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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