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THERE IS A particular alchemy in the meeting of light and surface. Both are transmuted according to texture, colour and reflectivity. Both can be modified individually – the light diffused, tinted, directed; the surface coloured, roughened or refined – to change the nature of the encounter. The following projects examine that relationship. All, interestingly, feature curved planes, a further factor in their reception of the light. Two of the projects, literally concrete


LIGHT + TECH


LIGHT TOUCH


Beautiful, complementary textures can maximise illumination potential. Here are three examples of how a little optical intelligence can go a long way


examples, illustrate how creatively natural light can be used, how its interaction with interior spaces and surfaces becomes part of the fabric of the design while the two elements remain separate. The UCCA Dune Art Museum, which was shortlisted for the 2020 Beazley Designs of the Year Award, is the simplest with its pure, primal white structure. While the Brno-Lesná church is more complex and nuanced, exploiting in a contemporary way the age-old pairing of stained glass and sacred environments. The second project, a whisky bar,


which features primarily artificial light with an element of natural light, is a perfect example of how surface texture and light can become fused into one.


WU QINGSHAN


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