★栄久庵 憲司
（インダストリアル・デザイナー）
良い作品は非常に良かったけれども、その他の作品には差がつきすぎていると思いました。
『Nisshoku／日食』には、「原始への郷愁」というものを光の発見のオリジナリティとして現代化した良い造形だったと思います。オリジナルであることは、人間の発想に自由を与えると感じます。今回のテーマが非常に広々して可能性に満ち満ちているので、その中から面白い作品がたくさん生まれたのも特徴だったと思います。どれもが一言ありそうな、将来を感じさせる作品だったと感じました。
● 審査委員
★菊竹 清訓
（建築家）
テーマの設定が適切だったからか、非常に自由な発想の作品が生まれ始めていますね。コンペは23回目をむかえ、作品の内容は一層充実していく感があるので、今後がますます楽しみです。作品全体の印象としては、学生のコンペであり、「光の国が近づいた」という印象になるにはまだこれからだと感じました。しかし、学生のコンペには同時にロマンがあると思いました。ゆとりがあって、良い作品が選ばれてきたという印象を持っています。
★葉 祥栄
（建築家・デザイナー）
今回は光と陰影をテーマとしましたが、非常に良かったと感じています。影を通すと光が見えますね。
金賞の作品『Nisshoku／日食』と銅賞の作品『S Lamp』で特に印象深いのは、影をデザインしているところです。影と光が同等以上に、お互いにせめぎあっているところが非常に美しいと感じました。金賞の場合の日食という発想は、光と影は常にともないあって現れること、銅賞の２次元の発光体を折り曲げる発想は、面での無機ELというものの可能性を感じさせました。
★パトリック・ホイットニー
（デザイナー）
今年の審査は、例年の審査と違うという印象を受けました。良い作品はとても良く、良くない作品は良くなかったという状況で極端でした。上位に上がった作品は例年以上に良い作品だったと思います。
★アンジェロ・コルテージ
（インダストリアルデザイナー）
LEDという技術的な転換期にあり、応募者も混乱をきわめている気がします。
新しい方向に向かなければいけないとわかっているけれども、技術力が追いついていない現実を目の当たりにしました。
若者たちも新しい光源、光の生まれたルーツを模索しているけれどもまだまだ伝統文化から逸脱できていないと思います。
Head Juror
Kenji Ekuan
(Industrial Designer)
I agree whole-heartedly with Mr. Whitney’s opinion. The best of the works were extremely good, while the gap between those works and the rest was also quite large. I think that “Nisshoku / Eclipse” was an especially good creation, taking a “yearning nostalgia for the primitive” and making that into something modern, with the same kind of originality as the first discovery of light. It is my belief that being original means giving freedom to human conceptions. This year’s theme was incredibly wide-ranging and absolutely bursting with possibilities. I think that one of this year’s main character-istics was the multitude of very interesting works which were born from among those many possibilities. I feel that there is something to be said about each work, and that each work gives one a good sense of the future.
Jury Panel
Kiyonori Kikutake
( Architect)
Perhaps it was because this year’s theme was so perfectly fi tting, but we certainly are beginning to see the creation of works which incorporate an incredible degree of freedom of ideas. As we enter into the 23rd iteration of this Competition, one gets the sense that the content of the works submitted is becoming more and more fulfi lling. I fi nd myself more and more looking forward to what we will see in the future.
My impression of the works as a whole was that this was, after all, a competition for students and that the works are still a bit of a ways away from giv-ing the impression that, “The Kingdom of Light is near.”However, I did also feel that, at the same time, there’s a certain sense of romance in this student competition. My impression that one can say, without hesitation, that truly excellent works were chosen.
Shoei Yoh
(Architect,Designer)
I think that it was a wonderful idea to set this year’s themes as light and shadow. Indeed, if you look through the shadow, you can see the light.
What I think made gold-medal winner “Nisshoku/ Eclipse” and bronze-medal winner “S Lamp” so deeply impressive was that they based their designs around shadows. More than being just equals, the mutual juxtaposition, animosity, if you will, between light and shadow was, I feel, extremely beautiful. In the case of the gold-medal winner, the conception of the eclipse is ex-pressed as light and shadow constantly appearing hand- in-hand. The bronze-medal winner’s idea of making a bendable, two-dimensional light source really made me feel the range of possibilities for using inorganic EL on
surfaces.
Patrick Whitney
(Designer)
I got the impression that this year’s judging was different from previous years. This year’s judging seemed more extreme--the good works were all extremely good and the bad works were, well, bad. I think that this year’s top works were all better than usual.
Angelo Cortesi
(Industrial Designer)
I fully agree with Mr. Whitney’s opinion. I get the sense that, in this age of major technological change, namely, the advent of LEDs, the applicants have been thrown into great confusion as well. I think I was able to get a good look at the present state of aff airs, in which applicants understand that they have to move in a new direction, but their technology hasn’t quite caught up with what they want to do yet. I think that the younger generation is also groping for new sources of light along with the roots which gave birth to light, but I also think that they haven’t quite yet managed to make a signifi -cant departure from traditional culture.
Kenji Ekuan
(Industrial Designer)
I agree whole-heartedly with Mr. Whitney’s opinion. The best of the works were extremely good, while the gap between those works and the rest was also quite large. I think that “Nisshoku / Eclipse” was an especially good creation, taking a “yearning nostalgia for the primitive” and making that into something modern, with the same kind of originality as the first discovery of light. It is my belief that being original means giving freedom to human conceptions. This year’s theme was incredibly wide-ranging and absolutely bursting with possibilities. I think that one of this year’s main character-istics was the multitude of very interesting works which were born from among those many possibilities. I feel that there is something to be said about each work, and that each work gives one a good sense of the future.
Jury Panel
Kiyonori Kikutake
( Architect)
Perhaps it was because this year’s theme was so perfectly fi tting, but we certainly are beginning to see the creation of works which incorporate an incredible degree of freedom of ideas. As we enter into the 23rd iteration of this Competition, one gets the sense that the content of the works submitted is becoming more and more fulfi lling. I fi nd myself more and more looking forward to what we will see in the future.
My impression of the works as a whole was that this was, after all, a competition for students and that the works are still a bit of a ways away from giv-ing the impression that, “The Kingdom of Light is near.”However, I did also feel that, at the same time, there’s a certain sense of romance in this student competition. My impression that one can say, without hesitation, that truly excellent works were chosen.
Shoei Yoh
(Architect,Designer)
I think that it was a wonderful idea to set this year’s themes as light and shadow. Indeed, if you look through the shadow, you can see the light.
What I think made gold-medal winner “Nisshoku/ Eclipse” and bronze-medal winner “S Lamp” so deeply impressive was that they based their designs around shadows. More than being just equals, the mutual juxtaposition, animosity, if you will, between light and shadow was, I feel, extremely beautiful. In the case of the gold-medal winner, the conception of the eclipse is ex-pressed as light and shadow constantly appearing hand- in-hand. The bronze-medal winner’s idea of making a bendable, two-dimensional light source really made me feel the range of possibilities for using inorganic EL on
surfaces.
Patrick Whitney
(Designer)
I got the impression that this year’s judging was different from previous years. This year’s judging seemed more extreme--the good works were all extremely good and the bad works were, well, bad. I think that this year’s top works were all better than usual.
Angelo Cortesi
(Industrial Designer)
I fully agree with Mr. Whitney’s opinion. I get the sense that, in this age of major technological change, namely, the advent of LEDs, the applicants have been thrown into great confusion as well. I think I was able to get a good look at the present state of aff airs, in which applicants understand that they have to move in a new direction, but their technology hasn’t quite caught up with what they want to do yet. I think that the younger generation is also groping for new sources of light along with the roots which gave birth to light, but I also think that they haven’t quite yet managed to make a signifi -cant departure from traditional culture.