Colour for architecture today [Texto impresso] / edited by Tom Porter and Byron Mikellides ; [foreword by Terry Farrel]

Contém bibliografia, p. 170-174

Summary:
0. Introduction, p. 1
1. Why and how we see colour, p. 7
2. Colour mapping : colour at the city scale , p. 23
3. The NCS (natural color system) and research applications, p. 49
4. Architects and colour at the building scale, p. 79
5. Colour psychology and colour aesthetics, p. 117
6. Into the light, p. 143

Abstract:
What colour has Paradise? was a playful and rhetorical enquiry following a lecture promoting Colour in Architecture presented in Sweden in 1984 by a Swiss academic. The questioner prefaced this by suggesting that when architects attempt to represent Eternity in their built work, they invariably employ pure geometrical form. Indeed, in order to realize the essential purity of form, architects such as Ã?tienne-Louis Boullée and Claude-Nicolas Ledoux, expunged colour as a perceptual hindrance of their abstracted plastic forms. In proposing his own answer to the question, the interlocutor further suggested that art and literature usually depict Paradise in terms of achromatics or as pure white â?? concluding that when Dante, guided by his beloved Beatrice, ascended to the utmost chamber, â??alI was whiteâ??. Meanwhile, it seems, when seen in the visions ai painters, such as Hieronymus Bosch, Purgatory is a far more colourful place. ( Tom Porter and Byron Mikellides)