The Open Drawing: A critical investigation into the role of craftsmanship in circular architecture

THE OPEN DRAWING A critical investigation into the role of craftsmanship in circular architecture

CRITICAL WRITTEN REFLECTION DAVID BJELKARØY WESTERVIK 2023 Studio 3A: Care Fall semester

Preface

What is craftsmanship and is the role relevant in contemporary circular architecture?

With industrialization, new building typologies have emerged, consequently the role of the craftsperson and the role of materials has vastly changed. Richard Sennet is

In Richard Sennett’s book Craftsmanship (2008), he describes craftsmanship as a

arguing that even though craftsmanship can and should exist within the modern

fundamental human impulse, the connection between hand and head. In the English

world, contemporary architecture challenges the role. Industrialization, regulation,

language, you make a distinction between crafts and craftsmanship. Craft is usually

the idea of time, and the role of cost are some of the elements and influences on

conceived as performing a manual activity; while, craftsmanship is conceived as quality

craftsmanship that will be further examined.

work and more than that, according to Sennet, doing good work for its own sake.

Craftsmanship implies a degree of objectification, not merely of production. This idea of the self-reflecting craftsperson that intuitively finds solutions based on theoretical and practical knowledge has been greatly challenged by modern building techniques and materials.

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Introduction

The current economic system is driven by the generation of growth, profit, and excess that leads to waste. In 1932 Bernard London, an American real estate broker, vocalized an idea that by that time had been circulating within industrialized economies for decades. He proposed that in order to make the economy prosperous and reduce unemployment the government should tax those who decide to keep using products after it has declared them to be “legally dead”, to punish them for hindering economic growth by keeping their products in use. (London, 1932) While this proposal might look absurd in today’s light, the idea of growth through consumption is still persistent/persevering. How do architects and designers engage with waste, the inevitable consequence of contemporary consumer culture? What will be the implications for craftsmanship working with reclaimed or waste materials in a circular architecture?

According to Earth Overshoot Day, Denmark is using nature 4.2 times faster than our planet’s biological capacity can regenerate. (overshootday.org, 2022) That’s equivalent to using the resources of 4.2 Earths. We build and live like we have 4 planets. What will architecture, materials, and craftsmanship look like if we were to live and build like we only had 1 planet?

A world of finite resources is slowly becoming apparent and evident to most people, including policymakers. Out of the current situation, new architecture emerges; a paradigm shift of architects and designers that allows for imperfection, architecture built on scarcity rather than abundance, and architecture that embraces irregularity Study trip Belgium, 2022

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introduction

rather than perfection.

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Research Question This critical written reflection is an exploration of the role of craftsmanship in the past, present, and future architecture, the interrelations between the materials themselves, and the labor needed to build them. In the 8th semester of studio 3A at Aarhus Architecture School, we explore the idea of ugly waste, and how to build and unbuild?

In this CWR I will explore WHO is building and unbuilding, and what labor is necessary for building with reclaimed materials?

Can architecture that allows for irregularity and less control allow the craftsmanship to re-flourish?

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research question

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The role of the craftsmanship

Throughout history, craftsmen have been valued for their ability to create objects with skill and finesse. For this reason, the education of craft-workers has always been of great importance, balancing theoretical knowledge with physical practice. True craftsmanship starts with a fundamental understanding and knowledge of the material that is being worked with. But it is not only the theoretical knowledge about what kind of material it is, but also the practical knowledge of how to use your hands with this material.

The evolutions of the Danish educational institutions on craftsmanship is detailed in “Håndværkeruddannelsernes historiske udvikling”.(Juul, 2020) There has been an increase in Image: Historieskrivningen om de erhvervsfaglige uddannelser

specialized crafts since the industrialization, but at the same time the knowledge of crafts has become more narrow and confined. Through the specialization of carpenters, bricklayers, and masons, the cross-disciplinary holistic knowledge gets challenged. Another key element of educational institutions is the relationship between master and apprentice. While the relationship used to be defined as one master following one apprentice for several years, now it is often defined as multiple apprentices following one master for a shorter period. The paper also shows that practical and verbal transactions of skills have drastically changed.

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Field Trip "His background as a furniture maker and restorer betrays a deep reverence for old crafts, but also materials and textures. This results in designs that start from a knowledge of technology, combined with his love for everything that is authentic and handmade. The metier of the Atelier, therefore, spills over into other disciplines.

The only constant is a deep-seated respect for manual labor." (Lowie,2022) He is self-employed and has renovated spaces for restaurants, shops, and other private clients. We discussed the role of craftsmanship in modern architecture. He thought that were two primary reasons for true craftsmanship to be scarce in modern architecture, namely time and trust.

Image: Alexandre Lowie

On a study trip to Ghent in Belgium, I, by coincidence, met up with craftsman Alexandre Lowie and his apprentice Marc, who welcomed me and showed me around in his workshop.

He had a large wood workshop that he had built from an old garage on the outskirts of the city. In his words, he works as everything from furniture carpenter to interior architect.

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Image: Alexandre Lowie

field trip

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The value of time & trust

Due to higher incomes, time has become a crucial feature of the building industry.

Before, resources and materials were the highest cost, now the highest cost is labor.

This forces the industry and the craftspeople to work faster. Working faster lowers the standard of craftsmanship, the attention to detail and thereby it also affects the pride and status in the field. In the words of Richard Sennett; “Real Craftsmanship is dependent on slow time” (Sennett, 2008) Alexandre’s other reason was trust. Since the beginning of craftsmanship, trust has been a crucial part between the affiliates, while today the contractors, developers and builders are carefully insured to protect them from financial risk. Instead of trust, the industry is built upon disclaiming liability through expensive insurance.

Lowie argues while these insurances are understandable, they also eliminate the possibility for small self-employed craftsmen to deliver good workmanship based on trust and reputation of quality.

The questions related to cost can be looked through multiple lenses: production cost, environmental cost and labor cost. The value and priority of labor cost might look different with a growing awareness of scarcity in resources as well as real environmental cost. Based on this research, it is clear that through time, craftsmanship has been affected by a multitude of factors, herby socio-economic as well as cultural and political influences. Specifically, I will investigate the following factors: The relationship between craftsperson and material The process, dialogue and relationship between architects and craftsman Image: Alexandre Lowie

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the value of time & trust

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The relationship between craftsperson and material

The new car smell Material fabricators and the production of building supplies reveal the premise that the products are sold on. The materials need to have the same feeling as the new car smell. They need to look new, polished, and immaculate, with no traces of where it comes from or how it is produced. Even natural materials like wood and stone need to have a certain clean appearance to be sought after. The grains and knots of the wood need to have the right pattern and color.

Building products have a tendency to be marketed on the premise of installation and construction, demonstrating the quick and easy assembly of the materials. During this semester’s first project, a group of four investigated and made a film showing the production, construction, and deconstruction of the flat asphalt roof. The advertisement demonstrating the installation of the materials shows a neat roll of

Image: Project 1, 8th semester

asphalt roof being rolled and burned onto wood with a gas burner. The wood merged with the roof as the asphalt melts into the wood fibers.

The established culture of brand-new materials being immaculate and flawless has But studies of the production, construction, and deconstruction site, shows the

influenced craftsmanship. According to Sennett's study, builders are more likely to

separation between the construction and deconstruction. In the project, we wanted

become installers in modern contemporary architecture. (Sennett, 2008) They are

to uncover the process of deconstructing the asphalt roof, showing how difficult and

used to materials being wrapped in plastic and to having standarised dimensions

labor intensive it is to separate the wood from the asphalt. The labor includes

made for fast and easy assembly, for example plates like gypsum, fiber cement and

smashing and tearing the wood apart from the asphalt, exposing the workers to

OSB boards. Sennets argues that this very streamlined way of building might be

toxic particles, yet leaving the materials impossible to fully separate.

effective, but leaves the craftworker with very limited room to express their craft and presence in the work. He suggests that in order for craftsmanship to exist and thrive; the materials need to be adaptable and workable. As a result, the craftsperson can work around certain challenges using their knowledge, expertise and skills without it becoming repetitive.

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A study of the Norwegian stonewall without mortar is an example of how

Typically construction sites show that 10-20% of materials get thrown out. A 10%

craftsmanship can still be preserved in a time of efficient and mechanized building.

buffer is purchased as excess material, and the remaining 10% is damaged, faulty or

(Winjum, 2022) It is a workflow that adapts to the size and dimensions of the

wrongly cut material. (Hansen, Søder, Fredslund, 2021) The builders are used to

available stone at hand and that requires strong theoretical knowledge of the

materials looking flawless and are accustomed to tossing out any surplus materials.

structure of the wall. A strong sense of composition and aesthetics is evident in the

While visiting different construction sites, we experienced brand new wrapped

field and culture of "dry" stonewalls. As stonewall builder and enthusiast Odd Bjørn

insulation bags being thrown out and excess roof tiles thrown and smashed in a pile.

Garmanslund explains, building a stonewall without mortar is like making a painting;

This begs a crucial question; how will today’s craftspeople acclimate to working with

many layers considering each piece, but at the same time determining the

old, reclaimed building materials?

composition and totality of the wall.

The findings of these projects reveal how awareness of the afterlife and deconstruction of materials has been neglected in modern architecture. This is true for contractors, developers, builders, as well as architects and designers. Materials are selected in a catalogue based on appearance and price, with almost no regard for production, environmental impact, or afterlife.

The tide is turning, however. European legislation and the updated Danish building regulations are increasingly focusing on the LCA (Life-cycle assessment) of materials used in buildings. The Danish building regulations introduced a requirement for LCA calculations in 2023. For newly constructed buildings over 1,000 m2, a requirement for a CO₂ limit value corresponding to 12 kg CO₂ eq/m²/year is introduced. (bolig & planstyrelsen, 2023) While not a very ambitious requirement, the regulations will lead to a raised awareness of the environmental cost of producing materials and the inherent value of reclaimed materials.

Image from book: ei bok om tørrmuring p.149

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the relationship between craftsperson and material

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The process & dialogue between architects and craftspeople When architects, contractors and builders work with brand-new materials, there are a few crucial processes that are distinct; Architects can design with predictability based on an extensive material palette chosen in a catalogue and can fit any desired dimension. Architects can sell projects and images to clients with the certainty of how the buildings will look.

Contractors can plan and rely on delivery based on what is in stock or can be ordered.

The builders will get materials that are standardized and can therefore execute the work in a standardized way.

While this process is liberating for architects and reliant for contractors and customers, they also operate with no limitations except cost and under the illusion of infinite resources. Once new materials are replaced with reclaimed materials, the Image: Study trip Belgium 2022

We can see reclaimed materials becoming more prevalent as the environmental cost

whole equation changes. Thus, the process for architects, contractors and builders has to be reinvented in many ways.

is prioritized. This will eventually lead to different workflows for architects and a radically different form of craftsmanship. In contrast to brand-new materials

During our visit to Rotor DC in Belgium, an architectural studio and a cooperative

wrapped in plastic, the materials will be irregular and unpolished.

that organizes the reuse of construction materials, they elaborated on their process

While this change might cause some challenges for craftspeople?, it will also open

when designing with reclaimed materials; “Working with reclaimed materials from

up new doors. Craftspeople will need to be more critical of their work and the

an architect’s perspective requires a different approach. First of all, the architect

materials they use, and demand an understanding of how the elements should be

needs to let go of some of the control, allow for irregularity and embrace

put together and how to work with imperfections. It might also leave more room for

imperfection. Additionally, the architects must have a clear understanding of how to

the presence of crafts in the finished building.

work with precise materials." (Rotor DC, 2022) While with brand-new materials architects can leave the responsibility of the properties and assembly to

The workflow for architects will also drastically change once the materials are

manufacturers, reclaimed materials require architects to research, describe and

reclaimed. This will mean that the relationship and dialogue between the

illustrate how to build with these materials. In addition to illustrating to builders,

craftsperson and architects will become even more crucial. In the coming chapters,

architects must also advocate to clients, contractors, and policy makers to

I will further investigate the process, dialogue, and relationship between architects

encourage them to use reclaimed materials. According to Rotor, this is an

and craftspeople.

unconventional practice, but many aspects of it can still be applied.

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the process & dialogue

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The open drawing

Collaboration with shared knowledge is crucial. The collaborators can be engineers that know how to test and calculate reclaimed beams, or craftsmen that can work with unpredictable dimensions.

The “Open drawing” concept explores the possibility of designing with the unpredictability of reclaimed materials in a uncertain framework. It is based on a

Unlike with brand-new materials, the supply chain of reclaimed materials is not

combination of studies from practices that work within a circular economy and

based on extraction, production and global transport, but instead deconstruction,

speculation about possible future methodologies. Rotor DC approach to the

sorting of materials, cleaning/refining, categorizing and storing. Usually, the

uncertain supply chain of reclaimed materials is twofold: (Rotor DC, 2022)

deconstruction companies rely on local customers and the transport is minimal.

Some reclaimed materials demand an extensive amount of work and energy in this

1. Start with finding materials based on availability and requirements. In this

process, while others are fairly easy to reuse, which calls for well informed and

approach, storage is necessary until the project is realized. In this way, drawings,

critical approaches.

renders, and visualizations can be based on actual dimensions and materials.

Through this approach, architects can work in a conventional design process, with

Normally, a project can be designed and finalized years before the actual

the exception of finding and storing materials.

completion of the building. Traditionally, architects can rely on the availability of materials years ahead due to a steady supply chain. The same approach can be

2. Design based on the prediction of materials. In this approach, architects have

challenging with reclaimed materials considering the time between deconstruction,

knowledge of material availability and standardized dimensions, for example, a

storing and ordering materials. Usually, deconstruction companies are not

facade using reclaimed windows. The architect can design based on the most

interested in reserve orders and storing materials for extended periods of time.

common dimensions of windows, but cannot know with certainty the exact

Consequently, a new methodology for designing with reclaimed materials is

dimensions. This calls for a rethinking of drawing technique that can consider

necessary.

architectural composition but at the same time be open to unpredictability.

The open or unfinished drawing is a tool for architects to communicate a framework for clients, contractors and builders. It can be used as a framework to dictate form, composition, placement, or other architectural requirements while still maintaining some element of unpredictability.

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The grid The open or unfinished drawing is a tool for architects to communicate a framework for clients, contractors, and builders. It can be used as a grid to dictate form, composition, placement, or other architectural requirements while still maintaining some element of unpredictability.

Rotor DB made a project in Masui Bruxelles, where the rear facade of a classical Brussels house needed to be rebuilt. Without knowing the exact dimensions of the windows being used in the facade, the studio produced multiple drawings indicating the desired qualities.

The process was far from easy according to their own homepage:(rotordb.org, 2020) “These reclaimed window frames have come a long way. Not in terms of distance

Image: Rotor DB

(they are supplied by a Zwijndrecht-based salvage dealer) but in terms of process. It involved, among other things, managing to get a building permit with only a blurry indication of the final design of the facade; the elaboration of bespoke technical specs for scouting available opportunities; and a very flexible attitude to design around these.”

Image: Rotor DB

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the grid

Image: Rotor DB

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“Reuse Toolkit” is one of the multiple research papers Rotor has published on their

The architects then need to illustrate to builders and craftspeople in order to specify

open sourced website Opalis.eu. (FCRBE, 2022) The Studio describes how

how to work within the set of reclaimed materials. One example in the “Reuse

architects can work with reuse and a practical guide on how to approach demolition

Toolkit” demonstrates how to write a job description for making a wall made out of

companies, contractors and builders.

reclaimed tiles;

The crucial question in this CWR is how to approach the builders, and how to

“This job concerns the installation of a batch of reclaimed [XYZ]. These elements are

achieve the ideal dialogue between architects and craftspeople. The architect must

to be supplied by the contractor via a professional supplier/via another demolition

first determine the materials required for the project. Instead of pursuing a specific

site/other [specify] The set of reused ceramic wall tiles contains the following

new material, architects can pursue a range and variety of materials. In the “Reuse

elements: plain tiles/frieze elements/ edge elements. The tiles are in a format of X

Toolkit”shoes the process as follows:

×X × X cm, with a dimensional tolerance of ± XXmm. They are plain/decorative... in appearance and uniform in colour [to be specified] or of a shade [to be

The designer describes his/her requirements:

specified].Cracked glaze is/is not accepted [possibly specify the reservations: only if

→ Description of the material: composition, variety, etc.

the cracked glaze is original].The delivered batch is uniform: it only contains ceramic

→ Dimensions and dimensional tolerance.

wall tiles. The tiles are delivered in good condition and completely cleaned of mortar

→ Aspects: colour, texture, shade, etc.

residue on the front side/on the edges/on the front side and on the edges. Chips on

→ Expected degree of cleaning.

the edges do not exceed XX mm² per tile [provide a drawing if necessary] Surface

→ Tolerance to cosmetic imperfections.

preparation (plaster and repairs), grouting and finishing are included in this item.

→ Forms of (un)tolerated alteration

Presumed quantity (PQ) in m² – net area. “ (FCRBE, 2022)

→ Other required performances.

Image: Study trip Belgium 2022

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the grid

Image: Study trip Belgium 2022

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“While this manual is a helpful guide on how to approach a job description when working with reclaimed materials, there are many elements in this dialogue to be further explored.

First, the question of agency: Who is to determine the end result of the work?

Could it be a balance, and how should that balance be accomplished?

Secondly, the open drawing creates a framework, but it also demands that the parties engage in an open dialogue. How should the process and dialogue between architects and craftspeople be carried out?

Circular architecture and design with reclaimed materials emphasize the importance of collaborations with specific craftspeople. While with conventional materials architects and contractors can rely on a range of carpenters and masons, who can execute a standardized job with standardized materials, the same certainly does not apply to reclaimed materials. Craftsmanship will need to be reexamined in the context of circular architecture. What is required from a craftsperson building with an unpredictable material with irregular dimensions and uncertain drawings?

Craftsmanship, as described by Richard Sennet, is the act of doing high-quality work for its own sake. “The craftsman explores these dimensions of skill, commitment, and judgment in a particular way. It focuses on the intimate connection between the hand and the head. Every skilled craftsman conducts a dialogue between concrete practices and thinking; this dialogue evolves into sustaining habits and these habits establish a rhythm between problem-solving and problem-finding.“ (Sennett, 2008)

Image: Nicholas Watt, Studio Mumbai

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Could the conditions of working with reclaimed material create a fertile ground for craftsmanship to thrive? It is a process of adaptation, which requires creativity on the part of the craftsperson when the material properties are irregular. To some extent, the architects' instructions and drawings are uncertain. Would it be possible to leave some aspects of this uncertainty up to the craftsperson? Ultimately, it is the craftsperson who will hold the materials in their hands, and ideally with the intuitive knowledge required to evaluate and adapt according to the set conditions. A similarity in the process of crafts (manual work with hands) and the arts, is that the work unfolds during the course of making it. The craftsperson plays an essential role in seeing the architectural composition as it unfolds. While this might seem too much to ask for from the builders and leaves too little responsibility on the architects, it's a negotiation worth exploring.

In many ways, the traditional role of architects and builders might be too divided. A way for the tension of conventional roles to be released could be to blur the line between them. Studio Mumbai is an Indian-based architectural studio that has craftsmanship at its core. “Studio Mumbai is closer to a traditional craft workshop than a conventional architects' office. With over 100 carpenters based on-site, the studio is able to realize large-scale mockups, as well as models and graphic representations. As Guest‐Editor explains, craft and the collaboration between craftsmen is at the very core of the practice. Within the workshop typical roles become blurred: as carpenters become architects, architects enter the craft of carpentry; and they both pursue the field of masonry.” (Hensel, 2015) In addition to providing the framework for the craftsperson to work within, the concept of the open drawing serves as a vehicle for facilitating a dialogue between architects and craftspeople. As the traditional lines between architects and builders fade, a more clear common understanding and common language is likely to appear.

Image: Nicholas Watt, Studio Mumbai

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Ugly waste / reclaimed tiles In the 8th semester's final project, titled ugly waste - atmosphere of reuse, I am exploring the use of reclaimed tiles as an architectural component. Tiles are a highly energy-intensive material to produce and recycle. Specifically, I am working with the tiles from the “type houses”, the catalog house that gets built within a neighborhood of 50-100 other type houses usually by 1 or 2 developers responsible for all the houses. The neighborhood is built at the same time and is usually located in a suburban area. The tiles from these projects are offcuts, meaning tiles that get cut to fit edges either on the walls or floor. Visiting the sites of these neighborhoods, there are huge piles of these offcut tiles. They all have the same height, straight edges but different widths. Different houses have different tiles based on the client's wishes, but they all seem to have been standardized to the same height.

In the initial work, it was critical to map the properties and characteristics of the material. I proceeded with exploring how to reintroduce this discarded material back into the construction loops of new architecture. Putting the tiles together in a conventional way was not feasible for me, since deconstructing and reusing them would be difficult. Design for disassembly became a key element in my design process.

The idea of the involvement of the craftsperson became also crucial early in the process. The unpredictability when it came to the exact color, texture and widths of the tiles made it obvious to leave some of the agency to the builder. How to create a framework that allows for this freedom at the level of the craftsperson but at the same time allows the architects to set certain requirements? Dialogue and mediation between the two disciplines formed the driving force of the project.

Image: Project 3, 8th semester

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ugly waste / reclaimed tiles

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The brief for the project did not require us to consider the program or function of the space but rather the "material, tectonic, and atmospheric qualities." In the mediation between architects and builders, the key elements included how to assemble, architectural composition, color scheme, and the ability of the tiles to create organic shapes. The tiles can have a wide array of colors whereas the backside of the tiles has a more homogeneous color palette. The back side also bears small traces of the place it was produced and of the people who worked with it.

My design was eventually a space to create an atmosphere of awe, drawing attention to the craftsmanship, to the ornament of repetition, and to appreciate the aspect of time.

The tiles were placed on small steel brackets, making them easy to assemble and disassemble. In a speculative drawing, I intended to explore the mediation between architects and builders.

I made a simple manual of how to assemble the tile wall, while still leaving freedom of composition, colour scheme and placement to the craftsperson.

Image: Project 3, 8th semester

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ugly waste / reclaimed tiles

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Conclusion

Based on studies of craftsmanship, it is apparent that the role is challenged by

The concept of the open drawing seeks to provide an open framework or grid for

contemporary architecture. The driving forces in the building industry are pushing

builders to work within. Due to the uncertainty and unpredictability of reclaimed

workers to be more efficient as well as repetitive. Regulation and standardization of

materials, some of the decision-making is in the hands of the craftsperson. As part

building materials require builders to work within a confined framework. The work is

of the framework, the worker should be encouraged to adapt and solve problems

usually repetitive, with hardly any room for the presence of craftsmanship.

based on intrinsic knowledge and expertise, as well as the material's properties.

Educational institutions have made domains more specialized, which has restricted

The open drawing should also facilitate the dialogue between the architects and the

cross-disciplinary and holistic knowledge. The cost of labor is forcing workers to be

craftsperson. Workers should be free enough to promote true craftsmanship, but

more efficient and often rushed.

architects can still specify certain requirements. Between the craftsperson and architect, these requirements should be the subject of ongoing dialogue and

Increased attention and taxation for environmental cost and degradation is helpful

mediation. Based on this research, it is evident that an architectural practice that

for revitalizing the attention to craftsmanship. The cost of labor and time can

wishes to work with reclaimed materials and preserve craftsmanship needs a cross-

possibly favor the cost of the environment. Materials are at the core of the

disciplinary understanding and dialogue, as well as blurring the distinction between

conditions for builders as well as architects. In this CWR, I explored how working

the traditional roles of architects and craftspeople.

with reclaimed materials can allow craftsmanship to thrive. Reclaimed materials distort the conventional process for architects, contractors and builders, which calls for an alternative approach.

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conclusion

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References

Sennet, Richard (2008) - The Craftsman. Publisher: Yale University Press

Rotor DB, 2020 - Zinneke/Masui4ever https://rotordb.org/en/news/looking-through-facade

London, Bernard (1932) - Ending the Depression Through Planned Obsolescence https://upload.wikimedia.org/wikipedia/commons/2/27/London_%281932%29_En

FCRBE, 2022 - Reuse Toolkit

ding_the_depression_through_planned_obsolescence.pdf

https://opalis.eu/sites/default/files/2022-02/FCRBE-all_sheets_merged-EN.pdf

overshootday.org (2022) - Country Overshoot Days

Hensel, Michael, 2015 - Studio Mumbai. The Practice of Making

https://www.overshootday.org/newsroom/country-overshoot-days/

https://www.researchgate.net/publication/273391006_Studio_Mumbai_The_Pract ice_of_Making

Juul, Ida (2016) Historieskrivningen om de erhvervsfaglige uddannelser https://uddannelseshistorie.dk/wp-content/uploads/2020/08/ida-juul-2016.pdf Alexandre Lowie (2022) - Het atelier

Image references

https://www.alexandrelowie.be/nl/het-atelier Winjum, Kjersti Aase (2022) - Mur, Far og dotter - Publiser: Skald Hansen. Ernst Jan de Place, Søder. Peter Højrup, Fredslund. Lasse (2021) KORTLÆGNING AF SPILD I BYGGERIET - BUILD rapport 2021:14 https://build.dk/Assets/Kortlaegning-af-spild-i-byggeriet/Spild_i_byggeriet.pdf Bolig og planstyrelsen (2023) - Klimakrav (LCA) i bygningsreglementet https://bpst.dk/da/Byggeri/Baeredygtigt-byggeri/NY-Klimakrav-ibygningsreglementet#

Image page 8: Historieskrivningen om de erhvervsfaglige uddannelser Image page 10-13 : www.alexandrelowie.be Image page 15: Project 1, 8th Semester, David Westervik, Uyen Nguyen Phuong, Josias Sanddal Lindemann, Frederikke Adamsen Image page 16: Winjum, Kjersti Aase (2022) - Mur, Far og dotter p.149 Image page 18: Study trip Belgium, 2022 Image page 22-23: Rotor DB - https://rotordb.org/en/news/looking-through-facade Image page 24-25: Study trip Belgium, 2022 Image page 27-28: Nicholas Watt and Studio Mumbai.

Rotor DC (2022) - https://rotordc.com/

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Image page 4: Study trip Belgium, 2022

references

Image page 27-28: Project 3, 8th semester, David Westervik

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Ford, Edward R - The Architectural Detail (2011) Wigley, Mark - Returning the gift (2021) Sirdeep Singh - The Ever-Changing Role of Craft in Architecture (2015) Özlem Karakul, Traditional Craftsmanship in Architecture, Conservation and Technology (2022) Ockman, Joan - Architecture, criticism, ideology (1985) Biersteker - Craftsmanship: In the pursuit of things well-made (2015) Peggy Deamer, Phillip Bernstein, Building (in) the Future:Recasting Labor in Architecture (2010) Peggy Deamer - The architect as worker (2015) Mario Carpo, `Big Data and the End of History(2018) Katie Lloyd Thomas & Nick Beech, `Into the Hidden Abode: Architecture Production Process (2015) Sasha Engelmann: `Towards a Poetics of Air´ (2014) Yuriko Saito, 2017, `The Role of Imperfection in Everyday Aesthetics´ (2017) HUGHES, Francesca, 2014, The architecture of error : matter, measure, and the misadventures of precision

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