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VELUXEDITORIAL

THE FUTURE IS LIGHT

“Eternal though daylight may be in physical respects, it is ripe for redefinition as regards its cultural significance. The light of tomor-row will be shed upon a new architecture.” wrote Ole Bouman ten years ago as one of the first jurors of the International VELUX Award for Students of Architecture. From modest beginnings in 2004, the award has grown into one of the most important awards of its kind worldwide, with the participation so far of almost 4,000 student teams from more than 60 countries. From the start, the theme of the Interna-tional VELUX Award has been ‘Light of Tomorrow’. We are convinced that tomor-row’s light will be of natural origin, for noth-ing can match daylight in its variability, dynamics and beneficial effect on human health and well-being. Over the years, the par-ticipants in the award have developed thou-sands of ideas of how this natural gift can be used in buildings and dense urban spaces, as well as in the remotest rural areas. Who – if not future generations of archi-tects – could create the new architecture that Ole Bouman calls for? And where, if not in the architecture schools of the world, should aspiring architects learn the skills to redefine the state-of-the-art in architecture, to create healthier, more people-friendly and more sus-tainable buildings? This issue of Daylight/Architecture cele-brates daylight – and the thousands of bright reflections and ideas from students from all over the world – and embarks on a conversa-tion about the future of architectural educa-tion. We start this dialogue by looking back at the ten years of the International VELUX Award, recapitulating some of the discus-sions among jurors and the issues that have been raised by the students in their submis-sions. This is accompanied by images from some of the award-winning and honourably mentioned projects from the last ten years. The second part of the magazine discusses

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

Enjoy the read!The VELUX Group

SUMMER 2014

ISSUE 21CONTENTS

VELUX Editorial 1Contents 2Jurors and participants 44000 bright ideas 7Ten years of daylight 23Learning for the unknown 32A world of opportunities 35The debate continues 72

DAYLIGHT & ARCHITECTURE ISSUE 21

FREE IPADVERSION

With almost 4,000 submissions so far, the International VELUX Award rep-resents an almost inexhaustible col-lection of ideas on daylight and its use in architecture. This article presents a collage of some of the most inter-esting projects and recurring themes that the students have dealt with.

4000 BRIGHT IDEAS

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

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TEN YEARS OF DAYLIGHT

What does the history of the Interna-tional VELUX Award tell us about the significance of daylight in architec-tural education? And what trends in architectural education are reflected in the submissions? At its tenth an-niversary, it is time to trace the de-velopment of the Award so far, and recapitulate the most interesting dis-cussions among the jurors.

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LEARNING FOR THE UNKNOWN

How to prepare a new generation of architects for a future that is uncer-tain? This article discusses some of the premises: give students freedom of thought and experiment, teach them to take on responsibility for so-ciety in general, and provide archi-tectural education with a value base.

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A WORLD OF OPPORTUNITIES

Architectural education has to do more than prepare young profession-als for the labour market. But what precisely are the requirements that architecture schools must live up to? The former winners of the Interna-tional VELUX Award, as well as their professors and the heads of school where they studied, discuss this ques-tion in their statements.

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THE DEBATE CONTINUES

At the end of this issue of Daylight/Architecture, we call for profession-als world-wide to continue the debate on daylight and architectural educa-tion on the Internet and on Twitter. To carry the issue beyond the pages of this magazine, we are addressing all of our readers with a letter.

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2004 2006 2008

THE INTERNATIONAL VELUX AWARD

Glenn Murcutt Architect (Australia)

Craig Dykers Architect, Snøhetta (Norway)

John Pawson Architect (United Kingdom)

Ole Bouman Architect, at the time editor-in-chief of Archis (The Netherlands)

James Horan Architect, at the time president of EAAE (Ireland)

Ahmet Gülgönen Architect, appointed by UIA (France)

Michael PackAt this time General Manager, VELUX Germany (Germany)

Kengo Kuma Architect (Japan)

Róisín Heneghan Architect, heneghan peng architects (Ireland)

Omar Rabie at the time MIT student (Egypt)

Douglas Steidl Architect, at the time AIA President, appointed by UIA (USA)

Per Olaf Fjeld Architect, at the time president of EAAE (Norway)

Massimo Buccilli General Manager, VELUX Italia (Italy)

Hani Rashid Architect, Asymptote Architecture (USA)

Enrique Browne Architect, Enrique Browne & Associates (Chile)

Eva Jiricna Architect, Eva Jiricna Architects (United Kingdom)

Huat Lim Architect, ZlgDesign (Malaysia)

Francis Nordemann Architect, at the time president of EAAE (France)

Michel Langrand General Manager, VELUX France (France)

258 SUBMISSIONS27 COUNTRIES

JURORS

PARTICIPANTS

557 SUBMISSIONS53 COUNTRIES

686 SUBMISSIONS46 COUNTRIES

Christian Hoffelner, Evelin Temmel, Tobias Brown Nicole Eveline Stoecklmayr Azra Fejzic, Ivana Juric, Azra Sugkic Michaela Weninger, Elisabeth Aberger Claudiu Cristian Silvestru, Carmen Ivona Du-mitrescu, Gabriela Petrescu Markus Dröscher, Melanie Klocker, Ingomar Platzer, Barbara Sieber Gregory Bieker Eva Garcia Torrejon Brice Polomé Sebastien Sainsard, Blandine Delaporte, Jean Delavne Benjamin Moray Xavier Delpire Laura Anzaione Julien Stasse Dave Grosemans, Haroen Martens Lejla Babic Alma Džinalija, Dženida Vrtagio Hana Kevilj Sanja Vrzic Sandra Martinovic, Nihada Pusta-hija, Maja Stabek Jasmina Mitrovic Husein Mirašcic Milena Antonic Jusuf Zilic Vladimir Stanarevic Ivana Borovnjak Dario Šišak Luka Franjesevic, Andrea Vukojic, Adam Vukmanov Adam Baricevic, Ivan Buden, Rozaljija Muhek Lea Petrovic Ivan Laškarin Hrvoje Zuparic, Dean Niskota, Ivan Starcevic Ivan Foretic, Berharda Cesar Saman Saffarian Ondrej Cisler Michaela Dytrová Štepán Martinovský Marek Ružicka, Michal Kutálek Vitka Navrátilová Ondrej Cisler Bronislav Stratil Eva Neumayerová, Martina Polachová, Jana Jandová, Lucie Zillichová Stephan Gustin Melanie Ann Bech Lisbeth Werup Nielsen Gustaf Erik Lohm Christina Augustesen Marie-Louise Mejlholm Rene Ruprecht Karsten Hammer Hansen, Maria Jensen,Henrik Søgaard Jensen, Lars Mortensen, Sine Maria Peitersen, Jens Christian Sø-rensen Lise Dybkjær, Mads R. Holst, Christian B. Jørgensen, Anders G. Rasmussen, Ane J. Gram Steinar Bakke Kaur Talpsep, Kristiina Aasvee, Joel Kopli, Jürgen Lepper, Margus Soonets Ringevalle Julien, Jesop Satchmo Rémy Claden Marie Richard Julien Stephane Plessis, Grégory Lambart Eric Sontag Andrei Badescu Jean Paul Meyer, José Da Costa Grichka Martinetti, Antoine Petit, Nicolas Debicki Michael Brinschwitz, Marco Bartsch Caroline Hörning, Marcel Lenk Alexa Schröder Dirk Siebel Ralf Wilkening Khvichia Zia, Levan Asabashvili Daniel Weide Hendrik Bahr Marc Aurel Jensen Jinwei Lin, Xuan Yang Daniel Hoch Kai Beck, Jens Hogekamp Volkmar Schultz, Monika Marasz Katrin Bernickel, Christian Oberteicher, Holger Paul Christoph Jantos Jens-Peter Veddeler, Jens Veddeler, Chris-tian Boland Matthäus Wirth, Irina Koerdt, Jacqueline Pehlemann Inga Geister Susanne Kiesewetter, Melchior Cremer Christian Hahn, Frauke Röth, René Arlitt Franca Reifner, Nikolaj Von Brandis Tobias Schmitt Petra Schlömer, Sabrina Peters, Andreas Allen Max Gunst Sandra Hannemann, Adam Gonsior Thomas Schneider Roland Haehnel Jan Pingel Natalia Soukhova Thomas Heidebur Luke Samuel Pendergast Krzysztof Kotala Vasia Liri Margarita Gkika Manolis Paravoliasis, Stefanos Papadatos, Andreas Halaris Maria Danilatou, Angela Danilatou Achilleas Psillidis, Michalis Pissaridis Argyro Sk-ouloudi, Despoina Loukadaki Myrtia Fasouli Christina Tsironi Mikaela Liakata, Melina Mezari Panagiotis Rupas, Georgia Voudouri, Panagiota Passia Costandis Kizis, Nikos Katsikis Vasileios Moustakas, Charalampos Giannikopoulos Flina Axioti Aikaterini Drakou, Despina Mahairidou Ioulia Goula, Aikaterini-Olga Kefalogianni Chariklia Makedonopoulou, Maria Doxastaki Nancy Psaraki Maria Brassinika, Sofia Lagiou 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 Pozzoni, Amalia Siriana Vivian Argon Islami, Albana Rexhepi Baiba Bekere Lina Ruskyte-Lukoseviciene Mindaugas Staniúnas Mindaugas Butvila Nils-Anders Gjulem Kristine Langfeldt Wessel Kwang 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 Adam Radzimski Dagmara Turska, Rafal Witusik Barton Rusztyk Zofia Sobolewska Marcin Pilsniak Liliana Krzycka Anna Nowacka, Katarzyna Turbiarz Marcin Rok Mariej Jaroslaw Slowinski Mariusz Nowak Anna Gawronek, Izabela Pielesiak Monika Dziadosz Jakub Manek Aleksandra Sabramowicz Tomasz Berezouski Mateusz Januszeeski Beata Kosok, Anna Wilk Urszula Kijek, Adam Rzeszotalski, Mikolaj Wower Justyna Maria Dawicka, Agnieszka Anna Konca Krystian Nawrocki Paulina Korkozowicz, Joanna Jarczewska Iwona Kleczaj Karolina Rosinska - Stochaj, Agnieszka Sowinska Alicja Bed-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 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-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 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 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 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 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 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 Aktur Nazmiye Ozturk, Mert Uger, Yuvacan Atmaca, Israfil Konyali Sofia Yatsiv, Olga Yatsiv Yuriy Vakula Olena Kovalchuk Vladimiz Kozol Pavlo Benedyuk Lei Yu, Ying Wang Hanna Zminkowska Karolina Szynalska Susan Ann Gravgs-Thomas Jenny Melville Rohan Patil, Zubin Masters Andreas Chadzis, James Erickson Jason Tristram Pettit Rodrigo Velasco, Chunxiao Lu, John S. Imeson Salvador Rivas Michael Tze Wei Na Dimitri Argyros Sophie Anna Campbell Kyong Joo Kim, Dong Ku Kim Yuting Jiang Li Jia Yang Jonathan Fraser Morrison Petra Lui

Carmen Blanc, Alvarado Jiri Orol Ana Luis Daniel Rey, Machuca, Hermán - Marcos, Lucas - Otero, Carolina Juan Ignacio Diana Menéndez, Granero Realili Guadalupe, Risso Patron Domingo, Sellant Ayelen Ricardo Antonelli, Carlos Beghetti Christian Ramón Ignacio Del Blanco, Mariño Sebastián Manuel Leandra Hanlon, Trejo, Matias Augusto - Zottig, Ivo Lucas Catriel Rodriguez, Susana Kaplan Damian Plouganou, Turrin Maria Cecilia, Jaume Natalia, Fernandes Esteban Ignacio Arjol Acebal, Ghiggino Ricardo, Villar Rojas Adrian, Villar Rojas Sebastian, Bermudez Diego, Maria Del Pilar Navarro Laura, Beatriz Juárez, Busaniche, Mariano - Spesso, Martin Alexandra Brown Yin Wang Colin Ng, Galut, Dan Oliver Huw Wellard, Perversi-Brooks, Sam Jan Alexander Golembiewski Nikolina Bobic Ilan Ma-choro Jan Alexander Golembiewski Tomoko Suga Julia Url Claudiu, Christian Silverstru Katharina Volgger Alexander Eberl, Piker, Cornelia Barbara Hohensinn Viktoria Hohl Florian Absenger Stephan Brugger Dominik Troppan Robert Guenther Zarko Koyacevic, Racic, Radomir Bence Pap Alexander Gastager, Lukasser Mathias Monika Ponjavic, Krivosija Damjan Jasmina Mitrovic Bojan Erceg, Ga-canovic Alexander Maja Vujovic, Bodroza Marija, Kacar Jelena, Dundic Vanja Mejrema Zatric, Kurtic, Amra Carlos Lima Andiara Campanhoni, Palhas, Ana Cristina Menezes - Flores, Alice Leite Felipe André Rodriguez, Vargas, Fernando Borderes- Shimizu, Chirochi Jr Alexandre Nagazawa, Lacerda Bernardini, Patricia Ricardo Bórmio Pacheco De Carvalho, Iwamura, Francis Camargo - Maoski, Thiago Fernando Paulo André Ronconi Holand Ricardo Bonini Ricardo Bórmio Pacheco Da Costa Lima, João Gabriel Lobato, Flavia Syrio De Carvalho, Juliana Tavares Gustavo Dieckmann, Paulo Neves Sique-ira, Rafael Roque, Pablo Assis Fernando Augusto Yudyro Hayashi, Vilela Rodrigues Da Silva, Tagore Carolina Comim, Christiane Gnilherme Mendonga Simon Daniele Countinoho Moraes, Barth, Adriana - Barth, Michele Emanuelle Tatiana Delattre, Rodrigues Anna Luiza Agoitinetto, Delattre Tatiana Santiago, Amaro Tatiane Andrasc Ana Gisele Ozaki, Máximo, Monica - Matsune, Silvia Thiago Albino Maso, Silva, Francis Juliane Kalil Da- Falavinha, Carolina Lourenco Flavia Cristina Silva, Bonadio, Mariana G - Diniz, Renata A. Livia Iwamura, Hirai, Juliana Ciro Gustavo Scheraiber, Sebben, Felipe- Re-ichmann, Natalia Karina Yurk, Talita Paulo, Debora Yang Erico Flumignan Pacheco Lenita Pimentel, Polastre, Bruno - Pereira, Cassio Vinicius - Sandoli, Renata Rafael Costa Ana Paula Harumi Eguchi, Kfouri, Tatiana Abbud Rafael Gazale Brych, Neves, Rafael H Sabrina Gilbert, Annie Beaudoin David Brassard, Saucier, Jean Philippe Mathieu Turgeon, Bourdon Paule Karine Guerrette, Laprise, Alexan-dre Maxime Turgeon, Cyr, Marie-Eve Tina Levesque Cahill, Biboud, Emilie Nathalie Pinealilt Page Roxanne, Johanie, Boivin Isabelle Dallaire, Potvin-Jones, Jody Lee Rachel Simard, Julie Lussier Laurie Gosselin, Karine Renaud Faiyaz Zakaria Khan Adam Clark, Cheung, Jessica Sandrina Dumitrascu Erika Kulbach, Hunter, Carrie Anne-Marie Paula Armstrong Neal Panchuk Francisco Breton, Reyes Emilio, Retamal Octavio, Maureira Luis Felipe, Araya Claudio, Flores Paulina Erwin Baeza, Barrera Lorena, Benitez Ricardo, Figueroa Alex. Guinez Rodrigo, Llanos Javier Claudio Barria, Roa Paulo, Villarroel Dan-iela, Quevedo Sady, Llanos Jonathan, Mendez Orlando, Flores Pamela Zaror, Ramirez Monica, Valenzuela Evelin, Renault Sarah, Tapis Alicia, Pantoja Roberto, Utrer Sofanor Rojas, Marcos Ramirez Shi-Shian Lee, Chang, Yin-Shing - Hsu, Chia-Yuan Wei-Hung Peng, Fan, Yang-Chen - Chen, Sheng-Nan Min-Hung Chen, Han-Shu Yi I Chia Chiang, Lu, Meng Shan Shiuan-Ming Hwang, Chen, Guan-Jie Liao Ya Hui, Yang, Ya Shu Guang Zhi You, Wu, Han Jun Ching Chan Chung, Ou Yang, Zhi Hong Chung Chun Chiu, Hsin-Yi Liu Xing Yun Yan, Chen, Hui Ting- Qiu, Hui Wen Fani Yang Wei-Ting Yu, Ying-Zhen Su, Zhe-Wei Lin Jia Hao Zhang, Zhuang, Ming Zong Ming-I Wu Zi Qiu Yan, Qin Tuo Sinan Yuan, Xue Yuan Keming Wang, Liu Yang Gong Huan, Wang Xu Alice Hwa Kam Fai Hung, Tse, King Tong Kenneth Hin Fai Kenju Wong, Wong Yuen Yam Samuel, Yiu Tsz Yan Ryan, Kua Hwa Cheng Willie Xin Li, Zheng Chao, Yu Yisi, Xu Min Luis Armando Viteri Revelo Damir Glavinic, Stambuk, Duje Vlatka Vidakovic, Vrancic Sanja, Vidakovic Visnja Ivan Foretic, Ilicic Emilio, Dubravcic Mihovil, Krcmar Valentina Ana Bilan, Brucic Maja Eva Cotman, Galic Mia Dario Sisak, Opalic Bosko Sara Marenic, Plazibat, Marijana Anja Kresic, Kranjcec, Ivana Luka Ivancic, Jambrovic Marko Veljko Linta, Katic, Duje Mario Furcic, Cmogaca, Adrio Daniel Novak, Matejicek Michal, Vrabcova Alzbeta Dana Krcmarova, Tomashanulik, Tomas Mana, Rdek Horak Barbara Mantovani, Lorenzo, Masini- Caroline Willeit, Adrian Torres Astaburuaga Anette Bjerring Gammelgård Kamille Le Fevre Sckerl, Roedbro, Mathilde Asgaard - Eng, Christine Erika Troelsen, Darre, Charlotte Carl Henrik Graff Aslaug Thorgeirsdottir Frej Tobias Lotus, Ahm, Isabel- Rugaard, Mikkel- Andersen, Morten Manuela Vanotti, Bayle, David Nana Diercks, Sharon Ruben, David Strebicki Mette Rasmussen, Horsving Barfoed, Anne- Poulsen, Jacob- Nielsen, Ulrika Kvist- Vladykova, Petra- Pi Anja Birkkjaer, Nordbladh, Catarina- Boutrup, Mette Bagge- Bertelsen, Anders- Iversen, Anne- Mortens Signe Skaar Pedersen, Ladawal, Narisara- Gustavsen, Sine- Korsbäk, Mikkel- Staugaard, Gitte- Anderse Sebastian Soelberg, Preisler-Berthelin, Marie- Rahlff, Sören- Packuess, Rune Ylva Hegelund, Eftestö.l, Evy Louise Grønlund Blazej Zemleduch, Michele Cerruti But Moataz Ali, Niveen Mahmoud, Heidi Mohammed Eslam Ahmed Mohammed Abdelkader, Ahmed Mohammed Kamel Nasar, Mohammed Magdy Viktoria Stana Ngai-Sze Kiang Ayako Hamada Nelly Weiss, Arbei, Dori Deré Gum Bauche Stephane, Simon, Boudet- Adrien, Durrmeyer Samuel Concas Veronique Del-place, Toulotte Rudy Nicolae Duduta Saizic Bernier Ludivine Loison Adis Tatarevic Le Pichon Julien Francois David Marie Hascoet, Lemaitre Delaide Paola Pfenninger, Petrini, Silvia Marie Guillard, Gaig-nard, Florie Hans Lefevre, Tony, Dos Santos Benjamin Saragoussi, Bismuth; Gregory Alessia Zarzani Catherine Pellegry, Zih, Kata- Witkowska, Katarzyna- Van De Keer, Julie Louise Michelin, Brouette Aurelien, Blondin Agnes Victor Rivera Crespo, Molins Freire, Jaume- Pesqueira Sanchez, Maria Ceisa Legrand Delphine, Dorothee, Hars Montreuil Alicia, Chiappone-Piriou Emmanuelle- Messmer, Clothilde- Plouvier, Charles-Eric Mourier Camille, Germain, Pluvinage- Joseling, Vamour- Adrien, Delattre Emmanuel Garcias, Leu, Matthieu- Herbin, Stephane Juang I-Fan Marie Fontaine Milosevic Sylvie Allison Dublinski Catherine, Elizabeth Stevens Jessica Lord Jessica Pierce Katherine Green Vineet Diwadkar, Kulik, Michael Yuta Aida Nathalie Ward Matthew Garner Nicholas Faulconer Julia Praser Stefanie Wahl Alexander Deutschman Jonathan Henry Helen Chen Elliot Grochal Rae Smith Anneapurna Akkineni Ryan Haney Arseni Zaitsev, Kahlo Anya Alexandre Granger Geoffrey Reynis Sylvain Bordron Tu Ly Ba Hoang, Luong, Van Thanh Joris Jakob Fach Markus Mueller, Harant, Eike Anh Quan Do, Nguyen Khac, Nguyen Van Trieu, Dinh Hiei Ervan Esen Claudia Hograeve, Woempner, Julia Malte-Carsten Seidler Alicja Lidia Sokalska, Okroj, Magdalena Ruth Cuiper, Böhm, Peter Johannes Hegger, Seifried, Thorsten- Anders, Stephan Hye-Mi Lee, Syarova, Evgeniya Anna Kyprianou, Antoniadoy, Elenora- Nikolaidoy, Efrosini Andreas Ventourakis, Komninos, Aristodimos- Chronopoulou, Anastasia Anastasia Koukoula, Stavrakakis, Emmanouil- Hiliadis, Georgios Sofia Krimizi, Kyriakou, Kyriakos Jasmine Kastani Yannis Kitanis, Chondrou, Dina- Pafilis, Thanasis- Papathanasiadi, Eleanna Szabolcs Csaki, Kiss, Tamas Vilmos Katona, Mosonyi, Robin Denes Ghycz, Boronkay, Peter- Szederkenyi, Lukacs Matyas Hollo Daniel Kulinyi, Szocs, Istvan Levente- Molnar, Jozsef Botond David Nemeth, Nagy, Andras- Szasz, Csaba Janos Szepesi, Racz, Sandor Tamas Petery Adam Nagy, Schiszler Attila Azadeh Ali Ghan-bari, Jabbari, Jahromi Ali Arash Dailami, Sahraeeyan, Azadeh Faraz Soleymani Sara Norouzi, Saberi, Keivan- Niaparast, Ghazal Elham Alavizadeh, Alavizadeh, Hassan Azar Mohammadpanah, Zareiy, Shailan Shahab Mirzaen Mahabadi Ladan Sadeghian, Ghasempoor, Amir- Ghasempoor, Samaneh- Refalian, Ghazal- Abrishami, Hadi Almara Melkomani Mahssa Pahlavan Arash Adel Ahmadian, Momtaz, Sina- Mesdahi Sina- Khodadad, Arsh Mahssa Pahlavan Hila Sharon Rinat Dolev Netaly Goren Yosi Hayun Keren Klein Sivan Solnik Inbal Levi Maria Berlin Ravid Livne Zedar Hadas Raiss Efrat Levy Tal Kesten, Eytan, Alex Matteo Tronti Emilio Colombo Leonardo Zuccaro Marchi Marco Lampugnani Paola Palomba, Morello, Erica Valentina Gabriele Lobaccaro, Balconi, Gabriele- Borghi, Andrea- Pari, Marcello- Sangalli, Stefano- Zani, Giul Andrea Corindia, Carmosino, Salvatore- Carrozzo, Cosimo- Ciccocioppo, Eugenio- Pallotta Antonio Daniele Madeddu Dario Vivaldi, Santoni Filippo, Liga Sparite Santolo Tafuro, Martignetti, Maria Anna- Spiezia Nicola Herald Qyqja, Lofi, Andrea Marta Proietti Gaffi Ivan Muscolino, Biancon, Lionella Antonino Floramo, Amore Sebastiano- Di Martino Manuel- Rac-iti Antonio Tomohisa Tanaka Hernan Concha Emmrich Shogo Onodera Hideomi Takenaka, Katsuya, Kanese Tasuku Nakatani Take Matsuda Ilia Tsachev, Teraoka, Yoshihiko Hiroki Ogawa Tomohiko Ta-shiro, Housawa, Ryuhi- Hata, Takahiro- Furuya, Takayuki Yosuke Tanaka, Kubota, Ai- Okuyama, Naofumi Matyas Gutai Maria Rita De Jesusu Dionisio, Gutai, Matyas Yabe Masato, Youhei, Kondo Tareq Abdallah Athamneh Abeer Manneh Jang Ook Rhee, Kim, Sang Hoo Hwang Bo Kang Bum Louise Eun Young, Soo-Yong Son, Mi-Ok Park Seok-Hee Park, Choi Song-Lim Mi Jin Lee, Eun-Leong, Nam Jung-Suk Seo, Kang, Hong-Sik Da-Sole Oh, Seo Bo-Young Kook Hwan Kim, Yu, Jin-Ju Young-Soo Kim So Jeong Yang, Yoon Seong Jae, Lee Sang Wook, Kim Ji In Choong-Mo Son, Kim Sung, Son Yean, Kang Young Sung Hyun Jun Min Jae Kim Lee Juhun, Jeongjun Song, Jaehwan Kim Hyung-Jin Choi, Lee, Jong-Won Kim, Seung Kim, Do-Yub Paek, Doo-San Soo Rim Sim Hye-Min Yi Eui-Han Lee June Hee Lee Jung Keun Kim Sujin Hyun Jihoon Ha Chan Young Yoon Jang Young Lee Jean-Hee Kim Sun Jun Kim Byung Tae Lee Min-Gi Kim Jin Ah Kim Kyngwon Kang Bum Seung Hwan Bang Soomyeong Jin Eun Mi Kim Jong-Im Park Geun Su Kim Viktorija Prilenska, Dozdeva, Natalja Hamzah Sarout, Ibrahim Rabih Nikola Stakinov, Naumovski Atanas Rebecca Spiteri, Chircop, Charlene- Darmanin, Manuel- Fenech, Daphne Irving Sanchez Zagal Jehovany Munoz Garcia Nancy Yolanda Rodriguez, Santana, Joana- Quintal, Emmanuel- Duran, Gabriela Katarzyna Horodynska Kuan-Ting Daniel Linta Ruwan Fernando Aimee Melissa Lucy Wiles Tor Olav Austigard Madeleine Johander, Bau, Nadine- Strömstad, Martin Lisa Westerdehl Ibar Rodriguez Ugarte Conrad Surowka, Joanna Zapala, Ewelina Szymakowicz Ma-teusz Szymlak, Sabina Wiecek Lech Babiarz, Jakub Chrobry, Urszula Ramus Katarzyna Niewiarowska, Majewska Anna Maciek Grelewicz Adam Radzimski Lukasz Marciniak, Sikora Wojciech, Makulik Rafal Michal Kulczynski, Ewelina Knapp, Ewa Kudaj, Michal Kulczynski Malgorzata Brzeska, Cavallo, Michele Michal Hajduk Jedrzej Adam Lewandowski, Markowicz, Dariusz Malgorzata Kowalczyk, Krezlik, Adrian Agata Wozniczka Katarszyna Stryjakiewicz, Klosek Magdalena 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Predojevic Shiuh Liang Lee Wheng Yen Ng Eva Kralova, Maria Lociova Lubomir Peracek Robert Loffler Liana Spodnia- Kova, Daniela Slizova Peter Chrien Matej Milek Sandro José Ferreira, Joana Alzina, David Bernardino Maša Cernovšek Logar Jeong-Ah Shin Raewon Noh Lee Miso Jonghyun Oh Kim Young-Soo, Shin Dong-Han Jin-Soo Sung Young-Woon Shin Yerang Lee Chung Yongche Shin Mancheol Han Kwonseok Dae Kyeom Kim Min Guk Wi Kyung Heon Heo Jung-A Park Kyung Mi Kong, Park Seong Won Ji-Seung Kim Jisun Kim Hwa-Rim Kim Eun Suk Shin Cho Ji Hyun Soo-Kyung Yim Su Eon Yoo Jin Ah Kim Kim Sung-Gyu Hyobong Ma Soon-Jae Hwang Miok Lee Jaeyoung Jeon Jae Hwan Jeong Mi Hwa Lee Son Sung Hee Oh Jonghwa Jeongyeap Shin Lee Jun Hee Hye-Rim An You Kyung Lee Jae Sik Choi Sang Yeon Cho Chi Heon Jin Kye-Houng Park An-Young Song Gi Tae Eom Yong Il Ahn Young Hwan Choi, Hyo Young Park Jeong Mee Heo Kwang Min Kim Jung Wan Jin Dong-Hwan Sohn Su Jeong Lee Gaaeun Park Choi Enyoung/Simsulim/Sunghwankim/Ohdaekyu/Youjinlee/Yeodong Bin Jang Sungchan Han Gisung Sunjung Kim Kiyoung Cha Lim Jin-Woo Yong-Gil Park Byungjoo Park Jin-Hee Choi Ji Young Yoon, Kawk Tae-Hyun, Park Dong-Sun Synn Yi Mu Hyoung Chon Kim Youn Hwa Myounggyun Oh, Jung Hyobin Choi Ju Won Lee Seok Cheol, Kim A Rum, Kim Joo Young Hyung Ju Seo, Gyeong Seon Min, Jin Sung Kim Lee Sun-Mi Byung-Hyun Lee, Geun-Chul Park Hong Sang Hyun Ham Seung-Woo Sung-Ki Lee Hyunbum Jung, Juhun Lee, Seohyeon Cho Kyung-Hee Chun Joonkyu Shin, Soonwoo Park Hyun-Yong Park, Bum-Jin Kim Hyunsook Ahn Joo Hyung Oh, Lee Suk Won, Huh Guen Il, Son Hyun Chang Joo Kim, Jung Soo Kim Young-Soo Ryu Jung Ji Hye, Myeng Jin Byeun Gi-Hong Yang Borin Jung Kyu Jeon Park Lluis Juan Liñan, Andrea Gimeno Sánchez, Gal·la Otero Tarazona Prócoro Del Real Baeza, Antoni Baile Jiménez Pablo Viña García-Inés Eduardo Lopez Morales Maria-Angeles Guillamon, Joan-Vicenc Pol, Enrique Garcia Javier Martin Elena Moron Ruiz Jesus Villalta Alfonsin, Aitor Vega Bonilla Bel- Mar Rodríguez Marcos Ursicino Endaman Nsé Mangué, Laura Dávila Ponce De León Baquero, Felipe Suárez Ballesteros, Marta Torres Párraga, Alejandra Ruiz Rubio So Byung-Sik Enric Torner I Mondragon, Anna Turull Martinez, David Steegmann Mangrané, Oriol Jané Abellan-García Gregorio Abad Acuña Garcia, Enrique Cantu Davila Benjamin Moreno Raquel Corney Rasclosa Gumersindo Freire Lopez, Nuria Balboa Rodriguez, Gumersindo Freire Lopez Arnau Sempere Albert Isaac Mayor Molina Josep Iglesias Reixach Carles Cabratosa Vidal Jordi Grau Carreras Roberto Lebrero Jaume Farrés I Ca- Ballol Pía Alejandra Galvez Lindegaard Annabel Mora Encinas 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-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 Xavier Botet Campderros Sofia Olim Daniel Hernandez Canut Nirmit Jhaveri, Ilze Kundzina, Magali Mendez Anna Klockare, Julia Hansson, Johanna Brandt, Wilken Behrens, Orlando Marques Dorukalp Du- Rmus, Theofilou Aris Konstantinos, Simone Rembaudengo Kajsa Björklund Karina Rössner Luca Perna, Markus Abegg, Thomaso Triulzi, Darius Strasky Huibiao Wu, Wang Tao Isil Uysal, Cansu Tolunay Cihan Can Turker, Tolga Kunkul, Bugra Cimete Ayse Nil Sensu, Asli Deger Selin Oktan, Sila Ceyhan, Hatice Kolak, Melodi Pak Sinan Gunay Sura Kilic, Cagdas Batmaz Betul Karanfil, Ahmet Irfan Ertis, Gizem Atac Funda Tan, Sanem Ersine, Efsun Damar Marjana Mdzeluri Karol Drozynski, Aleksandra Mierzwa Nathanael En Sinn Kang Al-exander Tochtermann Mikael Ling, Björn Förstberg Michael Smith-Masis, Maria Mena, Lucy Quelares, Ekachai Sophonudomporn Olga Vlagkouli Natalie Jane Hewitt Thanh Van Tran, Wing Sum Lee Andrew David Green Stacey Daves Dana Nielsen Jose Cuevas Dung Cao Andrew Dryden Matthew Kendall Sigita Saliklis Norio Kobayashi Jared Vandeusen Idolina Benavides Scott Jensen Dennis Goff Evan Jaeger Hochung Kim Jungeun Kim Adam Carrillo O-Chong Kwon Paul Ruppert Khaldoon Khaireddin Whitney Forward Fei Yang Richard Colwell, Chelsea Lipham Jun Pak, Erin Bartling, Jun Pak Jeffrey Klancer, Nanechka Pagan-Torres, Tamary Alvarez- Gutierrez Matthew Williams Soichiro Akiba Erin Ross Wei Gao, Jean Bap- Tiste Simon Kimberly Gareiss, Marisa Zambuto James Stoddart Bongkun Lee Christa Currea; Daniel Currea Maacaron Sandra, Merve Sila Karakaya Roxanna Viray Jacek Mantykiewicz Gerome E. Mcfarlane Ger-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-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 Watson Ho Lee Zigurds Greivulis Soonyup Kwon Laura Wickesberg Samira Ahmadi Sergio Meneses Christopher Podes Yesenia Esmeralda Ospina Nicole Dodd Samuel Culpepper Teigan Ann Nguyen Manh Tuan

555

2010 2012 2014

Nathalie de Vries Architect, MVRDV (The Netherlands)

Momoyo Kaijima

Architect, Atelier Bow-Wow (Japan)

Will Bruder Architect, Will Bruder + Partners (USA)

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

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

Jesper Salskov Jensen General Manager, VELUX Denmark (Denmark)

Craig DykersArchitect, Snøhetta (USA)

Róisín HeneghanArchitect, heneghan peng architects (Ireland)

Magda MostafaArchitect, American University in Cairo (Egypt)

Catherine SlessorEditor, Architectural Review (United Kingdom)

Per Arnold Andersen Architect, VELUX Group (Denmark)

673 SUBMISSIONS55 COUNTRIES

802 SUBMISSIONS54 COUNTRIES

Alejandro Paez Augusto Palazzo Carlos Emiliano Molina Franco Cristian Tedesco Damian Mallamaci Facundo Soto Nicolas Oettinger Fernando Vargas Regelmann Juan Manuel Segura De La Colina Julian Alejandro Quevedo Marcos Ruben Alejandro Popp Maria Agustina Del Rio Maria Botello Ricci Maria Emilia Richmond Maria Victoria Ferri Martin Gomez Soto Martin Sabbatini Natalia Rosatti Ramiro Rios Rivero Rodrigo Cola Se-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 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 Santiago Plata Andrea Mirkovic Dalila Fejzagic Danka Latincic Milica Cvokic Tanja Radonjic Adriana Gazetta Bragotto Ana Paula Leite Anderson Pereira Dourado André Luiz Lira De Oliveira Andressa Teixeira De Moraes Angela Ishibashi Angelo Adriano Do Prado Anthony Ling Au- Gusto César Siqueira Brunna Wopereis Caio Vasconcellos Sabido Gomes Caique Gabriel Schatzmann Felipe Cemin Finger Rap- Haela Walger Da Fonseca Ev-elise Leite Didoné Gustavo Prado Fontes Camila Cavalcante Resende Camila De Almeida Vilar De Miranda Camila Marques Torres Carla Patrícia Santos Soares Cauê Costa Capillé Dafne Souza Tonini Daniel Albuquerque De Insfran David Sadowski Diego Baena Fronteira Dulcilei De Souza Cipriano Edilma Aparecida Mourão Emília Lapolli De Moraes Erico Actium Ramos De Morais Felipe Vitor Batista Dos Santos Fernanda De Andrade Po-voação Gilberto Junior Tenorio Mariano Giulianno Caliman Camatta Henrique Julio Rizzi Herika Leao Gomes Marques Ilka Miyuki Saito Raquel Di Maio Engelsman Iraquitan José Oliveira Jade Mendes Benucci Italo Rafael Tiago Teixeira Jaqueline De Melo Barros Jessica Fernanda Mascaren- Has Machado Joao Paulo Valerio Santos Karla Cristina Baldasso Sarah Viliod Martins Guilherme Henrique Stroeder Martins Ká- Tia Yumi Ueda Mar-iana Kérolin Gomes Alves Daniel Rothschild Larissa Ferreira Batista Leonardo Cunha Garcia Luana Soledad Silva Cifuentes Lucimeire Brenzan Zampar De Souza Luiz Edu- Ardo Lupatini Marcelo Ribeiro De Souza Ribas Marcio Barbosa Fontao Marcio Guimaraes Mariana Andrade Cretton André Cruz Mariana Guarnieri De Campos Tebet Mariana Noguera Mariana Tassi Damião Marina Leme Merlin Matheus Silveira Gabriel Gi- Ambas-tiani Michelle Covacho Medeiros Natassia Ferro Combat Reis Orion Gorrão Moreira Campos Pablo Resende Paula Dias Pedro Lodi Rafael Campos Derderian Rafael Lorentz Rod- Rigo Abbade Rovy Pinheiro Pessoa Ferreira Talita Domingues Vespa Talita Paula Dos Santos Talitha Gelza Oliveira Nascimento Tamires Acacia Casalli Tatiana Carollo Peruch Tatiana Crema Tobara Thales Pimenta Thalita Reis De Mattos Thiago Leandro Almeida Thiago Peretto Vinicius Carvalho Philot Vinicius Lima Vitor Sadowski Konstantin Doganov A. Gabriel Guy Alexandre Guérin Alexandre Morin André St- Pierre Anne Preiss April David Caroline Guérard Chantal Galibois Claire Lubell Colleen Mckeracher Corey Devlin Brown Dai Zhongyuan Daniel Nedecki Émilie Dionne Emma Cochrane Eric Reid Estelle Grégoire Eugenio Villarreal Geneviève Béliveau Geneviève Gagnon Golnaz Karimi Hélène Giguère- Duval Hyeongjun Yoo Jacqueline Che Jessica Cullen Jordan Yerbury Justin Smith Kathleen Kelly Keith Evans Kevin Lisoy Kunaal Mohan Leon Lai Anne Ma Marie-Ève Pelletier May Makia Mousazadeh So-mayeh Nicolas Fortier Nicolas Labrie Nicole Muzechka Pamela Cottrell Peixi Sun Peteris Lazovskis Pouwai Lei Ryan Yeung Safarzadeh Ghazaleh Shane Dalke Simon Lebedinsky Sophie Guilbault Stephanie Yeung Terry Carrière Tim Wat Vedrana Maric Vian Musa Victoria Pilles Virginia Fernandez Yifei Yuan Alvaro Lefian Angelo Fuentealba Axel Püscel Bernardo Álvarez Berty Vargas Carla García Carolina Venegas England Sabina Lin Fe-lipe Fuentes Francisco Javier Lara Bastidas Franco Es- Cobar Gustavo Carrillo Jacqueline Barcia Jaime Muñoz Jorge Rivera Karla Gerter Luis Silva Marcela Carrasco Marcia Vasquez Marco Contreras María José Beluzan Max Ovalle Rocío Zuloaga Roxana Vargas Anpei Zeng Bai Bing Bao Hongyuan Bin Hao Bin Zhang Bo Zheng Bowen He Bowen Zhang Cai Chang Xin Cai Chunbin Cai Jianming Cao Peng Chao Gao Chao Lin Chen Fang Chen Hao Chen Wang Chenchen Hu Chenchen Hu Cheng Peng Chenyuan Qian Ching Zhang Chu Andong Chuan Wang Cui Rui Di Kong Dingkle Zhao Dong Yinan Fan Zhihua Fang Erqing Feng Liangchen Fengling Liu Funing Lian Gao Zheran Gongyingjia Guo Chunxiang Haifeng Xu Haitao Zhao Haitao Zhou Han Mo Han Youzong Han Yue Hang Wan Hao Tian Haode Sun He Wenjing Hongkai Li Housen Zhang Hu Yitao Hua Xue Huang He Huang Ying Huang Zheng Huang Zhong Huang Zhonghao Hui Li Jia Fan Jia Shiqing Jiaming Sun Jiayi Zhu Jie Shen Jing Wang Jingxiao Guo Jingyi Shao Juanyao Liu Jun Qiao Junchao Zhang Junfeng Shi Junyu Liu Kai Li Kai Sun Kai-cong Wu Kang Xiaopei Lan Chen Lang Wang Le Qin Lei Dong Lei Zhangjundi Li Bo Li Haobin Li Jing Li Li Li Shung Yeung Li Tongyang Li Xiao Qiang Li Yang Li Zhen Li Zihuan Liang Tao Liang Zhanpeng Liang Ziyi Liao Wang Lin Bangqian Lin Hongjie Lin Lu Lin Lu Lin Weiping Lin Xiu Lingjiao Jiang Linqi Wen Liping Jiang Liu Junsong Liu Liping Liu Zihuan Longrui Peng Lu Lingjun Lu Yang Lv Shan Ma Yuxiang Ma Xin Meng Du Miao Yu Miaoli Su Min Yang Ming Jiang Ming Yang Minqing Ding Minyu Zheng Nianlai Zhong Ning Wang Niu Yu Qing Pengfei Zhang Qi Ji /Qiji/Qixu/Qiyang/Qianchenyuan/Qianqiancai/Qingqin Qing Wang Qiu Yuansheng Qiyuan Deng Qu Dagang Renjie Tang Renxiang Wang Rong Guo Rongzhang Zhu Rui Li Rui Li Ruixin Ju Ruizhi Cheng Ruoqi Zhong Sai Shu Sen Yang Sha Jin Shaoliang Hua Shen Li Sheng Li Sheng Xiaofei Shengzhi Xie Shi Jia Shi Ping Shilang Ye Shou Jiamin Siyuan Liu Songyuan Yu Su Xiaomeng Sun Qi Suwei Yang Tan Shujie /Taocao/Tianhao/Tingtingyu/Wangbin/Wangchuan/ Fei Wang Wang Hui Wang Liang Wang Mengjiao Wang Rui Wang 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Mathias Bæktoft Pernille Daugaard Ragnhild Jordtveit Kristiansen Rasmus Røgen Lars Meldgaard Kasper Hansen Shen Xie Simon Natanael Svensson Steven Leroy Olesen Søren Hykkelbjerg Thilde Bjørkskov Thorbjørn Eisenhardt Tina Car- Letti Jacobo Rafael Arismendy Cabrera Max Alonso Hernandez Ahmed Abd-Allah Ahmed Basyouni Ahmed Salah El-Deen Ab- Dul-Aziz Abo-Elsaad Amal Abdul Sattar Abdul Hamid Gad Amr Aly El Husseiny Amr Saad Aya Badawy Aya Mohamed Osama Ebraheem Imam Farah Shoukry Hany Refa`At Ibrahim El Hadidi Ibrahim Ismail Ibrahim Khalid Mohamed Hassan El-Mansy Mah- Moud Mohamed Abdelmonem Khalil Mazen Abouzeid Mo-hamed El-Sayed Mohamed Khaled Mohamed Mostafa Ibrahim El Hadidi Mostafa Amin Rania Joseph Sarah Khalil Zeyad Magdy Yehia Ahmed Eva Haggrén Aurelien Thibaudeau Baptiste Bernier Brice Lannuzel Jeremy Kumala Joachim Unternaehrer Johann Grellaud Marine Gouyec Philippe Bonan Rozenn Autret Simon Dupuy Wonjoon Lee Yulia Donetskaya Alexandra Cornelius André Nokonz Christian Schwarz 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Robert Pilny Zsuzsanna Mucsi Zsuzsanna Németh Arjun Hosakere Ashish Ti-wari Palak Desai Smita Lukose Azan Subhie Faraz Soleymani Ghazal Goodarznia Hamid Abhari Iman Shafiee Mahyar Arab Boor Boor Mahyar Mahgol Saba Barani Sultan Qurraie Bahar Una Breathnach Hifearnain Alessandro Bostica Alessandro Righi Alessia Bruno Andrea Pellizzari Camillo Frattari Filippo Nassetti Francesca Garzarelli Gianluigi Gabriele Di Nicolantonio Graziano Mattioli Luca Gi- Acobazzi Martina Busti Paolo Aug-ello Sofia Rivadeneira Matyas Gutai Rita Topa Ayoung Jun Bin Youn Bong Gun Song Bongjai Shin Boram Lee Jung Byung Hwa Kim Byung Wook Jeon Byungmin Jeon Chan Hee Lee Choi Gwangeun Choi Jin Kyu Dong-A Park Dongjin Lee Eun Sung Choi Eunjoon Baek Geunyoung Kang Go Eun Seo Haejun Jeong Hee-Jin Park Hoju Chung Hong Kyu Kim Hoon Koo Lee Hyun Joong Yong In Ki Kim Jae Hyeon Yoo Jae Won Yoon Jae Yun Jeon Jang Han Kim Jang Ho Song Jang Sejin Jeong Tae Kim Ji Hyun Kim Ji-Eun Oh Ji-Hye Park Jin Kyu Park Jinmyoung Ji Jisoo Kim Jiyoung Kim Jong-Jin Kim Jonghyuk Lim Jun Hee Lee Junha Hwang Junyoung Park Jusin Park Ki Joo Kim Kim Dea Hyun Kim Won Ill Lee Hye Jeong Lee Mi Kyung Lee Seung Kyu Lim Sunghwan Man-Su Choi Miae Shin Min Jane Kim Min Jung Joo Min Wook Choi Min-Hoo Ahn Minki Lee Mirim Lee Moon Lee Moon-Jin Choi Myeinghyeon Ju Nam Si Ok Seon Youn Pak So Hui Park Chang Kwon Park Songok Park Sumin Rae Won Noh Sang Hyup Kim Sang Ryeol Kim Sangwoo Bae Se Hyun Kim Seo Dong Chan Seo Hae In Seong Hwan Kim Seung-Hee Sim Seungho Yi Son Euihwan Soo Ji Kim Sooyeon Kang Su Kyung Park Sun Tae Jeong Sung-Tae Shim Tae Shin Park Taemin Kang Uk Park Jeong Wee Sukwhan Wi Dae Han Yong Su Choung Yoon-Jung Rhim Youn Ah Noh Young-Gook Park Younghwan Lee Young- Won Kwon Yu Jin Kim Yun A Choi Yuri Kim Aiste Dzikaraite Antanas Lizdenis Donatas Pocesiunas Dubovskyte Indre Gaile Garnelyte Gediminas Kirdeikis Ieva Maknickaite Indre Rebzdaite Justina Valentinaviciute Laurynas Vizbaras Monika Mickute Petras Vestartas Stoskute Edita Asian Kianmeht Eng Kee Chong Antonio Lionel Garcia Arcelia Cornejo Casillas Cesar Edu- Ardo Cornejo Felipe Gonzales Christian Cardenas Gustavo Velasco Horacio Cinto José Arellano Gutérrez René Irving Marin Torres Pedro González Pérez Jose Carlos Pucheta Catemaxca José René Aguilera Valderrama Juan Sal-vador Covarrubias Mora M. Guadalupe Antonio Cabrera Manuel Estevez Mario Sila Nejib Puron Bitar Mauricio Sánchez Muñiz Nadia Ramirez Ramirez Nohemi Contreras Bautista Tiara Marie Aponte Ankhbayar Tojil Ari-unzaya Chinbat Ekhjargal Khureljaw Saruul Ishdorj Shijirbold Sandagdorj Erdenebaatar Nokhoijaw Alexandru Belenyi Amar Sunil Freddy Sjauw En Wa Chung-Kai Yang Cho Tung Wu Geert Folmer Irina Niculescu Job Van Der Sande Juan Manuel Davila Delgado Marko Koops Niels Kramer Robert Wierenga Vincent Van Leeuwen Wai Wing Yun Yan Shi Bryce Neil Newsome Leah Jane Guilford Anders Eik Pilskog Eli Ramvik Hana Draskovic Jan Gunnar Skjeldsøy Gonzalo Jesus Ibarra Hernani Renzo Julian Cabrera Delgado Anna Malecka Dorota Kolanek Jacek Blusiewicz Joachim Surdy Katarzyna Myslinska Kitala Marcin Maciej Balcerowski Marcin Bialek Mateusz Kosiec Michal Pawlik Misiaszek Maciej Patryk Jacek Wozniczka Paulina Drag Pawel Sobanski Piotr Gierek Andreia José Dias Rodrigues Brimet Silva Joana Silva Lídia Albuquerque Luis Marques Luis Sáragga Leal Miguel Carvalho Joao Lourenco Iria Roriz Patricia Alejandra Correa Velazquez Rui Alberto Baptista Jorge Salomé Araújo Martins Silvia Land- Inez Gracia-Herreros Susana Santos Vasco Rocha Adelina Alexandra Marcu Adina Moldan Adrian Ionut Lascau Balc Adrian Musat Alexandra Antonescu Alexandra Cotofana Alexandra Eugenia Toda Alexandra-Silvia Evulet Alexandru Bujenita Alexandru Ghiorghita Alexandru Grisco Alex-andru Solomonesc Anamaria Andreea Anghel Anamaria Scortan An- Amaria Spulber Anca Paduraru Andreea Cristina Toni Andrei Cristescu Aurel Vincent Babes Biborka Bartha Bogdan Ioan Mihaila Buliga Iulian Nicu Carmen Daniela Petrea Catalina-Co- Druta Dobra Ciprian Mateescu Ciprian Paleacu Cozma Alexan- Dru Cristina Maria Matei Cristina Pricop Dan Alexandru Dan Bodron Dan Cioclu Daniel Toader Delia Alexandra Prisecaru George Valentin Soare Eva Dumitrescu Filip Gavril Gabriel Ciosu Gabriel Ciosu George Munteanu George Razvan Margarit Ileana Raluca Greere Ioan-Mihai Baba Ioana Ciurea Ioana Zdralea Irina Bolboceanu Irina Tranda-firescu Cassandra Pop Julia Lacramioara Russu Laurentiu Avram Lidia-Gabriela Ma- Teescu Lucian Sandu-Milea Manuela Lung Matei Cristescu Mihai Iulia Mihail Neagu Oana Dumitrache Oana Simionescu Olga Maria Posedaru Olivia Parvu Radu Alexandru Axinte Radu Asan Radu Soanca Ioan Stef Mihnea Rares Dragoiu Roxana Bara Ruxandra Iancu Bratosin Simona Bontea Stefan Corneliu Tatiana Cebotari Teodor Daniel Clepe Teodor-Stanciu Tiberiu Teodora Adriana Cirjan Vlad Hani Vlad Popa Yuliyan Mikov Andrew Popov Andrey Atadzhanov Ekaterina Reyzbikh Elena Zemlyanih Katya Denisova Marina Molodix Natalia Mikhailova Natalia Rybakova Nataliya Tinyaeva Nikolay Matveev Olganau- Mova Valentin Shewelev Dalia Dukanac Jelena Mancic Maja Zugic Nebojsa Blagojevic Olgica Jankovic Stefan Stanojevic Svetlana Vrecic Zarko Sta- Menic Ching Looi Pan Ed-mond Choon Keong Khoo Hui Min Poh Pei Yee Cheah Liana Spodniaková Janž Omerzu Mohor Kordež Abaígar Arrate Adrià Bofarull Solé Adrià 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Irina Carrillo Alvaro Isabel Sanchez Isabel Sanchez Feito Jesús Apari- Cio Alfaro Jesús García Guijarro Joaquín Sánchez Olleros Alejandra Ruiz Rubio Judith Barrera Caixàs Julia Molina Virués Luis Lope De Toledo Luis Sierra De Hita Maria Del Mar Cabarrocas I Salvador Marina Kindelán Calvo Mario Iglesias Calzado Marta Alonso Yebra Marta Torres Párraga Meritxell Ministral Rosa Miguel Sánchez Morales Lopéz Nuria Balboa Rodriguez Pablo Canga Pablo Martínez Pablo Vidiella Huguet Paula Bueso-Inchausti Toro Paula Lambán Belenguer Rob-ertcomas Miralpeix Roberto Vidiella Huguet Sandra Benítez Zurita Sara Alvarellos Navarro Silvia Martin Delgado Silvia Pinzas Rouco Sofia Soláns Stella Pérez Lázaro Ursicino Endaman Nsé Veronica Correas Pedrosa Vi-cente Pérez Hernández Alexander Blomtvist Anastasia Skipetari Andika Pradana An- Nelie Sundin Chrisa Tsatsou Daniel Hodierne Dasyra Pinelopi Diana Gehder Efthymia Kakoulidou Filip Strebeyko Francisca Rodríguez Leonard Gustavo Vazquez Hannes Stigsson Haak Khajouei Saghi Kunal Shah Lalita Mungkornfa Luis Sacristan Murga Maja Bernvill Mia Erlandsson Orquidea Yareni Vara León P.k. Kaewka Salas Montes Mañas Tatiana Bibikova To- Bias Pålsson Wenqing Guo Alexander Athanas Andreas Meier Annika Geiger Anthony Ciherean Aurelie Caroline Sollberger Berte Daan Christian Portmann David Patrick Deschenaux Anthony Joss Pauline 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 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 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 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 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 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 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-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 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 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-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 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-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-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 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 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 Vinh Chau Kim Nguyen Will Kelley William Duncan Zak Wiatr

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. Gabriele Marcela Wandenkolk Antonio Brandão Gabriela Markl Carolina Costa Beatriz Kauark Rovy Pinheiro Pessoa Ferreira Weslley Guerra Karpor André Guerra Machado Jhonny Rezende Santana Silva Camila Andrade Vânia Tumba Bruna Bordin Pedro Oscar Pizzetti Mariano Juliana Vas- Concelos Cardoso Paulo Eduardo Scheuer André Luis Dos Santos Luiz Gustavo Sobral Fernandes Renan Bussi Machado Felipe Vieira Luis Ta- Boada Zacarias Pedrosa André Romitelli Joao Renato Aguiar Victor Am- Aral Pedro Coivo Larissa Werneck Natália Sampieri Mar-iana Feriance Adam Aguiar Myllena Azevedo Ariane Pita Leandro Ryuji Gushiken Mariana Bicalho Anneliese Fuchshuber Flavia Hengstles Mariana Lempe Milena Cintra Renata Fernandes Mariana Crego Mara Liz Ferrentini Joana Mattos Douglas Iasuki Angélica Kuroda Lucas Menezes Lucas Cavalcante Maria Cecília Nogueira Ana Cecília Marques Letícia Borém Camilla Maia Bruna Felix Alex Ninomia Luiza Itokazu Ramon Miranda Chaves Isadora Bahiense Lutterbach Riker Tiago Vigil Bruno Yassuda Daniel Ribeiro Douglas Figueira Francisco Giliarde Guilherme Oliveira José Carrari Ariane Serpeloni Aleixo Amanda Tiemi Niiyama Carla Va- Nessa Mendes Mariella Guedes Da Silva Luiz Gustavo Grochoski Singeski Isabela Maria Fiori Leonardo Cheang Carolina Rocha Mazurkevic Vin- Icius Fadel Isab-ela Veloso Chiquim Flávia Scussel Naomi Scheer Hen- Rique Cristiane Bruno Barbarini Fernando Cezar M. Cesar Luiz Santos Marcus Santos Isabel Mercadante Nathalya Perissinotto Luciana Suemi Siguemoto Juliana Yendo André De Paula Andreis Emmily Caroline Diego Gomes Iñigo Ruiz Arriet Joaquim Civit Sabaté Marta Maria Torres Ana María Martins Adriel Ushli Marcelo Oliveira Guilherme Sanches Stanislava Georgieva Stanislava Dardanova Arey Van Der Zalm Austin Hawk- Ins| Sonia Ramundi Kristina Strecker Chelsea Chan Seyed Mojtaba Ho- Seini Nadia Petkovic Shaun Coombes Frank Yao Catherine St-Pierre Sarah Sako Tony Shi Milyausha Gabdrakhmanova Inna Tarasova Shu Yin Wu Eric Simard Yousef Thompson Melody Taghi-Poor Tahereh Ghadiri Jack Lipson Sam Vickars Fran-çois Bail-L’heureux Émilie Julien Grégory Taillon Hugo Duguay Olivier Schwarz Dionne Andréanne Du- Mont Kenneth Percy Shirley Liu Steph Bolduc Jeongwoo Song Stephen Baik Bernard-Felix Ché-nier Luca Fortin Nathaniel Proulx Joanisse Laura Fiset Christopher Carrasquilla Tim Fu Shahrooz Zayandehroodi Daniel Petrocelli Kavosh Maleki Anaïs-Charlotte 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Tóth Bor- Bála Huszanyik Gábor Pribék Tamás Ábrahám Gabriella Öcsi Péter Nagy Viktor Ábel Marianna Nagy Marianna Nagy Máté Mészáros Márton Pintér Martina Farkas Tamás Nagy Barbara Deák Duc Minh Nguyen Balázs Schrammel Zoltán Milán Szabó Dávid Stánicz Zsófia Polgár Ágnes Bazsó Dóra Gebei Daniel Kiss László Mangliár István Farkas Bálint Póth Bálint Póth Martin Balogh Péter Sziráki Sarolta Orincsay Zita Sa- Franek Marietta Bödök Manyi Eszter Récsey Judit Plájer Laura Kiss Judit Plájer Laura Kiss Levente Lukács Botond Kovács Márk Sz O Ke Ágnes Vámossy Ágnes Vámossy Anita Siklódi Róbert Háhn Eideh Ramzi Zsuzsanna Fu Rész Sandor Gabor Jani Anita Krizsán Dorottya Répay Anita Krizsán Khanolkar Suyash Sharan Saboji Kushal Samant Mohammed Imran Uddin Iwan Kurnia Hamid Abhari Mahyar Arab Pur Nina Marzban Milad Salehi Vasegh Abbassi Mina Vali Shishebori Ahmad Mazaheri Shadbad Farhad Najarpour Kapourchal Hamid Hassanzadeh Farimah Ahdno Golshid Abdolahzade Moein Hemmati Mahboobeh Hemmati Mohsen Akbarzadeh Abolfazl Parsaei Ali Sadeghian Mehdi Ghalenoei Shahab Lashkari Mohammad Amin Moazzen Hojat Ghaedi Shadi Osmani Shaho Abbasian Kamyar Lotfi Mojtaba Rohanian Mahdi Karimi Saeed Rahmati Pouyan Bizet Delaram Zarnegar Mohammadmahdi Ghotbi Mohsen Khanmohammadi Alireza Hoobakht Moosa Ghahremani Abbas Bostani Asl Abbas Bostani Asl Behzad Sadegh Hesam Hezaveh Hadi Hasan Zadeh Michael Hendou Esrafil Hendou Mehrnoosh Arabzadeh Karbala M. Amin Mohammadi Ramtin Khalatbari Sara Akoochekian Hisam An- Daleeb Milad Farrokhi Kimia Shahriari Amir Hossein Hajizadeh Negar Fadai Monfared Ashkan Shirani Mahla Ebrahimpour Farzaneh Izadi Ar- Man Nasr Mohammad Soleimani Kamran Ghomi Meysam Amirsadat Sara Jafarpour Alireza Fazel Sharareh Babakhani T Mahan Mehrvarz Arian Shidfar Milad Rezazadeh Erfan Akhavan Rouzbeh Mahmoudi Masih Barin Mahdi Babaei Zadeh Roza Atarod Hesam Andalib Mohamad Mehdi Jafary Mohammad Soleimani Feijani Fateme Ziaie Mohammad Soleimani Nilofar Gharavi Amir Hosein Shamsi Shahrzad Zadmajid Kimia Saadat Babak Danesh-far Mahdi Azarnia Arash Shabahang Amir Hossein Hajizadeh Ala Farahani Setareh Sedghi Seyed Shahab Aldin Towliat Kashani Seyedeh Rojin Hashtroodi Meysam Akbari Paydar Yanwen Xiao Shan Jiang Federica Risoluti Xian Qiu Yimin Xu Guang Yang Shuang Li Quirino Spinelli Teodora Adriana Cirjan Tuan Triggiani Vito Quadrato Giuseppe Tupputi Vito Quadrato Carlo Farina Moreno Giaconi An-drea Gratteri Biagio Giurato 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Wierz-bicka Karolina Wierzbicka Zielin Ska Katarzyna Wojciech Cebula Dominik Małek Agnieszka Połaniecka Ewelina Borowiecka Justyna Breczko Artur Chyra Patryk Wozniczka Joanna Zielin Ska|Annawas Niowska|Remigiuszhetman Rita Costa Nascimento Katherine Both Miguel Brito Raul Coelho Hugo Branco Miguel Brito João Ferreira Pedro Azevedo Susana Rosmaninho Santos Mariana José Rui Pardal Pina Joana Leote Santos Lara Borges Liliana Teixeira Vânia Simões Regina Milheiro Lara Borges Teotónio Caires Zara Ferreira Pe- Dro Lages Catia Moreira Mark Silva Marcos André Ferreira De Meire-les Veiga Natalia Bencheci Filipe Silva Ferreira Hugo Barros Da Costa Fer- Reira Mauro Rebelo Rui Agnelo Pedro Treno João Pedro De Figueiredo Lopes Pedrosa Paulo Alexandre Pereira Teixeira Carlos André Ribeiro Coutinho André Ribeiro Carreira Gomes Tereso João Vinhas Diogo Pereira Da Silva Susana Guerreiro Lurdes Chagas Elsa Barrelas | João Santos Francisco Ferreira Ji-Ho Kang Jooseok Oh Jae Man Bae Jong Mook Lim Su Jin Hur Seul Gi Yoo Jo Hyun Ok Jin Seo Hui Ryeon Lee Dong Hyun Lim Hyuck Rae Kown Ryu Keunyoung Jee Won Park Na Kyung Kim Ji Yoon Joung Gi Moon Park Won Gyu Yang Su Yong Choi Kang Rae Kim Hyeyong Wang Soomin Lee Kwanghyun Cho Kim Seong Hwan Dong Min Lee Hyuksoo Son Cheong Heo Ji Hyang Kim Yoonsoo Bae Young Kang Ki Beom Han Jeong Eun Yoon Dong Hyun Kim Yonghwan Kim Jong Gil Park Won Tae Jung Yoojin Lee Min-A Lee Jong Seok Lee Min Ji Chu Du Hee Han Mi Ji An Hyun Ook Ryu Ji Yeol Rue Da-Eun Cho Do Han Park Min Jung Lee Min-Jeong Kim Hye-Eun Sung Yoon Soo Kim Joon Sik Kim Jongchan La Won Tae Jung Su In Kim Seon Il Ahn Seunghee Sim Dong Hyun Kim Jonghun Son Ki-Rim Oh Min-A Lee Chang-Soo Jeon Sooin Jung Miji An Hanye Kim Su Young Ham Hyunji Kim Hyunjin Han Byoungsung Kim Ji Hun Shin Seon Bong Kim Dae Ho Choi Jisub Kim Jieun Jeong Miho Choi Kyung Hwan Lee Jangho Song Mijin Choi Hochoul Shin Inyoung Lee Hyunbeom Cho Jinkyu Pak Sunhee Yoon Hosung Kim Jeong Seok In Min-Cheol Lee Hoon Koo Lee Peter Ma 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Gondos Alexandra Garomfir Bogdan Adrian Rusu Andrei Patriche Ioana Turcanu Adela Pancencu Bianca Nenciu Gabriel Enache Ioana Alexandra Mititelu Bogdan Adrian Rusu Rux-andra Iancu Bratosin Benedek Vaszi László Sándor János Egyed Claudia Bârsan Adelina Cioata Adelina Cioata Adina Moldan Dan Andrei Ardeleanu Alexandru Paul Dragusin Radu Mihai Slach Andrei Puica Andrei Simonescu Radu Caradim Paul Morariu Monica Albulet Iulian Bindar Zsolt Iärger Zoltán Czáka Zsolt Iärger Ovidiu Mihutescu Andrei Lazar Radu Dorgo Adrian Mihai Andrei-Catalin Voica Razvan Delcea Dan - Alin Ursu Victor Traian Suciu Tudor Turcu Ovidiu Maier Anca Muresan Oana Tapalaga Alexandru Greceniuc Ovidiu Terchila Robert Dozsa Alexandra Iasmina Keller Sergiu Macavei Daniel Muntean Radu Gal Ioana Ailincai Catalin Ivan Sonia Botezatu Nihal Izet Razvan Iov Galina Kozulina Yulia Grantovskikh Zarui Martirosyan Fedor Zolotarev Maria Surkova Maksim Nizov Tijana Pa-jovic Marina Aleksic Kristina Petkovic Aleksandra Banjac Marko 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983 SUBMISSIONS59 COUNTRIES

Álvaro Siza VieiraArchitect (Portugal)

Brigitte Shim Architect, Shim-Sutcliffe Architects (Canada)

Peter Stutchbury Architect, Peter Stutchbury Architecture (Australia)

Juan Miró Architect, Miró Rivera Architects (USA)

Per Arnold Andersen Architect, VELUX Group (Denmark)

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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-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.

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4000BRIGHTIDEAS

A Daylight underground B Daylight and materials C Adaptive building envelopes D Daylight and perception

E Domestic daylight F Urban daylightG Storing daylight.

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

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DAYLIGHT UNDERGROUND

A1 Embodied Ephemerality: Light-Form Architecture Reilly Hogan, Cornell University (USA): 1st Prize 2008

This project converts an otherwise dull commuter space – the PATH railway station near Ground Zero in New York – into a visually stimulating and con-stantly changing environment. Day-light from above is refracted into the underground space by translucent glass surfaces that dematerialize the boundaries of the space and wrap the interior with embodied light.

A2 Beauty in the UnDaylightable Yan Shi & Chung-Kai Yang, Delft University of Technology (The Neth- erlands): Honourable Mention 2010

The ‘UnDaylightable’, as the two Delft-based students see it, consists of the windowless basements of typ-ical Dutch canal houses. The scheme suggests to install ’energy farms’ in the Dutch countryside that capture sunlight by means of solar concen-trators and feed it into optical fi-bres, which transmit the daylight to wherever it may be needed. Due to its flexibility, the system can create a multitude of light ambiences inside the underground spaces, while still keeping them connected to the nat-ural rhythms of light and darkness.

A3 Resonance, memory Bo Li, Ge Men, Eidgenössische Technische Hochschule Zürich (Switzerland): 1st Prize 2012

The idea of this work is based on a hypothetical mudflow in the Swiss Alps that has buried a small village. To re-create the memory of this set-tlement, the two students propose to introduce over 700 acrylic rods into the earth. Above ground, their shape recalls typical houses from the Swiss rural area. The same shape appears once again in underground voids, as an image created by daylight that the PMMA rods introduce from above.

A4 Light mineralHyung-Jin Choi, Jong-Won Lee, Seung Kim, Do-Yub Kim & Doo-San Paek, Korea University (Republic of Korea): Honourable Mention 2006

“The more darkness gets darker, the more the vitality of light becomes stronger”, write the four Korean stu-dents about their project. ‘Light min-eral’ is a proposal for bringing daylight into an abandoned mine on a hillside. Vertical light shafts are introduced into the ground. Their side walls, which consist of the different minerals to be found on site, reflect the daylight com-ing from above and colour it in differ-ent hues.

A5 Light as the main element determining the spatial quality Sung Hyun Jun, Korea University (Republic of Korea): Honourable Mention 2006

In this proposal for an underground exhibition space beneath Maronnier Park in Seoul, Sung Hyun Jun cre-ates a veritable ‘indoor landscape’ made of daylight that is transmitted underground via optical fibres. These can be flexibly rearranged,

either forming a continuous lumi-nous field, or tied together to form suspended ‘light columns’ that structure the space.

DAYLIGHT AND MATERIALS

B1 Light as Matter Claes Cho Heske Ekornås, Oslo School of Architecture (Norway): 1st Prize 2004

The first-ever winner of an Inter-national VELUX Award, Claes Cho Heske Ekornås designed a museum for the Korean video artist Nam June Paik, embedded in a hillside. This ‘un-derground landscape’ is delimited by undulating, translucent hollow walls made of polycarbonate, glassfibre tex-tile and rubber, which capture the light coming in from above and scatter it into the adjacent spaces.

B2 Cultivated shadows Petia Ratzov & Carl Hall-Karlstrom, University of Lund (Sweden): Honourable Mention 2006

Half shading device and half urban sculpture, ‘Cultivated shadows’ con-sists of a newly developed Germa-nium/Selenium (Ge/Se) glass that becomes soft when exposed to spe-cific kinds of light, and turns back to solid under the absence of light. Each of the glass fins is equipped with a rub-ber suspension along the sides to hold it in an upright position.

B3 Light Has a Body Dean MacGregor, Universidade

Lusíada de Lisboa (Portugal): 3rd Prize 2008

In his project for an underground space underneath a city square, Dean MacGregor uses natural light trans-mitted by huge water tanks for illu-mination. He said, “I wanted to show that light can be seen as a physical di-mension. The water […] stops the light for an instant, refracts it to the inte-rior of the space – and creates a body of light.”

B4 Redefinition of the skylightBin Jiang, Haiting Ye, Peixin Xu, Yiqin Zhu & Tenghan Zhang, Tongji Zhejiang College (China): Honourable Mention 2012

Inspired by traditional Chinese pa-per-cuts, the four students designed a skylight that simultaneously acts as a rooftop terrace, filters daylight through a layer of sand. The ‘cutting’, in this case, is done by environmen-tal forces such as wind and rain, or by people sitting or walking on the sand.

B5 Instant Impressionism Wang Fei & Zheng Kaijing, Tsinghua University (China): Honourable Mention 2010

Inspired by Claude Monet’s paint-ings of Rouen Cathedral, Wang Fei and Zheng Kaijing conceived this re-flective mural for a light rail station in Beijing. The photographs were taken from a physical model on site at the actual station in order to provide a re-alistic impression of what the inter-vention would look like.

4000 BRIGHT IDEAS

SELECTED PROJECTS2004–2012

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ADAPTIVE BUILDING ENVELOPES

C1 Desert Light Benjamin Saragoussi & Gregory Bismuth, École Nationale Supérieure d‘Architecture de Paris-Belleville (France): Honourable Mention 2006

This underground museum located in the Israeli Negev Desert is entirely lit through its roof. Daylight provision is controlled by means of textile awn-ings attached to metal strips. The latter consist of a nickel/titanium shape-memory alloy that changes shape when exposed to light, closing the shading elements when the sun rises and opening them again when it gets dark.

C2 Illuminated Music Marie Löwenhertz, University of Lund (Sweden): Honourable Mention 2008

Marie Löwenhertz designed a music space equipped with adjustable roof-lights that open and close with the rhythm of the music. The openings – reflecting aluminium on one side and totally black on the other – are con-ducted like stage lighting. They also help to adjust the thermal behaviour of the building, with the aluminium turned outwards to reflect the sun’s heat in summer, and the black side being used to absorb it in winter.

C3 Stroking the sunshine Qi Xu & Tao Cao, Tongji University (China): 3rd Prize 2012

This façade-integrated ‘bubble cur-tain’ invites users to physically in-teract with the building envelope in order to control indoor daylight lev-els. By ‘stroking’ the curtain, the peo-ple in the room can squeeze the air out of the bubbles, thus making them smaller and increasing the incidence of daylight. When left untouched for a while, the elevated air pressure inside the double-layer curtain will slowly let the air flow back into the bubbles and make the façade turn opaque again.

C4 Light & wind Pit Herold, Mads Johnsen, Kasper Old Jensen & Peter Drechsler Poulsen, Arkitektskolen i Aarhus (Denmark): Honourable Mention 2012

Droplet-shaped, hollow glass vessels are embedded in a perforated façade with their thin ends pointed outwards. When air movements hit the façade, the effect will resemble a wheatfield moving in the wind: the droplets start to tilt and turn in their sockets. Due to a gradient in the glass, this rotation also affects the amount of daylight en-tering the room.

C5 Evolutive glazing – shining lightMichael Lequeu, Martin Vande-voorde & Florent Schoennagel, Université Catholique de Louvain U.C.L. (Belgium): Honourable Mention 2012

This device is made of two glass sheets with a mixture of alcohol and water in-between. Floating in this liquid are pieces of beeswax in various colours, which start to expand and move up-wards as the façade heats up in sun-light. While this movement reminds building users of the thermal condi-tions outside, the irregular structure of the wax flakes ’materialize light‘ in a similar way as the stained glass win-dows in churches.

C6 Water lily, the symphony of architecture and sunshine Bo Zeng, Yiming Cai & Jingyi Zhao, Tianjin University (China): Honourable Mention 2012

Time-lapse movies reveal that water lilies open and close their flowers de-pending on the time of day, and on the incidence of daylight. This design for a shading device seeks to achieve a similar effect: it opens and provides maximum shade when sunlight hits the façade orthogonally. When the light comes from an oblique angle, segments can be folded outward to provide shade or direct light into the building as desired.

DAYLIGHT AND PERCEPTION

D1 A museum of photographyLouise Grønlund, School of Architecture at the Danish Academy of Fine Arts (Denmark): 1st Prize 2006

“To design a museum for photography is to create the optimal conditions for seeing“, writes Louise Grønlund about her project: “to see not only the pho-tography, but also to make the spec-tator aware of that which he sees and the conditions within which he is see-

ing.“ A layered façade made of trans-lucent and transparent glass allows light into the 40 exhibition spaces, which all have different shapes and sizes of openings to create a variety of ‘moods of light’ inside them.

D2 Reading place in the forest Gonzalo Pardo, Escuela Technica Superior de Arquitectura de Madrid (Spain): 2nd Prize 2006

Like a forest, this underground read-ing space allows those inside it to hide or expose themselves, and to see or not to see the others that are present. There is no furniture inside this half-buried library – just columns, as well as ramps and steps that the users can sit on.

D3 Light as a tool to break structure Anna Zagorec & Maciej Kozlowski, Politechnika Krakowska (Poland): 3rd Prize 2012

A corridor is flanked by an array of vertical, three-dimensionally folded partition walls with narrow slits of light in-between. Seen from inside the building, this sequence of wall mod-ules forms an ever-changing projec-tion screen, the appearance of which is determined by the moving shadows of the passers-by behind the wall.

DOMESTIC DAYLIGHT

E1 Interactive natural light source Ovidiu Mihutescu, Andrei Lazar, Radu Dorgo & Adrian Mihai, Universitatea Politehnica din Timisoara (Romania): Honourable Mention 2012

To bring daylight into the window-less staircases of former Socialist housing blocks, the four Romanian students developed a low-tech ‘light tube’ made from recycled plastic bot-tles. Sunlight is introduced into these devices by a similarly low-cost, roof-top-mounted tracking mirror made of aluminium-coated plastic that tracks the path of the sun.

E2 The ‘Hole’ Issue Hrvoje Zuparic, Dean Niskota & Ivan Starcevic, University of Zagreb (Croatia): 2nd Prize 2004

What if the distribution of windows in a house was no longer determined by the architect, but if the residents

themselves could choose where they would like to have daylight and views? Inspired by this question, the team from Zagreb conceived an archetypal house with an envelope made entirely of electrochromic glass, in which the position and size of the window open-ings remains forever changeable.

E3 Lightspace between gaps Joe Wu, Delft University of Technology (The Netherlands): 3rd Prize 2010

“Windows with no view and facing walls are not rare in Hong Kong”, says Joe Wu about the city where he was raised. To improve the situation of peo-ple living along the narrow streets of the Chinese metropolis, he designed a system of reflective, three-dimen-sional façade claddings that capture sunlight and reflect it into the rooms of the opposite buildings in an ever-changing pattern of light and shad-ows.

E4 Window shuttersIeva Maknickaite, Antanas Lizdenis & Laurynas Vizbaras, Vilnius Gediminas Technical University (Lithuania): Honourable Mention 2010

In their project, the three Lithuanian students reflect on simple shutter techniques, which have been used by our ancestors for generations. Accord-ing to their idea, new generations of shading elements could either be ther-mally insulated, or equipped with PV cells and solar thermal collectors on the outside, or broken into segments that can be individually adjusted to cope with varying sun angles and to fine-tune the amount of light enter-ing the rooms.

E5 Section of light Berte Daan, Eidgenössische Technische Hochschule Zürich (Switzerland): Honourable Mention 2010

“One of the problems with urban den-sification is the lack of light penetra-tion inside houses“, Berte Daan says. To overcome this problem, she recon-figured the section of a multi-storey residential building so that the floor plates are no longer level, but bent in an U-shape with the apartments lit-erally ‘stepping up’ towards the sun at either end, near the façades. Com-puter simulations showed that this approach does indeed increase the daylight penetration into the rooms.

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F1 Repairing Interface Light Festival Ruan Hao & Xiong Xing; Tsinghua University (China): 2nd Prize 2008

In the narrow street canyons of densely built cities, many spaces are literally ‘left in the dark’ for most of the day. In their proposal for a one-day ‘sunlight festival’, Ruan Hao and Xiong Xing suggest to remediate this situa-tion by applying reflective surfaces to the blank exterior walls of buildings. In the long run, what starts as a tem-porary intervention could also become a permanent installation to enlighten people’s lives.

F2 Light invisible bridges Anastasia Karandinou, University of Edinburgh (United Kingdom): 3rd Prize 2006

With ‘Light invisible bridges’, Anasta-sia Karandinou seeks to reconnect the otherwise separated riverbanks along River Suzhou in Shanghai. Her pro-posal consists of three elements: an open-air cinema (with the film being projected across the river), an under-ground cinema as well as ‘phoneboxes’ inserted into the riverside walls that allow users to view the city without being viewed – and vice versa.

F3 Constellation of light fields Park Young-Gook, Kim Dae Hyun, Choi Jin Kyu & Kim Won Ill, Hanyan University, Seoul (Republic of Korea): 1st Prize 2010

The team from Hanyang University de-signed an immaterial roof over an out-door stage in the Marronnier Park in Seoul. Consisting of ‘Moebius strips’ of fabric that can be bent and twisted, this roof lets every type of light flow to the area below. This variety of day-lighting situations corresponds to the wide variety of activities happening beneath the roof. The students explain: “Light is the immaterial architectural element that humans react directly to through the senses. By eliminating the material elements, light can create di-versity within a given space.”

F4 Condensation of Variational Sunlight Influences Ma Xin, Wang Rui and Yang Meng, Tianjin University (China): 2nd Prize 2010

This project considers the interaction between sunlight and people’s behav-iour in urban life. It suggests the re-organization of an open-air market in Kashgar, Northwest China, by intro-ducing a double-layered roof. Each of the layers has a number of square openings that produce a dramatic, ever-mobile interchange between illuminated spots and shadows.

F5 Fleeting perpetuality – Fluxional light under urban scaffolds Sheng Xiaofei, Fang Erqing, Kang Xiaopei & Yan Wenlong , Tongji University (China): Honourable Mention 2010

With ‘Fleeting Perpetuality’, the three students from Shanghai pro-pose to light up a type of often- overlooked public spaces within cities – sidewalks or streets that are tem-porarily built over by scaffolding. For their intervention, the students use a bamboo structure, nets and mem-branes to create a ‘stream ‘of light. When the scaffolding is removed, ‚Fluxional light’ leaves the site as well and will flow to the next place some-where in the same city.

F6 Light drama Dexiao Zeng, Zhao Gao & TianChi Chen, Hunan University (China): Honourable Mention 2012

Folded paper lanterns are a part of Chinese heritage. Here, an oversize ‘lantern’ serves to introduce daylight into the narrow alleyways of Chinese cities from above, rendering these in-terstitial spaces useable again for peo-ple’s everyday activities. The upper part can be bent to follow the track of the sun, and to control the brightness of the incident light.

F7 Atmosphere evolutive surface Manu Simon, Maïté Oldenhove, Simon Verstraete & Laura Schmitt, Université Catholique de Louvain U.C.L. (Belgium): Honourable Mention 2012

To enliven the often dull, paved sur-faces of urban spaces, the four Belgian students designed a three-dimen-sional system of large (100 × 100 cm) paving stones made of slightly porous concrete, on which rainwater can ac-cumulate in rectangular puddles and reflect the light from the sky. As the surface slowly dries, the puddles grad-ually become smaller and eventually vanish again.

STORING DAYLIGHT

G1 Buoyant Light Claire Lubell & Virginia Fernandez, University of Waterloo(Canada): Honourable Mention 2010

’Buoyant Light‘ harnesses light in a context where the sun does not always rise and set. The location of the project is Igloolik, a Canadian Inuit commu-nity of 1600 inhabitants at 70 degrees north. By means of integrated photo-voltaic cells, ‚solar balloons’ harvest the summer light and subsequently store the energy for the long winter season. The balloons are attached to (and provide electricity to) buoys that measure environmental changes such as the variations of ice thickness throughout the year.

G2 The Mongolian dandelion seed, impregnated with light Jeewon Park, Nakyong Kim, Jiyoon Jung, Kimoon Park & Wongyu Yang, Inje University (Republic of Korea): 2nd Prize 2012

Inspired by dandelion seeds that move with the wind, the team from Korea designed the ‘neo-ball’, a balloon-like luminaire intended to accompany con-temporary nomads on their journeys. The helium-filled balloons, which con-sist of a bio-based polymer, capture solar energy during the day, store it in a battery and release it again as light during the night.

G3 Memory of LightQingsong Han, He Dong Peng & Peishu Han, Xi‘an University of Architecture and Technology (China): Honourable Mention 2012

With ‘Memory of Light’, the three Chinese students propose a new kind of brick to restore the derelict parts of the city walls of their hometown, Xi’an. Two thirds of the brick consist of traditional clay whilst the outer-most part contains a luminescent ad-ditive that absorbs light during the day and gives it off again at night. At daytime, the new bricks are barely dis-cernible within the masonry whilst at night they provide a clear indication of where the walls have been restored.

G4 Luminous ecosystem Pablo Viña García-Inés & José Antonio Guerra Paz, Universidad Alfonso X el Sabio (Spain): Honourable Mention 2006

In what is probably the most unu-sual application of ‘light storage’ sug-gested in the award so far, the two Spanish students conceive an aquar-ium lit by bioluminescent and phos-phorescent jellyfish and other marine species. Some of these animals need to be regularly exposed to sunlight to restore their luminosity. This is achieved by letting them pass through a ‘load room’ where sunlight can enter through optical fibres.

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10YEARSOF DAY-LIGHT 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.

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So far, no fewer than 3,959 projects have been submitted to the International VELUX Award. From modest beginnings in 2004, submissions for the 2014 event have risen to over 800 from more than 50 countries. And while these figures certainly do not tell the entire story of the award, they do reveal a growing interest among stu-dents of architecture in the theme of day-light. Two main reasons for this growth, among many others, can be identified: the relevance of daylight and its openness. Daylight influences our lives on all scales, from the urban realm to the metabolism of a single cell. And it lends itself to a wide array of potential approaches that seek to introduce daylight into buildings.

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

important theme in the award right from the start. In 2004, juror Ole Bouman said: “Light is not what it used to be. The ma-nipulation of human emotion by means of architecture has become a conscious strategy [...]”. According to Bouman, au-thenticity in architecture often comes through the use of daylight. “Architects are often asked to go back to making ‘real’ architecture, to creating an authentic topology, a true manifestation, a mani-festo against the artificial, ephemeral manipulations of electronic light sources […] Whatever we may think of this coun-teroffensive, the most interesting forms of resistance are to be found in concrete proposals for the application of daylight.” Another key aspect of daylight – its relevance for human health − was raised by juror Craig Dykers from Snohetta in 2004: “It is apparent that light and air share common paths toward health. In a very real way we cannot be without what-ever it is that the sun gives us. However, it is also important to consider what it is that we give the sun in return.” In the last two or three award events in particular, the role of health and well-being in the students’ submissions has become ever more important, and there is good reason to assume that this trend will continue in the near future.

Openness as a key to successObviously, the relevance of daylight ex-tends far beyond its atmospheric and health-related qualities. To think about daylight in the built environment liter-ally opens an endless array of possibili-ties and potential approaches. This ap-plies particularly to students, who are in a unique position to ‘think out of the box’. According to Eva Jiricna, juror in 2008, this openness is precisely what is needed in architectural education today: “When you are a student, it’s the last time in your life when you can work in com-pletely unlimited conditions: without a

client, without concerns for cost or plan-ning approvals...”. As Juan Miró, juror in 2012, remarked, “it is clear that the students have been in-spired to think about the future and ask – what can we do?”. Overall, the juries agreed that asking the right questions in an intelligent way is more important for students than looking for straight an-swers and final solutions. “On the whole I am very satisfied that the students have had the courage to pose these difficult questions, even if they are not qualified to give the perfect answer,” said Omar Rabie, juror in 2006. According to Brigitte Shim, who headed the jury in 2012, the work of the students was all about a “promise for tomorrow, the boldness of the ideas; the kind of explorative dimension […] be-cause, in a way, you are actually putting your faith in the promise of its future as opposed to necessarily figuring out every single aspect.” Nonetheless, as Natalie de Vries, juror in 2010, remarked, “we also found many practical solutions to practical problems.” A cursory glance at the projects submit-ted in recent years confirms the tendency to move beyond the purely hypothetical and explorative, dealing with given pro-grammes and often with existing sites, as well as achieving an elevated level of com-plexity. This became particularly obvious in 2012, when the students displayed an unprecedented interest in straightfor-ward, applicable solutions rather than merely hypothetical concepts devoid of ‘real-life’ context.

A mirror of architectural educationWith its openness, its international scope and sheer number of submissions, the International VELUX Award provides a unique opportunity to take the pulse of ar-chitectural education at a given moment. “Seen as a whole, the projects represent

“What the jury was looking for was not necessarily complete or buildable projects, but merely projects that celebrated the privilege of being a student – with the naivety intact, with curiosity, with the willingness to take a risk and with a mindset for experimental thinking ‘out of the box’.”

From the jury report 2008

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

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

There appears to be room for improve-ment, however, regarding the architec-ture schools’ active involvement and the importance they assign to teaching daylighting in their curricula. Reilly Ho-gan, first-prize winner in 2008, remarked that “designing through light has been my personal interest, rather than one taught through the school’s curriculum”. He says that where daylight does play a role, it is often more of a technical, performance-based pursuit. And according to Ruan Hao and Xiong Xing, the second-prize winners in 2008, “looking back at how we were taught to utilise sunlight to make dramatic shadows and sculpting architec-ture spaces, we couldn’ t help but wonder, do we design a design, or do we design for better life?”.

A world full of daylightThe openness of the award is reflected in a huge variety of individual topics and ap-proaches in the submissions. Quite liter-ally, as Omar Rabie puts it, “the students have more ideas than we can imagine.” The scope of the projects ranges across all scales from the urban to the smallest building component, and literally across the entire globe. Some students have explored phenomena of perception in a rather abstract way, while others have submitted full-fledged designs for build-ings or building components. While a number of submissions have expressed a keen interest in technology, the majority of them so far have focused on the interac-tion between light and space. Last but not least, the students have drawn from a wide range of sources of inspiration – including art (from the paintings of van Gogh to the works of James Turrell) and nature. As many of those involved in the Inter-national VELUX Award over the years have remarked, the average quality of submis-sions has increased. While in 2004, the jury still noted: “The jury was surprised by the lack of actual experimental think-

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

Issues of representationAs in any other architectural competition, participants in the International VELUX Award are faced with the challenge of how to condense a huge number of ideas on just one or two competition boards, and how to express spatial ideas in a two-dimensional format. According to Eva Jiricna, students should strive to make the presentation a “joy ride for the jury”. She adds: “The need of getting a clear mes-sage is more and more important in com-petitions: when a jury has to judge some 700 projects, it cannot spend a long time trying to interpret what a student wants to say.” Yet the award theme “Light of Tomor-row” also presents another, very specific difficulty, explains Brigitte Shim: “How to represent such an ephemeral and diffi-cult thing as light. How do you show light, how do you describe light and make it un-derstandable to other people?” Without doubt, the rendering skills among stu-dents have greatly increased over the last ten years, as has computing power to support photorealistic imagery. This development, however, was received in an ambiguous way by the juries. In 2004, “the jury raised the general question of whether the computer is now too pow-erfully integrated in the schools. And whether this fact limits the experimen-tation and thinking about the unknown: going to the edge, finding the essence”. Four years later, chairman of the jury Hani Rashid expressed optimism re-garding these questions. In his opinion, the award showed that the computer “is no longer just a fascination in pushing buttons and creating nice forms, but is finally becoming a facility, a realistic and obvious tool in the work of research”. Furthermore, students have acquired an increasing ‘media competence’ also in that they know when to do without com-puters. In the field of daylighting, this ap-plies particularly to the simulation of light

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“Light of the future is not necess-arily light and high-tech. Light should be about perception and exploitation. Light should indicate hope and the future should be about optimism. Light reveals and light has a social dimension.”

From the jury report 2004

interacting with materials. Reilly Hogan, first-prize winner in 2008, said: “Comput-er simulations proved to be highly cum-bersome when dealing with caustic light (light reflected or refracted by a metallic or glass surface onto another surface), and rapid experimentation was difficult. So I worked almost entirely through physical models.” Likewise, Dean MacGregor, win-ner of the third prize in the same year, re-marked that “from the beginning I knew that rendering wasn’t an option for this project. Therefore photography soon took over from the superficial attempt to represent light through the computer”.

Da capo: Light of the futureThis year, the International VELUX Award will be awarded once again, for the sixth time running. At the time of writing this article, neither the eventual winners nor the approaches they chose were known. It is therefore a good opportunity to go back to the question of what represents the “light of the future” today? To quote Craig Dykers’ verdict from 2004 once again: “In a very real way we cannot be without whatever it is that the sun gives us.” This existential role of day-light to our health and well-being, while implicit in many projects already, is still waiting to be fully exploited by the stu-dents. This might imply taking a step back in the history of the award, going from the

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

quantitative and qualitative effects of day-light in spaces, and is increasingly used by students and practitioners worldwide.

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

“Related to light I can only see opti- mism because it is a free material and it is there to be used. In the relationship between the body of mass and the body of light there will always be a spatial attitude, a spatial possibility.”

Per Olaf Fjeld

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but three of these, architects must retain the position as generalists that they have always had in history, but at the same time keep up with the increasing body of specialist knowl-edge in the field of building design. They have to fulfil the requirements of their clients who pay them, but at the same time, they are expected to work in the interest of the wider society. And lastly, they have to put human beings into the centre of all their endeavours despite being restricted by an increasing amount of regulation, and working in an increasingly technology-driven environment.

Architecture as ‘frozen politics’Essentially, every contemporary architect serves two clients: the one who pays him – and society in general. Peter Thule Kristensen, dean of the School of Architecture at the Royal Academy of Fine Arts in Copenhagen (KADK), explains: “Nowadays architects can no longer afford to pursue a purely introverted artistic approach. They must respond to modern-day issues that impact on society – for example, the unavoidable challenge of sustainability”. Hubert Klumpner, dean of the Depart-ment of Architecture at ETH Zürich, compares architecture and urbanism to “frozen politics”, and adds: “We see studying as the starting point of a lifelong learning process that pre-pares architects to assume responsibility in a democratic society”. Many of the experts who contributed to this magazine, therefore, stress that it is not sufficient to train architecture students merely to be building designers. “As long as architectural education only aims at building design, it will fail,” claims Hyun Seo, head of the School of Architecture at Haiyang Univer-sity in Seoul. According to Seo, 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 points to another quality that future architects will need: the ability to work in increasingly interdisciplinary teams. This, in turn, requires both “communicative intelli-gence” (Hubert Klumpner) and “a respect for

DISCOURSE LEARNING FOR THE UNKNOWN

“Aspiring architects have to de- velop their position with regard to society as a whole. An archi- tect is not only responsible for maximising a client’s profit but is always involved in the dev- elopment of entire cities, as well as of our building culture.” Hubert Klumpner

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

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the architect who has something to say, com-ment or ask is competent to work in the inter-est of society”.

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

answers or unambiguous questions”. Louise Grønlund, winner of the International VELUX-Award in 2006 and now herself a teacher, adds: “A school of architecture should be a place for developing your artistic talent, and for experimenting with projects, some of which might fail – but failures tend to be a valuable source of learning”.

Education needs a value baseOver and over again, the teachers and recent graduates alike stress the importance of the architect’s social responsibility. “Our dream is not only to design buildings but to improve people’s lives,” say Bo Li and Ge Men, winners of the International VELUX Award in 2012. Will Bruder, who sat on the award jury in 2010, observes a similar phenomenon: “Stu-dents are not just concerned about sustaina-bility, but about building a better place in a social way”. Clearly, the human aspect inher-ent in architecture ought to be nurtured right from the start in architectural education. This also means that teaching cannot be limited to knowledge transfer − it also requires an underlying value base. Students need to be encouraged to develop trust, solidarity, and empathy – and they can only do so if they encounter these same qualities in their learn-ing environment at university. As Rob Flem-ing writes, “the kinds of values and behaviours learned in design school set the stage for a lifetime of impact – both positive and nega-tive”. If value-based teaching is taken seri-ously, however, it must also be reflected in new forms of teaching and new content in the academic curricula. It will be interesting to see in the coming years whether, and how, this change is really going to happen in archi-tecture schools worldwide. There is little doubt, however, that it will be worthwhile. After all, as Hyun Seo says: “College educa-tion must prepare students for life rather than for a specific career”.

and knowledge of other disciplines and pro-fessions” (Karl Otto Ellefsen). Respect, in this context, does not imply subordination – on the contrary. Most of the teachers stress the importance of architects retaining their posi-tion as generalists, despite all the current trends towards specialisation. Maintaining a holistic view will, they argue, be both benefi-cial for the quality of our buildings and give architects back some of the influence they have lost to others over the last decades. This will, however, not come by itself, says Claes Cho Heske Ekornås, winner of the Interna-tional VELUX Award in 2004: “We will have to make this happen ourselves by being more proactive [and] placing ourselves in the driv-er’s seat. As an architect, you are sometimes the only one with a full overview of the dif-ferent stages of a project. We should use this position to our advantage if we want to avoid being reduced to the role of just another con-sultant.”

The architect as conductor and translatorIt seems obvious that this role of architects as ‘conductors’ of project teams needs to be learned to a much greater extent in academia. Many architecture schools are reacting to this already, for example, by including more and more design/build projects in their curricula. Hubert Klumpner stresses that professors need to be skilled communicators in our days who can ‘translate’ between different domains of knowledge, as well as between the world of specialists and the general public. Increasingly, intercultural ‘translation’ and presentation skills are also in demand for architecture students as they prepare to enter a globalised labour market. Student competitions such as the International VELUX Award are a valuable opportunity to learn these skills. Peter Stutchbury, award juror in 2012, considers competitions an opportunity for students to “lift their own understanding of major architectural issues”. For Luka Piškorec, from the ETH Zürich, “com-petitions are like questions asked by society to which architects must respond. And only

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Today’s young architects will play a key role in shaping the future world we live in. But what principles and ideals guide them in their daily work? What qualities that they have or have not learnt at university do they consider crucial? And what role should daylighting play in architectural education? On the following pages, former winners of the International VELUX Award, along with their former teachers and the heads of school where they studied, have given answers to these questions. The 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.

A WORLD OF OPPOR-TUNITIES

Photography by Richard Barnes & Lucille Tenazas (p. 34 – 47)Stanley Wong (p. 50– 59)Ferit Kuyas (p. 61–71)

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Jarmund Vigsnæs Arkitekter, where we take advantage of it in order to minimise the use of artificial light and to save energy. What I have learnt about light since graduating is to look at this resource in a more nuanced way. After all, sometimes, and in some places, you don’t need a lot of light. Therefore I am not sure that gen-eral requirements for daylight levels or lux-specifications are necessarily the right way forward. Like any other architect, my dream is to cre-ate architecture that will stand the test of time and be a reference to others. It is obviously hard to predict what exactly is needed to achieve this goal, as the quality of buildings can often only be judged in hindsight. But I think it is at least important to have something to strive for. Overall, I would call for a better understand-ing and respect for our profession. But we will have to make this happen ourselves − by being more proactive, placing ourselves in the driver’s seat and seeing ourselves not merely as design-ers but playing a leading role in defining the fun-damental terms of any building project. As an architect, you are sometimes the only one with a full overview of the different stages of a pro-ject, and you have to deal with all the other stakeholders: the builders, other technical con-sultants as well as financial experts. We should use this position to our advantage if we want to avoid being reduced to the role of just another consultant. The best project for me is always the next. Not necessarily the big projects; often the small projects are the most interesting. I hope to be able to continue building my experience, solid-ifying my platform, and contributing to the growing recognition of architecture in Norwe-gian society.”

Claes Cho Heske Ekornås won the 1st prize in the first ever International VELUX Award in 2004, when he had just graduated from the School of Architecture and Design (AHO) in Oslo. He has been employed at Jar-mund Vigsnæs Arkitekter in Oslo, Nor-way, for the last nine years. His project portfolio ranges from design of single- family homes to competition projects and larger design and renovation projects.

CLAES CHO HESKE EKORNÅS

2004 SCHOOL OF ARCHITECTURE AND DESIGN (AHO), OSLO

“Looking back I can see that the most valua-ble thing I learnt at school was to work inde-pendently. The kind of teaching where you are allowed to find your own way, not being told what to do and how to do it, but listening, finding your own voice, being enlightened as you go along. As a practising architect, one is introduced to the complex process of following a project from start to finish. Society tends to come up with more and more demands and technical building restrictions that we have to imple-ment in architecture. I think it is important that students don’t dwell too much on these prac-tical and technical requirements. Rather, they should have a free mind to explore things. Stu-dents have a unique opportunity to study dif-ferent aspects of architecture, something they should enjoy since it is probably the only time in their lives that they will be able to devote so much time and effort to their projects. A good teacher of architecture sets the scene for this kind of free and independent learning, guiding the student through prob-ing questions and constructive feedback. A good teacher not only focuses on the end result, but just as much on the process of get-ting to the result, and on the development of the individual student. My project for the International VELUX Award was my final thesis project. Winning the Award at the gateway to my career gave me confidence that I could bring something to the table in the real world of architectural practice. Daylight plays a special role in Nor-way, as for half the year we have very little of it, and for the other half, we have light more or less around the clock. This importance of natural light is also reflected in our work at

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

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

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

Karl Otto Ellefsen is Rector of the School of Architecture and Design (AHO) in Oslo, where he also teaches as a professor of architecture and ur-banism. Having been educated at the AHO and the Architectural Associ-ation (AA) in London, he dedicated most of his professional career to ur-banism. Karl Otto Ellefsen has pub-lished widely within the fields of urban history, urban planning and architec-tural critique. Currently the main focus of his research is on the history of urban planning in Norway.

SCHOOL OF ARCHITECTURE AND DESIGN (AHO), OSLO

KARL OTTO ELLEFSEN

2004

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“I have been very privileged that there is a direct line from my thesis project to what I am doing now in my Ph.D. project. In the lat-ter, I focus on the exploration of daylight, light openings connecting indoors and outdoors, and how light openings in different shapes and sizes can draw daylight into buildings. My research is a combination of theory and prac-tical experimentation, where I draw on my knowledge of photography and my never-ending curiosity about the phenomenon of daylight. My thesis supervisor at the KADK has been pivotal in my development so far. In our conversations, he gave me an understanding of my subject matter and inspired my funda-mental engagement with the phenomenon of daylight. As a teacher myself, I bring this experience with me. Based on a strong belief that everyone has unique potential, I try to motivate students to find their particular focus, and to make them flourish, both per-sonally and professionally. Winning the International VELUX Award spurred me on; the acknowledgement that other people could follow my ideas and thoughts has had tremendous impact on my career path. It brought me into close contact with the international community of 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

Louise Grønlund, winner of the 1st prize in the International VELUX Award 2006, is a Ph.D. student at the Aarhus School of Architecture in Den-mark. Since graduating, she has been employed at several Danish architec-tural offices, taught at The Royal Dan-ish Academy of Fine Arts, Schools of Architecture, Design and Conserva-tion, School of Architecture (KADK) in Copenhagen and worked as an in-dependent architect and as architec-tural photographer. Her Ph.D. project explores daylight, light openings and the facade.

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

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

LOUISE GRØNLUND

2006

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Throughout history, a good architect has been characterised by his or her ability to combine many different contexts in a spatial, mean-ingful totality; a totality that both meets a number of practical requirements and also enables us to grasp the world that we are in. But in contrast to the Renaissance’s Uomo Universale, modern day architects can no longer be expected to have a thorough knowl-edge of all relevant contexts. The challenge for them is, therefore, to maintain the ability to think in a holistic manner, while at the same time sharpen their particular competences. At KADK’s School of Architecture we believe that the students become better at thinking in a holistic way if they have the opportunity to work in depth with a defined subject or artistic approach during their stud-ies. Therefore, we work with a broad, holisti-cally-oriented Bachelor education and more specialised Master programmes that strongly connect research and artistic development. The focused programmes also help our stu-dents attain a differentiated profile and thereby a competitive advantage in a labour market that has become increasingly global and requires ever more specialisation. A good example is our new master pro-gramme, Architectural Lighting Design, in 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. In other words, we educate a new type of ‘light-ing architect’ who is capable of combining an aesthetic approach with engineering ability.

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

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

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

PETER THULE KRISTENSEN

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

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“While studying at Cornell University, I got the chance to take part in a design studio in New York City. Having grown up in San Fran-cisco I love cities, I love New York City, and that is where I am now, working at one of the big architectural practices with projects around the world. I am where I always wanted to be, working on a variety of projects with many design opportunities and always learn-ing more about the process and practice of architecture. Cornell design studios taught me a diverse way of thinking of design; the critics there encouraged constant creativity and explora-tion. I learned how to construct an argument, how to present and visualise, and how to marry the two together. What we didn’t learn so much about was working with a client, deal-ing with the fact that the client’s priorities and processes are often different from those of the architect. A basic understanding of budgets and of financing might have been useful. And then, on the other hand, the money focus tends to become more and more predominant in our society. I fear that the aesthetic appreciation of good design is endangered, with the arts and aesthetic programmes often being reduced in early education. It was always a great inspiration to me when my teachers were excited about design, encouraging me to explore new ideas and challenge the norms. Architectural studies have so many facets. The good teacher is able to weave all these facets into a whole; 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

Reilly Hogan, 1st prize winner in the International VELUX Award 2008, is an Associate Principal at KPF, Kohn Pedersen Fox Associates in New York City, where he has been employed for the last five years. In his first year after graduation, he was a Teaching Asso-ciate in the Department of Architec-ture at Cornell University teaching design studio. As a senior designer at KPF, Reilly Hogan primarily works with commercial, residential and re-tail projects in the United States, Can-ada and China.

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

CORNELL UNIVERSITY,ITHACA

REILLY HOGAN

2008

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

“The era of big scale of big scale development is over in Seoul. So we are interested in small-scale projects that focus on repairing and reforming old spaces and structures for new uses. We are keen on experimenting with materials, spaces and entire buildings, while at the same time appreciating that we still have a lot to learn and that we are still in the process of reaching our goals. The most useful things we learnt at school were to look at, interpret and under-stand space. As a student, it is very impor-tant that you establish your own point of view. This requires considerable discussion about the values and abilities of architecture. Through these discussions, and through shar-ing our thoughts with our professors and fel-low students, we learnt a lot − not only about design but also about how to develop our own philosophy as architects and designers. Whilst studying, it is important that diverse aspects of architecture are pointed out to you, so that you and your fellow students can find your own approach to the subject. In this con-text, teachers should always be alert to new ideas and to trends in society that create the context for the students’ work. Taking part in competitions is also a good way of sharing your thoughts and comparing your skills with those of others. Winning the International VELUX Award gave us the 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-

Young Gook Park and Won Ill Kim run their own design studio MiYong-Sil where they work with everything from architectural design to interior design and furniture design. Their pro-jects are located in Seoul and typically deal with reusing old spaces. They re-cently published a book called Urban Living Room, in which they seek out leftover spaces in the city and explore how you can enjoy the urban environ-ment like your own living room. Dae Hyun Kim is employed at Mass Studies, a leading Korean architecture firm in Seoul.Jin Kyu Choi was previously a part-ner in MiYongSil but is now working as an independent designer in furni-ture design. Together, Young Gook Park, Won Ill Kim, Dae Hyun Kim and Jin Kyu Choi won the first prize in the International VELUX Award 2010.

HANYANG UNIVERSITY,SEOUL

YOUNG GOOK PARK, WON ILL KIM, DAE HYUN KIM, JIN KYU CHOI

2010

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“Nowadays, architects have to be both designers and implementers of projects. The scope of their work ranges from programing computer software to dealing with legal requirements, and managing design teams to overseeing the actual construction of buildings. This wide range of tasks means that architects are often required to define prob-lems and raise the right questions before they can look for solutions. In our school, we 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

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

number of our students actually pursue a career in the field of architecture after grad-uating. Acknowledging that college educa-tion must prepare students for life rather than for a specific career, we encourage students to find their own way to be leaders in what-ever profession they end up in. “

HANYANG UNIVERSITY,SEOUL

HYUN SEO

2010

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“As we are just starting our careers, we are in the process of learning by doing. We are get-ting valuable experience with the realisation of projects now that we have completed school. We are learning the ways of the con-struction site and how to manage projects with many different stakeholders. If architec-ture stays on paper, it is only an idea. We are therefore eager to learn much more about the realisation of projects in the real world. In our education, this kind of practical knowledge did not play such a central role. On the other hand, our studies allowed us to be 100 percent idealistic, and idealism is the source of passion. The education system seems like a pyramid, where we spend most of the time on building design, a little less time on the urban context and just a little time on philo-sophical and conceptual thinking. Maybe more focus on philosophical and conceptual think-ing could have brought us further allowing us to work with more abstract concepts, playing with light, aimlessly touching materials, piling objects – more like art school maybe. It is while you are at school you can do this, whereas in real life we are building for specific clients, 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. 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-

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

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

SWISS FEDERAL INSTITUTE OF TECHNOLOGY (ETH),ZÜRICH

BO LI, GE MEN

2012

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

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Hubert Klumpner is head of the de-partment of architecture at the Eid-genössische Technische Hochschule (ETH) in Zurich. He studied architec-ture and urban planning in Vienna and at Columbia University in New York. In 1998, he and Alfredo Brillembourg es-tablished the planning office Urban-Think-Tank in Caracas (Venezuela). Together with Brillembourg, Hubert Klumpner also heads the chair of ar-chitecture and urban design at ETH.

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

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

SWISS FEDERAL INSTITUTE OF TECHNOLOGY (ETH),ZÜRICH

HUBERT KLUMPNER

2012

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Luka Piškorec is a Research Assistant at the Department of Architecture and Digital Fabrication of the ETH Zürich, and was tutor of Bo Li and Ge Men for their winning design in the Inter-national VELUX Award 2012. He stud-ied architecture at the University of Zagreb and worked in architectural offices in Croatia and Switzerland prior to pursuing his Master studies at the ETH, which he finished in 2011.

“Architects today should try to maintain the role as generalists that they have always played in history. This requires them to acquaint themselves with a broad range of skills from all areas of human cultural endeavor, especially, but not only, the crea-tion of architecture. Technology plays an important role here since it permeates all parts of our culture, as well as the construc-tion industry. Taking a pro-active approach to technology puts the architect in a leading position and allows him to define the rules of the game. Unfortunately, architects are usu-ally the last to adopt new technologies, which leaves them with only a subordinate role in comparison to other engineers. Changing this attitude will enable us to assert ourselves as a driving force in technological innovation, something we have to strive for from the ear-liest days of our architectural education. In my view, the role of architects in our society is rather schizophrenic. On the one hand, we try to please our clients and meet their needs. On the other, there is the expec-tation that architects should work in the interest of society as a whole. Negotiating between these two requirements is one of the most important tasks of any architect, and students ought to be prepared for it in academia. A third aspect of architectural education is the increasing international 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

involved in teaching, as they have to contin-uously keep up to date with things happen-ing in the architectural world. But it will eventually drive the discipline forward, as the quality of education will have to live up to global standards, and even smaller schools can reach global standards in a short time. Student competitions play a vital role in architectural education, and I would encour-age any student to participate in them. After all, at the beginning of an architect’s profes-sional life, there are basically only two ways of obtaining work and distinguishing oneself – direct contracts and architectural compe-titions. Since the first are much less common, young architects are often left with no other choice but to participate in competitions. Fur-thermore, I see competitions as a sort of series of questions asked by society, to which archi-tects must respond. And only the architect who has something to say, comment or ask is competent to fulfill the second role men-tioned above – to work in the interest of soci-ety. This culture of assuming the role of a ‘commentator’ who answers questions aris-ing from society through architectural com-petitions should be nurtured in education from the very beginning.”

SWISS FEDERAL INSTITUTE OF TECHNOLOGY (ETH),ZÜRICH

LUKA PIŠKOREC

2012

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DAYLIGHT & ARCHITECTUREMAGAZINE BY VELUX GROUPSUMMER 2014 ISSUE 21

Publisher: VELUX Group, Michael K. RasmussenVELUX Editorial team: Per Arnold Andersen, Christine Bjørnager, Lone Feifer

Editorial & creative advisor: Torben ThyregodEditor: Jakob Schoof/DETAILPhoto editor: Torben EskerodArt direction & design: Stockholm Design Lab ® Per Carlsson, Christopher West, Björn Kusoffsky

Translation: Sean McLaughlinProof-reading: Tony Wedgwood

Print run: 25,000 copiesISSN 1901-0982

The views expressed in articles appearing in Daylight & Architecture are those of the authors and not necessarily shared by the publisher.© 2014 VELUX Group. ® VELUX and VELUX logo are registered trademarks used under licence by the VELUX Group.E-mail: da@velux.comda.velux.comIpad version available in App store

D&A SPRING 2014 ISSUE 21

THE DEBATE 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.

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