欧洲建筑的色彩文化——浅述建筑色彩运用的不同方法

通过各种材料,如：木料、石头、大理石、面砖、钢材、玻璃、混凝土,以及钢材、铝材或树脂覆层、涂料等来达到一定的色彩效果一直是建筑研究的一个方面。但是,在整个20世纪的建筑学教育和论述中,建筑物的色彩在很大程度上被忽视,而更多是强调建筑的形式、功用和构造。然而,从20世纪的欧洲建筑中,我们还是可以辨别出有关建筑色彩的两个主要方面。本文将结合这两个主要方面所处的历史条件对其进行探讨。探讨的第一个方面是饰物的色彩,这些用于平坦的织物类立面的饰物围绕着建筑或像是给建筑穿的衣服,探讨的第二个方面是容积类建筑的色彩,在这类建筑中,光线和阴影起着决定性作用。在这一方面,南欧的永久性本土建筑是北欧建筑师们色彩灵感的重要来源。与以前装饰华丽的建筑相比,现代建筑最本质的一点是其朴素表面的色彩效果从装饰、装修中解放了出来,但还是受了南欧建筑的很多启发。

COLOUR CULTURE IN EUROPEAN ARCHITECTURE: ON DIFFERENTAPPROACHES TO APPLYING COLOUR IN ARCHITECTURE

Colour phenomena have always been anaspect of architecture as effected through materials, suchas wood, stone, marble, brick, steel, glass, reinforcedconcrete, steel, aluminium or resin cladding, paint ,etcHowever, throughout the twentieth century in architecturaleducation and discourse, the chromatic aspect ofarchitecture was largely neglected in favour of aspects ofform, function and construction. Nevertheless, in Europeanarchitecture of the twentieth century two main lines ofthought concerning the chromatic aspect could bediscerned. In the present article these two main tendencieswill be considered and discussed in their historical context.The first line of thought to be considered is the chromaticaspect of ornamentation used on the flat, textile-like facadewhich can be said to enclose or "dress" architecture likeclothing. The second area to be considered is the chromaticaspect of volumetric architecture in which the eternalplay of light and shadow is decisive. In this respect,monumental and vernacular architecture of southernEurope has been an important source of colour inspirationto architects in the north. The most essential issue in modernarchitecture, the chromatic aspect of the plain surfaceliberated from decoration and ornament, was a reactionto the richly-decorated architecture of the past, and it wasalso strongly inspired by the architecture of southern Europe.