colour + light Dr Marisha McAuliffe

Transcription

1 colour + light Dr Marisha McAuliffe

2 Your studies in this course The interdependence of light and colour The physical properties of colour and related terminology Colour relationships demonstrated through various theoretical and practical techniques The symbolic, psychological and cultural dimensions of colour within historical and contemporary contexts Qualitative effects of colour within environments such as architectural interior spaces

3 What we will cover The following is a brief summary of what this course will cover From history, psychology, perception, culture, language, terminology, effects of colour and light, to explanation and how to of colour and light

4 history of architectural colour European history: white - purity, perfection and innocence - intellect and reliability. Strong hues - sensuality, emotions, instincts and instability (L orange, 2014) Discovery of Pompeii (Stuart and Revett 1763); vivid colours Greek monuments French journal Jupiter Olympian - William Morris and Gottfried Semper - cooperation in art, craft and architecture to acknowledge the colour reconstructions of the past. Some argue for white, colourless expression, focusing on sovereignty of form over colour, and white s ability to articulate light and shadow. Rodin staunchest representative of this argument. Debate sent European architecture into two directions - rift that still exists. Bauhaus School (1920s) stripped of ornament and colour. Black and white photography of architectural spaces and Bauhaus School reinforce achromia

5 history of architectural colour Colour as culture - ancient Greek and Roman architecture; Jodhpur (blue), Marrakech (red), Izamel (yellow) Colour as material - Jaipur (pink), Jaisalmer (gold) Colour as applied - mosaic and stained glass - Byzantine and medieval, Spain (i.e. Gaudi)

6 history of architectural colour - polychromy 1918: LC - Purism (with Ozenfant). Paintings: yellow and red ochres, earthy colours, white, black, ultramarine ( large gamma ). Architectonic colour - LC link between gamma and architecture. 1925: Rift with Ozenfant in system of Purist polychromy gradually vanished from LC s work 1950s, LC preference to natural polychromy (colour of material itself above painted polychromy). Post WWII painted polychromy was allocated as mere ornamentation. Trend toward achromic natural materials (i.e. concrete, etc)

7 Le Corbusier 63 colour shades 1. Colour modifies space 2. Colour classifies objects 3. Colour acts physiologically upon us and reacts strongly upon our sensitivities 1931 Purist colour collection - 43 colour shades 1959 Extends Architectural Polychromy - 20 stronger colours

8 more history: chromophobia Chromophobia: white as rational, clean, controlled spaces and use of colour is dangerous, superficial, and potentially contaminating - colour should be controlled ; rules to its use British East India Company: vibrant, cheap, and dye-fast cotton textiles imported from India, key in African trade (African slave trade). British traders used textiles to purchase slaves - trade fabric for slaves with African chiefs and kings Colour and class: England - Indian textiles rags ; bright colours scorned; Europe - more generally, bright colours sign of degeneracy and inferiority. Goethe: Men in a state of nature, uncivilized nations and children, have a great fondness for colours in their utmost brightness whereas people of refinement avoid vivid colours.

9 achromic trends in architecture Prohibition against applied colour - architectural morality and ideals of authenticity, honesty and directness in the expression of structure, function and materials Modernist movement and quasi-pathological attachment to whiteness Colour and feminine, oriental, primitive, infantile, vulgar, queer and pathological..realm of the superficial, the supplementary, the inessential or the cosmetic merely as a secondary quantity of experience, and thus unworthy or serious consideration (Batchelor, 2002) Colour not necessarily a problem in itself (when inherent to a material or weathering process i.e. copper). However, application of colour (i.e. paint or stain) raise issues of authenticity in architecture Achromatic architecture implies authority and legitimacy 2000 s to present growing confidence in application of colour

10 perception in lighting design Daylighting and windows light into space Artificial lighting in 18 th C (Edison) commercialisation and IESNA Richard Kelly ( ) William Lam (1970 s) John Flynn (1970 s) Post war 21 st C

11 perception in light and colour Psychological qualitative AS WELL AS quantitative (measurable and non-measurable) Spatiality, atmosphere and visibility Perception oriented lighting design light not illuminance levels or luminance distribution Light colour perception (SPD) Colour constancy - The Dress

12 light and colour colour appearance colour rendering colour temperature colour rendering index + Kelvins colour blindness metamerism

13 the application gap Education: colour and light seldom have prominent positioning in architectural education; colours of architectural history are often forgotten or neglected Persistent culture: Colour and light are still perceived as subordinate to form, volume and function, and therefore are introduced only at a late stage of the design process

14 the transformative power of colour Colour strategy principles should be developed early in the design process before actual palette or materials are decided A strategic approach to colour + lighting design that is not considered frivolous that is supportive, or entirely integral to the conceptual framework for the design. Colour schemes - space and light, design language and context, function and mood, and expressions of materiality and texture. Chromatic versatility: transformation, fragmentation, movement, and innovation

15 colour methodology Where does colour come into play? How is the colour experience altered when the building/space is lit in a different way? How does colour influence the experience of spatiality? Chroma and contrasts surrounding urban landscape and context Colour proportions - balance?

16 colour + light methodology site analysis Site visit Trendy Timeless Use a survey of the current situation (Manke, 1997; McAuliffe, 2016) Luxurious Exciting Modest Boring Inviting Uninviting Semantic differential to determine the spatial impact Survey of current situation Playful Understated Cultivated Functional Florid Common Natural Artificial Fashionable Old-fashioned Unobtrusive Obtrusive Ordered Chaotic Diverse Monotonous Cheerful Sad Cosy Uncomfortable Familiar Unusual Straightforward Ambiguous Merry Serious Soothing Unsettling Expansive Cramped Active Passive Hard Soft Bright Dark Loud Quiet Liberating Oppressive Light Heavy Warm Cold Airy Stuffy

17 colour + light methodology site analysis

18 colour + light methodology Decide key objectives (each space): Function how might I choose colour that allows and promotes efficient task performance? (i.e. appropriate) Cost effectiveness how might I choose colour that assists in reducing costs for the client? (i.e. maintenance) Durability how might I choose colour in a space that promotes appropriateness of the functions and aesthetics of the space reflecting the client s sustainable ethos? Maintainability how might I choose colour that is easily maintained? Compatibility How might I choose colour for the building/space that evokes a sense of architectural and environmental connection with the building s sense of scale, tradition, and historical significance? Design how might I choose colour that inspires the user to feel good about their surroundings and fosters creativity, productivity and personal satisfaction? Creativity how might I choose colour and application that allows creative and responsive solutions for everyday living and spaces that may be functional as well as enjoyable? (i.e. built in elements that may adapt) Flexibility how might I choose colour that encourages multifunctional activities and enhances the usefulness of the space in terms of the physical, technological, psychological and experiential characteristics? Timelessness How might I choose colour that conjures a sense of timelessness through structural expression, suitability of materials, harmonious visual and tactile features, and classic fixtures and furnishings?

19 colour + light methodology

20 colour methodology B, F Descriptor Colour Pure Light Dark Possible application or material A, E Exciting - A Orange Possibly Maybe No Applied Cultivated - B Brown NA Yes No Material - timber Ordered - C White Possibly NA NA Applied H, I C, K 3 Diverse - D Range of colours Possibly Possibly No Applied Cheerful - E Orange No Yes No Material - plastics Cosy F Brown NA Yes No Material - timber Familiar - G Blue No Yes No Applied D G, L J 2 1 Active H Orange/red Possibly Possibly Possibly Material - plastics Loud I Orange/Red Possibly Possibly No Applied Light J Aqua Possibly Yes No Applied or material Airy K White Possibly NA NA Applied Soft - L Blue No Yes No Applied

21 colour methodology Colour palette generator to get an idea of colour and lighting

22 colour methodology Methodology colour design How do I determine the right colour for my design? Application of colour in architecture requires experience, knowledge and courage Materials? Applied as a surface coating? (i.e. paint) Lighting? Details? Step by step process (generally in any colour choice there is a level of anxiety, or uncertainty when inexperienced) What kind of site analysis do I need to do? (morning, noon, evening sun, surrounding landscape etc) How do I explore my options? What companies have materials that could be applied and are appropriate? Planning restrictions and council permissions

23 lighting methodology Lighting effects Quantity and quality Lighting design effects Lighting in layers Lighting design process Objectives Final proposal

24 danke grazie takk gracias merci kiitos q s?