DAYLIGHT & ARCHITECTURE

1. DAYLIGHT & ARCHITECTURE PURPOSE/WHY • VELUX wants to play a role by contributing and stimulating ussues that lead to better living environments. To obtain this we: • Constantly seek to strengthen the relevance of our products in architecture. • Wish to enhance and encourage the role of daylight and fresh air in design prioritising. • Build and nurture relations with the building sector as such. • Profile VELUX beyond the products in themselves • Position VELUX as a partner in architecture • `Daylight & Architecture´ works as a platform for these objectives, being as well a communication channel for reaching a mass audience, as a dialogue platform for a complex target group. • D&A works also as a communication tool within the added-value-mix that VELUX provides the customers - integrated communication! TARGET GROUP/WHO • Primary Architects & Specifiers • Secondary multiplicators • General Public

2. DAYLIGHT & ARCHITECTURE CONTENTS/WHAT • The magazine features in-depth articles from internationally renowned professionals on the themes of daylight & architecture. • Every issue has a specific contemporary topic, depicted in articles and pictures by as well scientific as artistic angles. • Further than the VELUX Editorial, which outlines our mission and aims there is a specific VELUX section with contents connecting the magazine topic and the company core values: • Panorama – High level reference cases with V-products • Insight – in-depth background on a specific project with V-products • Dialogue – current projects where VELUX is involved with the specifier profession FORM/HOW • 3 times pr year, International Architectural Magazine adressing the target groups • Architects, Specifiers, Multiplicators, & General Public (in prioritized order) • 95.000 copies # 5, published in 25 countries • # 1 Varieties; # 2 Living Environments; # 3 Textures; # 4 Light; # 5 Light & Texture EDITORIAL TEAM • External: Text (Schoof); Photos (Mørk & Eskerod); Graphics: SDL (Hwang & Nyberg) • Internal: Project Management (LoK); Communication (CBj); Architecture (NE, TTJ & LFe)

3. D & A # 5 LIGHT & TEXTURE

4. D & A # 5 CONTENTS

5. D & A # 5 LIGHT & TEXTURE MAIN TOPIC & EXECUTIVE OVERVIEW • Surfaces and new developments of surfaces have been a major “driving force” in recent architecture. Technological developments, new manufacturing technologies, and new aesthetic preferences have changed the way we design and look at architectural surfaces dramatically. • “Mankind&Architecture” (p. 8), Prof. Richard Weston an architectural historian’s viewpoint, focusing on light and architectural surfaces in 20th century architecture. • “Main article” (p. 14), a broad range of experts – not only architects, but also photographers and other artists, lighting designers, philosophers, a biologist, an anthropologist and other scientists – explain phenomena and developments regarding “light and texture” or “light and surfaces” from their fields. • “Reflections” (p. 76), a different view on light and surfaces is taken: How are surfaces and their textures, as well as light and shadows represented in architectural drawings, and what role do (hand-made) architectural drawings still play in the creative process in our days, in a time when most construction drawings are made on the computer? • “Daylighting Details” (p. 84) explores how light, shadows and textures are represented in contemporary computer renderings, and how computer renderings achieved their present degree of perfection. • “VELUX Insight” and “VELUX Panorama” sections show recent VELUX case stories in which the interaction between light and the building’s surfaces plays a major role. • “VELUX Dialogue” a series of 3 interviews with the winners of last year’s International VELUX Award, discussing the work on these 3 architects and their ideas about the role of light in architecture, and about the interaction of light with surfaces/textures.

6. D & A # 5 IN DEPTH SUMMARY In its issue #05, DAYLIGHT&ARCHITECTURE focuses on the interaction of surfaces with the medium that renders them visible – light. This interaction is explored from a variety of viewpoints: In the “Mankind&Architecture” article (from p. 8), Prof. Richard Weston looks at it from an architectural historian’s viewpoint, focusing on light and architectural surfaces in 20th century architecture. In the “main article” (starting on p. 14), a broad range of experts – not only architects, but also photographers and other artists, lighting designers, philosophers, a biologist, an anthropologist and other scientists – explain phenomena and developments regarding “light and texture” or “light and surfaces” from their fields. The reason for this interdisciplinary approach is obvious: Architecture is no longer an “autonomous” discipline, but has established (and had to establish) close links to other fields like art, engineering, social sciences and the like. Therefore we have also, from the very start, decided to make DAYLIGHT&ARCHITECTURE a magazine for architects, but not only about architecture. This is reflected in the main article. In the “Reflections” article (starting on p. 76), a different view on light and surfaces is taken: How are surfaces and their textures, as well as light and shadows represented in architectural drawings, and what role do (hand-made) architectural drawings still play in the creative process in our days, in a time when most construction drawings are made on the computer? The “Daylighting Details” article (from p. 84) starts more or less where the “Reflections” article ends. It explores how light, shadows and textures are represented in contemporary computer renderings, and how computer renderings achieved their present degree of perfection.

7. D & A # 5 – VELUX TOPICS ATIKA: Atika is a concept house conceived by VELUX for the Mediterranean climates, and especially adapted to a region where there is beaming sunlight most of the day in summer, with a high risk of overheating of interior spaces. In Mediterranean countries such as Spain and Greece, huge increases in the number of air conditioning units have been one of the reasons for rising (rather than falling) CO2 emissions over the last decade or so. The main future challenge in this region will therefore be to supply low-energy cooling mechanisms and ventilation/fresh air to residential spaces. Atika is one step into this direction. Rather than providing heavy masonry walls, which are common in Mediterranean countries due to their capacity to “store” heat in winter and cold in summer, Atika is a lightweight construction based on a steel frame. None the less, with its intelligent design (including orientation of the building, roof slopes and shading devices) and intelligent energy management system (which e.g. regulates the ventilation through the roof windows), the house manages to solve most of these problems. Note that Atika is NOT a “one size fits all” solution. It is a concept house, whose size, orientation and roof shape will have to be adapted to the actual building site and geographical coordinates (i.e. the path of the sun through the sky) in each case.

8. D & A # 5 – VELUX TOPICS International VELUX Award: The last IVA was a great success. With 557 projects from 227 schools in 53 countries handed in for the 2006 event, the IVA counts among the largest and most ‘international’ student awards for architecture worldwide. One striking feature of the award, which was also mentioned by the member of the jury Per Olaf Fjeld in his speech, was the great variety of ideas and concepts submitted. They ranged from purely conceptual work to actual architectural projects (designed ‘to be built’), focusing sometimes on technology, sometimes on materials or on landscape design. Basically the IVA award highlighted the fact that daylight is essential in ANY part of our built environment – whether it is a subterraneous space, a single-family house or a structure in a park. The interview with Anastasia Karandinou focused mainly on different cultures and their attitude towards light: Anastasia comes from Greece, now works in Scotland and handed in a project for Shanghai. In all three places, the significance of light varies greatly: In Scotland, daylight is much more scarce than in Greece, with less problems of overheating and less importance for shading. In the “boom-town” Shanghai, one would think that most places are already (electrically) “well-lit” to “over-lit”, but Anastasia explained that this only applies to the business centres and the tourist areas, whereas in other areas, light is still scarce in many places.

9. D & A # 5 – VELUX TOPICS Within heavy walls project: Originally, the title read “A Light House within Heavy Walls”. And this is what it is: The museum-plus-workshops-for-the-esxcavators inside the castle of Brie-Comte-Robert is a lightweight wooden construction without any massive parts save a few (prefabricated, not cast in situ) concrete foundations that can all be removed if further excavations are to be carried out in the castle courtyard. The building shows how sound daylighting can be achieved even in a relatively low-cost building by an intelligent distribution of windows and roof windows. And it shows that museums need not necessarily be “black boxes”, but can be open with all the natural changes and rhythms of daylight to be seen and perceived inside the building.

10. D & A # 5 – VELUX TOPICS A convertible in Larchwood This house beside a lake in southern Germany is based on the design principles of local farmhouses which used to have wooden porches under both eaves. In this case, the porches can be closed with wooden louvre shutters (hence the title “A convertible”). Over the central stairwell of the building, nine VELUX roof windows were installed to provide daylight. To prevent glare, the architects combined them with characteristic “light cannons” (essentially, these are wooden boxes that are open on the underside). This feature, which was used in similar ways by Le Corbusier already, can be seen especially well on p. 107 of the magazine.