Hellerup den 14.september 2020
”Islands”
Ved Anne Romme & Jacob Sebastian Bang
Projektet har været udstillet på Works+Words i 2019 og har således allerede været gennem en vurdering.
Vi ønsker derfor udvalgets stillingtagen til om vurderingen lever op til KADK’s KUV-kriterier (stk.2).
De bedste hilsener
Anne Romme & Jacob Sebastian Bang
ISLANDS
W o r k A b s t r a c t
ISLANDS
The following proposal falls within the abstract project category It addresses the UN development goal number 11 and 17
Recently Lynetteholmen was presented as not only a new neighborhood for our ever-increasing need for urban housing, but also an embankment to resist rising water levels. Paul Virilio’s warning that technology is predis- posed with its own potential accident1 is turned inside out: The solution is attempted built into the problem. This project acknowledges the need to find such solutions, but suggests to go one step back in doing so. It simply asks, ‘what is an island’ if understood as an artistic problem of combining technology and accident, intent and force.
Structures are in a constant state of flux, in an ever-changing symbiosis between accumulation and deterioration.
Raimund Abraham has it “While you build the wall, you shall destroy the stones”2 and Willy Ørskov3 reminds us that building up and breaking down are not just opposites but also necessary forces of creation. It seems ever-more relevant that architects work within these opposing, yet productive forces. As our climate changes and people need (or desire) to live more densely, fruitful ways of imagining new habitats could very well be to explore this condition.
Colonizing outer space is the focus of much research and investment currently. Large investments are made into getting there first, and making uninhabitable places livable. But we have large, unexplored potentials much closer by. Imagine that we could find sustainable ways of inhabiting the spaces of oceans, seas and harbors, making good living conditions for people. Islands of inhabitation, which produce energy, nurture civilization, culture and produce alternative forms of inhabitation.
The project is an artistic symbiosis between additive and subtractive fabrication logics, between solid casts and perforated plate structures. It combines digital fabrication with material craft. The process of making and negoti- ation is inseparable from its form and intent.
The artifact will be a large island (presented as a sculpture/model) and a series of colonies of islands (presented as the process of making the larger island).
Jacob S Bang, Anne Romme November 2018
1 Virilio, Paul, The Original Accident, Cambridge: Polity, 2007
2 Abraham Raimund, [Un]built, Wien, 1996
3 Ørskov, Willy, “Aflæsning af objekter”, Copenhagen, 1966
Elements models
Elements models
CURRICULIM VITAE FOR JACOB SEBASTIAN BANG, FØDT 1965
Arkitekt og billedkunstner
Lektor og programleder for Bachelorprogrammet ”Helhed og Del” ved Det Kongelige Danske Kunstakademis Skoler for Arkitektur, Design og Konservering / Institut for Bygningskunst og Design / IBD
Medlem af Kunstnersamfundet siden 2003
Kunstneriske / forskningsområder
Kunstnerisk Udviklingsarbejde, Repræsentation: Maleri, tegning og model, Udstillingen som værk og dokumentation, Udvikling af Workshops og Kunstneriske skitserings og - arbejdsprocesser.
Solo udstillinger:
"6 cirkler - grafiske arbejder" - Biblioteket, Holmen, København, (Udlånt frem til 30 august 2019)
”Elements” - Smedjen, Holmen, København (fra 3 oktober – 7 november 2014).
”In the Memory of Space” - Biblioteket, Holmen, København, (30.august - 31.oktober 2013)
”1001 MODEL” - Smedjen, Holmen, København (fra 31 august – 3 oktober 2012).
Desuden deltaget i diverse udstillinger:
Works+Words Biennale (Med professor Jens Kvorning), Holmen, København (2017) Charlottenborgs Forårsudstilling i 2007, 2006, 2003, 1999, 1997
Grafiske arbejder i Politiken, 2004 Galleri Sparresholm, 2000
Kulturby ´98 – Stockholm, Kulturhuset Sergels Torg, 1998 Charlottenborgs Efterårsudstilling, 1997
Kulturby ´96 – Smedjen, Holmen, København og Pakhus 11, København
Legater
Akademirådets Rejselegat 2016
Statens Kunstfond 2011, 2005, 1999, 1997 Nationalbankens Jubilæumsfond 2007, 1999 Dreyerfonden 2006
Statens Værksteder for Kunst og Håndværk 2003, 1997 Produktionsstøtte fra Billedkunstrådet 2003
Legat fra Akademirådet 2003
Diverse:
Medlem af områdeudvalget for Design, Statens Værksteder 2015 – 2017 Adjunkt ved IBD / Kunstakademiets Arkitektskole 2012 - 2015
Cand.Arch. Kunstakademiets Arkitektskole,1995 Musik-sproglig student, Holte Gymnasium, 1985
CURRICUM VITAE ANNE ROMME
EDUCATION
The Royal Danish Academy of Fine Arts, School of Architecture, Copenhagen, Ph.D 2016 Princeton University School of Architecture, M.Arch II (Post-professional Masters Degree) 2008 The Irwin S. Chanin School of Architecture, The Cooper Union, New York, B.Arch 2005
Aarhus School of Architecture, Aarhus, M.Arch. 2005
ACADEMIC WORK
KADK, Arkitektskolen. Head of Programme: Finder Sted | Taking Place B.Arch. teaching program 2014 -
EPFL, Lausanne, Switzerland, [ALICE] studio: Guest critic. 2012 - 13
Kolding School of Design, Kolding, Denmark, Dep. of Interactive Design, guest teacher 2010 The Royal Danish Academy of Fine Arts, School of Architecture, English-spoken masters program, Dep.2, adjunct assistant 2009 - 11 Aarhus School of Architecture, Institute 1, “Making Real”, adjunct assistant 2009 - 11 The Irwin S. Chanin School of Architecture, The Cooper Union, New York, adjunct assistant 2008 - 09
Pratt Institute School of Architecture, New York, invited guest critic 2008 - 09
Graduate Schoool of Architecture, Planning and Preservation, Columbia University, NY, guest critic 2008 The Royal Danish Academy of Fine Arts, School of Architecture, drawing workshop, Dep. 6 2008 Princeton University School of Architecture, Princeton, New Jersey, assitant instructor 2007 The Irwin S. Chanin School of Architecture, The Cooper Union, New York, adjunct assistant 2006 BUILT WORK
Plant4, greenhouses with educational purpose at numerous US elementary schools 2018 - SPACEPLATES Underwater Habitat, Sydney, Australia (for Lloyd Godson, marine biologist) 2012
”Ida&Mikkel’s House”, addition to villa, Copenhagen 2013
SPACEPLATES greenhouse, Bristol, UK 2012
SPACEPLATES greenhouse, Krøyers Plads, Copenhagen 2011
EXHIBITIONS (selected)
Drawing Millions of Plans, exhibition, KADK School of Architecture, exhibitor 2017
Skizzieren, Zeichnen, Skripten, Modelieren, 4. Forum Architekturwissenschaft 2017
Works + Words 2017, biennale of artistic research at KADK School of Architecture. Exhibitor 2017 Passages – the work of TAKING PLACE, Shanghai Study Center Gallery, China, curator and head of project 2016 Reclaim the Arb, Exhibition with N55, Carleton College Art Gallery, MN, USA 2014 Christopher Henry Gallery, 127 Elizabeth Street, New York, NY 10013, solo exhibition: Levent&Romme 2009
Brooklyn Designs, exhibition of the design work of Levent&Romme 2009
Time to Design - Saturated Porosity. Copenhagen, exhibition of screen wall, as Time to Design-fellow 2008 PUBLICATIONS (selected)
Here, FINDER STED | TAKING PLACE book, KADK School of Architecture 2017
Huse, Ikke Blokke, article in Arkitekten 3, March 2016 2016
FINDER STED | TAKING PLACE yearbook 2014-15, Beginnings, KADK Arkitektskolen 2015
”SPACEPLATES Greenhouse” in ”Temporary Architecture”, Lisa Baker, Braun Publishing 2014 SPACEPLATES Building system. in: Structures and Architecture - Concepts, Applications and Challenges: Proceedings of
the second international conference on structures and architecture. ed. / Paulo J. S. Cruz. London : C R C Press LLC 2013 PRIZES AND FELLOWSHIPS (recent)
Ward Lucas Lectureship in the Arts 14-15, Carleton College, MN, USA (with N55) 2014
Fra: WORKS+WORDS19 <WORKS+WORDS19@kadk.dk>
Dato: mandag den 4. februar 2019 kl. 16.02
Til: WORKS+WORDS19 <WORKS+WORDS19@kadk.dk>
Emne: WORKS+WORDS19 Biennale
Dear applicant to the WORKS+WORDS19 Biennale
The committee has finished the selection process. We apologize for the delay but we have
received many qualified applications, and we have examined all proposals with great interest and care.
We are pleased to inform you that your proposal has been selected.
This mail is a standard message that all accepted proposals receive. Acceptance is conditioned on your collaboration in the coming process where we will contact you to discuss the nature of the exhibition material. It may be that you have to clarify something in your application or that you will need to elaborate on an issue that is currently missing in your abstract. We also need to decide on the number of slots you can use.
We will contact you in the near future and start the discussion. The deadline for the revised abstract is April 1
st.
We thank you very much for your proposal and look forward to the coming collaboration.
We kindly ask you to confirm your receipt of this accept.
Kind regards
The WORKS+WORDS19 Committee
Letter of acceptance
NOVA INSULA UTOPIA Jacob Bang, Anne Romme
Attending to islands
Recent years have brought islands – existing and yet-to-be-build – to the center of the stage in Denmark.
In late 2018 the existing island of Lindholm some 100 kilometers south of Copenhagen became the symbol of the then right-wing government’s immigration policies, as it was planned to be a deportation center for rejected asylum seekers. The small island functioned as a research station for The Veterinary Institute of the Technical University of Denmark, which were conducting research on exotic viral diseases in animals. The isolation the islands new inhabitants was deliberate. “We’re going to minimize the number of ferry departures as much as at all possible [and] make it as cumbersome and expensive as possible”, stated one of the politicians in charge, and the New York Times reported that “Denmark plans to house the country’s most unwelcome foreigners in a most unwelcoming place”1 It goes without saying that the proposal stirred a heated public debate, accused of being unnecessary symbolic politics. Since then a new government has been elected and the plans abandoned.
Also in late 2018, the plans for Lynetteholmen2 was revealed. The large island was presentedas not only a new neighborhood for our ever-increasing need for urban housing, but also an embankment to resist rising water levels. Similarly, nine artificial islands by Avedøre powerplant south of Copenhagen will provide land for new businesses while at the same time provide flood protection. Both projects have long time frames (planned completion dates 2070 and 2040 respectively) yet are entirely realistic and feasible. Presented as images of clearly defined islands complete with strategies for how to establish the new land (based on the city’s need for dumping excess soil from its many construction projects), the islands received mixed responses.
It is intriguing and perhaps somewhat unnerving that such different uses and intentions for islands all seem to understand the island as a binary, finite form. Lindholm was deliberately perceived as site of isolation and otherness with little interaction with its surroundings. Following a series of workshops with local architects and planners, Lynetteholmen has been adjusted to incorporate more frayed edges towards the water, and without doubt, closer inspection and possible realizations of the projects will reveal more nuances. Nevertheless, all
1https://www.nytimes.com/2018/12/03/world/europe/denmark-migrants-island.html 2https://www.lynetteholmen.com/
projects in their current unrealized state remain clearly demarcated islands, presented visually as geometric patterns of objects separated from the surrounding sea.
The two planned island projects, Lynetteholmen and Avedøre Holme have a solution to their own problems built into them. The islands will give rise to a growing city and population consuming more resources, but presumably they simultaneously prevent floods and other catastrophes caused by climate changes. Paul Virilio’s warning that technology is predisposed with its own potential accident3 is turned inside out: The solution is attempted built into the problem. This project acknowledges the need to find such solutions, but suggests to go one step back in doing so.
Nova Insula Utopia asks questions rather than propose solutions. What is an island if seen as having a non- binary relationship to its surroundings? What is an island if understood as an artistic problem of combining technology and accident, intent and force?
Forces of creation
Structures are in a constant state of flux, in an ever-changing symbiosis between accumulation and
deterioration. Raimund Abraham has it “While you build the wall, you shall destroy the stones”4 and Willy Ørskov5 reminds us that building up and breaking down are not just opposites but also necessary forces of creation. It seems ever-more relevant that architects work within these opposing, yet productive forces. As our climate changes and people need (or desire) to live more densely, fruitful ways of imagining new habitats could very well be to explore this condition.
Nova Insula Utopia is an artistic symbiosis between additive and subtractive fabrication logics, between solid casts and perforated plate structures. It combines digital fabrication with material craft. The process of making and negotiation is inseparable from its form and intent. The project is a result of a close collaboration between two architects, whose working methods have been interwoven.
The main exhibition piece, a model of Nova Insula Utopia, and all of the small prototypes are amalgamations of two fabrication processes (CNC-milling and traditional plaster turning), two sides (up and down) and two material states (solid and void). The amalgamation results in a final, solidified object, but does not give priority to any of the fabrication processes, sides and material states. Thus, the project presents models of an island which can be read upwards down or downwards up through a mirror, suggesting that the viewer herself imagines a possible inhabitation. Likewise, the models show clear traces of the two fabrication methods, but does not erase or attempt to hide any of them in the final, solidified plaster object. Solids and voids suggest
3Virilio, Paul, The Original Accident, Cambridge: Polity, 2007
4 Abraham Raimund, [Un]built, Wien, 1996
5Ørskov, Willy, “Aflæsning af objekter”, Copenhagen, 1966
what they are, of course, but solids can also be imagined to be hollow and inhabitable, whereas voids can be imagined to be filled with water.
The Nova Insula Utopia drawings are a result of an exchange process in which unfinished drawings were passed back and forth between us, cancelling out conventional perceptions of creation and destruction. Marks, which to one of us were meaningful and necessary were changed or erased by the other. The agreement was to give up artistic ownership and transform any given drawing into a new state by means of disfigurement.
Nova Insula Utopia is inseparable from the working process in which the intentional and the unintentional were given equal value. The outcome is prototypes of an island in which forces (of nature, material characteristics and human interaction) constantly reiterates our understanding of the island as a stable object or place.
Contribution
Colonizing outer space is the focus of much research and investment currently. Large investments are made into getting there first, and making uninhabitable places livable. But we have large, unexplored potentials much closer by. Imagine that we could find sustainable ways of inhabiting the spaces of oceans, seas and harbors, making good living conditions for people. Islands of inhabitation, which produce energy, nurture civilization, culture and produce alternative forms of inhabitation.
In support of UN-Habitat’s New Urban Agenda, BIG has revealed islands of a floating city, Oceanix City.
concept to withstand natural disasters while housing up to 10.000 inhabitants6. A collection of hexagonal platforms moored to the ocean floor can produce its own power, fresh water and heat, designed to grow, transform and adapt organically over time. A modular maritime metropolis.
Architects, writers and artists have always liked to dream of islands and used them as working material for imagining new futures. Just like BIG, albeit at a smaller scale, with the Nova Insula Utopia project we intend to contribute to a discourse which, throughout centuries have continued to imagine new utopian islands.
Obviously, we owe respect to Thomas More’s “little, true book, both beneficial and enjoyable, about how things should be in the new island Utopia"7 The Isle of Death painting by Swiss Symbolist artist Arnold Böcklin (1827–1901) has also been of great inspiration, as have Kenzo Tange’s 1960 proposal for man-made islands in Tokyo Bay. Oswald Mathias Ungers and Rem Koolhaas’ ideas of the city as an archipelago has influenced how we think of our island as just one out of many.
Nova Insula Utopia is a manifest for giving form to new inhabitation. An island which is eaten up by an internal structure, like a hermit crab or an abandoned cocoon. Scaleless, it’s model is simultaneously alike to a coral reef and an organism of algae. It sounds and smells comes from the ocean. Its rhythm is in tune with the tide. It is a seaweed harvesting plant, an obsolete oil rig, a birth clinic and a crematorium at one and the same time.
6https://oceanix.org/, accessed October 8th, 2019
7https://en.wikipedia.org/wiki/Utopia_(book)
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Process models
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Process drawings
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Section
220 cm
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Exhibition system
Invitation
Catalog text
Final exhibition
Kig ind i arkitektens kreative hjerne
Biennale med europæiske arkitekter viser, hvordan kunstneriske overvejelser spiller ind, når arkitekter arbejder med både konkret problemløsning og fabulerende
værker. WORKS+WORDS 2019 er en tankevækkende udstilling om kunstnerisk udvikling inden for arkitekturen. Her åbner KADK dørene ind til de tanker, som markante arkitekter gør sig, mens de skaber bygninger, byer og landskaber. De udstillende arkitekter kommer fra otte lande i Europa, og gennem værkerne og den tilhørende udstillingsavis reflekterer arkitekterne over, hvordan og hvorfor resultatet er fremkommet. Som en ledetråd for udstillingen er de blevet bedt om at forholde sig FN’s verdensmål for bæredygtig udvikling. Dermed bliver udstillingen en samlet refleksion over forholdet mellem mennesker, natur og bygninger.
Et undersøgende univers
KADK arbejder i sine uddannelser og forskning med kunstnerisk udvikling som en af
hjørnestenene og vil med udstillingen vise, hvordan kunstneriske processer kan befrugte byggeri og produktion og være med til at komme med bud på løsning af samfundsproblemer. Dette er ikke udstillingen, hvor man kan se modeller og skitser for de kommende årtiers boligbyggeri langs københavnske havnefronter – med altaner og parkeringskældre. Snarere træder man ind i et legende og undersøgende univers. De 30 indslag handler om, hvordan arkitektur kan
intervenere positivt i verden, og bevæger sig fra det fabulerende til det mere nøgternt
beskrivende. I den første kategori finder man eksempelvis Anne Romme og Jacob Sebastian Bangs ’Nova Insula Utopia’: modeller og skitser til en flydende ø i science fiction-design, hvor en ny verden kan tage sin begyndelse efter klimakatastrofen.
ANNE ROMME & JACOB SEBASTIAN BANG: NOVE INSULA UTOPIA
I den anden kategori optræder fx Sarah Wigglesworths billedfortælling om huset på Orchard Street i London, der blev bygget som et eksperiment og gennem årtier har været et levende prøvehus for arkitektoniske ideer.
'A House Like Me'
Arkitekt Nicolai Bo Andersens udstillede værk er et helt enkelt hus i skala en til fem. Bygget udelukkende i træ. Med høj tagrejsning og en stram geometri af synlige trækonstruktioner indvendigt. Er det moderne eller gammeldags? Fremsynet eller tilbageskuende?
Review of exhibition on KADK website
Som andre indslag på denne udstilling er huset et statement. En refleksion over arkitektens praksis og ansvar i Antropocæn – den epoke i historien, hvor menneskets aktiviteter permanent har ændret livet på kloden. Huset er bygget med bæredygtige materialer og et æstetisk udtryk, som er
modstandsdygtigt overfor skiftende luner i kulturen. Et stille værk. Huse skal ikke larme, mener arkitekten, men være karakterfulde rammer om menneskers liv, og for Nicolai Bo Andersen er værket et svar på, hvordan vi kan tage bedre hånd om jordens ressourcer. Titlen er ’A House Like Me’ antyder, at huset minder om et menneske. Med hud (træbeklædningen) og skelet (de synlige indvendige bærekonstruktioner).
NICOLAI BO ANDERSEN: A HOUSE LIKE ME
”Hvis et hus minder om et menneske, kan det være, at vi er mere tilbøjelige til at passe godt på det”, siger Nicolai Bo Andersen, der er leder af kandidatprogrammet i Kulturarv,
Transformation og Restaurering.
Om udstillingen
Udstillingen er kurateret af Peter Bertram, Christina Capetillo og Anders Abraham, der efter open call har udvalgt 26 indslag i kategorierne realiseret værk, forslag eller grundforskning.
Desuden er fire internationalt anerkendte og erfarne arkitekter blevet inviteret til at udstille.
Foruden Sarah Wigglesworth er det Peter Märkli, Francesca Torzo og Günther
Vogt. Works+Words er en biennale, som skal udvikle sig for gang for gang. For to år siden var der inviteret nordiske arkitekter, denne gang er det europæiske, og næste gang bliver det
arkitekter fra hele verden.
Udstillingen kan ses i Udstillingssalen på KADK, i perioden 28.11.2019 - 19.1.2020.
Der er udstillingsåbning den 28.11. kl. 17-19 - alle er velkomne.
Open Call
Works+Words2019
KADK, The Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation invites proposals for WORKS+WORDS 2019, Biennale in Artistic Research in Architecture, to be held in the Great Exhibition Hall at KADK from November 28th
2019to January 19th 20
20.
WORKS+WORDS 2019 will present artistic research within the field of architecture in Europe.
Artistic research aims at developing new ground in the field of architecture and is characterized by combining the making of works with reflections in words. Artistic research is defined as an
integrated part of an artistic process, which leads to a public accessible work and is accompanied by intellectual reflection on as well the process itself as the presentation of the finished work.
WORKS+WORDS 2019, Biennale in Artistic Research in Architecture operates with three criteria for artistic research within the field of architecture, as defined by KADK: Clarity, Density, Depth You can download detailed information regarding criteria on the Home Page:
https://kadk.dk/workswords
Call
Furthermore we kindly ask contributors to develop their work for this biennale in relation to the following three categories:
1. An abstract project. The contribution reflects on a given architectural problematic through an exploration of architectural media and a written reflection. The contribution should not necessarily follow the standards of an architectural project addressing a site and a
programme.
2. A project proposal. The contribution addresses an architectural problematic through the making of a project proposal and a written reflection. The contribution should address a concrete site and programme, but it is also possible to submit imaginary proposals. The proposal must not be realised.
3. A realised project. The contribution presents a realised architectural project through an exhibition object developed for WW2019 and a written reflection.
The sustainable development goals set by UN in 2015 is the conceptual frame that KADK currently addresses in its activities. We kindly ask contributors to reflect on the societal
implications of their projects, in order for WW19 to showcase how architectural researchers relate to the 17 sustainable development goals.
Link til KADK’s Home page: https://kadk.dk/en/fns-verdensmal-2017
WORKS+WORDS 2019 will show a selection of artistic research in architecture produced between 2015-2019, present reflections in written form and discuss outcomes of research in dialogues held alongside the exhibition.
The scope of WORKS+WORDS 2019 is to frame the status of artistic research in architecture in Europe by presenting works produced by architects who are researchers or research students working within the field of artistic research, chosen from submissions to this open call.
The final submissions must take the form of an artefact and a commentary paper. We welcome submissions of both final research and work-in-progress.
The biennale explores various formats suited for the development and dissemination of artistic research. Exhibitors can be asked to present their works in a series of Dialogue groups, which the curators are organizing, spread out for the duration of the biennale.
All questions relating to the open call or the biennale should be sent in writing to WORKS+WORDS19@kadk.dk.
Kind Regards
Anders Abraham, Professor, Architect PhD, KADK
Peter Bertram, Associate Professor, Architect PhD, KADK
Christina Capetillo, Teaching Associate Professor, Architect PHD, KADK
Claus Peder Pedersen, Associate Professor PhD, AARCH
Important information and Dates
The following is a selection. For further information please visit the Home Page:
https://kadk.dk/workswords
Work Abstract
The work abstract is a short synopsis of the central idea of the work supported by a selection of sketches or representations of the intended artefact/work. The work must be contemporary and made in 2015 or later.
The synopsis must not exceed 400 words (excluding references and figures). We kindly ask you to add a short C.V. to the synopsis no longer than a single page. The total document (synopsis, images and C.V.) must not exceed 6 A4 pages and should be saved as a PDF file of maximum 10 MB, labelled with the name of the applicant.
Send to WORKS+WORDS19@kadk.dk. via e.g. WeTransfer.
Language: English Submission: Free
Deadline: December 3th, 2018 at 12:00.
Eligibility
The applicant must be an architect and researcher or an architect and ph.d. student currently holding a research position (or had such a position between 2015-2019) at a school of architecture in
Europe.
Works and Words 2017 showed works from the Scandinavian countries, Works and Words 2019 will show works from Europe, and the intention is to extend the Biennale to include works from all over the world in 2021.
Publication
A printed catalogue of the entire exhibition featuring works and selected papers will be made
subsequently. The catalogue will be peer reviewed by an invited panel and present works from
WW2017 and WW2019.
Final Submission
Works:
The artefact can be made in any technique and form of expression. It can be one or several drawings/models/photographs and/or other media. Each exhibitor will have 1-2 modules for displaying their work. The curating committee will make the final selection of number of modules and selection of work.
The modules measure 2200 mm (L) x 1100 mm (W) x 300 mm (D) and can function as a:
1) A table to display e.g. a model on top of it
2) A table with e.g. drawings or photographs on top covered with glass 3) A display case covered with glass with e.g. objects laid out inside it Work arrival date: November 18th-22th 2019
Words:
1) Final paper: 3-5 A4 pages without illustrations (a page is 2400 characters including spacings).
All papers will be collected on the website.
Language: English.
2) Resume of 1 A4 page of 3000 characters including spacings. The resume will be presented in a newspaper at the exhibition.
Language: English.
Deadline: October 1st 2019
Important Dates
