Daylighting

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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 is perceived. Ribs and wave shapes in the facade, seams of light in the floor or intermittent lighting points make light an architectural element that harmoniously complements the actual texture of the building. However, it is not only light and its presence in buildings and on surfaces that is important; lack of light and the presence of shadows are of equal relevance. Although light and shadow are complete opposites, they should be combined to generate an overall effect. Texture, however, not only depends on the type of material. Structures, proportions and the arrangement of elements also determine the texture of any body. In architecture, this body is the building – and the arrangement of its elements is the expression of common sense. Fernando Menis

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VELUX EDITORIAL WELCOME TO DAYLIGHT & ARCHITECTURE MAGAZINE BY VELUX

In a time of digital design, several architects take up the challenge of exploring the vast possibilities of bringing forward virtues in well-known materials by new means of constellation, structuring and cladding. After decreasing materialization and abstraction of surfaces during Modernism, architecture is currently rediscovering the texture of materials as a property that has a strong influence on the atmosphere of spaces and the ‘aura’ of objects. Surfaces are no longer treated as purely two-dimensional, but become three-dimensional in their own right, and in doing so become more susceptible to the interplay of lights and shadows. We are proud to present the MAGMA conference centre on Tenerife, as an excellent exponent of this tendency. Through the exceptional use of texture varieties in one building material, the ensemble brings a flow of masses to life by the distinct daylight on the Canary Island. Coming from issue # 2, which dealt with how housing turns into homes, how processes and products turn out to become living environments, we now go a step closer to look at our physical surroundings. In the issue of Daylight &...
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