SKREIxAAF 'Collecting Potential'

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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Excepteur sint occaecat cupidatat non proi

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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

42

sample no.15

43

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

52

53

54

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

55