luz e sombra na arquitetura
LIGHT AND SHADOW IN ARCHITECTURE
ombre et lumière dans l'architecture

30 de set de 2011

siza 10



















Centro Galego de Arte Contemporânea: Santiago de Compostela, Espanha, 1993, por Alvaro Siza
GALICIAN CENTRE OF CONTEMPORARY ART: SANTIAGO DE COMPOSTELA, SPAIN, 1993, BY ALVARO SIZA
Centre Galicien d’Art Contemporain: Saint-Jacques-de-Compostelle, Espagne, 1993, par Alvaro Siza 


Vista interna do clerestório inclinado por onde a luz penetra e é multiplicada para atingir tanto o átrio central quanto as escadas. A luz chega através de uma abertura relativamente pequena, é refletida nas superfícies brancas e distribuída no centro do edifício.


ONE OF THE MOST RECURRENT DAYLIGHT CONTROL SYSTEMS IN SIZA’S DESIGNS IS THE CLERESTORY. ALTHOUGH IT DOES NOT HAVE THE PURPOSE OF PROVIDING VIEWS OUT, A CLERESTORY PRESENTS GREAT ADVANTAGES COMPARED TO A COMMON WINDOW:
  • INTRODUCES DAYLIGHT HIGH INTO THE ROOM, REDUCING THE PROBABILITY OF EXCESSIVE BRIGHTNESS IN THE FIELD OF VISION; 
  • ALLOWS DEEPER DAYLIGHT PENETRATION INTO THE ROOM; 
  • FACES THE BRIGHT PART OF SKY DOME, CLOSE TO THE ZENITH, ADMITTING BRIGHTER DAYLIGHT; 
  • PROVIDES EXCELLENT LIGHTING FOR HORIZONTAL AS WELL AS VERTICAL SURFACES; AND ADMITS LIGHT WITH LESS VARIATION BETWEEN MAXIMUM AND MINIMUM ILLUMINANCES, PRODUCING RELATIVELY EVEN LIGHT DISTRIBUTION.

SIDELIGHTING IS THE MOST SUITABLE METHOD FOR ILLUMINATING HORIZONTAL SURFACES ALTHOUGH MAY CAUSE GLARE DUE TO THE HIGH CONTRAST BETWEEN THE WINDOW AND THE ADJACENT SURFACES. TO AVOID THAT, SIZA (A) ADRESSES LIGHT-COLOURED MATERIALS TO SURFACES NEXT TO THE LIGHT SOURCE AND SOMETIMES (B) CONCEAL THE LIGHT SOURCE FROM THE OBSERVER VIEW, INTRODUCING INDIRECT LIGHT.

AT THE GALICIAN CENTRE OF CONTEMPORARY ART, A TILTED CLERESTORY PROVIDES LIGHT THAT IS MULTIPLIED TO REACH BOTH THE CIRCULATION AXIS AND THE TRIANGULAR CENTRAL ATRIUM OF THE MUSEUM. IN OTHER WORDS, DAYLIGHT ARRIVES FROM A SMALL APERTURE, IS REFLECTED ON THE WHITE SURFACES AND IS DISTRIBUTED IN THE CORE OF THE BUILDING.

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