple; this division showed its crue-lest 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 ex-isting 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 at-tempts to appropriate community property reappeared. Nowadays Žužemberk and Slovenia are in a recession, people are moving away, a new development strategy is wanted.

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

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place. Some would dare to say that the current situation has got-ten 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 fi nancial crisis. All these phenomena con-tributed to a change in people’s state of mind. Usually when society hits rock bot-tom 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 oth-ers 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 every-one 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 compro-mise 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 unsatisfi ed with the current situation and they want to change that, but are unable to. It’s

A point of viewEvery year since the fi rst EASA in 1981, the assembly gathers archi-tecture students to fi nd solutions to a specifi c problem. Young minds respond with spatial manipulations to more or less important dilem-mas of the world. After three fruit-ful decades of the EASA journey we entered into a time which can be compared to the situation that caused EASA to appear in the fi rst

a time of passive activism.

Furthermore people don’t know what they are anymore. Globalisa-tion 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 mate-rialistic sense and capitalism got greedy with it. For the fi rst 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, sing-ers 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 end-less 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 fi nd new ways to recon-nect people, the environment and nature. Žužemberk will be a test ground for new quality symbiosis, a part in a Reaction.

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REACTION FOUNDATIONS

< The locals with the castle

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Public participation“In the beginning participation was truly authentic. Then it be-came an instrument of politics and frequently abused. If I think of the sixties, two things were fundamental back then. The fi rst was the student revolt, the sec-ond 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 formalis-tic and stupid. For me the problem changed; the real question be-came 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 trig-gered and then – this you must not forget – it lasts forever.”

(Martina Malešič, Giancarlo De Carlo – archi-tecture 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, be-liefs. They are happy that some-one 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 solu-tions 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 com-plicated and useless. We leave it to bureaucrats on one side and media on the other. Both have in common the disinterest for long-term solutions and innovations, which is understandable in a way as the issue of space does not af-fect them directly. The principle of such design is Top-Down, where ideas are created on top and solu-tions 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 solu-tions are sought from the needs of inhabitants. The goal of such work-shops is collecting and organizing information, extracting the fi nal im-age of an object/space through a process of questions and answers and fi nally to form a proposal that will logically follow these sugges-tions. Meanwhile we have to be conscious of weaknesses such as an excessive emotional attach-ment to space, vagueness of ideas and the inability to form a fi nal proposal as a consequence of fear of taking responsibility. All fi nal 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.

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< Knight games

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The primary goal of dividing work-shops 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 sub-themes were not chosen randomly, but follow the classical division of workshops into theoretical, practi-cal and workshops which combine the two. Proposals for EASA work-shops 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 partici-pants.

Breaking pointThe theoretical workshops associ-ated with this title directly address the main theme Relation – Re-sponse – Reaction. It is the widest open set, which should primarily explore your relation towards the present situation, in it seeking your reaction, reaction of partici-pants 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. Com-pare them, bring some interesting

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examples of good (or bad) practice from your experience. Elaborate on a theoretical level and fi nd practical solutions. Make an im-pact on public opinion, encourage participants to express their own ideas. Prepare for a public pres-entation, prepare for interaction, prepare for Reaction.

Craftsman workŽužemberk has a rich history of craftsmanship like shoemaking, leather working, fl our milling, iron working, blacksmithing and oth-ers. For more details look at the section Location’s cultural back-ground.

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 excel-lent workshop.With this you can contribute to the conservation of the cultural herit-

REACTION: PRACTICAL SUBDIVISION

< Blacksmithing

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< Genius loci of the town

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

Site opportunitiesIn its turbulent history Žužemberk 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 fi ll 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 po-tentials for future development into a sustainable town. Design ap-propriate, thoughtful and creative solutions for the spaces (listed in appendix), use their spacial poten-tial, seek small, hidden sugges-tions, intimate quality that might lie just before us/them, and we/they haven’t even noticed it. Seize the opportunity to contribute to the town with your knowledge.

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blacksmithing?

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When designing the theme and preparing appropriate workshops we often wondered what the opin-ion of the people who reside there is. In accordance with the theory, described in the section Public participation, we organized a con-ference 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 CASTLEThe 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 function-ing as a carrier of cultural tradi-tion, 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, me-dieval writing, wine cellar, cultural events).

Group PARK (area of the demol-ished church)In the park locals mostly want a

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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 surround-ings, 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 appro-priate 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 SQUAREThe locals in this group agree with experts’ fi ndings that the square is undefi ned 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 tak-ing place there. They perceive the focal point of the square to be the well that used to serve as a unify-ing 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.

REACTION: THE PROCESS

< The workshop with Žužemberk’s locals

“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 fi -nancial diffi culty 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 reno-vation of the Žužemberk castle).

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SITE LIST

< Workshops site map

1 The square2 The castle walls3 The castle trench4 The pavilion (competition)5 The old tannery6 The round path7 River Krka and its banks8 School courtyard

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The churchAfter 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 pas-serby 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 build-ing, 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 benefi t it for different purposes? Please bear in mind

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

The squareThe square is bordered by the mu-nicipal building on the north, the store, post offi ce 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 an-nual fair, weekly fairs and a seal, but not to a city wall. Thus peo-ple 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 diffi cult. The spot by the well used to serve as a popular meet-ing place for Žužemberk’s inhab-itants. The square was a place for meeting, exchanging material goods, news, tips. Nowadays it is occupied by motor traffi c as it is intended for parking.

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WORKSHOPS SITES < Historically the main square was a popular meeting point

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

The castle trenchThe castle trench is one of the big-ger ambients in Žužemberk’s cen-tral 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 fi rst line of defense, but has since been abandoned and is now unused. Given that this facility will never again perform its intended func-tion, it would be interesting to think about what to place there. It is cer-tainly a special place and therefore suitable for a wide variety of inter-ventions.

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The castle wallsThe castle stands on a terrace above the river Krka and repre-sents the center of the settlement. The Board for renovation of the castle is in charge of its revitaliza-tion. 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 renovat-ed. The wooden shell gives the vis-itor a sense of the castle’s former architectural magnifi cence. Most of the areas are clean, open and ac-cessible to visitors. The restored castle offers space for different cul-tural 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 magnifi cent win-dows open up a view of Krka’s val-ley in both directions. In the past the interior was fi lled up by ad-ditional buildings which made the castle saturated and introverted.

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1 square with the well in the middle2 castle courtyard3 the pavilion (competition)4 the old tannery5 river Krka6 water mill7 the castle trench8 inner trench9 castle core10 main chamber11 path around the castle

< map of the castle

SITE LIST

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< The old tannery before it was torn down

The old tanneryOf the once respectable building beneath the castle hill merely ruins remain today; only the circumfer-ential 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 mu-nicipality 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 building’s vibrant past.

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AŠK 2010Slovenija

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River Krka and its banksThe river Krka is a fairly shallow river with a weak and slow river fl ow. The river’s surroundings are mostly overgrown with shrubs and meadows; the embankment is not steep. The “camp” area has a vol-leyball court in the sand. During the summer months young people like to use the river for a quick refresh-ment, to ride canoes etc.; fi shermen often fi sh along the entire length of the river to Dvor and beyond.Because of the small height differ-ence 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 river-bed, which in some places creates characteristic tufa waterfalls.

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< The River’s surroundings

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The round pathThe 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 town’s history and cultural herit-age through a different perspec-tive. The path descends from the square through former vineyard terraces to the river Krka, crosses the ruins of the old paper mill/tan-nery and stops at the old water mill. The narrow path then as-cends by the steep and majestic castle walls with a magnifi cent view of the valley and the sur-rounding nature, which is espe-cially 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 demol-ished castle-church on the right and the castle’s protective trench on the left. All these objects bear witness to the town’s past, the mightiness of the fort and crafts.

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

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Other locations Following a subsequent arrange-ment with the municipality work-shops 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 fi nd 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 accommoda-tion.

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< Remains of the Auersperg iron foundry at Dvor today

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CALL FOR PROPOSALS

< Collaboration among participants 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 refl ection, an experiment, which corresponds to the given theme and sub-themes. During the two-week-long event it will be executed from start to fi nish. 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 fi nal presentation.

TeamsThe 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 in-tended for students or graduates of architecture, we would like to expand the event beyond this fi eld. As one of the concepts of this As-sembly’s theme is to discover con-

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nections with other professions; we encourage students of other fi elds 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 work-shop. 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, communica-tive and independent people, who would, by gaining the title tutor, be-come a fundamental building block of the largest European student workshop-type event.

RegisterPlease register your team here. This fi rst 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.

QuestionsPlease send your questions to workshops@easa013.si until Sun-day, December 17th 2012. The answers will be published on our website www.easa013.si and other communication channels no later than December 24th 2012.

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this server will only be allowed to registered teams, which will only be able to add fi les. The fi les 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 elimi-nates the possibility of missing fi les.

Filling systemPlease follow these instructions to name the fi les: yyyy-mm-dd_app form (or) poster_three digit code. The proposal should consist of two .pdf fi les inserted into a com-mon 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 Munici-pality of Žužemberk.

Aljoša Merljak, student of architec-ture, organizerAleš Kobe, student of architecture, organizerMatic Brdnik, student of architec-ture, organizerAleksander Saša Ostan, architect, past tutorVlado Kostevc, member of the municipal Administration Offi ce

ProposalsThe process of transferring the idea or concept into a proposal is without any doubt the most diffi cult part. The whole thing is mostly up to you, but for technical and evaluation reasons we divided the proposals into two parts. The fi rst part, the technical part consists of fi lling out the application form, which guides you through most of the thinking process. You can fi nd it in the confi rmation 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 proposalsThe organizers will provide a server especially for this purpose to which the teams will be able to submit the proposals. Access to

< Workshop Revitalisation of ruins in Nemska Loka

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< Working with tools

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FeesThe registration fee for tutors cor-responds to the registration fee for participants. The participants are divided into 5 groups. The registra-tion fee for participants from the fi rst group is 300eur (100%) and it is reduced proportionally by 20% for each subsequent group. Thus the registration fee for participants from the fi fth group amounts to 60eur (20%). You can fi nd more information in the document EASA Guide by contacting your National Contact.

Group 1 (100%) Austria, Belgium, Denmark, Eng-

land, Finland, France, Germany, Iceland, Italy, Liechtenstein, Malta, The Netherlands, Northern Ireland, Norway, Scotland, Spain, Sweden, Switzerland, Wales, InternationalGroup 2 (80%) Cyprus, Ireland, Moscow, Slove-nia, CLEA

Group 3 (60%) Croatia, Czech Republic, Estonia, Greece, Hungary, Latvia, Lithu-ania, Poland, Portugal, Slovakia

Group 4 (40%) Bulgaria, Montenegro, Romania, Serbia, Turkey

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.

RewardsThe reward for getting a work-shop 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 tutors’ 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 materi-als for the workshops throughout the event.

ObligationsBy acquiring a workshop the indi-vidual or team commits to working conscientiously and responsibly. They must be willing to create op-timal conditions to coordinate the workshop; coordination starts with the selection announcement and lasts until the meeting’s start-off. The tutors also commit to join-ing 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 datesRegistration opens: 26/11/2012Deadline for questions: 17/12/2012Answers announcement: 24/12/2012Registration closes: 04/02/2013Deadline for proposals:11/02/2013Call results announcement : 25/02/2013

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metal sheets, metal beams, metal semi-products, plexiglass, glassrope, string, metal rope, wire,bricks, construction blocks, paving tiles, cement, sand, stone, clayinsulation material (different types)fi xings / 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, switchesoffi ce material, pens, pencils, pa-per, cardboard,duct tape, paper glue, sticky tape, cutters, scissors, rulers, erasers, staplers.

Tools listPliers, keys (French, Hex etc.), screwdrivers, hammers, rivet guns, staple guns, clamps, table vise, crowbarmeasuring tapes, rulers, squares, extensions, cables, working lightsconcrete mixer, wheelbarrow, trow-el, shovel, chisels, garden tools.

Drills (cordless driver, percus-sion), saws (circular, mitre, jig-saw, hand-saw), sanders, grinderswoodworking tools, metalwork-ing tools, protection material and clothes.Welding machine, welding acces-sories.

These are lists of some materials and tools that will be possible to obtain during the assembly. Mate-rial use and treatment in the archi-tectural fi eld 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 collaborationBelow you can fi nd a list of local crafts, still managed in the area of Žužemberk. 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 blacksmith-ing and metal sculpturing, casting metal, metal and wood construc-tion, artistic woodworking and wood chasing, burning charcoal mining, calligraphy, basket weav-ing, honey products (local tradi-tion), paper producing (optional).

Material listPlywood, fi breboard / OSB / LSB, wooden beams, wooden semi-products,

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APPENDIX

< Workshop preparations

6462

< Andraz Lecnik

< Ales Kobe

< Aljosa Merljak < Marta Vrankar

< Matic Brdnik

< Pia Mikolic

< Matic Kasnik

< Tadej Pavlic

Univerza v LjubljaniFakulteta za arhitekturo

PROJECT PARTNERS

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 Offi ce

MEDIA PARTNERS

Spem Communications

Trajekt

Chamber of Architecture and Envi-ronmental Planning of Slovenia

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CONTACT

Društvo študentov arhitekture EASA SlovenijaKersnikova 4, SI-1000 Ljubljana

e: info@easa013.siw: www.easa013.si

CREDITS

Issuer

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.

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 Mrav-lje for content support and Vlado Kostevc for contacting craftsmen and overall support.

< Team EASA013