Daylighting
DAYLIGHT & ARCHITECTURE
SUMMER 2006 ISSUE 03 TEXTURES 10 EURO
MAGAZINE BY VELUX
SUMMER 2006 ISSUE 03 TEXTURES 10 EURO
DAYLIGHT & ARCHITECTURE MAGAZINE BY VELUX
DISCOURSE BY FERNANDO MENIS
Portrait by Torben Eskerod Read more about the work of Fernando Menis in the article ‘Megalith circle in the desert’, starting on page 14.
Every building is inextricably intertwined with the site where it is located. The section will follow the topography of the terrain, and the ground plan will be suitably aligned to the natural light. But what is more important is that the location also influences the choice of materials, the appearance of a building and the actual texture it finally possesses. If an architect takes these factors into account in his work, while remaining aware of the special features displayed by the surrounding area, natural characteristics become the fundamental values of architecture which does not subordinate itself to the current vogues or passing trends. Each project makes a fresh start though a process of analysis and reflection on these basic underlying values. The architect must have some idea of what kind of architectural space he wants to create. Does he want it to suggest an invisible influence, radiate an aura of peace or evoke specific feelings? Or does he want to proclaim a visible influence and thus make it a more complex place to live in but with a more powerful form of expression? Whatever decision is reached, in both cases the use of light and the final texture of the building will determine the architectural result, which should be in harmony with the use to which the building will be put. Light and texture are inseparable, forming a conceptional unity. The fall of light into a building depends to a large extent on the materials used and is therefore a factor that should be taken into consideration when choosing these materials. The right choice of materials can exert a powerful influence on the way in which an architectural space
SUMMER 2006 ISSUE 03 TEXTURES 10 EURO
MAGAZINE BY VELUX
SUMMER 2006 ISSUE 03 TEXTURES 10 EURO
DAYLIGHT & ARCHITECTURE MAGAZINE BY VELUX
DISCOURSE BY FERNANDO MENIS
Portrait by Torben Eskerod Read more about the work of Fernando Menis in the article ‘Megalith circle in the desert’, starting on page 14.
Every building is inextricably intertwined with the site where it is located. The section will follow the topography of the terrain, and the ground plan will be suitably aligned to the natural light. But what is more important is that the location also influences the choice of materials, the appearance of a building and the actual texture it finally possesses. If an architect takes these factors into account in his work, while remaining aware of the special features displayed by the surrounding area, natural characteristics become the fundamental values of architecture which does not subordinate itself to the current vogues or passing trends. Each project makes a fresh start though a process of analysis and reflection on these basic underlying values. The architect must have some idea of what kind of architectural space he wants to create. Does he want it to suggest an invisible influence, radiate an aura of peace or evoke specific feelings? Or does he want to proclaim a visible influence and thus make it a more complex place to live in but with a more powerful form of expression? Whatever decision is reached, in both cases the use of light and the final texture of the building will determine the architectural result, which should be in harmony with the use to which the building will be put. Light and texture are inseparable, forming a conceptional unity. The fall of light into a building depends to a large extent on the materials used and is therefore a factor that should be taken into consideration when choosing these materials. The right choice of materials can exert a powerful influence on the way in which an architectural space
References: LIGHT AND MATERIALS Above Carlo Scarpa: Museo del Castelvecchio, Verona (1961–64) Light creates contrasts: the rooms in the museum are plastered with rough “Stucco alla veneziana”