The architecture of natural light pdf

I’the architecture of natural light pdf very interested in buildings that adapt to changes in climatic conditions according to the seasons, buildings capable of responding to our physical and psychological needs in the way that clothing does. We don’t turn on the air-conditioning as we walk through the streets in high summer. Instead, we change the character of the clothing by which we are protected.

Layering and changeability: this is the key, the combination that is worked into most of my buildings. This involvement with the building also assists in the care for it. I am concerned about the exploitation of the natural environment in order to modify the internal climate of buildings.

Architects must confront the perennial issues of light, heat, and humidity control yet take responsibility for the method and the materials by which, and out of which, a building is made. The considerations, context, and the landscape are some of the factors that are constantly at work in my architecture. Philip Drew’s Leaves of Iron published in Sydney in 1985. Despite its somewhat indifferent distribution, this book had the effect of consolidating the nascent Murcutt myth which was by then already an indicator of the resurgence of Australian architecture.

One should also mention in passing the one other French influence that deeply affected Murcutt’s parti pris in the mid-70s, namely, Jean Prouvé’s Maison Tropicale of 1949. Murcutt’s brief contact with the Greek island vernacular took him back to his roots, to the relatively primitive environment of his childhood in New Guinea, to the nature writings of Thoreau much cherished by his father, and above all, to the realization that a revitalized Australian architecture would have to be grounded not only in its greatly varying climate and landscape, together with its exotic flora and fauna, but also in the repressed Aboriginal culture that was to have such a decisive influence on the evolution of Murcutt’s domestic architecture.

Murcutt’s conception of a new Australian domus in the form of a long and narrow, light-weight, roof work, comparable in its sheltering function to the bower of a tree or, in more morphological terms, to the turned up collar of an overcoat that shelters from the wind while subtly opening its front towards the sun. Lastly, there was the ubiquitous, long forgotten, corrugated iron roof vernacular of the Australian outback to which Murcutt turned immediately after his world tour to create the louvered Maria Short farmhouse at Crescent Head, overlooking the Maria River in 1974, his second house for the Short family in less than two years. In this canonical piece, he succeeded in combining the Semperian primitive hut of 1852 with the tectonic refinement of Mies’ Farnsworth House, along with a vertebrae approach to basic structural frame taken from Prouvé’s Maison Tropicale.