The ceiling is an important element in architecture and interior design, combining functionality with aesthetics through different materials that add layers of texture and color, providing quality and comfort in interior spaces as well as a protective surface for other building systems.
The Coronavirus pandemic demanded new needs and significant changes in our lives: in relationships, at work, in consumption habits, in increasing inequality. Indeed, the theme of workspaces came up in a historical moment when people saw their own freedoms limited for the first time in the postmodern era.
Most people were forced to work from home, and since the beginning of quarantine, reflection on the future of workspaces has become inevitable. Some interesting data show that the Coronavirus only boosted a practice that had been consolidating for years in some countries. According to the Global Workplace Analytics e FlexJobs, between 2005 and 2015, the number of professionals in the United States who do at least 50% of their work from home or elsewhere outside their offices grew by 115%, and today that number reaches 4.7 million, 3.4% of the strength of the job.
Whether by traditional windows, linear openings in the wall, or skylights, the manipulation and incorporation of natural lighting in architectural projects can render a radical change in interior spaces.
Peter Zumthor, in one of his most emblematic works, gives concrete an almost sacred dimension. The work in question is the small Bruder Klaus Field Chapel, located in a small village in Germany, a construction that is both robust and sensitive. Built with white cement, which was mixed with stones and sand from the region, the chapel is composed of 24 layers of concrete that were poured day after day by local labor, and compressed in an unusual way. The building's flat and smooth exterior contrasts with its interior, which was initially made of inclined wooden logs forming a triangular void. To remove these internal forms, the logs were set on fire in a controlled process, reducing them to ash and creating a carbonized interior that varied between black and gray and retained the texture of the negatives of the logs. The result is a masterpiece of architecture, a space for reflection and transformation, in which the same material appears in diametrically opposing ways.
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