2018 Høst

Start semester

70 505 Design Studio

Full course name in Norwegian Bokmål:

Design studio

Credits:

Course code:

70 505

Level of study:

Master

Teaching semester:

2018 Autumn

Assessment semester:

2018 Autumn

Language of instruction:

English

Person in charge

Harald Skulberg

Håkan Edeholt

Mosse Sjaastad

Natalia Lucia Agudelo Alvarez

Einar Sneve Martinussen

Kjetil Nordby

Required prerequisite knowledge

Passed foundation level (BA-level) courses at AHO or equivalent, 180 ECTS.

A third semester Master course (only available for students in their final year). Open for all design fields, but students are required to follow up and go in depth within their previous chosen specialisation/field in which they can document advanced design skills through a portfolio and application.

Recommended prerequisite knowledge

This course builds on the design skills and methods learnt across the previous Foundation and Master courses. In “Design Studio” students and teachers integrate and push these skills and mindsets to create rich projects with a high degree of professionally. For students who want to take part in “Design Studio” a strong sense of curiosity, experimental outlooks and independence are therefore required. “Design Studio” allows students to tailor their own personal development as a designer in preparation for their diploma.

Course content

“Design Studio” is an advanced Master course where the students will develop projects across themes and partners curated by the Institute of Design. These can be connected to research projects, external partners or emerging problematics within the field of design. The ambition for this course is to develop stand-out projects where students go in depth into the issues they chose to work with, and create high level outcomes. The core values of the course are exploration and professionalism – meaning that the course encourages the development of reflection, criticality and new knowledge about emerging fields, but also has the ambition of developing high quality deliveries and communication.

In this course students will have a large degree of freedom and responsibility as to how their projects are developed. ‘Design studio’ is a place for students to integrate the knowledge they have gained throughout their education and work towards exploration, professionalism and specialisation. A central part of the studio course is to develop project-experience and knowledge about how different forms of larger design projects can be structured and executed.

Students work individually or in small groups. Each project will be followed throughout the semester by a supervisor and typically, a partner. Partners and supervisors depend on the specialisations and/or themes that the projects take up. Each track supervisor will be responsible for the students that choose to follow his or her track. The track may consist of one long project or several projects.

The main teaching structure is mentoring on project level and the ongoing evaluation of progress. There is a common structure for milestones and core-deliverables throughout the course (development of project descriptions and plans, documentation and deliverables, and main presentations). Co-learning is central across the projects, and students will be involved in developing research, lectures and course-materials for the whole group.

Projects will come out of curated themes and partners developed by the Institute of design or from research topics across the institute’s research projects. It is also possible for students to suggest their own themes. Projects can both be done as specialisations towards specific fields or in inter-disciplinary groups, where students from industrial design, service design and interaction-design work together.

Learning outcome

KNOWLEDGE

The core knowledge outcome of the course is to integrate and mature the processes and methods learnt across the Master of Design.
Further, students are expected to develop domain-specific knowledge across their projects.
Knowledge about how advanced design projects can be structured and organised.

SKILLS

Develop and mature individual skillsets as designers.
In “Design Studio” students develop and expand core project-handling skills. Including scoping, research, project-description, time-management and communication.

GENERAL COMPETENCE
Across “Design Studio” the goal is to develop the maturity of the students’ design competence and skills. This is done by both focusing on exploration and professionality on an advanced project-level.

Working and learning activities

The main activities of the course will be project- and specialisation-specific. Across the course there will be a focus on learning project planning, developing and scoping. The course is run in a studio setting, and co-learning across the projects, with some shared lectures and presentations etc, are important. The students will be required to make and present one topic specific “lecture” to the whole “design Studio:”

Work effort:
Students need to present and submit all projects, documentations and presentations in order to be assessed for the course. Students also need to schedule their own mentoring sessions.

Mandatory coursework	Courseworks required	Presence required	Comment
Supervision talks		Not required

Form of assessment	Grouping	Grading scale	Comment
Project assignment	Individual	Pass / fail	Students accepted to the different Design Studio tracks must define their own learning outcome together with the track responsible, after deciding their focus area. This will be the basis for their final evaluation. The assessment method is to be decided by the track responsible in dialog with the student.

Workload activity	Comment
Attendance
Workshops
Evaluation (mid term)

Start semester

2018 Høst

40 524 Body and Space Morphologies : Catharsis VI – Acting and the Collective VI

Full course name in Norwegian Bokmål:

Body and Space Morphologies : Catharsis VI – Acting and the Collective VI

Credits:

Course code:

40 524

Level of study:

Master

Teaching semester:

2018 Autumn

Assessment semester:

2018 Autumn

Language of instruction:

English

Year:

2018

Maximum number of students:

Person in charge

Rolf Gerstlauer

Required prerequisite knowledge

Passed foundation level or bachelor in architecture and a desire to conduct your own experimental artistic research

Course content

Body and Space Morphologies is a research based teaching program that offers master studios (Catharsis, 24ect) and elective courses (Architecture & Film, 6ect) in explorative architectural design, sensing and thinking. We aim at, prepare for and enable students to conduct their own architectural investigation as an artistic parallel to scholarly research.

Based on performativity theories, performance studies, neurodiversity studies as well as phenomenology and perception theories, the Catharsis studio works and investigates primal pre- architectural material/processes/phenomena/conditions and develops or performs a series of experienced distinct objects that behave relational, that inspire imagination, that provide new knowledge, architectural interests and/or architectural identities. Instead of mediating architecture through a thought process that works with abstraction, illustration and representation, and that is intentional and argumentative involving the use or development of concepts, ideas and strategies, our design process focuses on the acting, sensing and thinking with objects, and the craft of your hands in the making of them.

Students individually study the performance of and with materials of their choice. The studio emphasizes reiterated acting with a material body and gains experience and confidence in the making as a “becoming architecture”. Lectures critically reflect theories and research related to perception, behavior, performativity and performance in architecture.

Collaborations:

- Julie Dind, performer/artist/scholar, Performance and Performance Studies, Brown University, Providence

- Jan Gunar Skjeldsøy & Anders Eik Pilskog, architects, Stiv Kuling AS, Farsund

Learning outcome

You learn to develop strong initiatives for an explorative working process that acts on impulse and that creates visual/haptic experience that again stimulates towards new architectural content. As a student in the Catharsis studio you learn how to submit to performativity as the instance in which to act a real material or event. You will experience issues of optical or haptic visuality from which it is possible to construct or perform artifacts with unique architectural identities.

Knowledge of:

phenomenology of architecture (vs. architectural phenomenology)
performativity, performance and performance studies
body & space morphologies
foundational preparations for an advanced haptic visual and experimental artistic research
the role of acting with and through a material (vs. the making of a product or proposal) in an experimental artistic research that shall lead to unique architectural content and/or identities

Skills:

Manufacturing physical works and the craft(s) deployed in the making of these artifacts
Narrative drawings and other works or media that bring out, construct and/or perform clear haptic visual identities
Performativity in speech and action
In the making and exploring of independent and new visual material

Competence:

In acting on impulse with material, objects, environments and/or events
In developing distinct initiatives and choosing the craft in which to act or work them
To conceive of and present/communicate unique architectural content/research through a visual material and the phenomena or conditions experienced in it
To present own haptic visual material together with verbal and written reflections on process and/or performance

For students in their sequel Catharsis studio:

Knowledge of the relevance artistic research keeps to perform unique architectural content and/or identities
Expertise in the making and exploring of independent and new visual material
Competence to enter a discursive space in architecture on the basis of your own work and research on relational objects

Working and learning activities

The main activity is a semester long individual artistic research work that studies the performance of and with materials or events
Mandatory reading is handed out on the respective course days, a recommended reading list is available online
Weekly 2-3 lectures
Weekly table talks / supervision
Weekly summing up w/ student driven content
Fieldtrip with workshop in Lista (Early September 2018) with the focus on object relations
Study trip to New York (Early October 2018) with the focus on architectural and/or artistic necessities
4 public reviews
2 sessions with individual reviews (not public)
Final public review with external censors
Preparations for a final exhibition with written detailed resume
Publication (for students in their sequel Catharsis studio)

Curriculum

Catharsis VI - Acting and The Collective VI

The topic is CATHARSIS; an inspiration to “Act The Collective” or to “Act Because Of The Collective” either as the architectural “relief from strong or repressed emotions” or, as the subversive antonym to it, “causing repression and/or strong emotions”. How to free and architecturally act a desire driven emotive collective, or how to conceive architecture in response to such a collective, is the task for these semesters. Students are to develop their own personal architectural program in relation to a social construct, a built autonomous construct and a desired connection to nature/environment. The studio works on the subthemes of “expression, language and the inexpressible”.

Semester Task

Spatially to release your necessity to make something because of something. To act, react or enact the collective (a chosen group of individuals; e.g. spectators, visitors, dwellers, workers, travellers, onlookers, mourners, guests, ill, suppressed, free, animals, people etc.) through a distinct architecture / architectural awareness. To experience, reflect upon and describe the necessity/necessities made.

Body and Space Morphology - a syllabus

Body and space morphology is about the relationship between body and space. 

How it manifests itself to be human in a room; outdoors, indoor, outside and inside, and within the manmade room. Alone or together, as one amongst the thousand, or as the thousand above the one.

Body and space morphology is about your body and the room you have within. 

How it manifests itself to be human in architecture; what it inspires us to, and what it inspires as an architecture, towards an architecture. Seeing the offer that lies in architecture, the perversion of it, the infrastructure, the poesy, the container, the gate, darkness or light from darkness.

Body and space morphology is about meeting the wall. 

How it manifests itself being human between the walls; knowing or not knowing the self, loneliness, longings and all that is imaginable. Seeing change, insights and outlooks, transparency and visibility, hideouts in an omnipresence of the stage. Seeing light come and go, seeing chairs and mirrors shrink and grow. Seeing how all things inhabit and capture the room. Beining between and at the walls. Looking at how they swallow and devour the things. Seeing how the walls become.

Body and space morphology is about the problem of body. 

How it manifests itself to face the unknown; what presents itself as new or what just became in front of you. That which yet not has a name, although it shows itself, can be touched, heard, smelled and felt. That which stands sound and nevertheless can leave, that which can or cannot be moved; moves us.

Body and space morphology is about the distance in space. 

How it manifests itself to stand still; moving just a little, approaching things nevertheless, every thing, to jump, penetrate, going into things, turning around, looking up and down, taking on the things, looking back and keep moving on.

Body and space morphology is about what we do not know and approach anyway. 

Without a map there are only lines and without a compass directions just get more, then the word world is exploded before recognition has become, and it is resemblance and closeness that which implodes us astray. This you might endure and as you wish.

Body and space morphology is about “to act necessities”;

wanton and radically so, using your hands, using the other, using your head but not meaning a thing, acting abstract, acting the figure, autonomous it is and dirty it will get, serious too; ridiculous and radically so.

Recommended Literature

Abraham, A. A new nature: 9 architectural conditions between liquid and solid

Allen, S. Points and Lines

Arendt, H. The Human Condition

Arendt, H. On Violence

Barthes, R. Camera Lucida: Reflections on Photography

Barthes, R. Empire of signs

Barthes, R, & Heath, S. Image, music, text

Benjamin, W. The work of art in the age of its technological reproducibility, and Other Writings on Media

Benjamin, W. Walter Benjamin’s archive: Images, texts and Signs

Benjamin, W. On Hashish Berger, John. About Looking

Berger, J. Why Look at Animals?

Berger, J; with Dibb, M., Blomberg, S., Fox, C. & Hollis, R. Ways of Seeing

Borges, J. L. Labyrinths

Calvino, I. Invisible cities

Deleuze, G. Francis Bacon: the logic of sensation

Deligny, F. The Arachnean and other texts

Descola ,P. Beyond Nature and Culture

Descola, P. The Ecology of Others

Derrida, J. The truth in painting

De Toledo, S. A. Cartes et lignes d’erre / Maps and wander lines: Traces du réseau de Fernand Deligny

Druot, F., Lacaton, A. & Vassal, J-P. Plus

Ellis, B. E. American Psycho: A novel

Fehn, S. The poetry of the straight line_Den rette linjes poesi

Fjeld, P. O.. Sverre Fehn. The pattern of thoughts

Flusser, V. Towards a Philosophy of Photography

Frampton, K. Labour, work and architecture: collected essays on architecture and design

Gissen, D. Territory: architecture beyond environment

Godard, J-L, & Ishaghpour, Y. How video made the history of cinema possible

Hays, M. K. Architecture theory since 1968

Hejduk, J. Architectures in Love. Sketchbook Notes

Hustvedt, S. The blazing world: A novel

Hustvedt, S. What I loved: A novel

Kittler, F. Optical Media

Kittler, F. & others. ReMembering the Body: Body and Movement in the 20th Century

Koestler, A. The Roots Of Coincidence. An Excursion Into Parapsychology

Koestler, A. The Act of Creation, a Study of the Conscious and Unconscious in Science and Art

Koestler, A. The Ghost In The Machine: The Urge To Self-Destruction

Kracauer, S. Theory of Film: the Redemption of Physical Reality

Krauss, R. & Bois, Y. A. Formless – A Users guide

Kwinter, S. Architectures of time: toward a theory of the event in modernist culture

Leatherbarrow, D. Uncommon ground: architecture, technology, and topography

Merleau-Ponty, M. Phenomenology of PerceptionM umford, Lewis. The transformations of man

Kolhaas, R. & Obrist, H. U. Project Japan: Metabolism Talks

Richter, G., & Friedel, H. Gerhard Richter: ATLAS

Scarry, E. The Body in Pain: The Making and Unmaking of the World

Serres, M., Malfeance: appropriation through pollution

Skinner, B. F. Walden Two

Sontag, S. Regarding the Pain of Others

Sontag, S. On Photography

Stein, E. On the Problem of Empathy

Stein, E. Potency and Act, studies toward a philosophy of being

Stein, E. Finite and Eternal Being: an Attempt at an Ascent to the Meaning of Being

Thoreau, H. D. Walden, Or, Life in the Woods

Vesely, D. Architecture in the Age of Divided Representation. Question of Creativity ...

Viola, B. Reasons for knocking at an empty house: writings 1973- 1994

Woolf, V. Kew Gardens

Form of assessment	Grouping	Grading scale	Comment
Portfolio assessment (Vurderingsmappe)	Individual	Pass / fail	Attendance & participation in the studio: 20 weeks fulltime study (except for the attendance in the elective course that runs parallel to the master studio). The work has to be conducted and performed in the studio - the material is present at any time. Mandatory attendance during the studio work and the talks, lectures and studio discussions/reviews/workshop/fieldtrip/final exhibition and final crit. Exercises (practical and theoretical), Project (individual presentation and submission) and Text/essay: For each of the reviews, assignments are announced on the moodle platform and the students hand in visuals and textual works which is complementary to the actual physical work made available and presented in the reviews. The final exhibition includes visual haptic material and a final essay ca 5-10000 words)

Workload activity	Comment
Attendance	Attendance & participation in the studio: 20 weeks fulltime study (except for the attendance in the elective course that runs parallel to the master studio). The work has to be conducted and performed in the studio - the material is present at any time. Mandatory attendance during the studio work and the talks, lectures and studio discussions/reviews/workshop/fieldtrip/final exhibition and final crit. Attendance & participation at reviews: 4 public mid-term reviews, 2 individual reviews and the final public review with external examiner Professor Anders Abraham (Kadk Copenhagen - not confirmed yet).
Excursion	Study trip to New York

Workload activity

Comment

Attendance

Attendance & participation in the studio: 20 weeks fulltime study (except for the attendance in the elective course that runs parallel to the master studio). The work has to be conducted and performed in the studio - the material is present at any time. Mandatory attendance during the studio work and the talks, lectures and studio discussions/reviews/workshop/fieldtrip/final exhibition and final crit.

Attendance & participation at reviews: 4 public mid-term reviews, 2 individual reviews and the final public review with external examiner Professor Anders Abraham (Kadk Copenhagen - not confirmed yet).

Excursion

Study trip to New York

Start semester

70 110 GK1 Introduction to Design

Credits:

Full course name in Norwegian Bokmål:

GK1 Introduksjon til design

Course code:

70 110

Level of study:

Bachelor

Teaching semester:

2018 Autumn

Assessment semester:

2018 Autumn

Language of instruction:

Norwegian

Year:

2018

Person in charge

Kathinka Bene Hystad

Required prerequisite knowledge

There are no prerequisites beyond admission to the program

Course content

Introduction to Design is the first part of the foundation course in the design programme and is based on industrial design theory and methods. The course focuses on user-centred design, which is fundamental to all the design disciplines at the school. The course is based on exercises and practical work and provides an introduction to techniques central to the design discipline. The course includes an integrated drawing course that focuses on methodical and analytical free-hand drawing. It also provides an introduction to visual communication and integrated training in 2D software. Through 1–3 design projects, the students will be given an introduction to design processes and training in important product development methods. Ideation, creative techniques and aesthetic exploration of two-dimensional and three-dimensional expressions are emphasised in the project. The course includes a separate workshop module that focuses on the exploration of materials and training in relevant model construction methods.

Learning outcome

KNOWLEDGE

• Insight into the design discipline, focusing on user-centred design

• Knowledge of relevant design methods and tools

• Knowledge of creative techniques

• Knowledge of aesthetic devices in two-dimensional and three-dimensional expressions

• Basic knowledge of visual communication

• Knowledge of basic drawing techniques, focusing on methodical and analytical free-hand drawing

SKILLS

• Skills in relation to a design-based approach

• Practice in important creative techniques used in ideation and concept development

• Developing drawing skills

• Workshop knowledge and experience of model making

• Basic skills in visual communication

• Basic skills in the use of 2D software for visual communication

• Improving aesthetic skills

GENERAL COMPETENCE
• Acquired a basic understanding of a design process, the use of relevant techniques and tools, and aesthetic awareness.

Working and learning activities

Lectures, projects, exercise courses and studio instruction with active use of workshops to give the students experience of important techniques. Primarily individual work, while sub-assignments can be carried out in groups. Skills in oral and visual communication are acquired through the presentation of own work. Insight and understanding of the user is fundamental to the design discipline, and the course will include contact with users. Where natural, we will also cooperate with external parties.

The course includes a two-week compulsory workshop course, with exercise assignments in the wood, plastic and metal workshops. A one-week study trip focusing on drawing will be organised early in the semester. The course includes course literature in design processes and methods, as well as aesthetics and practical design.

Curriculum

Per Farstad: Industridesign – 2nd ed Universitetsforlaget, ISBN 978-82-15-01310-7

Rowena Reed Kostellow: Elements of Design and the Structure of Visual Relationships, by Gail Greet Hannah. Exercises in Three-Dimensional Design. Princeton Architectural Press, New York. ISBN: 1-56898-329-8

Recommended supplementary reading:

Cheryl Akner-Koler: Three-dimensional visual analysis Konstfack, ISBN 91-87176-16-5
Available from Konstfack, University College of Arts, Crafts and Design, Stockholm www.konstfack.se

Cuffaro et al: The Industrial Design, Reference + Specification Book, Rockport Publishers 2013, ISBN 978 1 59253 847 8

Koos Eissen & Roselien Steur: Sketching Product Design Presentation BIS publishers ISBN 978 90 6369329 9 (published 2014!) www.sketching.nl

Paul Rodgers: Product Design. Portfolio Laurence King Publishing 2011 ISBN9781856697514
Excellent, relevant and concise introduction to design thinking.

Erik Lerdal: Slagkraft, håndbok i ideutvikling Gyldendal, ISBN 978-82-05-36286-4

GRIP; En veileder i miljøeffektiv produktutvikling for industridesignere og andre produktutviklere (GRIP), Compendium available as PDF on Moodle, and in the library

Rune Monö: Design for Product Understanding – The Aesthetics of Design from a Semiotic Approach Rune Monö an Liber AB, ISBN 91-47-01105-x

Erik Olofsson, Klara Sjølen: Design sketching http://www.designsojourn.com/good-books-on-design-sketching/

Eissen, K. & Steur, R (2011) ‘Sketching: The Basics’. BIS publishers. ISBN 9789063692537

Klara Sjölén and Allan Macdonald: Learning Curves http://www.designsketching.com/learningcurves.php 978-91-633-8952-8

Mike Baxter: Product Design – Practical methods for the systematic development of new products Stanley Thornes Publishers Ltd, ISBN 0-7487-4197-6

Carl Liu: Design book – Koos Eissen, Roselien Steur: Sketching 5th print – Drawing Techniques for Product Designers http://www.amazon.com/gp/product/9063691718?ie=UTF8&tag=designsojourn-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=9063691718

Dick Powell: Presentation Techniques http://www.amazon.com/gp/product/0316912433?ie=UTF8&tag=designsojourn-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=0316912433

Yoshiharu Shimizu: Creative Marker Techniques: In Combination With Mixed Media http://www.amazon.com/gp/product/476610580X?ie=UTF8&tag=designsojourn-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=476610580X

Form of assessment	Grouping	Grading scale
Other assessment method, define in comment field	Individual	-
Exercise	Individual	Pass / fail
Portfolio assessment (Vurderingsmappe)	Individual	Pass / fail
Project assignment	Individual	Pass / fail
Portfolio assessment (Vurderingsmappe)	Individual	Pass / fail
Project assignment	Individual	Pass / fail
Other assessment method, define in comment field	Individual	Pass / fail

Workload activity	Comment
Attendance

Start semester

2018 Høst

80 313 Being Tectonic

Credits:

Full course name in Norwegian Bokmål:

Being Tectonic

Course code:

80 313

Level of study:

Master

Teaching semester:

2018 Autumn

Assessment semester:

2018 Autumn

Language of instruction:

Norwegian / English

Year:

2018

Maximum number of students:

Course content

Professor in Charge:

Matthew Dalziel

-----

Tectonic culture as understood in architectural discourse is the art of connection between building elements. Its Neolithic root, Tek, meaning “to take by the hand” is also the root of texture. The richness of corporeal and haptic experience provided by the tectonic arts is well understood in architectural poetics and phenomenology, where richness in material relationships heightens an individual’s sense of being and belonging in a place.

In construction, the suite of nouns we use to describe tectonic relationships (stress, tolerance, tension, connection) share their meanings with the language of human relationships. Humans and objects alike, have tectonic relationships with each other governed by the dynamics between them. Our sense of being and belonging with each other is the companion to material tectonics governed by the ways we share the spaces we inhabit.

The 20th century preoccupation with efficiency has been quietly and unintentionally at war with tectonic relationships. Simplification and reduction of complexity have infiltrated our material lives through ever more seamless and smooth material experiences (Zaha Hadid, Apple computers) to such an extreme that the digital, virtual and ephemeral may now have assumed the throne of the material kingdom. In human tectonics, this same inclination for simplification has infected our social worlds, diminishing our capacity to engage with complexity in our society and be present in our relationships with each other.

The social, environmental and economic consequences of this great experiment in ceaseless growth and efficiency are now at our doorstep. As Umair Haque put it in his article for the Harvard business review of the same name, “Our economy is obsessed with efficiency and terrible at everything else” If we are to find a solution to our environmental and economic crisis the sophistication of our relationships with each other will be at its heart.

Being Tectonic is an elective research group that will join the curators of the 2019 Oslo Architecture Triennale to explore the role of architecture in re-establishing our relationships with each other through the physical and finite worlds we create and inhabit.

Learning outcome

Focusing on domestic architecture, the students will undertake a typological and sociological research project into the histories of how we live together, developing a knowledge and understanding in historic models of domesticity, family and community. This research base will then be used to make informed drawn and written propositions for future forms of domesticity that can contribute to fostering cooperation, building community and reclaiming tectonic culture.

Working and learning activities

A series of discussions supported by readings and guest lectures will give structure to a weekly meeting of this design think tank. Through writing, drawing and graphic design we will document our research findings in a publication that will form a part of the research base for the 2019 Oslo Architecture Triennale.

Form of assessment	Grouping	Grading scale	Comment
Report	Individual	Pass / fail

Start semester

60 406 Coastal mapping

Credits:

Full course name in Norwegian Bokmål:

Coastal mapping

Course code:

60 406

Level of study:

Master

Teaching semester:

2018 Autumn

Assessment semester:

2018 Autumn

Language of instruction:

Norwegian / English

Maximum number of students:

Person in charge

Karl Otto Ellefsen

Espen Aukrust Hauglin

Required prerequisite knowledge

Bachelor or basic education AHO

The course accepts student of architecture, students of landscape-architecture and students specializing in the field of service-design.

Basic knowledge of Geographical Information Systems and the use of GIS.

Or – if little knowledge of GIS – well developed computer skills.

Course content

The course discusses the consequences of the development of Norwegian Fisheries on land:

Territorial consequences
Local consequences in transformation of place

The spatial, territorial consequences are discussed for the whole Norwegian coast. The course is the second in a row of three. In the spring of 2018 we studied Senja, in the autumn of 2018 the territory for study will be Lofoten and Vesterålen.

Local consequences are analysed by the use of case studies.

Statistics and visual material are processed by GIS progreams and methods.

The methodology of the study adapts to OMA/AMO methods in rural studies.

Learning outcome

Skills in mapping and in the use of GIS in mapping.

Skills in territorial mapping.

Knowledge and skills in Morphological studies.

Research training giving research capacity.

Skills in putting together and presenting a complex spatial and morphological study.

Knowledge of rural areas that gives ability to understand and do work in these types of contexts.

Working and learning activities

Lectures and seminars:

GIS
Rural and coastal areas
The Fisheries

Digital work-shop on territorial studies.

Individual Case study

Suplementary information

There are different and overlapping approaches to this cours:

In the spring of 2017, PAX Forlag presented the book: “Fiskevær – Myr på yttersida” by Karl Otto Ellefsen and Tarald Lundevall. The book discusses the consequences of the transforming Norwegian Fisheries on land. In this case, the abundant cod-fisheries in the north of Norway, and how these fisheries have constituted and changes, spatially and morphologically, territorial habitat and settlements. The intention is to widen the study of spatial consequences of the fisheries to the Norwegian Coast as such, and later to European coastal areas (autumn 2018) and with global case studies (spring 2019)
Nearly all interests in analysing architecture, habitat and settlement have in the last decades been focused on urban environment. Critical transformation processes in rural areas have not been observed. CAFA works together with CAFA (Central Academy of Fine Arts, Beijing) with the research project Urbanisation of Rural China/Countryside Construction. This project is linked to the research by OMA/AMO on transformation processes in rural areas globally. Our study of spatial context of the fisheries might also be understood in this context.
UL works with refining the use of GIS in spatial discussions on demography, industrial activities and socio-cultural characteristics. The intention is also to re-invent our morphological studies from the 1980s and the 1990s using GIS programs and methodology

Form of assessment	Grouping	Grading scale	Comment
Other assessment method, define in comment field	Individual	Pass / fail	In the semester, the student will regularly present the subject for the teachers and fellow students for input and feedback. At the end of the semester the result will be exhibited in a given format. The examination is based on how the subject is visually displayed and orally presented, as well as processed and developed through the semester-evaluation of final presentation of individual mapping project.

Start semester

40 131 Structures 1

Full course name in Norwegian Bokmål:

GK3 Konstruksjoner 1

Credits:

Course code:

40 131

Level of study:

Bachelor

Teaching semester:

2018 Autumn

Assessment semester:

2018 Autumn

Language of instruction:

Norwegian

Person in charge

Bjørn Normann Sandaker

Required prerequisite knowledge

Det kreves ingen forkunnskaper utover opptakskrav i studieprogrammet.

Course content

The aim of the course on structures and construction is to offer basic theoretical and practical knowledge of fundamental structural types, how structures behave when subjected to loads, and the relationship between form and the mechanical concepts of strength, stiffness and stability. Moreover, the course illustrates and discusses structural concepts in relation to various architectural works. Furthermore, the course focuses on the similarities and differences between the properties of the different materials and how they are used in actual construction practices. Besides, the most common construction systems for small and larger buildings will be presented and discussed in relation to works of architecture.

Learning outcome

Knowledge and skills The course will contribute to basic knowledge of the design of structures and structural systems, their detailing and construction in the most important structural materials (wood, steel and concrete), as well as train skills to implement such knowledge in actual project design. Moreover will the student develop an ability to reflect on the role of structures in architecture, and to present informed arguments for structural choices in her/his own projects. General competence After having completed the course the student is expected to have an overview of the most relevant structural systems employed in modern Norwegian building tradition.

Working and learning activities

The course consists of a number of weekly, compulsory lectures and compulsory exercises. A practical grip of the theoretical knowledge accumulated should be demonstrated in the design projects. The course is literature based and takes as a prerequisite that the student actively read in addition to following the lectures. The exercises are analytic tools that train the student in recognizing and understand structural aspects in specific works of architecture. Discussions on structures and construction technologies are central topics at project tutoring and reviews. The course is assessed by Pass/Not Passed on the background of presence at lectures (80%), as well as submitted and accepted exercises.

Curriculum

Obligatorisk pensum

Sandaker, B. N., Eggen, A. P., & Cruvellier, M. R. (2011). The Structural Basis of

Architecture. 2nd ed. (2011) London: Routledge. Utvalgte kapitler.

Anbefalt litteratur

Konstruksjon og byggteknologi

Bovim, N. I., Sund, H., Holmestad, Å., & Stenstad, V. (1984). Limtreboka. Moelv:

Moelven limtre A/S.

Bygging med betongelementer (1995).

Dahl, T. (2003). Facaden: teori og praksis. [København]: Kunstakademiets

Arkitektskoles Forlag .

Deplazes, A. (2005). Constructing architecture: materials processes structures : a

handbook. Basel: Birkhäuser.

Eggen, A. P., & Sandaker, B. N. (1995). Stål, struktur og arkitektur. [Oslo]: Cappelen.

Friis Mathiasen, H., & Reitzel, E. (1999). Grundtræk af bærende konstruktioner i

arkitekturen. [København]: Kunstakademiets Arkitektskoles Forlag.

Gauld, B. J. B. (1995). Structures for architects. London: Godwin.

Herzog, T., Krippner, R., & Lang, W. (2004). Facade construction manual. Basel:

Birkhäuser.

Hopp, J., & Alexander, S. (1995). Avstivning og kraftoverføring.

Kaltenbach, F. (2004). Translucent materials: glass, plastics, metals. Basel:

Birkhäuser.

Kurrer, K.-E. (2008). The history of the theory of structures: from arch analysis to

computational mechanics. Berlin: Ernst & Son.

Macdonald, A. J. (1994). Structure and architecture. Oxford: Butterworth Architecture.

Macdonald, A. J. (1997). Structural design for architecture. Oxford: Architectural

Press.

Murkatalogen (1985). [Oslo]: Mursentret. (Se Byggforsk Kunnskapssystemers

nettside).

Natterer, J., Herzog, T., & Volz, M. (2001). Holzbau Atlas zwei. Basel: Birkhäuser.

Schittich, C. (1999). Glass construction manual. Basel: Birkhäuser.

Schlaich, J., & Bergermann, R. (2003). Leicht Weit: Jörg Schlaich, Rudolf Bergermann.

München: Prestel.

Schulitz, H. C., Sobek, W., & Habermann, K. J. (2000). Steel construction manual.

Basel: Birkhäuser.

Sivertsen, J., & Nordgård, L. (2003). Konstruksjonslære for arkitekter: lastberegning,

likevektslære, fasthetslære, konstruksjoner av tre, stål og betong. Trondheim: Tapir

akademisk forlag, Kompendieforlaget.

Arkitektur og konstruksjon

Balmond, C., & Smith, J. (2002). Informal. Munich: Prestel.

Brookes, A. J., & Poole, D. (2004). Innovation in architecture. London: Spon Press.

http://aho.nxc.no/aho/content/view/full/3769[27.08.2012 13:43:55]

Buchanan, P. (1990). The Architecture of Enric Miralles and Carme Pinós. New York:

SITES/Lumen Books.

Buchanan, P., & Piano, R. (1993). Renzo Piano Building Workshop: complete works.

(Vol.3) London: Phaidon.

Buchanan, P., & Piano, R. (1993). Renzo Piano Building Workshop: complete

works.(Vol.4) London: Phaidon.

Chareau, P., Futagawa, Y., Bauchet, B., & Vellay, M. (1988). La maison de verre:

Pierre Chareau. Tokyo: A. D. A. Edita.

Colquhoun, A. (1992). Rafael Moneo: 1986-1992. Madrid: AviSa.

Davies, C., Frampton, K., & Hodgkinson, P. (1993). Hopkins: the work of Michael

Hopkins and partners. London: Phaidon.

Engel, H. (1968). Structure systems. London: Iliffe Books.

Foster, N., Jenkins, D., & Abel, C. (2007). Norman Foster: works. (Vol. 3). Munich:

Prestel.

Foster, N., Jenkins, D., & Abel, C. (2004). Norman Foster: works. (Vol. 4). Munich:

Prestel.

Gerkan, M. v. (1997). Architektur für den Verkehr: von Gerkan, Marg und Partner.

Basel: Birkhäuser.

Herzog, T. (1993). Thomas Herzog: Bauten 1978-1992 : ein Werkbericht. Stuttgart:

G. Hatje.

Jean Prouvé: "constructeur" (1990). Paris: Editions du Centre Pompidou.

Lyall, S. (2002). Masters of structure: engineering today's innovative buildings.

London: Laurence King.

Lyall, S., & Herron, R. (1992). Imagination headquarters: Herron Associates. London:

Phaidon.

Mainstone, R. (1998). Developments in structural form. Oxford: Architectural Press.

Moore, R., & Gilbert, D. (1992). Sackler Galleries, Royal Academy, London: architects Foster Associates. London: Wordsearch.

Norberg-Schulz, C., Postiglione, G., & Fehn, S. (1997). Sverre Fehn: samlede arbeider. Oslo: Orfeus.

Piano, R., & Brignolo, R. (1997). The Renzo Piano logbook. London: Thames and Hudson.

Powell, K. (1994). Richard Rogers. Zürich: Artemis.

Rice, P., & Dutton, H. (1995). Structural glass. London: E & FN Spon.

Ron Arad Associates: one off three (1993). London: Artemis.

Sandaker, B. N. (2008). On span and space: exploring structures in architecture. London: Routledge.

Werner, F. (2000). Covering + exposing: the architecture of Coop Himmelb(l)au. Basel: Birkhäuser.

Wigginton, M. (1996). Glass in architecture. London: Phaidon Press.

Wilkinson, C. (1996). Supersheds: the architecture of long-span, large volume buildings. Oxford: Butterworth Architecture.

Sist oppdatert

23.03.2017

Mandatory coursework	Courseworks required	Presence required	Comment
Presence required		Required
Annet - spesifiser i kommentarfeltet		Required

Form of assessment	Grouping	Grading scale	Comment
Other assessment method, define in comment field	-	Pass / fail

Start semester

40 130

Full course name in Norwegian Bokmål:

GK 3 Byboligen.

Credits:

Course code:

40 130

Level of study:

Bachelor

Teaching semester:

2018 Autumn

Assessment semester:

2018 Autumn

Language of instruction:

Norwegian

Person in charge

Christine Petersen

Espen Surnevik

Required prerequisite knowledge

Må ha bestått introduksjonskurset i Arkitektur (studiodelen av GK1 og GK2)

Course content

Det overordnede mål for 2. år er integrasjon av de emnene som utgjør de viktigste elementene i prosjektering av byggverk, gjennom en konseptuell tilnærming til prosjektarbeid. Det blir lagt vekt på forhold mellom idé, rom, konstruksjon, og materialitet. Semestertema for kurset er boligarkitektur. Semesteroppgavenes program tar for seg boligen som grunnleggende typologi der sosiale hensyn, stedstilhørighet og økonomi spiller avgjørende roller. Boligens program studeres med henblikk på fleksibilitet og ulike boformer. Et viktig aspekt ved programmets tilnærming er hvordan generalitet kan sikre langtidsbruk og innby til endring av boform.

Learning outcome

Kunnskap ∙ Kunnskap om grunnleggende konsepter i moderne og samtidig arkitektur ∙ Kunnskap om konstruktive prinsipper og konstruktiv idéer ∙ Kunnskap om kontekstuell tilnærming og tomteanalyser ∙ Kunnskap om klimaskallets arkitektoniske rolle ∙ Kunnskap om materialenes arkitektoniske roller Ferdigheter ∙ prosjeksjonstegninger ∙ manuelle og digitale fremstillingsteknikker ∙ skala modellbygging Generelle ferdigheter ∙ evne til å utvikle konseptuelle hovedgrep ∙ evne til å ta og argumentere for egne valg ∙ evne til realisere hovedgrep gjennom arkitektonisk form, materialer og løsninger

Working and learning activities

Andre år introduserer studenten for integrert arkitekturprosjektering gjennom en estetisk syntese av romlige grep, konstruktive idéer, materialegenskaper og tekniske løsninger. Disse introduseres gjennom forelesninger og bearbeides gjennom kortere hurtigoppgaver, før de blir iverksatt i prosjektarbeid. Prosjektene gjennomgåes i mindre og større grupper gjennom semesteret. Det legges vekt på utvikling av «sidemannskritikk» der studentene fungerer som kritikker for hverandre.

Mandatory coursework	Courseworks required	Presence required	Comment
Annet - spesifiser i kommentarfeltet		Required	Midterm

Form of assessment	Grouping	Grading scale	Comment
Project assignment	Individual	A-F

Workload activity	Comment
Lectures	Attendance and participation in lectures is expected, and absence may influence the evaluation
Workshops	Attendance and participation in workshop are expected, and absence may influence the evaluation
Evaluation (mid term)	Attendance and participation in reviews are expected and absence may influence the evaluation

Start semester

2018 Høst

40 522 Future Work - Building for workplaces in a life-cycle perspective

Credits:

Full course name in Norwegian Bokmål:

Future Work - Utforming av næringsbygg i et livsløpsperspektiv.

Course code:

40 522

Level of study:

Master

Teaching semester:

2018 Autumn

Assessment semester:

2018 Autumn

Language of instruction:

Norwegian / English

Year:

2018

Maximum number of students:

Person in charge

Marius Nygaard

Required prerequisite knowledge

Bachelor in architecture

Course content

The project task will be a medium-sized, multistory building for workplaces in an urban setting.

The course will explore future types and patterns of work, and their architectural implications. The studies will be carried out within a life-cycle perspective of design, construction and reuse of buildings, components and materials. Quantified aims for energy use and emissions will be discussed. The role of location (dependency of transport), resilience (robustness and adaptability to climatic and economical change), materials (health, emissions, durability) and energy (in production and use) will be analyzed. Existing methods, systems and frameworks for life-cycle analyses will be presented and discussed.

The studio encourages both qualitative and quantitative evaluations and investigations. 3D printing and computer-aided design are paired with sketches and manual models. An idealistic and innovative approach merges with a commercial scenario, on a real site in Oslo.

Pedagogy

The learning approach is project-based. The students develop architectural projects, with tasks given and advised by the staff. Lectures and workshops focusing on selected themes will contribute to knowledge and skills relevant for the project.

Learning outcome

Knowledge:

of designing a building for present and future workplaces
of the prinicples of life-cycle thinking in the design, construction, use and reuse of buildings
of the concepts of resilience and adaptability and their architectural implications
of quantified aims for energy use and GHG emissions
of methods and tools for life-cycle analyses
of the role of transport, materials, building subsystems, and indoor climatization and daylight in the use of energy and emission of greenhouse gases.
of designing for adaptability and reuse.
of best-practice examples of design based on life-cycle thinking
of architectural patterns /typologies shown to be successful for the specific task
of reducing the ecological footprint of architecture
of optimizing architectural design to a specific contextual and climatic situation
of what tools are available to assist the design of sustainable and climate-adapted architecture
of best-practice climatically informed and inspired architecture
of how different structural systems and building materials, interact with relevant architectural strategies.

Skills:

To be able to critically engage in a development of a building for workplaces in a life-cycle perspective.
To use computer-aided design in the conceptual development and evaluation of the architecture of a complex, medium-sized building.
To 3D print models as part of architectural exploration and documentation.
To use 2D projection drawings as a tool for planning.
To use refined techniques for communicative visual and written presentations.

General Competence:

To plan and design a medium-sized, multistory building for workplaces.
To develop a sustainable conceptual design based on a life-cycle perspective
To understand the interrelation of architectural strategies and the design of the different subsystems in a medium-sized multistory building.
To realize the sustainable design through form, materials and details
To make and argue for decisions on sustainability and architectural quality
To develop a position to the questions of sustainability and architectural quality.

Working and learning activities

The course will include (preliminary plan):

Introductory tasks in groups that generate a common knowledge base for the studio
Main task: Work in groups or individually on 1-3 given sites
Tutoring in the studio
Lectures and workshops by staff and invited architects and specialists
Study trip to a European city
Plenary reviews

Form of assessment	Grouping	Grading scale	Comment
Portfolio assessment (Vurderingsmappe)	-	Pass / fail	The portfolio assessment consists of subtasks and a main project. There will be several subtasks w/presentations throughout the semester. The subtasks must be delivered and approved before the main project can be assessed. The main project can be done individually or in groups of two students.

Workload activity	Comment
Attendance	Participation and attendance in lectures, supervision at the desks in the studio, seminars and workshops is expected.
Excursion

Start semester

80 113 GK1 Writing Excersises

Full course name in Norwegian Bokmål:

GK1 Skriveøvelser

Credits:

Course code:

80 113

Level of study:

Bachelor

Teaching semester:

2018 Autumn

Assessment semester:

2018 Autumn

Language of instruction:

Norwegian

Person in charge

Mari Lending

Required prerequisite knowledge

Det kreves ingen forkunnskaper utover opptakskrav i studieprogrammet. Bestått ExPhil

Course content

Drawing on material spanning from extracts from novels, poems, journalism and criticism to art works, films, buildings or exhibitions, the small writing exercises is about pinning down details and fragments in which a wider world of architecture and design might be mirrored. We look at the way in which architecture and design is evoked and depicted within different literary, historical and artistic contexts. The students will learn to zoom in on particular details, and give precise descriptions of spaces, buildings and objects as presented in different media and genres. The writing exercises aims at cultivating genre sensitivity and help the student to identify the way in which architectural form and design appears outside architectural discourse.

Learning outcome

The students will learn to zoom in on particular details, and give precise descriptions of spaces, buildings and objects as presented in different media and genres. The writing exercises aims at cultivating genre sensitivity and help the student to identify the way in which architectural form and design appears outside architectural discourse.

Working and learning activities

Every Monday the students will be presented for a text, an image, a film, etc. The assignments might vary a bit from week to week, but normally the student will be asked to hand in a maximum two pages text, to be reviewed by the teacher and presented for the group. The seminar is not based on lectures; rather it revolves around presentations and discussions in the seminar. After having been revised and rewritten, the student will make a selection of all the text handed in during the semster texts, and produce a little book. The final reviews will assess both the quality of the written texts and the book design.

Mandatory coursework	Courseworks required	Presence required	Comment
Presence required		Required

Form of assessment	Grouping	Grading scale	Comment
Project assignment	Individual	A-F	The student will make a selection of all the text handed in during the semster texts, and produce a little book. The final reviews will assess both the quality of the written texts and the book design.

Workload activity	Comment
Individual problem solving	The course runs from 11-15 every Monday and the students hand in one text each week.

Start semester

80 112

Full course name in Norwegian Bokmål:

GK1 Examen philosophicum

Credits:

Course code:

80 112

Level of study:

Master

Teaching semester:

2018 Autumn

Assessment semester:

2018 Autumn

Language of instruction:

Norwegian

Person in charge

Inga Bostad

Required prerequisite knowledge

There is no admission requirements for the philosophy course. The Oslo School of Architecture and Design (AHO) has a separate entrance exam, where general admission is presupposed.

Course content

Ex.phil er et obligatorisk innføringskurs i filosofi som skal forberede deg som student på en akademisk kultur og arbeidsform og på vitenskapelige tenke-, og skrivemåter. Kurset skal gi filosofiske perspektiver på grunnleggende spørsmål innenfor vitenskap, etikk og samfunn.Ex.phil. skal bidra til at du både forstår og får evne til å se hvilket akademisk fellesskap du nå er en del av. I tillegg vil du på faglig bakgrunn kunne øve deg på å tenke kritisk og selvstendig rundt faget du er en del av, og din egen rolle som student.

Ex.phil.-studiet er knyttet opp til hovedmålsettingen med undervisningen i førsteklasse, nemlig en oppøving av evnen til helhetlig og kompleks oppgaveløsning, og et omfattende sett av metoder og verktøy for idé- og prosjektutvikling. Dette skal legge grunnlaget for videre studier.

Ex.phil. gir en historisk og systematisk innføring i filosofi- og vitenskapshistorie, og i utvalgte vitenskapsteoretiske, etiske og estetiske temaer og problemstillinger. Du vil som student bli kjent med tenkere fra sentrale epoker i den vestlige kulturen frem til vår egen tid. Emnet tar opp ulike syn på natur, vitenskap, håndverk/kunst, moral, politikk, samfunn, kjønn og teknologi fra både en historisk og systematisk synsvinkel.

Det blir lagt vekt på å vise hvordan den filosofiske tenkingen består av en systematisk refleksjon over fundamentale spørsmål uten endelige svar. Filosofien kan betraktes som en vedvarende diskusjon der det ikke er svarene, men spørsmål og argumentasjon som er det avgjørende. Du skal som student bli i stand til å reflektere over de historiske og begrepsmessige forutsetningene for dominerende tenkemåter i den vestlige kulturen. Slik sett ivaretar ex.phil.-kurset ikke bare viktige sider ved studenters utdanning, men også din danning som framtidig profesjonsutøver

Learning outcome

The outcome of the course consist of knowledge and understanding, skills and competence expected of of students at the ex.phil.-level in Norway. Knowledge / understanding: • Knowledge of key concepts and topics in philosophy, including an understanding of key philosophical positions, the differences between them and the objections against them. • Knowledge of the history of philosophy from antiquity through to modernity, i.e. the main trends in the history of science and key thinkers in the history of philosophy up until today. • Knowledge of the main directions in the 20th century theory of science. • Knowledge of key concepts and principles of ethics (moral philosophy), as well as understanding of different ethical positions, the differences between them and the objections against them. • Knowledge of key concepts, issues and positions in aesthetics, as it is understood in the philosophical tradition as "sensuous cognition", as "philosophy of beauty and taste" and as a reflection on the concepts, institutions and practices of art. Skills: • Students learn to render and execute simple discussions of key issues in philosophy and history of science, epistemology, ethics and aesthetics. • In this way, students develops their ability to read academic texts, so that they are able to perform simple analyzes of argumentation in academic texts. • Students acquire basic skills in academic writing, including how to formulate simple arguments and how an academic text is made up of arguments that take part in a larger reasoning. Expertise: • Through the ex.phil. course, students learn to identify and discuss philosophically relevant issues within their own subject (architecture and design) and other subjects. • Students will also be given a general and basic competence in dealing with academic and theoretical issues in an independent and systematic way.

Working and learning activities

On the overarching plane, the educational program in a systematic way ties toghether "lesson" (lectures), "instruction / action" (exercises) and "reflection" (public discussions). The purpose of this is to build basic skills in academic reading, writing and thinking and to give a more comprehensive understanding of this practice as an integral part of the profession as an architect or a designer. The course is given in the form of weekly lectures, 3-4 hours of instruction a week, and 3-4 seminars/work shops during the semester. For the work shops, the students will asked to prepare small papers. Thus, the students will work in groups, 2-3 hours a week, in which they work on preparatory assignments given by lecturer, preparing the students for the seminars. The preparatory assignments will be integral to the individual paper that each student have to write during the semester.

Curriculum

Bondevik, Hilde og Bostad, Inga (2003) Tenkepauser. Filosofi og vitenskapsteori. Akribe forlag. ISBN 82-7950-063-4. 335 s.

Føllesdal, D. & Walløe, L. (2000) Argumentasjonsteori, språk og vitenskapsfilosofi, ss.194-241. Oslo: Universitetsforlaget. Også gratis tilgjengelig herfra

Klassiske tekster/kompendium:

Aristoteles. Metafysikken. Om sjelen. Den Nikomakiske etikk (ex phil UiO) S 61-71, 77-84)

Augustin. Bekjennelser. Gyldendal. 1961. S, 34-38, 56-59

Beauvior, S.: "Innledning" i Det annet kjønn Oslo: Pax, 1970, ss. 13-29.

Descartes: Meditasjoner over filosofiens grunnlag. Aschehoug forlag. 1980. S.23-50

Gadamer. «The Universality of the Hermeneutical Problem» in Philosophical Hermenutics. (2008) University of Calefornia Press s. 3-17

Platon. Menon. Kap 1, 70a S 19-48 (ex phil uio) (oversatt av Håvard Løkke). Eventuelt Vidarforlaget. 2005.

Sartre. Eksistensialisme er humanisme. Cappelens upopulære. 1963, s. 3-40

Skjervheim, Hans: «Deltakar og tilskodar» i Skjervheim, Hans: Deltakar og tilskodar og andre essays (2001) Aschehoug. S. 71-88.

Supplerende litteratur

Studenter som ønsker å finne mer utdypende stoff kan lese følgende litteratur. Merk at dette ikke er alternative pensum.

Lars Fr. H. Svendsen, Simo Tuomo Sakari Säätelä (2007). Det sanne, det gode, det skjønne En innføring i filosofi.
Stig Hareide, Egil Hjelmervik og Terje Kvilhaug (red.): Lærebok i filosofihistorie (Oslo: Samlaget, 1996)
Gunnar Skirbekk og Nils Gilje: Filosofihistorie 1 og 2 (Oslo: Universitetsforlaget, 1996)
Hilde Bondevik og Linda Rustad (1999): Kjønnspersektiver i filosofihistorien. Pax forlag
Ragnar Fjelland: Innføring i vitenskapsteori (Oslo: Universitetsforlaget, 1999)Søren Kjørup: Menneskevidenskaberne (Fredriksberg: Roskilde Universitetsforlag, 1997)
Ingemund Gullvåg: Rasjonalitet, forståelse og forklaring. Innføring i argumentasjonsteori, logikk og vitenskapsfilosofi (Trondheim: Tapir, 1990)
Arild B. Næss: Å studere, å skrive – Praktisk guide til Examen Philosophicum (Trondheim: Tapir, 2004). En læringsassistent har skrevet en håndbok i studieteknikk for ex.phil.-studenter, om bl.a. skriving av øvingsoppgaver.

Mandatory coursework	Courseworks required	Presence required	Comment
Annet - spesifiser i kommentarfeltet	Essay	Not required	Individual assignment / essay. Must be written in order to be eligible for school examination.

Form of assessment	Grouping	Grading scale	Comment
Written Exam	Individual	A-F

Workload activity	Comment
Attendance	Attendance and participation in lectures is expected.

Mandatory coursework:	Supervision talks
Courseworks required:
Presence required:	Not required
Comment:

Form of assessment:	Other assessment method, define in comment field
Grouping:	Individual
Grading scale:	-
Comment:

Form of assessment:	Exercise
Grouping:	Individual
Grading scale:	Pass / fail
Comment:

Form of assessment:	Portfolio assessment (Vurderingsmappe)
Grouping:	Individual
Grading scale:	Pass / fail
Comment:

Form of assessment:	Project assignment
Grouping:	Individual
Grading scale:	Pass / fail
Comment:

Languages

2018 Høst

Start semester

70 505 Design Studio

Start semester

40 524 Body and Space Morphologies : Catharsis VI – Acting and the Collective VI

Start semester

70 110 GK1 Introduction to Design

Start semester

80 313 Being Tectonic

Start semester

60 406 Coastal mapping

Start semester

40 131 Structures 1

Start semester

40 130

Start semester

40 522 Future Work - Building for workplaces in a life-cycle perspective

Start semester

80 113 GK1 Writing Excersises

Start semester

80 112

Pages

Workload activity:	Lectures
Comment:	Attendance and participation in lectures is expected, and absence may influence the evaluation