Yearbook 2010

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INDEX
PROLOGUE
JURY REPORT
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JURY INTERVIEWS MAGDA MOSTAFA NATHALIE DE VRIES MOMOyO KAIjIMA WILL BRUDER STEFANO MUSSO jESPER SALSKOV jENSEN AWARDED PROJECTS CONSTELLATION OF LIGHT FIELD SLIDING FLUCTUATION OF MOBIUS STRIPPED ROOF CONDENSATION OF VARIATIONAL SUNLIGHT INFLUENCES LIGHTSCAPE BETWEEN GAPS SyMBIOSIS ELEVATION IN THE VERTICAL URBAN DEVELOPMENT IN HONG KONG HONORABLE MENTIONS BEAUTy IN THE UNDAyLIGHTABLE WINDOW SHUTTERS LIGHT IN SIDE (INSIDE) INSTANT IMPRESSIONISM LIGHT AS A PAINTER SUB-TERRA APERTURES SECTION OF LIGHT FLEETING PERPETUALlTy FLUXIONAL LIGHT UNDER URBAN SCAFFOLDS BUOyANT LIGHT LIST OF SCHOOLS & PARTICIPANTS IMPRESSUM
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PROLOGUE
In this yearbook, we are proud to present the winners of the 4th International VELUX Award for Students of Architecture.
The 2010 Award received 673 projects from 280 schools in 55 countries representing a remarkable cross-section of todays architectural education. Since the first International VELUX Award was launched in 2004 we have seen a development to a point where there are literally no boundaries in architectural education; students The VELUX Group defines Sustainable Living as maximum energy and teachers meet and study across continents as well as challenge efficiency with active use of renewable energy combined with a themselves by working with exotic places and cities far from their healthy indoor climate. With the Award we want to strengthen the own actual location. The teachers involvement in the projects is im- role of daylight in building design. Today buildings are major energy portant for the award and this year it has been noticeable that the consumers and strategies for reducing energy use and carbon emissions are called for, such as using sunlight as a source of energy and projects received good mentoring in the process. light. It is obvious that today students work fluently with digital applications. This is also why this years award has been run only digitally. The International Award for Students of Architecture, given every We would specifically like to thank the skilful jury, who took up the second year since 2004, is organised in co-operation with UIA, Inchallenge of evaluating the presentations on screen. We believe that ternational Union of Architects, and EAAE, European Association the software solution, developed for the judging process, enabled for Architectural Education. The next award is planned for 2012. the jury to have a good understanding as well as a fair and demoView all submitted projects for the 2010 Award on iva.velux.com cratic discussion of the works.
It is particularly promising for us to see students taking responsibility for the crucial issue of existing building structures and how to find new qualities in existing cities and ways to improve the quality of peoples lives. Also, to see so many projects that demonstrate that sustainability can be more than just a slogan that it can be a way of living.
INTERNATIONAL VELUX AWARD 2010 FOR STUDENTS OF ARCHITECTURE
JURY REPORT
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JURY REPORT
jURy REPORT, COPENHAGEN (2122 jUNE 2010)
By the deadline of 3 May 2010, 696 entries had been uploaded on the International VELUX Award server via personal FTP accounts. 673 projects complied with the mandatory file formats and specifications, and they were all available in digital format for the jurys evaluation.
1st PRIzE, 8,000 for the student(s)/2,000 for the teacher(s) Project no. IVA3194 2nd PRIzE, 4,000 for the student(s)/1,000 for the teacher(s) Project no. IVA1686
The jury was composed of Momoyo Kaijima (japan), Will Bruder 2nd PRIzE, 4,000 for the student(s)/1,000 for the teacher(s) (USA), Nathalie de Vries (The Netherlands), Magda Mostafa, ap- Project no. IVA1837 pointed by UIA (Egypt), Stefano Musso, appointed by EAAE (Italy) and jesper Salskov jensen, General Manager, VELUX Danmark A/S The following projects were awarded equally with honourable mention and 1,000 for the student(s)/250 for the teacher(s): and VELUX Svenska AB (Denmark). The jury met in Copenhagen from 21 to 22 june 2010. Magda Mostafa was elected chairman and presided over the jurys work. 104 projects were short-listed and reviewed in the first round out of which 54 projects were selected for the second round. 24 projects reached the third round out of which 15 projects reached the final discussion. The jury agreed unanimously on appointing a first prize winner, two second prize winners and 8 honourable mentions: PROjECT NO. IVA1079 PROjECT NO. IVA1121 PROjECT NO. IVA1382 PROjECT NO. IVA1733 PROjECT NO. IVA1823 PROjECT NO. IVA2709 PROjECT NO. IVA2934 PROjECT NO. IVA3171 The total prize sum was 30,000
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JURY REPORT
GENERAL REMARKS The total amount of 673 projects represents a remarkable panorama of approaches to the theme Light of Tomorrow by presenting ideas and brainstorms in all scales and by considering a wide variety of solutions. The pool of projects provides an overwhelming catalogue of themes, locations and scale from spiritual and metaphysical matters to dark and dense places and exotic spaces which again are compensated by projects that focus on simple and everyday issues and very concrete aspects. The projects represent a virtual cross section of todays architectural education with projects from younger students with a certain naivety and innocence to students representing maturity, great sophistication and excellence. It is striking from looking at this cross section of todays architectural education that students and teachers interact across the continents. There are no boundaries to student projects as students and teachers meet and study across continents as well as they work with exotic places and cities far from their actual location. It is a challenge to avoid a global uniformity with repetitive concepts, shapes and slogans and it seems that many students miss the specific relations to locations and orientation with the risk of ending up with abstract eyewash. This said, the jury found the general quality of projects very high. Many projects demonstrated a curiosity and willingness to think out of the box; not necessarily by providing very complex ideas but merely by focusing on very simple solutions or aspects with a big impact that others did not think of before. The teachers involvement in the projects is noticeable in several projects. Groups of themes and specific locations can be recognized as being part of the same programme in specific schools. It is noticeable that many projects received good mentoring in the process striving to a higher degree of excellence. Other projects could have been edited more carefully in the discussion with the teacher. The submitted projects demonstrate that students are working fluently with the digital applications. It would for some of the projects
be appreciated to have a better balance between the medium and the actual results. Also, students should carefully select how they present the essence of the project. Sometimes the jury felt overflown with information without much hierarchy in the presentation. On the other hand, it is positive to see the projects where the students integrate investigations and experiments with the classical techniques of hand sketches and simple scale models as well. The jury appreciated the projects that demonstrated a sincere interest in an actual problem rather than projects that jumped to fast solutions. What the jury looked for in their evaluation was completeness in the presentation. They were looking for projects that kept the discipline and tried to edit a shorter idea projects that had the capacity to ask the right questions and projects that helped the jury to understand the process from idea to solution. Generally seen, a majority of projects raised problems that were more interesting than the solutions e.g. projects that focused on how to present an interesting section that did not apply with an overall idea. One category of projects focused on abstract matters metaphysical and poetic in combination with pragmatic issues which were mingled in a simple way. A strong concern in a number of projects was about movement; light seen as a provider of dignity and responsibility in connection with global migration and transition. Other interesting aspects were light as a provider of rehabilitation and social responsibility. Some projects had a strong focus on set-making inspired by conceptual art and film making with very recognizable inspiration from e.g. james Turell and Robert Irwin by looking at phenomena of perception rather than ideas connected to the built environment. A number of projects focused on darkness and the need to turn down the light now and then. Other projects considered how to store light from the bright seasons to the dark seasons or considered how daylight can be transferred with fibres over long distances. Many projects demonstrated great focus on sustainability on green technology and on greening. It is promising to see so many projects that demonstrate that sustainability can be more than a slogan namely the way of living.
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It is evident that many students have looked at projects from previ- the jury appreciated in many of the projects was the interest taken ous winners of the International VELUX Award demonstrated by a in how to deal with the real matter of existing building structures strong focus on urban scale. Many projects showed great sensibility and how to find the new qualities in the existing cities by growing to the urban living context by making viable public spaces with the city and adding quality to peoples lives. daylight provision and shading. Several projects and specifically the winners dealt with the real matter of existing building struc- The winning projects stood out; not only did they raise relevant and important questions and ideas related to the order of the city they tures and how to find new qualities in the existing. also demonstrated competent analysis for finally to come up with Massive urbanisation is a sign of our times. This creates new top- strong, viable and applicable proposals. ics in how peoples lives can be made more comfortable in densely populated cities and cities with different climatic challenges. The 1st PRIzE, PROjECT NO. IVA3194 jury was, therefore, pleased that several projects demonstrated a CONSTELLATION OF LIGHT FIELDS SLIDING FLUCTUATION OF strong focus on the urban scale by discussing revival of unused city MOBIUS STRIPPED ROOF potentials, by revealing hidden underground spaces or by revitaliz- The project proposes an immaterial field installed in an outdoor ing left over spaces and urban plazas. Many projects demonstrated performance hall of the Marronnier Park in Seoul. Today the place great sensitivity by having specific focus on how to use light as an has four columns and one translucent roof, which provides homogeorganizer of space. Also light-installations were sometimes used to neous and monotonous light. The project suggests a change from bring back memories of lost times and buildings. It is quite evident the material elements to immaterial: Over immaterial columns, the that the students of this years award have looked carefully at and roof is split into stripes of fabric that can be closed for proving shade been inspired by the projects from previous award winners. What or twisted following various patterns for generating linear or
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JURY REPORT
scattered openings letting every type of light flow to the field. the effects of diagonal sunlight reflections created the most beautiThe project addresses the big urban space it addresses the very ful paintings in time. The project proposal is based on a sunlight important issue of controlling light rather than magnifying light. The analysis in Hong Kongs extreme vertical urban development and project addresses structural, urban and social issues by looking at suggests reflective, adjustable elements on the facade that can track the sunlight. how to revive a space and how to make it habitable and viable. The jury found that the project idea was very strong and intriguing. The jury finds the project very workable, sensitive and simple as well The comprehensiveness of the project made it to the top as reliable as very well presented. It contains a series of reflections about priand viable and by discussing an idea, which could also be applica- vacy and how to make a space special. It works with a solution that ble in other climates. Everything shown in the project is about test- could be universally applied to major cities all over the world in dense urban spaces on the dark side of buildings that never receive ing beautifully represented in a series of renderings and photos. light. Many other projects proposed the same problem but not as clear. 2nd PRIzE, PROjECT NO. IVA1686 CONDENSATION OF VARIATIONAL SUNLIGHT INFLUENCES The project considers the interaction between sunlight and peoples HONOURABLE MENTIONS: behaviour in urban life. It investigates an open-air market in Kasgar in the Xinjinag province of Northwest China and suggests a reor- PROjECT NO. IVA1079 ganization of the rectangular square by introducing a double-layer BEAUTy IN THE UNDAyLIGHTABLE The project proposes a museum for daylight with the help of a catch each layer with a number of square openings. The work with the urban plaza has a social perspective. It investi- ing system with solar concentrators and optical fibres. Even though gates how light can be used to organize activities and behaviour, the jury questions how well the systems work, they find the project and perhaps help something that otherwise would be chaotic to intriguing as it demonstrates a handful of interesting moments. be ordered and more workable. The way roof patterns and the combination of the two levels have PROjECT NO. IVA1121 been investigated in a scale model is appreciated by the jury. The WINDOW SHUTTERS project is well presented and it is showing a simple idea that easily The project reflects on simple shutter techniques used by our ancan be applicable in an urban context not only for the interchange cestors for generations. The jury appraises the approach and the between sunlight and shading, but also for providing natural ventila- focus on solutions that do not need to be sensorised or motorised; products that could easily be manufactured and personalised. tion with the double skin. PROjECT NO. IVA1382 2nd PRIzE, PROjECT NO. IVA1837 LIGHT IN SIDE (INSIDE) LIGHTSCAPE BETWEEN GAPS SyMBIOSIS ELEVATION IN THE VERTICAL URBAN DEVELOP- The project proposes a brise-soleil added to the facade. The project is sculpturally intriguing even though it would be nice to know more MENT IN HONG KONG The project is based on a memory of a window from when the author of what is happening. The jury finds the project an interesting return was living in an apartment building in his childhood. The window of a well known architectural technique that can be applied to many was seldom opened and it was blocked by a neighbouring wall, but buildings, but questions if this particular one is the right building.
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PROjECT NO. IVA1733 INSTANT IMPRESSIONISM LIGHT AS A PAINTER The project is inspired by Monets Rouen Cathedral paintings. The jury finds the presentation intriguing, likes that the project is exemplary for the use of daylight in an underground public space and appreciates the students work with the models including the investigations of effects on the wall from sunrise to sunset.
and fresh even though there will be practical and technical everyday problems occurring with aging. A very basic, but also interesting architectural study.
PROjECT NO. IVA2934 FLEETING PERPETUALITy FLUXIONAL LIGHT UNDER URBAN SCAFFOLDS The project takes up the challenge of scaffolding around building sites, a globally recognizable situation. The jury finds the project PROjECT NO. IVA1823 idea very simple and fresh and the project is beautifully presented. SUB-TERRA APERTURES The strategy of the project is to draw natural light into an urban sub- The project is demonstrating that one simple idea can lead to a terranean public space. The jury appreciates the nice analysis that project with a big impact. includes both natural ventilation and daylight and finds the proposal a good representative for projects promoting the idea of bringing PROjECT NO. IVA3171 BUOyANT LIGHT daylight into spaces where daylight is neglected. The project suggests a new interpretation of daylighting in a context where extreme conditions demand innovative solutions. In the PROjECT NO. IVA2709 project, light is truly the protagonist. The jury finds a lot of poetry in SECTION OF LIGHT The project combines the need for daylight with the need of compact the images and the project is very well presented. buildings. The jury finds the idea of changing the section interesting
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MAGDA MOSTAFA
As the chairman of the jury of The International VELUX Award gained attention, and tried to learn from those, to find inspiration 2010, how would you describe the general quality of the projects and to look forward. that you judged? There were also archetypes of buildings which appeared time and MM: The best thing about the projects was the wide variety of is- again, such as the idea of a shaded plaza or the idea of an illumisues that the students addressed. And there was also a great va- nated hidden space, or of collecting light and delivering it in this riety in scale. We had projects that ranged from small details to natural form somewhere else. The idea of using light as an aesthetic, spaces and interiors, up through the architectural scale and all the looking at how it changes and how it could organize space, was very way to the urban and planning scale. It is always interesting to find interesting. this richness of approaches, and that the students understand the application at all these levels. Judging from the projects submitted, what would you describe as the current interests and strengths of the coming generation Have you identified any recurring themes in the projects? of architects? MM: There were groups of projects that addressed the biological MM: Well of course sustainability is the key term in everyones mind aspect of architecture and how to incorporate biological solutions in today. The students are clearly very fluent in digital technology, in lighting. There were some structural approaches that dealt with this digital applications and the possibilities that these technologies can idea of different scales, the resolving of urban issues, the revival of give us. This was all understandable and expected. What was unexunused spaces, underground spaces, subway stations. I think there pected and pleasing was that some of the students were going back was a lot of influence, which is a good thing, from the previous cy- to the more classical techniques of exploring architecture through cle of the award. Students looked at which previous schemes had models and freehand sketching and by physical testing of things.
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This is very important because in the end we dont want a generation of paper designers who dont know how to turn an idea into a practical reality. The International VELUX Award involves the teachers. Was that noticeable in the quality of submissions? MM: I think one of the reasons that this award has gained popularity is because it also recognizes the teachers. They are rewarded both in the process of pre-selection and in the award itself, so students will get active support from their teachers, which is really key. I am a teacher myself, and if I imagine myself on the other side of the award, I can see how I would like to be recognized for our work in the studios and our guidance. In the end, it is the students energy and creativity that comes out, but its important that the teacher guides them in the selection process, the editing process, in the development process, providing them with resources, and so it is very good that VELUX involves the teachers at so many stages. Did you discover any specific culture differences in dealing with daylight or was there a globalized approach? MM: I dont think its globalized because there are a lot of paradoxes and positives and negatives in daylighting across the globe. So if you are in a hot climate, you are looking for shade not light. And if you are in a cold climate you are seeking daylight and warmth. Those are two very different things and whatever globalization does, that will never change. We have seen the characteristics of the different regions participating in the selection of sites and how they addressed the problems, whether its the creation of warmth and light or control and protection using shade. Do you think that any of the projects or solutions presented here could have an impact on future daylighting solutions in real life buildings? MM: I do. We found ourselves, as we went through the schemes, looking to the representatives of VELUX and saying, perhaps this is a direction that your research and development people could look
in for a possible development of products. Particularly with the schemes to reflect and help move daylight deeper into spaces to increase the buildable areas, particularly in dense urban fabrics where we have a problem with daylight reaching all our spaces. Can you tell me a bit about the jury meeting? MM: I think the organizers at VELUX chose the jury members very cleverly. We had a good cross-section of disciplines: academics, people interested in conservation, practising architects and also people from VELUX itself. It was a good representation across the board. I think this creates a healthy environment for discussion, and we were lucky that the process went very smoothly, very democratically, and things just naturally, organically, floated to the top of the list and everyone was happy with that. And I think thats because of the balanced composition of the jury and the way that we could discuss each proposal and exchange ideas. It was very healthy. Do you have a message for this year and maybe for future International VELUX award participants? MM: I think it is the message that we tried to get out to them originally: this idea of clarity of thought, and making sure that you take an idea full circle. That it begins as an abstract idea and develops appropriately to reach a solution in the end. We dont want to limit them by being overly pragmatic but this allows them the opportunity to illustrate to the jury how their conceptual thoughts can actually become something thats viable.
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NATHALIE DE VRIES
What was special about the winners of The International VELUX Award 2010? NdV: The winning projects stood out because they not only embodied good ideas but also provided a solution, with some suggestion of how it should be made. So as well as identifying interesting topics that are important for our way of living now and the cities we are creating, they also provided fascinating, very viable solutions to problems. So you could say that they dealt with real-life solutions while at the same time taking daylight to another level? NdV: yes. Of course you can do many different things with daylight. As the invitation to the VELUX competition stated, you can be poetic or pragmatic, and it touches upon many aspects of architecture and urban design which are of interest. But in general, I like it when daylight is also seen as an architectural parameter which is an important aspect, which can never not be in the project, but is also taken to a new level, an original level of solution. This might sound very abstract. But in fact we found many practical solutions
to practical problems but also solutions that were still hypothetical but where you could feel that the students were addressing really vital questions. you could sense in their solutions a foretaste of the future. Did you discover any recurring themes? NdV: A lot of students were dealing with green for example, and putting greening and plants in their solutions. I also saw, and was very happy to see, in many of the projects including some of the winning ones, a great sensitivity towards urban design. We have rapid urbanization in many parts of the world, with ever higher densities, creating new environments in which we have to live and in which we have to create high-quality cityscapes. Light is one of the most important aspects of making livable spaces in big metropolises. I also think it is interesting that you see a lot of designs that are intended for public space and help to improve the climate of that space, and to regulate the light in it.
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What did you learn about the scope of the students interests? NdV: The projects were about all kinds of places, all over the world. Some students chose very exotic places deliberately. Sometimes also they tackled exotic topics, with an almost religious or experiential feeling. But on the other, there were projects that were hypernormal and small scale, and dealt with normal aspects of daily life. So within all these projects, you had an incredible arrangement of issues being addressed. Could any of the projects that you saw have an impact on future daylight solutions and on real buildings? NdV: yes, and most of all on existing buildings, which is one of the important aspects of our times. We have to deal with the real problems of already existing structures, and existing buildings, in cities that are ever-expanding. And that is also, I think, a shift in architecture the need to discover the new in an existing world that we have to use and develop in a more clever way. Which projects made a lasting impression on you? NdV: I am glad to say that a lot of my favourites ended up winning prizes. In general, I was most impressed by the level of presentation by the students. I especially recall a group of projects unfortunately not one of the prize-winners that dealt with darkness and with turning down the lights, and with hardly seeing anything anymore. There were a couple which showed that very impressively in their presentations. Unfortunately the solutions they offered were a bit too dreamy. But they raised our awareness that we may have to change our attitude, and turn down the lights occasionally. Did you discover many cultural differences, given that the participants came from all over the world? NdV: One of the most important aspects of light is that you probably have to know where you are on the planet, and how to deal with it. But that is more a geographical than a cultural difference. I am also sure that many of the students have already worked in other countries, and you see that in their work. Sometimes you had
people from one continent studying on another continent, working on projects in a third continent, and taught by teachers who come from all over the world. That is how I experience my own profession today: there are no longer many boundaries, but it is more and more important to know the place where you are building. Context has actually become more important. Do you have a message for this years participants in the competition, and possibly for future entrants as well? NdV: I was told when I met the rest of the jury what VELUX means, and it is of course not just the lux of light but also the ve of ventilation. To me both are very important aspects of architecture. I would look forward to finding out what students around the world 700 of whom participated in the International VELUX Award this time, and next time it may well be 900 think about this issue of ventilation, comfort and resource use. To sum up, my message would be: never attach yourself to just a single issue, even if it is one as important as sustainability. Always try to include as much as possible.
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MOMOYO KAIJIMA
How would you describe the quality of the projects in The Inter- Gap Space, deals with the space between two walls and with the windows in these walls. In this way it dealt both with a more private national VELUX Award 2010? MK: The projects that we picked in the final selection all had a high light for the spaces behind the walls, and also developed a surface visual quality, and also made some very good points about the issue for the public space. of light. With some of the other projects the idea itself was interesting, but, for example, the explanations and drawings provided made Do you feel that the competition was of benefit to the students it difficult to really understand them. On the other hand, I think the who took part? variety that we saw in the submitted projects was really interest- MK: I participated in a lot of competitions when I was a student ing, and that the competition enabled the students to develop their myself, and in my experience it is good to present ones ideas and visions. Also, an award like this gives students a chance to express ideas, which was a good opportunity for them. their ideas in public, which is both an opportunity and a responsibility. Between the two aspects opportunity and responsibility What distinguished the winning projects? MK: For me, public space is a key issue. Light is not only the per- there is a tension which will also exist in their later work as professonal or exclusive light, but can also have a much wider scope and sional architects. So it is good that they can experience this tension be developed into a public issue. The three winning projects all did here in a more playful way, and train themselves to cope with it. this, from various approaches. Two projects dealt with city squares or marketplaces, and developed a kind of roof over them providing a common light or urban light for them. The third project, entitled
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Did you get an insight into the strengths and interests of todays students? MK: Some of the projects related strongly to their location and tried a kind of urban problem-solving approach. And I think that in general, architects need much more of this kind of local interest or local commonsense, and to develop it within their architecture, rather than just be concerned with technology or aesthetics. In this respect, in this kind of international competition it was sometimes difficult to find out what the students exact definition of the problem or programme was, because we couldnt visit the site they chose and we couldnt talk to them. So sometimes we could not read exactly what it was that they wanted to do. Maybe the professors or teachers could help the students to strengthen this aspect of their presentation, because I think explaining this kind of framework of each project is very important to enable others to understand the local issues or problems that need to be solved. In general, it will become much more important in architecture to find this framework for each project in the future. Is it natural for projects that deal with daylight to always be tied to one space, because daylight is such a local issue, which varies from place to place? MK: 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. It is evident that projects from japan or other Asian countries deal with light in very different ways from the way that the Europeans do. Africans and Americans have different approaches again, because African light and American light are also very different. This local experience of light was not always explained clearly in the project presentations. With climate, it is the same: in japan it becomes very hot and humid in summer, which is very different from here in Europe. But if you have not been to japan yourself, maybe you will not be able to understand that.
Did you have interesting discussions with the other jury members? MK: jury discussions are always interesting and provide me with new ideas. In this session, sometimes we had big cultural differences, so even though I might have understood one project immediately, I still had to explain to the others why it was interesting from my in this case maybe Asian point of view. This led to interesting discussions with the other jury members, who had totally different cultural backgrounds. Do you have a message for this participants in the International VELUX Award, and maybe also for future participants? MK: The twentieth century was a very visual century, and visual media had an ever greater influence on architecture. Hence light in architecture was also treated as a very visual thing. However there is much more to light than this: the cycles of time, cultural differences, and local differences in daylight that are related to phenomena such as humidity, or clouds, or local climate in general. It would be interesting to find out more about the influence of these local differences in daylight on society, on human behaviour and on culture, and to deal with these aspects in architectural projects. This could provide entirely new qualities, especially to urban spaces, and I would be delighted if the students explored these areas in the future.
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WILL BRUDER
How would you describe the general quality of the projects? WB: The quality was very high. There was a diversity of issues dealing with architecture, with urban systems, with sustainability, with social challenges and realities. I think that the way each student attacked the idea of light within the context of all of these subjects was exceptional. I was impressed. What was special about the three winning projects? WB: There was a simplicity about them. Both our first-placed winner and one of the second-placed dealt with the very orthogonal square of the city. One was a market place and the other had a shade pavilion they both created sculptural elements. The first-prize winner, with the double membrane, is very simplistic and yet very poetic. It shows how the ordinary can become extraordinary. The other urban scheme used current materials, technology and a sculptural thought process. It adopted an old idea, like a Moebius strip with the twisting of a plane through space, again locked into this grid, which was unexpected. And the elements were light, they were minimal, they were almost non-materialistic, which was in-
teresting. The other joint second-placed winner dealt again with a simple orthogonal square, a plane, an attachment to a window, something that uses some of the current technology and the fascination that we have with perforation, with creating patterns to resolve the social condition of narrow spaces between buildings and tighter environments. Again, it was a simple idea that caught our imagination. How would you describe your main selection criteria for the winners? WB: What evolved as an issue for me was the importance of projects that dealt with the urban infrastructure and the spaces between buildings. I was taken by the question that the VELUX group posed in the competition, asking entrants to deal with light in the urban condition, and by how many applicants did exactly that. I found a lot of my concerns about creating a better quality of life in cities being dealt with by the students. They looked at left-over spaces in the city and how they can be improved, at connections to the infrastructure that allow us to move above and beneath and through the fabric
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of the city, and at retro-fitting. There were re-purposing solutions. There was the idea an old idea of a typical shutter as a method of controlling light at a window, at an aperture, taken to a whole new level so that it could virtually be universal in application. That was really exciting for me. I found there was more success and curiosity when people were trying to ask an abstract question about light rather than just coming up with a pragmatic solution for a building type. I think thats very healthy. Have you discovered any common tendencies amongst the projects? WB: I believe there is a much stronger awareness now of virtually theatrical set-making; this comes from the ability to represent images and possibilities digitally almost as a film-maker, a cinematographer, or a video game-maker. The projects had a surreal quality sometimes, as if they were dealing with theatrics more than substance. There were a lot of projects that showed an awareness of cinema, an awareness of film, of conceptual art. Some were influenced by the ideas of artists like james Turrell and Robert Irwin who deal with the phenomenon of the perception of light. Some of the students were excited by the aesthetic possibility of these ideas and were able to connect them to the built potential of reality, and I think our winners grew from that happy medium. There was also a lot of concern about movement in the schemes, which could almost be talked about in artistic terms like the choreographing of a dance piece some of the representations gave you a really good sense of that. The success of these digital presentations was really quite profound, and we suggested that for the next round of the competition there might be a requirement to choreograph some animations of light in the presentations, because we now have a tool to look at thats no longer a static board but a live screen. Wouldnt it be great to take some of VELUXs actual programming data (such as the Daylight Visualizer) for tracking the sun and make that part of the submissions, to animate and bring another reality to the projects? That could be really good, because at the moment we are looking at something
like snapshots from a video, yet we are dealing with something as dynamic as daylight and sunlight moving through space and time. What effect did the involvement of teachers have on the quality of the submissions? WB: From my experience as an educator, it was quite evident in the rigour and excellence of the presentations of the projects that there was good mentoring and there was good editing and challenging going on. I believe that the possibility of recognition and monetary reward is important. It makes it serious, almost as if it was a real commission for these young people, and for their mentors there is a point of pride which improves the overall quality of the presentations. These were not really school projects; they were striving for a higher degree of excellence and resolve. There was a seriousness and yet a playfulness to them as well. Did you have any interesting exchanges and discussions in the jury? Did you learn anything? WB: What was very interesting about this jury was that it is the first competition that I have judged where all the presentations were digital. Through the software that was developed for the judging process we were virtually able to have this unbelievably democratic conversation without words, because as we went through the 600 plus entries we saw as the process evolved, which schemes were getting attention and why. We didnt know who was voting which way, and so it was totally anonymous, and yet it formed a dialogue, especially as we moved towards our conclusions. Going from 600 plus to less than 10 % on the first round 54 left under consideration seems extreme. But there was this consistency, where the six of us unanimously agreed on the winning project.
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STEFANO MUSSO
Looking at the three winning projects of The International a black space rather than daylight outside the windows. The project deals with the possibility of solving, by means of daylighting, VELUX Award, what were their qualities? SM: The first-prize winner in particular provided a very convincing different problems related to housing, which is one of the biggest solution, which was not very complicated. The entrant managed to issues in our cities. design a public square and control the daylight and shadows in this The third project is also linked to the theme of the public square, prosquare very well, and even to make a place precisely through this viding a different technical solution from the first-prize winner, but it control of light and shadows. This gives the place a genius loci, a is also a good project. So we had three projects that dealt in different ways with surfaces that were not complete and not continuous, new identity. In contrast, one of the second-prize winners deals with a much small- that could be horizontal or vertical, and that proposed a large or er detail, in this case a window. Together the two projects show that small solution to the same problem. They were all convincing. we can work with daylight on either a large or a small scale. This is interesting because much of contemporary architecture is focusing on What where your most important selection criteria? even bigger things, on astonishing structures, and is losing the abil- SM: For me, one of the most important criteria was the completeity to deal with the small scale, with details and also with simplicity. ness of the work; the ability of the students to explain to us what We also awarded this project a second prize because it is a synthesis they were trying to do; confidence in dealing with all aspects of the of good understanding of the technical aspects, good design and project, rather than emphasizing only one and making the project good solutions, combined with a clear goal. The text that accom- the result of a more or less mechanical process; and the ability to panied this project said that it originated from a childhood memory, explain in a convincing way both the starting point and how they from a room in his parents home where there was nothing but arrived at the solution.
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One of the main intentions of the International VELUX Award was to encourage students to experiment. How important do you think this is, and do you think the students succeeded? SM: I think that one of the most important goals of the International VELUX Award has always been to encourage students to think outside the box, as you say that means, to think in a heterodox rather than an orthodox way. And in this case the 673 entries presented a good panorama of responses to this challenge. I think the students showed a great ability to ask the right questions. Sometimes the questions, the issues, the problems they dealt with were much more interesting that their actual solutions. I am always much more interested in the process by which a result has been achieved, and in the theoretical and methodological aspects. So viewed from this perspective, a lot of students show a strong ability to think, to imagine in a creative but controlled way, not just to be creative for the sake of being creative, but to design a process through which it is possible to create a good result and to provide good solutions to the right problems which they have already chosen and justified. What did the projects tell you about the interests and strengths of the upcoming generation of architects? SM: All the young students are deeply interested in sustainability. But we cannot judge sustainability simply from the shape of a project or from the materials or its energy consumption, because the concept of sustainability is linked to the way people live, and not just to the products, the shapes or the spaces of the design. But students are quite aware of these tricky aspects, so I think they are ready to face the new world. Another strength is that the students can conceptualize their ideas and solutions in a limited space, making good use of modern presentation technologies. But this is also tricky, because sometimes the students seem to be slaves to the new technologies. One should remember that computers are only a medium, and not the final goal that the student has to reach. So sometimes there is an imbalance between the media that they choose to express their ideas, and the real
results in terms of real feasibility. To sum up, weakness and strength are always present in the designs, as with every student, but because they are students, they are preparing themselves and looking to the future, so we should not judge them by their final results. The International VELUX Award includes the teachers in the preparation process for the submission and in the awarding. How important do you think that is? SM: Architecture is always a collaboration between different competences and different points of view. It is not a simple creative action like that of a painter or dancer even less now, when the complexity of our world demands different competences. There is no longer a Renaissance architect like Leon Batista Alberti who can master every single aspect of the architectural enterprise. So I think that the presence of teachers offers students a chance to experience, before they graduate, the complexity of this profession and also the resourcefulness and richness of the interdisciplinary planning process that can bring forward something more than was in an individual students mind when he started the process. Do you have a message for this years and maybe future International VELUX Award participants? SM: Its always difficult to send a message to someone that you dont know personally. However I would recommend the students to look for simplicity rather than too much complexity, and to believe in what they are doing. Dont always think about advanced or new technology, but above all about the sense and the meaning of what you are doing, and why you are doing it. And I recommend that the students should be themselves, should act as the protagonists of their own lives.
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JESPER SALSKOV JENSEN
The International VELUX Award is part of VELUX agenda to pro- The award is targeted at students rather than at practising armote the use of daylight in architecture. Why is this topic so chitects. Why this focus on the coming generation? JSJ: The theme of the competition is Light of Tomorrow. Also this important to your company? JSJ: When the company was founded with the first roof window we year, we found that the participating students responded extremely gave it the name VELUX windows. The ve stands for ventilation well to this theme and that they put a fantastic energy into their and the lux for light. Daylight and ventilation are the eternal things submissions. As a company we always want to get the newest inspithat roof windows provide, and that we can provide. It is the start- ration and involvement in processes. ing point of what we do. So light in architecture has always been Has the award become more international over the years? very important for us. JSJ: Definitely. you could even say it has become global. In the first How was the award initiated, and how has it evolved since its year, in 2004, it was solely a European competition. It was the first time that The VELUX Group had run such an international event beginnings in 2004? JSJ: We wanted to discuss contemporary light with the profession, and in order to be sure that we could handle it all professionally, we with architects and with industry. At the time the main focus was started by only focusing on Europe. But of course the next step on daylight. Daylight is a vital part of the indoor climate and we in was to think globally. Which it really is now, with so many student the building sector and industry must together with architects and participants from so many different countries. engineers ensure that buildings are attractive to live and work in.
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How did the students respond to the suggestion that they should Did you spot any recurrent themes in the students projects? JSJ: Many of the students came up with non-traditional approaches think out of the box? to issues such as shading from the sun the issue of when you need There were quite a lot of projects that looked at how to transport shade, and how you can let the light through when you need it. This say daylight through fiber-cable systems to get it into underground does not need to use advanced technology but can be done in sim- spaces. To me that seems quite advanced, quite outside the box ple ways, by thinking about how to plan for the shade at different but maybe it will only be a couple of years until we have products times of the year, for instance in the summer when you know the sun that can do this. will be high and so can build an appropriate shade into the building. These approaches should be standard but unfortunately are often How do you see the role of VELUX in the architecture of the future? forgotten, but the students were certainly aware of them. JSJ: VELUX is about ventilation and light. I definitely see it having Teachers are actively involved in The International VELUX Award. a great role for VELUX in the future because daylight will still be needed, maybe even more than today. We need to think creatively Why is this? JSJ: The objective is that if you have good inspiration you can think about how we can use passive solar energy and sunlight so that we creatively, and work in new ways. We believe that it is important can get them when we need them, and can block them when we to involve the teachers in the work and to encourage the students, dont need them. because it is in this dialogue that the new ideas happen. Thats also I also think that natural ventilation will become more and more imwhy we think that the teachers should be honoured for their work, portant because as we make our buildings more and more airtight, by also receiving a prize, because they play an important role in the we are realizing that fresh air from outside is crucial. We need ventilation, and not just mechanical ventilation systems, because they design process. can produce negative side effects. Do you have a message for this years and maybe future partici- So I would say that light and natural ventilation will still be very attractive elements in the architecture of the future. pants in The International VELUX Award? JSJ: The projects showed great imagination and creativity. But I would recommend that the students should be very clear about what they want to achieve with their project, and try to formulate a short pitch on what it is about. When you have almost 700 entries to judge even though we spent quite some time on each project it is very important that the message gets across with a clear statement of the objective and what value the project adds to the environment.
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1st PRIzE
CONSTELLATION OF LIGHT FIELD SLIDING FLUCTUATION OF MOBIUS STRIPPED ROOF
STUDENTS SCHOOL TEACHER
Park youn-Gook, Kim Dae Hyun, Choi jin Kyu, Kim Won III Hanyang University, Seoul, South Korea Masanori Tomii
There are many kinds of light around us. It is warm, soft, bright, and The gridded columns define clear territories, and offer few, fixed situsometimes hot and dazzling. We humans have controlled and have ations. We split the columns and scatter them across the place. These been controlled by light. Light has a very intimate relationship with immaterial columns deconstruct the territoriality of the place. This human behaviour. Architecturally walls, windows and roofs the ma- unfixed place creates numerous unexpected behaviours and situaterial, have been considered as devices to handle daylight the imma- tions. Over these immaterial columns, the roof is split into stripes and terial. This combination of materials makes up a place. However this twisted. Each twisted stripe is like a mobius strip. The twisted stripes limits human behaviour. These material elements not only restrict the have three control points; the vertical centre, and two horizontal sides. daylight but also constrain our diverse activities. Here, we propose an The centre of the twisted point stands vertically so that the daylight immaterial field as a new element to handle daylight. This proposal is can flow on to the field. The two sides lie horizontally to provide graan evolution from the place, where activities are monotonous, to the dation of the flowing daylight. The three points control the daylight field where activities are only restricted by the momentary diversity from a widespread dim light to a spotted bright light. Therefore, the immaterial roof of mobius stripes lets every type of light flow on to like the spatial constellation. the field; like the trees and the leaves of a forest. With the immaterial columns and the fluctuating roof, the place SITUATION The place where the field will be installed is an outdoor performance evolves into the field; nothing with everything. Now the Marronnier hall of the Marronnier Park in Seoul. The place has four columns and Park can be seen and used for anything. When the twisted points are a translucent roof, which give out a dim square homogeneous light. gathered, the field is a big hall for a performance or a rally. When the Behaviours of these three elements (columns, roof and monotonous twisted points are spotted and scattered, the field become a market or a museum. When the twisted points are nudged to the edges, the light) are repetitive and boring. They should be changed. field becomes a big shaded area under the hot sun. The constellation is interpreted differently and spontaneously. The immaterial light conPROPOSAL The evolution takes place as we convert the material elements to the trolled by immateriality makes an immaterial flux. It generates a field of a moment and eternity. immaterial. It is Constellation of Light Field. The light reflects our life.
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1ST PRIzE CONSTELLATION OF LIGHT FIELD SLIDING FLUCTUATION OF MOBIUS STRIPPED ROOF
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CONDENSATION OF VARIATIONAL SUNLIGHT INFLUENCES
Ma Xin, Wang Rui, yang Meng Architecture School of Tianjin University, China jianbo zhao
The interaction between sunlight and peoples behaviour plays an light changes will definitely influence the whole district. And after interesting and crucial role in urban life. The pursuit of good balance research on the district we decided that an organized roof would be between humans need and natural sunlight provides the impetus for appropriate for the market. much of activity and things happen when people in a urban place try We chose to make a double-layer roof to disarrange the usual change in sunshine that is too slow and regular. We studied the roof pattern to experience or avoid sunlight at different places and time. But this kind of interaction is usually scattered since sunlight is origi- and the combination of the two levels, and chose the most effective nally homogeneous. It is everywhere but is rarely concentrated or one, which will produce the most mobile and dramatic interchange settled, and the relationship between people, sunlight and place is between illuminated spots and shadows. Physical experiment shows always different. Thats why sunlight has rarely been a key element that its definitely effective. Those changes with time make a place for organizing urban activities. But its potential energy should not full of variational relationships. Weve considered some specific ocbe underestimated, and we are optimistic that its catalytic power casions, but the most important part is the potential possibilities. The roof liberates the market from a static state of slow changes, can influence urban activities. In this project we are trying to reorganize and condense such in- and makes it a locale full of choices and contradictions. Finally, the teraction by concise actions in a native Kashgar district in Xinjiang scattered interaction of the area between sunlight changes and peoprovince of northwest China, where the comparatively backward ples behaviour is condensed under the roof, and becomes influential. economy and way of life yet makes life there more naturally related That makes people there liberated from static situations, and facilito ambient atmospheric factors, especially sunlight which changes tates great activities and a spirit of place. a lot every day along with temperature. Peoples clear attitude and varied behaviour toward sunlight there make it possible to influence or even organize their activities by handling the variation between illuminated spots and shadows. The open-air market in summer is the most important urban place in this area, and there is a close tie between sunlight and activities such as barter, eating and payer. So an effective concentration of
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2nd PRIzE
LIGHTSCAPE BETWEEN GAPS SyMBIOSIS ELEVATION IN THE VERTICAL URBAN DEVELOPMENT IN HONG KONG
STUDENT SCHOOL TEACHER
joe Wu Delft University of Technology, The Netherlands Daliana Suryawinata
MEMORy OF A WINDOW I still remember a window I had in my room when I was living in an apartment building in Hong Kong in my childhood. My little room, which I shared with my sister, had a window but we seldom opened it. My mom told me that there was a wall outside, with nothing to see. The window was kept closed with a curtain over it. But I was always curious about what is happening outside. Sometimes, I saw a diagonal sunlight reflecting on the wall, like a painting in a specific time. Once, I saw a spiders web hanging between two walls and the shadow of the spider reflected on the wall. It was one of the most beautiful paintings I had seen in my life. WINDOW FACING WALLS Windows as opening interfaces communicating internal and external have a special definition in Hong Kongs extreme vertical urban development. The increasing high density influences the direction of Hong Kongs urban environment. Windows with NO VIEW and FACING WALLS are not rare in Hong Kong. Views are expensive; the concept of framing a view with a window seems impossible in Hong Kong. SITE The site is a typical block in Kowloon, Hong Kong, with the dimension of 50 meters by 120 meters. Every building has one side facing
the street and has three sides facing other walls. The gap between buildings is from a minimum of 3 meters to 5 meters. To encourage urban renew, developers get more plot ratio by making the buildings higher. The situation of FACING WALLS will be more serious in the future. SUNLIGHT ANALySIS Taking a gap between buildings with 5 meters distance as an example, I have analysed the changing angle of sunlight in four seasons, and the size of windows on the dark side, to see how sunlight can be reflected to the dark side of a building. Reflecting system providing sunlight to the dark side of every room ensure sunlight. They also provide an awareness of changing nature and of time. FLATTENING AND CRySTALLIzING Depending on sunlight, location and building massing, the reflective component is shaped by analysis of window position and window size. After crystallizing the reflective component, which transforms into a new pattern on the wall, reflecting the sunlight to dark side and the awareness of changing time and nature, it can be small, and made by computerized production even if the situation of every building is completely different. Windows of the dark side facing the wall can then receive natural sunlight.
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2ND PRIzE LIGHTSCAPE BETWEEN GAPS SyMBIOSIS ELEVATION IN THE VERTICAL URBAN DEVELOPMENT IN HONG KONG
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BEAUTy IN THE UNDAyLIGHTABLE
yan Shi, Chung-Kai yang Delft University of Technology, The Netherlands Lei Qu
CONCEPT ORIGIN It is the undaylightable that we focus on, namely spaces in architec- The proposal is a daylight catching system with solar concentrators ture doomed to undesired shadow and darkness where direct access and optical fibres. The system catches the physical luminance of sunlight and distribto daylight is very limited. Whenever a building is realized, it is believed to obstruct daylight utes it through fibre networks that follow existing electricity infrain one way or another. Thus architecture becomes a dilemma, as it structures. It then delivers light into every part of the city, reaching should be open to catch enough daylight as well as closed to shelter every family and places where it is hard to provide openings, underpeople and life. Newly-built architecture inherently has more free- ground or too deep within a built volume. dom through orientation, window openings and spatial organisation. Moreover, the system catches the spiritual beauty of daylight But what about the existing built environment? While renovation through establishing a direct conversation between light and space, projects are always designed on a case-to-case basis, how about by letting it happen in the darkness. It is in darkness that one can bringing daylight to undaylightable spaces on a larger scale and in read explicitly the paths and patterns of daylight, that one can eliminate any other information but concentrate purely on daylight itself. a more efficient way? Light of tomorrow, as we believe, should search for answers to spa- Accordingly, places that are usually neglected or forgotten by people due to their darkness are given new spatial meanings. tial exposure to daylight in existing urban areas. Light of tomorrow, we also believe, should give more than just a functional meaning to life and behaviour; it should provide a spiritual meaning that goes beyond physical existence and touches the mind. Thus light can redefine spaces like the undaylightable, which are often forgotten and considered unimportant to life. Therefore besides quantity and quality, the light of tomorrow is also about the beauty of daylight.
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LOCATION The system works well in a context like the Netherlands due to the following aspects: 1. The traditional Dutch landscape urban areas scattered on the large sheer flat Dutch land surrounded by farms and greenhouses. Small portions of these green lands can be converted into energy farms and act as supportive eco-energy resources for neighbouring cities. 2. The traditional canal houses these typically narrow faades, with great depth and side-by-side. Characteristics like these limit daylight intake to only the front and back faces. Furthermore, to meet modern living needs, dwellers often attach new extensions to the rear of the historical structure, degrading both quantity and quality of daylight. THE BEAUTy OF DAyLIGHT IN THE UNDAyLIGHTABLE The way to appreciate the beauty of daylight could be realized, based on four principles: 1. LIGHT AND SPATIAL FEELINGS Homogenization light comes from the ceiling, which eliminates shadows, illuminates corners and homogenizes spaces. Thus people have equal spatial feelings everywhere in the space. Linearization light from two sides, which dematerializes the wall itself thus people concentrate on the spatial enclosure in a single direction. Enclosure light from the ground, which illuminates the surroundings and the ceiling, so it emphasizes the enclosed atmosphere of a space. Deconstruction light from slots between vertical and horizontal elements, separates ceilings and bearing walls, so space is disassembled through conventional understandings. Gradation light from one end, like the light from the exit of a natural cave, washes its way into the space and fades along the spatial depth. Thus people read the depth of the space through light.
2. LIGHT PATTERNS Light creates its own patterns according to existing physical facts. Different materials and openings create different dialogues between light and shadow. People read certain tensions, directions, compression and expansion in the space. 3. LIGHT AND TIME Perception of time is lost in the closed undaylightable spaces. The time experience is however re-connected to the outside world through the variations of daylights intensities and colours. 4. LIGHT AND NATURE Daylight nurtures life and creates nature where grassy lawns and green walls could grow. A car park underneath a dwelling block could even become a car park, given public meanings, serving as public realm for the residents. Thanks to darkness, the nature of light couldnt be more explicit. Thus, the forgotten undaylightable spaces are redefined into instruments in which people observe and appreciate light, turning the underground spaces of the whole urban area into museums for the beauty of daylight.
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WINDOW SHUTTERS
Leva Maknickaite, Antanas Lizdenis, Lauryanas Vizbaras Vilnius Gediminas Technical University, Lithuania Linas Naujokaitis
each country should develop its own product, using local decoration, and widespread functionality. The main heat and economic losses of buildings are through the windows. With the shutters, it becomes easy to manage the indoor climate and your expenses. Sometimes an old building needs just a couple of details to resolve the exterior and become more economical. That detail could be the shutters. They would refresh this building with time, and would increase its architectural value. Most suburban streets suffer from overcrowded lighting and wiring, which conceals sensitive mood of the street. Therefore shutters would make solar radiation into electrical energy not only during the day, but also in the darkness could light up the street. That could reduce the amount of wiring. After the invention of the lift, buildings grew to surprising heights and the glass faades became very big. Therefore, today we face sun surpluses, and high-energy costs of ventilation. We believe that shutters could reduce the surplus of sunlight, as well as cooling the room. With the appearance of mass production, each countrys cultural use in architecture started to disappear. We believe that the cultural Those who like minimalism in the interior could link the exterior graphics with the interior. The space could have minimal graphic development of architecture would strengthen national identity and content and at the same time would be able to control light in the even the smallest countrys patriotic strength and perhaps avoid area. some of the loss. The spread of modern culture needs only the possibility, which we are suggesting with our project. We believe that When the new glass building era came and the road was opened for modernism, all the cultural architecture began to disappear. Many people were satisfied with panoramic windows and their opportunities. In spite of that they began to notice the cons of this joy such as: A) over heated rooms, during a hot day, B) cold winter increasing energy bills, C) in the long term the feeling that the residence is like a terrarium, D) the architectural appearance does not make any impression anymore, converging buildings and their architectural value. Therefore, our team assessed all these criteria and came up with a solution, which some people may have forgotten SHUTTERS. They are the building s protection from cold winds, heat, sun and unwanted guests. This object was so inseparable from the cultural architecture of the building that it even became a decorative element. Today we suggest using the shutters for the same purpose, but with a renewed image and form. For green energy enthusiasts we also propose installing solar collectors in the shutters.
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HONOURABLE MENTION WINDOW SHUTTERS
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LIGHT IN SIDE (INSIDE)
jiayi zhu Anhui University of Science & Technology, Huainan, Anhui, China yunfeng Huang
We want buildings to create light for the environment. FACT 1: Whether you believe or not, many of us live in a completely dark world. you drop into the office before sunrise, you get home after The idea of this project is to create an attached building that stands sunset, and you work and live in a 24h shining place. you dont even inside of another one (host building), providing a light environment get a chance to say hello to the sun. But why dont you ever recog- instead of shadow around and so gives people a chance to enjoy natural light. Moreover, the structures of the attached building can nize it? Because you have an over-reliance on artificial light. also help to light the inside space itself. FACT 2: Where there is a building, there is shadow. THE SITE: jianwai SOHO, Beijing + 35 % of people there completely using artificial light whole day + High building density Every building is affected by the shadow around and at the same time creates shadow in the environment.
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INSTANT IMPRESSIONISM LIGHT AS A PAINTER
Wang Fei, zheng Kaijing School of Architecture, Tsinghua University, Haidian District, Beijing, China Xin zhang
What inspired us initially was a series of Monets paintings of Rouen The key issue of the project is how to let light paint a picture from Cathedral. As the representative painter of Impressionism, Monet reality, which can attract passengers attention and give them a painted the cathedral many times in different condition of sunlight, new view different from before. Impressionist painters achieved this and the sense of colour finally seemed so different. This turned out goal by defamiliarization, and in this project, the defamiliarization to be the most important manifesto of Impressionism: Light forms process is conducted by the design of a fluctuating and pixelated interface. Through this interface, light refraction and reflections can colour and light is always changing. Now in our modern times, our life is compressed by busy work, dig- make the scene abstract. At the same time, the colours of the scene ital media, fast transportation, etc. As the 8 am to 5 pm routine con- seem to change constantly with the changing sunlight. By making tinues from day to day, we have lost our sensitivity to daily sunlight many interface models with different degrees of fluctuation and difand its colorific effects on what we see. The intent of the project is ferent scales of pixel, we found the best result in terms of physical scale and viewing distance. to make people sensitive to daily light and their surroundings. The reason we choose the WDK light-rail station as the site is that Photographing the model from sunrise to sunset on a real site is the waiting platform of the station is above ground so that light can interesting and impressive. Passengers were curious and we told easily get through, and it enhances a city view, which is very normal, them about the idea, some of them chose to stay to observe light changing through the model. When we arranged photos togethand passengers usually ignore it. er and watched them in sequence, we really found the way light touches us.
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SUB-TERRA APERTURES
Stephen Kaye Parsons New School for Design, New york, USA Philip Gabriel
Subterranean spaces exist in every urban environment. These spac- structured around an atrium often take this daylight for granted and es often neglect how daylight can shape, redefine, and create an simply design these spaces to maximize the quantity of daylight. experience in this otherwise electrically lit space. Investigating the The sun has played a significant role in how we interact with differday lighting qualities of the atrium, this can ultimately improve the ent architectural materials and forms. Daylight is one of the most perception and quality of life for workers and commuters who use powerful design tools available to an architect and/or lighting dethese urban subterranean spaces on a daily basis. Natural light helps signer, and when it is used properly, can define or even redefine arus experience the sensation of space and form, and gives a deeper chitectural spaces through the movement of the sun. Natural light meaning in understanding our environments, while triggering physi- gives us a sense of place in an otherwise homogenized world, as light changes depending on the architectural orientation, time of day, cal and psychological reactions within our bodies. When the original Neo-Classical Pennsylvania Station was replaced seasonal changes, and meteorological events. When designing with by its present subterranean structure, commuters, station workers natural and electrical light, light quality is a crucial consideration and retail employees lost valuable daylight and the many sensory dealing with visual, emotional, and biological aspects of the human qualities it imparts to interior spaces. This includes directional ori- response system. This source of illumination is very powerful both in entation, the sense of time, ventilation, and spatial quality. By inte- terms of how the light interacts with the space and of how it evokes grating natural light into the current station, daylight can effectively feelings and emotions for people experiencing it. shape, redefine and enforce this hidden underworld, and potentially To perceive space, both light and darkness need to be present. Apertures can be used to direct daylight down and into urban subterenhance these workers quality of life. The aperture, predominantly used for its natural ventilation and day ranean spaces to allow a certain amount of light to enter into these lighting qualities, can allow these spaces to be more time based and naturally dark spaces that are always electrically lit. This source of expressive as daylight penetrates these relatively dark or artificially illumination is very powerful in terms both of how the light interacts lit spaces. Daylight is a consequence or by-product that often goes with the space, and of how it evokes feelings and emotions for peounrecognized until it is lost due to the architectural placement of ple experiencing it. space. Underground spaces that integrate apertures largely benefit This design strategy of drawing natural daylight into an urban subfrom the available daylight defining the interior, whereas buildings terranean space can lower the need for and use of electrical lighting
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within an architectural space. This in turns impacts the human dynamics that ultimately benefit from this natural source of light reaching into these underground voids. By investigating Pennsylvania Station and its architectural structure, this site will provide an ideal location to merge the three different underground typologies together, and begin to look at perforations that could occur between the multiple floor plates allowing for new transitions to occur above and below ground. Apertures provide architectural environments with interesting solutions to inhabiting these spaces below grade, and allow for a strategic placement of openings to potentially create views into and out of these structures. When daylighting conditions are not adequate to provide the necessary lighting requirements, a view to the exterior environments provides much of the psychological benefits of day
lighting a space. Working underground at Penn Station puts a lot of strain on the human body and affects how productive that person will be by the end of their shift. Stimulants, such as sunlight and views, can offset boredom and increase productivity, resulting in a more rested and satisfied employee. By understanding these typologies, these can then be integrated into Penn Station to create an environment that is better-suited lor the people employed there, as well as the pedestrians who use the space on a daily basis.
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SECTION OF LIGHT
Berte Daan Eidgenssische Technische Hochschule zrich, Schweiz Michael Umbricht
Combining the need for light with the need for compact buildings, is one of the aims of future building. Sustainability is only achieved if we find a way to increase the building depth. Benefits of increasing building depth: Build more houses on the same space Buildings that have a more compact volume, use less energy
Waking up in the east, living on the south and the west side of a building. The main suggestion of this project is: Orientate buildings to the light. Not only in the floor plan, but also in the section. This creates specific rooms, interaction between atmospheres in them, and deeper, and therefore more sustainable buildings.
The reason the section of the design has a higher level on both the One of the reasons for not building too deep is the need for daylight facades, is that the main part of the light that gets into a building is every human being has. If there is a possibility of letting daylight indirect light, which also comes from the North. come further into the building, without increasing the heights of the The program used for the daylight research, Dialux, shows us that there is a significant difference between the two building types: the rooms, then we can start to build sustainably. Already a long time ago architects realized that buildings, and there- conventional and the one that is shaped to the light. fore people, benefit from a building that is oriented to the sun.
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FLEETING PERPETUALlTy FLUXIONAL LIGHT UNDER URBAN SCAFFOLDS
yan Wenlong, Sheng Xiaofei, Fang Erqing, Kan Xiaopei Tongji University, Shanghai, China Bin Hu
The most impressive phenomenon in my mind is the fascinating flash Every day streams of people walk under those scaffolds. We use of a meteor that lasts maybe just one or two seconds. The more bamboo, net, and membranes to create a fluxional stream of light. Beauty always has an expiry date. Those scaffolds will be removed fleeting the flash is, the more excited we will be. In China, we are surrounded by many constructions. Sometimes the once the construction is complete. Fluxional light leaves the site and scaffolds around the construction site will extend to the pavement. will flow to the next place somewhere in the same city. When I pass There are streams of light that go through the hiatus of scaffold. the site again, I will be a little regretful, or yearn, or thankful forever When walking under it, the more light you can see, the more likely not only because it brings us a fascinating impression of light, but you will be hit by small rocks or construction fragments. A paradoxi- also because it removes the fear and anxiety inside our heart. This cal attitude appears: we are afraid of this light; yet we are eager to Fleeting Perpetuality produced by scaffold and light will stay in my mind forever. enjoy the city scene under sunlight.
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BUOyANT LIGHT
Claire Lubell, Virginia Fernandez University of Waterloo, School of Architecture, Cambridge, Canada Lola Sheppard
The Canadian Arctic is a territory defined by the vastness of the and diminishing maintenance, while most is stored to provide light in landscape, the dominance of rock, rugged vegetation, snow and ice, the winter and the rest is kept in portable batteries that can be used and abundant fauna. Within its vast area are scattered remote com- for other purposes. Buoyant Light introduces a connection between munities whose lives depend on natural cycles for subsistence. The light and the tracking of other environmental changes. Solar balsolar cycle is a tool for understanding other changes in the land the loons are attached to buoys used by researchers for gathering data fluctuating tides and currents, the rising temperature, the melting of on tides, currents, temperature, salinity, sedimentation and ice proland and ice. But the land of the midnight sun also plunges Arctic file. This data is currently collected to be used by researchers across the Arctic; however the project proposes an interface between the communities into darkness for up to four months of the year. While imagining its potential implementation through the Arctic, information collected and the communities, pairing up functions to Buoyant Light takes Igloolik, an Inuit community of 1600 at 70 de- provide vital real-time information. grees north, as a site. It is home to the internationally recognized The main role of the buoy is to measure the depth of the ice throughArtcirq, a circus, and lsuma, a film production company, as well as out the year, and therefore the rate of freeze/thaw, which is fundaa research centre and a strong arts community. Like much of the mental to the Inuit life. As an island, the inhabitants of Igloolik must arctic, this island is witnessing a more acute rate of climatic change cross the ice in order to reach hunting grounds, a part of life which than other parts of the world; melting of permafrost, the rising sea has become increasingly dangerous with the unreliability of the ice. levels and rapid sea ice changes are threatening traditional modes The thickness of ice is colour coded according to an international standard. The data collected by sonar measuring in the buoy wiII of living from the land. Buoyant Light frames light in a context where the sun does not al- be communicated through corresponding colours in the balloon. Not ways set and does not always rise. The project proposes to harness only does this provide the Inuit with real-time knowledge of the surthe abundance of light from May to August in order to offset the rounding ice conditions, but it also dots the vast open landscape lack of light from November to February by harvesting the summer with spheres of light and colour, identifying locations and orienting light and subsequent storage of energy for the long winter season. travellers. A small portion of the energy gathered by the balloon is used to power the buoys mechanisms, reducing the reliance on batteries
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work or strategy for growth, the project helps to activate commuBUOyANT LIGHT ADDRESSES THREE DIFFERENT NEEDS: The largest balloons, close to the shore, provide the community with nity spaces and suggest nodes of activity. Over time, smaller solar immediate visual access to information. Acting as a traditional light- balloons could be used to provide a new sustainable lighting solution house, they mark the location of the town for approaching travel- for the Arctic communities, improving energy consumption costs lers and vessels. Lowered in the winter to protect them from higher and the safety of inhabitants. winds and more frequent storms, the balloons cast light onto the ice, Buoyant Light suggests a new interpretation of day lighting in a context where extreme conditions demand innovative solutions. forming a space for meetings, celebrations or performances. The balloons further out in the open waters act as way-finding de- Through the use of light the intervention monitors and communivices for hunters and travellers. Once distributed throughout Arctic cates environmental changes without being a hard infrastructure waters, they begin to act as a soft network connecting remote com- and leverages the needs of the global research community with the munities, while also providing widespread data collected for inter- social needs of the local Inuit. Recognizing that in this fragile environment any change has powerful implications, the project proposes national researchers. Finally, the balloons on land are used to delineate gathering spaces an almost ethereal intervention that would introduce a new seaaround key buildings in the town. A few clusters measure the change sonal cycle of colour into the landscape and improve the life of the in permafrost (frozen land) detrimental to the structural stability of community through light. buildings. In arctic communities where there is little urban frame-
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LIST OF SCHOOLS & PARTICIPANTS
ARGENTINA Facultad de Arquitectura, Urbanismo y Diseo, Universidad Nacional de Mar del Plata / Facultad de Arquitectura, Urbanismo y Diseo, Universidad de Mendoza / Faculty of Architecture, Design and Planning, University of Buenos Aires / Faculty of Architecture, National University of Cordoba / Universidad de Belgrano / Universidad Nacional de La Rioja / Universidad Nacional de Tucuman / Universidad Nacional del Nordeste Alejandro Paez / Augusto Palazzo / Carlos Emiliano Molina Franco / Cristian Tedesco / Damian Mallamaci / Facundo Soto / Nicolas Oettinger / Fernando Vargas Regelmann / juan Manuel Segura de la Colina / julian Alejandro Quevedo / Marcos Ruben Alejandro Popp / Maria Agustina del Rio / Maria Botello Ricci / Maria Emilia Richmond / Maria Victoria Ferri / Martin Gomez Soto / Martin Sabbatini / Natalia Rosatti / Ramiro Rios Rivero / Rodrigo Cola / Sebastin Schuster
Fulya Selcuk / Katarzyna Lipinska / Laurent Temmerman / Martijn Bayens / Miodrag Popov / Piotr Matuszek / Samanta Mircea / Serdar Koroglu BOLIVIA Universidad Privada de Santa Cruz de la Sierra Carlos Selaya / Santiago Plata BOSNIA & HERzEGOVINA Faculty of Architecture and Civil Engineering / University of Sarajevo, Faculty of Architecture Andrea Mirkovic / Dalila Fejzagic / Danka Latincic / Milica Cvokic / Tanja Radonjic
BRAzIL Centro Universitrio Belas Artes de So Paulo / CESUMAR Centro de Ensino Superior de Maringa / Escola de Arquitetura e UrbanAUSTRALIA Queensland University of Technology / RMIT University / The Univ- ismo EAU/UFF / Estacio de Sa University Faculty of Architecture eristy of Sydney, Faculty of Architecture / University of Melbourne / Faculdade de Arquitetura e Urbanismo UFRj / Faculdade de Arquitetura e Urbanismo da Universidade de So Paulo / Faculdade Casey Bryant / Chao jung-Hsien / Sarah Elizabeth Slattery / Suheri de Arquitetura e Urbanismo da Universidade Federal do Rio de janeiro / Faculdade de Cincias Sociais Aplicadas / Federal UniPurnomo / yam San Ooi / yuditta Prawiro versity of Pernambuco / FUMEC Fundao Mineira de Educao e Cultura / UNESC Universidade do Extremo Sul Catarinense / AUSTRIA Unip / Universidade Estadual de Campinas Unicamp / UniversiTechnische Universitt Wien dade Estadual Paulista Campus Bauru / Universidade Federal de Minas Gerais / Universidade Federal de Santa Catarina / UniversiDarko Antic / Milos Mikasinovic / Thomas Hladky dade Federal do Rio Grande do Sul / Universidade Nove de julho/ Universidade Presbiteriana Mackenzie, Faculdade de Arquitetura e BELGIUM Arendonk Academy of Fine Arts / Institut Suprieur dArchitecture Urbanismo / Universidade So judas Tadeu / University Anhembi Morumbi / University of Passo Fundo Saint-Luc Bruxelles / Sint-Lucas Architectuur Brussels Alicya Wilczynska / Ana Carolina Cuesta Parra / Birger Wyffels / Darlea Liviu / milie Deby / Francisco javier Roman Martinez / Adriana Gazetta Bragotto / Ana Paula Leite / Anderson Pereira Dourado / Andr Luiz Lira de Oliveira / Andressa Teixeira de Moraes
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Angela Ishibashi / Angelo Adriano do Prado / Anthony Ling / Augusto Csar Siqueira / Brunna Wopereis / Caio Vasconcellos Sabido Gomes / Caique Gabriel Schatzmann / Felipe Cemin Finger / Raphaela Walger da Fonseca / Evelise Leite Didon / Gustavo Prado Fontes / Camila Cavalcante Resende / Camila de Almeida Vilar de Miranda / Camila Marques Torres / Carla Patrcia Santos Soares / Cau Costa Capill / Dafne Souza Tonini / Daniel Albuquerque de Insfran / David Sadowski / Diego Baena Fronteira / Dulcilei de Souza Cipriano / Edilma Aparecida Mouro / Emlia Lapolli de Moraes / Erico Actium Ramos de Morais / Felipe Vitor Batista dos Santos / Fernanda de Andrade Povoao / Gilberto junior Tenorio Mariano / Giulianno Caliman Camatta / Henrique julio Rizzi / Herika Leao Gomes Marques / Ilka Miyuki Saito / Raquel Di Maio Engelsman / Iraquitan jos Oliveira / jade Mendes Benucci / Italo Rafael / Tiago Teixeira / jaqueline de Melo Barros / jessica Fernanda Mascarenhas Machado / joao Paulo Valerio Santos / Karla Cristina Baldasso / Sarah Viliod Martins / Guilherme Henrique Stroeder Martins / Ktia yumi Ueda / Mariana Krolin Gomes Alves / Daniel Rothschild / Larissa Ferreira Batista / Leonardo Cunha Garcia / Luana Soledad Silva Cifuentes / Lucimeire Brenzan zampar de Souza / Luiz Eduardo Lupatini / Marcelo Ribeiro de Souza Ribas / Marcio Barbosa Fontao / Marcio Guimaraes / Mariana Andrade Cretton Andr Cruz / Mariana Guarnieri de Campos Tebet / Mariana Noguera / Mariana Tassi Damio / Marina Leme Merlin / Matheus Silveira / Gabriel Giambastiani / Michelle Covacho Medeiros / Natassia Ferro Combat Reis / Orion Gorro Moreira Campos / Pablo Resende / Paula Dias / Pedro Lodi / Rafael Campos Derderian / Rafael Lorentz / Rodrigo 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
BULGARIA University of Architecture, Civil Engineering and Geodesy Konstantin Doganov CANADA Carleton University, Azrieli School of Architecture and Urbanism / Universite Laval, Ecole dArchitecture / McGill University, School of Architecture / Ryerson University / University of Calgary / University of Manitoba / University of Waterloo, School of Architecture A. Gabriel Guy / Alexandre Gurin / Alexandre Morin / Andr StPierre / Anne Preiss / April David / Caroline Gurard / Chantal Galibois / Claire Lubell / Colleen McKeracher / Corey Devlin Brown / Dai zhongyuan / Daniel Nedecki / milie Dionne / Emma Cochrane / Eric Reid / Estelle Grgoire / Eugenio Villarreal / Genevive Bliveau / Genevive Gagnon / Golnaz Karimi / Hlne GigureDuval / Hyeongjun yoo / jacqueline Che / jessica Cullen / jordan yerbury / justin Smith / Kathleen Kelly / Keith Evans / Kevin Lisoy / Kunaal Mohan / Leon Lai / Anne Ma / Marie-ve Pelletier / May Makia / Mousazadeh Somayeh / Nicolas Fortier / Nicolas Labrie / Nicole Muzechka / Pamela Cottrell / Peixi Sun / Peteris Lazovskis / Pouwai Lei / Ryan yeung / Safarzadeh Ghazaleh / Shane Dalke / Simon Lebedinsky / Sophie Guilbault / Stephanie yeung / Terry Carrire / Tim Wat / Vedrana Maric / Vian Musa / Victoria Pilles / Virginia Fernandez / yifei yuan CHILE Universidad Austral de Chile, Escuela de Arquitectura / Universidad de Talca Alvaro Lefian / Angelo Fuentealba / Axel Pscel / Bernardo lvarez / Berty Vargas / Carla Garca / Carolina Venegas / England Sabina Lin / Felipe Fuentes / Francisco javier Lara Bastidas / Franco Escobar / Gustavo Carrillo / jacqueline Barcia / jaime Muoz / jorge Rivera / Karla Gerter / Luis Silva / Marcela Carrasco / Marcia
Vasquez / Marco Contreras / Mara jos Beluzan / Max Ovalle / Roco zuloaga / Roxana Vargas CHINA Anhui University of Architecture / Anhui University of Science & Technology / Beijing University of Civil Engineering and Architecture / Beijing University of Technology / China Central Academy of Fine Arts / China Three Gorges University / College of Architecture and Art, Hefei University of Technology / College of Architecture and Urban Planning, Tongji / Dalian University of Technology, School of Architecture & Fine Art / Department of Civil Engineering and Architecture, Environment and Construction, Foshan University / Fujian University of Technology / Guangzhou University, Academy of Fine Arts / Harbin Institute of Technology / Hefei University of Technology / Huaqiao University / Huazhong University of Science and Technology / HuNan University / Tsinghua University / jiangxi Normal University, College of City Construction / North China University of Technology / Qingdao Agricultural University / Qingdao Technological University / Tianjin University, Renai College / School of Architecture and Urban Planning, Chongqing University / School of Architecture, Harbin Institute of Technology / School of Architecture, Southeast University / School of Architecture, Tsinghua University / School of Architecture, Harbin Insitute of Technology / School of Architecture, Tianjin University / Shandong jianzhu University / Shanghai jiao Tong University / Shanghai Tongji University / Shenzhen Polytechnic, Art & Design Department, NanShan / Shenzhen University / Sichuan Normal University / South China University of Technology / Southeast University / Tsinghua University / University of Hong Kong / University of jinan / Wuhan University of Technology / Xian University of Technology and Architecture / Xian jiaotong University / Xiamen University / yangzhou University / yanTai University / zhejiang University City College / zhejiang University of Technology Anpei zeng / Bai Bing / Bao Hongyuan / Bin Hao / Bin zhang / Bo zheng / Bowen He / Bowen zhang / Cai Chang Xin / Cai Chunbin /
Cai jianming / Cao Peng / Chao Gao / Chao Lin / Chen Fang / Chen Hao / Chen Wang / Chenchen Hu / Chenchen Hu / Cheng Peng / Chenyuan Qian / Ching zhang / Chu Andong / Chuan Wang / Cui Rui / Di Kong / Dingkle zhao / Dong yinan / Fan zhihua / Fang Erqing / Feng Liangchen / Fengling Liu / Funing Lian / Gao zheran / Gongyingjia / Guo Chunxiang / Haifeng Xu / Haitao zhao / Haitao zhou / Han Mo / Han youzong / Han yue / Hang Wan / Hao Tian / Haode Sun / He Wenjing / Hongkai Li / Housen zhang / Hu yitao / Hua Xue / Huang He / Huang ying / Huang zheng / Huang zhong / Huang zhonghao / Hui Li / jia Fan / jia Shiqing / jiaming Sun / jiayi zhu / jie Shen / jing Wang / jingxiao Guo / jingyi Shao / juanyao Liu / jun Qiao / junchao zhang / junfeng Shi / junyu Liu / Kai Li / Kai Sun / Kaicong Wu / Kang Xiaopei / Lan Chen / Lang Wang / Le Qin / Lei Dong / Lei zhangjundi / Li Bo / Li Haobin / Li jing / Li Li / Li Shung yeung / Li Tongyang / Li Xiao Qiang / Li yang / Li zhen / Li zihuan / Liang Tao / Liang zhanpeng / Liang ziyi / Liao Wang / Lin Bangqian / Lin Hongjie / Lin lu / Lin Lu / Lin Weiping / Lin Xiu / Lingjiao jiang / Linqi Wen / Liping jiang / Liu junsong / Liu Liping / Liu zihuan / Longrui Peng / Lu lingjun / Lu yang / Lv Shan / Ma yuxiang / Ma Xin / Meng Du / Miao yu / Miaoli Su / Min yang / Ming jiang / Ming yang / Minqing Ding / Minyu zheng / Nianlai zhong / Ning Wang / Niu yu Qing / Pengfei zhang / Qi ji / Qi ji / Qi Xu / Qi yang / Qian Chenyuan / Qianqian Cai / Qing Qin / 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 / Tao Cao / Tian Hao / Tingting yu / Wang Bin / Wang Chuan / Fei Wang / Wang Hui / Wang Liang / Wang Mengjiao / Wang Rui / Wang Xiangsheng / Wang yang / Wang ying / Wang yiqun / Wang yu / Wang yunpeng / Wang zheqi / Wangzhiya / Wei Su / Wei Wei / Weibing Chen / Weijia Pan / Weitao zhang / Wenchao Liu / Wenjing He / Wenqing zhen / Wenxing Chen / Wu ji / Wu jing / Wu Liangjie / Wu Xin / Hu jinjian / Xi Wang / Xian Ming Li
/ Xiangjun Huang / Xiao zhou zhang / Xiaobo Qin / Xiaohan Wen / Xiaoling yu / Xiaolong Li / Xiaoxun Liu / Xie zhang / Xiejie / Xin zhou / XiPeng Chen / Xiufang zhao / Xiwei zhang / Xu jing / Xu Ke / Xu Tong / Xu Xiaoqing / Xu zhou / Xue Feng / Xue Gao / Xuepeng Shi / Xuexin Duan / Xuhua Luo / yan Wenlong / yan zhang / yang Chu / yang Du / yang Fan / yang Meng / yang Qingchuang / yang Wang / yang Wenjun / yang Xu / yang zilin / yao Naiqi / yi Wang / yifan zhang / yifei Fu / yiming Guan / yincheng jiang / yinghao Lin / yiwei Huang / yiwei Wang / yixin Tian / yixing zhou / yizhao Sun / yu Gong / yuan Fanghao / yuan jialing / yuan Xinlong / yuan zhang / yuanhao Wang / yue Han / zhong Huang / Fang yuan / yuejia Xu / yulong Tian / yunxiang Li / yutao zhang / zeng Guang / zeyao Shi / zhang jigang / zhang Lei / zhang Shizhao / zhang Xiaosi / zhang zhangLiPeng / zhao Chen / zhao Chen / zhao Guang Qi / zhao Wen jia / zhao yue / zhaowei Guo / zhen Hu / zhen Song / zheng Li / zhengda Hou / zhong Lin / zhong Manlin / zhong Qiuni / Xv jiaqi / Chen Donghua / zhong Weida / zhongjie Li / zhongyi Li / zhuoxin Fang / zifu yang / zijian Xu / zimei Shen / ziyin zhou / zou Haoyang COLOMBIA Universidad Nacional de Colombia / University Piloto of Colombia Alejandro Ospina Londoo / Diana Patricia Garavito Almonacid / Sebastian Monsalve Gomez COSTA RICA Instituto Tecnologico de Costa Rica Carlos Mata Rodriguez / Marco Navarro Araya CROATIA Arhitektonski Fakultet u zagrebu Anja Kostanjsak / Branka Kipke / Ivan Vuzem / Katarina Matkovic / Klara Niksic / Kouta Saa / Lea Ani / Marin Berovi / Mauro Milli /
Sara jurincic / Tihana Pecirko / Keti Mastrovic CUBA Facultad de Arquitectura de La Habana Amanda Torres Acevedo / David Labrador Guzman / Liset Hernandez Vazquez / Silvia Fernandez de Alaiza / Iracel Ulacia Torriente CzECH REPUBLIC Brno University of Technology, Faculty of Architecture / Czech Technical University Prague, Faculty of Architecture / Vysoka skola umelecko prumyslova v Praze Anna Anderova / Dalibor Dzurilla / jan Auerbach / jan Drska / jana Brankova / josef Musil / Kamil Kolacek / Ondrej Chybik / Ondrej Dusek / Patrik Uchal / Petr Halicek / Petr Kolacek / Vit Vavra DENMARK Arkitektur og Design, Aalborg Universitet / Danmarks Designskole / The Royal Danish Academy of Fine Arts, School of Architecture / Aarhus School of Architecture Alexander Ejsing / Anders Wrum Rognerud / Andr St-Pierre / Anna Maria Svensson / Birk Daugaard / Filippo Pesavento / Humberto Salvador Maldonado Baeza / Mai Bring Rasmussen / Marius Costan / Mathias Bktoft / Pernille Daugaard / Ragnhild jordtveit Kristiansen / Rasmus Rgen / Lars Meldgaard / Kasper Hansen / Shen Xie / Simon Natanael Svensson / Steven Leroy Olesen / Sren Hykkelbjerg / Thilde Bjrkskov / Thorbjrn Eisenhardt / Tina Carletti DOMINICAN REPUBLIC Universidad Nacional Pedro Henriquez Urea jacobo Rafael Arismendy Cabrera / Max Alonso Hernandez
Alexandra Cornelius / Andr Nokonz / Christian Schwarz / Christine Kutscheid / Dimitri Geizenraeder / Florian Dachauer / Helge Grther Ahmed Abd-Allah / Ahmed Basyouni / Ahmed Salah El-deen Ab- / johannes Brixel / Klaus Doemer / Lars Petersen / Lena Tasche / dul-aziz Abo-elsaad / Amal Abdul Sattar Abdul Hamid Gad / Amr Maria Guadalupe Espinoza Perez / Marlen Hoenge / Moritz Gerick Aly El Husseiny / Amr Saad / Aya Badawy / Aya Mohamed Osama / / Reni Raschke / Rus Carnicero Moreno / Sandra Carola Kaiser / Ebraheem Imam / Farah Shoukry / Hany Refa`at / Ibrahim El Hadidi Sarah Bosen / Susanne Hgel / Svenja Kraus / Thomas Wojtowicz / Ibrahim Ismail Ibrahim / Khalid Mohamed Hassan El-mansy / Mah- / Viviana Pupeza moud Mohamed Abdelmonem Khalil / Mazen Abouzeid / Mohamed El-Sayed / Mohamed Khaled Mohamed Mostafa / Ibrahim El Hadidi GREECE / Mostafa Amin / Rania joseph / Sarah Khalil / zeyad Magdy yehia Aristotle University of Thessaloniki, Polytechnic School, Deparment of Architecture / University of Patras, Deparment of Architecture Ahmed FINLAND University of Oulu, Department of Architecture Eva Haggrn FRANCE Ecole Nationale Superieure dArchitecture de Bretagne / Ecole Nationale Suprieure dArchitecture de Montpellier / Ecole Nationale Superieure des Arts Decoratifs / Ecole Nationale Suprieure dArchitecture Paris Malaquais HUNGARy Budapest University of Technology and Economics / Debrecen University Technical College / Szchenyi Istvn University / Szent Istvn University, ybl Mikls Faculty of Architecture and Civil Engineering Dimitris Panagopoulos / Giorgos Orfanopoulos / Konstantinos Chatzikalimnios / Margarita Koulikourdi / Michail Karolos Keranis / Vasilis Chlorokostas
EGyPT American University in Cairo / Architecture Department, Faculty Of Engineering, Mansoura University / Cairo University, Faculty Of Engineering, Architectural Department
versitt, Hannover / Mnster School of Architecture / University of Applied Sciences and Arts / Universitt Stuttgart
dm Kis-Kapin / dm Straubinger / Andras Balint / Andrs BorAurelien Thibaudeau / Baptiste Bernier / Brice Lannuzel / jeremy bla / Anett Palotai / Anita Bozi / Anna Vereb-Der / Attila Tth Kumala / joachim Unternaehrer / johann Grellaud / Marine Gouyec / Anik Nagy / Balazs Biri / Balint Timmer / Tamas Ivacs / Csaba / Philippe Bonan / Rozenn Autret / Simon Dupuy / Wonjoon Lee / Vazci / Cselovszki Attila / Emese Nagy / Eniko Nagy / Gyula Guzmics / Gyula Toth / Hedvig Halasi / Henrietta Surman / Ildik Csiki yulia Donetskaya / Ildik Tth / johanna Forai / Kata Nemes / Lszl Hka / Laszlo Toth / Mria Mszros / Mrk Csihi / Mikls Gnther / Nicoletta GERMANy Fachhochschule Frankfurt am Main, University of Applied Sciences Tsengwabeka / Orsolya Gacsi / Peter Krompczki / Renta Halsz / Fachhochschule Mainz, University of Applied Sciences / RWTH / Rita Nagy / Tamas Kasik / Tibor Csala / Tibor Nagy / Viktor Gti University Aachen, Faculty of Architecture / HCU HafenCityUni- / Viola Georgina / zoltan Varga / Robert Pilny / zsuzsanna Mucsi / versitt / Hochschule Anhalt / Hochschule Bochum / Leibniz Uni- zsuzsanna Nmeth
/ Gianluigi Gabriele Di Nicolantonio / Graziano Mattioli / Luca GiINDIA Centre for Environmental Planning & Technology University / Sard- acobazzi / Martina Busti / Paolo Augello / Sofia Rivadeneira ar Vallabhbhai Institute of Technology, College of Architecture / R.V. jAPAN College of Architecture The University of Tokyo, Department of Architecture Arjun Hosakere / Ashish Tiwari / Palak Desai / Smita Lukose Matyas Gutai / Rita Topa INDONESIA KOREA, REPUBLIC OF Universitas Diponegoro Ajou University / Daejeon University / Dong-A University, Faculty of Architectural Design & Engineering / Gyeongwon University / Azan Subhie Hangyang University, School of Architecture / Hanyang University / Hongik University / INHA University / Korea University / Kyemyung IRAN Azad University Khorasgan Branch (Isfahan) / Azad Varamin / University / Kyung Won University / KyungPook National University, IAUM young Researchers Club / Sahand / Shoushtar Msc Fac- School of Architecture / Soongsil University / University of Seoul / Wonkwang University / yeungnam University / yonsei University / ulty / Soore University youngNam University Faraz Soleymani / Ghazal Goodarznia / Hamid Abhari / Iman Shafiee / Mahyar Arab Boor Boor / Mahyar Mahgol / Saba Barani Ayoung jun / Bin youn / Bong Gun Song / Bongjai Shin / Boram Lee jung / Byung Hwa Kim / Byung Wook jeon / Byungmin jeon / Sultan Qurraie Bahar / Chan Hee Lee / Choi Gwangeun / Choi jin Kyu / Dong-A Park / Dongjin Lee / Eun Sung Choi / Eunjoon Baek / Geunyoung Kang / IRELAND Go Eun Seo / Haejun jeong / Hee-jin Park / Hoju Chung / Hong Kyu University of Limerick 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 / Una Breathnach Hifearnain 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 ITALy University of Bologna, Faculty of Engineering / Poolitecnico Kim / jonghyuk Lim / jun Hee Lee / junha Hwang / junyoung Park di Torino, Facolt di Architettura / Universit degli studi / jusin Park / Ki joo Kim / Kim Dea Hyun / Kim Won Ill / Lee Hye dAnnunzio, Facolt di Architettura / Universit degli studi di Roma jeong / Lee Mi Kyung / Lee Seung Kyu / Lim Sunghwan / Man-Su Tre, Facolt di Architettura / Universit I.U.A.V. di Venezia / Choi / Miae Shin / Min jane Kim / Min jung joo / Min Wook Choi / Universit degli studi di Catania, Facolt di Architettura con sed Min-Hoo Ahn / MinKi Lee / Mirim Lee / Moon Lee / Moon-jin Choi / Myeinghyeon ju / Nam Si / Ok Seon youn / Pak So Hui / Park Chang in Siracusa Kwon / Park SongOk / Park Sumin / Rae Won Noh / Sang Hyup Kim Alessandro Bostica / Alessandro Righi / Alessia Bruno / Andrea / Sang Ryeol Kim / Sangwoo Bae / Se Hyun Kim / Seo Dong Chan / Pellizzari / Camillo Frattari / Filippo Nassetti / Francesca Garzarelli Seo Hae In / Seong Hwan Kim / Seung-Hee Sim / Seungho yi / Son
Euihwan / Soo ji Kim / Sooyeon Kang / Su Kyung Park / Sun Tae MONGOLIA jeong / Sung-Tae Shim / Tae Shin Park / Taemin Kang / Uk Park Mongolian University of Science and Technology jeong / Wee Sukwhan / Wi Dae Han / yong Su Choung / yoon-jung Rhim / youn Ah Noh / young-Gook Park / younghwan Lee / young- Ankhbayar Tojil / Ariunzaya Chinbat / Ekhjargal Khureljaw / Saruul Ishdorj / Shijirbold Sandagdorj / Erdenebaatar Nokhoijaw won Kwon / yu jin Kim / yun A Choi / yuri Kim LITHUANIA Vilnius Arts Academy / Vilnius Gediminas Technical University 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 MALAySIA Universiti Putra Malaysia, Faculty of Design and Architecture / Universiti Teknologi Malaysia (UTM) Asian Kianmeht / Eng Kee Chong MEXICO Instituto Tecnolgico y de Estudios Superiores de Occidente / Universidad de las Americas Puebla / Universidad Nacional Autonoma de Mxico, Facultad de Arquitectura / Universidad Popular Autnoma del Estado de Puebla / Universidad Veracruzana THE NETHERLANDS Delft University of Technology, Faculty of Architecture / Hogeschool van Amsterdam / Hogeschool voor de Kunsten Utrecht / Technische Universiteit Eindhoven, Department of Architecture 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 NEW zEALAND School of Architectural Design, Christchurch Polytechnic, Institute of Technology Bryce Neil Newsome / Leah jane Guilford NORWAy Norwegian University of Science and Technology / The Oslo School of Architecture and Design
Antonio Lionel Garcia / Arcelia Cornejo Casillas / Cesar Edu- Anders Eik Pilskog / Eli Ramvik / Hana Draskovic / jan Gunnar ardo Cornejo / Felipe Gonzales / Christian Cardenas / Gustavo Skjeldsy Velasco / Horacio Cinto / jos Arellano Gutrrez / Ren Irving Marin Torres / Pedro Gonzlez Prez / jose Carlos Pucheta PERU Catemaxca / jos Ren Aguilera Valderrama / juan Salvador Universidad Catolica de Santa Maria Covarrubias Mora / M. Guadalupe Antonio Cabrera / Manuel Estevez / Mario Sila Nejib Puron Bitar / Mauricio Snchez Muiz / Gonzalo jesus Ibarra Hernani / Renzo julian Cabrera Delgado Nadia Ramirez Ramirez / Nohemi Contreras Bautista / Tiara Marie Aponte
Solomonesc / Anamaria Andreea Anghel / Anamaria Scortan / Anamaria Spulber / Anca Paduraru / Andreea Cristina Toni / Andrei Cristescu / Aurel Vincent Babes / Biborka Bartha / Bogdan Ioan Mihaila / Buliga Iulian Nicu / Carmen Daniela Petrea / Catalina-Codruta Dobra / Ciprian Mateescu / Ciprian Paleacu / Cozma Alexandru / Cristina Maria Matei / Cristina Pricop / Dan Alexandru / Dan Anna Malecka / Dorota Kolanek / jacek Blusiewicz / joachim Surdy Bodron / Dan Cioclu / Daniel Toader / Delia Alexandra Prisecaru / Katarzyna Myslinska / Kitala Marcin / Maciej Balcerowski / Marcin / George Valentin Soare / Eva Dumitrescu / Filip Gavril / Gabriel Bialek / Mateusz Kosiec / Michal Pawlik / Misiaszek Maciej / Patryk Ciosu / Gabriel Ciosu / George Munteanu / George Razvan Margarit / Ileana Raluca Greere / Ioan-Mihai Baba / Ioana Ciurea / Ioana jacek Wozniczka / Paulina Drag / Pawel Sobanski / Piotr Gierek zdralea / Irina Bolboceanu / Irina Trandafirescu / Cassandra Pop / julia Lacramioara Russu / Laurentiu Avram / Lidia-Gabriela MaPORTUGAL Escola Universitria Vasco da Gama / Instituto Superior Tcnico teescu / Lucian Sandu-Milea / Manuela Lung / Matei Cristescu / DECivil / Universidade da Beira Interior / Universidade Lusada de Mihai Iulia / Mihail Neagu / Oana Dumitrache / Oana Simionescu / Lisboa / Universidade Lusada do Porto / University of Coimbra, Olga Maria Posedaru / Olivia Parvu / Radu Alexandru Axinte / Radu Asan / Radu Soanca / Ioan Stef Mihnea / Rares Dragoiu / Roxana Department of Architecture Bara / Ruxandra Iancu Bratosin / Simona Bontea / Stefan Corneliu Andreia jos Dias Rodrigues / Brimet Silva / joana Silva / Ldia / Tatiana Cebotari / Teodor Daniel Clepe / Teodor-Stanciu Tiberiu / Albuquerque / Luis Marques / Luis Sragga Leal / Miguel Carvalho Teodora Adriana Cirjan / Vlad Hani / Vlad Popa / yuliyan Mikov / joao Lourenco / Iria Roriz / Patricia Alejandra Correa Velazquez / Rui Alberto Baptista jorge / Salom Arajo Martins / Silvia Land- RUSSIA Altay State Technical Univercity, Institute of Architecture and Deinez Gracia-Herreros / Susana Santos / Vasco Rocha sign / Astrakhan Engineer Building Institute / Samara State Architectural and Construction University / Voronezh State University of ROMANIA Ion Mincu University of Architecture and Urbanism / Bucharest Architecture and Engenering University of Architecture and Urbanism / Cluj Napoca Tehnical University, Faculty of Architecture and Urbanism / Universitatea Andrew Popov / Andrey Atadzhanov / Ekaterina Reyzbikh / Elena Tehnic Gheorghe Asachi din Iai, Facultatea de Arhitectur G.M. zemlyanih / Katya Denisova / Marina Molodix / Natalia Mikhailova / Cantacuzino / Universitate Spiru Haret, Facultatea de Arhitectura Natalia Rybakova / Nataliya Tinyaeva / Nikolay Matveev / OlgaNau/ Universitatea Politehnica Timisoara, Facultatea de Arhitectura / mova / Valentin Shewelev Universitatea Spiru Haret SERBIA & MONTENEGRO Adelina Alexandra Marcu / Adina Moldan / Adrian Ionut Lascau University of Belgrade, Faculty of Architecture / University of Novi Balc / Adrian Musat / Alexandra Antonescu / Alexandra Cotofana Sad, Faculty of Technical Sciences / Alexandra Eugenia Toda / Alexandra-Silvia Evulet / Alexandru Bujenita / Alexandru Ghiorghita / Alexandru Grisco / Alexandru Dalia Dukanac / jelena Mancic / Maja zugic / Nebojsa Blagojevic / POLAND Academy of Fine Arts in Wroclaw / Cracow University of Technology, Faculty of Architecture / Warsaw University of Technology and Architecture / zachodniopomorski Uniwersytet Technologiczny Wydial Budownictwa i Architektury
Casadevall / Arnau Riera Rull / Begoa Gass Palop / Begoa Gonzlez Fernndez / Beln de la Cal Garca / Blanca Prez Garca / jos Ignacio Rejas Fernndez / Carlos Gonzalvo Salas / Carmen Torrecillas Molina / Cristina Gell Agut / Daniel Fernndez / Daniel SINGAPORE Garca Lpez / Daniel Lendoiro Fernandez / Doleres Mulledy Garca National University of Singapore / Eduardo Aparisi Mozota / Eduardo Manuel Landete Mata / Elena Ching Looi Pan / Edmond Choon Keong Khoo / Hui Min Poh / Pei Borque Sanz / Elena Fernndez / Elena Lpez-Brea / Elena Rivas Ruzafa / Estefania Rodero / Federico Ortiz Sanchez / Fernando yee Cheah Alonso Tuero / Francesco Bar Sab / Francisco Perez Durban / Gerard Fernandez Marmolejo / Guillermo Fernandnez-Castaneda SLOVAKIA Colomer / Herminia Ortega / Horacio Fernndez del Castillo / Fakulta Architektry STU Ignacio Alfaro Tercero / Imanol Calderon Elosegui / Irina Carrillo Alvaro / Isabel Sanchez / Isabel Sanchez Feito / jess ApariLiana Spodniakov cio Alfaro / jess Garca Guijarro / joaqun Snchez Olleros / Alejandra Ruiz Rubio / judith Barrera Caixs / julia Molina SLOVENIA Virus / Luis Lope de Toledo / Luis Sierra de Hita / Maria del Univerza v Ljubljani, Fakulteta za Arhitekturo Mar Cabarrocas i Salvador / Marina Kindeln Calvo / Mario Iglesias Calzado / Marta Alonso yebra / Marta Torres Prraga / jan Omerzu / Mohor Korde Meritxell Ministral Rosa / Miguel Snchez / Morales Lopz / Nuria Balboa Rodriguez / Pablo Canga / Pablo Martnez / SPAIN E.T.S. de Arquitectura / Escola Politcnica Superior de la Universitat Pablo Vidiella Huguet / Paula Bueso-Inchausti Toro / Paula de Girona / Escola Tecnica Superior dArquitectura de Barcelona / Es- Lambn Belenguer / RobertComas Miralpeix / Roberto Vidiella cola Tecnica Superior dArquitectura de Reus / Escola Tecnica Superior Huguet / Sandra Bentez zurita / Sara Alvarellos Navarro / de Arquitectura da Corua / Escuela Politcnica de Arquitectura de Silvia Martin Delgado / Silvia Pinzas Rouco / Sofia Solns / Stella Madrid / Escuela Tcnica Superior de Arquitectura de la Universidad Prez Lzaro / Ursicino Endaman Ns / Veronica Correas Pedrosa / Politcnica de Madrid / Escuela Tcnica Superior de Arquitectura de Vicente Prez Hernndez Sevilla / Escuela Tcnica Superior de Arquitectura, Universidad Politcnica / Universidad Alfonso X el Sabio / Universidad Camilo jos Cela / SWEDEN Chalmers University of Technology / KTH STH, The Lighting LaboUniversidad de Alicante / Universidad Europea de Madrid ratory / Kungliga Tekniska Hgskolan School of Technology and Abagar Arrate / Adri Bofarull Sol / Adri Mas Bosch / Adri- Health / Lund School of Architecture ana Vazquez Ballo / Alba Abad Carretero / Albert Serrats juanola / Alberto Porras Barrios / lvaro de Toledo Pina / lvaro Garca Alexander Blomtvist / Anastasia Skipetari / Andika Pradana / AnAlia / Alvaro Garca Mendive / Ana Castillo Andreu / Ana Mara nelie Sundin / Chrisa Tsatsou / Daniel Hodierne / Dasyra Pinelopi / Cabrero / ngel Ramos / Angela Fernndez-Liedo Oliva / Anto- Diana Gehder / Efthymia Kakoulidou / Filip Strebeyko / Francisca nio Armesto Abelaira / Anxel Vidal Sanchez / Ariadna Rodriguez Rodrguez Leonard / Gustavo Vazquez / Hannes Stigsson Haak / Olgica jankovic / Stefan Stanojevic / Svetlana Vrecic / zarko Stamenic
Khajouei Saghi / Kunal Shah / Lalita Mungkornfa / Luis Sacristan Amvi Sarah Dzidzonou / Arnaud Bado / Manou Aplt Agbogbe Murga / Maja Bernvill / Mia Erlandsson / Orquidea yareni Vara / Fleurice Ingoule Mounguet / Bissi Fidl-Lger Messie / Djibril MaLen / P.K. Kaewka / Salas Montes Maas / Tatiana Bibikova / To- reini bias Plsson / Wenqing Guo TURKEy Anadolu University / Beykent University / Eskisehir Anadolu UniSWITzERLAND Accademia di Architettura della Svizzera Italiana - USI / Berne versity / Eskisehir Osmangazi University / T.C. Okan University / T.C. University of Applied Sciences / Eidgenssische Technische Hoch- yeditepe University / yildiz Technical University schule zrich / FH zHAW Winterthur / Hepia University of Applied Sciences Western Switzerland / zHAW zricher Hochschule Ayse Gizem Demir / Bengi yildiz / Cakir Can Ozan / Cansu yalniz / Cem Erman / Gencay Cubuk / Gizem Ertas / Kerem Sadikoglu / fr angewandte Wissenschaften Mustafa Umur zbir / Nurgul Celik / Ozlem Eren / Rukiye Alkan / Alexander Athanas / Andreas Meier / Annika Geiger / Anthony Solmas Firat / Tolga Karakayali / Veysel Acikel / yildirim yazganaCiherean / Aurelie Caroline Sollberger / Berte Daan / Christian rikan / yilmazkaya Serkan Portmann / David Patrick Deschenaux / Anthony joss / Pauline Andree Demoulin / Davide Scordio / Etienne Vincent Bard / UNITED KINGDOM Fabio Tammaro / Franziska Eggenberger / Gabriel Pinto / Architectural Association School of Architecture / Edinburgh ColGilles Stolz / Amandine Marie Suzanne Pinede / Gianna Leder- lege of Art / Edinburgh Napier University / Lincoln School of Archimann / jeremy Benjamin Courvoisier / Rodriguez Oscar Sampayo / tecture / London South Bank University / Manchester School of ArNicolas Senjaric / johannes Magnus Nickl / Konrad Brynda / Las- chitecture / School of Built Environment, University of Nottingham zlo Blaser / Leo Paul Dadolle / Loic Marguerat / Lorenzo Donati / / Sheffield School of Architecture / University of Bath / University Lukas Ingold / Medina Imeri / Melody Celine Gugelmann / of Strathclyde / University of the West of England Micha Gamper / Michael Mader / Misel Bozic / Mohamed Ahmed / Morina Shkurte / Musolino Samiel / Ole Bhlmann / Romain Alex Hobday / Alkaios Michail / Andrew Green / Brion Basha / EmiDelacretaz / Rujun jia / Sebastian Bietenhader / Simon Marius ly Davies / Emma Lingard Ramsbottom / Gabriel Sorenen / Graham zehnder / Sokol Salihi / Shahrooz zarei / Ludovic Maillefer / Stefan Hogg / john Brown / Katie Cheng / Pol Gallagher / Rachel jane Meyer / Stephan Fluehler / Theresa Behling / Tobias Trachsler / Bremner / Rui Liu / Sean Edwards / Thomas Edward Powell / Tina Tian Qiu / yakim Milev Verena Stecher / Veronica Mendes de Carvalho SyRIA University of Aleppo, Faculty of Architecture Hosam Adden Fael TOGO Ecole Africaine des Mtiers de lArchitecture et de lUrbanisme USA Auburn University / California State Polytechnic University, Pomona / Carnegie Mellon University / Clemson University / Texas A&M University, Department of Architecture / Georgia Institute of Technology / Harvard University Graduate School of Design / Miami University, Department of Architecture and Interior Design / New york School of Interior Design / Orange Coast College / Parsons
New School for Design / Rhode Island School of Design / Savannah College of Art and Design / University of New Mexico, School of Architecture and Planning / Ohio State University / Tulane University / Univerisity of New Mexico School of Architecture + Planning / University of California, Berkeley / University of Florida, School of Architecture / University of Illinois at Urbana-Champaign / University of Kansas, School of Architecture Abdulaziz Tawfeeqi / Adam Wilson / Alex W. Willis / Alexander Chin / Ali Karimi / Amir Safvat / Anahid Sargsyan / Andrew Nelson / Andrew Petty / Andrew Steinweg / Anna Chifala / Anna Matejczuk / 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 DAndrea / Galina zubatov / Giovanni Grant / Grace Vicuna / Hannah Austenfeld / Heather Roberts / 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 / Kwonsoo 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 / Matthew Moreno / Melina Carneiro 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
IMPRESSUM
PUBLISHING COORDINATOR BETTINA SIGMUND, HILDEGARD WNGER EDITED BY INSTITUT FR INTERNATIONALE ARCHITEKTUR-DOKUMENTATION GMBH & CO.KG, DETAIL TRANSFER, MUNICH MEIKE WEBER, CHIEF EDITOR GRAPHIC DESIGN AND LAYOUT BY UMWERK, MUNICH INTERVIEWS BY jAKOB SCHOOF PHOTOGRAPHS BY CARSTEN ANDERSEN VELUX A/S COPY EDITOR BETTINA SIGMUND, RUTH SLAVID, HILDEGARD WNGER 2010 INSTITUT FR INTERNATIONALE ARCHITEKTURDOKUMENTATION GMBH & CO.KG, MUNICH WWW.DETAIL.DE ALL RIGHTS RESERVED END OF PRINTING OCTOBER 2010 ISBN 978-3-920034-47-8 PRINT GzD DESIGNPRESS GMBH, DITzINGEN-HEIMERDINGEN DALSVEj 99 - 2970 HRSHOLM - DENMARK VELUX AND THE VELUX LOGO ARE REGISTERED TRADEMARKS USED UNDER LICENSE By THE VELUX GROUP WWW.VELUX.COM NO PART OF THIS PUBLICATION MAy BE REPRODUCED IN ANy FORM OR By ANy MEANS, ELECTRONIC OR MECHANICAL, WITHOUT PERMISSION IN WRITING FROM THE PUBLISHER. THE PROjECT CONTRIBUTIONS WERE WRITTEN By THE INTERNATIONAL STUDENTS THEMSELVES. SO AS NOT TO DISTORT THE CONTENT, VELUX jUST MADE MINIMAL LINGUISTIC ALTERATIONS.
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Yearbook 2010

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LIGHT OF TOMORROW

INTERNATIONAL VELUX AWARD 2010 FOR STUDENTS OF ARCHITECTURE

jURy REPORT, COPENHAGEN (2122 jUNE 2010)

INTERNATIONAL VELUX AWARD 2010 FOR STUDENTS OF ARCHITECTURE

JESPER SALSKOV JENSEN

INTERNATIONAL VELUX AWARD 2010 FOR STUDENTS OF ARCHITECTURE

CONSTELLATION OF LIGHT FIELD SLIDING FLUCTUATION OF MOBIUS STRIPPED ROOF

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CONDENSATION OF VARIATIONAL SUNLIGHT INFLUENCES

STUDENTS SCHOOL TEACHER

2ND PRIzE CONDENSATION OF VARIATIONAL SUNLIGHT INFLUENCES

2ND PRIzE CONDENSATION OF VARIATIONAL SUNLIGHT INFLUENCES

STUDENT SCHOOL TEACHER

joe Wu Delft University of Technology, The Netherlands Daliana Suryawinata

INTERNATIONAL VELUX AWARD 2010 FOR STUDENTS OF ARCHITECTURE

BEAUTy IN THE UNDAyLIGHTABLE

STUDENTS SCHOOL TEACHER

HONOURABLE MENTION BEAUTy IN THE UNDAyLIGHTABLE

HONOURABLE MENTION BEAUTy IN THE UNDAyLIGHTABLE

STUDENTS SCHOOL TEACHER

HONOURABLE MENTION WINDOW SHUTTERS

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LIGHT IN SIDE (INSIDE)

STUDENT SCHOOL TEACHER

HONOURABLE MENTION LIGHT IN SIDE (INSIDE)

HONOURABLE MENTION LIGHT IN SIDE (INSIDE)

INSTANT IMPRESSIONISM LIGHT AS A PAINTER

STUDENT SCHOOL TEACHER

HONOURABLE MENTION INSTANT IMPRESSIONISM LIGHT AS A PAINTER

HONOURABLE MENTION INSTANT IMPRESSIONISM LIGHT AS A PAINTER

STUDENT SCHOOL TEACHER

HONOURABLE MENTION SUB-TERRA APERTURES

HONOURABLE MENTION SUB-TERRA APERTURES

STUDENT SCHOOL TEACHER

Berte Daan Eidgenssische Technische Hochschule zrich, Schweiz Michael Umbricht

HONOURABLE MENTION SECTION OF LIGHT

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FLEETING PERPETUALlTy FLUXIONAL LIGHT UNDER URBAN SCAFFOLDS

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100 LIGHT OF TOMORROW

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102 LIGHT OF TOMORROW

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