Rooflights on an older roof, and why the pattern matters
A rooflight is a small thing that can do a disproportionate amount of harm to an older roof, and the difference between one that disappears and one that dominates comes down to four decisions. The first is projection. A standard modern rooflight sits proud of the roof plane, and on a slate or hand-made tile roof that shadow line is what catches the eye from the street. A conservation-pattern rooflight is designed to sit flush or very nearly flush with the covering, and on designated land Class C in any case requires that a rooflight must not project more than 150 millimetres beyond the plane of the slope. The second is proportion. Older roofs carry vertical proportions in their openings, and a rooflight that is wider than it is tall reads as a modern insertion however well it is detailed; a taller, narrower unit, often with a central glazing bar, matches the rhythm of the building below. The third is position, which is the decision most often taken by the installer rather than the designer. Rooflights aligned with the window openings below read as part of the composition; rooflights scattered to suit the internal layout read as holes punched in a roof. Keeping them off the most publicly visible slope entirely, and taking the light from the rear or from a slope facing away from the street, is better than any amount of careful detailing on a prominent elevation. The fourth is number: two well-placed rooflights usually deliver more usable light than four poorly placed ones, because daylight from above is generous and the limiting factor in a converted roof is more often glare and heat than quantity. On an undesignated house all of this is discretionary and worth doing anyway for the appearance of the house; on a designated one it is the difference between an application that is supported and one that is not.