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I Premio de Arquitectura Miguel Martín-Fernández de la Torre

Primera edición del Premio de Arquitectura Miguel Martín-Fernández de la Torre. El objetivo de este premio es reconocer la calidad de las obras y los trabajos arquitectónicos realizados en Gran Canaria entre los años 2008 y 2017 en cada una de estas categorías: obra nueva residencial, obra nueva otros usos, rehabilitación y restauración, diseño interior y diseño urbano y paisajismo. Los premios llevan el nombre del ilustre arquitecto Miguel Martín-Fernández de la Torre (Las Palmas de Gran Canaria, 1894-1980), figura fundamental en la historia de la arquitectura española en el periodo racionalista y principal representante de este movimiento arquitectónico en Canarias

Primera edición del Premio de Arquitectura Miguel Martín-Fernández de la Torre.

El objetivo de este premio es reconocer la calidad de las obras y los trabajos arquitectónicos realizados en Gran Canaria entre los años 2008 y 2017 en cada una de estas categorías: obra nueva residencial, obra nueva otros usos, rehabilitación y restauración, diseño interior y diseño urbano y paisajismo.

Los premios llevan el nombre del ilustre arquitecto Miguel Martín-Fernández de la Torre (Las Palmas de Gran Canaria, 1894-1980), figura fundamental en la historia de la arquitectura española en el periodo racionalista y principal representante de este movimiento arquitectónico en Canarias

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but which is really the resource to state the uses, the

atmospheres, the spatial relationships.

All the materials participate in this idea of fluency: the

floor, of solid sucupira wood expands to the terrace,

making it clear that the living area does not end where

the glass door works as an enclosure, but continues to the

outside where the sky becomes the roof.

The white lacquered furniture, further to creating

vertical walls, reach up to the ceilings that, folding in,

accommodate artificial light in its holes; and the floor

surface is often replicated in the furniture as if it could lift

itself up to another height with any other shape.

Yet it is the eye that cannot find the limit: from inside to

outside, from intimacy to privacy, from privacy to more

privacy. In this property, sight has nowhere to stop unless

one wishes to, and then it will find resources.

The bathtub, as a piece of the bathroom yet external to

its “supposed limits” becomes the link between it and the

adjoining vanity area.

ILLUMINATION: the control of sensations

When night falls, illumination gives the space a feeling

similar to the emotion of the person living there.

Illumination enhances the emotional wellbeing of the

dwellers and, in addition, it highlights the purpose of the

project. If light can create shapes, we cannot leave the

shape to its own will once light disappears. Intentional

light, with the use of lighting patterns, different light

intensities, the appropriate colour temperature and the

exact intention, can create the correct attitude, the same

that we want to trigger when we project something

inspired by natural light.

REFLECTIONS: the lie that is magnified

The play of reflective surfaces: mirrors, glass and

lacquered glass strategically positions increase the space,

give a wider visual field to the observer and tirelessly copy

limits.

For many years now, we have stated that space, and

what it evokes in us when we experiment it, has a direct

influence on our emotional wellbeing, and it is now been

highly demonstrated that our emotional wellbeing has

a direct impact on our health. Therefore, living in a space

that is in line with our needs and where the outcomes

directly connect with our most positive sensorial resources

is one of the best gifts that we can give ourselves!

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