SKR E I x A A F
COLLECTING POTENTIAL
SKREIxAAF Collecting Potential Workshop fall 2019 Bachelor programme Architecture’s Anatomy and Fabrication Editors: Nini Leimand Pernille Scheuer
AAF Collaborations Nini Leimand Emilie Henriksen
Every year the bachelor program Architecture’s Anatomy & Fabrication (AAF) at Institute of Architecture and Technology (IBT) arrange a field work, where all students and tutors are “learning by going” to cities around the world and all project sites and briefs of the term are based in that city. This year the destination was Porto in Portugal. As part of the preparations for the field work the Porto-based architecture studio and manufacturer SKREI conducted a one-week workshop with the 3rd year students. Earlier years a similar workshop has been arranged in collaboration with Duggan Morris Architects in 2017 and Amanda Betz in 2018. SKREI succeeded in many different ways in expanding the program’s awareness! It was an intense and enlightening week of experiments. The approach was intuitive and hands-on, the discussion complex and relevant. 6-weeks course and preparations for the field work. At this School of Architecture, the 5th semester starts with a 6-weeks course which is organized and managed by the 4 institutes themselves. The first week in the curriculum is devoted to the completion of the bachelor students’ portfolio. From this year on, internship or exchange during the 6th semester has become mandatory and the students are therefore forced to be a head of the applying process in order to be able to concentrate on the bachelor assignment. At the bachelor program AAF, preparations regarding the field work in week 43 are then started and the third-year students have a special responsibility for the content of a seminar about historical, political and architectural topics of the destination presented for the entire group of students and tutors at AAF. This is where the field work destination, this time Porto, is unfolded before departure.
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At the same time, a 3-week case study assignment is taking place based on a list of buildings that are relevant to their upcoming bachelor thesis. They dissect, draw and build models in groups of two people. In other words, the students are busy; the students are skilled in carrying out case studies at each semester at AAF, the expectations of this course is that they in only three weeks will be able to produce an investigative material of a scope and precision similar to what they are expected to produce individually in connection with the bachelor’s thesis. They repeatedly surprise themselves and the supervisors positively at this level in their studies and they have collectively earned a professional treat in the last week of the 6 -weeks course in terms of a playful workshop! Before the start of the workshop the students received a short brief and was asked to collect residues around Copenhagen. On the long list of residues were sand, horse manure, fish lever, blood, coffee disposal, sea weed and much more. The location of the collection should be mapped in a map. It could be perceived as reasonably bizarre brief, but the students were open minded, and it were all made meaningful when Pedro Jervell from SKREI architects and Magnus Maarbjerg from Fokstrot arrived at KADK and each students put their jar of
residue at a table in the auditorium. Pedro and Magnus lectured on their
work and the brief was unfolded and discussed. The idea behind the workshop was to study possibilities of reuse of refusal materials produced by the city. It was an intuitive and experimental way to approach the debate of sustainability. During the workshop the found residues were burned, boiled, blended and mixed. The students were given very few instructions but experienced how materials occurred. The materials were exhibited and gave rise to many interesting discussions. In Porto SKREI arranged a Presentation and panel discussion 23.10.2019 at FAUP - Faculdade de Arquitectura, Universidade do Porto, about INTELIGÊNCIA COLECTIVA / INTELIGÊNCIA COLECTIVA with Pedro Jervell and Francisco Fonseca (Founders of SKREI) + Nuno Faria (Director of Porto Art Museum) + Pedro Baganha (Head of Urban Planning in Porto) + Nini Leimand (Head of AAF) + Ivo Martins (Moderator).
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Pedro very clearly expressed his enthusiasm regarding the 3rd year students’ ability to produce such a rich material as shown in this publication, their ability to coordinate and work and learn as a swarm of bees. During the field trip third year students and teachers also in smaller groups visited SKREI’s workshop in Porto. From February 2020, Sheila Koyo Møller will be in an internship at SKREI architects and Stinus Bertelsen at FOKSTROT. It has been an extensive and ongoing collaboration that we have been enjoying very much. Many people have been very dedicated and helpful planning and organizing both the workshop and the field work. When preparing for the following year’s fieldwork, we are completely dependent on identifying colleagues and soulmate partners in that unknown city. With Porto as destination Karsten Gori recommended Francisco Pereira who had been in an internship at LETH & GORI. Him and his partner Ines Beleza de Azevedo, who is also a trained architect, have been an invaluable help in qualifying this year’s fieldwork. It is their merit that the contact was created to SKREI, and we received their absolute motivation for conducting a workshop at KADK with great pleasure. On the same occasion Pedro Jervell confirmed the rumour we had heard from one of our most vigilant students that SKREI had for several years had a fruitful collaboration with the Danish architectural office and small contractor Fokstrot. Magnus Maarbjerg from Fokstrot, who has worked at SKREI for 1½ years joined the workshop planning immediately. Fokstrot’s approach to architecture has many parallels to SKREI´s, and they have been a great help making the workshop happen.
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Analoque representation
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About SKREI AndrĂŠ Tavares
Skrei started their practice by conducting a survey on the qualities of Portuguese raw materials in 2009. By experimenting with clay and construction instruments, they managed to develop new materials and began to participate in the administration of building sites. They became the architects of experimental constructions where building techniques and craftsmanship were combined with refined engineering skills for sophisticated clients. Their architectural practice is based on establishing close links between design and construction, an approach that shows how materials can incorporate knowledge and how this knowledge can be instrumental in recreating architectural practice.
SKREI is founded by architects
Francisco AdĂŁo Fonseca and Pedro Jervell
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The wooden structure is made from of locally sourced Douglas fir which, due to the high content of resin is very durable and can be left untreated.
From Danish architect Ole Meyer’s book The Silent Buildings
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About FOKSTROT Magnus Maarbjerg
Fokstrot is a hands-on design and production studio, specialized in social and interactive space making. An approach and knowledge which defines the foundation for creating meaningful and embracing spaces and experiences. The company is founded by a unique association of interdisciplinary competencies covering architecture, boatbuilding and set design which integrated, brings altenative solutions and tactile aesthetics to our projects. The community kitchen pavillon on Ærø island a good example of this. Located on the beautiful nature site of a deserted clay pit of the island’s old brick factory, the pavilion constitutes the community kitchen and assembly point of a nature retreat and kayak camp. The reminiscens of the raw and yet sophisticated style of the old brick factories had a big impact on the design of the pavilion. Before the introduction og artificial drying, the clay adobes had to be naturally ventilated during their period of drying. Therefor the drying sheds was designed with flexible walls, operated by a simple maritime pulley system allowing the doors to open and close, depending on the weather, naturally ventilating the adobes. Elaborating on this concept, we designed the kitchen pavilion with a similar pulley system which allows the top hinged sailcloth doors to open up, one by one to 3 sides, fusing inside with outside and revealing the raw concrete casted kitchen island and embedded sink and fire pit. The backwall of the pavilion is laid up with traditional compressed clay adobes which are extremely effective in absorbing moisture and releasing it slowly preventing fungus and mold in the space. On the inside, the adobes are treated with boiled linseed oil and on the outside with lime plaster to prevent from weather erosion. Integrated in the corner of the pavilion is a woodfired oven made from cob, a natural mix of clay soil, sand and straw. The internal cupola is first made as a positive shape in moist sand and afterwards covered with cob. The sand is then excavated and the oven is fired up so that the clay burns and becomes a selfsupportning cupola.
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Nature as a building material
“The word “propolis” derives from Hellenistic Ancient Greek (suburb, bee glue) which originates from Greek verb (promalasso) Att., “soften beforehand, make supple by rubbing or kneading” (Aristotle, Problemata 869b30). It is defined by Lewis and Short as “the third foundation in making honey, a gummy substance with which the bees close the crevices of their hives, bee-glue”. It has been generally believed that honeybees produce propolis to help protect the hive. Apart from its role in sealing holes, blocking cracks, and smoothing out the internal walls, bee glue appears to act as an antiseptic to prevent microbial infection of larvae, honey stores, and the combs. What is more, propolis protects the hive against uncontrolled airflow and external moisture. The thin layer of propolis provides an impermeable lining which limits the escape of water and maintains constant humidity inside the hive.
“…Propolis is also used as a mortar to fill in gaps and cracks but also to solidify anything they consider unstable.Bees also use propolis as a material to smoothen the rough texture of the inside of the cavity as they seem to prefer walking on smooth surfaces. One can therefore consider bee propolis as the ‘mortar’ that keeps everything together. Propolis is composed of a immense number of substances contained in the resins and essential oils. As mentioned before it also contains wax, saliva, and an infinite quantity of minerals and pollen.
It is known to us humans that one generally finds the medicine to our diseases in the plants that surround us. According to the season of the year, the produced propolis is different, and that is why propolis could never be produced chemically as it is 100 % natural and is distilled by the wonderful alchemist bees that have this profound and ancient knowledge of adapting their treatments and medication to the substances found in surrounding nature…”
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Propolis Pedro Jervell
Our consciousness leans on the importance to recover direct and simple use of materials found in each site of intervention. There is a kind of ritual within each project that seems to be repeated. The only way we feel comfortable about the right choice of materials is by knowing their potentials, therefore we created this routine of testing and prototyping possible combinations. It’s important to approach materials, experience them both in the physical, sensorial and technical dimension. The more exhaustive and deep the study is, the more conscious and useful it becomes. We have been expanding this repository as we move on and new projects emerge. Through observation we map our course, understand what we have been doing and how we do it. The plastic experimentation constitutes one of the phases of our work that enthusiasms us the most. Conclusions are not immediate yet manipulation and observation of the behavior of materials is onz its own stimulate. Trying out and making mistakes allows to brake preconceived ideas of usage and the role that a material can take in a space. At this level, we can give expression and form to unlikely ideas and speculate about spatiality or the functionality of unreal buildings, there is absolutely no preconceived logic or strategy involved, we just rely upon the reaction and effects during manipulation, as it reacts it reflects immediately its possibilities and qualities, this is the moment when language is born, when a path is drawn. Our body has its own intelligence, our mind is just one of the processors we have available. The body reacts physically and intellectually to effort and fatigue which is often overcome by dialoguing with matter. In doing so, when physically performing with things, thought gives way, and a new spectrum of knowledge arises which we would not be able to anticipate if the exercise were Extracts from
Tom Seely, The Democracy of bees
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held in the realm of the intellect. This bodily, tactile, visceral approach produces very surprising results, often difficult to verbalize at once and open the way to new languages, new dialogues. For a long time we have integrated local recourses in the construction of our buildings and objects. The advantages we find in this feature are enormous. First of all, the advantages of using local materials whose procurement involves small effort. This construction option produces a greater involvement of the building with the specifics of the place. With the use of this type of solution, we have been able to contribute locally, not only for building, but also for the opportunity to create synergies with local agents. When visitng a terrain, analising its resources helps defining the place where to build, because the closer resources found the easyer to use them. This question about effort and time is really interesting because it obliges to redefine construction planning and procedures. Vegetale, animal and geological componentes are the main resources we analise, and most communly there is soil with binding componentes which we take as a base for the project. Intrestingly, hearth constructiong has thermal inerta factor which helps to generate a regulated enviorment indoords. Inertia allowns temperature and humidity to travel through the porus of the earth blocks depending on the exterial conditions altering very little the interior levels.
“…the degree of slowness with which the temperature of a body approaches that of its surroundings and which is dependent upon its absorptivity, its specific heat, its thermal conductivity, its dimensions, and other factos…”
Manipulating and molding earth with the body, building the body’s phisical space is something very proximate and close related, providing a greater quality environment. “Choosing the right place to build a new home is an important decision to make not only for bees and other animals but also for us human beings, which now brings us to propolis and the role it has as a sub product of the bee colony into the construction, insulation & protection of this new home. Inside a natural cavity or a man made bee hive one can find up to 80,000 individual bees that maintain a constant temperature of 35 to 38 º. This implies that many bacterias and micro organisms could develop because of the warmth, humidity and constant in and out coming of bees. Somehow these bacterias and micro organisms do not appear within the hive which is an incredible achievement in itself. So the question is how do the bees achieve that?...”
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It has been observed that in many cases bees coat with propolis the entire area around the nest entrance. This natural wall of propolis acts as a disinfectant curtain or gate all bees have to pass through before they either exit or enter the cavity, a bit like when one is subject to disinfecting one’s self before entering an surgery room in a hospital. They do this work on a daily base using both their mandibles and forelegs to push it continually applying new resins and wax and working the propolis in order to keep it alive, soft and fragrant of essential oils.
The bees wipe themselves with these on both arrival and on leaving the nest, disinfecting themselves with these plant volatiles. The propolis wall is vital in keeping the colony healthy; it is like a skin for the super organism. Without the presence of bees, as when a colony absconds, the propolis becomes dry, brittle and lacklustre, having lost all vitality. Bees will use propolis as a disinfectant not only as an air conditioner and gate but also to thoroughly sterilise each cell in the comb where the queen mother will come to lay an egg. Therefore each egg, larvae and later pupae will develop inside a totally disinfected cell.
Protecting the entrance of a cavity with propolis is also a very effective way of protecting a colony from fires. South african wild bees ‘apis mellifera capensis’ that live in an environment where bush fires are an integral part of the ecology of the fynbos (heathland) vegetation, have very effectively sealed their entrances allowing them to survive such fires and therefore very high temperatures.
Propolis and air have a close relationship within the bee cavity. On warm days the aromatic fragrance of propolis penetrates the nest and the volatiles that fill in the cavity have no doubtly a profound effect on reducing the overall microbe load within the nest. It is perhaps possible that besides contact, the inhalation by the bees of these anti-biotic elements contributes to the general health of the bees within the colony.It can also allow the bees to regulate clean air circulation (by increasing or reducing it when needed) according to the outside temperature and also orienting (according to where it is applied) the flow of the in and out coming air.
This again brings us to architecture and construction of our own homes, one can imagine if we could use our own internal and external bodies to collect in nature and transform materials that would allow us to insulate and control the quality of the air we breath within our dwellings and therefore live in healthy environments. Propolis is also thought to solidify the general structure of the hive and reduce that can be caused by wind, falling twigs, seismic activity, external sound pollution etc.
There is no ideal home. When designing a home is it not possible to anticipate or preview a development of the lives of people who will inhabit it, the development of the needs of a lifetime? The life of a home is a progressive process in which there are no ideal solutions. Apparently, memories are triggered mainly by the space that surround us. The building has a personality of its own, shaped by past events. Whenever a building reaches a new point
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of “completion,” all previous layers are more or less visible, such as suggestions or memories of certain moments in time. It is this overlapping of layers in time, which is intriguing. Certain things are still visible on the subject of the building. Other things are forgotten. Skrei’s house began to be a kind of laboratory where we had the opportunity to rehearse through trial and error, materials, compositions, infrastruture, beleiving in the idea of autonomous model. Looking at the urban enviornment we stated considering and testing possibilities of a sel-managed system. This is a work that we have been developing and the machines we been making are a consequncese of that. The building was being occupied in different ways according to the group structure development. Putting together different skills and disciplines in a single space created a kind of self inteligence, a group inteligence driven by its complexity and authenticity. An open house may be somewhat difficult to accept, but it is something advantageous in practical terms, and may even function as a stimulus, in the possibility of development. As we grow around this idea of self made organism that depends on its espontaneous format, our spactial limits also expand from a more permanent ground to other neihgbor facilites. Our group experience swarms throught opportunities we find in the territory.
“When one looks closely to a bee colony wether it is wild, unkept by man living in a natural cavity somewhere in the crack of a rock, a hollow old tree for instance, or a ‘domesticated’ colony living in a manmade bee hive, one inevitabley feels the presence of an entity, a spirit. The spirit of the honey bee colony exists in between paradigms and worlds that may seem at times contradictory or opposite, but it is that oscillation in between these opposite poles that turns this being into a unique and sacred entity. It is the spirit of the bee colony that allows these decisions to be made and these goals to be achieved.
Honeybees are sweetness an light, producers of honey and bee wax. So it is no great wonder that humans have prized these small creatures since ancient times. But honey bees also provide us with another great gift, one that feeds our brains rather then our bellies, for inside each teaming bee hive is an example of a community whose members succeed in working together to achieve shared goals. This brings us to compare each individual bee as an individual cell amongst thousands of other cells that come to form a collective organism capable of making collective decisions and therefore creating a funcional unity: a super organism. Each individual bee has limited information (according to it’s age and experience), but through cooperation honey bees are capable of making important decisions.”
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Residency project SKREI 2016
“Swarm behaviour, or swarming, is a collective behaviour exhibited by entities, particularly animals, of similar size which aggregate together, perhaps milling about the same spot or perhaps moving en masseor migrating in some direction. From a more abstract point of view, swarm behaviour is the collective motion of a large number of self-propelled entities. From the perspective of the mathematical modeller, it is an emergent behaviour arising from simple rules that are followed by individuals and does not involve any central coordination.�
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Themes of the workshop Social habitat
Reuse of ressoruces The debate on sustainability Community Civilisation Self sufficiency Experimentation Tools and equipment
50 recycle glass bottles or jars 10 Spatulas 10 mixing trough 10 brushes 10 buckets 10 palustrades Kiln Wood workshop facilities and tools Wood perfils 4x6 +/- and 2x6+/Screws 5 casserole shredder/crusher
The cabinet is divided in three sections. This provides both an intuitive and technical way to contemplate the samples in the archive.
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Collecting potential Workshop by SKREI
The workshop took place at KADK during the course of a week in October 2019 and the partipipants were AAF’s 5th semester students. Before introducing the workshop SKREI gave a lecture demonstrating their research strategy and how they approach urban development and social habitat onto construction and the use of resources. The workshop examines the benefits of using materials that have become waste products. By mixing different components of something that other people threw away, these resources actually have a lot of reuseable potential. To begin with the students collected different basis materials from four categories: inert, animal, vegetal and transformed. These materials were then either boiled, burned or otherwise manipulated before being mixed to make two kinds of samples: bricks and sheet renders. This hands-on method helped the students understand the qualities of the materials and gave them an idea of how they could potentially be used on a larger scale, offering a different perspective on economical and global environmental issues. If you cannot solve a global environmental problem with a global answer, then maybe a part of the solution could be to focus on problem-solving on a local level?
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students adding decoction to a mix
burning
drying samples
beskrivende tekst
the dry block is released from the mould
blocks in their moulds
collection of residue in recycled jars
the laboratorium/workspace
constructing the cabinets
cutting wood for cabinets
hanging the map
preparing the exhibition
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Collection of residue in and around Copenhagen Category
Location Material
inert
01
clay
03
sand, medium size
02 04 05 06 07
animal
08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24
vegetal
25 26 27 28 29 30 31 32 33 34 35 36 37 38 39
transformed
40 41 42 43 44 45 46 47 48 49 50 51 52 53
sand, thin
granite powder
limestone powder earth with clay horse manure pig’s manure cockles mussels oysters
bee’s wax seaweed
animal bones fish bone
fish liver
pig’s skin milk
human hair wool
duck’s fat
pig’s blood dog’s hair saw dust eelgrass beer
coffee grounds hemp
straw
olive oil
vegestable oil nettle corn
ashes rye
potato peel barley
potato skin paper
carton
concrete
wood debris brick
asphalt shingle rubber
polyester denim
cotton glass
plants
metal bucket seaweed
egg shell
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1
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brick no.23
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brick no.18
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Collection of bricks brick no. 01
Materials
Amount
brick no. 09
Materials plants 160g sand + clay mussels 130g pig’s blood
Amount
flour
150g
sand 200g 50g
brick no. 02
Materials
-
-
hemp + pulverized glass
Amount 150g + 480g
clay 900g mussels brick no. 04
Materials
clay + sand + hemp corn peel mix
meat decoction
burnt mussel powder brick no. 05
Materials
seaweed sand
50g
Amount 500g + 150g + 5g 100g
Materials
burnt oyster shells fresh seaweed
burnt mussels + sand fish decoction brick no. 07
Materials
pig’s blood saw dust mussel shells
25g + 27g
burnt mussel shells
325g
brick no. 11
45g + 15g
Materials
Amount
pulverized glass
220g
corn
300g
beer
brick no. 12
Materials
150g
Amount
coal g
g
mussel shells g
Amount -
brick no. 13
Materials
Amount
beer
150g
flour
200g
clay 2100g
brick no. 06
clay + meat decoction
seaweed
200g
-
Amount
sand g
50g
35g
Treatment
alginate 200g
250g
Materials
flour + corn strings
Materials
oyster shells brick no. 10
Amount
brick no. 03
seaweed
1050g
Amount 400g
50g
50g + 100g
50g
Amoun 100g
400g 200g
hemp
brick no. 14
900g
Materials
Amount
beer
295g
seaweed bee’s wax
brick no. 15
95g
45g
Materials
Amount
fish decoction
135g
seaweed
660g
oyster shell 100g sand 200g brick no. 08
Materials
Amount
seaweed
600g
coal 100g burnt mussel shells
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220g
brick no. 01
brick no. 02
brick no. 03
brick no. 04
brick no. 05
brick no. 06
brick no. 07
brick no. 08
brick no. 09
brick no. 10
brick no. 11
brick no. 12
brick no. 13
brick no. 14
brick no. 15
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Collection of bricks brick no. 16
Materials
Amount
pig’s blood
120g
beer
oyster shells fish decoction brick no. 17
510g 135g
15g
Materials
Amount
potato peel, blended
65g
clay hemp
seaweed decoction brick no. 18
995g 5g
200g
Amount
terracotta
50g
seaweed decoction seaweed brick no. 19
300g 280g
25g
Materials
Amount
clay
1300g
seaweed ashes coffee grounds brick no. 20
Materials
Amount
oyster ash + hemp
90g + 80g
manure + pig’s blood130g + 80g seaweed
5g
decoction 110g brick no. 25
Materials
Amount
mussel shells + flour
50g + 200g
corn 100g
Materials flour
brick no. 24
320g
sand 200g
brick no. 26
Materials
Amount
water
-
seaweed
2500g
brick no. 27
Materials
Amount
soil, compressed
2300g
clay 120g
15g
25g
seaweed
35g
water
-
brick no. 28
Materials
Amount
80g
pig’s fat
-
60g
Materials
Amount
coffee grounds
burnt mussel powder
hemp Treatment terracotta powder + oil 5g + 115g
brick no. 21
Materials
Amount
seashells, powdered
-
charcoal aligate
seaweed + sand brick no. 22
-
-
-
Materials
Amount
grass
655g
clay seaweed sawdust brick no. 23
325g
120g
Amount
hemp
150g
seaweed decoction
40
2000g
beer
-
brick no. 29
Materials
Amount
corn
-
pig’s blood
-
glass + mussel shells potato peel + sand brick no. 30
Materials
100g
-
-
Amount
clay 2100g beer
200g
Materials
seaweed, chopped
-
hemp
120g 900g
brick no. 16
brick no. 17
brick no. 18
brick no. 19
brick no. 20
brick no. 21
brick no. 22
brick no. 23
brick no. 24
brick no. 25
brick no. 26
brick no. 27
brick no. 28
brick no. 29
brick no. 30
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sample no.02
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sample no.15
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sample no.33
44
sample no.82
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Collection of samples
sample no. 01 materials
amount
beer
45g
meat decoction hair
sample no. 04
8,5g 4g
materials
amount
meat decoction
13g
sample no. 10
1g
materials
amount
ashes
5,5g
mixed plants
3g
oyster
1g
dog’s hair
pig’s blood
0,5g
limestone
sample no. 07
amount
clay
amount
alignate
materials
45g
materials
charcoal
Ssmple no. 02
35g
sample no. 05
materials
amount
wool
0,3g
corn, blended hemp
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25g
0,7g
45g
materials
amount
limestone
0,8g
sand duck’s fat
ashes
sample no. 08
5,5g 2g 8g
materials
amount
mixed plants
5g
coffee grounds ashes
sample no. 11
6,5g 2g
materials
amount
wheat flour
4g
limestone
mixed plants seashells
sample no. 13
10g
sample no. 14
0,1g 25g
7,5g
materials
amount
water
350g
thin sand
seaweed limestone
30g 4g
40g
sample no. 03 materials
amount
corn peel
4g
fish decoction ccorn, blended
sample no. 06
4g
21g
materials
amount
pig’s blood
11g
potato decoction hemp
potato peel
sample no. 09
12,5g 5g
32g
materials
amount
dog’s hair
2g
egg shells fish decoction
sample no. 12
20g 5g
materials
amount
fish decoction
10g
straw
mixed plants
sample no. 15
1g 7g
materials
amount
pig’s blood
-
sugar
-
sample no. 16 materials
amount
meat decoction
3g
sand, burnt limestone
smple no. 19
8g
0,5g
materials
amount
barley, boiled
15g
alignate ashes
sample no. 22
10g 4g
materials
amount
fish decoction
4,5g
corn peel
fish bone
sample no. 25
6g 1g
materials
amount
bee’s wax
-
coal
sample no. 28
-
materials
amount
seaweed
-
alignate
-
sample no. 17 materials
amount
meat decoction
5g
seashells
potato peel
sample no. 20
20g 10g
materials
amount
dog’s hair
2,5g
corn, blended brick powder
oyster shells
sample no. 23
120g 20g 15g
materials
amount
glass powder
7,5g
seaweed, blended hemp pig’s manure
sample no. 26
75g 2g
amount
meat decoction
8g
sample no. 29
0,5g
materials
amount
thin sand
100g
oyster shells sewweed
water
materials
amount
corn, blended
5,5g
limestone
meat decoction
sample no. 21
1g 2g
materials
amount
duck’s fat
5g
limestone
meat decoction nettle
sample no. 24
1,5g
17,5g 3g
materials
amount
bee’s wax
-
oyster shells
-
35g
materials
corn
sample no. 18
50g 20g -
sample no. 27 materials
amount
corn, blended
16g
seaweed, dried meat decoction
sample no. 30
1g
12g
materials
amount
horse manure
10g
seaweed, dried fish decoction brick powder
1,5g 20g 4g
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Collection of samples
sample no. 102 materials
amount
oyster shells
52g
brick powder
fish decoction pig’s blood
sample no. 105
15g 25g
amount
mixed plants
4g
iron, burnt
materials
amount
corn, boiled
-
glass powder
4g 2g
sample no. 106 materials
amount
seaweed
-
hemp clay, boiled pig’s manure sand
sample no. 31 materials
amount
ashes
2g
seaweed
dog’s hair
sample no. 34
20g
0,5g
materials
amount
ashes
8g
horse manure pig’s blood
fish decoction
12g
12g 60g
x g
sample no. 32
materials
seaweed blended
48
amount -
-
materials
amount
ashes
3g
corn thread meat decoction
sample no. 35
1g 5g
materials
amount
wheat flower
8,5g
limestone powder barley
pig’s blood sour milk
beer dog’s hair
sample no. 37
7g
60g
materials
corn peel
sample no. 103
sample no. 38
2g
5,5g 10g
25g
materials
amount
potato peel
14g
paper corn, blended
sample no. 107
1g 9g
materials
amount
mussels, burnt
130g
vegetation mix sand flour
seaweed, boiled
sample no. 33
160g 200g 50g
100g
materials
amount
ashes
2,5g
mixed plants limestone powder meat decoction
sample no. 36
30g
0,5g 1,5g
materials
amount
meat decoction
10g
glass
imestone powder seashells
50g 1g
10g
10g
0,5g
materials
amount
corn water
10g
rye
sample no. 104
15g
sample no. 39 materials
amount
burnt metal
-
sugar
-
sample no. 40 materials
amount
olive oil
1g
potato peel
sample no. 43
10g
amount
potato decoction
4,5g
brick powder
sample no. 49
1,5g
amount
decoction
8g
milk ashes
sample no. 46
11g
fish
10g 25g
materials
amount
pulverized brick
-
sugar
sample no. 49
-
materials
amount
pulverized brick
-
bee’s wax
-
amount
seaweed
10g
mussels
sample no. 44
25g 5g
materials
amount
clay
230g
brick powder corn decoction
1g
materials
horse manure
materials
corn peel
materials
hemp
sample no. 41
sample no. 50
5g
40g
materials
amount
seaweed
10g
pig’s blood beer ashes
sample no. 47
12g
15g 4g
materials
amount
corn
25g
glass powder rye
sample no. 50
10g 5g
materials
amount
coffee grounds
75g
meat decoction
15,5g
sample no. 42 materials
amount
ashes
0,1g
potato peel meat decoction
sample no. 45
15g
2,5g
materials
amount
burnt wood
20,5
seashells
meat decoction
sample no. 51
2,5g 3g
materials
amount
oyster shells
-
limestone
water
sample no. 48
100g -
materials
amount
corn decoction
10g
glass powder glass pieces
sample no. 51
20g 10g
materials
amount
beer
10g
ashes
duck’s fat
5g 5g
49
Collection of samples
sample no. 52 materials
amount
ffine sand
100
limestone
water
sample no. 55
50g -
materials
amount
pig’s fat
-
hemp
sample no. 58 materials
sugar
-
amount -
sample no. 53 materials
amount
water
-
limestone
sample no. 56 materials
amount
ppowdered brick
10g
wheat flour alignate
sample no. 59
sea shells
-
charcoal
thin sand -
amount
olive oil
0,5g
dog’s hair mixed plants rye
sugar glazing
sample no. 64
17,5g
sample no. 62
-
materials
amount
pig’s fat
-
pig’s manure
-
materials
seaweed
sample no. 57
amount -
materials
amount
corn peel
5g
glass powder olive oil
sample no. 60
10g 10g
materials
amount
glass powder
7g
corn peel
corn decoction
sample no. 63
10g 3g
materials
amount
fish decoction
23g
sea shells
33g
5,5g -
materials
amount
water
-
oyster shells
50
0,5g
17,5g
amount
seaweed
materials
15g
materials
alignate
sample no. 61
100g
sample no. 54
50g
sample no. 65 materials
fish decoction
amount -
sample no. 66 materials
seaweed, blended
amount -
sample no. 67 materials
amount
rye
10g
concrete, burnt sand fish decoction
sample no. 70 materials
sand corn peel 1g
meat decoction
sample no. 73
4,5g 10g 8g
amount 10g 2g
materials
amount
sand
100g
oyster shells water
sample no. 76
50g
amount
pig’s blood
5g
meat decoction ashes
sample no. 79
25g 6g 4g
materials
amount
sand
200g
limestone
water
materials
amount
wood, burnt
3g
glass powder olive oil
wool
sample no. 71
7g
13g
0,6g
materials
amount
fish bone powder
0,8g
flower water chalk
potato peel
sample no. 74 materials
meat decoction
14g
1,5g
10,5g
amount -
100g -
sample no. 69 materials
amount
meat decoction
6g
ashes corn peel
sample no. 72
materials
amount
meat decoction
8g
wool
glass powder
sample no. 80
1g 4g
materials
amount
fish decoction
20g
horse manure
17g
3g
amount
fish bone powder
16g
oyster shells pig’s blood corn
sample no. 75
50g 30g 30g
materials
amount
pig’s blood
2g
ashes
human hair
sample no. 77
6g
materials
barley
-
materials
iron, burnt
sample no. 68
sample no. 78
2g 8g 1g
materials
amount
wheat flour
11g
corn peel
meat decoction
sample no. 81
11g 7g
materials
amount
oyster shells
20g
dog’s hair sand
coffee grounds olive oil
0,3g 24g 24g 12g
51
Magnus Maarbjerg from FOKSTROT Pedro Jervell from SKREI Emilie Henriksen from AAF 5. semester students
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Thank you! Participanta Agnes Mührer Alexandra Gude Amalie Lerstøl Amalie Marie Overgaard Andreas Bøwig Thostrup Anna-Julia Plichta Annika Guttesen Anton Rasmus Mailänder
Organisers
Emilie Henriksen Pedro Jervell Francisco Adão da Fonseca Mikael Jackson Værkstederne KADK Magnus Maarbjerg Nini Leimand
Asger Ryg Christensen
Astrid Matell
Astrid Juul Jørgensen Axel Ekroth Bjørn Bergkvist Graah Can Koray Taskin Caroline Rutkær Ewerlôf Cecile Ødum Knudsen Christel Astrup Madsen Emilie Kronborg Danielsen Ferdinand Brønlund Aagenæs Herman Falkenmark Janne Vinther Klausen Jenny Lund Julia Adolfsson Julie Gjessing Terkildsen Julius Speedtsberg Krabbe Karl Hellborg Kaare Karrebæk Thun Liv Linnea Augsburg Majse Nørhald Malin Wolter Martin Holm Martine Leirvik-Onarheim Mathias Overgaard Nielsen Maja Ermter Ramsøe Nikolaj Stilling Pernille Hammer Pernille West Selander Richard Schyrman Selin Høgnes Sheila Koyo Møller Simon Feldtmose Thunholm Sivert Støren Stinus Bertelsen Vendela Storkamp Vilde Husaas Aakhus
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