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Unit manual
- unit 2/3 C Fall2013
Aarhus School of Architecture
BA 2./3.year Fall2013
Teachers:
Martin Winther
Rasmus Grønbæk Hansen
Lars Holt
page 1 of 13
Contents
Introduction 3
Unit C
4
Elements and Principles of Architecture
5
Nordic Perspectives 6
Research
7
Didactics and Approach
8
Studio Culture
9
Semester Elements
10
Vocabulary
11
Readings
13
Team
14
Calendar
15
page 2 of 13
Introduction
The overall theme for all units this academic year
is “Covering”. The theme is a continuation of a
series of themes - “Opening” being the first one
introduced last year - and will, within a focused
and defined common framework, be yet another
possibility for all units to explore, in range as
well as in depth, the knowledge, application and
potentials that lie within this field of interest.
A field of interest and common framework that
is structured around a fall semester involving
practice-based research, a spring semester characterized by project development, and common
lectures and readings. Simultaneously providing
the opportunity for comparable outcomes among
units and an openness allowing the overall theme
to be approached from various angles based on
each unit’s independent strategy. Consequently
resulting in a comprehensive as well as diverse
contribution to the exploration of the theme.
page 3 of 13
Unit C
The overall theme “Covering” will within unit
C be understood and unfolded as a series of correlating investigations on fundamental elements
of architecture, but more specifically taking their
point of departure in the roof. Ranging from the
nomadic tent and the primitive hut of the settler
to its application in a contemporary context, the
roof can easily be defined as a shelter, a basic
structure providing cover for its inhabitants
against rain, snow, sunlight and wind. As an
architectural element it has undoubtedly played
a very significant role through history, but also
during Modernism being stripped of its potency,
becoming almost non-present due to preference
for the flat roof, the easy identifiable image of the
era. Fortunately recent architectural discourses
show a renewed interest in the presence of the
roof and in various interpretations of its formal,
spatial and functional potentials new discoveries
seem to emerge. Discoveries that in character
has moved the focus beyond the continuous and
undifferentiated surface of the blob that otherwise has been dominant, and in their clarity and
application demonstrated similar opportunities
of organization and connectivity. Simultaneously
liberating them from the typical bond of function and roof typology, and instead uncovering a
broader potential of roof topologies that can embrace new demands and possibilities. This once
more vouches for the architectural relevance of
the roof.
The roof though can hardly only be understood
as a singular entity. It is comprised and dependent on numerous other element, which subsequently also need to be addressed to unfold its
inner workings as well as its full potential. These
will necessary also need to be addressed in our
investigation of the roof and are as follows:
the structure, the levitated framework that in
its lightness and structural strategy attempts to
resist gravity; the construction, the assembly and
tectonic considerations; the craftsmanship, the
technical knowledge, precision and skill; materiality, the properties and tactility of materials; and
finally place, as covering an area, the demarcation of a territory, evidently brings with it a recognition and negotiation of its context. However,
to be able to manage and comprehend all of these
variants we specifically have to limit our field
of operation, which is why we will focus our research in the fall semester on isolated investigations of the wooden roof structure combined with
different strategies and materials for covering.
page 4 of 13
Elements and Principles of Architecture
This academic year will take its point of the departure in the fundamentals of architecture by addressing some of its basic architectural elements,
in our case the roof and the parts that make up its
construction. The intentions behind this disposition being of both pedagogical consideration, as
it is a natural starting point to build up a more advanced understanding of architecture, and of contemporary consideration in relation to the state of
the discipline of architecture, as to challenge the
seemingly lack of interest in these elements and
their range in application.
“Fundamentals will be a Biennale about
architecture, not architects. After several
Biennales dedicated to the celebration
of the contemporary, Fundamentals will
focus on histories – on the inevitable elements of all architecture used by any architect, anywhere, anytime (the door, the
floor, the ceiling etc.) and on the evolution
of national architectures in the last 100
years. [ ]...this retrospective will generate a fresh understanding of the richness
of architecture’s fundamental repertoire,
apparently so exhausted today.”
Rem Koolhaas
However, to not fall into the trap of elementarism, the unit will within its framework expand
on the term fundamentals to also include architectural principles that evidently go along. Incorporating the players, the elements, as well as
the playing rules, the principles, which together
define the fun game of architecture. Principles
spanning from various scales and operative
levels, characterized by the tectonic nature of
assembly and material, to the relational culture of
connecting elements to architectural organization
and of a building in their context. Simultaneously
embracing both the experiential and conceptual
viewpoints in the oscillating process of creating
and making architecture.
“That buildings are made of elements
does not mean that architecture should be
based on elementarism.”
Lars Spuybroek
We will therefore in your architectural explorations of this academic year focus both on the
beauty and intelligence in the simple as well as
the surprise and potential in the complex.
page 5 of 13
Nordic Perspectives
In addition to the overall theme, the work
within the unit will needless to say be structured
around the overall compulsory curriculum of the
bachelor program, but the approach and task to
meet the objectives herein will be emphasized
by the focus and interest inherent in the platform
of Nordic Perspectives. Furthermore the applied
didactics and the work conducted during last
year’s theme, specifically the investigations of
daylight, will continue to be pursued, as they are
clearly important elements and focuses of the
platform, so naturally the task ahead of us will
also be to share, incorporate and take advantage
of the experience and knowledge already present
within the unit.
The platform Nordic Perspectives is based on a
common interest, focus and confidence in Nordic
architectural tradition. It has an open and investigative approach, with room for questions and
different perspectives, celebrating the diversity of
the local inherent in the global. The investigation
of Nordic architectural tradition is seen as an operational tool for the development and creation of
architecture and as a navigational tool for placing
the local in the global, encouraging exchange.
The platform works towards an understanding
of the architectural tradition we act in extension
of. Through reflection and conscious methodical
use of an external viewpoint, we aim to build an
awareness of the richness and complexity of this
tradition and to utilize its simplicity, making it
familiar and yet foreign at the same time.
”What is required to comprehend globalism today are not tired generalizations,
but close study of specific places, cities
and cultures. It is worth remembering that
architecture remains rooted to place, even
in an age celebrated for global culture;
what circulates are images, expertise and
architects themselves.”
Stan Allen
Consequently tradition is not approached from
a nostalgic angle, glorifying the past, but as a
means of stepping into the future better equipped
and more qualified. Similarly the Nordic is not
seen as a limitation, excluding the foreign and
unfamiliar, but as a landmark from where to navigate globally, understanding and utilizing other
traditions, discourses and positions. Acknowledging that the juxtaposition of these holds a
fruitful marriage of both tension and contingency
that enables an open and constructive dialogue.
Subsequently allowing for a more individual and
intuitive approach, resulting in new and independent perspectives and contributions..
“Young architects need to cultivate intellectual independence, but students need
stable landmarks as well.”
Stan Allen
Furthermore it is our conviction that tradition is
not something you simply inherent, It is neither a
birthright nor an exclusive right. The only way to
obtain it, to get to the very core understanding of
it, is through hard and diligent work. Only then
will it reveal its potential and provide the foundation for one to build upon and maybe even the
opportunity for developing it in new and surprising directions..
“Tradition is a matter of much wider
significance. It cannot be inherited, and
if you want it you must obtain it by great
labour.”
T.S.Eliot
page 6 of 13
Research
The fall semester, in practical terms, will have
the form of a laboratory. Under the umbrella of
this semester’s general framework (research) and
the overall theme of this academic year (covering) our focus and investigations will be on the
roof, more specifically the wooden roof structure,
combined with a series of isolated studies of the
elements that define it, and its spatial potentials.
The roof will be the overall focus throughout the
semester. The ability to immerse oneself in a narrow topic, getting to the very core of things, and
through an open and explorative process to unfold its potential, will be central to this semester.
With experiments, characterized by a process
of trial and error, evidently follows doubt and
failure. We see this as an inevitable and indispensable premise for searching and absorbing new
knowledge as well as an inseparable part of the
creative process.
Through the motto “working with doubt - working with wonder” we will discuss the quality
of the doubt, the wonder and the investigative
approach to project work.
“Love the questions and perhaps you will
live your way into the answers.”
Rainer Maria Rilke
On a more general level work in the fall will be
characterized by an interest in the ordinary and
seemingly familiar. It might be right there at our
doorstep, but nonetheless difficult to spot. We are
surrounded by it in our everyday life and often
take it for granted, but realizing that even in
the familiar there sometimes lies the element of
surprise and a potential just waiting to be uncovered. A valuable lesson to carry with you in your
future studies and undoubtedly it will come in
handy when faced with the challenges that await
you in the coming semesters.
Working with the ordinary, a familiar subject often covered in a veil of implicit notions, requires
extra and careful attention to the subtle qualities
that emerge and become explicit. The phrase
“can’t see the forest for the trees” suggests that
sometimes we have to refocus our gaze to discover the particular and special in the otherwise
ordinary.
In the pursuit for the new this is more than often
also the way we view and value our tradition,
even though the experience and knowledge it
presents is most likely the very stepping-stone
that can catapult us into the future.
Figuratively, when we build in our “own back
yard”, working with something that is within our
known and familiar domain, we already possess
an extensive understanding and knowledge of the
complex relationships that exist in this context.
However, rather than turn this into an inhibiting
disadvantage instigated by the retreat to out comfort zone and implicit notion of the context, the
challenge is to bring this knowledge constructively into play yet again. Enabling us through
reflection and a different perspective to create
a fresh understanding of the things at stake and
finally to convey this understanding and knowledge to others through architecture.
In other word a deliberate implementation of a
constructed external view, a refocusing on the
ability to see, understand and communicate,
which enables us to shed a different light into the
equation and not the least initiate the emergence
of new relationships and opportunities.
page 7 of 13
Didactics and Approach
In the unit we do not believe in the scheme of
waiting for divine intervention - the good idea.
We propose that inspiration only happens and
exists in your work. An idea or concept only develops with an open mind and through conscientious and at times hard work, and only proves to
be good in its realization.
“I always thought that inspiration is for
amateurs. The rest of us just show up and
get to work.”
Chuck Close
As such the emphasis in the unit will clearly be
on the translation and realization of these ideas
and concepts into architecture. We will by all
means utilize the idea and concept as a driving
force in the progression and development of your
research and project, but consider it as a scaffold.
A supporting structure which through the process
guides and develops your work, but at the end
steps back and enables the work to speak and
stand on its own architectural terms. Concepts
should not be a substitute for architecture.
“Concepts are a tool used to justify design
decisions in absence of architecture.
Concepts originate from a state of
self-inflicted despair in which design
needs to be justified point by point, and
architecture be definition has no cultural
relevance.”
Editorial, San Rocco Magazine #4
“Fuck Concept! Context!”
Taking risks and challenging yourself on a daily
basis is essential. The aim of your studies is
to learn something new or at the least to learn
from your mistakes and proceed from there. It is
therefore important to remember that we are not
looking for the conventional. We instead stress
that we, within the unit, do not strive to justify
our work, but contribute and rather argue for the
actions set into motion with the confidence that
architecture has a lot to offer.
“An idea that is not dangerous is
unworthy of being called an idea at all.”
Oscar Wilde
The question therefore becomes vital in our
work. To propose a good answer requires the
right question, and this question might differ
from the one you initially wanted to ask. The
question includes an open mind, a curiosity and
a willingness to learn and uncover different perspectives and new potentials.
“Convictions are more dangerous
enemies of truth than lies.”
Friedrich Nietzsche
In regards to tools we will go both old school and
new school, utilizing the analogue as well as the
digital. In our use and investigation of tools we
will explore the potential in their isolated state
as well as the supplementary and complementary
potentials that the shift and exchange of tools can
bring about.
page 8 of 13
Studio Culture
As mentioned above the academic year is structured around a research semester and a project
semester. In either case, with each their different
points of departure and specific characteristics,
the processes surrounding them entail a certain
dynamic that tends to be unpredictable in various
degrees. The semesters are therefore divided up
into phases to help you structure your work. In
the preliminary phases we will start out in groups
to strengthen the objective of knowledge-sharing,
considering the work within the unit as an open
source, and creating an inspiring working environment where learning together trumps being
left to your own devices. The preliminary phases
will also include assignments that will introduce
you to elements, which will provide you with
a good foundation for the coming phases of
each semester assignment. The last phases will
increasingly be individual work, but do keep
in mind the strength of the group; the informal
dialogues, the sharing of knowledge and exchange of opinions, when you proceed on your
own. Each of us has the shared responsibility of
creating the best studio environment and education - something that everyone will benefit from
in the end.
“If you have an apple and I have an apple
and we exchange these apples then you
and I will still each have one apple. But if
you have an idea and I have an idea and
we exchange these ideas, then each of us
will have two ideas.”
George Bernard Shaw
We respect that you have a life outside of school
and that the individual disposes his or her time to
their best ability. It is though an uncontested fact
that to achieve an inspiring working environment
in the studio and an enthusiasm in your work,
attendance becomes key. It is therefore essential
that you, as a daily routine, show up in the studio
and start working and talking with your peers
and teachers. This will not only encourage things
to happen, but simply make them happen.
As things start to happen and work is being
produced, there will be more to learn and share
from. The work produced should be considered property of the unit, an open source for
knowledge and inspiration. As such there is no
copyright within the unit, but a license to steal.
Material is accessible to build and improve
upon. Needless to say this demands a form of
team spirit as well as a professional and critical
distance to your work.
“Bad artists copy. Good artist steal.”
Pablo Picasso
A critical distance to your work is beneficial in
general. This is not to say that you should not be
passionate and enthusiastic about your project,
on the contrary, that you must simultaneously
be emerged in your work close-up and from a
distance. Without this critical distance, you will
struggle to make the hard and crucial decisions
that are undoubtedly necessary to move either
your research or your project forward. A good
opportunity to practice this, and an experience
which later to adopt in the reflection of your own
process and work, are pin-ups, presentations and
group desk crits, not to mention eavesdropping
during individual desk crits.
In a working environment social and professional can easily get mixed up. It is therefore also
crucial to distinguish personal from professional.
Comments from a fellow student are most likely
not a personal attack, but rather a signal of interest in your work, holding constructive feedback
and valuable input.
page 9 of 13
Semester Elements
Fall 2013
- Pre-workshop / IT-course
- InstantAarhus
- Joint Venture I - back to the future
- Joint Venture II - cover versions
- Sansukumi-ken - rock paper scissor
- Joint Venture III - typologies and topologies
In addition to the common workshop for all
units, InstantAarhus, a number of one-day excursions are planned in the fall semester.
The years study trip, “Discovering”, will take
place in the spring semester. The date and destination will be revealed in the very near future.
Please see calendar for further information and
common activities. Note that the attached calendar is only there to provide an overview and will
be subject to change. Refer to the unit webpage
for daily updates.
page 10 of 13
Vocabulary
co·ve·ring
noun
1. To place something upon or over, so as to protect or
conceal.
2. An object or substance that goes over or on top of
something especially in order to hide or protect it.
crafts·man·ship
noun
1. The practice of a craft with great skill.
shel·ter
noun
1. A basic architectural structure or building that provides cover.
roof
noun
1. A exterior surface and its supporting structures
covering the top of a building, serving to protect
against rain, snow, sunlight, wind, and extremes of
temperature. Roofs have been constructed in a wide
variety of form - flat, pitched, vaulted, domed, or in
combination - as dictated by technical, economic, or
aesthetic considerations.
2. The upper exterior surface of a dwelling as a symbol of the home itself
struc·ture
noun
1. A fundamental, tangible or intangible notion referring to the recognition, observation, nature, and
permanence of patterns and relationships of entities.
This notion may itself be an object, such as a built
structure, or an attribute, such as the structure of
society
2. Something made up of a number of parts that are
held or put together in a particular way
3. The way in which parts are arranged or put together
to form a whole
4. The interrelation or arrangement of parts in a complex entity
5. Something constructed, such as a building.
con·struc·tion
noun
1. The act or process of constructing.
2. The art, trade, or work of building
3. Something fashioned or devised systematically
4. An artistic composition using various materials; an
assemblage or a collage.
5. The way in which something is built or put together.
tec·to·nic
noun
1. The art of joinings and assemblage.
2. The construction or making of an artisanal or artistic product.
ma·te·ri·al
noun
1. The substance or substances out of which a thing is
or can be made.
2. Something, such as an idea, information or matter,
that is to be refined and made or incorporated into a
finished effort.
tra·di·ti·on
noun
1. The passing down of elements of a culture from
generation to generation, especially by oral communication.
2. A mode of thought or behavior followed by a people
continuously from generation to generation; a
custom or usage.
3. A set of such customs and usages viewed as a coherent body of precedents influencing the present.
4. A time-honored practice or set of such practices.
phe·no·me·no·lo·gy
noun
1.The science of phenomena as distinct from that of
the nature of being.
2. An approach that concentrates on the study of
consciousness and the objects of direct experience.
op·por·tu·ni·ty
noun
1. A favorable or advantageous circumstance or combination of circumstances.
2. A chance for progress or advancement.
po·ten·ti·al
noun
1. The inherent ability or capacity for growth, development, or coming into being.
2. Something possessing the capacity for growth or
development.
con·tin·gen·cy
noun
1. A future event or circumstance that is possible but
cannot be predicted with certainty.
page 11 of 13
in·tu·i·tion
noun
1. The act or faculty of knowing or sensing without
the use of rational processes; immediate cognition.
2. Knowledge gained by the use of this faculty; a
perceptive insight.
3. The power of understanding or realizing something
without thinking it out.
rule
noun
1. A usual, customary, or generalized course of action
or behavior.
con·straint
noun
1. The threat or use of force to prevent, restrict, or
dictate the action or thought of others.
2. The state of being restricted or confined within
prescribed bounds.
3. Someone or something that restricts, limits, or
regulates.
i·de·a
noun
1. Something, such as a thought or conception, that
potentially or actually exists in the mind as a product of mental activity.
2. An indefinite or unformed conception.
3. A plan for action.
con·cept
noun
1. A directly conceived or intuited object of thought.
2. An abstract or generic idea generalized from particular instances
3. An idea of something formed by mentally combining all its characteristics or particulars; a construct.
4. A scheme; a plan.
jus·ti·fy
verb
1. To demonstrate or prove to be just, right, or valid.
2. To declare free of blame; absolve, excuse.
ar·gue
verb
1. To give reasons for or against something
2. To contend or disagree
3. To give evidence
4. To consider the pros and cons
5. To prove or try to prove by giving reasons
6. To persuade by giving reasons
page 12 of 13
Readings
- “The Roof” chapter from “Constructing Architecture,
Materials Processes Structures, A Handbook” edited by
Andrea Deplazes, ETH, Birkhäuser, 2009
- “The Pitched Roof: Architecture Manual” edited by
Barbara Burren, Martin Tschanz and Christa Vogt, Niggli Verlag, 2009
- “The Four Elements of Architecture” from “The Four
Elements of Architecture and Other Writings” by Gottfried Semper
- “Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture” by Kenneth Frampton
- “Why Tectonics is Square and Topology is Groovy” by
Greg Lynn from “Folds, Bodies and Blobs collected essays
by Greg Lynn” (Books-By-Architects) edited by Michele
Lachowsky and Joel Benzakin, La Lettre Volée, Belgium,
1998
- “Differential Gravities” by Greg Lynn from “Folds,
Bodies and Blobs collected essays by Greg Lynn” (BooksBy-Architects) edited by Michele Lachowsky and Joel
Benzakin, La Lettre Volée, Belgium, 1998
- “Landform Building – Architectures New Terrain”
edited by Stan Allen and Marc McQuade, Lars Muller
Publishers/Princeton University School of Architecture,
2011
- “Arkitekturen forstået som geometri og proportioner” by Erik Nygaard
- “Cover Versions” from “The Feeling of Things” by Adam
Caruso
- “Traditions” from “The Feeling of Things” by Adam
Caruso
- “Genius Loci” by Christian Norberg_Schultz
- “The Tyranny of Place” by Mari Hvattum
- “Heidegger, Aalto, and the Limits of Design” by Jeff
Malpas
- “Beginning in Wonder: Heidegger, Gadamer, and the
Thinking of Place” by Jeff Malpas
- “Træsamlinger og lette konstruktioner”, Erhvervsskolernes Forlag
- “Tømmerværk kompendium”, Kulturarv, Arkitektskolen Aarhus
- “The Art of Japanese Joinery”, Kiyosi Seike
page 13 of 13
The Team
Students:
Liisa Maria Matilda Wickström
Klara Lyshøj
Christina Kastalag Magnussen
Jannicke Birk Christensen
Kirstine Bovbjerg Christensen
Katrina á Bakkanum
Emma Vang Theodorsen
Victor Perlheden
Sofie Palsgaard Nommensen
Susann Immerstein
Alexander Thorbjørn Fiala Carlsen
Nicolai Duedahl Hende
Thomas Martin Persson Vestersøe
Felicia Helena Emanuelsson
Josef Albin Frech
Stine Lebech Schmidt
Emilie Østergård Jaspers
Julie Dam Andersen
Mikkel Bern
Adnan Brkic
Mads Bjørn Christiansen
Hildegunn Hindrum Grønningsætter
Marie Hvid
Símun Louis Jacobsen
Claire Wanjiru Bay Jensen
Julie Hjortshøj Jensen
Philip Jensen
Nikoline Yde Larsen
Isabell Lippert
Kimmernaq Wilhelmine Rakel Lyberth
Sophie Husted Maintz
Benjamin Mark
Frederik Gubi Mikkelsen
Therese Haunstrup Næraa
Aisha Mahjoub Seeberg
Ida Gunhild Skovbjerg
Johan Mumm Sylvest
Karen Emilie Sørensen
Torris Kaul Varøystrand
Maja Sønderskov
Jonas Krabbe Amby
Alexander Andrusevich
Teachers:
Martin Winther
Rasmus Grønbæk Hansen
Lars Holt
page 14 of 13
Calendar
Unit C
Fall 2013
September
Sø 1
Ma 2 Pre-workshop / IT course
Ti
3
On 4
To 5
Fr
6
Lø 7
Sø 8
Ma 9 InstantAarhus - Workshop
Ti 10
On 11
To 12
Fr 13
Lø 14
Sø 15
Ma 16 Joint Venture I
Ti 17 - back to the future
On 18
To 19
Fr 20
Lø 21
Sø 22
Ma 23 Joint Venture II
Ti 24 - cover versions
On 25
To 26
Fr 27
Lø 28
Sø 29
Ma 30
36
37
38
39
40
Oktober
Ti
1
On 2
To 3 Repræsentation - seminardag
Fr
4
Lø 5
Sø 6
Ma 7
Ti
8
On 9
To 10
Fr 11 Midterm Reviews
Lø 12
Sø 13
Ma 14 Fall Break
Ti 15
On 16
To 17
Fr 18
Lø 19
Sø 20
Ma 21 Sansukumi-ken
Ti 22 - rock, scissor, paper
On 23
To 24
Fr 25
Lø 26
Sø 27
Ma 28 Joint Venture III
Ti 29 - typologies and topologies
On 30
To 31
41
42
43
44
November
Fr
1
Lø 2
Sø 3
Ma 4
Ti
5
On 6
To 7
Fr
8
Lø 9
Sø 10
Ma 11
Ti 12
On 13
To 14
Fr 15
Lø 16
Sø 17
Ma 18
Ti 19
On 20
To 21
Fr 22
Lø 23
Sø 24
Ma 25
Ti 26
On 27 Final Reviews
To 28
Fr 29
Lø 30
Common activities
Fall 2013
September
Nordic Perspectives
46
47
48
49
50
51
52
1
Date: 13.2.2007
2nd and 3rd year BA
November
December
Fr
1
Sø
1
Lø
2
Ma
2
49 To
2
To
3 Repræsentation - seminardag
Sø
3
Ti
3
Fr
3
4
Fr
4 VerdensArki. Kl. 9-11 3.år
Ma
4 EVT Finn Selmer el. 8.nov
4
Lø
4
To
5
Lø
5
Ti
5 Arki.historie kl. 15.15 2.år
To
5
Sø
5
Fr
6
Sø
6
On
6 Tektonik 2+3 år kl.11.00
Fr
6
Ma
6
Lø
7
Ma
7
41 To
7 International forel. Kl 15
Lø
7
Ti
7
Sø
8
Ti
8 Arki.historie kl. 15.15 2.år
Fr
8 EVT Finn Selmer el.4.nov
Sø
8
On
8
9
Lø
9
Ma
Ti
3
On
Ma
Ti
9
10
36 On
37 On
To
10 VerdensArki kl.9-11 3år + International
Sø 10
11
On 11
Fr
To
12
Lø 12
Fr
13
Sø 13
Lø 14
Ma 14 Efterårsferie
Sø 15
Ti
Ma 11
Ti
12 Arki.historie kl. 15.15 2.år
On 13
45 On
Ti
46 On
To
Fr
On
9
50 To
9
Fr
10
11
lø
11
12
Sø 12
Ma 13
14
Lø
14
Ti
Fr
15
Sø
15
On 15
38 On 16
Lø 16
Ma
16
51 To
16
To
17
Sø 17
Ti
17
Fr
17
On 18 Dombernowsky kl. 11.00
Fr
18
Ma 18
18
Lø 18
To
19 VerdensArki. Kl. 9-11 3.år
Lø 19
19
Sø 19
Fr
20
Sø 20
Lø 21
Ma 21
Ma 16 Arki.historie kl. 15.15 2.år
Ti
17 Arki.historie kl. 15.15 2.år
19 Arki.historie kl. 15.15 2.år
On 20 Tektonik 2+3 år kl.11.00
43 To
21
Fr
47 On
To
Fr
20
Ma 20
Lø
21 Juleferie
Ti
Ti
22
Sø
22
39 On 23
Lø 23
Ma
23
52 To
23
To
24
Sø 24
Ti
24
Fr
24
Fr
25
Ma 25
25
Lø 25
24
To
26 Ark.His 15.15 2år + Verd.his 9-11 3år Lø 26
Ti
Fr
27
Sø 27
On 27
Lø 28
Ma 28
Sø 29
Ma 30
Ti
29 Arki.historie kl. 15.15 2.år
40 On 30 Tektonik 2+3 år kl.11.00
To
31
26 Arki.historie kl. 15.15 2.år
44 To
28
Fr
29
Lø 30
48 On
To
26
Sø 26
27
Ma 27
Lø
28
Ti
29
1/9/13
2
3
4
On 22
Fr
Sø
5
21
Sø 22
Ti
4
14
Ma 23
On 25 EVT Christoffer Harlang kl.10:00
22
Ti
3
1
10
13
2
Januar
42 To
15
1/9/13
Januar
On 1
To 2 Spring 2014
Fr
3
Lø 4
Sø 5
Ma 6
Ti
7
On 8
To 9
Fr 10
lø 11
Sø 12
Ma 13
Ti 14
On 15
To 16
Fr 17
Lø 18
Sø 19
Ma 20
Ti 21
On 22
To 23
Fr 24
Lø 25
Sø 26
Ma 27
Ti 28
On 29
To 30
Fr 31
1 Arki.historie kl. 15.15 2.år
1
2
Ti
45
December
Sø
1
Ma
2 Faglig Optik
Ti
3
On
4
To
5
Fr
6
Lø
7
Sø
8
Ma
9
Ti
10
On 11
To 12
Fr
13
Lø 14
Sø 15
Ma 16
Ti
17
On 18
To 19
Fr
20
Lø 21
Sø 22
Ma 23 X-mas / New Year Holiday
Ti
24
On 25
To 26
Fr
27
Lø 28
Sø 29
Ma 30
Ti
31
2 Tektonik 2+3 år kl.11.00
Sø
Ma
Oktober
Date: 13.2.2007
5
28
On 29
Ma
30
1 To
30
Ti
31
Fr
31
page 15 of 13