建筑色彩文化浅述运用不同方法

COLOURFULKINDLING秘而美丽的建筑，把它们展示给的人。COLOURCULTUREINEUROPEANARCHITECTURE:ONDIFFERENTAPPROACHESTOAPPLYINGCOLOURINARCHITECTURE

世纪的欧洲建筑中，:Colourphenomenahavealwaysbeenaneducationanddiscourse,thechromaticaspectofthoughtconcerningthechromaticaspectcouldbemonumentalandvernaculararchitectureofsouthernculture,Europeanarchitecture,OrnamentedColouredlight,Monochrome

意大利的考古研究，他于1834年了一篇，最终证明该对欧洲有关古建筑和纪念碑使用多色涂料的 中（分别于1860年和1863年，于1898年译成英文是最早提出认为古代人在建筑和雕塑上应用了 7

monumentsMunich

他在旅行（死后于1966年中将自已描写成仿“

9

给他留下了很深的印象，并成为他在1920年代所修建的非常著名的建筑的特点。其中一个例子就是1925年

1955Ronchamp居住区单色墙体，2002年，苏黎士/Monochromewalloftwentiethcentury,whenthecolourofthefacadediscourseinEuropeanarchitecturebegantoundergoradicalchanges.Attheturnof1900,architectsbegantorejectornamentandrichlydecoratedsurfacesbecausetheywerenotinharmonywithmodernlife;sucharchitectswereAdolfLoos,OttoWagner,HenryvandeVelde,andnotionoftheornamentedwallsurfacewhichisGermanarchitectandtheoristGottfriedSemperConsideringthisbackgroundinmoredetail,Italy,Semperputforthathesisin1834whichtotheEuropeanpolemicandacademicdebatebuildingsandmonuments.SemperarguedthatclassicalGreektemplesandRomanmonumentswerecoveredwithpaintaccordingtoasystemofthe"subtlest,mostbodilesscoating"todoublytemple'sappearance,butsimultaneouslymaskinghand,Semperclaimedthatthepolychromepaintlandscape.Ontheotherhand,Semperarguedthatvisuallypaintwasanecessityduetothesouthernclimateinwhichthewhitenessoftheeyeinthestrongsunlight.SemperbasedhisconvictionconcerningthetemplesandRomanmonumentsonageneral,far-reachingtheory.Heattributedtheoriginof

weavingtomakeenclosures.Semperarguedthatwerecomposedofgrassesandbastfibre.SemperwhenwallswereconstructedthroughotherthewalltobecoveredwithtextilesorEnglishin1889).Semper'stheoryconcerningtheoriginofmonumentalarchitectureinweavingtechniquesthattheGreeksandRomansappliedpainttotheGreekandRomanuseofpolychromepaintwasobviouslyanattackagainstthecurrentlyGreekarchitecturewhichhadbeenpromotedbytheGermanJohannJ.Winckelmannandothereighteenthcenturyscholars.Semper'stheorydestroyedtheideathatGreecewasthelandofwhiteandpuremarbleclassicalformswheretheNorthernercouldenjoy,inWinckelmann'swords,"noblesimplicityandquietgrandeur."Withoutdoubt,Semperwasoneofthefirstarchitectstoassumeandpublishhisthesisthattheancientslifeandenergy.Inhiswatercoloursofthemostpaintedredwithpolychromecornices,frieze,colouredimageofclassicalarchitecturewasarevolutionaryactintheeyesoftheestablishedacademiccommunityandwentagainsttheunreflectedpropagationofthesublimewhiteness

Thesecondreasonoftheimportanceofthatarchitecturewasdevelopedoutofthetechniqueofweaving.Thiswascompleynovelandinoppositiontothecompetingnotionofisamatterofprotection,covering,wrapandenclosurewhichsuggestsacontinuous,coherent,two-dimensionalsurfacewithinaframework.Throughtextiletheflatsurfaceisrhythmicallyorganizedandcomposition,formandcolouryadominantrole.Semper'sideasinfluencedkeyfiguresattheturnofthecenturyintheUnitedStates,suchasLouisSullivan,andafurtherrevivalofSemper'stheoryofclothingisevidencedintheofOttoWagnerandHendrikBerlage.claimoftheuseofpolychromepaintonancienttemplesandmonuments.LeCorbusier'schangestowardscolourwhichweredevelopedinarchitectureatthebeginningofthetwentiethcentury.Forexample,hisearlyarchitectureornamentedsurfaceandlimitingaconsiderationofcolourinarchitecturetothetreatmentandbesttraditionofcraftsmanshipaspropagatedbynativetownofLaChaux-de-Fonds,Switzerland,ofcolourinarchitecturetoornament.InLeornamentaldesignwerederivedfromimmediateobservationofNature,amethodwhichwas 1encouragedattheEcoled'artofLaChaux-de-FondswhereLeCorbusierstudied."Sapin",aparticularkindofpinetreewhichgrowsintheregion,servedasthemodel.Significantlytransformedthroughaprocessofion,Lerepresentsashiftawayfromthecurvilinear,ornamentalistdesignofFrenchArtNouveau.However,whiletheformismorelikeOwenJones'Egyptianmotives,aspublishedinhis"TheGrrcoloursareunlikethecolourrangeofJones'green.Aswell,LeCorbusier'ssketchesandaquarellesdemonstratehispreferencefortheseyellowochreandsiennaofleavesinautumn.LeCorbusiercombinedthesetoneswithsomespotsoflightbluetoenhanceandrefreshtheoverallchromaticappearance.However,inasecondlineofdevelopmentinarchitectureofthetwentiethcentury,the"re-discovery"ofthechromaticaspectofvolumetricarchitecturecreatedthroughtheeternalyoflightandshadowleadtoradicalchangesintheunderstandingandapplicationofcolour.Inthisrespect,monumentalandvernaculararchitectureofsouthernEuropeanwereanimportantsourceofapproachleadtoadiminutionofconsideringthetextile-likeornamentedsurface,aspromotedbythe1900orbytheyoungLeCorbusier.Rather,colourbegantobeusedasaphysicallypresentelementtocreatespaceandvolume.Asmentionedabove,SempertravelledforTour"-totheoriginsofEuropeanculturewasusuallyacompulsorypartoftheeducationofayoungarchitect.Thereby,beforehestartedhisownpractice,thestudentwastotrainhimselfby

Austria,France,andGermanyduringtheyearschangedhisunderstandingofcolour,lightandspaceinanextremeway.AsSemper,LeCorbusiercameaboutthroughdiscoveringtheremainsofacoatofpaintonancientarchitecture.LeCorbusier'scameaboutthroughhisexperienceofLeCorbusierstatedthatarchitecturewas"purecreationofthemind."However,likeSemper,Lecolumnswerecolouredwithredhues.ContrarytoSemper,whowasguidedbyhisobservationsofthepaintedcoatonthesurfaceofthebuilding(hewasreconstructingthepresupposedoriginaleyeswereguidedbycolourperception.Heatmospherethathadappearedthatevening.sunsetwasrepresentedwithredhues,andinanotherwatercolour,thenortheastfacadeinthecolouredlightandalsotheredochrelandscapesurroundingit.AsLeCorbusierdescribeshisreaction,"InmylifeIhadneverseentheemergenceofsuchamonochrome!"ButLepsychologicaleffectsofcolouruponthehumanbeingwhichwasemergingandbeingpopularisedattheendofthenineteenthcenturyinEurope.Consideredfromthis,LeCorbusier'scolourchoicefortheParthenonfollowageneral

asbeingwarmandblueasContrarytoSemper,however,LeCorbusierwasnotonlydeeplyinterestedinmonumentalhisexperiencestravellingsouthofEurope,LeCorbusierunderwentaninversionofvalues."ThewholeOrienthasappearedtomeforgedwithvisionofayellowsky,eventhoughithappenedColourisnotintendedtodescribebuttoevoke."TheSouthbecametheinspiringandfascinatingdescribeshimselfasseemingtodriftthrough"and"dream."ThroughtheexcessivelightoftheMediterraneansun,lightandcolourbecamephysicallypresent,apresencewhichinvaded,contaminated,affectedorannihilatedspaceandstate:"Theeyeesconfused.""...themostdizzyingcombinationsofcoloursdance,"heperceivedcoloureverywhereandeverywhereithadaneffectuponhim.EffectivelyLeCorbusier'shyperstateofsensationrevealsafundamentaltruth:colouriseverywhereandsurroundsthehumanbeingatalltimes.Thereisnoce,nosurfacethatescapeswelookat,inarchitecturalandurbanspacewebothlookintoandoutofcolour.Whenwelookattotheobject,oureyesworklikealensandimmediayadjustourfocusuponthewholearchitecturalandurbanspace,however,theeyesandhumanbodymove.Thereareinnumerablespace.Movingin,stepout,walkingthroughandaround,anintuitivesenseofthewholeisdevelopedthroughmanypartialviews.Throughthevariousviewsgatheredduringwanderingmovement,shiftsofviewmakeitpossibletopainterandarchitectLeCorbusiermovedthroughcolourwereunfamiliartohimandoftenevenainvadedhissensesandthenewexperienceofhowCorbusierbecameobsessedwithlight,colourandlightandshadowandresultingappearanceofcolourdeterminethequalitiesofhislaterLeCorbusierwasanarchitectinterestedinthepracticalapplicationofcolour.Quality,location,butalsoproportionaltyofdifferent

alikeexperiencedthatcombiningcolourscantoimagineanidealcity:"IwantStamboultosituponherGoldenHornallwhite,asrawaschalk,andIwantlighttoscreechonthesurfaceofdomeswhichswelltheheapofmilkycubes,andminaretsshouldthrustupward,andtheskymustbeblue.Thenwewouldbeofthisdepravedbetheretopunctuateit.AndtheblueoftheseaTurkey,LeCorbusierimaginesawhitecityasapurecreationofhismindinwhichonlythegreenofthevegetationandtheblueoftheseaandskyothertoformonecontinuousspacewithoutbeginningorendwhichformstheuniverse.As

purificationandtheimageofapurifiedcitybecameafullylastingoneforhim.Hiseyeswereblindedbytheeternalsunandthecoloursblurredtogetherintoanimcablewhitelightwhichphysicallyembodiesallthespectralorrainbowcolours.AsthePaulKleeclaimed,thecolourphenomenaoftherainbowtranscendearthlycolourproperties,belongingtotheatmospheric,almosttothecosmicrealm.WhitebecameadominantexperienceofLelight:thewhitesun,thewhitesky,thewhitemorninglight,thewhitemist,thewhitepavingtables,thewhitewoodenbenches,thewhitefabrics,thewhitestuccoofpeasanthouses,thewhitelighthouse,thewhitemosques,thewhitehallofamonastery,thewhiteroom.AsBrentwhiteisabasiccolourtermwhichisculturallydefined.However,forLeCorbusier,whitebecameageneraland notion,abasiccolourcategorywhichpassedavarietyofthemselves(marble,sandorglass)visuallydeterminedthedegreeofwhitenesswhichwasonthesurfacesdifferedsubstantiallyandCorbusierseemedtonotonlyhavelefthisnativeenvironment,butalsohisculturalbackgroundtovocabulary.Asinsomenon-Europeanlanguages,inthisnewly-discoveredworldtheterm"white"MarkWigleyarguesaboutLeCorbusierthat,"Thedeliriumofcolourdescribedthroughoutthetextculminatesintheicdeliriumofwhite."LeCorbusier'stravelsintheOrientandDesignMuseum,1987,Germany 3respectfordecoration"whichhadbeenfosteredbyhistraining.Inparticular,hiscolourunderstandingoftheexteriorwallwasnewlyinfluencedbythethroughfoliageandflowersthatowetoittheirdazzle.Theroomsarewhitewashed,andthewhiteoftheflowersytheirscenes.ButmonochromewallswithphysicalpresencethatimpressedLeofhiswell-knownarchitectureofthe1920s.Oneitsexteriormonochromewhite,green,redochreandbluewalls.BackinSwitzerland,LeCorbusier'sfirstindependentarchitecturalprojectwastheVillanneret-Perret,ahouseforhisparents.Thisbuildingwascalledthe"MaisonBlanche"becausehehadrealizedsixyearsearlierinhisfirstbuildinginLaChaux-de-Fonds.Heusedthemonochrome(white)wallofvernaculararchitectureaswordsofClaudeLévis-Strauss,"FamiliarthingsbecamedistantanddistantthingsbecameimpressiveChapelatRonchampbuiltfrom1950toThemostessentialtwentieth-centurydevelopmenttowardsanewunderstandingand

newuseofcolourinarchitectureisthewaythechromaticaspectoftheinsurfacewasliberatedfromdecorationandornamentasareactiontotherichly-decoratedarchitectureofespeciallythosewhichwerecompletedduringthe1920s,demonstratetheemergenceofthisAlthoughstilllittleacknowledgedforhisandcreatedacopiousnumber,