DAYLIGHT & ARCHITECTURE MAGAZINE BY

VELUX GROUP SUMMER 2014 ISSUE 21 10 EURO

THE FUTURE IS LIGHT

FURTHER INFORMATION ON PP. 1315

VELUX
EDITORIAL

THE FUTURE
IS LIGHT

Eternal though daylight may be in physical

respects, it is ripe for redefinition as regards
its cultural significance. The light of tomorrow will be shed upon a new architecture.
wrote Ole Bouman ten years ago as one of
the first jurors of the International VELUX
Award for Students of Architecture. From
modest beginnings in 2004, the award has
grown into one of the most important awards
of its kind worldwide, with the participation
so far of almost 4,000 student teams from
more than 60 countries.
From the start, the theme of the International VELUX Award has been Light of
Tomorrow. We are convinced that tomorrows light will be of natural origin, for nothing can match daylight in its variability,
dynamics and beneficial effect on human
health and well-being. Over the years, the participants in the award have developed thousands of ideas of how this natural gift can be
used in buildings and dense urban spaces, as
well as in the remotest rural areas.
Who if not future generations of architects could create the new architecture that
Ole Bouman calls for? And where, if not in the
architecture schools of the world, should
aspiring architects learn the skills to redefine
the state-of-the-art in architecture, to create
healthier, more people-friendly and more sustainable buildings?
This issue of Daylight/Architecture celebrates daylight and the thousands of bright
reflections and ideas from students from all
over the world and embarks on a conversation about the future of architectural education. We start this dialogue by looking back
at the ten years of the International VELUX
Award, recapitulating some of the discussions among jurors and the issues that have
been raised by the students in their submissions. This is accompanied by images from
some of the award-winning and honourably
mentioned projects from the last ten years.
The second part of the magazine discusses

the future of daylight in architecture and how

architectural education should develop to
support its use. We have spoken to all previous winners of the award, as well as representatives from the schools of architecture
where the winners studied, and asked them
about the changes and challenges that architectural education is facing. They all agreed
on one point: although architects today face
the need to acquire all sorts of specialist
knowledge and technical skills, there seem to
be a number of enduring virtues that make a
good architect. These include the ability to
think holistically, the capacity for creative
problem-solving and for teamwork, as well
as the willingness to take on responsibility for
our society and the environment. Furthermore, as the future including the future of
architectural education is intrinsically
uncertain, students should be given freedom
of thought and freedom for experiments, and
be taught to ask the right questions before
trying to find answers.
In the months and years to come, we
would like to expand the discussion on architectural education with all schools and teachers, with the international organisations
involved in architectural education, and with
all of our readers.
The dialogue on daylight and its significance in architecture will also continue this
year with the sixth edition of the International
VELUX Award. In June, an international jury
will select the winners and honourable mentions of the 2014 award; their names will be
announced and award presentations made in
October. Look out for the results on [Link].
com and be inspired to participate in a
future edition of the award if you are yourself
a student or a teacher of architecture.
Enjoy the read!
The VELUX Group

SUMMER 2014

23

32

35

72

ISSUE 21
CONTENTS

JURORS AND
PARTICIPANTS

4000 BRIGHT IDEAS

TEN YEARS OF
DAYLIGHT

LEARNING FOR THE

UNKNOWN

A WORLD OF
OPPORTUNITIES

THE DEBATE
CONTINUES

The growth of the International VELUX

Award in figures and graphics: from
2004 to 2014, these pages present
a list of all participants and jurors in
the ten-year history of the International VELUX Award.

With almost 4,000 submissions so far,

the International VELUX Award represents an almost inexhaustible collection of ideas on daylight and its use
in architecture. This article presents
a collage of some of the most interesting projects and recurring themes
that the students have dealt with.

What does the history of the International VELUX Award tell us about the
significance of daylight in architectural education? And what trends in
architectural education are reflected
in the submissions? At its tenth anniversary, it is time to trace the development of the Award so far, and
recapitulate the most interesting discussions among the jurors.

How to prepare a new generation of

architects for a future that is uncertain? This article discusses some of
the premises: give students freedom
of thought and experiment, teach
them to take on responsibility for society in general, and provide architectural education with a value base.

Architectural education has to do

more than prepare young professionals for the labour market. But what
precisely are the requirements that
architecture schools must live up to?
The former winners of the International VELUX Award, as well as their
professors and the heads of school
where they studied, discuss this question in their statements.

At the end of this issue of Daylight/

Architecture, we call for professionals world-wide to continue the debate
on daylight and architectural education on the Internet and on Twitter. To
carry the issue beyond the pages of
this magazine, we are addressing all
of our readers with a letter.

VELUX Editorial
1
Contents 2
Jurors and participants
4
4000 bright ideas
7
Ten years of daylight
23
Learning for the unknown
32
A world of opportunities
35
The debate continues
72

DAYLIGHT &
ARCHITECTURE
ISSUE 21
FREE IPAD
VERSION

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THE INTERNATIONAL
VELUX AWARD
2004

2006

2008

2010

2012

2014

Glenn Murcutt

Kengo Kuma

Hani Rashid

Nathalie de Vries

varo S za V e ra

Craig Dykers

Architect (Australia)

Architect (Japan)

Architect, Asymptote Architecture (USA)

Architect, MVRDV (The Netherlands)

A ch ec Po uga

Architect, Snhetta (USA)

Craig Dykers

Risn Heneghan

Enrique Browne

Momoyo Kaijima

Br g tte Sh m

Risn Heneghan

Architect, Snhetta (Norway)

Architect, heneghan peng architects (Ireland)

Architect, Enrique Browne & Associates (Chile)

Architect, Atelier Bow-Wow (Japan)

A ch ec Sh m Su c ffe A ch ec s Canada

Architect, heneghan peng architects (Ireland)

John Pawson

Omar Rabie

Eva Jiricna

Magda Mostafa

Architect (United Kingdom)

at the time MIT student (Egypt)

Architect, Eva Jiricna Architects (United Kingdom)

Will Bruder

Peter Stutchbury

Architect, American University in Cairo (Egypt)

Ole Bouman

Douglas Steidl

Huat Lim

A ch ec Pe e S u chbu y A ch ec u e
Aus a a

Architect, at the time editor-in-chief

of Archis (The Netherlands)

Architect, at the time AIA President,

appointed by UIA (USA)

Architect, ZlgDesign (Malaysia)

Juan M r

Editor, Architectural Review (United Kingdom)

A ch ec M R ve a A ch ec s USA

James Horan

Per Olaf Fjeld

Per Arnold Andersen

Architect, at the time president of EAAE (France)

Architect, at the time president

of EAAE (Norway)

Per Arno d Andersen

Architect, VELUX Group (Denmark)

Architect, at the time president of EAAE (Ireland)

JURORS

Ahmet Glgnen
Architect, appointed by UIA (France)

Massimo Buccilli

Michael Pack

General Manager, VELUX Italia (Italy)

Francis Nordemann
Michel Langrand
General Manager, VELUX France (France)

Architect, Will Bruder + Partners (USA)

Magda Mostafa
Architect, American University in Cairo,
appointed by UIA (Egypt)

Stefano Musso
Architect, at the time president of EAAE (Italy)

Catherine Slessor

A ch ec VELUX G oup Denma k

Jesper Salskov Jensen

General Manager, VELUX Denmark (Denmark)

At this time General Manager,

VELUX Germany (Germany)

PARTICIPANTS

983 SUBMISSIONS
59 COUNTRIES

802 SUBMISSIONS
54 COUNTRIES

557 SUBMISSIONS
53 COUNTRIES

258 SUBMISSIONS
27 COUNTRIES
Christian Hoffelner, Evelin Temmel, Tobias Brown Nicole Eveline Stoecklmayr Azra Fejzic, Ivana Juric, Azra Sugkic Michaela Weninger, Elisabeth Aberger Claudiu Cristian Silvestru, Carmen Ivona Dumitrescu, Gabriela Petrescu Markus Drscher, Melanie Klocker, Ingomar Platzer, Barbara Sieber Gregory Bieker Eva Garcia Torrejon Brice Polom Sebastien Sainsard, Blandine Delaporte, Jean Delavne
Benjamin Moray Xavier Delpire Laura Anzaione Julien Stasse Dave Grosemans, Haroen Martens Lejla Babic Alma Dinalija, Denida Vrtagio Hana Kevilj Sanja Vrzic Sandra Martinovic, Nihada Pustahija, Maja Stabek Jasmina Mitrovic Husein Miracic Milena Antonic Jusuf Zilic Vladimir Stanarevic Ivana Borovnjak Dario iak Luka Franjesevic, Andrea Vukojic, Adam Vukmanov Adam Baricevic, Ivan
Buden, Rozaljija Muhek Lea Petrovic Ivan Lakarin Hrvoje Zuparic, Dean Niskota, Ivan Starcevic Ivan Foretic, Berharda Cesar Saman Saffarian Ondrej Cisler Michaela Dytrov tepn Martinovsk Marek
Ruicka, Michal Kutlek Vitka Navrtilov Ondrej Cisler Bronislav Stratil Eva Neumayerov, Martina Polachov, Jana Jandov, Lucie Zillichov Stephan Gustin Melanie Ann Bech Lisbeth Werup Nielsen
Gustaf Erik Lohm Christina Augustesen Marie-Louise Mejlholm Rene Ruprecht Karsten Hammer Hansen, Maria Jensen,Henrik Sgaard Jensen, Lars Mortensen, Sine Maria Peitersen, Jens Christian Srensen Lise Dybkjr, Mads R. Holst, Christian B. Jrgensen, Anders G. Rasmussen, Ane J. Gram Steinar Bakke Kaur Talpsep, Kristiina Aasvee, Joel Kopli, Jrgen Lepper, Margus Soonets Ringevalle Julien,
Jesop Satchmo Rmy Claden Marie Richard Julien Stephane Plessis, Grgory Lambart Eric Sontag Andrei Badescu Jean Paul Meyer, Jos Da Costa Grichka Martinetti, Antoine Petit, Nicolas Debicki
Michael Brinschwitz, Marco Bartsch Caroline Hrning, Marcel Lenk Alexa Schrder Dirk Siebel Ralf Wilkening Khvichia Zia, Levan Asabashvili Daniel Weide Hendrik Bahr Marc Aurel Jensen Jinwei
Lin, Xuan Yang Daniel Hoch Kai Beck, Jens Hogekamp Volkmar Schultz, Monika Marasz Katrin Bernickel, Christian Oberteicher, Holger Paul Christoph Jantos Jens-Peter Veddeler, Jens Veddeler, Christian Boland Matthus Wirth, Irina Koerdt, Jacqueline Pehlemann Inga Geister Susanne Kiesewetter, Melchior Cremer Christian Hahn, Frauke Rth, Ren Arlitt Franca Reifner, Nikolaj Von Brandis Tobias
Schmitt Petra Schlmer, Sabrina Peters, Andreas Allen Max Gunst Sandra Hannemann, Adam Gonsior Thomas Schneider Roland Haehnel Jan Pingel Natalia Soukhova Thomas Heidebur Luke Samuel
Pendergast Krzysztof Kotala Vasia Liri Margarita Gkika Manolis Paravoliasis, Stefanos Papadatos, Andreas Halaris Maria Danilatou, Angela Danilatou Achilleas Psillidis, Michalis Pissaridis Argyro Skouloudi, Despoina Loukadaki Myrtia Fasouli Christina Tsironi Mikaela Liakata, Melina Mezari Panagiotis Rupas, Georgia Voudouri, Panagiota Passia Costandis Kizis, Nikos Katsikis Vasileios Moustakas,
Charalampos Giannikopoulos Flina Axioti Aikaterini Drakou, Despina Mahairidou Ioulia Goula, Aikaterini-Olga Kefalogianni Chariklia Makedonopoulou, Maria Doxastaki Nancy Psaraki Maria Brassinika,
Sofia Lagiou Balzs Szirmai Attila Makay Attila Bujdoso, Ildiko Bujdoso Fajcsa'k De'nes Balzs Baranyai Zsolt Fzler Bala'zs Turai Orsolya Maza Daniele Piludu, Matteo Pace Francesco Garutti Emanuel
Pozzoni, Amalia Siriana Vivian Argon Islami, Albana Rexhepi Baiba Bekere Lina Ruskyte-Lukoseviciene Mindaugas Staninas Mindaugas Butvila Nils-Anders Gjulem Kristine Langfeldt Wessel Kwang
Wook Ryu Eivind Nygaard Erlend Torkildsen Claes Heske Ekorns John Christer Hiby Nils Ole Bae Brandtzaeg Caroline Marie Damhaug Mateusz Stolarski, Aleksandra Zdziechowska Tomasz Szczepanik
Adam Radzimski Dagmara Turska, Rafal Witusik Barton Rusztyk Zofia Sobolewska Marcin Pilsniak Liliana Krzycka Anna Nowacka, Katarzyna Turbiarz Marcin Rok Mariej Jaroslaw Slowinski Mariusz
Nowak Anna Gawronek, Izabela Pielesiak Monika Dziadosz Jakub Manek Aleksandra Sabramowicz Tomasz Berezouski Mateusz Januszeeski Beata Kosok, Anna Wilk Urszula Kijek, Adam Rzeszotalski,
Mikolaj Wower Justyna Maria Dawicka, Agnieszka Anna Konca Krystian Nawrocki Paulina Korkozowicz, Joanna Jarczewska Iwona Kleczaj Karolina Rosinska - Stochaj, Agnieszka Sowinska Alicja Bednarczyk, Tomala Malgorzata Szymon Jawor, Przemystaw Fojcik Luis Reis Pedro Ribeiro, Andr Bessa Ricardo Jorge Sonia Maia, Maria Jou Costa Cludio Antnio Carmo Reis Andrea Fragoso Serban
Clin Spanu, Anda Teodora Otel Dragos Horia Buhociu Andra Maria Pop Ksenia Boksberg Nadezhda Melennaya, Alexander Gupalov Ibia Ekonomov Alexander Demin, Svetlana Danylova Svetlana Choumskaya Semyon Gennadievich Starikov Andrey Urevich Paul Mazin Marko Petrovic, Tamara Popovic Vesna Puara Mladen Koprivica Tom Amtmann Martin Reznik Erik Kocka Matej Grbert Pavol Drela
Vozef Bator Michal Mihaik Zuzana Jackov Peter Kotvan Katarina Ciglanov, Miroslava Gasparov Igor arock Emilia Mindekov, Tatiana Hubov Zuzana Knazeova Igor Kyselica Gabriel Noga Peter
tucka Juraj Cisarik Miroslav urka Tomas Hl, Peter Gonda, Juraj Siarnik, Martin Comor, Jaroslav Sugr, Ren Dlesk Casany Estrada Marc, Francesc Baqu Ramis Daniel Martinez Diaz Javier Moreno
Del Ojo, Miguel Guerrero Pinar Jesis Torres Garcia, Francisco Daniel Munoz Gara Carmen Fdlz-Caballero Olhando, Nestor Marco Montanana, Angel Miguel Prez Mesa Natalia Ibanez Enrique Vizuete
Albaladejo, Garrote Raquel Martin Luis Miguel Ramos Castro Hyung-Sup Soh Svenja Hrtdrfer, Jenny Keller Emilia Maria Duda, Moghaddam Golrang, Roman Calzaferri Jong-Jin Park Karin Thalmann
Gideon Hartmann Annina Ludwig, Martin Matter, Patrick Maisano Hasan Deniz Deniz Idil Erdemli Lusi Morhayim, Selim kem Hande nl Nihal Kayapa Kerem Srmelihindi Salih Oktay Uzumcu Hill
Aktur Nazmiye Ozturk, Mert Uger, Yuvacan Atmaca, Israfil Konyali Sofia Yatsiv, Olga Yatsiv Yuriy Vakula Olena Kovalchuk Vladimiz Kozol Pavlo Benedyuk Lei Yu, Ying Wang Hanna Zminkowska Karolina
Szynalska Susan Ann Gravgs-Thomas Jenny Melville Rohan Patil, Zubin Masters Andreas Chadzis, James Erickson Jason Tristram Pettit Rodrigo Velasco, Chunxiao Lu, John S. Imeson Salvador Rivas
Michael Tze Wei Na Dimitri Argyros Sophie Anna Campbell Kyong Joo Kim, Dong Ku Kim Yuting Jiang Li Jia Yang Jonathan Fraser Morrison Petra Lui

Carmen Blanc, Alvarado Jiri Orol Ana Luis Daniel Rey, Machuca, Hermn - Marcos, Lucas - Otero, Carolina Juan Ignacio Diana Menndez, Granero Realili Guadalupe, Risso Patron Domingo, Sellant Ayelen
Ricardo Antonelli, Carlos Beghetti Christian Ramn Ignacio Del Blanco, Mario Sebastin Manuel Leandra Hanlon, Trejo, Matias Augusto - Zottig, Ivo Lucas Catriel Rodriguez, Susana Kaplan Damian
Plouganou, Turrin Maria Cecilia, Jaume Natalia, Fernandes Esteban Ignacio Arjol Acebal, Ghiggino Ricardo, Villar Rojas Adrian, Villar Rojas Sebastian, Bermudez Diego, Maria Del Pilar Navarro Laura,
Beatriz Jurez, Busaniche, Mariano - Spesso, Martin Alexandra Brown Yin Wang Colin Ng, Galut, Dan Oliver Huw Wellard, Perversi-Brooks, Sam Jan Alexander Golembiewski Nikolina Bobic Ilan Machoro Jan Alexander Golembiewski Tomoko Suga Julia Url Claudiu, Christian Silverstru Katharina Volgger Alexander Eberl, Piker, Cornelia Barbara Hohensinn Viktoria Hohl Florian Absenger Stephan
Brugger Dominik Troppan Robert Guenther Zarko Koyacevic, Racic, Radomir Bence Pap Alexander Gastager, Lukasser Mathias Monika Ponjavic, Krivosija Damjan Jasmina Mitrovic Bojan Erceg, Gacanovic Alexander Maja Vujovic, Bodroza Marija, Kacar Jelena, Dundic Vanja Mejrema Zatric, Kurtic, Amra Carlos Lima Andiara Campanhoni, Palhas, Ana Cristina Menezes - Flores, Alice Leite Felipe
Andr Rodriguez, Vargas, Fernando Borderes- Shimizu, Chirochi Jr Alexandre Nagazawa, Lacerda Bernardini, Patricia Ricardo Brmio Pacheco De Carvalho, Iwamura, Francis Camargo - Maoski, Thiago
Fernando Paulo Andr Ronconi Holand Ricardo Bonini Ricardo Brmio Pacheco Da Costa Lima, Joo Gabriel Lobato, Flavia Syrio De Carvalho, Juliana Tavares Gustavo Dieckmann, Paulo Neves Siqueira, Rafael Roque, Pablo Assis Fernando Augusto Yudyro Hayashi, Vilela Rodrigues Da Silva, Tagore Carolina Comim, Christiane Gnilherme Mendonga Simon Daniele Countinoho Moraes, Barth, Adriana
- Barth, Michele Emanuelle Tatiana Delattre, Rodrigues Anna Luiza Agoitinetto, Delattre Tatiana Santiago, Amaro Tatiane Andrasc Ana Gisele Ozaki, Mximo, Monica - Matsune, Silvia Thiago Albino
Maso, Silva, Francis Juliane Kalil Da- Falavinha, Carolina Lourenco Flavia Cristina Silva, Bonadio, Mariana G - Diniz, Renata A. Livia Iwamura, Hirai, Juliana Ciro Gustavo Scheraiber, Sebben, Felipe- Reichmann, Natalia Karina Yurk, Talita Paulo, Debora Yang Erico Flumignan Pacheco Lenita Pimentel, Polastre, Bruno - Pereira, Cassio Vinicius - Sandoli, Renata Rafael Costa Ana Paula Harumi Eguchi,
Kfouri, Tatiana Abbud Rafael Gazale Brych, Neves, Rafael H Sabrina Gilbert, Annie Beaudoin David Brassard, Saucier, Jean Philippe Mathieu Turgeon, Bourdon Paule Karine Guerrette, Laprise, Alexandre Maxime Turgeon, Cyr, Marie-Eve Tina Levesque Cahill, Biboud, Emilie Nathalie Pinealilt Page Roxanne, Johanie, Boivin Isabelle Dallaire, Potvin-Jones, Jody Lee Rachel Simard, Julie Lussier Laurie
Gosselin, Karine Renaud Faiyaz Zakaria Khan Adam Clark, Cheung, Jessica Sandrina Dumitrascu Erika Kulbach, Hunter, Carrie Anne-Marie Paula Armstrong Neal Panchuk Francisco Breton, Reyes Emilio,
Retamal Octavio, Maureira Luis Felipe, Araya Claudio, Flores Paulina Erwin Baeza, Barrera Lorena, Benitez Ricardo, Figueroa Alex. Guinez Rodrigo, Llanos Javier Claudio Barria, Roa Paulo, Villarroel Daniela, Quevedo Sady, Llanos Jonathan, Mendez Orlando, Flores Pamela Zaror, Ramirez Monica, Valenzuela Evelin, Renault Sarah, Tapis Alicia, Pantoja Roberto, Utrer Sofanor Rojas, Marcos Ramirez ShiShian Lee, Chang, Yin-Shing - Hsu, Chia-Yuan Wei-Hung Peng, Fan, Yang-Chen - Chen, Sheng-Nan Min-Hung Chen, Han-Shu Yi I Chia Chiang, Lu, Meng Shan Shiuan-Ming Hwang, Chen, Guan-Jie Liao Ya
Hui, Yang, Ya Shu Guang Zhi You, Wu, Han Jun Ching Chan Chung, Ou Yang, Zhi Hong Chung Chun Chiu, Hsin-Yi Liu Xing Yun Yan, Chen, Hui Ting- Qiu, Hui Wen Fani Yang Wei-Ting Yu, Ying-Zhen Su, ZheWei Lin Jia Hao Zhang, Zhuang, Ming Zong Ming-I Wu Zi Qiu Yan, Qin Tuo Sinan Yuan, Xue Yuan Keming Wang, Liu Yang Gong Huan, Wang Xu Alice Hwa Kam Fai Hung, Tse, King Tong Kenneth Hin Fai
Kenju Wong, Wong Yuen Yam Samuel, Yiu Tsz Yan Ryan, Kua Hwa Cheng Willie Xin Li, Zheng Chao, Yu Yisi, Xu Min Luis Armando Viteri Revelo Damir Glavinic, Stambuk, Duje Vlatka Vidakovic, Vrancic
Sanja, Vidakovic Visnja Ivan Foretic, Ilicic Emilio, Dubravcic Mihovil, Krcmar Valentina Ana Bilan, Brucic Maja Eva Cotman, Galic Mia Dario Sisak, Opalic Bosko Sara Marenic, Plazibat, Marijana Anja
Kresic, Kranjcec, Ivana Luka Ivancic, Jambrovic Marko Veljko Linta, Katic, Duje Mario Furcic, Cmogaca, Adrio Daniel Novak, Matejicek Michal, Vrabcova Alzbeta Dana Krcmarova, Tomashanulik, Tomas
Mana, Rdek Horak Barbara Mantovani, Lorenzo, Masini- Caroline Willeit, Adrian Torres Astaburuaga Anette Bjerring Gammelgrd Kamille Le Fevre Sckerl, Roedbro, Mathilde Asgaard - Eng, Christine
Erika Troelsen, Darre, Charlotte Carl Henrik Graff Aslaug Thorgeirsdottir Frej Tobias Lotus, Ahm, Isabel- Rugaard, Mikkel- Andersen, Morten Manuela Vanotti, Bayle, David Nana Diercks, Sharon Ruben,
David Strebicki Mette Rasmussen, Horsving Barfoed, Anne- Poulsen, Jacob- Nielsen, Ulrika Kvist- Vladykova, Petra- Pi Anja Birkkjaer, Nordbladh, Catarina- Boutrup, Mette Bagge- Bertelsen, AndersIversen, Anne- Mortens Signe Skaar Pedersen, Ladawal, Narisara- Gustavsen, Sine- Korsbk, Mikkel- Staugaard, Gitte- Anderse Sebastian Soelberg, Preisler-Berthelin, Marie- Rahlff, Sren- Packuess,
Rune Ylva Hegelund, Eftest.l, Evy Louise Grnlund Blazej Zemleduch, Michele Cerruti But Moataz Ali, Niveen Mahmoud, Heidi Mohammed Eslam Ahmed Mohammed Abdelkader, Ahmed Mohammed
Kamel Nasar, Mohammed Magdy Viktoria Stana Ngai-Sze Kiang Ayako Hamada Nelly Weiss, Arbei, Dori Der Gum Bauche Stephane, Simon, Boudet- Adrien, Durrmeyer Samuel Concas Veronique Delplace, Toulotte Rudy Nicolae Duduta Saizic Bernier Ludivine Loison Adis Tatarevic Le Pichon Julien Francois David Marie Hascoet, Lemaitre Delaide Paola Pfenninger, Petrini, Silvia Marie Guillard, Gaignard, Florie Hans Lefevre, Tony, Dos Santos Benjamin Saragoussi, Bismuth; Gregory Alessia Zarzani Catherine Pellegry, Zih, Kata- Witkowska, Katarzyna- Van De Keer, Julie Louise Michelin, Brouette
Aurelien, Blondin Agnes Victor Rivera Crespo, Molins Freire, Jaume- Pesqueira Sanchez, Maria Ceisa Legrand Delphine, Dorothee, Hars Montreuil Alicia, Chiappone-Piriou Emmanuelle- Messmer, ClothildePlouvier, Charles-Eric Mourier Camille, Germain, Pluvinage- Joseling, Vamour- Adrien, Delattre Emmanuel Garcias, Leu, Matthieu- Herbin, Stephane Juang I-Fan Marie Fontaine Milosevic Sylvie Allison
Dublinski Catherine, Elizabeth Stevens Jessica Lord Jessica Pierce Katherine Green Vineet Diwadkar, Kulik, Michael Yuta Aida Nathalie Ward Matthew Garner Nicholas Faulconer Julia Praser Stefanie
Wahl Alexander Deutschman Jonathan Henry Helen Chen Elliot Grochal Rae Smith Anneapurna Akkineni Ryan Haney Arseni Zaitsev, Kahlo Anya Alexandre Granger Geoffrey Reynis Sylvain Bordron Tu
Ly Ba Hoang, Luong, Van Thanh Joris Jakob Fach Markus Mueller, Harant, Eike Anh Quan Do, Nguyen Khac, Nguyen Van Trieu, Dinh Hiei Ervan Esen Claudia Hograeve, Woempner, Julia Malte-Carsten
Seidler Alicja Lidia Sokalska, Okroj, Magdalena Ruth Cuiper, Bhm, Peter Johannes Hegger, Seifried, Thorsten- Anders, Stephan Hye-Mi Lee, Syarova, Evgeniya Anna Kyprianou, Antoniadoy, ElenoraNikolaidoy, Efrosini Andreas Ventourakis, Komninos, Aristodimos- Chronopoulou, Anastasia Anastasia Koukoula, Stavrakakis, Emmanouil- Hiliadis, Georgios Sofia Krimizi, Kyriakou, Kyriakos Jasmine
Kastani Yannis Kitanis, Chondrou, Dina- Pafilis, Thanasis- Papathanasiadi, Eleanna Szabolcs Csaki, Kiss, Tamas Vilmos Katona, Mosonyi, Robin Denes Ghycz, Boronkay, Peter- Szederkenyi, Lukacs Matyas
Hollo Daniel Kulinyi, Szocs, Istvan Levente- Molnar, Jozsef Botond David Nemeth, Nagy, Andras- Szasz, Csaba Janos Szepesi, Racz, Sandor Tamas Petery Adam Nagy, Schiszler Attila Azadeh Ali Ghanbari, Jabbari, Jahromi Ali Arash Dailami, Sahraeeyan, Azadeh Faraz Soleymani Sara Norouzi, Saberi, Keivan- Niaparast, Ghazal Elham Alavizadeh, Alavizadeh, Hassan Azar Mohammadpanah, Zareiy,
Shailan Shahab Mirzaen Mahabadi Ladan Sadeghian, Ghasempoor, Amir- Ghasempoor, Samaneh- Refalian, Ghazal- Abrishami, Hadi Almara Melkomani Mahssa Pahlavan Arash Adel Ahmadian, Momtaz,
Sina- Mesdahi Sina- Khodadad, Arsh Mahssa Pahlavan Hila Sharon Rinat Dolev Netaly Goren Yosi Hayun Keren Klein Sivan Solnik Inbal Levi Maria Berlin Ravid Livne Zedar Hadas Raiss Efrat Levy Tal
Kesten, Eytan, Alex Matteo Tronti Emilio Colombo Leonardo Zuccaro Marchi Marco Lampugnani Paola Palomba, Morello, Erica Valentina Gabriele Lobaccaro, Balconi, Gabriele- Borghi, Andrea- Pari,
Marcello- Sangalli, Stefano- Zani, Giul Andrea Corindia, Carmosino, Salvatore- Carrozzo, Cosimo- Ciccocioppo, Eugenio- Pallotta Antonio Daniele Madeddu Dario Vivaldi, Santoni Filippo, Liga Sparite
Santolo Tafuro, Martignetti, Maria Anna- Spiezia Nicola Herald Qyqja, Lofi, Andrea Marta Proietti Gaffi Ivan Muscolino, Biancon, Lionella Antonino Floramo, Amore Sebastiano- Di Martino Manuel- Raciti Antonio Tomohisa Tanaka Hernan Concha Emmrich Shogo Onodera Hideomi Takenaka, Katsuya, Kanese Tasuku Nakatani Take Matsuda Ilia Tsachev, Teraoka, Yoshihiko Hiroki Ogawa Tomohiko Tashiro, Housawa, Ryuhi- Hata, Takahiro- Furuya, Takayuki Yosuke Tanaka, Kubota, Ai- Okuyama, Naofumi Matyas Gutai Maria Rita De Jesusu Dionisio, Gutai, Matyas Yabe Masato, Youhei, Kondo Tareq
Abdallah Athamneh Abeer Manneh Jang Ook Rhee, Kim, Sang Hoo Hwang Bo Kang Bum Louise Eun Young, Soo-Yong Son, Mi-Ok Park Seok-Hee Park, Choi Song-Lim Mi Jin Lee, Eun-Leong, Nam JungSuk Seo, Kang, Hong-Sik Da-Sole Oh, Seo Bo-Young Kook Hwan Kim, Yu, Jin-Ju Young-Soo Kim So Jeong Yang, Yoon Seong Jae, Lee Sang Wook, Kim Ji In Choong-Mo Son, Kim Sung, Son Yean, Kang
Young Sung Hyun Jun Min Jae Kim Lee Juhun, Jeongjun Song, Jaehwan Kim Hyung-Jin Choi, Lee, Jong-Won Kim, Seung Kim, Do-Yub Paek, Doo-San Soo Rim Sim Hye-Min Yi Eui-Han Lee June Hee Lee
Jung Keun Kim Sujin Hyun Jihoon Ha Chan Young Yoon Jang Young Lee Jean-Hee Kim Sun Jun Kim Byung Tae Lee Min-Gi Kim Jin Ah Kim Kyngwon Kang Bum Seung Hwan Bang Soomyeong Jin Eun
Mi Kim Jong-Im Park Geun Su Kim Viktorija Prilenska, Dozdeva, Natalja Hamzah Sarout, Ibrahim Rabih Nikola Stakinov, Naumovski Atanas Rebecca Spiteri, Chircop, Charlene- Darmanin, Manuel- Fenech,
Daphne Irving Sanchez Zagal Jehovany Munoz Garcia Nancy Yolanda Rodriguez, Santana, Joana- Quintal, Emmanuel- Duran, Gabriela Katarzyna Horodynska Kuan-Ting Daniel Linta Ruwan Fernando
Aimee Melissa Lucy Wiles Tor Olav Austigard Madeleine Johander, Bau, Nadine- Strmstad, Martin Lisa Westerdehl Ibar Rodriguez Ugarte Conrad Surowka, Joanna Zapala, Ewelina Szymakowicz Mateusz Szymlak, Sabina Wiecek Lech Babiarz, Jakub Chrobry, Urszula Ramus Katarzyna Niewiarowska, Majewska Anna Maciek Grelewicz Adam Radzimski Lukasz Marciniak, Sikora Wojciech, Makulik
Rafal Michal Kulczynski, Ewelina Knapp, Ewa Kudaj, Michal Kulczynski Malgorzata Brzeska, Cavallo, Michele Michal Hajduk Jedrzej Adam Lewandowski, Markowicz, Dariusz Malgorzata Kowalczyk,
Krezlik, Adrian Agata Wozniczka Katarszyna Stryjakiewicz, Klosek Magdalena Zuzanna Wojtasiak, Siemienowicz, Magdalena Lukasz Reszka Rubina Afonseca Nuno Dias Raquel Maquel Machado Marlene Viera Joana Santos Sandra Jesus Claudio Emanuel Pinheiro Neloson Correia Neuza Marina Silveira Barros Joana Barros Mariana Oliveira Ricardo Faia, Caetano, Joao- Carvalho, Andre- Pinto, Silvia Susana Maria David Campos Oliveira, Sousa, Marilia Goncalves- Pinto, Fernando Frias Pablo Rebelo, Rebelo, Pablo- Pereira, Luis Pedro- Oliveira, Ricardo Macedo Giusepper Giacoppo, Caruso, Sara
Joao Henrique Lucio Julio Senra Jorge Graca Costa Paulo Vieira, Correia, Herberto Ana Filipa Aives Pereira Sauparo Bordos, Feudoro De Sousa Gmnoraes, Joao Paulo Joao Cravo Marta Moreira Ioana
Stancu Bogdan Isopescu, Mathe Zsolt Sandor Agyagasi Silviu Medesan, Oprica Alice Maria- Pop Ioan Mircea Alexandra Coriu Alexandru Vlad Damian, Severin Vlad Aurelian Oyidiu Radu Cita Andrei,
Alina Tubrea, Ruxandra Antal Nicolae Daniel Popescu Tudor Vlasceanu Stefan Alexandru Nedelcu Laura Chifiriuc, Birgaoanu Simona Cita Andrei, Alina Tubrea, Ruxandra Antal Dumitrescu AlexandruLiviu, Mircea Stroescu Elena Kropaneva, Tighe Charlies, Zlokazova Vladimir Marija Radisic, Zivkovic, Jelena- Gadjic, Dusan Ksenija Bunjak, Kirn, Aleksandra- Aleksic, Nikola Nenad Simic Marijana Bakovic, Ivana Markovic Irena Mirjevic Marija Ratkovic, Zivkovic Marina Jelena Pantic, Radojevic Nevena Nikola Zamurovic Marko Culibrk, Culibrk Marija, Iskrenov Zarko Milosevic Milojevic, Rasic Dragana,
Masanovic Marija Igor Lazarevic, Milanovic, Adriano Olivera Milosavljevic Milena Markovic Vladimir Ivanovic, Antic Milan, Jovovic Miljana Veljko Bajic Tijana Cebic, Divljak Danica, Cokic Katarina, Vranes
Dane Svetlana Mojic, Doric Marija, Vukic Olivera Ivana Miskeljin, Miskeljin Bojana Michaela Mitrovic Milica Lekovic, Macura, Marko- Stojsic Milica Eugene Tan Wei Ming Pamela Chew Wee Loon Lim
Soon Heng, Michael Tan Alexandra Pokorna Radoslav Pavlovic Michal Tatransky Zoran Kenda Aleksandra Sekeres, Benko Andreja Esta Matkovic, Volf Branka Olga Bombac Nina Vidic Ivancic, Benjamin
Zancic Vesna Lenart Ziga Rosker Marija Gramc Leigh Hanekom, Van Tonder, Lawrence Figueroa Mingarro Alberto Maria Jose Marcos Pilar Morilla Manresa Jose Maria Aguirre Martinez-Abarca Sergio
Ramos Ruiz, Quintanar Camacho, Angel Beatriz Benito, Benito, Sara Gonzlez, Toms Marcos, David Serradilla, Fco. Javier Velasco , J. Igna Miguel Angel Ajuriaguerra Anna Manosa Tarruella Alberto
Hernandez Munoz, Baeza Gallego, Sara- Barreda Teran, Javier Hilario- Cabrero Olmos, Raquel Jose Luis Lorenzo Alzola Pedro Dachs Ana Lerena, Sibils, Gabriel Sergio Mendez Rodriguez, Enric Dulsat
Serra Paula Lopez-Barba Alexander Diaz Chyla Jaime Alberdi Saenz-Diez Jesus Munoz Gil Gonzalo Pardo Carlos Gor Gomez, Agustin Gor Gomez, Esteban De Backer Guitierrez Daniel Domingo Cuenca,
Santiuste Cardano, Oihane Roberto Carlos Garcia Caballero Daniel Martinez Diaz Jose Ramos, Moron Ruiz, Elena Rafael Galan Gomez Jairo Rodriguez, Aparicio, Roberto Laura Del Pino Noriega, Vicente
Benito, Mario Pablo Santiago Rodriquez Bravo Concepcion Perez Martin, Nieto Santamarina, Cesar- Tascon Lopez, Jabier- Fernandez Fonseca, Laura- A Arrieta Berdasco Valentin Sebastian Martin
David, Inez Senghor Fayna Navarro Garcia Carmen Ferrando Ortelles, Ano Nadal, Pilar Marta Bonet Viana, Broseta Bronchu, Esther- Gomez Vives, Alejandro- Lopez Moreno, Joaquin Ramon Riera Cervera, De Navascues Y Lauzet, Lorenzo- Dominguez Pastor, Alvaro- Revert Solbes,Alba- V David Catala Minana Marco Casany Estrada, Antoni Joan Rosset, Jordi Pablo Vina Garcia-Ins, Jos Antonio
Guerra Paz Petia Ratzov, Carl Hall-Karlstrom Arkadiusz Sarlej, Amrein, Christine Ksenia Yakunicheva, Fenwick, Anne-Marie- Cronin, Niamh Kim Bjarke Sara Vall, Ahlberg, Karin- Helmfridsson, Hohn Bjrn
Frstberg, Ling, Mikael Edvin Bylander, Ruthblad, Jonas- Wolfe, Jonathan Omar Garcia, Prosch, Jurgen Carl-Johan Omert Johan Lnn, Weser, Niklas Cecilia Nilsson, Elin Algotsson Sofie Gyllving Karl
Johan Kolmberg, Lundqvist, Magnus Daniel Persson, Appelbck, Tobias Halil Ibrahim Can Burcu Arkut, Gursoy, Selen Noura Al-Baloushi Khasiba Obaid Cyrill Komarov Mykhaylo Karnaukhov, Besarab
Nadiya- Gavrilyuk Iryna- Komarov Cyrill- Shykura Olena Liam Madden Craig Miller Gary Watkin Judy Cheung Chantelle Niblock Helene Fan Linjie Wang Vincent, Ming-Ching Young Ka Shing Tam Anastasia Karandinou Mohammed Amine Benoudjit Stephen Robertsson Eric Dauis, Katarina Joachym Helene Sorret Daniel Herzberg Mcfarland Sylas Villegas Carlos Moore Joseph Nguyen Cuc Kipperman Nathan Katie Duncan Nicholas Holbein David Pak Brandon Vielguth Frank Lara Jeremy Karas Michael Hernandez Yimon Aye Joseph Lyman Sergio Ramirez Yiling Deng Rodriguez Florencio Maravilla
Francisco Jeff Wandersman, Sunwoo, John Reilly Hogan, Gull, David Sangwook Park Sarah Boles Matt Canterna Patricia Ng Jerome Haferd Joel Burke, Smith, Kevin Doug Stechschulte Robertu Blecker
Sian A Kleindienst, Rice, Edward O. Onur Yuce Gun Janet Corzo Jieun (Kristen) Kim Erin Devries, Casey Megan Alejandro Bulaevsky, Hunt, Danielle Kylie Stoneham, Economidis, Niko Hua-Yu Tseng, Jesse
Smith Pei-Chun Yang, Sandra Luna-Moreno Humphries Alyssa, Cherine Sarouam Jenny Ivansson, Christiansen, Stine Randon Krysman, Tibbits, Skylar - Proto, Jon Kyung Sic Kim, Ban, Yeoun Kyung
Jasem Pirani Chika Nakazawa Vera Kalinkovitskaya Evan Champagne, Vanheusen Kate Jennifer Wong Kevin Sample Ernando Olvera Ricardo Santos Woo Sung Yoon Richard Lyew Brock Hinze, Kohler,
Johannes Brent Sturlaugson Scott Bishop Sanghun Rim Christa Scott George Lam Jose Rodriguez-Colon Daniel Currea Sally Eyre Crystal Ellis, Ppetrie, Hillary- Survant Tyler- Beamer, Stephanie Manh
Tuan Nguyen Viet Hung Pham, Le, Xuan Bach - Le, Trung Kien Luong Le Dinh, Nguyen Tan Cuong Bui Huu Duy Tan

686 SUBMISSIONS
46 COUNTRIES

673 SUBMISSIONS
55 COUNTRIES

Matias Miguel Gabrielloni, Mariana Mabel Maldonado, Justo Ezcurra Floren- Cia Eliseo, Alejandro Nervenga, Cecilia Vignolo Eduardo Merta, Matias Scaf- Fidi Mara Noelia Mattio, Martina Rosa Mediza Facundo Monteros, Monica Martinez, Julia Villa, Matias Blanch Carlos Alberto Beghetti Puebla Lionel Campos Mrina Lia Vials, Marco Nicols Banco, Maria Paula Villarroel Romi- Na Daniela Chaveros, Gloria Virginia Montiel, Gabriela Yasmin Jirala, Gonzalo Dutto Jaime Castillo Rodolfo Luciano Martin David Zalazar Carlos Alberto Beghetti Puebla Jung
Il Hyang Richard Samulis Isaac Mcnicol Ni Putu Giri Putri Setyawathi Alison Jean Mcfadyen, Luca Vezzosi Phil Page Robert Van Lin Vaishnavi Srinivasan Rajasekaran Pritha Ilangovan
Shruti Shankar Monika Nowak Gabriella Marsh Hannes Haas Reinhold Weinberger Fatma Ayzit, Jasmin Hagleitner The- Odor Wender, Philipp Rauth Clemens Kubicek Albert Elmenreich
Philipp Mller, Andreas Draxl Brigitte Margesin, Simone Ines Schwienbacher Verena Lernpeiss Stefanie Leopold Elisa Dolenc, Karoline Glockner Jasna Kuljuh Nejra Prasovic Matej Banozic, Nedzad Sabanovic Andreas Jaklin, Coric Maida, Albert Erjavec, Christian Reschreiter, Matthias Gumhalter, Katharina Volgger Harald Wolbang Martin Oberascher Andraz Lecnik, Luka
Murovec Esteban Ochogavia, Michael Zaccaria, Anthony Fayt, Michel Parubaj Mickael Piazza Mickael Ameline Depover Susanne Kerndle Johann Zirngast Daniel Brecher Dusica Balta Paulo
Neves Siqueira, Thiago Lopes De Menezes, Rafael Roque Garcia, Alex Fer- Reira Dos Santos Filho,Pedro Vasques Pedalino Pedro Varella Jiquiri, Bruno Pereira Cornelio, Amanda Clara Arcuri Favaro Thiago Lemos Shuk Ki Leung Sukie Sean Procyk Anna Lisa Meyboom Adriana Ross Jor- Dan Allen, Rayn Palibroda Jason Robbins Stephanie Au Daphnee Van Lierde Michael
Kim Soonam Lee Cedric Yu Andrew Chung Daniela Andrea Kairies Alvarado Enrique Karim Estefania Navia, Constanza Gabriela Valenzuela Marco Antonio Muoz Ortiz Emilio Jose Espinoza, Vi- Cente Donoso, Victor Valverde, Eduardo Aroca, Gabriela Mendez, Elizabeth Fer- Nandez, Frank Merino Isaac Peralta, Rodrigo Placencia, Jessica Chavz, Teresa Morales, Paula Seguel, Jorge Muoz Pamela Angelica Salas Valenzuela, Maria Angelica Guerra Saldias, Jaime Hurtado Carlos Coronado Coronado Plasen- Cio, Camila Aguirre, Francisco Fernndez, Jorge
Hernndez Jorge Francisco Jimenez, Italo Rossi, Roberto Pea, Juan Jose Mautz, Gonzalez Erik, Lucy Parra Jorge Ignacio Contreras Claudio Santibez Wenlong Yan Xiaohui Lv, Li Jinchen,
Li Yuehong, Yuan Shouying Weiping Zhang, Qiao Yo, Bai Zengming, Zhang Min Ggjun Zhang, Bai Jing, Chen Xu, Gao Yang Ci Wang, Iv Junchao, Gong Sining, Gu Fang Jie Shen Mingyang
Chen Lei Feng Hang Zhou Liu Wei Zhang Shuang, Li Shu Zhengming Wang, Zhengming Wang, Yu Liu, Yujie Wang, Pengyuan Zhang Hu Yintao, Dong Wang, Zhang Lei, Zhihui Wang Banzhong Qiu Suwen Liu Jianhong Wu Haichao Feng, Guo Jiasheng, Huang Peng, Zhang Mingxin Wang Zhiyang Chen Wang Cun Gang Liu, Liu Zhao, Yang Guo Xin, Wu Qing Hui, Wang Hao
Shaobin Huang Shiwei Lee, Sun Yu, Jiang Xiaomin Jiang Chang Ru Ting Lin Zeng Yiwu Qian Wu, Bogeng Chen Qian Lie Kai Tian, Jingyu Li Wei Zhu, Tian Yu, Wu Guanyu, Wang Zhuo Shaobin Huang, Yan Luo Yang Liu, Xu Zhai Liu Jian, Yu Zhou Xing Chen, Li Cong Zhang Yi, Huo Xudong Jian Tu Wei Jia Chang Ke Tiandong Ma Fan Yang, Xiaofei Niu Yuanyi Liu Weiwei Sun,
Le Cheng, Lin Yu, Qiu Xiaohui Han Jing, Chao Jiang Tongliang Wu, Lv Ming, Liang Jiahao, Luo Bin Huafei Xing Weiwei Sun Xia Miao Le Yin, Yang Zhang, Zhenyu Dai Xinpeng Wang Ting
Su Wanli Mo San Mok, He Zaoyi, Lee Rui Hao Zhu Ruoxuan Li, Hu Hui, Du Yongliang, Mi Shuyang, Zhang Jing, Tu Xiaoyang, Wang Shihui Wen Xia, Li Rui, He Shirui, Zhang Houqing Ling
Yun Yang Mi Tian Li Yunhui, Weihao Zhao, Shi Cao, Weiye Huang Hao Ruan, Xing Xiong Di Ding Xu Yang, Sheng Bo, Bian Zhigang, Gong Yu Xiaoying Ma, Xi Chen, Hu Dachao, Xu Runsheng,
Xu Chunsong, Jiang Jianfang Xiao Li, Li Huang Yuanjie Shen, Yanna Zhu Lou Xuhua, Laishun He, Xiaodan Tan Xin Lin Qiuyun Zeng Qingbo Zhou Jialong Sun Hua Ye, Tao Yang, Yi Ren, Xinyun Zhang, Jiao Yang, Suoqian Zhao Yu Yang, Ye Ni Ni Jiao Luo, Fang Huang Tan Chuan, Kan Lin Wang Fengtao, Wang Rui, Xie Yangliu, Gao Fei Rehemitula Batuer, Liu Xing, Li Jian, Bian
Huayang Dan Zhu, Dang Yu, Wang Haixu, Zhang Yan Li Wan, Zhang Xiao, Yuan Jing, Zheng Fan Ping Yang Mu, Yue Li, Ti Zha Kai Wang, Rui Ouyang, Xuzhan Lin Xiaokai Huang Sinan Liu,
Cui Kai, Wang Hao Yanming Zhou, Wang Yang Xiao Liu Xu Yang Yunqiao Yang Wenkai Zhu, Yang Yunlong, Min Mingzhe, Zheng Guoping Kunyue Zhao, Shan Huiting, Feng Enbo, Chen Songhua Yankai Liu He Qian, Li Tian, Chen Ting, Yue Kelin Jiao Chen Yichun Li Meng Wang Nanyang Wang, Zhang Weiwei, Ren Lanhong Guo Jizheng, Wu Hao, Liu Gang Jizheng Guo Gang
Zhou, Wang Yi Xin Huang, Qin Ma, Zhou Wu, Ping Li, Chneg Zhang Yi Fei Fu, Wang Lei Zhilin Dong, Nan Jiang, Yiting Gao Boguan Wu, Zhong Meiying, Zhou Lubin, Wu Yingcheng Boxu
Dong Jiayi Zhu Ting Zhang, Gong Chenxi, Li Qianyi, Wu Yifan Xia Su Chen Chi Jialiang Wang Xiaomu Zhang, Li Cheng Wu Boguan Ning Jiang, Rui Zeng, Rui Han Wei Hao Zeng, Cong Guo
Yi Ren Kin Wai Leung Yi Wang, Ke Lin Yue Qichen Cao, Zhan Shi, Yushang Zhang Haonan Lu Xiaoxue Gao Yujia Xin Zhang Yuanhua Xusheng Huang, Lu Yu Lie Qian Vlatka Vidakovi, Vinja
Vidakovi, Tihana Vu, Sanja Vran Karolina Zduni Iva Maria Juric, gor Sladoljev Ivana Zivicnjak, Fabio Furac Ivan Sucic, Hrvoje, Ivan Sucic, Marin Sapit eljko Hudoletnjak Vedrana Pocrnic,
Nina Povsic, Barbara Jugovac, Marko Klaric Ana Kara, Marija Laginja Domagoj Juric Pero Vukovic, Danica Selem Katerina Kalinova Jiri Hejl, Srdjan Markovic Michal Krejcik Martin
Nhlovsk Tomas Jurak, Frantisek Brychta, Zuzana Uhrikova Vladimir Hrivnak, Iveta Kollarikova Tereza Stastna Michal Zahora, Martin Nahlovsky Jan Karasek, Ondrej Dusek, Ondrej Sikora,
Jan Hrouda Nela Gottvaldov, Dagmar Steov Iva Zalesakova, Rom Kostrica, Zora Velkova stridur Birna rnadttir Steffen Impgaard Pedersen, Isak Birgersson, Paal Arne Bustad Elisabeth Malmsten Karin Bjrsmo Eva Haggrn Mourid- Sen Mouridsen, Bjarke Schoedt, Rasmus Brusgaard Hansen Claus Jrgensen Troels Steenholdt Heiredal, Henrik Kammer Ulsfort, Andrea Cuadros Ellitsgaard Pernille Maria Voss Maria Ljungsten Ulrik Fenger Mathiasson Ulla Rosen- Lund Knudsen, Kasper Mlby Larsen, Maika Moerner Jensen Mohamed Sameir Heikki
Niilo Tapani Ruski Juho Niemi, Jussi Viinikka Tomasz Kujawksi Patrick Allan Arthur Boidin Bertrand Ottmer Loiseau Yannig Joan Valls Matheu, Marinha Banhos Martins, Iria Brandariz
Otero, C- Line Parisse Anas Tourneux, Anthony Nicolini Pauline Popelier, Fanny Baillou Petar Kristiyanov Belev Yasmine Sfar Geoffrey Desplaces, Thomas Etesse Erik Lantz Edouard Robic,
Mathieu Leu Natalia Obrijanu, Jiaodan Ren Yuan Jiang, Yang Xu Jun Noguchi Hung-Lin Tsai Laura Perez, Aline Cagny Samuel Rimbault, Thomas Vongpradith Joachim Engelhard, Matthieu
Delan- Glet, Moad Zograh /Jessica Baranes, Christophe Beaugrand Alexandre Palmer, Elodie Huvenne, Marion Le Rouvillois Clment Durosella, Alexander Fripp, Hugo Blanc Antoine
Pradeau, Emmanuel Quatrepoint Katja Manninen, Linn Sylvan Gerardo Francisco Ubeda Rueda Marie Prime, Emmanuel Metrard Baptiste Nicolosi, Bastien Canzi Sarah Philippe, Tony Bougaran Erjon Lena, Sbastien Lequeux, Nicolas Boythias Taoyu Wang Rossi Mikalla, Aurlie Thery, Ellie Lemaire Pierre Lapos Reneclaude Langlois Alessandro Gess, Arthus Leiter Maud
Brigot Xiyou Wong Alban Messager Akiko Koba, Dragomira Geor- Gieva, Souraya Bitar Jinshan Xia Philippon Etienne Alberto Bustamante Dominguez Kevin Bian, Brice Lannuzel, Franois
Byrne, Claire Oiry, Valentine Baillot Ghazal Banan Antoine Dufilho, Antoine Dufilho, Benois Reiners Khad- Ir Sanaa Hamish Crockett Jesus Rodriguez Marion Gardette Yanxia Xu, Maxime
Gauvin, Dieu Hien Vu, Ousaid Fellah Mathilde Boullie, Lucie Cheriaux Leslie De Gasquet, Rita Karchafi Morel Cocagne, Julia Morel, Olivia Cocagne Anna Babayan Jan Heinrich Cornelia Thiel
Eva Freia Behringer Paula Longato Judith Scholz Michael Sven Haller Mi-Jin Chun Dimitri Geizenraeder Judy Haenel Maike Buttler Susanne Rang, Annette Bohr, Daniela Otter Gerold
Schrack, Sebastian Bildstein Huy Nguyen Quang Bartholomus Zieleniec Stephan Gratzer, Philip Schmitt, Daniel Gross, Benjamin Kinzinger, Katalin Schinkel, An- Dreas Grohmann Sophia
Mytilineou, Maria Nodaraki, Athina Papadopoulou Efstratia Alexopou- Lou, Papatriantafyllou Xenia, Terezaki Angeliki, Vlachiotis Efstathios Eleni Pa- Pageorgiou, Georgia Papanastasiou
Gourlis Georgos Theoharis Stavros Katalin Fazekas Janka Lengyel Viktor Vadsz, Adrienn Urbn, kos Babecz, Pter Gyabronka,Bla Nagy Zsfi Andrejk, Edina Vass, Szcsi kos Norbert
Kplr, Gyngyi Juhsz , Ildik Popovics Gabor Hajdu, Karsai Zsuzsa Lszl Monori, Andrs Foszt, va Lebovics, Kata Boglrka Macz Csaba Botond Brosz, Agnes Nemeth Nra Nagy Ferenc Monoki, Lajos Dzsi, Pter Szab Giap Thi Minh Trang Anett Szternak, Gyula Guzmics, Attila Nyari Vilmos Katona, Bogdan Funk Lilla Kntor, Anik Hajd Ghyczy Denes, Gergely SzacsVay, Lukacs Szederkenyi, Peter Boronkay Zsuzsanna Meszaros, Katalin Halacsi Emese Boltik, Tams Csmre Balzs Ory, Soma Pongor, Dvid Tarcali Forouhar Shakeri Mahyar Arab Boor
Boor Daria Pietryka Paolo Augello Carlo Ottaviani Michele De Notaristefani, Nicola Petruolo, Chi- Ara Vaia Dario Maccheroni Sara Grandinetti, Valentina Massidda Elisabetta Anna Di Cesare, Donatella Carta Hosung Won, Michael Vincent Uy, Yulmi Lee, Miran Lee Marco Remorini Jelena Cop, Tvrtko Buric Matyas Gutai Wei Zhang, Yu Fanshi Chigusa Satou Rie Izumi,
Arimura Yusuke, Kishimoto Tomoe, Nomura Masanori Ivan Fomichev, Yelena Khalevina Indre Re Bdaite, Eleonora Griganave Ona Januskeviciute Sabina Grincev- Iciute, Margarita Kaucikaite, Ruta Valiunaite, Sandra Slepikaite Egle Sakav- Iciute, Vika Pranaityte Milda Grabauskaite, Algimantas Grigas, Leva Zu- Kauskaite Egle Gecaite, Vilte Adomaviciute, Aurimas Syrusas,
Julija Kocyte Victor Quirita Yeudiel Domiguez Perez, Diana Hilda Guzman Arcos, Fernando Allende Osorio, Anabel Perez Garcia David Valencia Loera Jorge Guadar- Rama Rios, Armando
Monroy Ricardo Arturo Garcia Reyna, Magdalena Lpez Armeaga Abigail Claudia Lira Grajales, Norberto Gonzlez Pia, Johana Rosa- Rio Viveros Ortiz, Ana Victoria Del Valle Snchez
Aldo Garca Guadarrama Mark Van Westerlaak Mohamad Sedighi Ke Zou, Feng Han Susi Matt, Can Cahit Bicalki, Tomas Med, Dorotea Ottaviani Ren Horng Yee Jrgen Tycho Evers Solheim Siri Skorve Hopperstad Hanne Embretsen Fredrik Haukeland Jonas Adolfsen Atle Leira Sabrina Widen Jan Gunnar Skjeldsy Anette Johansen Anders Espen Brheim Ola Haug
Hagen H- Vard Holm Endresen, Fernando Frias Pulido Hanne Marit Rimer Martin Glas Anne Karin Veddeng Jrgen Hagn Birgite Kahrs Bosheng Gan Johannes Beinhauer Elisa Grindland
ystein Olsen Lilly Margrethe Kvilhaug Jorge Armando Rojas Talledo Ofelia Giannina Vera Piazzini, Fiorella Silvana Arispe Sevilla Roger Aguilar Valle, Rafael Sevilla Parra, Marcelo Silingardi Za- Pater Kamil Wisniewski, Dorota Wierzchowska, Marcin Zawada Piotr Stasze- Wski Jan Pawlik Patrycja Kulakowska Przemyslaw Kolodziej Krzesimir Poplawski, Karol Pikiel Pawel
Urbanowski Michal Hajduk, Ewa Wilkowska Agata Rogowska, Alicja Pustelnik, Mateusz Sikorski Dorota Kunicka Anna Marszalek, Lukasz Marjalski Ewa Adamczyk, Joanna Budzinska,
Magdalena Klimczak Piotr Gniewek, Michalolszewski Bartlomiej Bielinski, Hanna Bialic, Marta Kwasek, Weronika Kaszub, Anita Jarzyna, Tomasz Bieluszewski, Zu- Zanna Paul Aneta Nosal,
Pawel Warchulski Sebastian Bogusz Waclaw Os- Trowski, Michal Dudicz Marta Kaszuba Maciej Michal Plater-Zyberk, Bartosz Malinowski, Maciej Fischer Michal Cichy, Aleksandra Wojciechowska, Maciej Armanowski Zaklina Nowodworska,Michal Podgorczyk Magdalena Jagoda, Magdalena Jagoda, Michal Jurgielewicz, Piotr Kolek, Katarzyna Senczak Justyna Luczak
Adrian Wyparlo Joo Torres, Diana Barbosa, Ana Amador, Mafalda Rosa Dean Macgregor Pedro Estrangeiro Joao Almeida, Sara Matias, Andreia Baltazar Andr Prata, Joo Gaspar, Ricardo Sousa, Marcos Maia, David Porcher, Mnica Silva, Samuel Gonalves, Ismael Santos Jos Campos Moreira, Joana Miguel Teix- Eira Das Neves Moreira, Gil Sanches Souzela Brito
Atanasoaie Adrian - Daniel Dumitru Bogdan Serban Miodrag Popov, Liviu Darela Alexandru Dan, Alexandra Damian Veronica Popescu, Dimitrie Ste- Fanescu Ioan-Mihai Baba, Simona Horvath Anca Marin Adina, Ana Maria Marin, Ion Neculai Monica Butnaru, Valentina Buz Mirela Spatar Maria Dlugoborskaya Tatyana Reshetnikova Natali Tinyaeva Anastasia Kravchenko, Alexander Trophimenko, Yana Sotnikova, Tatyana Marysheva, Olga Lemba, Irina Botova, Alekxey Kostenko Janko Kramaric Branislav Spasojevic, Marija Radojicic Luka Mladenovic Mateja
Zivadinovic, Radmila Sojkovic Tamara Popovic, Veljko Markovic Nikola Stepkovic, Nikola Ivkovic, Aleksandra Ceranic, Vladimir Todorovic Hana Drask- Ovic, Stanislava Predojevic Shiuh
Liang Lee Wheng Yen Ng Eva Kralova, Maria Lociova Lubomir Peracek Robert Loffler Liana Spodnia- Kova, Daniela Slizova Peter Chrien Matej Milek Sandro Jos Ferreira, Joana Alzina,
David Bernardino Maa Cernovek Logar Jeong-Ah Shin Raewon Noh Lee Miso Jonghyun Oh Kim Young-Soo, Shin Dong-Han Jin-Soo Sung Young-Woon Shin Yerang Lee Chung Yongche
Shin Mancheol Han Kwonseok Dae Kyeom Kim Min Guk Wi Kyung Heon Heo Jung-A Park Kyung Mi Kong, Park Seong Won Ji-Seung Kim Jisun Kim Hwa-Rim Kim Eun Suk Shin Cho Ji
Hyun Soo-Kyung Yim Su Eon Yoo Jin Ah Kim Kim Sung-Gyu Hyobong Ma Soon-Jae Hwang Miok Lee Jaeyoung Jeon Jae Hwan Jeong Mi Hwa Lee Son Sung Hee Oh Jonghwa Jeongyeap
Shin Lee Jun Hee Hye-Rim An You Kyung Lee Jae Sik Choi Sang Yeon Cho Chi Heon Jin Kye-Houng Park An-Young Song Gi Tae Eom Yong Il Ahn Young Hwan Choi, Hyo Young Park Jeong
Mee Heo Kwang Min Kim Jung Wan Jin Dong-Hwan Sohn Su Jeong Lee Gaaeun Park Choi Enyoung/Simsulim/Sunghwankim/Ohdaekyu/Youjinlee/Yeodong Bin Jang Sungchan Han Gisung
Sunjung Kim Kiyoung Cha Lim Jin-Woo Yong-Gil Park Byungjoo Park Jin-Hee Choi Ji Young Yoon, Kawk Tae-Hyun, Park Dong-Sun Synn Yi Mu Hyoung Chon Kim Youn Hwa Myounggyun
Oh, Jung Hyobin Choi Ju Won Lee Seok Cheol, Kim A Rum, Kim Joo Young Hyung Ju Seo, Gyeong Seon Min, Jin Sung Kim Lee Sun-Mi Byung-Hyun Lee, Geun-Chul Park Hong Sang Hyun
Ham Seung-Woo Sung-Ki Lee Hyunbum Jung, Juhun Lee, Seohyeon Cho Kyung-Hee Chun Joonkyu Shin, Soonwoo Park Hyun-Yong Park, Bum-Jin Kim Hyunsook Ahn Joo Hyung Oh, Lee
Suk Won, Huh Guen Il, Son Hyun Chang Joo Kim, Jung Soo Kim Young-Soo Ryu Jung Ji Hye, Myeng Jin Byeun Gi-Hong Yang Borin Jung Kyu Jeon Park Lluis Juan Lian, Andrea Gimeno
Snchez, Galla Otero Tarazona Prcoro Del Real Baeza, Antoni Baile Jimnez Pablo Via Garca-Ins Eduardo Lopez Morales Maria-Angeles Guillamon, Joan-Vicenc Pol, Enrique Garcia
Javier Martin Elena Moron Ruiz Jesus Villalta Alfonsin, Aitor Vega Bonilla Bel- Mar Rodrguez Marcos Ursicino Endaman Ns Mangu, Laura Dvila Ponce De Len Baquero, Felipe Surez
Ballesteros, Marta Torres Prraga, Alejandra Ruiz Rubio So Byung-Sik Enric Torner I Mondragon, Anna Turull Martinez, David Steegmann Mangran, Oriol Jan Abellan-Garca Gregorio
Abad Acua Garcia, Enrique Cantu Davila Benjamin Moreno Raquel Corney Rasclosa Gumersindo Freire Lopez, Nuria Balboa Rodriguez, Gumersindo Freire Lopez Arnau Sempere Albert
Isaac Mayor Molina Josep Iglesias Reixach Carles Cabratosa Vidal Jordi Grau Carreras Roberto Lebrero Jaume Farrs I Ca- Ballol Pa Alejandra Galvez Lindegaard Annabel Mora Encinas
Karin Sterner Marie Lwenherz Niall Muir Cheng Joey Maria Sder- Strm Anette Eriksson Ida Stavenow Lauren Field Gabriel Sorensen Megan Reilly Annette Beier Jun Wen Chau Jermaine Elin Adolfsson Jiayi Hong Wang Xinyu Suzanne Nicol, Pamela Padruno, Laura Cormos, Nata- Lie Bell Jonas Marculescu Flynn Lewer Tanja Khberger Hoy Tvete Nina King Lim Chou
Xavier Botet Campderros Sofia Olim Daniel Hernandez Canut Nirmit Jhaveri, Ilze Kundzina, Magali Mendez Anna Klockare, Julia Hansson, Johanna Brandt, Wilken Behrens, Orlando
Marques Dorukalp Du- Rmus, Theofilou Aris Konstantinos, Simone Rembaudengo Kajsa Bjrklund Karina Rssner Luca Perna, Markus Abegg, Thomaso Triulzi, Darius Strasky Huibiao Wu,
Wang Tao Isil Uysal, Cansu Tolunay Cihan Can Turker, Tolga Kunkul, Bugra Cimete Ayse Nil Sensu, Asli Deger Selin Oktan, Sila Ceyhan, Hatice Kolak, Melodi Pak Sinan Gunay Sura Kilic,
Cagdas Batmaz Betul Karanfil, Ahmet Irfan Ertis, Gizem Atac Funda Tan, Sanem Ersine, Efsun Damar Marjana Mdzeluri Karol Drozynski, Aleksandra Mierzwa Nathanael En Sinn Kang Alexander Tochtermann Mikael Ling, Bjrn Frstberg Michael Smith-Masis, Maria Mena, Lucy Quelares, Ekachai Sophonudomporn Olga Vlagkouli Natalie Jane Hewitt Thanh Van Tran, Wing
Sum Lee Andrew David Green Stacey Daves Dana Nielsen Jose Cuevas Dung Cao Andrew Dryden Matthew Kendall Sigita Saliklis Norio Kobayashi Jared Vandeusen Idolina Benavides Scott
Jensen Dennis Goff Evan Jaeger Hochung Kim Jungeun Kim Adam Carrillo O-Chong Kwon Paul Ruppert Khaldoon Khaireddin Whitney Forward Fei Yang Richard Colwell, Chelsea Lipham
Jun Pak, Erin Bartling, Jun Pak Jeffrey Klancer, Nanechka Pagan-Torres, Tamary Alvarez- Gutierrez Matthew Williams Soichiro Akiba Erin Ross Wei Gao, Jean Bap- Tiste Simon Kimberly
Gareiss, Marisa Zambuto James Stoddart Bongkun Lee Christa Currea; Daniel Currea Maacaron Sandra, Merve Sila Karakaya Roxanna Viray Jacek Mantykiewicz Gerome E. Mcfarlane Gersain Calderon Michelle Devi Roberts Rosa Oro-Garay Gersain Calderon` Emiliya Yankova Seungteak Lee Victor Le Bourgeois, Foucault Tiberghien Ryan Reber, Lara Fling, Ryan Sarros Jintana Tantinirundr, Belle Tang Joshua Hemberger, Lau- Ren Lynn Juan Perez Lucas Chung, Ashley Murphy Reilly Oneil Hogan Chad Wleczyk Richard Hyun Soo Kim B. Star Davis, Travis
Watson Ho Lee Zigurds Greivulis Soonyup Kwon Laura Wickesberg Samira Ahmadi Sergio Meneses Christopher Podes Yesenia Esmeralda Ospina Nicole Dodd Samuel Culpepper Teigan
Ann Nguyen Manh Tuan

Alejandro Paez Augusto Palazzo Carlos Emiliano Molina Franco Cristian Tedesco Damian Mallamaci Facundo Soto Nicolas Oettinger Fernando Vargas Regelmann Juan Manuel Segura De La Colina Julian Alejandro
Quevedo Marcos Ruben Alejandro Popp Maria Agustina Del Rio Maria Botello Ricci Maria Emilia Richmond Maria Victoria Ferri Martin Gomez Soto Martin Sabbatini Natalia Rosatti Ramiro Rios Rivero Rodrigo Cola Sebastin Schuster Casey Bryant Chao Jung-Hsien Sarah Elizabeth Slattery Suheri Purnomo Yam San Ooi Yuditta Prawiro Darko Antic Milos Mikasinovic Thomas Hladky Alicya Wilczynska Ana Carolina Cuesta Parra Birger
Wyffels Darlea Liviu milie Deby Francisco Javier Roman Martinez Fulya Selcuk Katarzyna Lipinska Laurent Temmerman Martijn Bayens Miodrag Popov Piotr Matuszek Samanta Mircea Ser- Dar Koroglu Carlos Selaya
Santiago Plata Andrea Mirkovic Dalila Fejzagic Danka Latincic Milica Cvokic Tanja Radonjic Adriana Gazetta Bragotto Ana Paula Leite Anderson Pereira Dourado Andr Luiz Lira De Oliveira Andressa Teixeira De Moraes
Angela Ishibashi Angelo Adriano Do Prado Anthony Ling Au- Gusto Csar Siqueira Brunna Wopereis Caio Vasconcellos Sabido Gomes Caique Gabriel Schatzmann Felipe Cemin Finger Rap- Haela Walger Da Fonseca Evelise Leite Didon Gustavo Prado Fontes Camila Cavalcante Resende Camila De Almeida Vilar De Miranda Camila Marques Torres Carla Patrcia Santos Soares Cau Costa Capill Dafne Souza Tonini Daniel Albuquerque
De Insfran David Sadowski Diego Baena Fronteira Dulcilei De Souza Cipriano Edilma Aparecida Mouro Emlia Lapolli De Moraes Erico Actium Ramos De Morais Felipe Vitor Batista Dos Santos Fernanda De Andrade Povoao Gilberto Junior Tenorio Mariano Giulianno Caliman Camatta Henrique Julio Rizzi Herika Leao Gomes Marques Ilka Miyuki Saito Raquel Di Maio Engelsman Iraquitan Jos Oliveira Jade Mendes Benucci Italo Rafael
Tiago Teixeira Jaqueline De Melo Barros Jessica Fernanda Mascaren- Has Machado Joao Paulo Valerio Santos Karla Cristina Baldasso Sarah Viliod Martins Guilherme Henrique Stroeder Martins K- Tia Yumi Ueda Mariana Krolin Gomes Alves Daniel Rothschild Larissa Ferreira Batista Leonardo Cunha Garcia Luana Soledad Silva Cifuentes Lucimeire Brenzan Zampar De Souza Luiz Edu- Ardo Lupatini Marcelo Ribeiro De Souza Ribas
Marcio Barbosa Fontao Marcio Guimaraes Mariana Andrade Cretton Andr Cruz Mariana Guarnieri De Campos Tebet Mariana Noguera Mariana Tassi Damio Marina Leme Merlin Matheus Silveira Gabriel Gi- Ambastiani Michelle Covacho Medeiros Natassia Ferro Combat Reis Orion Gorro Moreira Campos Pablo Resende Paula Dias Pedro Lodi Rafael Campos Derderian Rafael Lorentz Rod- Rigo Abbade Rovy Pinheiro Pessoa Ferreira
Talita Domingues Vespa Talita Paula Dos Santos Talitha Gelza Oliveira Nascimento Tamires Acacia Casalli Tatiana Carollo Peruch Tatiana Crema Tobara Thales Pimenta Thalita Reis De Mattos Thiago Leandro Almeida
Thiago Peretto Vinicius Carvalho Philot Vinicius Lima Vitor Sadowski Konstantin Doganov A. Gabriel Guy Alexandre Gurin Alexandre Morin Andr St- Pierre Anne Preiss April David Caroline Gurard Chantal Galibois
Claire Lubell Colleen Mckeracher Corey Devlin Brown Dai Zhongyuan Daniel Nedecki milie Dionne Emma Cochrane Eric Reid Estelle Grgoire Eugenio Villarreal Genevive Bliveau Genevive Gagnon Golnaz Karimi
Hlne Gigure- Duval Hyeongjun Yoo Jacqueline Che Jessica Cullen Jordan Yerbury Justin Smith Kathleen Kelly Keith Evans Kevin Lisoy Kunaal Mohan Leon Lai Anne Ma Marie-ve Pelletier May Makia Mousazadeh Somayeh Nicolas Fortier Nicolas Labrie Nicole Muzechka Pamela Cottrell Peixi Sun Peteris Lazovskis Pouwai Lei Ryan Yeung Safarzadeh Ghazaleh Shane Dalke Simon Lebedinsky Sophie Guilbault Stephanie Yeung Terry
Carrire Tim Wat Vedrana Maric Vian Musa Victoria Pilles Virginia Fernandez Yifei Yuan Alvaro Lefian Angelo Fuentealba Axel Pscel Bernardo lvarez Berty Vargas Carla Garca Carolina Venegas England Sabina Lin Felipe Fuentes Francisco Javier Lara Bastidas Franco Es- Cobar Gustavo Carrillo Jacqueline Barcia Jaime Muoz Jorge Rivera Karla Gerter Luis Silva Marcela Carrasco Marcia Vasquez Marco Contreras Mara Jos Beluzan
Max Ovalle Roco Zuloaga Roxana Vargas Anpei Zeng Bai Bing Bao Hongyuan Bin Hao Bin Zhang Bo Zheng Bowen He Bowen Zhang Cai Chang Xin Cai Chunbin Cai Jianming Cao Peng Chao Gao Chao Lin Chen Fang Chen
Hao Chen Wang Chenchen Hu Chenchen Hu Cheng Peng Chenyuan Qian Ching Zhang Chu Andong Chuan Wang Cui Rui Di Kong Dingkle Zhao Dong Yinan Fan Zhihua Fang Erqing Feng Liangchen Fengling Liu Funing Lian
Gao Zheran Gongyingjia Guo Chunxiang Haifeng Xu Haitao Zhao Haitao Zhou Han Mo Han Youzong Han Yue Hang Wan Hao Tian Haode Sun He Wenjing Hongkai Li Housen Zhang Hu Yitao Hua Xue Huang He Huang Ying
Huang Zheng Huang Zhong Huang Zhonghao Hui Li Jia Fan Jia Shiqing Jiaming Sun Jiayi Zhu Jie Shen Jing Wang Jingxiao Guo Jingyi Shao Juanyao Liu Jun Qiao Junchao Zhang Junfeng Shi Junyu Liu Kai Li Kai Sun Kaicong Wu Kang Xiaopei Lan Chen Lang Wang Le Qin Lei Dong Lei Zhangjundi Li Bo Li Haobin Li Jing Li Li Li Shung Yeung Li Tongyang Li Xiao Qiang Li Yang Li Zhen Li Zihuan Liang Tao Liang Zhanpeng Liang Ziyi Liao Wang
Lin Bangqian Lin Hongjie Lin Lu Lin Lu Lin Weiping Lin Xiu Lingjiao Jiang Linqi Wen Liping Jiang Liu Junsong Liu Liping Liu Zihuan Longrui Peng Lu Lingjun Lu Yang Lv Shan Ma Yuxiang Ma Xin Meng Du Miao Yu Miaoli
Su Min Yang Ming Jiang Ming Yang Minqing Ding Minyu Zheng Nianlai Zhong Ning Wang Niu Yu Qing Pengfei Zhang Qi Ji /Qiji/Qixu/Qiyang/Qianchenyuan/Qianqiancai/Qingqin Qing Wang Qiu Yuansheng Qiyuan Deng
Qu Dagang Renjie Tang Renxiang Wang Rong Guo Rongzhang Zhu Rui Li Rui Li Ruixin Ju Ruizhi Cheng Ruoqi Zhong Sai Shu Sen Yang Sha Jin Shaoliang Hua Shen Li Sheng Li Sheng Xiaofei Shengzhi Xie Shi Jia Shi Ping
Shilang Ye Shou Jiamin Siyuan Liu Songyuan Yu Su Xiaomeng Sun Qi Suwei Yang Tan Shujie /Taocao/Tianhao/Tingtingyu/Wangbin/Wangchuan/ Fei Wang Wang Hui Wang Liang Wang Mengjiao Wang Rui Wang
Xiangsheng Wang Yang Wang Ying Wang Yiqun Wang Yu Wang Yunpeng Wang Zheqi Wangzhiya Wei Su Wei Wei Weibing Chen Weijia Pan Weitao Zhang Wenchao Liu Wenjing He Wenqing Zhen Wenxing Chen Wu Ji
Wu Jing Wu Liangjie Wu Xin Hu Jinjian Xi Wang Xian Ming Li Xiangjun Huang Xiao Zhou Zhang Xiaobo Qin Xiaohan Wen Xiaoling Yu Xiaolong Li Xiaoxun Liu Xie Zhang Xiejie Xin Zhou Xipeng Chen Xiufang Zhao Xiwei
Zhang Xu Jing Xu Ke /Xutong/Xuxiaoqing/Xuzhou/Xuefeng/Xuegao/Xuepeng Shi Xuexin Duan Xuhua Luo Yan Wenlong Yan Zhang Yang Chu Yang Du Yang Fan Yang Meng Yang Qingchuang Yang Wang Yang Wenjun
Yang Xu Yang Zilin Yao Naiqi Yi Wang Yifan Zhang Yifei Fu Yiming Guan Yincheng Jiang Yinghao Lin Yiwei Huang Yiwei Wang Yixin Tian Yixing Zhou Yizhao Sun Yu Gong Yuan Fanghao Yuan Jialing Yuan Xinlong Yuan
Zhang Yuanhao Wang Yue Han Zhong Huang Fang Yuan Yuejia Xu Yulong Tian Yunxiang Li Yutao Zhang Zeng Guang Zeyao Shi Zhang Jigang Zhang Lei Zhang Shizhao Zhang Xia- Osi Zhang Zhanglipeng Zhao Chen Zhao
Chen Zhao Guang Qi /Zhaowenjia/Zhaoyue/Zhaoweiguo/Zhenhu/Zhensong/ Zheng Li Zhengda Hou Zhong Lin Zhong Manlin Zhong Qiuni Xv Jiaqi Chen Donghua Zhong Weida Zhongjie Li Zhongyi Li Zhuoxin Fang Zifu
Yang Zijian Xu Zimei Shen Ziyin Zhou Zou Haoyang Alejandro Ospina Londoo Diana Patricia Garavito Almonacid Sebastian Monsalve Gomez Carlos Mata Rodriguez Marco Navarro Araya Anja Kostanjsak Branka Kipke
Ivan Vuzem Katarina Matkovic Klara Niksic Kouta Saa Lea Ani Marin Berovi Mauro Milli Sara Jurincic Tihana Pecirko Keti Mastrovic Amanda Torres Acevedo David Labrador Guzman Liset Hernan- Dez Vazquez Silvia
Fernandez De Alaiza Iracel Ulacia Torriente Anna Anderova Dalibor Dzurilla Jan Auerbach Jan Drska Jana Brankova Josef Musil Kamil Kolacek Ondrej Chybik Ondrej Dusek Patrik Uchal Petr Halicek Petr Kolacek Vit Vavra
Alexander Ejsing Anders Wrum Rognerud Andr St-Pierre Anna Maria Svensson Birk Daugaard Filippo Pesavento Hum- Berto Salvador Maldonado Baeza Mai Bring Rasmussen Marius Costan Mathias Bktof

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4000
BRIGHT
IDEAS
In almost 4,000 competition entries over the past ten years, the participants in the International VELUX Award have developed more ideas
than we can imagine (Omar Rabie) about the use of daylight
in architecture. While some students submitted rather straightforward
building designs, others strove to achieve the impossible in their submissions, and bring daylight where it had never been before.
Within this vast collection of ideas, some themes proved to be particularly inspiring to the participants, prompting them to be considered
in the projects more often than others. The following pages display some
of these themes, illustrated by selected prize-winning projects and Honourable Mentions from the International VELUX Award.

B5

A
B
C
D

Daylight underground
Daylight and materials
Adaptive building envelopes
Daylight and perception

E Domestic daylight
F Urban daylight
G Storing daylight.

Selected themes (further information on p. 1315)

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B3

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B4

A5

F1

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A3

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C4

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4000 BRIGHT IDEAS

SELECTED PROJECTS
20042012

DAYLIGHT
UNDERGROUND

F4
A1
Embodied Ephemerality:
Light-Form Architecture
Reilly Hogan, Cornell University
(USA): 1st Prize 2008
This project converts an otherwise dull
commuter space the PATH railway
station near Ground Zero in New York
into a visually stimulating and constantly changing environment. Daylight from above is refracted into the
underground space by translucent
glass surfaces that dematerialize the
boundaries of the space and wrap the
interior with embodied light.
A2
Beauty in the UnDaylightable
Yan Shi & Chung-Kai Yang, Delft
University of Technology (The Netherlands): Honourable Mention 2010
The UnDaylightable, as the two
Delft-based students see it, consists
of the windowless basements of typical Dutch canal houses. The scheme
suggests to install energy farms in
the Dutch countryside that capture
sunlight by means of solar concentrators and feed it into optical fibres, which transmit the daylight to
wherever it may be needed. Due to
its flexibility, the system can create
a multitude of light ambiences inside
the underground spaces, while still
keeping them connected to the natural rhythms of light and darkness.
A3
Resonance, memory
Bo Li, Ge Men, Eidgenssische
Technische Hochschule Zrich
(Switzerland): 1st Prize 2012
12
E3

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G4

The idea of this work is based on a

hypothetical mudflow in the Swiss
Alps that has buried a small village.
To re-create the memory of this settlement, the two students propose to
introduce over 700 acrylic rods into
the earth. Above ground, their shape
recalls typical houses from the Swiss
rural area. The same shape appears
once again in underground voids, as
an image created by daylight that the
PMMA rods introduce from above.
A4
Light mineral
Hyung-Jin Choi, Jong-Won Lee,
Seung Kim, Do-Yub Kim &
Doo-San Paek, Korea
University (Republic of Korea):
Honourable Mention 2006
The more darkness gets darker, the
more the vitality of light becomes
stronger, write the four Korean students about their project. Light mineral is a proposal for bringing daylight
into an abandoned mine on a hillside.
Vertical light shafts are introduced
into the ground. Their side walls, which
consist of the different minerals to be
found on site, reflect the daylight coming from above and colour it in different hues.
A5
Light as the main element
determining the spatial quality
Sung Hyun Jun, Korea University
(Republic of Korea): Honourable
Mention 2006
In this proposal for an underground
exhibition space beneath Maronnier
Park in Seoul, Sung Hyun Jun creates a veritable indoor landscape
made of daylight that is transmitted
underground via optical fibres.
These can be flexibly rearranged,

either forming a continuous luminous field, or tied together to form

suspended light columns that
structure the space.

DAYLIGHT AND
MATERIALS
B1
Light as Matter
Claes Cho Heske Ekorns, Oslo
School of Architecture (Norway):
1st Prize 2004
The first-ever winner of an International VELUX Award, Claes Cho
Heske Ekorns designed a museum
for the Korean video artist Nam June
Paik, embedded in a hillside. This underground landscape is delimited by
undulating, translucent hollow walls
made of polycarbonate, glassfibre textile and rubber, which capture the light
coming in from above and scatter it
into the adjacent spaces.
B2
Cultivated shadows
Petia Ratzov & Carl Hall-Karlstrom,
University of Lund (Sweden):
Honourable Mention 2006
Half shading device and half urban
sculpture, Cultivated shadows consists of a newly developed Germanium/Selenium (Ge/Se) glass that
becomes soft when exposed to specific kinds of light, and turns back to
solid under the absence of light. Each
of the glass fins is equipped with a rubber suspension along the sides to hold
it in an upright position.

Lusada de Lisboa (Portugal):

3rd Prize 2008
In his project for an underground
space underneath a city square, Dean
MacGregor uses natural light transmitted by huge water tanks for illumination. He said, I wanted to show
that light can be seen as a physical dimension. The water [] stops the light
for an instant, refracts it to the interior of the space and creates a body
of light.
B4
Redefinition of the skylight
Bin Jiang, Haiting Ye, Peixin Xu,
Yiqin Zhu & Tenghan Zhang,
Tongji Zhejiang College (China):
Honourable Mention 2012
Inspired by traditional Chinese paper-cuts, the four students designed
a skylight that simultaneously acts
as a rooftop terrace, filters daylight
through a layer of sand. The cutting,
in this case, is done by environmental forces such as wind and rain, or by
people sitting or walking on the sand.
B5
Instant Impressionism
Wang Fei & Zheng Kaijing, Tsinghua
University (China): Honourable
Mention 2010
Inspired by Claude Monets paintings of Rouen Cathedral, Wang Fei
and Zheng Kaijing conceived this reflective mural for a light rail station in
Beijing. The photographs were taken
from a physical model on site at the
actual station in order to provide a realistic impression of what the intervention would look like.

B3
Light Has a Body
Dean MacGregor, Universidade
13

ADAPTIVE

BUILDING
ENVELOPES
C1
Desert Light
Benjamin Saragoussi & Gregory
Bismuth, cole Nationale
Suprieure dArchitecture de ParisBelleville (France): Honourable
Mention 2006
This underground museum located in
the Israeli Negev Desert is entirely lit
through its roof. Daylight provision is
controlled by means of textile awnings attached to metal strips. The
latter consist of a nickel/titanium
shape-memory alloy that changes
shape when exposed to light, closing
the shading elements when the sun
rises and opening them again when
it gets dark.
C2
Illuminated Music
Marie Lwenhertz, University of
Lund (Sweden): Honourable
Mention 2008
Marie Lwenhertz designed a music
space equipped with adjustable rooflights that open and close with the
rhythm of the music. The openings
reflecting aluminium on one side and
totally black on the other are conducted like stage lighting. They also
help to adjust the thermal behaviour
of the building, with the aluminium
turned outwards to reflect the suns
heat in summer, and the black side
being used to absorb it in winter.
C3
Stroking the sunshine
Qi Xu & Tao Cao, Tongji University
(China): 3rd Prize 2012
This faade-integrated bubble curtain invites users to physically interact with the building envelope in
order to control indoor daylight levels. By stroking the curtain, the people in the room can squeeze the air
out of the bubbles, thus making them
smaller and increasing the incidence
of daylight. When left untouched for a
while, the elevated air pressure inside
the double-layer curtain will slowly let
the air flow back into the bubbles and
make the faade turn opaque again.
C4
Light & wind
Pit Herold, Mads Johnsen, Kasper
Old Jensen & Peter Drechsler
Poulsen, Arkitektskolen i Aarhus
(Denmark): Honourable Mention
2012

14

Droplet-shaped, hollow glass vessels

are embedded in a perforated faade
with their thin ends pointed outwards.
When air movements hit the faade,
the effect will resemble a wheatfield
moving in the wind: the droplets start
to tilt and turn in their sockets. Due to
a gradient in the glass, this rotation
also affects the amount of daylight entering the room.
C5
Evolutive glazing shining light
Michael Lequeu, Martin Vandevoorde & Florent Schoennagel,
Universit Catholique de Louvain
U.C.L. (Belgium):
Honourable Mention 2012
This device is made of two glass sheets
with a mixture of alcohol and water
in-between. Floating in this liquid are
pieces of beeswax in various colours,
which start to expand and move upwards as the faade heats up in sunlight. While this movement reminds
building users of the thermal conditions outside, the irregular structure
of the wax flakes materialize light in
a similar way as the stained glass windows in churches.
C6
Water lily, the symphony of
architecture and sunshine
Bo Zeng, Yiming Cai & Jingyi
Zhao, Tianjin University (China):
Honourable Mention 2012
Time-lapse movies reveal that water
lilies open and close their flowers depending on the time of day, and on the
incidence of daylight. This design for
a shading device seeks to achieve a
similar effect: it opens and provides
maximum shade when sunlight hits
the faade orthogonally. When the
light comes from an oblique angle,
segments can be folded outward to
provide shade or direct light into the
building as desired.

DAYLIGHT AND
PERCEPTION

D1
A museum of photography
Louise Grnlund, School of
Architecture at the Danish
Academy of Fine Arts (Denmark):
1st Prize 2006
To design a museum for photography
is to create the optimal conditions for
seeing, writes Louise Grnlund about
her project: to see not only the photography, but also to make the spectator aware of that which he sees and
the conditions within which he is see-

ing. A layered faade made of translucent and transparent glass allows

light into the 40 exhibition spaces,
which all have different shapes and
sizes of openings to create a variety
of moods of light inside them.
D2
Reading place in the forest
Gonzalo Pardo, Escuela Technica
Superior de Arquitectura de Madrid
(Spain): 2nd Prize 2006
Like a forest, this underground reading space allows those inside it to hide
or expose themselves, and to see or
not to see the others that are present.
There is no furniture inside this halfburied library just columns, as well
as ramps and steps that the users can
sit on.
D3
Light as a tool to break structure
Anna Zagorec & Maciej Kozlowski,
Politechnika Krakowska (Poland):
3rd Prize 2012
A corridor is flanked by an array of
vertical, three-dimensionally folded
partition walls with narrow slits of
light in-between. Seen from inside the
building, this sequence of wall modules forms an ever-changing projection screen, the appearance of which
is determined by the moving shadows
of the passers-by behind the wall.

DOMESTIC
DAYLIGHT
E1
Interactive natural light source
Ovidiu Mihutescu, Andrei Lazar,
Radu Dorgo & Adrian Mihai,
Universitatea Politehnica din
Timisoara (Romania): Honourable
Mention 2012
To bring daylight into the windowless staircases of former Socialist
housing blocks, the four Romanian
students developed a low-tech light
tube made from recycled plastic bottles. Sunlight is introduced into these
devices by a similarly low-cost, rooftop-mounted tracking mirror made of
aluminium-coated plastic that tracks
the path of the sun.
E2
The Hole Issue
Hrvoje Zuparic, Dean Niskota & Ivan
Starcevic, University of Zagreb
(Croatia): 2nd Prize 2004
What if the distribution of windows
in a house was no longer determined
by the architect, but if the residents
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themselves could choose where they

would like to have daylight and views?
Inspired by this question, the team
from Zagreb conceived an archetypal
house with an envelope made entirely
of electrochromic glass, in which the
position and size of the window openings remains forever changeable.
E3
Lightspace between gaps
Joe Wu, Delft University of
Technology (The Netherlands):
3rd Prize 2010
Windows with no view and facing
walls are not rare in Hong Kong, says
Joe Wu about the city where he was
raised. To improve the situation of people living along the narrow streets of
the Chinese metropolis, he designed
a system of reflective, three-dimensional faade claddings that capture
sunlight and reflect it into the rooms
of the opposite buildings in an everchanging pattern of light and shadows.
E4
Window shutters
Ieva Maknickaite, Antanas Lizdenis
&Laurynas Vizbaras, Vilnius
Gediminas Technical University
(Lithuania): Honourable Mention
2010
In their project, the three Lithuanian
students reflect on simple shutter
techniques, which have been used by
our ancestors for generations. According to their idea, new generations of
shading elements could either be thermally insulated, or equipped with PV
cells and solar thermal collectors on
the outside, or broken into segments
that can be individually adjusted to
cope with varying sun angles and to
fine-tune the amount of light entering the rooms.
E5
Section of light
Berte Daan, Eidgenssische
Technische Hochschule Zrich
(Switzerland): Honourable
Mention 2010
One of the problems with urban densification is the lack of light penetration inside houses, Berte Daan says.
To overcome this problem, she reconfigured the section of a multi-storey
residential building so that the floor
plates are no longer level, but bent in
an U-shape with the apartments literally stepping up towards the sun
at either end, near the faades. Computer simulations showed that this
approach does indeed increase the
daylight penetration into the rooms.

URBAN
DAYLIGHT
F1
Repairing Interface Light
Festival
Ruan Hao & Xiong Xing; Tsinghua
University (China): 2nd Prize 2008
In the narrow street canyons of
densely built cities, many spaces are
literally left in the dark for most of
the day. In their proposal for a one-day
sunlight festival, Ruan Hao and Xiong
Xing suggest to remediate this situation by applying reflective surfaces to
the blank exterior walls of buildings.
In the long run, what starts as a temporary intervention could also become
a permanent installation to enlighten
peoples lives.
F2
Light invisible bridges
Anastasia Karandinou, University of
Edinburgh (United Kingdom): 3rd
Prize 2006
With Light invisible bridges, Anastasia Karandinou seeks to reconnect the
otherwise separated riverbanks along
River Suzhou in Shanghai. Her proposal consists of three elements: an
open-air cinema (with the film being
projected across the river), an underground cinema as well as phoneboxes
inserted into the riverside walls that
allow users to view the city without
being viewed and vice versa.
F3
Constellation of light fields
Park Young-Gook, Kim Dae Hyun,
Choi Jin Kyu& Kim Won Ill, Hanyan
University, Seoul (Republic of
Korea): 1st Prize 2010
The team from Hanyang University designed an immaterial roof over an outdoor stage in the Marronnier Park in
Seoul. Consisting of Moebius strips
of fabric that can be bent and twisted,
this roof lets every type of light flow
to the area below. This variety of daylighting situations corresponds to the
wide variety of activities happening
beneath the roof. The students explain:
Light is the immaterial architectural
element that humans react directly to
through the senses. By eliminating the
material elements, light can create diversity within a given space.
F4
Condensation of Variational
Sunlight Influences
Ma Xin, Wang Rui and Yang
Meng, Tianjin University (China):
2nd Prize 2010

This project considers the interaction

between sunlight and peoples behaviour in urban life. It suggests the reorganization of an open-air market in
Kashgar, Northwest China, by introducing a double-layered roof. Each
of the layers has a number of square
openings that produce a dramatic,
ever-mobile interchange between
illuminated spots and shadows.
F5
Fleeting perpetuality Fluxional
light under urban scaffolds
Sheng Xiaofei, Fang Erqing, Kang
Xiaopei &Yan Wenlong, Tongji
University (China): Honourable
Mention 2010
With Fleeting Perpetuality, the
three students from Shanghai propose to light up a type of oftenoverlooked public spaces within cities
sidewalks or streets that are temporarily built over by scaffolding. For
their intervention, the students use
a bamboo structure, nets and membranes to create a stream of light.
When the scaffolding is removed,
Fluxional light leaves the site as well
and will flow to the next place somewhere in the same city.
F6
Light drama
Dexiao Zeng, Zhao Gao & TianChi
Chen, Hunan University (China):
Honourable Mention 2012
Folded paper lanterns are a part of
Chinese heritage. Here, an oversize
lantern serves to introduce daylight
into the narrow alleyways of Chinese
cities from above, rendering these interstitial spaces useable again for peoples everyday activities. The upper
part can be bent to follow the track of
the sun, and to control the brightness
of the incident light.
F7
Atmosphere evolutive surface
Manu Simon, Mat Oldenhove,
Simon Verstraete & Laura Schmitt,
Universit Catholique de Louvain
U.C.L. (Belgium): Honourable
Mention 2012
To enliven the often dull, paved surfaces of urban spaces, the four Belgian
students designed a three-dimensional system of large (100100 cm)
paving stones made of slightly porous
concrete, on which rainwater can accumulate in rectangular puddles and
reflect the light from the sky. As the
surface slowly dries, the puddles gradually become smaller and eventually
vanish again.

STORING
DAYLIGHT
G1
Buoyant Light
Claire Lubell &Virginia Fernandez,
University of Waterloo(Canada):
Honourable Mention 2010
Buoyant Light harnesses light in a
context where the sun does not always
rise and set. The location of the project
is Igloolik, a Canadian Inuit community of 1600 inhabitants at 70 degrees
north. By means of integrated photovoltaic cells, solar balloons harvest
the summer light and subsequently
store the energy for the long winter
season. The balloons are attached
to (and provide electricity to) buoys
that measure environmental changes
such as the variations of ice thickness
throughout the year.

In what is probably the most unusual application of light storage suggested in the award so far, the two
Spanish students conceive an aquarium lit by bioluminescent and phosphorescent jellyfish and other marine
species. Some of these animals need
to be regularly exposed to sunlight
to restore their luminosity. This is
achieved by letting them pass through
a load room where sunlight can enter
through optical fibres.

G2
The Mongolian dandelion
seed, impregnated with light
Jeewon Park, Nakyong Kim,
Jiyoon Jung, Kimoon Park
&Wongyu Yang, Inje University
(Republic of Korea): 2nd Prize 2012
Inspired by dandelion seeds that move
with the wind, the team from Korea
designed the neo-ball, a balloon-like
luminaire intended to accompany contemporary nomads on their journeys.
The helium-filled balloons, which consist of a bio-based polymer, capture
solar energy during the day, store it in
a battery and release it again as light
during the night.
G3
Memory of Light
Qingsong Han, He Dong Peng &
Peishu Han, Xian University of
Architecture and Technology
(China): Honourable Mention 2012
With Memory of Light, the three
Chinese students propose a new kind
of brick to restore the derelict parts
of the city walls of their hometown,
Xian. Two thirds of the brick consist
of traditional clay whilst the outermost part contains a luminescent additive that absorbs light during the
day and gives it off again at night. At
daytime, the new bricks are barely discernible within the masonry whilst at
night they provide a clear indication
of where the walls have been restored.
G4
Luminous ecosystem
Pablo Via Garca-Ins & Jos
Antonio Guerra Paz, Universidad
Alfonso X el Sabio (Spain):
Honourable Mention 2006
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10
YEARS
OF
DAYLIGHT
The International VELUX Award for students of architecture has experienced tremendous growth and success during its ten years of existence.
Its anniversary this year is also a good opportunity to reflect: on the
relevance of daylight in architectural education, as well as on the key
themes and questions raised by the students over the years.
The following article is based on the jury reports of the International
VELUX Awards 20042012, as well as on essays by and interviews with
the former jurors. Documentations of all previous International VELUX
Awards can be downloaded from [Link].
By Jakob Schoof
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What the jury was looking for was not necessarily

complete or buildable projects, but merely projects
that celebrated the privilege of being a student with
the naivety intact, with curiosity, with the willingness
to take a risk and with a mindset for experimental
thinking out of the box.
From the jury report 2008

So far, no fewer than 3,959 projects

have been submitted to the International
VELUX Award. From modest beginnings
in 2004, submissions for the 2014 event
have risen to over 800 from more than 50
countries.
And while these figures certainly do
not tell the entire story of the award, they
do reveal a growing interest among students of architecture in the theme of daylight. Two main reasons for this growth,
among many others, can be identified: the
relevance of daylight and its openness.
Daylight influences our lives on all scales,
from the urban realm to the metabolism
of a single cell. And it lends itself to a wide
array of potential approaches that seek to
introduce daylight into buildings.

G3

The relevance of daylight

Light is the material that makes architecture, wrote the jury of the International
VELUX Award in 2004. Hani Rashid, chairman of the jury in 2008, added: I think
the great thing about this competition is
that it hits the nail on the head: architects
from everywhere have been interested in
light. Light is a metaphysical instrument,
its a tool of expression, its a way to understand form and time. By tapping the light,
you tap a cultural DNA of a place...
The relevance of light, and of daylight
in particular, has not always been the
same in architecture, but it has without
doubt grown in the last decades. According to Kengo Kuma, juror in 2006,
the shape and the form were the main
themes of architecture in the middle
of the 20th century. But now the main
theme has moved from the form to the
phenomena, and light can be the main
theme of today. This refers in particular
to daylight, says Kuma: Basically natural
light is stronger than artificial light in a
philosophical sense. The strongest idea
is to focus mainly on natural light []
The phenomenological and atmospheric qualities of daylight have been an

important theme in the award right from

the start. In 2004, juror Ole Bouman said:
Light is not what it used to be. The manipulation of human emotion by means
of architecture has become a conscious
strategy [...]. According to Bouman, authenticity in architecture often comes
through the use of daylight. Architects
are often asked to go back to making real
architecture, to creating an authentic
topology, a true manifestation, a manifesto against the artificial, ephemeral
manipulations of electronic light sources
[] Whatever we may think of this counteroffensive, the most interesting forms
of resistance are to be found in concrete
proposals for the application of daylight.
Another key aspect of daylight its
relevance for human health was raised
by juror Craig Dykers from Snohetta in
2004: It is apparent that light and air
share common paths toward health. In a
very real way we cannot be without whatever it is that the sun gives us. However,
it is also important to consider what it is
that we give the sun in return. In the last
two or three award events in particular,
the role of health and well-being in the
students submissions has become ever
more important, and there is good reason
to assume that this trend will continue in
the near future.
Openness as a key to success
Obviously, the relevance of daylight extends far beyond its atmospheric and
health-related qualities. To think about
daylight in the built environment literally opens an endless array of possibilities and potential approaches. This applies particularly to students, who are
in a unique position to think out of the
box. According to Eva Jiricna, juror in
2008, this openness is precisely what is
needed in architectural education today:
When you are a student, its the last time
in your life when you can work in completely unlimited conditions: without a

client, without concerns for cost or planning approvals....

As Juan Mir, juror in 2012, remarked,
it is clear that the students have been inspired to think about the future and ask
what can we do?. Overall, the juries
agreed that asking the right questions
in an intelligent way is more important
for students than looking for straight answers and final solutions. On the whole
I am very satisfied that the students have
had the courage to pose these difficult
questions, even if they are not qualified to
give the perfect answer, said Omar Rabie,
juror in 2006. According to Brigitte Shim,
who headed the jury in 2012, the work of
the students was all about a promise for
tomorrow, the boldness of the ideas; the
kind of explorative dimension [] because, in a way, you are actually putting
your faith in the promise of its future as
opposed to necessarily figuring out every
single aspect.
Nonetheless, as Natalie de Vries, juror
in 2010, remarked, we also found many
practical solutions to practical problems.
A cursory glance at the projects submitted in recent years confirms the tendency
to move beyond the purely hypothetical
and explorative, dealing with given programmes and often with existing sites, as
well as achieving an elevated level of complexity. This became particularly obvious
in 2012, when the students displayed an
unprecedented interest in straightforward, applicable solutions rather than
merely hypothetical concepts devoid of
real-life context.
A mirror of architectural
education
With its openness, its international scope
and sheer number of submissions, the
International VELUX Award provides a
unique opportunity to take the pulse of architectural education at a given moment.
Seen as a whole, the projects represent
25

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[] a cross section of architectural education in Europe today, the jury wrote

in 2004. In that respect all the submitted projects are valuable as examples of
different aspects of one large research.
Eight years later, the jury felt that it was
literally listening to a global conversation about daylight, from innovative
thinking of what might be the future and
how we might experience light in a few
years time [...]
Alongside the students, their teachers
have also been actively involved in the International VELUX Award from the start.
Their task is to guide the student teams,
as well as to review and potentially preselect the submissions. In exchange for
this, the teachers receive part of the prize
sum and are often also present at the
award ceremonies. According to Brigitte
Shim, the quality of submissions crucially
depends on a back and forth dialogue
between students and teachers. I think
that the role of the faculty in all of these
entries is essential, so important the
guidance, the support, but also the insight
and the questioning and ensuring that the
students really work at communicating
extremely clearly.
To facilitate an adequate judgment
of the entries, the vast majority of award
jurors so far have themselves been university teachers. It is thus interesting to listen
to their own opinions about what makes
a good teacher. According to Eva Jiricna,
teachers should encourage their students
to explore, experiment and maximise the
level of imagination. Hani Rashid adds: I
often believe that Im teaching at my best
when I teach students how to learn, instead of simply how to do things. If you can
impart to someone how to ask the right
question, you are teaching into the right
direction. For Huat Lim, architectural
education is all about experience. The
best way to learn is to walk around places,
to sit in a building, to travel , to speak, to
talk, to communicate.
26

There appears to be room for improvement, however, regarding the architecture schools active involvement and
the importance they assign to teaching
daylighting in their curricula. Reilly Hogan, first-prize winner in 2008, remarked
that designing through light has been my
personal interest, rather than one taught
through the schools curriculum. He says
that where daylight does play a role, it is
often more of a technical, performancebased pursuit. And according to Ruan
Hao and Xiong Xing, the second-prize
winners in 2008, looking back at how
we were taught to utilise sunlight to make
dramatic shadows and sculpting architecture spaces, we couldn t help but wonder,
do we design a design, or do we design for
better life?.
A world full of daylight
The openness of the award is reflected in
a huge variety of individual topics and approaches in the submissions. Quite literally, as Omar Rabie puts it, the students
have more ideas than we can imagine.
The scope of the projects ranges across
all scales from the urban to the smallest
building component, and literally across
the entire globe. Some students have
explored phenomena of perception in
a rather abstract way, while others have
submitted full-fledged designs for buildings or building components. While a
number of submissions have expressed
a keen interest in technology, the majority
of them so far have focused on the interaction between light and space. Last but not
least, the students have drawn from a wide
range of sources of inspiration including
art (from the paintings of van Gogh to the
works of James Turrell) and nature.
As many of those involved in the International VELUX Award over the years have
remarked, the average quality of submissions has increased. While in 2004, the
jury still noted: The jury was surprised
by the lack of actual experimental think-

ing. One of the reasons might be that

many of the projects were not tailored to
the award, it has now become commonplace for students to design their projects
specifically for the award.
In many cases, the level of detailing
in the projects has also increased, as has
their complexity. The best submissions
are now truly multi-dimensional, tackling
multiple issues (from how to embed the
design in an urban setting, to questions of
usability and construction) at a time. To
an increasing extent, they are also targeted at making things work in a technical
sense and reveal a thorough understanding of technology that was not present in
earlier award events.
The international outreach of the
award has also grown significantly since
2004 and this again is reflected in the
student projects. Not only has the award
become truly global and offers a chance
for students to see their work in relation
to peers across the world, as Juan Mir
remarks. There are also significant cultural differences in the attitude towards
daylight from one continent to another,
as Momoyo Kajima, juror in 2010, says:
I think there is a cultural element in light,
and there are social aspects that relate to
the area or latitude or season or time.
In the competition, it became evident that
a lot of projects from Japan or other Asian
countries dealt with light in very different ways from the way that the Europeans did.
From about 2008 onwards, a remarkable geographical shift has taken place
within the audience of the International
VELUX Award, with 50% or more of the
award-winning projects coming from
Asian countries in the last two events.
There is also another aspect to the globalisation of the award, however. Not unlike their grown-up peers, architecture
students have become frequent travellers with networks across the globe. Many
of them such as the first-prize winners

D&A SPRING 2014 ISSUE 21

Light of the future is not necessarily light and high-tech. Light

should be about perception and
exploitation. Light should indicate
hope and the future should be
about optimism. Light reveals and
light has a social dimension.
From the jury report 2004

in 2012 even study in universities far

from their home countries. There are no
boundaries to student projects as students and teachers meet and study across
continents as well as they work with exotic places and cities far from their actual location, wrote the competition jury
in 2012. This may, of course, present the
danger of producing an unspecific kind
of globalised architecture: It is a challenge to avoid a global uniformity with
repetitive concepts, shapes and slogans
and it seems that many students miss the
specific relations to locations and orientation.
Yet there is reason to be optimistic in
this respect as the prize winners 2012
in particular proved with their poetic and
sensitive intervention in the landscape
of the Swiss Alps. Already in 2006, chairman Per Olaf Fjeld expressed a similar
optimism: The strength of the award is
that there are participants from all over
the world, and light itself has a map, it
exists everywhere. But the architectural
conditions related to light are also different from place to place, and one can very
much see that within the variety of the
projects this has, to some extent, been
taken into consideration [...]
Indeed, the submissions have become
far more responsive to context over the
years even if they have not necessarily
always been designed for a specific site.
Context, in this respect, also implies
social responsibility, a connectedness
to real-life problems, and an increasing
number of projects that dealt with existing cities and buildings. I found a lot
of my concerns about creating a better
quality of life in cities being dealt with by
the students, said juror Will Bruder in
2010. A lot of the work addressed social
responsibility, which is a trend that I also
see in architecture. Students are not just
concerned about sustainability, but about
building a better place in a social way.

Issues of representation
As in any other architectural competition,
participants in the International VELUX
Award are faced with the challenge of
how to condense a huge number of ideas
on just one or two competition boards,
and how to express spatial ideas in a twodimensional format. According to Eva
Jiricna, students should strive to make
the presentation a joy ride for the jury.
She adds: The need of getting a clear message is more and more important in competitions: when a jury has to judge some
700 projects, it cannot spend a long time
trying to interpret what a student wants
to say.
Yet the award theme Light of Tomorrow also presents another, very specific
difficulty, explains Brigitte Shim: How
to represent such an ephemeral and difficult thing as light. How do you show light,
how do you describe light and make it understandable to other people? Without
doubt, the rendering skills among students have greatly increased over the
last ten years, as has computing power
to support photorealistic imagery. This
development, however, was received in
an ambiguous way by the juries. In 2004,
the jury raised the general question of
whether the computer is now too powerfully integrated in the schools. And
whether this fact limits the experimentation and thinking about the unknown:
going to the edge, finding the essence.
Four years later, chairman of the jury
Hani Rashid expressed optimism regarding these questions. In his opinion,
the award showed that the computer is
no longer just a fascination in pushing
buttons and creating nice forms, but is
finally becoming a facility, a realistic and
obvious tool in the work of research.
Furthermore, students have acquired an
increasing media competence also in
that they know when to do without computers. In the field of daylighting, this applies particularly to the simulation of light
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Related to light I can only see optimism because it is a free material

and it is there to be used. In the
relationship between the body of
mass and the body of light there
will always be a spatial attitude,
a spatial possibility.
Per Olaf Fjeld

interacting with materials. Reilly Hogan,

first-prize winner in 2008, said: Computer simulations proved to be highly cumbersome when dealing with caustic light
(light reflected or refracted by a metallic
or glass surface onto another surface), and
rapid experimentation was difficult. So I
worked almost entirely through physical
models. Likewise, Dean MacGregor, winner of the third prize in the same year, remarked that from the beginning I knew
that rendering wasnt an option for this
project. Therefore photography soon
took over from the superficial attempt to
represent light through the computer.
Da capo: Light of the future
This year, the International VELUX Award
will be awarded once again, for the sixth
time running. At the time of writing this
article, neither the eventual winners nor
the approaches they chose were known.
It is therefore a good opportunity to go
back to the question of what represents
the light of the future today?
To quote Craig Dykers verdict from
2004 once again: In a very real way we
cannot be without whatever it is that the
sun gives us. This existential role of daylight to our health and well-being, while
implicit in many projects already, is still
waiting to be fully exploited by the students. This might imply taking a step back
in the history of the award, going from the
28

urban to the private realm and closer

to the human body, but with increased
knowledge and a refined toolbox that
todays students doubtless have at their
disposal.
The challenge posed by health and
well-being also relates to recent findings
from chronobiology about the non-visual
perception of light, and about how light
relates to diurnal cycles in our minds and
bodies. Eventually, this gives rise to questions such as:
What could a circadian architecture
look like? What qualities would it need
to have?
Answering this question is certainly
tricky, and even scientists and experienced practitioners are struggling with
it. It would, however, be most interesting to see the students ideas about this
topic highlighted in the next editions of
the award.
As many of the simple questions have
already been asked (and in many cases
also answered) in the International
VELUX Award, it is mainly the more complex questions that remain. The logical
next step would therefore be to form interdisciplinary design teams to answer
them. While this might be asking (too)
much from the participants of a student
competition, it would certainly reflect
the trend towards integrated design in
architecture, and the increasing number
of interdisciplinary master studies in the
field of sustainable building design.
Furthermore, with computers having
become a realistic and obvious tool in
the work of research (Hani Rashid), one
would also expect to see more quantitative evaluations being carried out on the
projects in the future. The corresponding
simulation tools have become ever easier
to operate, and experience has shown that
this kind of evaluation need not hinder
architectural creativity. A good example
is the VELUX Daylight Visualizer, which
provides realistic estimates for both the

quantitative and qualitative effects of daylight in spaces, and is increasingly used by

students and practitioners worldwide.
Keep on trying
After the jury sessions of the last few
International VELUX Awards, the jurors
were asked whether they had any recommendations to future participants.
In his answer, Peter Stutchbury gave the
following reasons to participate: In order to learn about anything you must participate. There are very few international
awards for students in the world, and this
competition has a wonderful standard. I
encourage students to participate in this
sort of award in order to lift their own
understanding of major architectural issues When you do a competition like this
you do something that has the potential
to shift your world.
Looking ahead, there is no doubt that
the participants will continue to find new
questions to raise, and new approaches to
daylight. As the jury wrote in 2012: The
projects investigate so many new aspects
of light, thereby showing us that there is
still a lot of work to be done, thinking
about tomorrow, inventing the future
and not taking light for granted

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DISCOURSE LEARNING FOR

THE UNKNOWN

Aspiring architects have to develop their position with regard

to society as a whole. An architect is not only responsible for
maximising a clients profit but
is always involved in the development of entire cities, as well
as of our building culture.
Hubert Klumpner

32

Architectural education, like any form of education, is all about the future. There is a dual
challenge connected to this fact. Firstly, as
the future is impossible to predict, education
is always faced with uncertainty as to what
might be the most useful knowledge to convey to students. Secondly, and despite this,
schools of architecture have to be early adopters of change in the professional field: who,
if not they, will prepare future generations of
architects to be the change they want to see
in the world, to quote Mahatma Gandhi?
By all that we know today, the future of
architecture will be characterised by an
unprecedented level of urbanisation, an
increasingly circular economy and a much
greater use of renewable resources, including
daylight and solar energy. Apart from urbanisation, most of these concerns played only a
marginal role in 20th century architecture.
Yet the tide now seems to be turning, and the
signs that a profound change to architectural
practice and education is necessary and
that it would be beneficial for many cannot
be ignored any more. According to Rob Fleming, professor at Philadelphia University, the
rise of sustainability has prompted the foundations of design education to shackle free of
decades, if not centuries, of inertia. Mark
Wigley, dean of the School of Architecture at
Columbia University, calls for future architects to jump into the unknown, trusting the
formulations of the next generation that, by
definition, defy the logic of the present. He
continues: We have to give students the
capacity to change the field itself, to completely redefine the state-of-the-art.
These are bold claims indeed. How do
architecture schools live up to them in practice? And what do teachers and recent graduates think about the challenges that
architectural education is facing?
The statements and articles in this issue
of Daylight/Architecture provide some
answers to these questions. They depict the
architect as a professional who has to bridge
the gap between widely diverging, and sometimes contradictory, requirements. To name

but three of these, architects must retain the

position as generalists that they have always
had in history, but at the same time keep up
with the increasing body of specialist knowledge in the field of building design. They have
to fulfil the requirements of their clients who
pay them, but at the same time, they are
expected to work in the interest of the wider
society. And lastly, they have to put human
beings into the centre of all their endeavours
despite being restricted by an increasing
amount of regulation, and working in an
increasingly technology-driven environment.
Architecture as frozen politics
Essentially, every contemporary architect
serves two clients: the one who pays him
and society in general. Peter Thule Kristensen,
dean of the School of Architecture at the Royal
Academy of Fine Arts in Copenhagen (KADK),
explains: Nowadays architects can no longer
afford to pursue a purely introverted artistic
approach. They must respond to modern-day
issues that impact on society for example,
the unavoidable challenge of sustainability.
Hubert Klumpner, dean of the Department of Architecture at ETH Zrich, compares
architecture and urbanism to frozen politics,
and adds: We see studying as the starting
point of a lifelong learning process that prepares architects to assume responsibility in a
democratic society.
Many of the experts who contributed to
this magazine, therefore, stress that it is not
sufficient to train architecture students
merely to be building designers. As long as
architectural education only aims at building
design, it will fail, claims Hyun Seo, head of
the School of Architecture at Haiyang University in Seoul. According to Seo, students
should be trained to become leaders who can
manage any kind of team or project regardless of the subject that it deals with.
This points to another quality that future
architects will need: the ability to work in
increasingly interdisciplinary teams. This, in
turn, requires both communicative intelligence (Hubert Klumpner) and a respect for

D&A SPRING 2014 ISSUE 21

and knowledge of other disciplines and professions (Karl Otto Ellefsen). Respect, in this
context, does not imply subordination on
the contrary. Most of the teachers stress the
importance of architects retaining their position as generalists, despite all the current
trends towards specialisation. Maintaining a
holistic view will, they argue, be both beneficial for the quality of our buildings and give
architects back some of the influence they
have lost to others over the last decades. This
will, however, not come by itself, says Claes
Cho Heske Ekorns, winner of the International VELUX Award in 2004: We will have
to make this happen ourselves by being more
proactive [and] placing ourselves in the drivers seat. As an architect, you are sometimes
the only one with a full overview of the different stages of a project. We should use this
position to our advantage if we want to avoid
being reduced to the role of just another consultant.
The architect as conductor and translator
It seems obvious that this role of architects
as conductors of project teams needs to be
learned to a much greater extent in academia.
Many architecture schools are reacting to this
already, for example, by including more and
more design/build projects in their curricula.
Hubert Klumpner stresses that professors
need to be skilled communicators in our days
who can translate between different domains
of knowledge, as well as between the world
of specialists and the general public.
Increasingly, intercultural translation
and presentation skills are also in demand for
architecture students as they prepare to
enter a globalised labour market. Student
competitions such as the International
VELUX Award are a valuable opportunity to
learn these skills. Peter Stutchbury, award
juror in 2012, considers competitions an
opportunity for students to lift their own
understanding of major architectural issues.
For Luka Pikorec, from the ETH Zrich, competitions are like questions asked by society
to which architects must respond. And only

the architect who has something to say, comment or ask is competent to work in the interest of society.
Intellectual freedom in a state
of uncertainty
Architecture schools nowadays need to navigate between two extremes: should they
focus on preparing their students for the practicalities of everyday office work, or give them
the freedom to pursue their own agenda and
learn to ask the right questions (Hani
Rashid)? Quite probably, universities are well
advised to do the latter. The former winners
of the International VELUX Award all reported
that only after graduating from university did
they learn the ways of the building site (Bo
Li, Ge Men), become acquainted with the
complex process of following a project from
start to finish (Claes Cho Heske Ekorns), and
learn to work with a client, dealing with the
fact that the clients priorities and processes
are often different from those of the architect (Reilly Hogan). On the other hand, all former award winners hold in high esteem the
freedom that they were offered at university
and the fact that academic training taught
them to work independently and find their
own ways in life. A good teacher, says Claes
Cho Heske Ekorns, not only focuses on the
end result, but just as much on the process of
getting to the result, and on the development
of the individual student.
Intellectual freedom and the capacity to
think independently are all the more important as architectural education has to prepare
students for a future that is inherently uncertain. As Karl Otto Ellefsen puts it, we feel like
we are educating young people to master
knowledge that so far has never been produced and to qualify for jobs not yet existing.
While it has often been questioned whether
architecture still qualifies as a form of art,
artistic thinking can be extremely helpful in
this state of uncertainty. Peter Thule Kristensen stresses that architectural education
ought always to remember the recognition
inherent in art that there are no definitive

answers or unambiguous questions. Louise

Grnlund, winner of the International VELUXAward in 2006 and now herself a teacher,
adds: A school of architecture should be a
place for developing your artistic talent, and
for experimenting with projects, some of
which might fail but failures tend to be a
valuable source of learning.
Education needs a value base
Over and over again, the teachers and recent
graduates alike stress the importance of the
architects social responsibility. Our dream is
not only to design buildings but to improve
peoples lives, say Bo Li and Ge Men, winners
of the International VELUX Award in 2012.
Will Bruder, who sat on the award jury in
2010, observes a similar phenomenon: Students are not just concerned about sustainability, but about building a better place in a
social way. Clearly, the human aspect inherent in architecture ought to be nurtured right
from the start in architectural education. This
also means that teaching cannot be limited
to knowledge transfer it also requires an
underlying value base. Students need to be
encouraged to develop trust, solidarity, and
empathy and they can only do so if they
encounter these same qualities in their learning environment at university. As Rob Fleming writes, the kinds of values and behaviours
learned in design school set the stage for a
lifetime of impact both positive and negative. If value-based teaching is taken seriously, however, it must also be reflected in
new forms of teaching and new content in
the academic curricula. It will be interesting
to see in the coming years whether, and how,
this change is really going to happen in architecture schools worldwide. There is little
doubt, however, that it will be worthwhile.
After all, as Hyun Seo says: College education must prepare students for life rather than
for a specific career.

33

QUOTE BY ENRIQUE BROWNE PHOTOGRAPHY BY RICHARD BARNES

A
WORLD
OF
OPPORTUNITIES
Todays young architects will play a key role in shaping the future world
we live in. But what principles and ideals guide them in their daily work?
What qualities that they have or have not learnt at university do they
consider crucial? And what role should daylighting play in architectural
education?
On the following pages, former winners of the International VELUX
Award, along with their former teachers and the heads of school where
they studied, have given answers to these questions. The accompanying photographs were taken in some of the cities where the respondents
live and work: New York and Ithaca (USA), Zurich (Switzerland) and
Seoul (South Korea). Welcome to an intergenerational and intercultural
dialogue on daylight, architectural education, and the individual responsibility that every architect has to take in our society.

Photography by
Richard Barnes &
Lucille Tenazas (p.3447)
Stanley Wong (p.5059)
Ferit Kuyas (p.6171)

35

QUOTE BY OLE BOUMAN PHOTOGRAPHY BY RICHARD BARNES

2004

SCHOOL OF ARCHITECTURE
AND DESIGN (AHO), OSLO

CLAES CHO HESKE

EKORNS
Claes Cho Heske Ekorns won the
1st prize in the first ever International
VELUX Award in 2004, when he had
just graduated from the School of
Architecture and Design (AHO) in
Oslo. He has been employed at Jarmund Vigsns Arkitekter in Oslo, Norway, for the last nine years. His project
portfolio ranges from design of singlefamily homes to competition projects
and larger design and renovation
projects.

38

Looking back I can see that the most valuable thing I learnt at school was to work independently. The kind of teaching where you are
allowed to find your own way, not being told
what to do and how to do it, but listening,
finding your own voice, being enlightened as
you go along.
As a practising architect, one is introduced
to the complex process of following a project
from start to finish. Society tends to come up
with more and more demands and technical
building restrictions that we have to implement in architecture. I think it is important that
students dont dwell too much on these practical and technical requirements. Rather, they
should have a free mind to explore things. Students have a unique opportunity to study different aspects of architecture, something they
should enjoy since it is probably the only time
in their lives that they will be able to devote
so much time and effort to their projects.
A good teacher of architecture sets the
scene for this kind of free and independent
learning, guiding the student through probing questions and constructive feedback. A
good teacher not only focuses on the end
result, but just as much on the process of getting to the result, and on the development of
the individual student.
My project for the International VELUX
Award was my final thesis project. Winning
the Award at the gateway to my career gave
me confidence that I could bring something
to the table in the real world of architectural
practice. Daylight plays a special role in Norway, as for half the year we have very little of
it, and for the other half, we have light more
or less around the clock. This importance of
natural light is also reflected in our work at

Jarmund Vigsns Arkitekter, where we take

advantage of it in order to minimise the use of
artificial light and to save energy. What I have
learnt about light since graduating is to look at
this resource in a more nuanced way. After all,
sometimes, and in some places, you dont need
a lot of light. Therefore I am not sure that general requirements for daylight levels or luxspecifications are necessarily the right way
forward.
Like any other architect, my dream is to create architecture that will stand the test of time
and be a reference to others. It is obviously hard
to predict what exactly is needed to achieve
this goal, as the quality of buildings can often
only be judged in hindsight. But I think it is at
least important to have something to strive for.
Overall, I would call for a better understanding and respect for our profession. But we will
have to make this happen ourselves by being
more proactive, placing ourselves in the drivers
seat and seeing ourselves not merely as designers but playing a leading role in defining the fundamental terms of any building project. As an
architect, you are sometimes the only one with
a full overview of the different stages of a project, and you have to deal with all the other
stakeholders: the builders, other technical consultants as well as financial experts. We should
use this position to our advantage if we want
to avoid being reduced to the role of just another
consultant.
The best project for me is always the next.
Not necessarily the big projects; often the small
projects are the most interesting. I hope to be
able to continue building my experience, solidifying my platform, and contributing to the
growing recognition of architecture in Norwegian society.

D&A SPRING
SUMMER
2014
2014ISSUE
ISSUE
2121

RELATED TO LIGHT,
I CAN ONLY
SEE OPTIMISM
BECAUSE IT IS
A FREE MATERIAL
AND IT IS THERE
TO BE USED.
Per Olaf Fjeld

40
D&A SUMMER 2014 ISSUE 21

41

QUOTE BY HUBERT KLUMPNER PHOTOGRAPHY BY RICHARD BARNES

QUOTE BY HYON
BO LI &SEO
GE MEN
PHOTOGRAPHY
PHOTOGRAPHY
BY RICHARD
BY FERITBARNES
KUYAS

2004

SCHOOL OF ARCHITECTURE AND

DESIGN (AHO), OSLO

KARL OTTO
ELLEFSEN
Karl Otto Ellefsen is Rector of the
School of Architecture and Design
(AHO) in Oslo, where he also teaches
as a professor of architecture and urbanism. Having been educated at the
AHO and the Architectural Association (AA) in London, he dedicated
most of his professional career to urbanism. Karl Otto Ellefsen has published widely within the fields of urban
history, urban planning and architectural critique. Currently the main
focus of his research is on the history
of urban planning in Norway.

42

In addition to the skills that architects needed

in previous times, other qualities are required
to be a successful architect today. At the same
time, architecture schools need to prepare
students for a set of very different roles.
I would rate the ability for teamwork, the
respect for and knowledge of other disciplines
and professions, the capacity for serious
investigation and the skill to handle architecture in a discursive way as essential qualities
that we need to reflect in our teaching.
In Europe, there was the possibility that
the Bologna system, with its focus on compatibility and the free-flow of competence
across national boundaries, would wipe out
school identities. But we are witnessing the
opposite a trend of different schools following different paths. Schools seem to be more
eager to define their own specific roles. Some
focus on research and an academic profile,
some dedicate themselves to educating
workforce for the future labour market, and
some schools, like ours, still believe in architecture as one of the arts and stick to an artacademy tradition in architectural education.
Historically speaking, the curriculum at
the Oslo School of Architecture was very
much about educating master architects. As
a relatively small educational environment,
we try to keep up the standard of teaching the
students individually. Consequently, we also
try to convey to them a set of values that deal
with individual responsibility. As an architect,
you can never run away from this individual
responsibility, even if the topics that you are
confronting, such as sustainability, seem
impossible to handle as an individual or if
the consequence is that you have to say no to

a commission that might bring you wealth

and glory but will likely be devastating to the
environment and to society as a whole.
In many ways, our school continues to
pursue historic traditions of Nordic architecture. This is reflected, for example, by the particular role that daylight plays in our
curriculum and in project work in design studios. The focus of Norwegian architecture has
always centred around the relationship
between building and landscape, earth and
sky and light as the primary elements.
At the same time, architectural education in Northern Europe has always had a very
close relationship to the profession. Changes
in the professional environment, therefore,
immediately affect our school. To mention but
one challenge arising from this, there is currently a tendency towards hybridisation in
the planning and construction process of
buildings, where different kinds of professions
and fields of knowledge overlap and merge.
We feel like we are educating young people
to master knowledge that so far has never
been produced and to qualify for jobs not yet
existing. This means that the foundation and
the general part of the education are even
more important than before: the ability for
spatial comprehension, the ability to draw,
the ability to conceptualise. Our students
have to master the basics of the craft and, at
the same time, be able to both handle and
defend this knowledge in a very complex professional setting.

D&A SPRING 2014 ISSUE 21

QUOTE BY HYUN SEO PHOTOGRAPHY BY RICHARD BARNES

2006

ROYAL DANISH ACADEMY OF FINE ARTS,

SCHOOLS OF ARCHITECTURE, DESIGN
AND CONSERVATION (KADK), COPENHAGEN

LOUISE GRNLUND

Louise Grnlund, winner of the 1st

prize in the International VELUX
Award 2006, is a Ph.D. student at the
Aarhus School of Architecture in Denmark. Since graduating, she has been
employed at several Danish architectural offices, taught at The Royal Danish Academy of Fine Arts, Schools of
Architecture, Design and Conservation, School of Architecture (KADK)
in Copenhagen and worked as an independent architect and as architectural photographer. Her Ph.D. project
explores daylight, light openings and
the facade.

44

I have been very privileged that there is a

direct line from my thesis project to what I
am doing now in my Ph.D. project. In the latter, I focus on the exploration of daylight, light
openings connecting indoors and outdoors,
and how light openings in different shapes
and sizes can draw daylight into buildings. My
research is a combination of theory and practical experimentation, where I draw on my
knowledge of photography and my neverending curiosity about the phenomenon of
daylight.
My thesis supervisor at the KADK has
been pivotal in my development so far. In our
conversations, he gave me an understanding
of my subject matter and inspired my fundamental engagement with the phenomenon
of daylight. As a teacher myself, I bring this
experience with me. Based on a strong belief
that everyone has unique potential, I try to
motivate students to find their particular
focus, and to make them flourish, both personally and professionally.
Winning the International VELUX Award
spurred me on; the acknowledgement that
other people could follow my ideas and
thoughts has had tremendous impact on my
career path. It brought me into close contact
with the international community of architects, including many people who have
remained in my network and continue to
inspire my work.
A school of architecture should be a place
for developing your artistic talent, and for
experimenting with projects, some of which
might fail but failures tend to be a valuable
source of learning. We should take care that
architectural education remains open and

experimental, rather than being too specifically targeted towards future applications.
On the other hand, the interaction between
studies and practice, for instance through
internships during your studies, is highly valuable and formed a very important part of
my formation as an architect.
For the last couple of years, we have seen
a preoccupation with speed and efficiency in
our profession. Now I see the tide turning
again, with an increased awareness of quality and innovation, as well as a concern for
resources, the environment and peoples lives
in the way we build new buildings or transform existing ones. I hope to be able to continue contributing to this development
through my research on daylight, creating
new knowledge and passing this on to the
next generation of architects. Part of the
research in my Ph.D. project has recently
formed the basis of a semester course at the
Aarhus School of Architecture, and together
with two colleagues, we have extended this
to a four-semester course on daylight. I think
this kind of research-based teaching moves
things forward as it provides students with
qualified knowledge and useful tools to work
with daylight in architecture.

D&A SPRING 2014 ISSUE 21

45

QUOTE BY GE MEN PHOTOGRAPHY BY RICHARD BARNES

46

D&A SUMMER 2014 ISSUE 21

47

2006

ROYAL DANISH ACADEMY OF FINE ARTS,

SCHOOLS OF ARCHITECTURE, DESIGN
AND CONSERVATION (KADK), COPENHAGEN

PETER THULE
KRISTENSEN
Peter Thule Kristensen, Ph. D., is
Head of the School of Architecture
at the Royal Danish Academy of Fine
Arts (KADK). He has worked as an
architect since 1994, in his own architectural practice and elsewhere, and
has been a professor at the Institute
for History and Theory of Architecture
of the KADK since 2004. Peter Thule
Kristensen has published several books
on various themes, including the works
of the Danish 19th-century architect
Gottlieb Bindesbll and 20th-century
architects such as Arne Jacobsen and
Rudolf Schwarz.

48

Throughout history, a good architect has been

characterised by his or her ability to combine
many different contexts in a spatial, meaningful totality; a totality that both meets a
number of practical requirements and also
enables us to grasp the world that we are in.
But in contrast to the Renaissances Uomo
Universale, modern day architects can no
longer be expected to have a thorough knowledge of all relevant contexts. The challenge
for them is, therefore, to maintain the ability
to think in a holistic manner, while at the same
time sharpen their particular competences.
At KADKs School of Architecture we
believe that the students become better at
thinking in a holistic way if they have the
opportunity to work in depth with a defined
subject or artistic approach during their studies. Therefore, we work with a broad, holistically-oriented Bachelor education and more
specialised Master programmes that strongly
connect research and artistic development.
The focused programmes also help our students attain a differentiated profile and
thereby a competitive advantage in a labour
market that has become increasingly global
and requires ever more specialisation.
A good example is our new master programme, Architectural Lighting Design, in
which we will educate both industrial designers and architects, and thereby bring their specific design competences together. This is the
first education of its kind in our world; previously it was left to engineers to calculate light
exclusively on the basis of rational premises.
In other words, we educate a new type of lighting architect who is capable of combining an
aesthetic approach with engineering ability.

The integration of art, science, and practice

that we seek to achieve in our courses is also
reflected by our teaching staff. The many
practising architects and designers who
teach at the KADK collaborate closely with
researchers within a field of scientific and
artistic development. In this relationship, it is
important that their domains are not simply
mixed, but rather that they enrich and inspire
each other with their differences, and that
their teaching is based on a considered combination of knowledge transfer, design studios and hands-on workshop experience.
KADKs School of Architecture is based
on a Beaux-Arts tradition, in which the concept of architecture as an art form that
appeals to all of our senses is central. And, in
my opinion, there is absolutely no reason for
the artistic approach to be introverted. We
must respond to modern-day issues that
impact on society for example, the unavoidable challenge of sustainability. This means
that students must participate in social and
cultural debates, read texts and make use of
scientific methods in their research, without
neglecting a recognition inherent in art
namely, that there are no definitive answers
or unambiguous questions.

D&A SPRING 2014 ISSUE 21

IN A VERY REAL WAY,

WE CANNOT BE
WITHOUT WHATEVER
IT IS THAT THE SUN
GIVES US. HOWEVER,
IT IS ALSO IMPORTANT
TO CONSIDER WHAT
IT IS THAT WE GIVE
THE SUN IN RETURN.
Craig Dykers

50
D&A SUMMER 2014 ISSUE 21

51

QUOTE BY HYUN SEO PHOTOGRAPHY BY ANOTHERMOUNTAINMAN

QUOTE BY OLE BOUMAN PHOTOGRAPHY BY ANOTHERMOUNTAINMAN

2008

CORNELL UNIVERSITY,
ITHACA

REILLY HOGAN

Reilly Hogan, 1st prize winner in the

International VELUX Award 2008, is
an Associate Principal at KPF, Kohn
Pedersen Fox Associates in New York
City, where he has been employed for
the last five years. In his first year after
graduation, he was a Teaching Associate in the Department of Architecture at Cornell University teaching
design studio. As a senior designer
at KPF, Reilly Hogan primarily works
with commercial, residential and retail projects in the United States, Canada and China.

52

While studying at Cornell University, I got

the chance to take part in a design studio in
New York City. Having grown up in San Francisco I love cities, I love New York City, and
that is where I am now, working at one of the
big architectural practices with projects
around the world. I am where I always wanted
to be, working on a variety of projects with
many design opportunities and always learning more about the process and practice of
architecture.
Cornell design studios taught me a diverse
way of thinking of design; the critics there
encouraged constant creativity and exploration. I learned how to construct an argument,
how to present and visualise, and how to marry
the two together. What we didnt learn so
much about was working with a client, dealing with the fact that the clients priorities and
processes are often different from those of the
architect. A basic understanding of budgets
and of financing might have been useful. And
then, on the other hand, the money focus tends
to become more and more predominant in our
society. I fear that the aesthetic appreciation
of good design is endangered, with the arts
and aesthetic programmes often being
reduced in early education.
It was always a great inspiration to me
when my teachers were excited about design,
encouraging me to explore new ideas and
challenge the norms. Architectural studies
have so many facets. The good teacher is able
to weave all these facets into a whole; daylight being one of them. Daylight plays a large
part in the design projects I do at KPF, from
the major public spaces of retail concourses,
office lobbies, and even the small entry foyers

of residential units. Through my work I have

gained a much deeper understanding of how
glass interacts with daylight, how the quality
of light can be changed, using coatings and
filters to achieve different light levels..
My greatest experiences of light, however, come from nature; like the sculpted slot
canyons in Utah, where one ray of sunshine,
just one, suddenly appears in otherwise complete darkness, beautifully illuminating and
colouring the space. Experiences like this are
great sources of inspiration for my work.
Winning the International VELUX Award
was a source of pride and gave me confidence
in my design abilities. It was a great stepping
stone in my aspirations to be a design leader.
In my current role as Associate Principal, I am
building my skills, leading projects and working in teams. I would love to do more cultural,
public buildings a museum, an art gallery,
or a train station would be fantastic. Places
where the programme is more open and
where the function of the building interplays
with the building design. I look forward to one
day having more design autonomy and the
ability to independently express my creativity through my work.

D&A SPRING 2014 ISSUE 21

53

2010

HANYANG UNIVERSITY,
SEOUL

YOUNG GOOK PARK,

WON ILL KIM, DAE HYUN
KIM, JIN KYU CHOI
Young Gook Park and Won Ill Kim
run their own design studio MiYongSil where they work with everything
from architectural design to interior
design and furniture design. Their projects are located in Seoul and typically
deal with reusing old spaces. They recently published a book called Urban
Living Room, in which they seek out
leftover spaces in the city and explore
how you can enjoy the urban environment like your own living room.
Dae Hyun Kim is employed at Mass
Studies, a leading Koreanarchitecture
firm in Seoul.
Jin Kyu Choi was previously a partner in MiYongSil but is now working
as an independent designer in furniture design.
Together, Young Gook Park, Won Ill
Kim, Dae Hyun Kim and Jin Kyu Choi
won the first prize in the International
VELUX Award 2010.

54

D&A SUMMER 2014 ISSUE 21

The era of big scale of big scale development

is over in Seoul. So we are interested in smallscale projects that focus on repairing and
reforming old spaces and structures for new
uses. We are keen on experimenting with
materials, spaces and entire buildings, while
at the same time appreciating that we still
have a lot to learn and that we are still in the
process of reaching our goals.
The most useful things we learnt at
school were to look at, interpret and understand space. As a student, it is very important that you establish your own point of
view. This requires considerable discussion
about the values and abilities of architecture.
Through these discussions, and through sharing our thoughts with our professors and fellow students, we learnt a lot not only about
design but also about how to develop our own
philosophy as architects and designers.
Whilst studying, it is important that diverse
aspects of architecture are pointed out to you,
so that you and your fellow students can find
your own approach to the subject. In this context, teachers should always be alert to new
ideas and to trends in society that create the
context for the students work.
Taking part in competitions is also a good
way of sharing your thoughts and comparing
your skills with those of others. Winning the
International VELUX Award gave us the confidence to believe in our ideas, to take the next
step in our careers and even publish our
thoughts.
We are very interested in the concept of
social architecture and would like to create
spaces for people where today there are only
dead spaces. For example, building a small stor-

age shed or flower bed that could be shared

among neighbours instead of a solid brick wall.
By opening up and greening the dead spaces,
we create better living environments and
opportunities for human interaction.
Renovation and remodelling is a big issue
in Seoul due to issues of environmental sustainability and economic downturn. All this
requires a new understanding of old structures, a new approach to design and a different set of design tools. Through our practice,
we are part of this process of rethinking. Daylight plays a special role in all of this, especially when you live in a city with tall buildings
all around that cast large shadows on their
environment and rob people of much of that
daylight.
A good idea is crucial when it comes to
design, but the idea really only gets you half
way; discovering how to make your ideas reality is just as important. A lot of things need
to be considered in the process such as
design, budget, timeline, details and production. Practising as an architect requires a
great deal of know-how that we can only gain
through experience.

55

57

QUOTE BY HYUN SEO PHOTOGRAPHY BY ANOTHERMOUNTAINMAN

QUOTE BY GLENN MURCOTT PHOTOGRAPHY BY ANOTHERMOUNTAINMAN

QUOTE BY KARL OTTO ELLEFSEN PHOTOGRAPHY BY FERIT KUYAS

2010

HANYANG UNIVERSITY,
SEOUL

HYUN SEO

Hyun Seo is Head of the School of

Architecture at Hanyang University
in Seoul, where he teaches architectural design and theory. He received
his Bachelor and Master degrees
from Seoul National University and
then went on to pursue his graduate
studies at Columbia University in New
York, USA. Hyun Seo is the author of
various books such as Explaining
Architecture (1998) and Creation
and Evolution of Korean Traditional
Architecture (2012; both in Korean
language)

60

Nowadays, architects have to be both

designers and implementers of projects. The
scope of their work ranges from programing
computer software to dealing with legal
requirements, and managing design teams
to overseeing the actual construction of
buildings.
This wide range of tasks means that
architects are often required to define problems and raise the right questions before they
can look for solutions. In our school, we
encourage students to embark on this exercise of defining problems. Unlike in mathematics, there isnt usually a right or wrong
answer to architectural problems. We therefore teach our students to find satisfactory,
rather than correct, solutions to the problems they find. This involves eternal compromise and a constant search for alternatives.
Student competitions are an intriguing
opportunity for students to see how other
people think and work, and what answers
they provide to a given problem. If a student
is lucky enough to win an award for his project, and sees that others including the competition jury appreciate his way of working,
this is obviously an additional benefit. We
therefore encourage students to participate
in competitions whenever possible.
Most importantly, however, I think it is
not sufficient to train architecture students
merely to be building designers. As long as
architectural education only aims at building
design, it will fail. Architecture students
should be trained to become leaders who can
manage any kind of team or project regardless of the subject that it deals with. This is
all the more important when only a limited

number of our students actually pursue a

career in the field of architecture after graduating. Acknowledging that college education must prepare students for life rather than
for a specific career, we encourage students
to find their own way to be leaders in whatever profession they end up in.

D&A SPRING 2014 ISSUE 21

2012

SWISS FEDERAL INSTITUTE OF TECHNOLOGY (ETH),

ZRICH

BO LI, GE MEN

Bo Li has just finished his Master thesis and is now working part time as
teaching assistant at the Swiss Federal Institute of Technology in Zrich
(ETHZ). He also writes articles for professional architectural magazines.
Ge Men is founding partner of Fangan
Architekten, a small architectural office in Switzerland. The company undertakes renovation projects, designs
single-family homes and offers design
assistance to projects in China.
Together, Bo Li and Ge Men won the
first prize in the International VELUX
Award 2012.

62

As we are just starting our careers, we are in

the process of learning by doing. We are getting valuable experience with the realisation
of projects now that we have completed
school. We are learning the ways of the construction site and how to manage projects
with many different stakeholders. If architecture stays on paper, it is only an idea. We are
therefore eager to learn much more about the
realisation of projects in the real world.
In our education, this kind of practical
knowledge did not play such a central role. On
the other hand, our studies allowed us to be
100 percent idealistic, and idealism is the
source of passion. The education system seems
like a pyramid, where we spend most of the
time on building design, a little less time on the
urban context and just a little time on philosophical and conceptual thinking. Maybe more
focus on philosophical and conceptual thinking could have brought us further allowing us
to work with more abstract concepts, playing
with light, aimlessly touching materials, piling
objects more like art school maybe. It is while
you are at school you can do this, whereas in
real life we are building for specific clients, specific programmes and specific budgets.
The challenges for architecture are very
different in developed and developing countries. We are both doing projects in Switzerland and in China, and can see the differences.
In China, it is more about quantity and speed.
In Switzerland, there is room for quality, and
you can take your time to design and build.
Learning from both worlds is highly valuable
for us.
Working in different locations also
teaches us that light is not just light. In Swit-

zerland, the sun is celebrated, brought directly

into peoples homes; in the south of China,
people tend to avoid the sun, the buildings are
more closed, shielding people from light and
heat. Even within Europe we see great differences in the approach to sunlight from north
to south. Daylight and sunlight carry a lot of
cultural meaning.
Our dream is not only to design buildings
but to improve peoples lives. The world is
moving in one direction, becoming more
abstract and loaded with information. People are moving from reality into virtuality. The
same goes for architecture. Looking into the
future, people may be living their entire lives
inside buildings without contact to the outdoors. As architects, we have to relate to this
development.
Our dreams for the future? Building is a
keyword. Building our experience. Building
our portfolio. Building for people. Right now
Switzerland is a good place for us to be, but
with contact to the rest of the world, not least
China, our home country.

D&A SPRING 2014 ISSUE 21

WHEN YOU DO A
COMPETITION LIKE
THIS, YOU DO
SOMETHING THAT
HAS THE POTENTIAL
TO SHIFT YOUR
WORLD.
Peter Stutchbury

65

QUOTE BY HUBERT KLUMPNER PHOTOGRAPHY BY FERIT KUYAS

QUOTE BY HANI RASHID PHOTOGRAPHY BY FERIT KUYAS

SWISS FEDERAL INSTITUTE OF TECHNOLOGY (ETH),

ZRICH

HUBERT KLUMPNER

Hubert Klumpner is head of the department of architecture at the Eidgenssische Technische Hochschule
(ETH) in Zurich. He studied architecture and urban planning in Vienna and
at Columbia University in New York. In
1998, he and Alfredo Brillembourg established the planning office UrbanThink-Tank in Caracas (Venezuela).
Together with Brillembourg, Hubert
Klumpner also heads the chair of architecture and urban design at ETH.

66

The profession of the architect is becoming

more and more complex and academic training in architecture needs to take this into
account. In the case of ETH Zurich, this means
that, on the one hand, we base our curriculum on the premise of educating architects
as generalists and, on the other, that we orientate it towards the needs of society, the
economy and politics. We offer a broad-based
education that, within a pre-structured learning environment, leaves students the freedom
to choose their subjects according to their
personal inclinations and talents. In this way,
we hope to educate them not only to be
highly-skilled professionals but also members
of a society that can take responsibility.
As a technically- and scientificallyoriented university, we continue to place
great value on teaching the art of constructive thinking and the fundamental principles
of building. Today, this can no longer be taken
for granted in institutes of higher education
where architecture is taught. At the same
time, aspiring architects have to develop their
position with regard to society as a whole. An
architect is not only responsible for maximising a clients profit but is always involved in
the development of entire cities, as well as of
our building culture. Arthur Schopenhauer
once said that architecture is frozen music.
I would add that architecture and urban planning are also frozen politics. With their work,
architects translate political and social objectives into physical space, thus giving them
concrete form and making them comprehensible. In this respect, we architects are faced
with an enormous challenge. Accepting it also
means that we have to win back some of the

influence that, in the last few decades, has

been lost to others.
For all this, a course of study at a university can only serve as a basis. At ETH Zurich,
we see studying as the starting point of a lifelong learning process that prepares architects
to assume responsibility in a democratic society. To do so, apart from consolidated specialist knowledge, one needs communicative
intelligence, the ability to work in a team and
a certain amount of assertiveness.
In order to prepare our students for this
role, we regularly appoint professors who, in
their own work, exemplify this communicator function to good effect. In addition, we
actively offer students opportunities for interdisciplinary learning. An interdisciplinary
approach is becoming more and more important in professional practice and we cannot
leave it up to students to learn about it on
their own during their studies.
This also applies to the topic of daylighting. Working with this resource is written into
the DNA of our profession. At ETH, especially
in the individual design studios, it has been a
central theme up to now. However, I felt that
it would be useful to work with scientists and
industry in order to develop formats with
which we could anchor daylighting design in
the curriculum even more visibly. This could
assume many forms for example, a visiting
professor or special design seminars. In my
opinion, this would be highly beneficial, above
all in the more advanced semesters.

D&A SPRING 2014 ISSUE 21

QUOTE BY BO LI, GE MEN PHOTOGRAPHY BY FERIT KUYAS

2012

QUOTE BY HYUN SEO PHOTOGRAPHY BY FERIT KUYAS

2012

SWISS FEDERAL INSTITUTE OF TECHNOLOGY (ETH),

ZRICH

LUKA PIKOREC

Luka Pikorec is a Research Assistant

at the Department of Architecture and
Digital Fabrication of the ETH Zrich,
and was tutor of Bo Li and Ge Men
for their winning design in the International VELUX Award 2012. He studied architecture at the University of
Zagreb and worked in architectural
offices in Croatia and Switzerland
prior to pursuing his Master studies
at the ETH, which he finished in 2011.

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D&A SUMMER 2014 ISSUE 21

Architects today should try to maintain the

role as generalists that they have always
played in history. This requires them to
acquaint themselves with a broad range of
skills from all areas of human cultural
endeavor, especially, but not only, the creation of architecture. Technology plays an
important role here since it permeates all
parts of our culture, as well as the construction industry. Taking a pro-active approach
to technology puts the architect in a leading
position and allows him to define the rules of
the game. Unfortunately, architects are usually the last to adopt new technologies, which
leaves them with only a subordinate role in
comparison to other engineers. Changing this
attitude will enable us to assert ourselves as
a driving force in technological innovation,
something we have to strive for from the earliest days of our architectural education.
In my view, the role of architects in our
society is rather schizophrenic. On the one
hand, we try to please our clients and meet
their needs. On the other, there is the expectation that architects should work in the
interest of society as a whole. Negotiating
between these two requirements is one of
the most important tasks of any architect,
and students ought to be prepared for it in
academia.
A third aspect of architectural education
is the increasing international interconnection between both students and architects.
It is hard to sell just anything to students
these days: they communicate more than
ever, they are well-informed and react to the
lack or censoring of information. This puts a
lot of pressure on the mentors and architects

involved in teaching, as they have to continuously keep up to date with things happening in the architectural world. But it will
eventually drive the discipline forward, as the
quality of education will have to live up to
global standards, and even smaller schools
can reach global standards in a short time.
Student competitions play a vital role in
architectural education, and I would encourage any student to participate in them. After
all, at the beginning of an architects professional life, there are basically only two ways
of obtaining work and distinguishing oneself
direct contracts and architectural competitions. Since the first are much less common,
young architects are often left with no other
choice but to participate in competitions. Furthermore, I see competitions as a sort of series
of questions asked by society, to which architects must respond. And only the architect
who has something to say, comment or ask
is competent to fulfill the second role mentioned above to work in the interest of society. This culture of assuming the role of a
commentator who answers questions arising from society through architectural competitions should be nurtured in education
from the very beginning.

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D&A SUMMER 2014 ISSUE 21

QUOTE BY HUAT LIM PHOTOGRAPHY BY FERIT KUYAS

DAYLIGHT & ARCHITECTURE

MAGAZINE BY VELUX GROUP
SUMMER 2014 ISSUE 21
Publisher: VELUX Group, Michael K. Rasmussen
VELUX Editorial team: Per Arnold Andersen,
Christine Bjrnager, Lone Feifer
Editorial & creative advisor: Torben Thyregod
Editor: Jakob Schoof/DETAIL
Photo editor: Torben Eskerod
Art direction & design: Stockholm Design Lab
Per Carlsson, Christopher West, Bjrn Kusoffsky
Translation: Sean McLaughlin
Proof-reading: Tony Wedgwood

Print run: 25,000 copies

ISSN 1901-0982
The views expressed in articles appearing in
Daylight & Architecture are those of the authors
and not necessarily shared by the publisher.
2014 VELUX Group.
VELUX and VELUX logo are registered
trademarks used under licence by
the VELUX Group.
E-mail: da@[Link]
[Link]
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THE DEBATE
CONTINUES!
Dear Reader of Daylight/Architecture,
Schools of architecture worldwide educate competent candidates
who can hopefully fulfil everyones hopes for a satisfying and sustainable
future in their future careers. This makes architectural education
the quintessential factor in shaping our built environment; it was in the
past and it will continue to be so in the future.
We would like to invite you to take up the baton of a debate that is
being started in issue 21 of Daylight/Architecture. Feel free to join us
under [Link]/the-future-is-light and #futureislight.
Here are some initial questions for your inspiration:
What are your top priorities and key advice for future generations of
architects and other game-changers of the built environment? And
how do you see the awareness of natural resources including sunlight
and daylight in the architectural education and profession today?
Yours sincerely,
The VELUX Group.

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