DAYLIGHT & ARCHITECTURE MAGAZINE BY VELUX GROUP SUMMER 2014 ISSUE 21 10 EURO THE FUTURE IS LIGHT

SUMMER 2014 ISSUE 21 THE FUTURE IS LIGHT DAYLIGHT & ARCHITECTURE MAGAZINE BY VELUX GROUP FURTHER INFORMATION ON PP. 13–15 ON PP. INFORMATION FURTHER VELUX THE FUTURE EDITORIAL IS LIGHT

“Eternal though daylight may be in physical the future of daylight in architecture and how respects, it is ripe for redefinition as regards architectural education should develop to its cultural significance. The light of tomor- support its use. We have spoken to all previ- row will be shed upon a new architecture.” ous winners of the award, as well as repre- wrote Ole Bouman ten years ago as one of sentatives from the schools of architecture the first jurors of the International VELUX where the winners studied, and asked them Award for Students of Architecture. From about the changes and challenges that archi- modest beginnings in 2004, the award has tectural education is facing. They all agreed grown into one of the most important awards on one point: although architects today face of its kind worldwide, with the participation the need to acquire all sorts of specialist so far of almost 4,000 student teams from knowledge and technical skills, there seem to more than 60 countries. be a number of enduring virtues that make a From the start, the theme of the Interna- good architect. These include the ability to tional VELUX Award has been ‘Light of think holistically, the capacity for creative Tomorrow’. We are convinced that tomor- problem-solving and for teamwork, as well row’s light will be of natural origin, for noth- as the willingness to take on responsibility for ing can match daylight in its variability, our society and the environment. Further- dynamics and beneficial effect on human more, as the future – including the future of health and well-being. Over the years, the par- architectural education − is intrinsically ticipants in the award have developed thou- uncertain, students should be given freedom sands of ideas of how this natural gift can be of thought and freedom for experiments, and used in buildings and dense urban spaces, as be taught to ask the right questions before well as in the remotest rural areas. trying to find answers. Who – if not future generations of archi- In the months and years to come, we tects – could create the new architecture that would like to expand the discussion on archi- Ole Bouman calls for? And where, if not in the tectural education with all schools and teach- architecture schools of the world, should ers, with the international organisations aspiring architects learn the skills to redefine involved in architectural education, and with the state-of-the-art in architecture, to create all of our readers. healthier, more people-friendly and more sus- The dialogue on daylight and its signifi- tainable buildings? cance in architecture will also continue this This issue of Daylight/Architecture cele- year with the sixth edition of the International brates daylight – and the thousands of bright VELUX Award. In June, an international jury reflections and ideas from students from all will select the winners and honourable men- over the world – and embarks on a conversa- tions of the 2014 award; their names will be tion about the future of architectural educa- announced and award presentations made in tion. We start this dialogue by looking back October. Look out for the results on iva.velux. at the ten years of the International VELUX com – and be inspired to participate in a Award, recapitulating some of the discus- future edition of the award if you are yourself sions among jurors and the issues that have a student or a teacher of architecture. been raised by the students in their submis- sions. This is accompanied by images from Enjoy the read! some of the award-winning and honourably The VELUX Group mentioned projects from the last ten years. The second part of the magazine discusses

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ISSUE 21 JURORS AND 4000 BRIGHT IDEAS TEN YEARS OF LEARNING FOR THE A WORLD OF THE DEBATE CONTENTS PARTICIPANTS DAYLIGHT UNKNOWN OPPORTUNITIES CONTINUES

The growth of the International VELUX With almost 4,000 submissions so far, What does the history of the Interna- At the end of this issue of Daylight/ Award in figures and graphics: from the International VELUX Award rep- How to prepare a new generation of Architectural education has to do tional VELUX Award tell us about the Architecture, we call for profession- 2004 to 2014, these pages present resents an almost inexhaustible col- architects for a future that is uncer- more than prepare young profession- significance of daylight in architec- als world-wide to continue the debate a list of all participants and jurors in lection of ideas on daylight and its use tain? This article discusses some of als for the labour market. But what tural education? And what trends in on daylight and architectural educa- the ten-year history of the Interna- in architecture. This article presents the premises: give students freedom precisely are the requirements that architectural education are reflected tion on the Internet and on Twitter. To tional VELUX Award. a collage of some of the most inter- of thought and experiment, teach architecture schools must live up to? in the submissions? At its tenth an- carry the issue beyond the pages of esting projects and recurring themes them to take on responsibility for so- The former winners of the Interna- niversary, it is time to trace the de- this magazine, we are addressing all that the students have dealt with. ciety in general, and provide archi- tional VELUX Award, as well as their velopment of the Award so far, and tectural education with a value base. professors and the heads of school of our readers with a letter. recapitulate the most interesting dis- where they studied, discuss this ques- cussions among the jurors. tion in their statements.

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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2004 2006 2008 2010 2012 2014

JURORS

Glenn Murcutt Kengo Kuma Hani Rashid Nathalie de Vries Álvaro Siza Vieira Craig Dykers Architect (Australia) Architect (Japan) Architect, Asymptote Architecture (USA) Architect, MVRDV (The Netherlands) Architect (Portugal) Architect, Snøhetta (USA) Craig Dykers Róisín Heneghan Enrique Browne Momoyo Kaijima Brigitte Shim Róisín Heneghan Architect, Snøhetta (Norway) Architect, heneghan peng architects (Ireland) Architect, Enrique Browne & Associates (Chile) Architect, Atelier Bow-Wow (Japan) Architect, Shim-Sutcliffe Architects (Canada) Architect, heneghan peng architects (Ireland) John Pawson Omar Rabie Eva Jiricna Will Bruder Peter Stutchbury Magda Mostafa Architect (United Kingdom) at the time MIT student (Egypt) Architect, Eva Jiricna Architects (United Kingdom) Architect, Peter Stutchbury Architecture Architect, American University in Cairo (Egypt) Architect, Will Bruder + Partners (USA) (Australia) Ole Bouman Douglas Steidl Huat Lim Catherine Slessor Magda Mostafa Architect, at the time editor-in-chief Architect, at the time AIA President, Architect, ZlgDesign (Malaysia) Juan Miró Editor, Architectural Review (United Kingdom) Architect, American University in Cairo, of Archis (The Netherlands) appointed by UIA (USA) Architect, Miró Rivera Architects (USA) Francis Nordemann appointed by UIA (Egypt) Per Arnold Andersen James Horan Per Olaf Fjeld Architect, at the time president of EAAE (France) Architect, VELUX Group (Denmark) Stefano Musso Per Arnold Andersen Architect, at the time president of EAAE (Ireland) Architect, at the time president Michel Langrand Architect, at the time president of EAAE (Italy) Architect, VELUX Group (Denmark) of EAAE (Norway) Ahmet Gülgönen General Manager, VELUX France (France) Jesper Salskov Jensen Architect, appointed by UIA (France) Massimo Buccilli General Manager, VELUX Denmark (Denmark) General Manager, VELUX Italia (Italy) Michael Pack At this time General Manager, VELUX Germany (Germany)

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Gloria Kilanda Martin Javier Chirnicinero Florencia Valentini Salomón Escobar Matías Casci- Otta Maria Clara Alessi Sergio Luis Juan Angeles Arena Mariana Pagli- Arulo Ariel Gualtruzzi Delfina Prause Mauro Aparo Enrico Zanuso An- Tonela Lucía Mostacero Andreasdraxl Maja Brtan Alexandru Dan Rafael Hintersteiner Kristopher Hammerberg Elena Batueva Dawid Wolosiuk Milena Vucko- Vic Ben- jamin Dietmann Christian Szalay Paul Pritz Moritz Liska Tatsiana Mantsevich Julia Sitkevich Svetlana Artamonova Liliya Shutova Natallia Raksha Tatsiana Mantsevich Thomas Stroo- Bants Ruben Castro Brandon Stern Veronica Lalli Theodore Oyama Jean-Denis Thiry Thomas Maisin Xavier Durvaux Boris Lebrun Clément Kastelik Louise Claerbout Adam Kaptur Mathilde Marique Charlotte Cartier Maxime Verbist Aleksandra Beneva Justine Bonhomme Mélanie Hoogewijs Kenan Guzel Maxime Waroquier Ilenia Dimos Gallot Magali Karrel Koke-Miezi Luigi Marci Maxime Smet Antoine Dutat Lu- dovic Masullo Simon Wuilmart Margarita Lemoni Lefki-Laoura Dimitriou François-Xavier Van Damme Thibaud Leuow Michael Lequeu Martin Vandevoorde Florent Schoennagel Gunhi Boar Silva Bat- icam Jonathan Böttcher Vincent De Trazegnies D’ittres Boris Alzas Oana Grecea Alma- Dia Preda Oana Rupacici Olivia-Maria Joikits Bapam Baticam Bapam Baticam Alexandra Paltineanu Nicolas Tzimakas Nassim Zenati Lam- Bert Moiroux Dana Ardelean Alexandra Paltineanu Manu Simon Maïté Oldenhove Simon Verstraete Laura Schmitt Giulia Tossani Sophie Vico Caroline Papi Sebastionao Barbieri Christophe Snoeck Marie Hecq Emeline Borlon Donatienne Boulanger Arn Huyge Anne-Laure Cleere- Mans Simon Vander Borght André Chami Emilie Willain Colin Deconcin Francois Denis Amar Hromo Dženis Avdic Ena Kasumovic Armin Hodo Rafael Baldam Fernando Shigueo Nakandakare Isadora Magdalena Aranda Diogo Alves Gouveia César Tivelli Martini Willian Lima Deyverson Paranhos Antonio Brandão Murilo M. 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Wang Yingbi Yin Qin Wang Yi Yang Xiaoyu Zhang Xin Ji Lian Zhai Siqi Zhu Dian Wang Yan Dong Jie Huang Xu Zhang Zhiyuan Li Yiwen Ruan Haohui Xian Yingying Jin Jing Luo Xingyun Peng Zemin Li Rongbo Hu Zeyuan Liang |Jingli|Xiaoranliu|Nianliu|Ningshajia|Rungulin|Meizhang|Yuan Jin Xiaoyu Yuan Bo Zhang Xinyi Wang Nan Lei Min Choi Yexin Xiong Qi Zhen Zhongwen Chen Shaokang Lin Shuxu Chao Wang Hongyu Yin Dongyu An Tingting Feng Tan Ke Wenxiang Wu Jia Nan Sun Zhanou Zhang Jiangshun Sun Boboan Li Zhiqiang Yang Zhongming Shi Can Chen Meng- hao Li Guanda Li Kaiyu Peng Wenkui Wei Kaida Chen Xin Huang Zhenhuan Xu Bicen Yue Xueying Gao Yiting Shen Nanjue Wang Zhigang Huang Liman Wei Xiong Tian Bingbing Man Jie Dong Xin Li Si- yuxiao Tao Zhe Feng Yujie Qian Huiling He Yutong Wang Yimei Lu Yongliang Zhu Han Yue Xiaoyu Gao Hanxing Zu Wei Wen Yina Dong Zhao Gao Tianchi Chen Dexiao Zeng Xinyang Li Chao Liu Haoyuan An Zhaohe Xing Si Teng Zhang Yuxuan Sun Shuran Lu Zhaoqian Wang Lu Fan Yixin Liu Yafei Zhu Hang Lv Ying Guo Ye Zhang Lin Zhang Rong- Wen Du Hao Zhang Cheng Chen Guang Ruey Tan Lingfeng Pu Rui Li Zinan Zou Yijun Wang Xiuyuan Wu Zhuoqi Liu Wente Pan Rui Jian Xu Han Dongbo Han Bing Shao Ming Guo Yang Liu Ping Lu Yaolong Wang Ling Wang Yayou Xi Lin Zhiqian Wu Yang Cheng Jiang Yuan Ding Tian Chi Jianning Wang Wei Wu Yanfang Tian Ming Cheng Tuo Shi Yuyan Wu Yang Wang Jing Cai Ding Yu Di Wu Yi Hui Xu Boxu Dong Ying Zhu Meng-Je He Xindong Cao Yujie Wang Feng Wang Wei Han Wei Han Yu Miao Mingtian Luo Yue Tian Ge Zhan Zhaowei Ning Yaqi Li Xiang Du Xiting Fu Phay Long Xinyi Dong Yuan Yue Kaiyi Ma Yingsheng Zheng Yijun Zhou Wenmo Yang Manchen Xiong Zhao Ma Siyu Zheng Chen- Guang Li Yang Tan Shuoyang Wang Xiaoan Li Zhenru Zhou Dagang Qu Wang Yu Peng Li Wentao Huang Qin Yang Haoran Li Yuda Zhang Daoguo Lin Yan- fang Wang Chujun Fan Xiaoman Yi Fenian Wal Zhuang- Zhuang Song Ruiqing Li Pengfei Du Yun Wang Wenkai Wang Guangquan Wu Siyu Liao Yilin Sun Hengzhi Liu Xin Yang Xiang Liu Xiaoying Ding Yue Zhao Shuguang Dong Yiran Meng Ruichao Li Jian Xv Han Xv Yingchen Liu Yuefeng Xiao Renji Yuan Shaosheng Zhong Yichen Fang Lei Wang Dan Lin Wenrui Wang Guo Tian Wenguo Luo Xuefeng Chen Xiaohong Lin Junling Yang Yang Du Jingrui Lin Fei Li Jie Liu Shumin Luo Qi Xu Tao Cao Nanqi Ye Yongming Chen Ding Zhang Siyu Zhou Taiyu Chen Ke Xu Shutong Qu Lv Ningjue Li Xueyan Man Zhu Hanze Yu Xiangyu Jing Xin Min Weishi Wang Yan Jiao Chaoyi Wang Xin Li Hongjun Fang Ying Jiang Xiheng Liu Xuefeng Zhou Piaoyi Wang Bei- Yang Duan Jingjing Zhao Yan Zhang Xiaodong He Xiangyu Li Qing Feng Xin Qiao Siyuan Han Yidi Xu Jingyang Liu Yiwei Gao Zhiqiang Huang Jinlin Liu Peng Fan Mengying Wen Yuxin He Runzi Wang Fanglin Liang Yue Wu Zhe Qing Yan Wang Lin Lu Xi- aodong Hu Jiayang Liu Hui Pan Minhui Li Jun Su Hani Shin Junqin Lian Dongbai Song Bo Zhuang Lifeng Lin Sun Li Qisi Jiang Yi Gu Xiaoxi Li Huanyu Wu Cehao Yu Wei Xu |Yi You Yubin Xu Liangshu Li Long Zuo Kun Li Ke Song Jie Liu Lu Weiying Lu Meiting Lu Shou Feng Yan Sun Rui Wang Yue Zhao Wenyu Liu Zemin Li Haoxi Zhang Jing He Ziqiao Zhou Shuling Lin Yue Ma Qi Chou Shiyu You Boyao Jiang Yujiao Wang Ziyi Wang Rongwen Du Hao Zhang Weiguang Yu Cheng Chen Yimang Guo Yankai Liu Baihe Cui Danhong Ma Jijie Lu Yuxin Zhang Peiyu Liu Fengming Ding Zhiwei Wu Yingchen Liu Aidi Ma Xiao Huang Bowen Zhu Hongchuan Zhao Wen- Yun Qian Xuyuan Yao Chunxiao Wang Mengxiao Song Zhengneng Chen Xingchen Lu Cheng Chen Weiguang Yu Rongwen Du Hengyang Jing Li Jin Hongmo Yuan Yan Xu Zirui Qiu Zhezhen Zhang Qiuying Sun Zihan Wang Zhuang Guo Hongyi Zhong Weitao Wang Jiayang Wu Xinghua Hu Sun Haochen Xuan Li Fan Gao Yuanyuan Ha Yumeng Huang Man Qing Lin Lu Ying Shuai Jia Qi Xu Xiu Ya Pan Qiran Zeng Mengze Xu Yijun Zhu Bingjie Zhang Mingyang Li Jianxiang Xu Xuesong Wang Lin Ma Yanxia Li Yongkang Liu Jiani Song Ji Qi Yayun Zhou Yannan Chen Xuesong Wang Xiao Shao Jianxiang Xu Guanxi Huang Chen Qian Renlong Cui Tianze Yu Ren Wang Li Lin Zeying Yang Youwen Xu Tianxun Yi Zhixin Zhang Linli Fu Deyu Zhang Yao Lu Qixiang Qin Jingyi Zhao Yiming Cai Bo Zeng Yang Sihang Li Yuqun Zeng Liang Zhuoxin Fang Yibo Fu Ziyue Zhang Zhengmeng Dong Lifu Yao Tianying Lu Yang Shen Yuwen Shen Cheng Wan Fei Su Chang Lv Ming Zhao Wen Tu Chao Zhu Zezhong Yu Lu Fan Yanyan Zhao Shunmin Peng Ziqi Fang Yuqian Li Shasha Sun Fan Liu Yanzhen Pan He Qiuping Yanzhen Pan Qiuping He Fan Liu Yu Chen Xiang Jianfu Xiao Zhang Jia Li Xuening Li Xun Yun Fei Lu Li Zhang Li Xia Yuan Yang Chunqi Fang Jiayu Wei Yawen Hui Baodan Xu Lulu Zhou Zhao Wang Bo Liu Dan Xu Ce Wang Yangdi Wei Fangdong Pan Dongwan Xie Bei Zhang Wei Zhu Xinyu Zheng Luxin Cao Huilin Luo Jing Xu Zifei Yang Han Gao Shilin Han Ma Shun Zhou He Qing Jiang Qinying Li Xiao Wang Linxi Luo Yilan Tao Jing Chen Tianchi Zhang Yuanyuan Guo Duan Fu Huan Hu Siliang Chen Haochen Qi Yu Meng Tengxiao Liu Ran Xiong Die Hu Kun Song Caiquan Li Miaoran Hu Luheng Xiao Yix- Iong He Han Ren Zhuohui Tang Yiwen Luo Hanshu Zhang Minhan Liu Ruojing Niu Zhu Jun Xiang Guan Wen Li Pan Pan Qin Zheyu Shen Da Xu Mengwei Liu Mei Hu Libo Pan Xiaolin Li Yaoguo Su Jun Chen Guo- Dong Ding Haizhou Luo Wang Jue Lu Qianyu Xu Zhiyao Anqi Yu Yijie Wang Xin Li Xiaoqiang Geng Ying Tang Yao Wang Xiaoqian Lu Die Chong Lulu Chen Jing Wei Liu Yongli Chen Qianxin Deng Shuaiyi Chen Bin Bin Ma Mu Yang Wang Dai Min Fei Peng Cheng Shi Fengdan Zhu Yanyi Zhang Bingyu Zhu Lanjun Xu Yulong Tian Shuaiqi Hua Pengpeng Wang Chuchu Feng Chuchu Feng Mengyi Cao Boji Hu Yang Zhao Jiajun Li Meng Zhu Shuang Wang Guang Yang Rongxin Sun Suyuan Zhang Jieyang Chen Yingchao Wang Cenhong Gao Yuyang Ding Qiu Ling Chen Junyu Li Song Wang Shuang Ji Yang Lu Jin Mei Wu Meilu Zhang Di Zhu Qun Zhou Me- ijuan Zhou Xiaoyang Xi Huilv Yan Xin Zhao Yingwei Wang Le Zhou Yue Yuan Huiting Yao Shuwei Cui Zhimin Yuan Yaqiong Zhuang Zhuoran Zhao Xinyu Bai Tingjie Xiang Yanqing Wang Chenyu Zhou Zhimin Yuan Lingci Cai Yinuo Zhao Zhen Jia Qiaoyan Xi Jiankun Sun Yuhua Wu Yan Zichang Huang Yun Chen Weibin Ying Zhang Yun Lu Bingtian Wang Rongling Liu Yuye Lian Shengnan Gong Yuhong Cheng Jian Song Boya Yu Hongqiao Lu Jie Yu Hao He Chen Liu Yide Ren Qingzhao Wang Tian Bao Xuexi Li Chong Zuo Xuefei Peng Mengqi Hu Li Liben Yue Wenkun Zhang Liang Zhi Yun Li Qianyun Xu 686 SUBMISSIONS 673 SUBMISSIONS Zhurong Qian Susu Chen Xiaoxiao Ma Muge Wang Lin Tong Yingya Liang Haochang Yu Hongran Xu Meng Cui Suyao Liu Ping Li Junyu Li Xixi Chen Yue Han Bo Liang Liu Pengfei Du Shaoyin Shu Yajun Wang Qin Sizhi Huang Haiyang Lei Ting Hao Tian Lishuai Dong Li Chen Wangshu Zhou Huijin Zheng Yan Chen Zhaoji Luo Bosen Li Anyi Zhang Fangfei Liu Zhenlong He Yiling Jiang Yanzhi Jiang Jiuhan Chu Lan Lan Qiushi Li Ding Lv Wang Shan Yi Juling Yu Jun Tao Wei Jiasi Zhong Xinzi Chen Tianle Yu Anni Pan Jiabao Chen Lulu Fang Di Dong Wei Deng Yidan Li Weiqi Yin Shu Xu Min Zhou Huiping Xiao Peijie Zhou Yixi Wang Wenlei Li Liai Zheng Yixuan Liu Tianyu Zheng Qiuping Tang Mengxiao Qi Qi- Uping Tang Liu Qian Duan Ni Jie Xie Shixiao Zhang Boyuan Zhang Manqi Hong Yueming Zhao Xiaoyu Xu Bin Li Tianhao Lou Xingyue Chen Xiaowen Zhao Hanshu Zhang Minhan Liu L Etian Yu Fengming Ding Peiyu Liu Shangfeng Li Xincong Xie Lian Wang Qiang Ling Chu- Han Qin Liang Xuech- eng Zhang Chi Tian Yi Han Tian Yi Han Xi Jie Ma Jian Ping Luo Shao Xuan Zhou Shi Wen Su Rong Wu Xi Xi Sun Bo Zhu Wenhao Qiu Jun Xu Hongwei Zhao Ying Jiao Bao Jun Chi Gu Guan Ting Cao 46 COUNTRIES 55 COUNTRIES Mengyuan Liu Xuan Wei Zeyuan Zhou Qian Duan Ruiling Kang Zhu Fengchao Ranran Zhang Xiaoli Chen Qingsong Han Yiqing Bai Zi- Yuan Chu Naiji Tian Cheng Wan Fei Su Ming Zhao Wen Tu Chang Lv Yuhai Cheng Xiaoyang Liu Teng Xing Minyan Wu Renjie Wu Jie Zou Wee Tsang Fanyi Kong Shuai Liao Jie Huang Zhengjie Jiang Kaiyu Xi Wei Shi Quanfeng Li Teng Li Zhenyu Na Gejin Gao Chen Kai Hu Ziyan Sha Shiqing Liu Zhang Zhang Zihe Deng Qi Zhang Shuo Li Shan Wang Xinwei Xu Jian Song Xiaoya Liu Tongqing Zhao Liyan Wang Pingping Huang Yanping Chen Chao Liu Jun Yan Ruoxi Meng Xihe Tian Yifang Liu Tao Zhou Hou Congsi Huang Zijian Yang Xu Shuhua Chen Jieying Ruan Yinyin Yao Xiuyuan Zhang Yuanjie Lai Ben Sun Yonghui Chen Xin You Mengxing Cao Zhuangzhuang Song Mengxing Cao Yue Yang Naiyu Zhao Shangwen Chen Cai’er Huang Chen Hu Gang Liu Mengjie Liu Yuze Ao Quan Chen Weiqiao Wang Yiqing Jiang Jingze Liu Ao Li Rui Gao Sida Zhang Shengyao Li Ling Zhu Wenfeng Chen Zhibin Liao Chu- Run Lin Zanke Huang Shuyue Huang Tong Liu Weihong Dong Daying Xie Yue Wu Zuoda He Xinrun Li Yu Zhang Hongxia Zhang Chang Xue Huang Yuan Yi Yue Li Guanghui Luo Xingyu Xi Xiaodong He Jingjing Zhao Beiyang Duan Yan Zhang Xuechuan Geng Yi Ding Chengjun Zhu Suihao Zhen Chuyun Chen Bingwen Ye Jiawei Xian Di Huang Yu Huang Wei Tang Matias Miguel Gabrielloni, Mariana Mabel Maldonado, Justo Ezcurra Floren- Cia Eliseo, Alejandro Nervenga, Cecilia Vignolo Eduardo Merta, Matias Scaf- Fidi María Noelia Mattio, Mar- 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 Tianbo Liu Pengyu Pei Jingyi Lee Xinyi Xu Wenbin Wen Yao- Fei Zhu Meijie Ji Wenzhi Huangfu Heng Tang Tetsu Tsai Linshi Law Shen Xu Chenyang Lv Dong Liang Yuanzhi Lv Shen Xu Peng Jin Yong- 557 SUBMISSIONS tina Rosa Mediza Facundo Monteros, Monica Martinez, Julia Villa, Matias Blanch Carlos Alberto Beghetti Puebla Lionel Campos Mrina Lia Viñals, Marco Nicolãs Banco, Maria Paula Vil- 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 Se- Ming Chen Zhiming Cui Zhen Wang Mingwei Sun Chong Wang Xincheng Zhuo Yilin Qiu Yao Xiao Haoyu Chao Xin Wen Ke Zhang Xuejiao Hu Shuo Zhou Junfeng Mao Jiaqian Liu Zhenyao Liu Peng Cao larroel Romi- Na Daniela Chaveros, Gloria Virginia Montiel, Gabriela Yasmin Jirala, Gonzalo Dutto Jaime Castillo Rodolfo Luciano Martin David Zalazar Carlos Alberto Beghetti Puebla Jung bastián 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 Guanjin Chen Suya Liu Meng Zhang Sheng Xu Yiyuan Li Liang Wang Rihong Chen Qianping Lao Xiahang Liu Xiao Ma Yuxuan Zhang Peixin Xu Yi- Qin Zhu Bin Jiang Tenghan Zhang Haiting Ye Heng Cao 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 Wyffels Darlea Liviu Émilie Deby Francisco Javier Roman Martinez Fulya Selcuk Katarzyna Lipinska Laurent Temmerman Martijn Bayens Miodrag Popov Piotr Matuszek Samanta Mircea Ser- Dar Koroglu Carlos Selaya Hao Zhang Jing Zhang Huawei Yang Yongxu Zhang Yuze Liu Guangyue Cao Haoyi Chen 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Torrent Laura Tur Iván Valero Fernández Iván Valero Fernández Javier Subira Ana Maniegas Lozano Carlos González Vidal Angela Juar- Ranz Sergio Del Castillo Alberto Rivas Panizo Aída García Pinil- Sofia Lagiou Balázs Szirmai Attila Makay Attila Bujdoso, Ildiko Bujdoso Fajcsa'k De'nes Balázs Baranyai Zsolt Fézler Bala'zs Turai Orsolya Maza Daniele Piludu, Matteo Pace Francesco Garutti Emanuel 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, Abad Acuña Garcia, Enrique Cantu Davila Benjamin Moreno Raquel Corney Rasclosa Gumersindo Freire Lopez, Nuria Balboa Rodriguez, Gumersindo Freire Lopez Arnau Sempere Albert Andree Demoulin Davide Scordio Etienne Vincent Bard Fabio Tammaro Franziska Eggenberger Gabriel Pinto Gilles Stolz Amandine Marie Suzanne Pinede Gianna Leder- Mann Jeremy Benjamin Courvoisier Rodriguez los Santi- Ago Pelayo Miguel De La Ossa Roberto Vidiella Pablo Vidiella Arnaud Picavet Agathe Monnet Marc Anglada Marina Morey Rubert Óscar Na- Tividad Puig Sara Ferreras María Carrillo Ibáñez Pozzoni, Amalia Siriana Vivian Argon Islami, Albana Rexhepi Baiba Bekere Lina Ruskyte-Lukoseviciene Mindaugas Staniúnas Mindaugas Butvila Nils-Anders Gjulem Kristine Langfeldt Wessel Kwang 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 Isaac Mayor Molina Josep Iglesias Reixach Carles Cabratosa Vidal Jordi Grau Carreras Roberto Lebrero Jaume Farrés I Ca- Ballol Pía Alejandra Galvez Lindegaard Annabel Mora Encinas Oscar Sampayo Nicolas Senjaric Johannes Magnus Nickl Konrad Brynda Las- Zlo Blaser Leo Paul Dadolle Loic Marguerat Lorenzo Donati Lukas Ingold Medina Imeri Melody Celine Gugelmann Micha Gamper Michael María Sánchez Fernán- Dez Elena Martínez Lamata Mariano Tomás Fuster Yolanda Herranz Igle- Sias Iago Romero Ogando Andreea Roxana Ilies Joanna Głuchowska Óscar Rodríguez Álvarez Adrián Wook Ryu Eivind Nygaard Erlend Torkildsen Claes Heske Ekornås John Christer Høiby Nils Ole Bae Brandtzaeg Caroline Marie Damhaug Mateusz Stolarski, Aleksandra Zdziechowska Tomasz Szczepanik Benito, Mario Pablo Santiago Rodriquez Bravo Concepcion Perez Martin, Nieto Santamarina, Cesar- Tascon Lopez, Jabier- Fernandez Fonseca, Laura- A Arrieta Berdasco Valentin Sebastian Martin Karin Sterner Marie Löwenherz Niall Ó Muiré Cheng Joey Maria Söder- Ström Anette Eriksson Ida Stavenow Lauren Field Gabriel Sorensen Megan Reilly Annette Beier Jun Wen Chau Jer- Mader Misel Bozic Mohamed Ahmed Morina Shkurte Musolino Samiel Ole Bühlmann Romain Delacretaz Rujun Jia Sebastian Bietenhader Simon Marius Zehnder Sokol Salihi Shahrooz Zarei Ludovic Maillefer Stefan Capelo Cruz Rebeca Juncal Rosales Juan Ramón Cárceles | Albert Mercader | Natalia Vera Patxi Martín José María Martín Jaime Diz Ursicino Endaman Nsé Astrid Guerrero Albert Colom Clara Crous Adam Radzimski Dagmara Turska, Rafal Witusik Barton Rusztyk Zofia Sobolewska Marcin Pilsniak Liliana Krzycka Anna Nowacka, Katarzyna Turbiarz Marcin Rok Mariej Jaroslaw Slowinski Mariusz 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 Cer- maine Elin Adolfsson Jiayi Hong Wang Xinyu Suzanne Nicol, Pamela Padruno, Laura Cormos, Nata- Lie Bell Jonas Marculescu Flynn Lewer Tanja Kühberger Hoy Tvete Nina King Lim Chou Meyer Stephan Fluehler Theresa Behling Tobias Trachsler Verena Stecher Veronica Mendes De Carvalho Hosam Adden Fael Amévi Sarah Dzidzonou Arnaud Bado Manou Apélété Agbogbe Fleurice Ingoule Mounguet Bissi Anna Bassach Laura Plana Cesc Baquer Marc Comas| Carles Sanchez Miriam Soler Laura Rodrigo Jordi Collell Juli San- Juan Saghi Khajouei Andri Reynisson Mahdis Aliasgari Hyunah Gong Lalio Penev Nowak Anna Gawronek, Izabela Pielesiak Monika Dziadosz Jakub Manek Aleksandra Sabramowicz Tomasz Berezouski Mateusz Januszeeski Beata Kosok, Anna Wilk Urszula Kijek, Adam Rzeszotalski, vera, 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-Inés, José Antonio Xavier Botet Campderros Sofia Olim Daniel Hernandez Canut Nirmit Jhaveri, Ilze Kundzina, Magali Mendez Anna Klockare, Julia Hansson, Johanna Brandt, Wilken Behrens, Orlando Fidèl-Léger Messie Djibril Ma- Reini Ayse Gizem Demir Bengi Yildiz Cakir Can Ozan Cansu Yalniz Cem Erman Gencay Cubuk Gizem Ertas Kerem Sadikoglu Mustafa Umur Özbir Nurgul Celik Ozlem Eren Rukiye Alkan Solmas Jakub Jílek Anne Klepal Stephanie Menard Hilde Vinge Fanavoll Sareh Saeidi Derakhshi Kersti Miller Yong Xiaocen Martin Richli Michael Beck Sev- Erin Walpen Martin Tessarz Sebastian Felix Ernst Mikolaj Wower Justyna Maria Dawicka, Agnieszka Anna Konca Krystian Nawrocki Paulina Korkozowicz, Joanna Jarczewska Iwona Kleczaj Karolina Rosinska - Stochaj, Agnieszka Sowinska Alicja Bed- 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 Björn Marques Dorukalp Du- Rmus, Theofilou Aris Konstantinos, Simone Rembaudengo Kajsa Björklund Karina Rössner Luca Perna, Markus Abegg, Thomaso Triulzi, Darius Strasky Huibiao Wu, Firat Tolga Karakayali Veysel Acikel Yildirim Yazgana- Rikan Yilmazkaya Serkan Alex Hobday Alkaios Michail Andrew Green Brion Basha Emi- Ly Davies Emma Lingard Ramsbottom Gabriel Sorenen Graham Hogg John Sven Rickhoff Ge Men Bo Li Mirella Mascolo Samuel Métraux Nadine Jaberg Michael Omlin Tzu-Yi Chuang Bo-Ju n Wu Chin-Yi Cheng Shiau- Lan Chiou Yuying Yai Chih Hsuan Li Luli Wang Is Il Karabu- narczyk, Tomala Malgorzata Szymon Jawor, Przemystaw Fojcik Luis Reis Pedro Ribeiro, André Bessa Ricardo Jorge Sonia Maia, Maria Joáu Costa Cláudio António Carmo Reis Andrea Fragoso Serban Förstberg, Ling, Mikael Edvin Bylander, Ruthblad, Jonas- Wolfe, Jonathan Omar Garcia, Prosch, Jurgen Carl-Johan Omert Johan Lönn, Weser, Niklas Cecilia Nilsson, Elin Algotsson Sofie Gyllving Karl 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, Brown Katie Cheng Pol Gallagher Rachel Jane Bremner Rui Liu Sean Edwards Thomas Edward Powell Tina Tian Qiu Yakim Milev Abdulaziz Tawfeeqi Adam Wilson Alex W. Willis Alexander Chin Ali Karimi Amir Safvat An- lut Meric Altintas Idil Malgil Gorkem Gunay Ece Konuk Ece Comert Anıl Salar Selen Ergör Neval Tarım Gülbiye Hacıog Lu Ihsan Emre Turhan Caner Soyer Deniz Belevi Oleksii Gertsev Andrii Bielov Olek- Cálin Spanu, Anda Teodora Otel Dragos Horia Buhociu Andra Maria Pop Ksenia Boksberg Nadezhda Melennaya, Alexander Gupalov Ibia Ekonomov Alexander Demin, Svetlana Danylova Svetlana Choum- Johan Kolmberg, Lundqvist, Magnus Daniel Persson, Appelbäck, Tobias Halil Ibrahim Can Burcu Arkut, Gursoy, Selen Noura Al-Baloushi Khasiba Obaid Cyrill Komarov Mykhaylo Karnaukhov, Besarab 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 Al- ahid Sargsyan Andrew Nelson Andrew Petty Andrew Steinweg Anna Chifala Anna Mate- Jczuk Ben Lee Benjamin Gillie Bo Mi Kim Bobby Barrett Brayton Orchard Brian Barnes Brian Giebink Bryce Na Carissa Smith Carla sii Gertsev Roman Kryzhanivskyj Svyatoslav Babiy Dmitriy Zhukovskiy Peter Chrien Charlotte Balmer Matthew Hopkins Philip Buckingham Junshen Pan Jie Shen Emily Davies Philip Leighton skaya Semyon Gennadievich Starikov Andrey Ur’evich Paul Mazin Marko Petrovic, Tamara Popovic Vesna Pušara Mladen Koprivica Tomáš Amtmann Martin Reznik Erik Kocka Matej Grébert Pavol Drela 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 Ana- exander Tochtermann Mikael Ling, Björn Förstberg Michael Smith-Masis, Maria Mena, Lucy Quelares, Ekachai Sophonudomporn Olga Vlagkouli Natalie Jane Hewitt Thanh Van Tran, Wing Landa Casey Mcgarry Chris Newell Christopher Crowe Chun Ting Tsai Colby Suter Colleen Mcginnis Daniel Beeker Daniel Fragakis Daniel Nguyen Daniel Nielsen David Cerny David Odom Davis Dang Demetria Nelson Do Michail-Karolos Keranis Margarita Koulikourdi Vasileios Chlorokostas Betty Shreve Ratima Suwanrumpha Mengdan Liu Yuxiang Luo Jimmy Vo Henry Chi Igor Kitsen Jared Barrios Jonghoon Kim Jial- Vozef Bator Michal Mihaiák Zuzana Jacková Peter Kotvan Katarina Ciglanová, Miroslava Gasparová Igor Šarocký Emilia Mindeková, Tatiana Hubová Zuzana Knazeova Igor Kyselica Gabriel Noga Peter stasia Karandinou Mohammed Amine Benoudjit Stephen Robertsson Eric Dauis, Katarina Joachym Helene Sorret Daniel Herzberg Mcfarland Sylas Villegas Carlos Moore Joseph Nguyen Cuc Kipper- 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 Yeon Kim Do Young Chung Duy Nguyen Eileen Gottemoeller Elizabeth Miraziz Emily Carr Emma Chinana Erika Rasmussen Frank D‘andrea Galina Zubatov Giovanni Grant Grace Vicuna Han- Nah Austenfeld Heather Rob- iang Wang Shao Lei Chao Sun Jeremy Spates Mark Bailey Jason Westhouse Kathryn Thompson Kate Armstrong Bo Zhang Dong Jin Nan Yu Bess Kriete- Meyer Vinh Chau Kim Nguyen Nguyen Hansol Štucka Juraj Cisarik Miroslav Šurka Tomas Hál, Peter Gonda, Juraj Siarnik, Martin Comor, Jaroslav Sugár, René Dlesk Casany Estrada Marc, Francesc Baqué Ramis Daniel Martinez Diaz Javier Moreno man 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 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 erts Hina Hameed Hugo Trevino Ignacio Martinez Igor Avelichev Ikuko Ihara Jack Gryczynski Jacob Peel Jae Hyun Park James Janke James Underwood Jamie Gay Jason Marshall Jennifer Kilpatrick Jialiang Wang Jimmy Park Junrui Wang Intiporn Rojanasopondist Huy Dao Michael Matthews | Caitlin Turski Fei Yang Jeff Taitano Jared Ramirez Hosne Sufian | Cody Carew | Traci Baumann Jorge Parra-Tozcano Bryan Pliez Del Ojo, Miguel Guerrero Pinar Jesis Torres Garcia, Francisco Daniel Munoz Garúa Carmen Fdlz-Caballero Olhando, Nestor Marco Montanana, Angel Miguel Pérez Mesa Natalia Ibanez Enrique Vizuete 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 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 Miller Jodie Schiro Joe Carey John Nelson John Westell Jonathan Abplanalp Joo Hyung Oh Joseph Koon Josh Mings Jung Eun Lee Justine Ala Karen Miller Karyn Sealy Kate Renner Kendra Gaul Kristen Steinhoff Kwon- Noah Kelly Tran Pham Camden Wade Jose Bernal Iuliia Fomina Alex Rios Chris Meek Steven Duncan Jonathan Choe Andrew Fu Wen Sean Shuping Liu Ben Widger Alvin Mendoza Casey Mclaughlin Albaladejo, Garrote Raquel Martin Luis Miguel Ramos Castro Hyung-Sup Soh Svenja Hörtdörfer, Jenny Keller Emilia Maria Duda, Moghaddam Golrang, Roman Calzaferri Jong-Jin Park Karin Thalmann 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 Gareiss, Marisa Zambuto James Stoddart Bongkun Lee Christa Currea; Daniel Currea Maacaron Sandra, Merve Sila Karakaya Roxanna Viray Jacek Mantykiewicz Gerome E. Mcfarlane Ger- soo Kim Lance Hassani Lanthao Nguyen Liz Kivel Loretta Romero Magdalena Landmann Maggie Lee Manon Tardieu Maria Reamy Matice Iverson Matt Brown Matt Everett Matt Kuhn Keith Appleby Yeonghee Jung Mat- Wiktor Czechura Tao Yan Audrey Plummer Phil Bruno Brian Simmons Justin Wallace Christopher King Megan Ackerman Keyan Rahimzadeh Dawn Riley Meredith James Keyan Rahimzadeh Dk Lee Te Gideon Hartmann Annina Ludwig, Martin Matter, Patrick Maisano Hasan Deniz Deniz Idil Erdemli Lusi Morhayim, Selim Ökem Hande Ünlü Nihal Kayapa Kerem Sürmelihindi Salih Oktay Uzumcu Hiläl 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 sain Calderon Michelle Devi Roberts Rosa Oro-Garay Gersain Calderon` Emiliya Yankova Seungteak Lee Victor Le Bourgeois, Foucault Tiberghien Ryan Reber, Lara Fling, Ryan Sarros Jin- thew Moreno Melina Car- Neiro Brandao Pereira Michael Cook Minhduc Nguyen Mollie Matthews Molly Bell Nam Joo Kim Niaz Peyrovan Nick Allen Nick Buehrens Nima Nikroo Nini Ye Noel Aguilar Parsa Parsa Patrick Qi Alexandra Peeples Viet Hoang Nguyen | Sarah Young Ariana Maes Katie Walker Daniel Torres Lauren Go- Lightly Wendell Montgomery John Zamudio Kamie Ulibarri Anh-Tu Nguyen Justin Depoy 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 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, tana Tantinirundr, Belle Tang Joshua Hemberger, Lau- Ren Lynn Juan Perez Lucas Chung, Ashley Murphy Reilly O’neil Hogan Chad Wleczyk Richard Hyun Soo Kim B. Star Davis, Travis Martinez Paula Davies Phil Prange Rebecca Shields Ripsime Hovsepian Rita Pljusznyin Roz Peyrovan Ryan Claus Ryan Nguyen Rygelle Elise Dowding Sam Faller Sane Shokat Moghaddam Sara Damiani Sehee Lee Seung Alexander Karadjian Kiril Dimitrov Haralampi Mirinchev Gota Miyazaki Sunggi Park Hyemin Jang Young-Tack Oh Zhexiong Chai David Losinski Randa Shamaya Joe Kuzich Sangwoo Lee Seongwon Son 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 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 Watson Ho Lee Zigurds Greivulis Soonyup Kwon Laura Wickesberg Samira Ahmadi Sergio Meneses Christopher Podes Yesenia Esmeralda Ospina Nicole Dodd Samuel Culpepper Teigan Hwan Hwang Shane Dean Siliang Fu Soonyup Kwon Stephanie Yao Zhao Stephen Fenelon Stephen Kaye Steve Handy Taeyeon Kwon Thomas Adduci Tom Vo Tony Kim Tyler Stephens Valeria Vizcaino Victoria Huntsman Haelee Jung Sofia Massobrio Nhat Huy Nguyen Anh Tuan Nguyen Viet Anh Nguyen Ngoc Anh Le Thi Tran Huy Vu Nguyen Thi Minh Thuy Nguyen Long Trinh Hai Quynh Nhung Nguyen Phong Le Ha Cuong 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 Tuan Nguyen Viet Hung Pham, Le, Xuan Bach - Le, Trung Kien Luong Le Dinh, Nguyen Tan Cuong Bui Huu Duy Tan Ann Nguyen Manh Tuan Vinh Chau Kim Nguyen Will Kelley William Duncan Zak Wiatr Ha Duc Huy Nguyen Quang Tuyeˆn Trˆan|Longbùi|Quynhlythuy|Tienanhle

4 D&A SUMMERSPRING 2014 2014 ISSUE ISSUE 21 21 5 FURTHER INFORMATION ON P. 13–15 ON P. INFORMATION FURTHER 4000 BRIGHT IDEAS

In almost 4,000 competition entries over the past ten years, the parti- cipants 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 sub- missions, and bring daylight where it had never been before. Within this vast collection of ideas, some themes proved to be parti- B5 cularly 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 Hon- ourable Mentions from the International VELUX Award.

A Daylight underground E Domestic daylight B Daylight and materials F Urban daylight C Adaptive building envelopes G Storing daylight. D Daylight and perception

Selected themes (further information on p. 13–15)

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B3 FURTHER INFORMATION ON P. 13–15 FURTHER INFORMATION ON P. 13–15 ON P. INFORMATION FURTHER

B4 A5

F1

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FURTHER INFORMATION ON P. 13–15 ON P. INFORMATION FURTHER SELECTED PROJECTS 2004–2012

DAYLIGHT The idea of this work is based on a either forming a continuous lumi- Lusíada de Lisboa (Portugal): UNDERGROUND hypothetical mudflow in the Swiss nous field, or tied together to form 3rd Prize 2008 A Alps that has buried a small village. suspended ‘light columns’ that F4 To re-create the memory of this set- structure the space. In his project for an underground A1 tlement, the two students propose to space underneath a city square, Dean Embodied Ephemerality: introduce over 700 acrylic rods into MacGregor uses natural light trans- Light-Form Architecture the earth. Above ground, their shape mitted by huge water tanks for illu- Reilly Hogan, Cornell University recalls typical houses from the Swiss DAYLIGHT AND mination. He said, “I wanted to show (USA): 1st Prize 2008 rural area. The same shape appears B MATERIALS that light can be seen as a physical di- once again in underground voids, as mension. The water […] stops the light This project converts an otherwise dull an image created by daylight that the B1 for an instant, refracts it to the inte- commuter space – the PATH railway PMMA rods introduce from above. Light as Matter rior of the space – and creates a body station near Ground Zero in New York Claes Cho Heske Ekornås, Oslo of light.” – into a visually stimulating and con- A4 School of Architecture (Norway): stantly changing environment. Day- Light mineral 1st Prize 2004 B4 light from above is refracted into the Hyung-Jin Choi, Jong-Won Lee, Redefinition of the skylight underground space by translucent Seung Kim, Do-Yub Kim & The first-ever winner of an Inter- Bin Jiang, Haiting Ye, Peixin Xu, glass surfaces that dematerialize the Doo-San Paek, Korea national VELUX Award, Claes Cho Yiqin Zhu & Tenghan Zhang, boundaries of the space and wrap the University (Republic of Korea): Heske Ekornås designed a museum Tongji Zhejiang College (China): interior with embodied light. Honourable Mention 2006 for the Korean video artist Nam June Honourable Mention 2012 Paik, embedded in a hillside. This ‘un- A2 “The more darkness gets darker, the derground landscape’ is delimited by Inspired by traditional Chinese pa- Beauty in the UnDaylightable more the vitality of light becomes undulating, translucent hollow walls per-cuts, the four students designed Yan Shi & Chung-Kai Yang, Delft stronger”, write the four Korean stu- made of polycarbonate, glassfibre tex- a skylight that simultaneously acts University of Technology (The Neth- dents about their project. ‘Light min- tile and rubber, which capture the light as a rooftop terrace, filters daylight erlands): Honourable Mention 2010 eral’ is a proposal for bringing daylight coming in from above and scatter it through a layer of sand. The ‘cutting’, into an abandoned mine on a hillside. into the adjacent spaces. in this case, is done by environmen- The ‘UnDaylightable’, as the two Vertical light shafts are introduced tal forces such as wind and rain, or by Delft-based students see it, consists into the ground. Their side walls, which B2 people sitting or walking on the sand. of the windowless basements of typ- consist of the different minerals to be Cultivated shadows ical Dutch canal houses. The scheme found on site, reflect the daylight com- Petia Ratzov & Carl Hall-Karlstrom, B5 suggests to install ’energy farms’ in ing from above and colour it in differ- University of Lund (Sweden): Instant Impressionism the Dutch countryside that capture ent hues. Honourable Mention 2006 Wang Fei & Zheng Kaijing, Tsinghua sunlight by means of solar concen- University (China): Honourable trators and feed it into optical fi- A5 Half shading device and half urban Mention 2010 bres, which transmit the daylight to Light as the main element sculpture, ‘Cultivated shadows’ con- wherever it may be needed. Due to determining the spatial quality sists of a newly developed Germa- Inspired by Claude Monet’s paint- its flexibility, the system can create Sung Hyun Jun, Korea University nium/Selenium (Ge/Se) glass that ings of Rouen Cathedral, Wang Fei a multitude of light ambiences inside (Republic of Korea): Honourable becomes soft when exposed to spe- and Zheng Kaijing conceived this re- the underground spaces, while still Mention 2006 cific kinds of light, and turns back to flective mural for a light rail station in keeping them connected to the nat- solid under the absence of light. Each Beijing. The photographs were taken ural rhythms of light and darkness. In this proposal for an underground of the glass fins is equipped with a rub- from a physical model on site at the exhibition space beneath Maronnier ber suspension along the sides to hold actual station in order to provide a re- A3 Park in Seoul, Sung Hyun Jun cre- it in an upright position. alistic impression of what the inter- Resonance, memory ates a veritable ‘indoor landscape’ vention would look like. Bo Li, Ge Men, Eidgenössische made of daylight that is transmitted B3 Technische Hochschule Zürich underground via optical fibres. Light Has a Body (Switzerland): 1st Prize 2012 These can be flexibly rearranged, Dean MacGregor, Universidade

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E3 G4 ADAPTIVE Droplet-shaped, hollow glass vessels ing.“ A layered façade made of trans- themselves could choose where they URBAN This project considers the interaction STORING In what is probably the most unu- BUILDING are embedded in a perforated façade lucent and transparent glass allows would like to have daylight and views? DAYLIGHT between sunlight and people’s behav- DAYLIGHT sual application of ‘light storage’ sug- C with their thin ends pointed outwards. light into the 40 exhibition spaces, Inspired by this question, the team F iour in urban life. It suggests the re- G gested in the award so far, the two ENVELOPES When air movements hit the façade, which all have different shapes and from Zagreb conceived an archetypal organization of an open-air market in Spanish students conceive an aquar- the effect will resemble a wheatfield sizes of openings to create a variety house with an envelope made entirely F1 Kashgar, Northwest China, by intro- G1 ium lit by bioluminescent and phos- C1 moving in the wind: the droplets start of ‘moods of light’ inside them. of electrochromic glass, in which the Repairing Interface Light ducing a double-layered roof. Each Buoyant Light phorescent jellyfish and other marine Desert Light to tilt and turn in their sockets. Due to position and size of the window open- Festival of the layers has a number of square Claire Lubell & Virginia Fernandez, species. Some of these animals need Benjamin Saragoussi & Gregory a gradient in the glass, this rotation D2 ings remains forever changeable. Ruan Hao & Xiong Xing; Tsinghua openings that produce a dramatic, University of Waterloo(Canada): to be regularly exposed to sunlight Bismuth, École Nationale also affects the amount of daylight en- Reading place in the forest University (China): 2nd Prize 2008 ever-mobile interchange between Honourable Mention 2010 to restore their luminosity. This is Supérieure d‘Architecture de Paris- tering the room. Gonzalo Pardo, Escuela Technica E3 illuminated spots and shadows. achieved by letting them pass through Belleville (France): Honourable Superior de Arquitectura de Madrid Lightspace between gaps In the narrow street canyons of ’Buoyant Light‘ harnesses light in a a ‘load room’ where sunlight can enter Mention 2006 C5 (Spain): 2nd Prize 2006 Joe Wu, Delft University of densely built cities, many spaces are F5 context where the sun does not always through optical fibres. Evolutive glazing – shining light Technology (The Netherlands): literally ‘left in the dark’ for most of Fleeting perpetuality – Fluxional rise and set. The location of the project This underground museum located in Michael Lequeu, Martin Vande- Like a forest, this underground read- 3rd Prize 2010 the day. In their proposal for a one-day light under urban scaffolds is Igloolik, a Canadian Inuit commu- the Israeli Negev Desert is entirely lit voorde & Florent Schoennagel, ing space allows those inside it to hide ‘sunlight festival’, Ruan Hao and Xiong Sheng Xiaofei, Fang Erqing, Kang nity of 1600 inhabitants at 70 degrees through its roof. Daylight provision is Université Catholique de Louvain or expose themselves, and to see or “Windows with no view and facing Xing suggest to remediate this situa- Xiaopei & Yan Wenlong , Tongji north. By means of integrated photo- controlled by means of textile awn- U.C.L. (Belgium): not to see the others that are present. walls are not rare in Hong Kong”, says tion by applying reflective surfaces to University (China): Honourable voltaic cells, ‚solar balloons’ harvest ings attached to metal strips. The Honourable Mention 2012 There is no furniture inside this half- Joe Wu about the city where he was the blank exterior walls of buildings. Mention 2010 the summer light and subsequently latter consist of a nickel/titanium buried library – just columns, as well raised. To improve the situation of peo- In the long run, what starts as a tem- store the energy for the long winter shape-memory alloy that changes This device is made of two glass sheets as ramps and steps that the users can ple living along the narrow streets of porary intervention could also become With ‘Fleeting Perpetuality’, the season. The balloons are attached shape when exposed to light, closing with a mixture of alcohol and water sit on. the Chinese metropolis, he designed a permanent installation to enlighten three students from Shanghai pro- to (and provide electricity to) buoys the shading elements when the sun in-between. Floating in this liquid are a system of reflective, three-dimen- people’s lives. pose to light up a type of often- that measure environmental changes rises and opening them again when pieces of beeswax in various colours, D3 sional façade claddings that capture overlooked public spaces within cities such as the variations of ice thickness it gets dark. which start to expand and move up- Light as a tool to break structure sunlight and reflect it into the rooms F2 – sidewalks or streets that are tem- throughout the year. wards as the façade heats up in sun- Anna Zagorec & Maciej Kozlowski, of the opposite buildings in an ever- Light invisible bridges porarily built over by scaffolding. For C2 light. While this movement reminds Politechnika Krakowska (Poland): changing pattern of light and shad- Anastasia Karandinou, University of their intervention, the students use G2 Illuminated Music building users of the thermal condi- 3rd Prize 2012 ows. Edinburgh (United Kingdom): 3rd a bamboo structure, nets and mem- The Mongolian dandelion Marie Löwenhertz, University of tions outside, the irregular structure Prize 2006 branes to create a ‘stream ‘of light. seed, impregnated with light Lund (Sweden): Honourable of the wax flakes ’materialize light‘ in A corridor is flanked by an array of E4 When the scaffolding is removed, Jeewon Park, Nakyong Kim, Mention 2008 a similar way as the stained glass win- vertical, three-dimensionally folded Window shutters With ‘Light invisible bridges’, Anasta- ‚Fluxional light’ leaves the site as well Jiyoon Jung, Kimoon Park dows in churches. partition walls with narrow slits of Ieva Maknickaite, Antanas Lizdenis sia Karandinou seeks to reconnect the and will flow to the next place some- & Wongyu Yang, Inje University Marie Löwenhertz designed a music light in-between. Seen from inside the & Laurynas Vizbaras, Vilnius otherwise separated riverbanks along where in the same city. (Republic of Korea): 2nd Prize 2012 space equipped with adjustable roof- C6 building, this sequence of wall mod- Gediminas Technical University River Suzhou in Shanghai. Her pro- lights that open and close with the Water lily, the symphony of ules forms an ever-changing projec- (Lithuania): Honourable Mention posal consists of three elements: an F6 Inspired by dandelion seeds that move rhythm of the music. The openings – architecture and sunshine tion screen, the appearance of which 2010 open-air cinema (with the film being Light drama with the wind, the team from Korea reflecting aluminium on one side and Bo Zeng, Yiming Cai & Jingyi is determined by the moving shadows projected across the river), an under- Dexiao Zeng, Zhao Gao & TianChi designed the ‘neo-ball’, a balloon-like totally black on the other – are con- Zhao, Tianjin University (China): of the passers-by behind the wall. In their project, the three Lithuanian ground cinema as well as ‘phoneboxes’ Chen, Hunan University (China): luminaire intended to accompany con- ducted like stage lighting. They also Honourable Mention 2012 students reflect on simple shutter inserted into the riverside walls that Honourable Mention 2012 temporary nomads on their journeys. help to adjust the thermal behaviour techniques, which have been used by allow users to view the city without The helium-filled balloons, which con- of the building, with the aluminium Time-lapse movies reveal that water our ancestors for generations. Accord- being viewed – and vice versa. Folded paper lanterns are a part of sist of a bio-based polymer, capture turned outwards to reflect the sun’s lilies open and close their flowers de- DOMESTIC ing to their idea, new generations of Chinese heritage. Here, an oversize solar energy during the day, store it in heat in summer, and the black side pending on the time of day, and on the E DAYLIGHT shading elements could either be ther- F3 ‘lantern’ serves to introduce daylight a battery and release it again as light being used to absorb it in winter. incidence of daylight. This design for mally insulated, or equipped with PV Constellation of light fields into the narrow alleyways of Chinese during the night. a shading device seeks to achieve a E1 cells and solar thermal collectors on Park Young-Gook, Kim Dae Hyun, cities from above, rendering these in- C3 similar effect: it opens and provides Interactive natural light source the outside, or broken into segments Choi Jin Kyu & Kim Won Ill, Hanyan terstitial spaces useable again for peo- G3 Stroking the sunshine maximum shade when sunlight hits Ovidiu Mihutescu, Andrei Lazar, that can be individually adjusted to University, Seoul (Republic of ple’s everyday activities. The upper Memory of Light Qi Xu & Tao Cao, Tongji University the façade orthogonally. When the Radu Dorgo & Adrian Mihai, cope with varying sun angles and to Korea): 1st Prize 2010 part can be bent to follow the track of Qingsong Han, He Dong Peng & (China): 3rd Prize 2012 light comes from an oblique angle, Universitatea Politehnica din fine-tune the amount of light enter- the sun, and to control the brightness Peishu Han, Xi‘an University of segments can be folded outward to Timisoara (Romania): Honourable ing the rooms. The team from Hanyang University de- of the incident light. Architecture and Technology This façade-integrated ‘bubble cur- provide shade or direct light into the Mention 2012 signed an immaterial roof over an out- (China): Honourable Mention 2012 tain’ invites users to physically in- building as desired. E5 door stage in the Marronnier Park in F7 teract with the building envelope in To bring daylight into the window- Section of light Seoul. Consisting of ‘Moebius strips’ Atmosphere evolutive surface With ‘Memory of Light’, the three order to control indoor daylight lev- less staircases of former Socialist Berte Daan, Eidgenössische of fabric that can be bent and twisted, Manu Simon, Maïté Oldenhove, Chinese students propose a new kind els. By ‘stroking’ the curtain, the peo- housing blocks, the four Romanian Technische Hochschule Zürich this roof lets every type of light flow Simon Verstraete & Laura Schmitt, of brick to restore the derelict parts ple in the room can squeeze the air DAYLIGHT AND students developed a low-tech ‘light (Switzerland): Honourable to the area below. This variety of day- Université Catholique de Louvain of the city walls of their hometown, out of the bubbles, thus making them D PERCEPTION tube’ made from recycled plastic bot- Mention 2010 lighting situations corresponds to the U.C.L. (Belgium): Honourable Xi’an. Two thirds of the brick consist smaller and increasing the incidence tles. Sunlight is introduced into these wide variety of activities happening Mention 2012 of traditional clay whilst the outer- of daylight. When left untouched for a D1 devices by a similarly low-cost, roof- “One of the problems with urban den- beneath the roof. The students explain: most part contains a luminescent ad- while, the elevated air pressure inside A museum of photography top-mounted tracking mirror made of sification is the lack of light penetra- “Light is the immaterial architectural To enliven the often dull, paved sur- ditive that absorbs light during the the double-layer curtain will slowly let Louise Grønlund, School of aluminium-coated plastic that tracks tion inside houses“, Berte Daan says. element that humans react directly to faces of urban spaces, the four Belgian day and gives it off again at night. At the air flow back into the bubbles and Architecture at the Danish the path of the sun. To overcome this problem, she recon- through the senses. By eliminating the students designed a three-dimen- daytime, the new bricks are barely dis- make the façade turn opaque again. Academy of Fine Arts (Denmark): figured the section of a multi-storey material elements, light can create di- sional system of large (100 × 100 cm) cernible within the masonry whilst at 1st Prize 2006 E2 residential building so that the floor versity within a given space.” paving stones made of slightly porous night they provide a clear indication C4 The ‘Hole’ Issue plates are no longer level, but bent in concrete, on which rainwater can ac- of where the walls have been restored. Light & wind “To design a museum for photography Hrvoje Zuparic, Dean Niskota & Ivan an U-shape with the apartments lit- F4 cumulate in rectangular puddles and Pit Herold, Mads Johnsen, Kasper is to create the optimal conditions for Starcevic, University of Zagreb erally ‘stepping up’ towards the sun Condensation of Variational reflect the light from the sky. As the G4 Old Jensen & Peter Drechsler seeing“, writes Louise Grønlund about (Croatia): 2nd Prize 2004 at either end, near the façades. Com- Sunlight Influences surface slowly dries, the puddles grad- Luminous ecosystem Poulsen, Arkitektskolen i Aarhus her project: “to see not only the pho- puter simulations showed that this Ma Xin, Wang Rui and Yang ually become smaller and eventually Pablo Viña García-Inés & José (Denmark): Honourable Mention tography, but also to make the spec- What if the distribution of windows approach does indeed increase the Meng, Tianjin University (China): vanish again. Antonio Guerra Paz, Universidad 2012 tator aware of that which he sees and in a house was no longer determined daylight penetration into the rooms. 2nd Prize 2010 Alfonso X el Sabio (Spain): the conditions within which he is see- by the architect, but if the residents Honourable Mention 2006

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G2 E3 FURTHER INFORMATION ON P. 13–15 ON P. INFORMATION FURTHER 10 YEARS OF F7 DAY- LIGHT F3

The International VELUX Award for students of architecture has experi- enced 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 2004 – 2012, as well as on essays by and interviews with the former jurors. Documentations of all previous International VELUX Awards can be downloaded from iva.velux.com.

By Jakob Schoof

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E2 “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 FURTHER INFORMATION ON P. 13–15 ON P. INFORMATION FURTHER 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 important theme in the award right from client, without concerns for cost or plan- have been submitted to the International the start. In 2004, juror Ole Bouman said: ning approvals...”. VELUX Award. From modest beginnings “Light is not what it used to be. The ma- As Juan Miró, juror in 2012, remarked, in 2004, submissions for the 2014 event nipulation of human emotion by means “it is clear that the students have been in- have risen to over 800 from more than 50 of architecture has become a conscious spired to think about the future and ask countries. strategy [...]”. According to Bouman, au- – what can we do?”. Overall, the juries And while these figures certainly do thenticity in architecture often comes agreed that asking the right questions G3 not tell the entire story of the award, they through the use of daylight. “Architects in an intelligent way is more important do reveal a growing interest among stu- are often asked to go back to making ‘real’ for students than looking for straight an- dents of architecture in the theme of day- architecture, to creating an authentic swers and final solutions. “On the whole light. Two main reasons for this growth, topology, a true manifestation, a mani- I am very satisfied that the students have among many others, can be identified: the festo against the artificial, ephemeral had the courage to pose these difficult relevance of daylight and its openness. manipulations of electronic light sources questions, even if they are not qualified to Daylight influences our lives on all scales, […] Whatever we may think of this coun- give the perfect answer,” said Omar Rabie, from the urban realm to the metabolism teroffensive, the most interesting forms juror in 2006. According to Brigitte Shim, of a single cell. And it lends itself to a wide of resistance are to be found in concrete who headed the jury in 2012, the work of array of potential approaches that seek to proposals for the application of daylight.” the students was all about a “promise for introduce daylight into buildings. Another key aspect of daylight – its tomorrow, the boldness of the ideas; the relevance for human health − was raised kind of explorative dimension […] be- The relevance of daylight by juror Craig Dykers from Snohetta in cause, in a way, you are actually putting “Light is the material that makes architec- 2004: “It is apparent that light and air your faith in the promise of its future as ture”, wrote the jury of the International share common paths toward health. In a opposed to necessarily figuring out every VELUX Award in 2004. Hani Rashid, chair- very real way we cannot be without what- single aspect.” man of the jury in 2008, added: “I think ever it is that the sun gives us. However, Nonetheless, as Natalie de Vries, juror the great thing about this competition is it is also important to consider what it is in 2010, remarked, “we also found many that it hits the nail on the head: architects that we give the sun in return.” In the last practical solutions to practical problems.” from everywhere have been interested in two or three award events in particular, A cursory glance at the projects submit- light. Light is a metaphysical instrument, the role of health and well-being in the ted in recent years confirms the tendency it’s a tool of expression, it’s a way to under- students’ submissions has become ever to move beyond the purely hypothetical stand form and time. By tapping the light, more important, and there is good reason and explorative, dealing with given pro- you tap a cultural DNA of a place...” to assume that this trend will continue in grammes and often with existing sites, as The relevance of light, and of daylight the near future. well as achieving an elevated level of com- in particular, has not always been the plexity. This became particularly obvious same in architecture, but it has without Openness as a key to success in 2012, when the students displayed an doubt grown in the last decades. Ac- Obviously, the relevance of daylight ex- unprecedented interest in straightfor- cording to Kengo Kuma, juror in 2006, tends far beyond its atmospheric and ward, applicable solutions rather than “the shape and the form were the main health-related qualities. To think about merely hypothetical concepts devoid of themes of architecture in the middle daylight in the built environment liter- ‘real-life’ context. of the 20th century. But now the main ally opens an endless array of possibili- theme has moved from the form to the ties and potential approaches. This ap- phenomena, and light can be the main plies particularly to students, who are A mirror of architectural theme of today.” This refers in particular in a unique position to ‘think out of the education to daylight, says Kuma: “Basically natural box’. According to Eva Jiricna, juror in With its openness, its international scope light is stronger than artificial light in a 2008, this openness is precisely what is and sheer number of submissions, the philosophical sense. The strongest idea needed in architectural education today: International VELUX Award provides a is to focus mainly on natural light […]” “When you are a student, it’s the last time unique opportunity to take the pulse of ar- The phenomenological and atmos- in your life when you can work in com- chitectural education at a given moment. pheric qualities of daylight have been an pletely unlimited conditions: without a “Seen as a whole, the projects represent

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C1 D2 […] a cross section of architectural edu- There appears to be room for improve- ing. One of the reasons might be that in 2012 – even study in universities far Issues of representation cation in Europe today,” the jury wrote ment, however, regarding the architec- many of the projects were not tailored to “Light of the future is not necess- from their home countries. “There are no As in any other architectural competition, in 2004. “In that respect all the submit- ture schools’ active involvement and the award”, it has now become common- arily light and high-tech. Light boundaries to student projects – as stu- participants in the International VELUX ted projects are valuable as examples of the importance they assign to teaching place for students to design their projects should be about perception and dents and teachers meet and study across Award are faced with the challenge of different aspects of one large research.” daylighting in their curricula. Reilly Ho- specifically for the award. exploitation. Light should indicate continents as well as they work with ex- how to condense a huge number of ideas Eight years later, the jury felt that it was gan, first-prize winner in 2008, remarked In many cases, the level of detailing hope and the future should be otic places and cities – far from their ac- on just one or two competition boards, “literally listening to a global conversa- that “designing through light has been my in the projects has also increased, as has tual location,” wrote the competition jury and how to express spatial ideas in a two- tion about daylight, from innovative personal interest, rather than one taught their complexity. The best submissions about optimism. Light reveals and in 2012. This may, of course, present the dimensional format. According to Eva thinking of what might be the future and through the school’s curriculum”. He says are now truly multi-dimensional, tackling light has a social dimension.” danger of producing an unspecific kind Jiricna, students should strive to make how we might experience light in a few that where daylight does play a role, it is multiple issues (from how to embed the of ‘globalised’ architecture: “It is a chal- the presentation a “joy ride for the jury”. years’ time [...]” often more of a technical, performance- design in an urban setting, to questions of From the jury report 2004 lenge to avoid a global uniformity with She adds: “The need of getting a clear mes- Alongside the students, their teachers based pursuit. And according to Ruan usability and construction) at a time. To repetitive concepts, shapes and slogans sage is more and more important in com- have also been actively involved in the In- Hao and Xiong Xing, the second-prize an increasing extent, they are also target- and it seems that many students miss the petitions: when a jury has to judge some ternational VELUX Award from the start. winners in 2008, “looking back at how ed at ‘making things work’ in a technical specific relations to locations and orien- 700 projects, it cannot spend a long time Their task is to guide the student teams, we were taught to utilise sunlight to make sense and reveal a thorough understand- tation.” trying to interpret what a student wants as well as to review and potentially pre- dramatic shadows and sculpting architec- ing of technology that was not present in Yet there is reason to be optimistic in to say.” select the submissions. In exchange for ture spaces, we couldn’ t help but wonder, earlier award events. this respect – as the prize winners 2012 Yet the award theme “Light of Tomor- this, the teachers receive part of the prize do we design a design, or do we design for The international outreach of the in particular proved with their poetic and row” also presents another, very specific sum and are often also present at the better life?”. award has also grown significantly since sensitive intervention in the landscape difficulty, explains Brigitte Shim: “How award ceremonies. According to Brigitte 2004 – and this again is reflected in the of the Swiss Alps. Already in 2006, chair- to represent such an ephemeral and diffi- Shim, the quality of submissions crucially A world full of daylight student projects. Not only has the award man Per Olaf Fjeld expressed a similar cult thing as light. How do you show light, depends on “a back and forth dialogue” The openness of the award is reflected in “become truly global and offers a chance optimism: “The strength of the award is how do you describe light and make it un- between students and teachers. “I think a huge variety of individual topics and ap- for students to see their work in relation that there are participants from all over derstandable to other people?” Without that the role of the faculty in all of these proaches in the submissions. Quite liter- to peers across the world”, as Juan Miró the world, and light itself has a map, it doubt, the rendering skills among stu- entries is essential, so important − the ally, as Omar Rabie puts it, “the students remarks. There are also significant cul- exists everywhere. But the architectural dents have greatly increased over the guidance, the support, but also the insight have more ideas than we can imagine.” tural differences in the attitude towards conditions related to light are also differ- last ten years, as has computing power and the questioning and ensuring that the The scope of the projects ranges across daylight from one continent to another, ent from place to place, and one can very to support photorealistic imagery. This students really work at communicating all scales from the urban to the smallest as Momoyo Kajima, juror in 2010, says: much see that within the variety of the development, however, was received in extremely clearly.” building component, and literally across “I think there is a cultural element in light, projects this has, to some extent, been an ambiguous way by the juries. In 2004, To facilitate an adequate judgment the entire globe. Some students have and there are social aspects that relate to taken into consideration [...]“ “the jury raised the general question of of the entries, the vast majority of award explored phenomena of perception in the area or latitude or season or time. Indeed, the submissions have become whether the computer is now too pow- jurors so far have themselves been univer- a rather abstract way, while others have In the competition, it became evident that far more responsive to context over the erfully integrated in the schools. And sity teachers. It is thus interesting to listen submitted full-fledged designs for build- a lot of projects from Japan or other Asian years – even if they have not necessarily whether this fact limits the experimen- to their own opinions about what makes ings or building components. While a countries dealt with light in very differ- always been designed for a specific site. tation and thinking about the unknown: a good teacher. According to Eva Jiricna, number of submissions have expressed ent ways from the way that the Europe- ‘Context’, in this respect, also implies going to the edge, finding the essence”. teachers should encourage their students a keen interest in technology, the majority ans did.” social responsibility, a connectedness Four years later, chairman of the jury to “explore, experiment and maximise the of them so far have focused on the interac- From about 2008 onwards, a remark- to real-life problems, and an increasing Hani Rashid expressed optimism re- level of imagination”. Hani Rashid adds: “I tion between light and space. Last but not able geographical shift has taken place number of projects that dealt with ex- garding these questions. In his opinion, often believe that I’m teaching at my best least, the students have drawn from a wide within the audience of the International isting cities and buildings. “I found a lot the award showed that the computer “is when I teach students how to learn, in- range of sources of inspiration – including VELUX Award, with 50% or more of the of my concerns about creating a better no longer just a fascination in pushing stead of simply how to do things. If you can art (from the paintings of van Gogh to the award-winning projects coming from quality of life in cities being dealt with by buttons and creating nice forms, but is impart to someone how to ask the right works of James Turrell) and nature. Asian countries in the last two events. the students,” said juror Will Bruder in finally becoming a facility, a realistic and question, you are teaching into the right As many of those involved in the Inter- There is also another aspect to the ‘glo- 2010. “A lot of the work addressed social obvious tool in the work of research”. direction. “ For Huat Lim, architectural national VELUX Award over the years have balisation’ of the award, however. Not un- responsibility, which is a trend that I also Furthermore, students have acquired an education is all about experience. “The remarked, the average quality of submis- like their ‘grown-up’ peers, architecture see in architecture. Students are not just increasing ‘media competence’ also in best way to learn is to walk around places, sions has increased. While in 2004, the students have become ‘frequent travel- concerned about sustainability, but about that they know when to do without com- to sit in a building, to travel , to speak, to jury still noted: “The jury was surprised lers’ with networks across the globe. Many building a better place in a social way.” puters. In the field of daylighting, this ap- talk, to communicate.” by the lack of actual experimental think- of them – such as the first-prize winners plies particularly to the simulation of light

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urban to the private realm − and closer quantitative and qualitative effects of day- “Related to light I can only see opti- to the human body, but with increased light in spaces, and is increasingly used by mism because it is a free material knowledge and a refined toolbox that students and practitioners worldwide. and it is there to be used. In the today’s students doubtless have at their relationship between the body of disposal. Keep on trying mass and the body of light there The challenge posed by health and After the jury sessions of the last few well-being also relates to recent findings International VELUX Awards, the jurors will always be a spatial attitude, A3 a spatial possibility.” from chronobiology about the non-visual were asked whether they had any rec- perception of light, and about how light ommendations to future participants. relates to diurnal cycles in our minds and In his answer, Peter Stutchbury gave the Per Olaf Fjeld bodies. Eventually, this gives rise to ques- following reasons to participate: “In or- tions such as: der to learn about anything you must par- What could a ‘circadian’ architecture ticipate. There are very few international look like? What qualities would it need awards for students in the world, and this interacting with materials. Reilly Hogan, to have? competition has a wonderful standard. I first-prize winner in 2008, said: “Comput- Answering this question is certainly encourage students to participate in this er simulations proved to be highly cum- tricky, and even scientists and experi- sort of award in order to lift their own bersome when dealing with caustic light enced practitioners are struggling with understanding of major architectural is- (light reflected or refracted by a metallic it. It would, however, be most interest- sues… When you do a competition like this or glass surface onto another surface), and ing to see the students’ ideas about this you do something that has the potential rapid experimentation was difficult. So I topic highlighted in the next editions of to shift your world.” worked almost entirely through physical the award. Looking ahead, there is no doubt that models.” Likewise, Dean MacGregor, win- As many of the simple questions have the participants will continue to find new ner of the third prize in the same year, re- already been asked (and in many cases questions to raise, and new approaches to marked that “from the beginning I knew also answered) in the International daylight. As the jury wrote in 2012: “The that rendering wasn’t an option for this VELUX Award, it is mainly the more com- projects investigate so many new aspects project. Therefore photography soon plex questions that remain. The logical of light, thereby showing us that there is took over from the superficial attempt to next step would therefore be to form in- still a lot of work to be done, thinking represent light through the computer”. terdisciplinary design teams to answer about tomorrow, inventing the future them. While this might be asking (too) and not taking light for granted” Da capo: Light of the future much from the participants of a student F6 C5 This year, the International VELUX Award competition, it would certainly reflect will be awarded once again, for the sixth the trend towards integrated design in time running. At the time of writing this architecture, and the increasing number article, neither the eventual winners nor of interdisciplinary master studies in the the approaches they chose were known. field of sustainable building design. It is therefore a good opportunity to go Furthermore, with computers having back to the question of what represents become “a realistic and obvious tool in the “light of the future” today? the work of research” (Hani Rashid), one To quote Craig Dykers’ verdict from would also expect to see more quantita- 2004 once again: “In a very real way we tive evaluations being carried out on the cannot be without whatever it is that the projects in the future. The corresponding sun gives us.” This existential role of day- simulation tools have become ever easier light to our health and well-being, while to operate, and experience has shown that implicit in many projects already, is still this kind of evaluation need not hinder waiting to be fully exploited by the stu- architectural creativity. A good example dents. This might imply taking a step back is the VELUX Daylight Visualizer, which in the history of the award, going from the provides realistic estimates for both the

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Architectural education, like any form of edu- but three of these, architects must retain the and knowledge of other disciplines and pro- the architect who has something to say, com- answers or unambiguous questions”. Louise cation, is all about the future. There is a dual position as generalists that they have always fessions” (Karl Otto Ellefsen). Respect, in this ment or ask is competent to work in the inter- Grønlund, winner of the International VELUX- challenge connected to this fact. Firstly, as had in history, but at the same time keep up context, does not imply subordination – on est of society”. Award in 2006 and now herself a teacher, the future is impossible to predict, education with the increasing body of specialist knowl- the contrary. Most of the teachers stress the adds: “A school of architecture should be a is always faced with uncertainty as to what edge in the field of building design. They have importance of architects retaining their posi- Intellectual freedom in a state place for developing your artistic talent, and might be the most useful knowledge to con- to fulfil the requirements of their clients who tion as generalists, despite all the current of uncertainty for experimenting with projects, some of vey to students. Secondly, and despite this, pay them, but at the same time, they are trends towards specialisation. Maintaining a Architecture schools nowadays need to nav- which might fail – but failures tend to be a schools of architecture have to be early adop- expected to work in the interest of the wider holistic view will, they argue, be both benefi- igate between two extremes: should they valuable source of learning”. ters of change in the professional field: who, society. And lastly, they have to put human cial for the quality of our buildings and give focus on preparing their students for the prac- if not they, will prepare future generations of beings into the centre of all their endeavours architects back some of the influence they ticalities of everyday office work, or give them Education needs a value base architects to “ be the change they want to see despite being restricted by an increasing have lost to others over the last decades. This the freedom to pursue their own agenda and Over and over again, the teachers and recent in the world”, to quote Mahatma Gandhi? amount of regulation, and working in an will, however, not come by itself, says Claes learn to “ask the right questions” (Hani graduates alike stress the importance of the By all that we know today, the future of increasingly technology-driven environment. Cho Heske Ekornås, winner of the Interna- Rashid)? Quite probably, universities are well architect’s social responsibility. “Our dream is “Aspiring architects have to de- architecture will be characterised by an tional VELUX Award in 2004: “We will have advised to do the latter. The former winners not only to design buildings but to improve velop their position with regard unprecedented level of urbanisation, an Architecture as ‘frozen politics’ to make this happen ourselves by being more of the International VELUX Award all reported people’s lives,” say Bo Li and Ge Men, winners to society as a whole. An archi- increasingly circular economy and a much Essentially, every contemporary architect proactive [and] placing ourselves in the driv- that only after graduating from university did of the International VELUX Award in 2012. tect is not only responsible for greater use of renewable resources, including serves two clients: the one who pays him – er’s seat. As an architect, you are sometimes they learn “the ways of the building site” (Bo Will Bruder, who sat on the award jury in maximising a client’s profit but daylight and solar energy. Apart from urban- and society in general. Peter Thule Kristensen, the only one with a full overview of the dif- Li, Ge Men), become acquainted with “the 2010, observes a similar phenomenon: “Stu- is always involved in the dev- isation, most of these concerns played only a dean of the School of Architecture at the Royal ferent stages of a project. We should use this complex process of following a project from dents are not just concerned about sustaina- elopment of entire cities, as well marginal role in 20th century architecture. Academy of Fine Arts in Copenhagen (KADK), position to our advantage if we want to avoid start to finish” (Claes Cho Heske Ekornås), and bility, but about building a better place in a as of our building culture.” Yet the tide now seems to be turning, and the explains: “Nowadays architects can no longer being reduced to the role of just another con- learn to “work with a client, dealing with the social way”. Clearly, the human aspect inher- Hubert Klumpner signs that a profound change to architectural afford to pursue a purely introverted artistic sultant.” fact that the client’s priorities and processes ent in architecture ought to be nurtured right practice and education is necessary – and approach. They must respond to modern-day are often different from those of the archi- from the start in architectural education. This that it would be beneficial for many – cannot issues that impact on society – for example, The architect as conductor and translator tect” (Reilly Hogan). On the other hand, all for- also means that teaching cannot be limited be ignored any more. According to Rob Flem- the unavoidable challenge of sustainability”. It seems obvious that this role of architects mer award winners hold in high esteem the to knowledge transfer − it also requires an ing, professor at Philadelphia University, the Hubert Klumpner, dean of the Depart- as ‘conductors’ of project teams needs to be freedom that they were offered at university underlying value base. Students need to be rise of sustainability has prompted the “foun- ment of Architecture at ETH Zürich, compares learned to a much greater extent in academia. and the fact that academic training taught encouraged to develop trust, solidarity, and dations of design education to shackle free of architecture and urbanism to “frozen politics”, Many architecture schools are reacting to this them to work independently and find their empathy – and they can only do so if they decades, if not centuries, of inertia”. Mark and adds: “We see studying as the starting already, for example, by including more and own ways in life. A good teacher, says Claes encounter these same qualities in their learn- Wigley, dean of the School of Architecture at point of a lifelong learning process that pre- more design/build projects in their curricula. Cho Heske Ekornås, “not only focuses on the ing environment at university. As Rob Flem- Columbia University, calls for future archi- pares architects to assume responsibility in a Hubert Klumpner stresses that professors end result, but just as much on the process of ing writes, “the kinds of values and behaviours tects to “jump into the unknown, trusting the democratic society”. need to be skilled communicators in our days getting to the result, and on the development learned in design school set the stage for a formulations of the next generation that, by Many of the experts who contributed to who can ‘translate’ between different domains of the individual student”. lifetime of impact – both positive and nega- definition, defy the logic of the present”. He this magazine, therefore, stress that it is not of knowledge, as well as between the world Intellectual freedom and the capacity to tive”. If value-based teaching is taken seri- continues: “We have to give students the sufficient to train architecture students of specialists and the general public. think independently are all the more impor- ously, however, it must also be reflected in capacity to change the field itself, to com- merely to be building designers. “As long as Increasingly, intercultural ‘translation’ tant as architectural education has to prepare new forms of teaching and new content in pletely redefine the state-of-the-art”. architectural education only aims at building and presentation skills are also in demand for students for a future that is inherently uncer- the academic curricula. It will be interesting These are bold claims indeed. How do design, it will fail,” claims Hyun Seo, head of architecture students as they prepare to tain. As Karl Otto Ellefsen puts it, “we feel like to see in the coming years whether, and how, architecture schools live up to them in prac- the School of Architecture at Haiyang Univer- enter a globalised labour market. Student we are educating young people to master this change is really going to happen in archi- tice? And what do teachers and recent grad- sity in Seoul. According to Seo, students competitions such as the International knowledge that so far has never been pro- tecture schools worldwide. There is little uates think about the challenges that should be “trained to become leaders who can VELUX Award are a valuable opportunity to duced and to qualify for jobs not yet existing”. doubt, however, that it will be worthwhile. architectural education is facing? manage any kind of team or project regard- learn these skills. Peter Stutchbury, award While it has often been questioned whether After all, as Hyun Seo says: “College educa- The statements and articles in this issue less of the subject that it deals with”. juror in 2012, considers competitions an architecture still qualifies as a form of art, tion must prepare students for life rather than of Daylight/Architecture provide some This points to another quality that future opportunity for students to “lift their own artistic thinking can be extremely helpful in for a specific career”. answers to these questions. They depict the architects will need: the ability to work in understanding of major architectural issues”. this state of uncertainty. Peter Thule Kris- architect as a professional who has to bridge increasingly interdisciplinary teams. This, in For Luka Piškorec, from the ETH Zürich, “com- tensen stresses that architectural education the gap between widely diverging, and some- turn, requires both “communicative intelli- petitions are like questions asked by society ought always to remember “the recognition times contradictory, requirements. To name gence” (Hubert Klumpner) and “a respect for to which architects must respond. And only inherent in art that there are no definitive

32 D&A SPRING 2014 ISSUE 21 33 QUOTE BY ENRIQUE BROWNE PHOTOGRAPHY BARNES BY RICHARD A WORLD OF OPPOR- TUNITIES

Today’s young architects will play a key role in shaping the future world Photography by we live in. But what principles and ideals guide them in their daily work? Richard Barnes & What qualities that they have or have not learnt at university do they Lucille Tenazas (p. 34 – 47) consider crucial? And what role should daylighting play in architectural Stanley Wong (p. 50– 59) education? Ferit Kuyas (p. 61–71) 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 accompany- ing 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 respon- sibility that every architect has to take in our society.

35 QUOTE BY OLE BOUMAN PHOTOGRAPHY BY RICHARD BARNES 2004 SCHOOL OF ARCHITECTURE AND DESIGN (AHO), OSLO RELATED TO LIGHT, CLAES CHO HESKE EKORNÅS I CAN ONLY

“Looking back I can see that the most valua- Jarmund Vigsnæs Arkitekter, where we take Claes Cho Heske Ekornås won the 1st prize in the first ever International ble thing I learnt at school was to work inde- advantage of it in order to minimise the use of VELUX Award in 2004, when he had pendently. The kind of teaching where you are artificial light and to save energy. What I have just graduated from the School of allowed to find your own way, not being told learnt about light since graduating is to look at SEE OPTIMISM Architecture and Design (AHO) in what to do and how to do it, but listening, this resource in a more nuanced way. After all, Oslo. He has been employed at Jar- mund Vigsnæs Arkitekter in Oslo, Nor- finding your own voice, being enlightened as sometimes, and in some places, you don’t need way, for the last nine years. His project you go along. a lot of light. Therefore I am not sure that gen- portfolio ranges from design of single- As a practising architect, one is introduced eral requirements for daylight levels or lux- family homes to competition projects to the complex process of following a project specifications are necessarily the right way and larger design and renovation projects. from start to finish. Society tends to come up forward. with more and more demands and technical Like any other architect, my dream is to cre- building restrictions that we have to imple- ate architecture that will stand the test of time – BECAUSE IT IS ment in architecture. I think it is important that and be a reference to others. It is obviously hard students don’t dwell too much on these prac- to predict what exactly is needed to achieve tical and technical requirements. Rather, they this goal, as the quality of buildings can often should have a free mind to explore things. Stu- only be judged in hindsight. But I think it is at dents have a unique opportunity to study dif- least important to have something to strive for. ferent aspects of architecture, something they Overall, I would call for a better understand- should enjoy since it is probably the only time ing and respect for our profession. But we will A FREE MATERIAL in their lives that they will be able to devote have to make this happen ourselves − by being so much time and effort to their projects. more proactive, placing ourselves in the driver’s A good teacher of architecture sets the seat and seeing ourselves not merely as design- scene for this kind of free and independent ers but playing a leading role in defining the fun- learning, guiding the student through prob- damental terms of any building project. As an ing questions and constructive feedback. A architect, you are sometimes the only one with good teacher not only focuses on the end a full overview of the different stages of a pro- result, but just as much on the process of get- ject, and you have to deal with all the other AND IT IS THERE ting to the result, and on the development of stakeholders: the builders, other technical con- the individual student. sultants as well as financial experts. We should My project for the International VELUX use this position to our advantage if we want Award was my final thesis project. Winning to avoid being reduced to the role of just another the Award at the gateway to my career gave consultant. me confidence that I could bring something The best project for me is always the next. to the table in the real world of architectural Not necessarily the big projects; often the small practice. Daylight plays a special role in Nor- projects are the most interesting. I hope to be TO BE USED. way, as for half the year we have very little of able to continue building my experience, solid- it, and for the other half, we have light more ifying my platform, and contributing to the or less around the clock. This importance of growing recognition of architecture in Norwe- natural light is also reflected in our work at gian society.” Per Olaf Fjeld

38 D&A SUMMERSPRING 2014 2014 ISSUE ISSUE 21 21 QUOTE PHOTOGRAPHY KLUMPNER BY HUBERT BARNES BY RICHARD

40 D&A SUMMER 2014 ISSUE 21 41 42 of urban planninginNorway. focus of hisresearch isonthehistory tural critique.Currently themain history, urban planningandarchitec lished widelywithinthefields of urban banism. KarlOtto Ellefsenhaspub most of hisprofessional career to ur ation (AA) in London, he dedicated AHO andtheArchitectural Associ banism. Having beeneducated at the as a professor of architecture and ur (AHO) inOslo,where teaches healso School of Architecture andDesign Karl Otto Ellefsen is Rector of the 2004 - - - - - the consequenceisthat you have to say noto impossible to handle as an individual – or if confronting, such assustainability, seem responsibility, even ifthe topics that you are you cannever runaway from thisindividual with individualresponsibility. As anarchitect, try to convey to themaset of values that deal students individually. Consequently, we also we tryto keep upthestandard of teaching the a relatively smalleducational environment, much abouteducating master architects. As the OsloSchoolof Architecture was very academy tradition inarchitectural education. tecture asoneof theartsandstick to anart- schools,likesome ours, still believe inarchi- workforce for thefuture labourmarket, and dedicatesome themselves to educating focus onresearch andanacademicprofile, eager to definetheir own specific roles.Some ing different paths. Schoolsseem to bemore opposite −atrend of different schools follow school identities. But we are witnessing the across national boundaries,would wipeout patibility andthefree-flow of competence the Bolognasystem, withitsfocus oncom- that we needto reflect inour teaching. ture inadiscursive way asessentialqualities investigation andtheskillto handlearchitec and professions, thecapacity for serious respect for and knowledge of other disciplines I would rate the ability for teamwork, the students for a set of very different roles. time, architecture schoolsneedto prepare to beasuccessful architect today. At thesame in previous times,other qualitiesare required “In additionto theskillsthat architects needed ELLEFSEN OTTO KARL (AHO),DESIGN OSLO SCHOOL OF ARCHITECTURE AND In Europe, there was thepossibility that Historically speaking,thecurriculumat D&A SPRING 2014 ISSUE 21 ISSUE 21 - -

pursue historic traditions of Nordic architec environment andto society asawhole. and glorybutwilllikely bedevastating to the a commissionthat mightbringyou wealth fessional setting.” defend thisknowledge inavery complex pro the sametime,beableto both handleand have to master thebasics of thecraft and,at the ability to conceptualise. Ourstudents spatial comprehension, theability to draw, more importantthanbefore: theability for the general partof theeducation are even existing. This meansthat thefoundation and been produced andto for qualify jobsnot yet to master knowledge that far so hasnever We feel like we are educating young people and fields of knowledge overlap andmerge. buildings, where different kinds of professions the planningandconstruction process of rently atendency towards hybridisation in one challengearisingfrom this,there iscur immediately affect ourschool. To mention but in theprofessional environment, therefore, close relationship to theprofession. Changes tion inNorthernEurope hasalways hadavery sky andlightastheprimaryelements. between buildingandlandscape,earth always centred around therelationship dios. The focus of Norwegian architecture has curriculum andinproject work indesignstu- ticular role that daylight plays inour ture. This is reflected, for example, by the par In many ways, ourschool continuesto At thesametime,architectural educa - - - - -

QUOTE BY HYONBO LI & SEO GE MEN PHOTOGRAPHY PHOTOGRAPHY BY RICHARD BY FERIT BARNES KUYAS QUOTE BY HYUN SEO PHOTOGRAPHY BY RICHARD BARNES

2006 ROYAL DANISH ACADEMY OF FINE ARTS, SCHOOLS OF ARCHITECTURE, DESIGN AND CONSERVATION (KADK), COPENHAGEN

LOUISE GRØNLUND

Louise Grønlund, winner of the 1st “I have been very privileged that there is a experimental, rather than being too specifi- prize in the International VELUX direct line from my thesis project to what I cally targeted towards future applications. Award 2006, is a Ph.D. student at the am doing now in my Ph.D. project. In the lat- On the other hand, the interaction between Aarhus School of Architecture in Den- ter, I focus on the exploration of daylight, light studies and practice, for instance through mark. Since graduating, she has been employed at several Danish architec- openings connecting indoors and outdoors, internships during your studies, is highly val- tural offices, taught at The Royal Dan- and how light openings in different shapes uable and formed a very important part of ish Academy of Fine Arts, Schools of and sizes can draw daylight into buildings. My my formation as an architect. Architecture, Design and Conserva- research is a combination of theory and prac- For the last couple of years, we have seen tion, School of Architecture (KADK) in Copenhagen and worked as an in- tical experimentation, where I draw on my a preoccupation with speed and efficiency in dependent architect and as architec- knowledge of photography and my never- our profession. Now I see the tide turning tural photographer. Her Ph.D. project ending curiosity about the phenomenon of again, with an increased awareness of qual- explores daylight, light openings and daylight. ity and innovation, as well as a concern for the facade. My thesis supervisor at the KADK has resources, the environment and people’s lives been pivotal in my development so far. In our in the way we build new buildings or trans- conversations, he gave me an understanding form existing ones. I hope to be able to con- of my subject matter and inspired my funda- tinue contributing to this development mental engagement with the phenomenon through my research on daylight, creating of daylight. As a teacher myself, I bring this new knowledge and passing this on to the experience with me. Based on a strong belief next generation of architects. Part of the that everyone has unique potential, I try to research in my Ph.D. project has recently motivate students to find their particular formed the basis of a semester course at the focus, and to make them flourish, both per- Aarhus School of Architecture, and together sonally and professionally. with two colleagues, we have extended this Winning the International VELUX Award to a four-semester course on daylight. I think spurred me on; the acknowledgement that this kind of research-based teaching moves other people could follow my ideas and things forward as it provides students with thoughts has had tremendous impact on my qualified knowledge and useful tools to work career path. It brought me into close contact with daylight in architecture.” with the international community of archi- tects, 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

44 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 IN A VERY REAL WAY,

PETER THULE WE CANNOT BE KRISTENSEN WITHOUT WHATEVER

Throughout history, a good architect has been The integration of art, science, and practice Peter Thule Kristensen, Ph. D., is Head of the School of Architecture characterised by his or her ability to combine that we seek to achieve in our courses is also at the Royal Danish Academy of Fine many different contexts in a spatial, mean- reflected by our teaching staff. The many Arts (KADK). He has worked as an ingful totality; a totality that both meets a practising architects and designers who architect since 1994, in his own archi- IT IS THAT THE SUN number of practical requirements and also teach at the KADK collaborate closely with tectural practice and elsewhere, and has been a professor at the Institute enables us to grasp the world that we are in. researchers within a field of scientific and for History and Theory of Architecture But in contrast to the Renaissance’s Uomo artistic development. In this relationship, it is of the KADK since 2004. Peter Thule Universale, modern day architects can no important that their domains are not simply Kristensen has published several books longer be expected to have a thorough knowl- mixed, but rather that they enrich and inspire on various themes, including the works edge of all relevant contexts. The challenge each other with their differences, and that of the Danish 19th-century architect GIVES US. HOWEVER, Gottlieb Bindesbøll and 20th-century for them is, therefore, to maintain the ability their teaching is based on a considered com- architects such as Arne Jacobsen and to think in a holistic manner, while at the same bination of knowledge transfer, design stu- Rudolf Schwarz. time sharpen their particular competences. dios and ‘hands-on’ workshop experience. At KADK’s School of Architecture we KADK’s School of Architecture is based believe that the students become better at on a Beaux-Arts tradition, in which the con- thinking in a holistic way if they have the cept of architecture as an art form that IT IS ALSO IMPORTANT opportunity to work in depth with a defined appeals to all of our senses is central. And, in subject or artistic approach during their stud- my opinion, there is absolutely no reason for ies. Therefore, we work with a broad, holisti- the artistic approach to be introverted. We cally-oriented Bachelor education and more must respond to modern-day issues that specialised Master programmes that strongly impact on society − for example, the unavoid- connect research and artistic development. able challenge of sustainability. This means The focused programmes also help our stu- that students must participate in social and TO CONSIDER WHAT dents attain a differentiated profile and cultural debates, read texts and make use of thereby a competitive advantage in a labour scientific methods in their research, without market that has become increasingly global neglecting a recognition inherent in art – and requires ever more specialisation. namely, that there are no definitive answers A good example is our new master pro- or unambiguous questions. gramme, Architectural Lighting Design, in IT IS THAT WE GIVE which we will educate both industrial design- ers and architects, and thereby bring their spe- cific design competences together. This is the first education of its kind in our world; previ- ously it was left to engineers to calculate light exclusively on the basis of rational premises. THE SUN IN RETURN. In other words, we educate a new type of ‘light- ing architect’ who is capable of combining an aesthetic approach with engineering ability. Craig Dykers

48 D&A SPRING 2014 ISSUE 21 PHOTOGRAPHY BY ANOTHERMOUNTAINMAN QUOTE BY HYUNSEO

50 D&A SUMMER 2014 ISSUE 21 51 2008 CORNELL UNIVERSITY, ITHACA QUOTE PHOTOGRAPHY BOUMAN BY OLE BY ANOTHERMOUNTAINMAN REILLY HOGAN

“While studying at Cornell University, I got of residential units. Through my work I have Reilly Hogan, 1st prize winner in the International VELUX Award 2008, is the chance to take part in a design studio in gained a much deeper understanding of how an Associate Principal at KPF, Kohn New York City. Having grown up in San Fran- glass interacts with daylight, how the quality Pedersen Fox Associates in New York cisco I love cities, I love New York City, and of light can be changed, using coatings and City, where he has been employed for that is where I am now, working at one of the filters to achieve different light levels.. the last five years. In his first year after graduation, he was a Teaching Asso- big architectural practices with projects My greatest experiences of light, how- ciate in the Department of Architec- around the world. I am where I always wanted ever, come from nature; like the sculpted slot ture at Cornell University teaching to be, working on a variety of projects with canyons in Utah, where one ray of sunshine, design studio. As a senior designer many design opportunities and always learn- just one, suddenly appears in otherwise com- at KPF, Reilly Hogan primarily works with commercial, residential and re- ing more about the process and practice of plete darkness, beautifully illuminating and tail projects in the United States, Can- architecture. colouring the space. Experiences like this are ada and China. Cornell design studios taught me a diverse great sources of inspiration for my work. way of thinking of design; the critics there Winning the International VELUX Award encouraged constant creativity and explora- was a source of pride and gave me confidence tion. I learned how to construct an argument, in my design abilities. It was a great stepping how to present and visualise, and how to marry stone in my aspirations to be a design leader. the two together. What we didn’t learn so In my current role as Associate Principal, I am much about was working with a client, deal- building my skills, leading projects and work- ing with the fact that the client’s priorities and ing in teams. I would love to do more cultural, processes are often different from those of the public buildings − a museum, an art gallery, architect. A basic understanding of budgets or a train station would be fantastic. Places and of financing might have been useful. And where the programme is more open and then, on the other hand, the money focus tends where the function of the building interplays to become more and more predominant in our with the building design. I look forward to one society. I fear that the aesthetic appreciation day having more design autonomy and the of good design is endangered, with the arts ability to independently express my creativ- and aesthetic programmes often being ity through my work.” 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; day- light 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

52 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 “The era of big scale of big scale development age shed or flower bed that could be shared run their own design studio MiYong- is over in Seoul. So we are interested in small- among neighbours instead of a solid brick wall. Sil where they work with everything scale projects that focus on repairing and By opening up and greening the dead spaces, from architectural design to interior reforming old spaces and structures for new we create better living environments and design and furniture design. Their pro- jects are located in Seoul and typically uses. We are keen on experimenting with opportunities for human interaction. deal with reusing old spaces. They re- materials, spaces and entire buildings, while Renovation and remodelling is a big issue cently published a book called Urban at the same time appreciating that we still in Seoul due to issues of environmental sus- Living Room, in which they seek out have a lot to learn and that we are still in the tainability and economic downturn. All this leftover spaces in the city and explore how you can enjoy the urban environ- process of reaching our goals. requires a new understanding of old struc- ment like your own living room. The most useful things we learnt at tures, a new approach to design and a differ- Dae Hyun Kim is employed at Mass school were to look at, interpret and under- ent set of design tools. Through our practice, Studies, a leading Korean architecture stand space. As a student, it is very impor- we are part of this process of rethinking. Day- firm in Seoul. Jin Kyu Choi was previously a part- tant that you establish your own point of light plays a special role in all of this, espe- ner in MiYongSil but is now working view. This requires considerable discussion cially when you live in a city with tall buildings as an independent designer in furni- about the values and abilities of architecture. all around that cast large shadows on their ture design. Through these discussions, and through shar- environment and rob people of much of that Together, Young Gook Park, Won Ill Kim, Dae Hyun Kim and Jin Kyu Choi ing our thoughts with our professors and fel- daylight. won the first prize in the International low students, we learnt a lot − not only about A good idea is crucial when it comes to VELUX Award 2010. design but also about how to develop our own design, but the idea really only gets you half philosophy as architects and designers. way; discovering how to make your ideas real- Whilst studying, it is important that diverse ity is just as important. A lot of things need aspects of architecture are pointed out to you, to be considered in the process − such as so that you and your fellow students can find design, budget, timeline, details and produc- your own approach to the subject. In this con- tion. Practising as an architect requires a text, teachers should always be alert to new great deal of know-how that we can only gain ideas and to trends in society that create the through experience. ” 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 con- fidence 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-

54 D&A SUMMER 2014 ISSUE 21 55 QUOTE BY HYUNSEO PHOTOGRAPHY BY ANOTHERMOUNTAINMAN

57 QUOTE BY GLENN MURCOTT PHOTOGRAPHY BY ANOTHERMOUNTAINMAN 2010 HANYANG UNIVERSITY,

SEOUL PHOTOGRAPHY BY FERIT KUYAS QUOTE BY KARL OTTO ELLEFSEN HYUN SEO

“Nowadays, architects have to be both number of our students actually pursue a Hyun Seo is Head of the School of Architecture at Hanyang University designers and implementers of projects. The career in the field of architecture after grad- in Seoul, where he teaches architec- scope of their work ranges from programing uating. Acknowledging that college educa- tural design and theory. He received computer software to dealing with legal tion must prepare students for life rather than his Bachelor and Master degrees requirements, and managing design teams for a specific career, we encourage students from Seoul National University and then went on to pursue his graduate to overseeing the actual construction of to find their own way to be leaders in what- studies at Columbia University in New buildings. ever profession they end up in. “ York, USA. Hyun Seo is the author of This wide range of tasks means that various books such as Explaining architects are often required to define prob- Architecture (1998) and Creation and Evolution of Korean Traditional lems and raise the right questions before they Architecture (2012; both in Korean can look for solutions. In our school, we language) encourage students to embark on this exer- cise of defining problems. Unlike in mathe- matics, there isn’t usually a ‘right’ or ‘wrong’ answer to architectural problems. We there- fore teach our students to find satisfactory, rather than ‘correct’, solutions to the prob- lems they find. This involves eternal compro- mise 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 pro- ject, and sees that others – including the com- petition 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 regard- less of the subject that it deals with. This is all the more important when only a limited

60 D&A SPRING 2014 ISSUE 21 2012 SWISS FEDERAL INSTITUTE OF TECHNOLOGY (ETH), ZÜRICH WHEN YOU DO A BO LI, GE MEN COMPETITION LIKE

“As we are just starting our careers, we are in zerland, the sun is celebrated, brought directly Bo Li has just finished his Master the- sis and is now working part time as the process of learning by doing. We are get- into people’s homes; in the south of China, THIS, YOU DO teaching assistant at the Swiss Fed- ting valuable experience with the realisation people tend to avoid the sun, the buildings are eral Institute of Technology in Zürich of projects now that we have completed more closed, shielding people from light and (ETHZ). He also writes articles for pro- school. We are learning the ways of the con- heat. Even within Europe we see great differ- fessional architectural magazines. Ge Men is founding partner of Fangan struction site and how to manage projects ences in the approach to sunlight from north Architekten, a small architectural of- with many different stakeholders. If architec- to south. Daylight and sunlight carry a lot of fice in Switzerland. The company un- ture stays on paper, it is only an idea. We are cultural meaning. dertakes renovation projects, designs therefore eager to learn much more about the Our dream is not only to design buildings single-family homes and offers design assistance to projects in China. realisation of projects in the real world. but to improve people’s lives. The world is SOMETHING THAT Together, Bo Li and Ge Men won the In our education, this kind of practical moving in one direction, becoming more first prize in the International VELUX knowledge did not play such a central role. On abstract and loaded with information. Peo- Award 2012. the other hand, our studies allowed us to be ple are moving from reality into virtuality. The 100 percent idealistic, and idealism is the same goes for architecture. Looking into the source of passion. The education system seems future, people may be living their entire lives like a pyramid, where we spend most of the inside buildings without contact to the out- time on building design, a little less time on the doors. As architects, we have to relate to this HAS THE POTENTIAL urban context and just a little time on philo- development. sophical and conceptual thinking. Maybe more Our dreams for the future? Building is a focus on philosophical and conceptual think- keyword. Building our experience. Building ing could have brought us further allowing us our portfolio. Building for people. Right now to work with more abstract concepts, playing Switzerland is a good place for us to be, but with light, aimlessly touching materials, piling with contact to the rest of the world, not least objects – more like art school maybe. It is while China, our home country.” TO SHIFT YOUR you are at school you can do this, whereas in real life we are building for specific clients, spe- cific programmes and specific budgets. The challenges for architecture are very different in developed and developing coun- tries. We are both doing projects in Switzer- land and in China, and can see the differences. In China, it is more about quantity and speed. WORLD. 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- Peter Stutchbury

62 D&A SPRING 2014 ISSUE 21 QUOTE BY HANI RASHID PHOTOGRAPHY BYFERIT KUYAS QUOTE PHOTOGRAPHY KLUMPNER BY HUBERT BY FERIT KUYAS

65 chitecture andurban designat headsthechairofKlumpner also ar Together withBrillembourg, Hubert Think-Tank inCaracas (Venezuela). tablished theplanningoffice Urban- 1998, heandAlfredo Brillembourg es at ColumbiaUniversity inNew York. In ture andurban planningin Vienna and ( genössische Technische Hochschule partment of architecture at theEid Hubert Klumpnerisheadof thede- 2012 66 ETH ) inZurich.Hestudied architec ETH . - - - - means that we have to winback of some the with anenormouschallenge.Accepting italso sible. Inthisrespect, we architects are faced concrete form andmakingthemcomprehen- tives into physical space,thusgivingthem architects translate objec politicalandsocial ning are frozen also politics.Withtheirwork, I would addthat architecture andurban plan once said that architecture is frozen music. our buildingculture. ArthurSchopenhauer the development of entire cities,aswell asof ing aclient’s profit butisalways involved in architect isnot onlyresponsible for maximis- position withregard to society asawhole.An time, aspiring architects have to develop their where architecture is taught. At the same for granted ininstitutes of highereducation of building. Today, this can no longer be taken tive thinkingandthefundamentalprinciples great value on teaching the art of construc oriented university, we continueto place of asociety that cantake responsibility. highly-skilled professionals members butalso we hopeto educate themnot onlyto be personal inclinations andtalents.Inthisway, to choosetheirsubjectsaccording to their ing environment, leaves students the freedom education that, withinapre-structured learn- economy andpolitics.We offer abroad-based entate ittowards theneedsof society, the as generalists and,ontheother, that we ori- lum onthepremise of educating architects that, ontheonehand,we base ourcurricu- account. Inthecaseof ing in architecture needs to take this into more andmore complex andacademictrain- “The profession of thearchitect isbecoming KLUMPNER HUBERT ZÜRICH SWISS INSTITUTE FEDERAL OF TECHNOLOGY (ETH), As a technically- and scientifically- ETH D&A Zurich, this means Zurich,thismeans SPRING 2014 ISSUE 21 ISSUE 21 - - -

central themeupto now. However, Ifelt that in theindividualdesignstudios, ithasbeena we seestudying asthestarting pointof alife sity canonlyserve asabasis. At been lost to others. influence that, inthelast few decades, has all inthemore advanced semesters.” opinion, this would be highly beneficial, above professor or special design seminars. In my assume many forms –for example, avisiting the curriculumeven more visibly. This could which we couldanchordaylighting designin industry inorder to develop formats with it would beusefulto work with scientists and the ing. Working with this resource is written into their own duringtheirstudies. leave itupto students to learnaboutiton tant inprofessional practice andwe cannot approach is becoming more and more impor disciplinary learning.Aninterdisciplinary actively offer students opportunities for inter tor function” to goodeffect. Inaddition, we their own work, exemplify this“communica- role, we regularly appoint professors who, in a certainamountof assertiveness. intelligence, theability to work inateam and ist knowledge, oneneedscommunicative ety. To do apart so, from consolidated special to assume responsibility inademocratic soci long learningprocess that prepares architects DNA For allthis,acourse of study at auniver This appliesto also thetopic of daylight In order to prepare ourstudents for this of ourprofession. At ETH ETH , especially , especially Zurich, Zurich, ------

QUOTE BY BO LI, GE MEN PHOTOGRAPHY BY FERIT KUYAS 2012 SWISS FEDERAL INSTITUTE OF TECHNOLOGY (ETH),

PHOTOGRAPHY BY FERIT KUYAS ZÜRICH QUOTE BY HYUNSEO

LUKA PIŠKOREC

“Architects today should try to maintain the involved in teaching, as they have to contin- Luka Piškorec is a Research Assistant at the Department of Architecture and role as generalists that they have always uously keep up to date with things happen- Digital Fabrication of the ETH Zürich, played in history. This requires them to ing in the architectural world. But it will and was tutor of Bo Li and Ge Men acquaint themselves with a broad range of eventually drive the discipline forward, as the for their winning design in the Inter- skills from all areas of human cultural quality of education will have to live up to national VELUX Award 2012. He stud- ied architecture at the University of endeavor, especially, but not only, the crea- global standards, and even smaller schools Zagreb and worked in architectural tion of architecture. Technology plays an can reach global standards in a short time. offices in Croatia and Switzerland important role here since it permeates all Student competitions play a vital role in prior to pursuing his Master studies parts of our culture, as well as the construc- architectural education, and I would encour- at the ETH, which he finished in 2011. tion industry. Taking a pro-active approach age any student to participate in them. After to technology puts the architect in a leading all, at the beginning of an architect’s profes- position and allows him to define the rules of sional life, there are basically only two ways the game. Unfortunately, architects are usu- of obtaining work and distinguishing oneself ally the last to adopt new technologies, which – direct contracts and architectural compe- leaves them with only a subordinate role in titions. Since the first are much less common, comparison to other engineers. Changing this young architects are often left with no other attitude will enable us to assert ourselves as choice but to participate in competitions. Fur- a driving force in technological innovation, thermore, I see competitions as a sort of series something we have to strive for from the ear- of questions asked by society, to which archi- liest days of our architectural education. tects must respond. And only the architect In my view, the role of architects in our who has something to say, comment or ask society is rather schizophrenic. On the one is competent to fulfill the second role men- hand, we try to please our clients and meet tioned above – to work in the interest of soci- their needs. On the other, there is the expec- ety. This culture of assuming the role of a tation that architects should work in the ‘commentator’ who answers questions aris- interest of society as a whole. Negotiating ing from society through architectural com- between these two requirements is one of petitions should be nurtured in education the most important tasks of any architect, from the very beginning.” and students ought to be prepared for it in academia. A third aspect of architectural education is the increasing international interconnec- tion 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

68 D&A SUMMER 2014 ISSUE 21 69 QUOTE BY LIM HUAT PHOTOGRAPHY BY FERIT KUYAS

70 D&A SUMMER 2014 ISSUE 21 DAYLIGHT & ARCHITECTURE MAGAZINE BY VELUX GROUP SUMMER 2014 ISSUE 21

Publisher: VELUX Group, Michael K. Rasmussen Print run: 25,000 copies VELUX Editorial team: Per Arnold Andersen, ISSN 1901-0982 Christine Bjørnager, Lone Feifer The views expressed in articles appearing in Editorial & creative advisor: Torben Thyregod Daylight & Architecture are those of the authors Editor: Jakob Schoof/DETAIL and not necessarily shared by the publisher. Photo editor: Torben Eskerod © 2014 VELUX Group. Art direction & design: Stockholm Design Lab ® ® VELUX and VELUX logo are registered Per Carlsson, Christopher West, Björn Kusoffsky trademarks used under licence by THE DEBATE the VELUX Group. Translation: Sean McLaughlin E-mail: [email protected] Proof-reading: Tony Wedgwood da.velux.com Ipad version available in App store CONTINUES!

Dear Reader of Daylight/Architecture,

Schools of architecture worldwide educate competent candidates who can hopefully fulfil everyone’s 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 www.thedaylightsite.com/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.

72 D&A SPRING 2014 ISSUE 21 SUMMER 2014 ISSUE 21 THE FUTURE IS LIGHT DAYLIGHT & ARCHITECTURE MAGAZINE BY VELUX GROUP