By L. C. Kalff (auth.)

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These offices, dull in colour, uniform in arrangement and furniture, and very uniform in lighting are an example of what should be avoided. It is monotonous, inhuman and not conducive to pleasurable work. 54 As the result of these considerations it is clear that the use of daylight in modern buildings is no longer (see Chapter II) dictated by climatic circumstances. The construction has a strong influence on the size of the windows and the use of artificial light. This means that the modern architect has fewer possibilities of applying daylight in order to obtain architectural and aesthetic effects, compared with his predecessors who could use traditional materials and constructions.

44). 5. The windows are simple in form, the width is mostly chosen in accordance with the module of the rooms and partitions inside. This module is necessary because one must be free to divide or change the arrangement of the interior after the completion of the building. 6. The construction of modern buildings generally is such that the outer walls rarely support the weight of the building. Therefore the walls are light in weight and thin. This means that there are no deep jambs along the windows, the light enters with a very strong contrast between the glass and the frame.

Bath, Circus No. 10. 38 Fig. 31. ", a facade of screens in front of the walls of the buildings, in order to protect it against the hot sun. Since then this feature is common in all the South American and Mexican towns. LIGHT, THE CREATOR OF SPACE AND ATMOSPHERE The diffuse light, coming from the sky, can enter freely in an almost horizontal direction, producing a very unique light effect in the interiors. As we have said, Le Corbusier always designed his interiors together with their lighting as an integrated whole.

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Creative Light by L. C. Kalff (auth.)
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