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http://socks-studio.com/2015/03/01/conc ... almo-1969/
Very cool. I see they had to slather on the sealant around the edges.Tom wrote:Sorry
This is the detail from Lewerentz I meant to post:
https://www.flickr.com/photos/artifice/ ... 674005896/
As for the end walls, I like the wood ceiling plane meeting the white vertical surfaces. Daylight reflecting off the end walls at the clerestory is probably a major source of light in the space, some of the time at least ?
As for the quality of light that is reflected off the surfaces of the tray window, you could stick sheets of gray paperboard to all surfaces of one half of the length of the window recess, for a comparison test.
You would be introducing one occurrence of a fourth material into a total composition of redwood siding, drywall, and brick.
Unless the wood of the sill and head matched the ceiling I think the two woods - would work against each other - visually speaking.
Using redwood siding length wise in the slot - that matched the ceiling - would definitely change the quality of light and brightness.
We're told the ceiling planks are cedar, so that would presumably be the material of choice. But much cedar and most redwood is pretty soft -- not an ideal material for horizontal surfaces which see some use (an objection which applies to sheetrock as well ?).
And there's no guarantee that new material of a matching specie would match the color of the existing ceiling, which has become darker and richer in color over time. It's possible that a different specie, perhaps in prefinished ply, could actually come closer in color to the ceiling, with (potentially) less chance of darkening. Cherry would be a poor choice on that front, as it suntans quickly and alarmingly.
Maybe Mr Brink had it under control, after all . . .
Let the yellows -- and then the blues -- of afternoon and evening alter the spectrum, naturally (organically ?); let daylight be reflected unaltered into the house, and light the space neutrally at night, perhaps with amber light emanating from candles or from mica-shaded A & C sources, where desired, for accent.
If pure white is too bright, choose a "darker" white, an oyster neutral or a pale gray, perhaps, which is uninflected but which returns less of the light which strikes it ?
This is the natural and expected effect associated with modernism. It is not necessarily a formula to be applied to, for instance, Wright's work, which comes with its own carefully-wrought spectrum . . .