Coloured Surfaces-Architectures Expanded Friend: An Inquiry into Colour Application in Switzerlands Contemporary Architecture
Early twentieth-century modern architecture liberated colour from ornamentation, historical styles and representational meanings of the past. White was established as an ideal that perfectly displayed light and shade upon modern architectures pure volumes. Set in competition to white, all other colours acquired the possibility to play abstract, autonomous roles. Borrowing from fashion and design, postmodernism, however, has acknowledged further-and contradictory-possibilities for colour. Distinctive, saturated colours vividly express the will to seduce and the desire for freedom, wealth, pleasure and luxury. Combined with new aspects of translucent, transparent materials and reflective, glossy or matte surfaces, as well as being enhanced through the use of sophisticated techniques, colour has not only been enabled to change its appearance and effects, but also its semantic, semiotic and cultural meaning. Especially since the mid-1990s the meaning of colour in architecture has been extended through the refined sensibilities of Swiss architects, such as Herzog & de Mcuron, Gigon/Guyer, Burkhalter & Sumi, and architecture in Switzerland designed by international architects, such as Jean Nouvel, Frank O. Gehry and Adolf Krischanitz. This impressive development has been underscored by the highly selective eye of contemporary artists working parallel or in collaboration with architects, as well as the emerging consciousness of special clients.
Colour in Architecture Contemporary Architecture in Switzerland Surface Colour
V. M. Schindler
Editor in Europe, World Architecture Beijing Atelier F&M Cler Etudes Chromatiques, 64 rue Vergniaud, Paris, France
国际会议
杭州
英文
215-218
2007-07-12（万方平台首次上网日期，不代表论文的发表时间）