final report - pt6 appendices

Section Five : Appendices

easa010 Final Report

Section Five: Appendices

Introduction

The fi nal section of the Report is upon us, and it is fact, image and spreadsheet

heavy. This section is a far from exhaustive archive of information produced

during the three years Nov 2007 - Nov 2010, but should include a host of

useful and relevant material for future organisers.

Believe me this is the tip of the iceberg of our hard drive and google docs

archive. It should all be rather self explanatory so this section is light on text

on the whole.

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The Bid

Opposite, invites to the bid launch and promotional material (front and back)

from the night also used as part of bid.

Following pages, receipts of donations and letters of support.

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easaHQ

Competition entry and drawings for planning permission. Followed by SESAM

/ EASA Exhibition report.

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Issue 1 of 14 (to date) newsletters produced by easaUK2010.

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Newsletters


Final drawings as submitted to the relevant authorities, including risk

assessments and escalation procedure agreed with Marpol. Followed by Fire

injunction and Police report from national evening.

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Licence and Planning


Fire risk assessment for easa010 Downtex Mill

Space:

Aviary

Risk:

Emergency escape unfi t in case of fi re.

Requirement:

The room needs 3 distinct routes of escape.

Work:

Fix existing roller shutter, re-open exit, build escape staircase.

Risk:

Overcrowding in relation to number of usable emergency exits.

Requirement:

Calculate and submit maximum occupancy fi gures. Control access to

the space.

Work:

Put up signage denoting maximum occupancy at entrance; restrict

access to one controlled point staffed by a steward with occupancy

clicker.

Space:

Bar / Aviary

Risk:

Smoke and fi re transference between spaces.

Requirement:

Compartmentalise spaces.

Work:

Build a wall and fi t fi re doors between spaces.

Space:

Stair cores

Risk:

Smoke in escape cores during evacuation.

Requirement:

Smoke compartmentalisation and fi re doors on every fl oor.

Work:

Fit fi re resistant plaster board to all non fi re doors and with self closers


on all doors.

Space:

Front stair

Risk:

Escape from ground fl oor door to street.

Requirement:

Door to remain unlocked and open in direction of movement.

Work:

Fit a push-bar to door.

Space:

Loading bay

Risk:

Blockage and trip hazards in escape routes.

Requirement:

Keep clear of obstruction and create a clearly marked, protected, escape

route.

Work:

High visibility used tape to demark ‘clear zone’ which is to be monitored

by stewards.

Risk:

During events 450 people could need to use the loading bay as an

escape route.

Requirement:

Provide adequate means of escape for 450 people.

Work:

The roller shutter will be open at all times during events in the bar

space and lounge.

Space:

Tin room extension:

Risk:

Smoke and fi re transference from loading bay.

Requirement:

Compartmentalise spaces.

Work:

Fit fi re doors between spaces.


Space:

Basement:

Risk:

Storage fi re hazard.

Requirement:

Storage for non-fl ammable items only.

Work:

Access restricted to organisers only, no fl ammable materials to be stored

in the basement.

Space:

Event space / Bar / debate space / cafe

Risk:

Overcrowding in relation to number of usable emergency exits.

Requirement:

Calculate and submit maximum occupancy fi gures. Control access to

the space.

Work:

Put up signage denoting maximum occupancy at entrance; restrict

access to one controlled point staffed by a steward with occupancy

clicker.

Risk:

Inability to raise the alarm in event of a fi re.

Requirement:

Alarm must be audible above level of music.

Work:

Alarms at noise level higher than music will be placed in the location of

music.

Space:

Throughout Mill building

Risk:

Smoke leakage between fl oors.

Requirement:

All fl oors should be compartmentalised, no holes between fl oors.

Work:

All gaps between fl oors and in existing chimney will be sealed with fi re


retardant plasterboard.

Risk:

Detection of smoke.

Requirement:

Complete coverage of the building with smoke detection.

Work:

Inspection and maintenance of existing fi re alarm system.

Addition of radio connected smoke detection.

Addition of call points to all exits.

Pairs of stewards will patrol both the tin rooms and the mill building,

these stewards will inspect walk ways and escape routes for

obstructions, inspect for fi re and in the event of a the radio smoke

detectors sounding will raise the alarm through the existing alarm

system.

1st Floor

Risk:

Overcrowding in relation to number of usable emergency exits and

sleeping spaces.

Requirement:

Restrict sleeping capacity to 100 persons.

Work:

Produce sleeping layout and allocate sleeping spaces, demark all

sleeping spaces in high visibility tape.

2nd fl oor

Risk:

Overcrowding in relation to number of usable emergency exits and

sleeping spaces.

Requirement:

Restrict sleeping capacity to 100 persons.

Work:

Produce sleeping layout and allocate sleeping spaces, demark all

sleeping spaces in high visibility tape.

Risk:

There is a trip hazards on uneven parts of fl oor and change of level.

Requirement:


Remove steps and change of level.

Work

Fill holes in fl oor, ramp half steps and use hazard tape to indicate

change of levels.

Space:

External passage to rear of tin shed

Risk:

Trip hazard and low visibility in hours of darkness.

Requirement:

Ensure the escape route is clear of hazards and there is adequate

emergency lighting.

Work:

Remove obstructions, and cut back vegetation. Perform maintenance to

existing emergency lighting system.

Space:

Emergency exits to outside of building:

Risk:

Blockage or locking of fi re exits.

Requirement:

All fi re exits to be accessible and clear of obstruction at all times.

Work:

Welcome presentation to include explanation of fi re strategy, including

demonstration of fi re alarm and exits. All fi re exits to be manned and

monitored for both security and obstructions.


Escalation Procedure

Drunkenness

1. In the event that a patron attempts to buy alcohol while in an unfi t

state:

The Bar staff will refuse service of these people.

2. In the event that the patron becomes belligerent:

An on duty member of the organising team will politely ask the patron

to be calm and move away from the bar area. They will not put hands

on the patron.

3. If the situation continues:

If the National Contact of the patron is available they will be asked to

advise the patron to be calm.

4. If the situation escalates to the point where the patron is aggressive

of violent:

Under no circumstance is a member of the organising team or steward

to engage in physical contact with the patron.

If there is no recourse but to remove the patron from the bar area a SIA

registered member of door staff must be contacted.

In the fi rst instance the door staff will remove the patron from the area

of alcohol consumption to the loading bay area; a fi nal warning will be

issued to the patron to be calm.

5. If the patron continues to act violently:

The SIA door staff will have the ability to decide if the patron’s behavior

warrants their removal from the premises, the coordinating steward for

the shift can also request the removal of the patron. In this instance

will be removed from the building by an SIA door staff. If the patron is

cooperative, a taxi will be called and they will be directed to the Hatters

hostel in the City centre. If appropriate the police will be called.

The following day the DPS will meet with the patron and their National

Contact to discuss whether the patron will be allowed to rejoin the

assembly. Punishment can include, a fi nal warning, banning from the


bar area, or ultimately removal of their wristband and expulsion from the

assembly.

All participants will be notifi ed of this procedure on registration.

Aggressive behavior

Aggressive or violent behavior towards members of the organising team

or delegates will not be tolerated.

1. In the event that a delegate becomes aggressive:

An on duty member of the organising team will politely ask the patron

to be calm. They will not put hands on the delegate.

3. If the situation continues:

If the National Contact of the patron is available they will be asked to

advise the patron to be calm.

4. If the situation escalates to the point where the patron is violent:

Under no circumstance is a member of the organising team or steward

to engage in physical contact with the patron.

If there is no recourse but to remove the patron from the area a SIA

registered member of door staff must be contacted.

5. If the patron continues to act violently:

The SIA door staff will have the ability to decide if the patron’s behavior

warrants their removal from the premises, the coordinating steward for

the shift can also request the removal of the patron. In this instance

will be removed from the building by an SIA door staff. If the patron is

cooperative, a taxi will be called and they will be directed to the Hatters

hostel in the City centre. If appropriate the police will be called.

The following day the DPS will meet with the patron and their National

Contact to discuss whether the patron will be allowed to rejoin the

assembly. Punishment can include, a fi nal warning, banning from the

bar area, or ultimately removal of their wristband and expulsion from the

assembly.


All participants will be notifi ed of this procedure on registration.

Intruder

Under no circumstance is a steward, organiser or delegate to physically

challenge any intruder.

1. In the event that a steward, organiser or delegate spots an

unrecognised or suspicious person on the site:

They will approach the person and request to see their wristband.

2. In the event the person doesn’t have a valid wristband:

A delegate or organiser will inform the nearest steward. The steward

will ask the person to come with them to the info point to check their

details against the resister.

3. In the event the person refuses to provide information / go to the info

point:

The steward will contact the nearest hired member of security. The

security member will then escort the person from the premises.

4. In the event the person becomes violent or aggressive:

The member of security can request the organisers to call the police.

Participant ignoring regulations

On arrival all delegates will be given written documents covering all the

terms and conditions of accommodation and participation in easa010.

These include, but are not limited to, fi re safety, maximum occupancy,

alcohol strategy and stewarding.

1. In the event a delegate is observed contravening the system by an

organiser or steward:

The organiser or steward will approach the delegate and very politely

remind them of the rules. In most cases the infringement will have

been a mistake and approach this will be enough to prevent future

incidents.

2. In the event that the delegate is abusive or unrepentant:

At a convenient time the organiser / steward will inform the lead


steward. The lead steward will contact the delegate’s National Contact

and meet with them and the delegate to discuss the issue.

3. If the delegate at any time becomes aggressive or violent:

The steward will contact the nearest hired member of security. The

security member will then escort the person from the premises. The

delegate will be advised that if they continue with this course of action

they will have their wristband removed and ejected from the assembly.

Following these events the DPS will meet with the delegate and their

National Contact to discuss whether the patron will be allowed to rejoin

the assembly. Punishment can include, a fi nal warning, or ultimately

removal of their wristband and expulsion from the assembly.

4. In the event the person becomes violent or aggressive:

The organisers can decide it is appropriate to call the police.


FWIN 2728/080810 - Night crime log.

FWIN 125/090810 - Architecture students international (beer) festival at industrial premises at 17 Mary Street, Strangeways called in by NWAS due to levels of intoxication by some participants. 4 taken to hospital by NWAS, due to level of intoxication, several others checked over. Premises visited by myself at 01:20hrs & DPS (details as per FWIN) spoken to. There is a license to sell alcohol until 1am & the fi re certifi cate has recently been modifi ed to prevent people sleeping at the premises. It appears that this is gathering of international architecture students which has been happening for around 20 years in different parts of the world, this year cosmopolitan Strangeways being the host. DPS adamant that students had brought their own food & alcohol into the premises to celebrate different cultures from around the world & some had over indulged in relation to alcohol consumption & that no one was served at his bar who was drunk. The merriment took place in a seperate room separated from the bar area by closed doors. Private room visited where remnants of food & alcohol vis-ible on various tables. Two Marpol security staff on site. No apparent licensing offences. For consideration of follow up by City Safe.


Sponsors


easa010 specifi cs

More details on the lay out of easa010 using extracts taken from the welcome

guide.

In an effort to commit to our mantra of Reduce Reuse Recycle we e-mailed out

the 69 page long Welcome Guide in advance of the assembly, this also gave

participants a chance to read it at their leisure. On arrival each participant was

given a lanyard to wear around their neck with a single piece of folded A4 with

a map, timetable and key phone numbers.

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EASA essays

Identity Identity and creativity

The identity of a process of education and self-education. Because individuals

are not born but as a born identity since birth and its attributes. Will. Freedom.

Mind. I would add one more attribute-expression or a thirst for creativity.

Identity is so multifaceted and so different that there is not the same as

people (ie individuals) or not identical inner worlds - every person is valuable

as a carrier of a “special” non-transferable “inner world and is valuable as a

possible creator. Creative person is prone to empathy throughout the round

- as a state of mental experiences of events around the world both real and

invented - caused by his own reality. Dreams, dreams, emotions, inspiration,

motivation and feelings-all the imagination of man. Where they occur, why

it is so different - A wild mix of reality and their corresponding feelings and

fantasies of birth personality, individuality is no similar patterns in the sand

against the wind - perhaps they can only look similar, but the grains are still

different.

Reason of life of creative personality seems to me, lies in the very process of

creation. How to play the mind perceives the process of creation - and here

he takes on one of the attributes of personality - freedom, but in this case,

freedom of creativity and as a result of freedom of expression. Create a new

people, perhaps, is an internal draft of the game with his own imagination.

So he loves the ideals of toys, which creates in his imagination and in his

thoughts. And if we imagine the human personality is not as substance but

as a creative act of creating a new impression of the value of each individual

and the more creative person. And then create a new impression not only on

the value of a particular individual, but also about the value of all created - for

it is the efforts of a particular person - who suffered worked through their

happiness and all their fears.


Person in contact with the world, otherwise it would be impossible for her

existence - but this process in this case is not one-sided. Bright individuality

can not stop your spiritual growth only on consumption - and they are looking

for an outlet for his I. His emotion experiences. His creativity. So art itself

engenders, spur and grow themselves.

What a man seeks: in music? Painting? Be in the sculpture? Or the mother

of all arts - architecture? Inventing something new or improve old? Reveals

something in a new light seeing it a new fresh look? But on the other hand

passing through the prism of the human perception of the human mind and

his personality each time creating something unique - a kind of masterpiece

- even a masterpiece for yourself. And then a person becomes a carrier of life,

for which the unity of its essence as an individual is embodied in its creativity

and self-expression - that persist throughout life. In this respect creativity

itself begins to form the next person, but not vice versa - and the direction

in which begins to develop individuality in this direction it will develop a

learning and on and on. In this case, the essence of man and his experience in

creative activity is a mechanism that ensures a healthy human desire for self-

improvement. The creative act is always a person to overcome themselves and

the release - it is an experience of power - everyone, to do no matter what:

music, painting, sculpture, drawing a house, he shows the power of mind

and reveals all its fears of joy all his pain and love in its creation - and here

we again come to educate themselves - building itself as an individual - and

the creation of its nature and management of their own creation in the right

direction. Moreover person represents himself in his works - it’s like a diary

their emotions. So personality becomes open to the public. And not only for

society - but for the new: experience, new developments and knowledge.

And again we are led to the development of creative personality in itself. Here

subtle psychological relationship between man and his own creations and his

own process of creation. What ultimately may be more beautiful art and that

may be interesting pronounced personality disorder? Is there something which

is able to copy the process of abstract thinking substance? And the capacity to


substitute for the vision and sense of beauty? For me, the answer is obvious.

Mustafayeva Renah Shahin gizi Third year student Azerbaijan Architectural - building University.

Identities in an Era of Globalization and Multiculturalism

The topic of identity is of special interest to psychologists who study how

and why people perceive themselves the way they do. What factors contribute

to the growth and development of the “self” ?When a person has a clear and

stable sense of self, we can say that he or she has an “identity.”

That identity is fi rmly rooted in one’s culture and, at the same time, it refl ects

one’s culture. In the modern West, identity refers to the achievement of a stable

and familiar sense of self, which depends on “physical and sexual maturity,

competence in abstract thought, and a degree of emotional stability”

Nowadays, the Western culture has left behind the indigenous and traditional

beliefs, ideals, norms, and values of the local populations in many developing

countries. We now see that members of the younger generation in Eastern

cultures are moving rapidly in the direction of Western ideals, i.e., individualism,

competitive success, and materialism, and putting personal goals ahead of

group goals as well as defi ning one’s identity in terms of personal attributes

rather than group behaviors. This is in contrast to the concept of collectivism

that is more representative of the cultures in the East.

How to respond to the growing challenges in order to preserve cultural identity

in the 21st Century?

Our lives are blending mixtures of memories, experience, dreams and believe.

We are facing the need of higher hopes. We defi ne ourselves by our taste of

music, art, fashion, architecture…. Pieces of art are much more than hollow


structures or dead artifacts—each image carries with it a piece of our collective

history, snapshots of the human soul as it slowly matures through time.

These pieces are alive with living memory, a sliding calculus of perspectives,

circumstances, and social priorities that became codifi ed into design. Our

constructions continue to construct us, imprinting our personal and collective

identities in subtle but powerful ways—landmarks of experience that are

always coloring our perspectives, housing our visions, and sheltering our

dreams.

Our consciousness is inextricable from our environment. Colors, angles,

textures, and lights all conspire to sway our moods and shape our experiences;

molding our conscious and unconscious minds according to the prevailing

social norms and cultural trends of the time. We can feel this every time we

walk into a room, a very subtle but noticeable reaction to our surroundings—

perhaps a sense of calm and spaciousness, or of creativity and energetic

vibrancy, or of anxiety and claustrophobia. You can feel this right now as you

read this, your immediate habitat inescapably affecting the sound, feel, and

meaning of every word. There is no simple mathematical equation to make

sense of the connection between consciousness and environment, as the same

surroundings can elicit entirely different reactions from psyche to psyche,

culture to culture. Adding to the complexity, we often surprise ourselves by

naturally surrounding ourselves with environs that dramatically contrast our

interior states. Sometimes we seek what is familiar, orderly, and predictable

in the world we build. But sometimes we don’t. Sometimes we seek the new,

the shocking, the slightly crazy.

Every building embodies a message. Buildings speak of risk-taking or

cowardice, of individualism or conformity, of nature or artifi ce, of wealth or

poverty, of handicraft or machinery, of the local or the global, of representation

or abstraction, of permanence or change. And so on. We admire the buildings

that speak our values -- or, at least, the values we wish other people to

perceive in us. Every building we see emphasizing varying combinations of


Beauty, Goodness, and Truth according to the changing aesthetics, values, and

technologies of society. Each architectural design represents the individual’s

image of society, as well as society’s image of itself—a gateway between interior

and exterior, between culture and consciousness, and between the past and

the present. Each style represents a unique alchemy of ever-deepening form,

function, and meaning, balancing masculine and feminine design elements in

very distinctive ways from building to building, culture to culture, epoch to

epoch.

Katerina Serbezova

CENTRAL-EUROPE IDENTITY AND SPIRIT OF THE AGE

The defi nition of the identity clearly indicates that it is nothing else than a

substantial uniformity and conformity of two subjects, ideas or trends. It is

a logical rule, according to every idea should be identical with itself in the

specifi c time period and relation. The identity means the feeling or experience

to associate with oneself or with some group. Nevertheless, this expression

has much more defi nitions, which always substantially and essentially concern

our society. Nowadays, we can say that the world is in serious crisis, not only

in economical but also in moral, cultural, political, social or ideological. Many

new trends emerge, fi ghting with each other, which sometimes extinguish or

extremely reinforce themselves. There are enormous gap between continents,

their countries, nations, groups and individuals. On the other side, there

is one acceptable world and within it the acceptable Europe, where we can

see an open, tolerant dialog from the highest structures till the lowest ones.

This world allows free fl ow of technical achievements, basic curiosity and

individually created thoughts and observations.

There is one place in the world – called as Central-East-Europe. In this part

of the world several centuries old traditions, impression of the 20th century

dictatorships or a modernity of the 21st century are equally present. In


a transferred sense, all these characteristics could be also applied to the

architecture. We can fi nd here bald building estates, functional concrete

aggregations as well as groomed historical quarters. May be there is an analogy,

although slightly strained, between these phenomenons and the results of

the science of proxemics. The proxemics is the study of set of measurable

distances between people as they interact. The results of proxemics research

indicate that most American feel most comfortable when people keep arms-

length away during conversation. Contrarily, near east people are standing so

near to each other that they can fell one another breath. Central-East European

people are also characteristic by keeping a distance. Scientifi c observations

of the proxemics show, that all animals and humans are surrounded by two

concentric circles. The outer and larger circle represents a space for an

escape and the second one is a space for an attack. When somebody enters

the second circle, we charge at him independently on his power. I think that

for our region is very typical that the territory and environment have developed

living out of consideration the rules of proxemics. It is an interesting mix,

which infl uenced the development of Central-East-european countries.

People in this area also have other characteristic feature. They are simple-

hearted and to some extent opened. There are certain conventions such as

instinctive rejection of new things. To change them is a very diffi cult and

long-winded task. Of course, it is not true for all people but we can allow

some generalisation which are supported by sociological survey.

The mentioned characteristics clearly indicate that the fi rst and the most

important task in all areas – for example in the architecture - is to change

human thinking to be able to create the world more tolerant and more opened.

In my opinion the only way to achieve this aim is a dialog and communication

between different cultures.

EASA IDENTITY ESSAYEster Raček -Slovakia


Articles

A collection of press clippings followed by the text.

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IdentityThe way we see ourselves, our identity, is the product of a balance of nature and nurture. It is a combination of the genetic code taken from our parents that forms the basis of our personality and our personally attested experiences collected over the course of our lives. It is a combination of things that have happened to us and all the stories we have been told. Our identity is a simplifi cation of all these things, and provides us with a frame with which to judge the world around us; a set of values to hold in contrast with the experiences we are yet to have.

We can if we like, attempt to express our identity though signs and signifi ers; the way we dress, the way we walk, the way we talk, the food we buy the people we associate with, can be tuned in an attempt to represent how we see ourselves. We will, however, only ever succeed in representing how we wish to be seen.

The propagation of a mutual identity aids social cohesion. Members of a homogenous group will interpret each other’s actions, and importantly, potential actions from a point of mutual understanding, meaning that less errors in interpretation are likely. Social identity of this kind draws on shared history and values and allows confi dence in predicting the outcome of interactions. This group identity also allows strength in dealing with outside groups. Values of the society can be attached to the individual, or sub group of individuals, without them necessarily needing to demonstrate them to the third party.

CityCities have always needed to relate to other urban environments, whether locally or, in some cases, globally. At this scale their reputation would have grown in part due to their character, but in the main due to their raisen d’ete – their reason for being. Traditionally cities grew from the necessity of improving trade and social functions through density. More often than not they were sparked into being by some kind of geographical advantage, be it a sheltered natural port, the confl uence of trade routes or the abundance of a natural resource.

Over time cities have grown individually into complex organisms, with populations in the thousands or millions. Understanding a city, in the true sense, is impossible, but the feeling of comprehending it is not. Advances in communication and transport systems allow for commercial practices, which were traditionally bound to a given geographical spread, to take place remotely anywhere in the world. In the developed world, this has lead to the traditional geographical advantage and functions that saw cities grow being undermined and are now in competition with urban environments with similar facilities around the world.

BrandingIdentity, as we have seen, is a combination of components of values and experience, in a society these are grouped and pooled and transmitted through teaching and propaganda. Externalised identity, the identity given to a subject by an external observer,


is a mix of the observer’s personal identity and the projected image from the subject; the information from the subject attested against the observers own value sets. Simplifi cation of the projected image allows for a feeling of comprehension to be achieved more quickly, and with less effort on the part of the observer. This simplifi cation of message is known in the commercial world as branding.

Taken at the city scale branding can target demographics – essentially just another social grouping – to stimulate investment and development. As we have seen branding is the control of projected image, when aligning to the values of a demographic the brand essentially makes promises of experience in future interaction.

Externalised imageBarnsley is a former coal mining town in Yorkshire, UK; its raisen d’ete was the vast coal fi elds in the area. The decline of the industry had hugely negative effects on the economy and, in turn, saw a trend towards depopulation.In reaction to this the Barnsley Development Agency (BDA) was created, and with Architect Will Alsop worked on a visionary scheme that aligned Barnsley as a ‘Tuscan Hill Town’, drawing on imagery of walled towns, public pedestrian streets and the revitalising of the town market. Despite negative reaction in the press at the idea of a Yorkshire town being similar to that of a town in Tuscan Italy the development that has followed has succeeded in returning the town’s economy back to the levels it reached before the downturn in the coal mining industry.Manchester

Manchester, UK, grew throughout the 19th Century as the invention of the Water frame and Spinning Jenny saw Manchester become the world’s fi rst industrial city. Manchester is an example of a city driven by an abstracted internalised identity; throughout the history of the city there is evidence of a rejection of the possibility of nostalgia stifl ing progress along with a deeply held desire to do things in Manchester.

It was in Manchester: that Marx met with Engles to discuss the plight of the working class leading to the Communist Manifesto (1844); that when port taxes in neighboring Liverpool became extortionately high in the eyes of Manchester mill owners they worked together to build the Manchester ship canal to link land locked Manchester to the sea 36miles away (1887 - 1894); that Rutherford split the atom for the fi rst time (1909); that the world’s fi rst programmable computer - Manchester Small-Scale Experimental Machine - was built (1948).

I include these examples to demonstrate the nature of the inhabitants of the city to continually invent and defi ne events of a global scale, though Manchester cannot be called a true global city.

Perhaps the best explanation of the identity of Manchester can be seen from the story of Factory Records. Factory was established in the 1970s as a way of promoting up and coming bands in the city, not unusual in itself, what was unusual was the attitude


displayed by the management and the bands. Factory only had one contract with its bands written in blood by cofounder Tony Wilson, the contract stated that

‘...the artists own all their work. The label owns nothing. Our bands have the freedom to fuck off.’

This attitude was displayed by the willingness of Joy Division to sign to Factory and reject approaches from established London based record labels.

Internalised imageAt the beginning of the 21st century, while Barnsley was redefi ning itself as a Tuscan hill town in an effort to turn its economic fortunes, Manchester was undergoing a period of regeneration. As part of this the newly formed Marketing Manchester approached graphic designer Peter Saville with a brief to re-brand Manchester, logo slogan and all. This was an opportunity to project an image Manchester and therefore externalise its identity. Saville refused, stating that Manchester didn’t need to be branded. Instead he summed Manchester up as ‘The Original Modern’, not an attempt to produce a slogan by another name, rather to give the council and the city an aspiration. In my opinion this attitude is in keeping with the social identity of Manchester, the ability to both venerate the past and be ever forward thinking, while maintaining an overtone of self-reliance.

Saville is now employed as consultant to marketing Manchester. It is also worth noting that Peter Saville was made famous by the work he did as graphic artist - for Factory Records.

Chris MaloneyEasa010

In summer 2010 the European Architecture Student Assembly will convene in Manchester. The theme for the assembly will be identity, giving the opportunity for students to further explore the implications of identity within architecture in a city that has grown and developed due to strong its strong sense of identity.


Alternative easa010

If things had gone a little differently easa010 could have been very different.

Here is a brief look in to two very different locations that almost played home

to the 2010 assembly.

The fi rst is a document produced from a feasibility study to see how many

people we could fi t on the car parks around HQ. Until February 2010 this was

easa010, at the time we lost the car parks we had even secured the shipping

containers.

The second is a quote from a tent hire fi rm. We approached them in April

2010 as we had been given a 90% notice on land

in New , we got the 100% confi rmation the day

after we signed and paid the deposit for Downtex.

[cma]


Keith MaloneyEASA

Our ref: easa2010 Date: 19 April 2010

Dear Keith,

Re: Marquee for 400 Students, 31st July – 15th August 2010 in Manchester

Following our recent telephone conversation please fi nd enclose dour quotation and proposed plan for the above event. As discussed I have quoted based on –

Five separate areas – Dining, Catering, Portaloos, Showers and Sleeping – all based on sizes discussed. They are interlinked via walkways, with screens for privacy etc... as and when needed.

I have itemised out the cost of wooden fl ooring and carpet for you. Entrance and Fire Exit doors are provided as standard.

I have quoted to supply the site with a Heras Fence throughout and have also quoted for furniture. I also itemised out costs for Portaloos and Showers.

All prices are based on the two week hire period.

I understand there will be alterations to the plans and spec subject to fi nal requirements, power to site, water to site and access. I would recommend we meet on site to measure and check the site; it would also be an excellent opportunity to discuss all the arrangements in greater detail.

If you require any further details or prices or would like to discuss the matter further with us, please do not hesitate to contact me.

Yours sincerely

Robert Lamb: Hire Manager

Field & Lawn (Marquees) Ltd.6/8 Clothier RoadBristolBS4 5PS

Telephone 0117 980 1120Facsimile 0117 980 1121

National Coverage:

Head Offi ce 01506 859 260

Manchester 01925 600 260

Edinburgh 01506 857 938

Glasgow 0141 812 7787

www.fi eldandlawn.com

Registered Offi ce:5 Atholl Crescent, Edinburgh

Registered in Scotland No.100165

Section One: Bidding

Field & LawnQuotation

Marquees for 400 Students, 31st July – 15th August 210 in Manchester

SLEEPING MARQUEE

Clearspan Frame Structure size 15m x 30mAbove structure clad with white pvc to BS7837Above structure lit with fl oodlighting on a dimmer controlAbove structure fi tted with double entrance/fi re exit doors as standardLinked to Dining Marquee via two walkways

DINING MARQUEE

Clearspan Frame Structure size 15m x 30mAbove structure clad with white pvc to BS7837Above structure lit with fl oodlighting on a dimmer controlAbove structure fi tted with double entrance/fi re exit doors as standardLinked to Portaloo and Shower Marquee via two walkways

SHOWER/PORTALOO MARQUEE

Clearspan Frame Structure size 10m x 20mAbove structure clad with white pvc to BS7837Above structure lit with fl oodlighting on a dimmer controlAbove structure fi tted with double entrance/fi re exit doors as standard

CATERING MARQUEE

Clearspan Frame Structure size 15m x 10mAbove structure clad with white pvc to BS7837Above structure lit with fl oodlighting on a dimmer controlAbove structure fi tted with double entrance/fi re exit doors as standard

Hire period 31st July – 15th August (in use)To be built prior to this date and dismantled after – dates TBCAll Labour and Transport costs included

FOR THE SUM OF £14,850.00To have wooden fl oor and carpet throughout

would be an additional £8,750.00

FURNITURE for two week hire period HIRE

Folding Samsonite Chair 400 £760.00

6’ x 2’ Trestle Table 80 £432.00

Heras Fence 300m £900.00

Delivery and Collection £80.00


SHOWER UNITS – based on power on site – for two week hire period4no. Transhower UnitsEach unit with four showers, each insulated for warmthEach cubicle has its own drying/changing areaConstant warm thermostatically water

Delivery, Installation and CollectionOn site attendant each day of hire to maintain and valet

To supply water for showers for complete two week hire period. Based on 30 litres being used per day per guests – total of 12,000 per day. Price includes re-fi lling four times during hire, hire of tanks and pumps, associated pipework and connectors

£3,200.00

£180.00

£290.00 Per day

£5,900.00

PORTABLE TOILETS for two week hire period12no. Standard Toilet Units

On site attendant each day to maintain, valet and pump-out(price will reduce if hire on site attendant for both showers and toilets)

£2,400.00

£290 per day

Shower Unit Toilet UnitINSURANCE OF EQUIPMENTPlease note that under our Conditions of Business, customers are responsible for the safe custody of all equipment supplied by Field & Lawn (Marquees) Ltd while on site. It is a condition of hire that appropriate insurance is arranged to cover damage to, or loss of, the equipment. We appreciate that you may encounter considerable expense and diffi culty in arranging insurance and, therefore, for your convenience, we do offer a damage waiver as follows:

“Our Risk” Option;For an additional cost of 6% of total hire invoice we agree not to claim payment from you of more than £500 for any damage to, or loss or destruction of, any equipment supplied by us whilst it is on site, i.e. you will be responsible for the fi rst £500 of any damage etc and we will be responsible for the rest. Unless you choose otherwise we will assume that you wish to use the “Our Risk” option.

We are not arranging any insurance policy for you or extending the benefi t of our insurances to you. Even


where the damage waiver applies, you should therefore consider whether you need your own insurances to cover other risks (e.g. event insurance and insurance for your own and your guests’ belongings).

“Your Risk” Option;If you do not wish to pay the damage waiver referred to above, we require that you take out your own insurance cover on usual all risks terms for the equipment whilst it is on site (“Your Risk”), and show us evidence no later than 14 days before the build date that such cover is in place. Otherwise the “Our Risk” damage waiver will apply, and you will be liable for the 6% cost of this.

VATThe foregoing hire charges include all Labour and Transport Costs but exclude VAT

This quotation is valid for 7 days

PAYMENT TERMS

25% on confi rmation of the order50% 1 month before the build date25% 1 week before the event dateIf you wish to pay by Credit Card (Visa / Mastercard / Switch) a 3% handling fee will be charged.

CONDITIONS OF BUSINESSAll our services are supplied subject to our conditions of business, which are attached


Numbers

Where possible we have included useful quantities throughout with the relevant

topics in the previous sections. Here all I can do is collate some of the other

data that seems to be a little less tight, and a little more fl oating around.

First up, spread over three double page spreads is the over all budget, this is

followed by a simplifi ed version. On the same page is the tools list we worked

to. Opposite that is the stationary shopping list and last is Christoph’s best

efforts to remember useful quanaties of materials.

[cma]


what I can tell from memory we had about 200m of the 3.5x3.5cm timber,

about 400m of the 2x7cm, about 200 of various timber sizes like 4.5x8cm,

about 40m2 of different sheet materials, block, ply, osb boards, 10 sheets of

that black plastic stuff and the 20 sheets of that shit chip board.

most of it got used and it was really important to have some thin timber to

start with(not too big because at easa people tend ot over engineer things

a lot, a point that i would make over and over again to make sure there is

someone to stop people from being stupid and wasting stuff)

as for the 2000 gbp, we used it all up during the two weeks as paul pointed

out.

we payed:

competition, metal stud work, various tools, timber, screws etc. cost probably

between 300-500gbp

fl ex space: ply cost: 300 gpb

syntatitcs: paints, brushes, cost ca 200 gbp

amm: they used the chip board sheets and old styro foam,timber, electric stuff

costs ca 200 gbp

cc: they used all the 2x7cm timber and we bought them some more: 100 gbp

interact: paid all their own stuff, timber paint osb, ca 250 gbp

tesi: lots of fabric: 100 gbp

small I: they could really amke use of all the random peices of wood, sheets


we had already. we bought some nuts bolts cable and the like: cost less than

100gbp

AI: used the 2x7cm timber, some fabric, some card etc: less than 100gbp

the gear box: 350 gbp

[cho]


Numbers


EASA 2010 MANCHESTER

Making an introduction about EASA isn’t easy. For me it’s a thing, a gathering

that changed my life in more ways than I expected. It thought me about

friendship, about making and keeping bonds that last despite the distance

that stands between people. It thought me about accepting everybody as

they are, respect everybody and it thought me that there are places in this

world in which politics, religion, and skin colour don’t matter and where there

is no hierarchy. It helps the shy ones to improve their social skills it helps

people to learn and speak more languages. Without EASA a lot of people from

Architectural University of Belgrade, Novi Sad and Nis wouldn’t be able to travel

outside the country because they don’t have enough money for this kind of

travel, but people that are involved in EASA think about this kind of subjects

and with some decisions that are made at INCMs low standard countries like

Serbia and students from these countries get the opportunities that they could

never dream about. As I started going to EASA while fi nishing my fi rst year

of architecture I cant help but mention that meeting some older students at

EASA it also changed my way of thinking about architecture, about life and I

gained friends that helped me through some rough times at the university they

thought me how to use programs, they helped me to get through the nights

and days of not sleeping while doing projects. Not to make this introduction

too long EASA also helps architecture students to learn about building things

fi rst hand and also allows students to broaden their knowledge and learn about

things such as fi lm making, photography, writing , EASA Manchester was, for

me and I presume for a lot of EASA people especially for the organizers, a

very emotional thing. This I say because it was the fi rst time after thirty years

that EASA came to the place where it actually started. As most of the Serbian

participants never went to UK their expectations were very big. The organizers

did a great job of informing participants about the regulations, procedures

in case of fi re and UK law in general as it is a lot more different than the one

Serbia has. They prepared us and gave us all the useful information about

Manchester, and about the workshops. Also all of us were very happy to come


to the city of good football (for the boys) and the city that gave us Joy Division,

The Smiths, Buzzcocks , Happy Mondays, Oasis.

When we came to Manchester we had organizers giving us tours around the

city and after a few days we also had architects and artists showing us around

the city. I saw the city as way more beautiful than I expected it to be. It had

that warmness that I wasn’t expecting of the city that was one of the greatest

industrial cities. Architecture is beautiful and people we had the chance to speak

to were very open and happy to help. Until the point of fi re brigade coming to

the event and shutting it down. This changed the feeling of being welcome to

the feeling of people from fi re brigade wanting us out of Manchester as soon

as possible. It also put a lot of pressure to the organizers who planned this for

two years and did their best to play by all the rules . The thing that bothered

me and my participants the most is that these people that came and tried to

make this experience a bad one didn’t take time and didn’t show good will

and didn’t trust even their people from their city. And people from EASA along

with the organizers really gave their best by turning the music off even before

it was due to be turned off, by having people organizers and helpers, and I am

writing this as one of the helpers that was in Manchester , watching and not

allowing people to smoke inside and to drink outside, having people watching

the fi re escapes all day and all night long, having people patrolling around the

premises all day and all night long making sure that nothing catches fi re, by

having security counting the number of people in the parties and making sure

that only the allowed number of people is at the party and when they got to

that number they made sure nobody gets in until someone goes out.

On the other hand we also had some beautiful places for workshops and

people that showed all the participants how to use tools properly. I can only

be thankful to the organizers for keeping it together even though at one point

it seemed that everything came down on us and them. This also shows that

EASA teaches people how to cope with all the diffi culties and problems that

can happen in life. And people staying also showed how EASA is a group of


people who stays together no matter what. To get this to the end I would like

to thank the organizers for making us feel at home even though it seemed

that some people wanted us not to. I would like to thank the city for making

it possible for EASA to come back to its origins and I would like to thank the

fi re brigade for making us feel unwanted and because of all this I am sure I will

visit Manchester a few more times in the years to come.

All the best

Olga Lazarevic

Architecture University of Belgrade

Serbia


Who wrote this

This Report was written by the easa010 hosts, who were:

apo - Adam Powell

ama - Alex Maxwell

bmi - Bhavika Mistry

cma - Chris Maloney

cho - Christoph Holz

dgr - Dido Graham

eun - Emma Uncles

kbe - Keith Bennell

kma - Keith Maloney

jri - Jack Richards

jhi - James Hills

jbu - Jenny Burns

jki - Ji Kim

jsh - Joanna Sharples

jcu - Jonny Curtis

jfr - Joseph Frame

jdu - Julija Dubovik

lcu - Laura Collins

lbu - Luke Butcher

mla - Matt Lambert

mre - Miles Reay-Palmer

pfa - Paul Farrell

sta - Shinnosuke Takayanagi

sfa - Steve Farrell

tbe - Thomas Bennell


Who it was written for

The UK team would like to thank the incredible EASA network for making

easa010 an amazing experience, it was an honour to play host to you all.

Igor Sladoljev+Oleksandra polyakova+Selma Alihodzic+Emelie

Demasure+Michal Sladek+Abdullah Denizhan+Adam Berka+Agnete

Plauborg Lorentzen+Aljosa Merljak+Ansis Sinke+Cheryl Ann Bonello+Chiara

Anna+Friedl+Daria Spasova+Darko Krstevski+David Kovarik+Derya

Aguday+Dimitar Rahov+Dimitra Vogiatzaki+Elina Spanoude+Elsa

Deconchat+Erdenejargal Rinzaan+Frida Sophie Vang Petersen+Giacomo

Neri+Hanna Kozlowska+Hilde Vinge Fanavoll+Hugo Pointillart+Ioana

Iordan+Joana Torres+Julian Grossmann+Julija Jureviciene+Kajsa

Borjesson+Karol Pasternak+Katerina Kamenska+Kleidi Eski+Kristin

Karlsson+Lala Abdullayeva+Larisa Sisoeva+Laura Bagdonaite+Leyla

Ibrahimova+Mari Rass+Mariam Ayvazyan+Marianne Madland

Hagesaether+Marina Afonso Maia Goncalves+Marina Ilyushina+Marko

Vukovic+Natalia Fedorova+Natasa Jukic+Nikola Jelenic+Patrick Jaritz+Patrick

Roche+Pekka Ijas+Pero Vukovic+Rrita Pula+Sara Badovinac+Stef

Bogaerds+Sven Lechner+Thomas Jochum+Tomas Dirrix+Ville Mellin+Yelta

Kom+Zana Lloncari+Iryna Balunenka+Sam Patterson+Alison Katri+Alvaro

Leon Rivas+Andreas Normstrom+Arvid Woelfel+Balazs Danyi+Bence

Pasztor+Blanca Dominguez Medina+Boris Stanic+Brian Sheehy+Cecily Quentin-

Weeks+Christina Kontana+Christina Tsakiri+Christine Boss-Mortensen+David

Engell Jessen+Donnchada Gallagher+Emmet Kenny+Frederick Beckett-

Nilsson+Hanna Bulanava+Helen Rose Condon+Inger Marit Skorstad+Jasna

Cizler+Javier Guerra+Jeanne Wery+Jesus Diaz Osuna+Jose Mayoral+Lucia

Rodriguez+Luis Palacios+Luke Gleeson+Malte Wittenberg+Marko

Slapura+Mikkel Nielsen+Olivera Lazarevic+Paddy O’Connor+Pernille

Siggaard+Ricardo Paternia+Rodrigo Castro+Roland Nemeth+Rune

Madsen+Sergio Romero+Simon Harrington+Stig Anton Nielson+Tonia

Papanikolaou+Yvonne Michel+Anne Katrine Roien+Leanne Martin+Giulia


Nardi+Ruth Hynes+Wendy Adams+Steven Schreurs+Cecily Norton+Mahyar

Moharramzadeh+Edgardo Jose Tovar Perez+Aaron Callejas Moresco+Alba

Minguez+Alejandra Trigueros de la Cruz+Alejandro Cano Abril+Aleksandra

Poljanec+Alena Darashkevich+Alessia De Angelia+Alex Mcclellan+Alexander

Berg+Alexandros Fotakis+Alvaro Viegas+Amy Green+Ana Sulkic+Ana Tovar

Garcia+Anahit Sargsyan+Anastasia Kuzi+Anastasiya Andrukovich+Andrada

Marcusanu+Andraz Lecnik+Andre Ribeiro+Andrea Trajkovska+Andrei-Dan

Musetescu+Andrej Vuk+Andrej Zikic+Andres Morales Sanchez+Andrew

Thomas Lasbrey+Andrius Laurinaitis+Anett Farkas+Anna Kropivko+Anna

Podrouzkova+Anne Geenen+Anne-Cecile Brun+Anton Ivanov+Antonio

Olaya Camacho+Areg Melikyan+Arnaud Chabut+Arnisa Kryeziu+Artem

Staborovsky+Artsruni Torosyan+Arzu Eralp+Athina Rizopoulou+Ayber

Gulfer+Aydan Mustafayeva+Ayse Cagin Sergin+Barbora Zmekova+Basak

Kalfa+Beata Kurajova+Benjamin Groothuyse+Benjamin Rogler+Benjamin

Youd+Bernard Brennan+Biljana Stambolieva+Bojan Kecman+Bojana

Boranieva+Boris Guzvic+Boris Jurmovski+Cagri Sanliturk+Camilla

Siggaard Andersen+Camino Maria Sanchez Gonzalez+Canan Erten+Carina

Zabini+Carlo Antonio Muscat+Carlo Gerundo+Carlos Valderrama

Lozano+Cengiz Ayaz+Chloe Raemdonck+Chriysi Gkolemi+Claudio

Goncalves+Cliodhna Rice+Craig McCormack+Cristian Stefanescu+Dan

Branda+Dana Bodnarova+Daniel Guerre-Gomez+Daniel Krucker+Daniele

Blasi+Danilo Drobnjak+Daria Madaj+Darragh Farrall+David Lukacs+Dejan

Zoric+Denis Creanga+Dicle Kockar+Diego Garcia Esteban+Dimitar

Stanishev+Diren Coskun+Domenico Grampone+Dominykas Daunys+Dordije

Drobnak+Doruntina Myftari+Dovile Botyriute+Dovile Kriksciunaite+Ediz

Orac+Eero Alho+Eibhin ni Chathasaigh+Ekaterina Kozorezova+Elaine

Bonavia+Elcin Rzayev+Elias Lindhoff+Elifcan Yumlu+Elise Junge+Emilie

Jorgensen+Emilio Roldán Zamarrón+Emmi Jaaskelainen+Enni Oksanen+Ester

Racek+Etienne Godfrin+Eva Koutoulaki+Evangelia Magnisali+Evgeniya

Pronina+Ewa Szymczyk+Fanny Jacquet+Farid Aliyev+Felix Yaparsidi+Ferry in

t’ Veld+Filip Nieuwpoort+Flavia Chiavaroli+Francesco Tonnarelli+Franziska

Koppel+Frida Korberg Thurhagen+Gema Florido Pendon+Ger


Brennan+Giorgos Kyriazis+Giulia de Vita+Giuseppe Casanova+Guilia

Mangiafesta+Halime Gurcan+Hana Grebenar+Hanna Kalbasko+Hanna

Larsson+Hanne Vermeiren+Ilda Rodriguez Martinez+Ileana Rogoz+Ilgin

Kulekci+Ines Alecrim+Inesa Kovalova+Iraki Khutsaidze+Irene Rossi+Iulia

Catalina Cucu+Iuliia Khrystenko+Iurii Ostapchuk+Iva Maria Juric+Ivan

Aculov+Ivana Angelova+Jacok Ulbrych+Jan Hora+Jan Veisser+Janis

Beinerts+Janka Juhasz+Javier Diaz Garrido+Jeroen Jonckheere+Jerome

Clot+Jeyhun Imanov+Johanna Aglassinger+Jonathan Pyle+Jora Kasapi+Jovana

Plilipovic+Judit Nyerges+Julia Knipschildt+Kamila Kawecka+Karlis

Ratnieks+Karolina Ciplyte+Katarina Caks+Katarina Dekleva+Katarzyna

Piotrowska+Katerina Antoniadi+Katerina Kolevska+Katerina

Serbezova+Katja Nicoline Meyer+Katja Skoric+Katya Lopatina+Kerstin

Pluch+Klara Wengman+Konstantin Ikonomidis+Kseniia Pundyk+Lana

Loncar+Lasma Grigione+Laura Hanley+Leire Echevarria Lopez+Lena

Zeidler+Lenka Olesova+Libor Mladek+Liene Adumane+Linn Osvalder+Lise

Barbry+Lise Thagaard Norager+Liv Grete Stromme Framgard+Ljiljana

Popovic+Lone Kjersheim+Loren Holmes+Lotta Jalava+Lucia Brandoli+Luigi

Nicodemo+Lyubomir Dimov+Maja Dimishkova+Maja Jenko+Maja Lesnik+Maja

Milinkovic+Maja Roic+Manos Chatzinikolaou+Mar Vicens Fuster+Marcos

Serna Eslava+Marcos Silva Mirra+Mari-Liis Vunder+Maria Economides+Maria

Eugenia Diego Salvador+Maria Jesus Sastre+Maria Pettersen+Mariam

Arshakyan+Marie Bertram+Marija Strajnic+Marko Savic+Marsida

Dragoti+Martin Berg+Martin Konieczny+Martina Tagliarini+Mathilde

Zeuthen Lesenecal+Matija Gold+Matthew Cachia Zammit+Michael Atterd

Previ+Mika Katarina Friis Pedersen+Mikhail Kozlov+Mikita Lauretski+Milda

Kulviciute+Milos Zivkovic+Miroslava Mertova+Monica Martin Grau+Monica

Naso+Monica Pacheco+Monica Tusinean+Monja Johnstone+Narine

Voronina+Natasa Radakovic+Nathalie Abela+Nicky Nicolaou+Nikki

Murseli+Niko Kejerashvili+Nikola Ralevski+Nikolay Andreev+Nikolay

Mitov+Nikoloz Bolkvadze+Nina Aalbers+Nina Eminagic+Nina Rojc+Nina

Simona Heeb+Noel Roche+Noemi Gyarfas+Noora Lehtovaara+Nora

Kohler+Nunzio Enrico Bonina+Oksana Lastovetsky+Oleksandra


Polyakova+Olga Smirnova+Olwyn Greene+Oskars Vavere+Pernille

Scheuer+Piotr Maciaszek+Pontus Ljungberg+Predrag Milic+Raimonda

Cybaite+Rauf Mammadov+Raya Boyukova+Rena Mustafayeva+Riccardo

D’Alessandro+Robert Hanson+Roberta Mazzoni+Roman Zabela+Romea

Muryn+Ronan Kenny+Rosalie Isabel Schweninger+Rosina Shatarova+Saadet

Zeynep Bacinoglu+Sabir Ahmadov+Samir Salakhov+Samuel Perea

Díaz+Samuel Rey+Sanna Hjort+Santa Lazukina+Sara Dughetti+Sara

Melo+Sarah Riley+Sereh Mandias+Sergio Alarcon Robledo+Sibel Pipa+Silda

Kotolloshi+Silvia Ruiz-Poveda Lomba+Simona Stefanie Zimmermann+Sofi a

Bergman+Soseh Aghaian+Stefav Jovicic+Sukufe Aksulu+Szilard Veisz+Tamara

Kalantajevska+Tan Oktik+Tatevik Hakobyan+Teresa Carro+Tereza

Scheibova+Thomas Klein+Thomas Roelandts+Tilke Devriese+Tomas

Kubak+Tomas Petermann+Tornike Dadiani+Umit Mesci+Una Dakic+Vanand

Andreasian+Vera Schmidt+Vigan Etemi+Vitaliy Avdyeyev+William John

Mckee+Zacharenia-Eirini Chatzieorgiou+Zsofi Paczolay+Zsofi a Vancsura+

Francisco J. Rodriguez Perez+Julie Bart+Marten Dashorst+Martin

Michette+Matthew Duggan+Kieran Donellan+Andrew Hughes+Salvador

Clariana+Carlos Cabrera Pernia+Caitriona Rose McCarthy+Hana

Draskovic+Milan Dragic+Olga Lazarevic+Pavle Stamenovic+Alvaro+Alice

Shead+Boyana Stoeva+Christina Patiniou+Dalia Dimitrova+Elizabeth

Daly+Ellis Bailey-Cross+Holly Lang+Jim Mitchell+Kirandeep Matharu+Maryam

Osman+Michelle Tomlinson+Rachael Smith+Rebecca Prince+Samantha

Frame+Srisundar Senthiappan+Suzanna Kwong+Dan Goldenberg+James

Anderson+Sung Ha Kim+William Burgess+Archna+David+Andrew+Dolores

Jeronimo+Dhruva Dinesh+Charlie+Mihai Dinu+Jacky Chan+Shu Wai Sim+Vasa

Iamsuri+Jay Hong+Arthur Graham+Samyuktha+Matthew Milwid+Aida

Rodreguiez+Tess Moroney


So...

would you do it again?

Always baby, always.mda

Absolutely. Huge learning experience which has made me change so much.jbu

no. but im glad i did it the once.pfa

Organising easa is like sleeping with a girl, you do it once, you probably enjoy

it, but its doubtful whether you would do it againjcu

yes, because the outcome was incredible. To be able to see freedom of

expression through architecture and meet some amazing people was an

experience that can never be forgotten, and defi nitely worth the drama.dgr


knowing the mistakes i made, the shit we dealt with, the pitfalls, the wasted

days and missed opportunities, of course. we’d do it perfectly and sort it out

within three months!ama

No, it was the right time in my life to do this and I learnt what I really enjoy

doing. Would I do it at all, with the benefi t of hindsight? Ask me in a year’s

time...tbe

yesjfr

Yes, why wouldn’t I?mre

once in a lifetime. Xeun

final report - pt6 appendices

Documents

fi t fi

case of fi

maximum occupancy fi

escape staircase

emergency escape unfi

risk assessments

police report

relevant material