Inside And Outside Magazine Pdf

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Manifold Connects Architects Shailendra P Surana and interior designer Roopa S Surana, Mahapragya Architects, Solapur, Maharashtra enjoyed desiging their architectural studio-cum residence in sync with their design philosophy. The Stok Palace Heritage Hotel entices visitors to Ladakh with its rich architectural beauty-in turn offering a fabric of regal Ladakhi Lifestyle. A lavish bungalow in Udaipur by Dharam Patel Scattered over a steeply sloped site at Raaya near Eklingji, Udaipur, these bungalows respond to the location even as they offer infinite permutations in their configuration, through their modular nature.

Download as PDF - Daylight & Architecture - Magazine by | VELUX

Nowadays, there are many as pects relating architecture. Daylight is one of the most unique and location-specific characteristics of a place. We as ked five architects who teach at schools of architecture and universities,. The dogma of maintaining a constant indoor climate. This in turn serves to emph as ise. When designing a.

Daylight also h as a practical role to play in the thermal behaviour. Sunlight — as well as light from the overc as t. She w as a partner in the. Architecture is thus always. Their t as k w as to document a place, chosen by themselves, and. Oslo Fjord. In contr as t to the west co as t of Norway, storms. Making that acquaintance is, by its nature, a process b as ed. This realisation is as sudden as the change from one state. The buildings and films produced by Gerstlauer. Zhang Yue is an as sociate professor at the School of Architecture , Tsinghua.

Gently bowed gl as s block windows. Architecture and Models: Architecture and the Miniature, Mark also. Built in , the factory w as in production as recently as. For this re as on, material h as. Olafur Eli as son. The roof,.

He holds a M as ter degree in architectural theory and h as undertaken PhD research. And l as t but not le as t, there is a fourth need that comes into. The definitive gl as shouse — as an extreme product which is. If our awareness of light w as possessed and distracted by the. Gerhard Auer studied architecture at Stuttgart University and h as worked as. Braunschweig from to He h as worked intensively on the theory and practice. We have me as ured. The Daylight Factor DF is the ratio of the illuminance at a point in the.

Parpairi, K. Daylight ing in Architecture — Quality and User Preference. No tags were found Throughout history, these characteristics have inspired architects and architecture that sought to be in harmony with its place. Nowadays, there are many as pects relating architecture to genius loci: the form of a building, the choice of materials, its relation with its boundaries and local climate conditions and, there by , the way it is daylit and ventilated.

But how does the daylight situation in specific locations influence the life of people; and, in turn, how does architecture relate to local daylight conditions Daylight is one of the most unique and location-specific characteristics of a place. Landscapes can be flattened and open spaces can be concreted over, building materials are now almost infinitely available and historical events are gradually forgotten.

But daylight can neither be exported nor standardised; the midnight sun of Scandinavia or the midday sun in the Andes, which causes all shadows to disappear, will always be specific to the place. We as ked five architects who teach at schools of architecture and universities, and who all functioned as supporting teachers for participating students in the International VELUX Award , to explore the daylight in their different parts of the world — Hangzhou, Eskisehir, Lisbon, Oslo and Charleston.

They observed the specific virtues of daylight at each of these locations and investigated how traditional builders and modern architects have made use of it in their buildings. Gerhard Auer and Nick Baker examine our topic from the perspectives of an architecture theorist and a physicist respectively.

He searched for the light that is most commensurate with these functions. Baker starts off entirely without buildings: our genes are those of a creature of the great outdoors, and buildings should separate us as little as possible from nature.

Both writers point out how important a view over green fields is for our well-being. This in turn serves to emph as ise that the primary service of architecture should still be to underscore our sensory perception of a place and encourage the direct interaction between man and his environment. Sanatorium Zonnestraal and the van Nelle Factory are both iconic examples of the interrelation between architecture, location, daylight and indoor climate; generous and beautiful spaces that make people feel the particularity of the place through daylight.

An interview with Wessel Jonge, the architect in charge of the restoration of the two buildings, concludes this issue. Enjoy the read! Pei h as constructed a crystalline structure under the desert sun of Abu Dhabi, Jean Nouvel a Grotto in White in the docklands of Le Havre, the new ramparts of Granada resemble a light filter and the GreenPix media facade in Peking uses the energy provided by daylight to bring video art to the streets.

The house of Alan Jones in Randalstown appears big, gloomy and windowless from the street. Its black fibre cement cladding brings the traditional slate facades of Northern Ireland to mind — its size and shape are reminiscent of the churches and meeting-houses of the neighbourhood.

But the inside of the building surprises the onlooker by its openness, the views and a design concept that makes room for daylight. But beyond all individual and cultural differences, certain timeless factors constantly crop up all over the world when dealing with residential light. Gerhard Auer h as gone in search of these constants. Nobody is more familiar with the buildings of Dutch modernism than Wessel de Jonge.

As these walls had only very few openings, two rows of roof windows now channel daylight deep into the top storey. Again and again and always.

Every place, every time of the day and every se as on produces its own atmospheric light — that is the most important lesson that architects have learned over the thousands of years in which they have been working with daylight.

In her article, Marietta Millet talks about how they worked and the answers they arrived at in response to the delicate differences in light. PhotoGraphy by Josef Hoflehner. Niagara Falls, Study 4 — Ontario, Canada We as ked five architects who teach at schools of architecture and universities, and who all functioned as supporting teachers for participating students in the International VELUX Award , to explore the daylight in their different parts of the world — Hangzhou, Eskisehir, Lisbon, Oslo and Charleston.

An architectural jewel — I. Daylight enters the building through a small oculus from above and is reflected by the facetted cupola of steel. The more complex the geometry applied, the more facets the stone will have, and the more impressive the end result will be. In architectonic terms, I.

Its sharp-edged, regular yet complex form seems especially suited to creating unforgettable geometries of light and shadow in the blazing Arabian sun. The play of light and shadows continues within the almost 50 metre-high atrium. Daylight enters through a relatively small oculus right at the top of the building, and is reflected in a faceted stainless steel dome.

In many respects, the museum is a typical Pei creation — monumental, monolithic and windowless apart from an opening in the north side that reaches almost to the full height of the building. Strongholds in North Africa and a fountain in the inner courtyard of the Mosque of Ibn Tulun in Cairo were important sources of inspiration for his design. As with the fountain, the forms in I.

While the external construction is true to this conception, the atrium, with its concrete coffered ceiling and multicoloured stone floor, is more obviously in line with the t as tes of the client. The building stands on a specially created artificial island 60 metres offshore at the south end of the Bay of Doha. No sunbeams, however, penetrate into the exhibition rooms, which are arranged around the atrium in five storeys.

They were furnished using porphyry, valuable Brazilian wood and stainless steel mesh b as ed on a design by the French architect Jean-Michel Wilmotte, and are lit electrically to the optimal degree for the artworks. New quays are presently being built out of town at the mouth of the Seine for supertankers and container ships. The docks closer in to the town, on the other hand, are largely standing empty, waiting to be put to new use.

The exterior of this m as sive block, made from gleaming black glazed pre-c as t concrete parts and with irregular aluminium windows, would fit into any future office or commercial district as seamlessly as it fits into the harbour district. The interior, however, avoids conformity, with a f as cinating and occ as ionally irritating multiplicity of rooms and corridors, pools and sitting and reclining are as.

This is inside the building, but in the open air. The white-painted facades that surround it, with their niches and irregularly distributed windows, demonstrate what Nouvel aimed to produce through his design: a sculpture on a grand scale but intricately detailed, whose nooks and crannies offer visitors all the seclusion they need.

While many of his colleagues would like to see the right angle and bare white wall abolished, the French Pritzker Prize winner rehabilitates both to impressive effect. The fitted-together design of the pools is largely b as ed on natural formations in the sinter terraces of Pamukkale in Turkey.

Media facades still have a rather bad reputation among architects. They also use considerable amounts of electricity and their light is criticised for polluting the night sky.

GreenPix, the media facade of the 2,square-metre Xicui Entertainment Complex is another matter. This artwork adorns an otherwise unimpressive complex close to the Olympic b as ketball and b as eball stadium, but video installations by young artists form most of its output. It is coordinated by a team of several people headed by the curator and producer Luisa Gui. An even more important as pect of this project is its energy supply. The whole facade functions independently of the electricity grid.

It is fed by solar cells laminated into the gl as s. Throughout the day, they use batteries to store electricity that powers the 2, colour-changing LED lights at night. These photovoltaic elements are not uniformly distributed over the facade but arranged in an irregular pattern that looks rather like a sky with clouds. Two of the most important Moorish buildings in Spain — the Alhambra and the Generalife — can be seen in Granada. The origins of the city, however, lie elsewhere.

From the mid 14th century — during N as rid rule — this district w as surrounded by a wall which played more of an administrative than a military role, delimiting the urban area and separating it from the surrounding countryside.

For a long time, however, its immediate environs were decidedly uninviting.

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Inside Outside Magazine, Jan 2014

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Nowadays, there are many as pects relating architecture.

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