建筑环境色彩外文翻译文献.docx
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建筑环境色彩外文翻译文献.docx
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建筑环境色彩外文翻译文献
文献信息
文献标题:
Strategiesincolourchoiceforarchitecturalbuiltenvironment(建筑环境色彩选择策略)
文献作者:
PietroZennaro
文献出处:
《JournaloftheInternationalColourAssociation》,2017,19:
15-22.
字数统计:
英文3211单词,16942字符;中文5483汉字
外文文献
Strategiesincolourchoiceforarchitecturalbuiltenvironment
Intherealisationofacolourdesign,orofacolourplan,everydesignershouldhavetheavailabilityofasetofbasictoolstopreventhimorherfromperformingprejudicialoperationsintheterritory,inthelandscape,inthecity,intheneighbourhood,andintheindividualbuilding.Thesamedesignershouldthenknowsomerulesinthecolourchoicethatwillenhancethebuiltenvironment.Theapproachtocolourselectiondependsonmanyfactors,forexamplethebuildingsizeandfunction,thecombinationofspaces,theurbanform,thedimensionsofstreets,alleys,plazas,squaresandsoon,butespeciallythespecificityoftheplace.Bythiswemeanthehistory,traditions,culture,geographicallocation,thequalitiesandweaknesses,therangeofpossibledesign/conservationoptionsandallthosecharacteristicsthatdistinguishoneplacefromanother.Soitshouldbecleartothedesignerwhofacesachromaticproject,thatheorsheprimarilyneedsadedicatedstrategy,differentfromcasetocase,specifictoeachplace.Thediversityoftheplacesestablishestherichnessoftraditionsandcustomsthatshouldbepreservedand/orpossiblyupdated.
Introduction
“Startingthestudyofperception,wefindinthelanguagetheconceptofsensation,whichseemsimmediateandclear:
Ihavethesensationofred,blue,hot,cold.”
Theperceptionofspaceisacomplexphenomenon.Ittakesintoaccountnotonlythedetectionandappearanceofthesurroundings,butalsoinvolvestheviewerintermsofsynaesthesia,memory,personalexperiences,moods,physicalandpsychologicalconditions,age,sexandathousandotheraspectsthatwouldbelongeventolist.Inturn,thesameperceptionproducesinnumerableandcomplexreactions,highlydependentfromsubjecttosubject.“Weapproachthevariabilityoftheouterworldatseverallevelsofexperiencesimultaneously,partlynaturallybyecologicallybasedcounterbalancesinperceptionandbodyandpartlythroughconsciousactions,personalorcultural,throughappropriatebehavioursorthroughtechnicaladaptability.”
Thereforeanyonewhowantstodealwiththedesignofbuildingscannotbeunfamiliarwithsomebasicknowledgethatwillenablethelimitationofdamagecausedbyhisactions.Architecturaldesignisacomplexkindofworkthathasthepurposetoaestheticallyqualifytheenvironment.Evenjustdealingwithchromaticaspectsintheprojectisnotaminorthing.Infact,thecolouroftheplanetismadeupofinfinitelymanyaspectsthatarecertainlynoteasytoapproach.
Colourexertsastronginfluenceontheperceptionandinterpretationofthesurroundings.Colouraffectsmoodandhealth.“Inperceivingacolourweexperiencetheobjectivemeaning.Eachcolouristhenanemotionalpreciselydeterminedsignalthatisexperiencedunconsciously.Thecoloursignalsarethereforeanemotionallanguageunderstoodatasubconsciouslevel.”
Insocialterms,forhumanbeingscolourisbasicallyameansofcommunicationandculturaltransmission.“Formanyreasons(historical,economic,religious,military)theWesthastoowellunderstoodthislaw:
allthecitiesareconcentric;but,inaccordancewiththesamemovementofWesternmetaphysics,forwhicheachcentreisthelocationoftruth,thecentreofourcityisalwaysfull:
amarkedplace,wherewecollectandcondensethevaluesofcivilisation:
spirituality(withchurches),power(withoffices),money(withbanks),thegoods(withdepartmentstores),theword(with«agorà»:
coffeeandwalks).”AnalogouslyWesternurbancentresareacollectionandacondensationofcolours.Eachcitycentretendstoshowemblematiccolours,representingthelevelofcivilisation.Commonlythecoloursusedinhistoricalurbancentresareoftenlowinsaturation.Thenewercultures,preferringtoliveinatechno-scientificenvironment,aremoreattractedbyhighly-saturatedcolours.
Ontheotherhand,intheorientalcultureweseeemptyurbancentres.ConsideringJapan,inTokyothehistoricalcityisconcentricandthecentreisempty.Itisoccupiedbytheheartofthenation:
thereligiousandpoliticalpower.TheEmperor,Japan'sreligiousandpoliticalleader,occupiesthisbigemptyspace.Sothecoloursusedarethoseofthetradition:
red,goldandwhite.SimilarlyintheChineseculturetheurbancentreisanemptyspace.InBeijing,theForbiddenCitywasexactlythiskindofconcentrationofnon-physicalelements:
powerandreligion.ThecoloursusedalsointhiscasewerethoseoftheEmperor.AftertheCommunistrevolutionredbecamethemaincolourinChina.Butthetraditionpersistsandthemaincoloursarethoseofthefiveelements:
Wood,Fire,Earth,Metal,andWater.InChina,therearefiveveryspecificcolours(i.e.blue-green,red,yellow,white,black)resonatingwithmeaningthrougheverylayeroftraditionalandmodernlife,representingemotional,physical,spiritualanddirectionalforces.
Assyntheticallyexpressed,transmittingaculturenotonlyrequiresknowingtechnicalaspects,butalsootheraspectsaffectingasocietyanditsevolution.Havingcareofcoloursisnotonlyapersonalpleasurebutinarchitectureconcernsthewholecommunity.Everybodyisinfluencedbycolouranditseemsnecessarythatdesignersshouldbeprovidedwithsomebasicinformation.Thearchitecturalprofessionalsoinvolvessuchtasks.
What’sdiscussedinthefollowingistheresultofresearchexperienceattheUniversityIuavofVenice,inleadingtheResearchUnit“ColourandLightinArchitecture”,andintheprofessionalactivityofcolourdesignandplanningforvillages/townswithhistoricalcentres,expansionzones,sprawl,isolatedhousesorindustrialareas.Thefocusontheimprovementofsuchplacesthroughtheappropriateuseofcolourisdeterminedbytheneedforupgradingtheman-land,andbyputtinginplacesuitablelow-impactfactors.
Discussion
Intheperceptionofoursurroundings,thecoloursareseendifferentlydependingonweatherconditions,seasonal,directorindirectradiation,byreflection,bysourceofnaturalorartificiallightingandinmanyotheraspects.Theperceptionofthesurroundingstakesplaceintermsofsynaesthesia,involvingallthesensesoftheobserver.
Analysingthebehaviourofcolourandlightinbuiltplaces,thereisnomoreemblematicexperiencethantheevaluationonsiteorbypicturesofwhathappensinacommonsunnyday.ForconveniencewehavetakenaVenetianexample,wherethepresenceofwaterandthedensityofthebuiltfaçadesmoreeasilyshowstheinteractionoflightwiththefacingfronts.Thepresenceofwater,also,increasingthemirroreffectofthecanalthatislessevidentincommonroads,showsbetterthetransferofacolourfromanilluminatedwalltotheoppositeoneinshadow.
InthesceneofFigure1,theleftfrontislessexposedtobadweatherthantherightone.Sincethecolourspaintedonthewallsarebasedonlimetheyhavethetendencytowashouteasily.Infact,theoppositefaçadeatrightiscompletelywashedoutandthenshowsagreyplaster.Thesun,beatingonthewallsofFondamentaMinotto(left),affordsatransferoftheyellowcolourbyreflectionoverthewatersurfaceoftheRioMagazentotheshadowedoppositewalls.Thenadoublephenomenonoccurs,thespecularreflectionfromthecolouredwalltothewateranditstransferontothegreywallisaddedtothediffusedreflectioncomingdirectlyfromtheilluminatedyellowwall.AnothercluecomesfromthereflectionofsunlightonthewindowsbouncingdirectlypartlyonthepavementandpartlyonthewallsofFondamentaGaffaro(right).Inturn,thewallinshadowcastsitssilhouetteontheoppositefaçadedarkeningtheyellowcolour.Theshapeofthetympanummakesanalmostgreyshadedspace.Onthedayswhentheskyiscovered,thedifferenceinbrightnessbetweenthetwowallsisconsiderablymorenoticeable,darkeningthegreytoagreaterdegreeandmakingtheyellowlessexpressive.
Figure1:
RiodelMagazen:
FondamentaMinotto(left)andFondamentaGaffaro(right).Thecoloursarereflectedbetweenthewallsandthewater
Itiseasytounderstandthatthematerialsusedinbuilding’sconstructionhaveintrinsicchromaticbehaviourandconsideringabuiltsystemlikethatdescribedabove,theirrelationshipwiththesurroundingscanalsomodifytheirchromaticexpressiveness.Moreoverintheperceptionofthesurroundings,builtformsareperceiveddifferentlydependingon:
seasons,weatherconditions,directorindirectradiation,reflection,naturalorartificiallightsource,andmanyotheraspects.
Sotheminimumdesigner'stoolsforcolourdesign,necessarytoavoidprejudicialoperations,are:
•Toknowthatperceptionofthesurroundingstakesplaceintermsofsynaesthesia(visionisonlyoneofthefivesenses);
•Tohaveaculturalunderstandingofdesignandcolouressentials;
•Toknowthebasicrulesofcolourcombinationandcolourharmonyinthebuiltenvironment;
•Toknowthehistory,traditions,culture,geographicallocation,thequalitiesandweaknessesandtherangeofpossibleoptionsofthesite/city/environment…;
•Toknowthecharacteristicsthatdistinguishoneplacefromanother;
•Toformulateadedicatedstrategydifferentfromcasetocase,specifictoeachplace;
•Tomakecontinuousiterationsbetweentheory,projectandrealisation.
Thislistcouldbeexpanded,progressingfromthebasictothemoresophisticatedlevel,wheredetailedstudygivesmoreinformationtotheprofessional,
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