Making math Visual

I’m currently working on a project creating visual and tangible teaching materials for children struggling with maths. The idea is that the materials should be open source, freely available on the internet as print- outs for parents and schools. I would like to give alternatives to digital learning tools for children with a kinaesthetic or visual understanding. The materials are based on the Montessori philosophy but using new methods at the same time.

Observing children using
the materials, I saw a clear need for good instruction. I would like these materials to be autonomous with video instruction but my observations showed that they seemed to learn more from watching eachother and gaining confidencebefore trying themselves.

Food for the future

Sustainable food culture for the next generation

This is a project that gives school children concrete tools to measure the environmental impact of a meal. The material makes the student able to

analyse what they eat and make them able to reflect upon their habits in the kitchen. And how they, through their food choices, can create a sustainable world in the future.

Children’s alphabetical colouring book

learning through play Children’s alphabetical colouring book a playful universe of monsters

Everybody must learn the alphabet and most children struggle with the process. This book helps children open their imagination with strange words and mystical beasts that resemble the words they describe. Learning how to write has, in this age (4-6 years old),

more to do with hand coordination and learning how to hold a pen than the letters themselves. Therefore, it is most important that the child draws and practices con- trolling the pencil. The goal is not to push but fos- ter the child’s curiosity about words and drawing.

Redesign of the UNESCO Collection


In collaboration with Moesgaard Museum and their existing ethnographic teaching department, I have developed a new material and way of structuring the ethnographic collections.

This material focuses on rites of passage and builds a bridge between the Danish confirmation and the Ghanaian Dipo tradition. All this is done based on a basic idea that there is a reason why a culture acts as it does and that our customs are at least as mysterious as what goes on in the tribes in Ghana. Our tradition is compared and analyzed with a model developed by the French ethnographer Arnoldus Gennep. His model is blown up in size. Now objects and images can be placed physically in the model. The objects anchor dialogues about cultural differences and prepares the student for a multicultural society.

As part of my work, I have created a new vision for the UNESCO collection. I want the UNESCO collection to becoming a part of the Moesgaard Museum’s visual expression. The collections must recognize the ethnographer as the sender and therefore include travelogues that can provide insight into the methodological and ethical aspects of the work. All collections must have a clear teaching goal. The teacher must have access to inspiring contemporary material so one does not have to ask “When does the UNESCO collection go from being ethnography to history?”. The UNESCO collection should not be afraid to guide the teacher through a curated plan. Pre-planning will only help raise the quality of teaching.