Towards a new urbarchitectonic coloration

Journal of Cultural and Religious Studies, 2017

In this paper, the author focuses on the ecourbarchitectonic physical structures created after year 2000, whose artistic-esthetic value has an iconological character. An entirely new approach in formation of the facade and roof planes as well as of the forms of structures whose appearance resemble sculptural creations has been analyzed. The buildings from all over the world, with different functions contents, indicate a tendency of a different understanding of interpretation of physical structures and correlation with natural and artifact environment. Water surfaces and vegetative material contribute to an effective, cultural, majestic impression of engineering-technological philosophy of city building. The examples in the paper suggest the obvious need of radical changing of the way of thinking in the application of the design strategy in conceptualization of urban agglomerations, and essentially important, conceptually inspired metabolic of relationships among the spatial structures. The world entered new non-globalization trends of creation of the city memory, of the new iconically, symbolically strong, non-cliché, non-standard forms which define the contemporary cultural-artistic and historical identity of macro-ambient entities. This is a good and encouraging sign.

Umjetničko-znanstveni skup Land Art, Earth Art, Earthworks: z/Zemlja i antropocen / Art and Scientific Symposium "Land Art, Earth Art, Earthworks: e/Earth and the Anthropocene", 2019

GREEN PREFACE Art and Scientific Symposium “Land Art, Earth Art, Earthworks: e/Earth and the Anthropocene” The idea of the first art and scientific symposium to focus on land art projects in Croatian visual practice emerged from spontaneous discussions, direct action and considerations of a number of land art theorists and artists dealing with the phenomenon of land art over the last couple of decades. The fact is that in Croatia there is neither systematic theoretical elaboration, nor systematic monitoring and documentation of land art projects, nor monographs that would consolidate and analyze land art actions from the beginnings of this art practice to the present. Obviously, interest in this kind of art has been renewed recently and is constantly increasing, and the need to explore, present and indirectly historicize this segment of artistic action is evident. The idea of this art and scientific symposium is aimed at two key institutions: the Academy of Fine Arts, University of Zagreb, and the Museum of Contemporary Art, Zagreb. Also participating in the symposium’s organization are the Town of Ozalj and Jakovlje Mansion and Sculpture Park, as sites for land art execution and in-situ collaboration during the symposium, and the Institute of Ethnology and Folklore Research in Zagreb. Land art projects will also be executed by students from two key institutions, the Academy of Fine Arts, University of Zagreb, and the China Academy of Art, Hangzhou. “Land art, Earth Art, Earthworks: e/Earth and the Anthropocene” is the title of this project, but also a stimulating set of concepts and contents that open possibilities for reflection, extending from ancient geoglyphs, large figures made in the soil, all the way to recent art practices. The geoglyphs in Peru, also known as the Nazca Lines, are the best visible monument of the ancient Nazca civilization. These huge drawings in the soil depict figures or motifs consisting of geometric shapes, lines, and zoomorphic figures, such as spiders, pelicans, lizards, and hummingbirds, dating from between about 500 BC to 650 AD. Among the first to work on land art projects in these parts was the multimedia artist Vladimir Dodig Trokut. He executed them between 1968 and 1969, together with the Faction of the Red Peristyle Group, founded on February 10, 1968, a month after the Red Peristyle action/intervention. Fifty years later, through reflection at the theoretical level, through collection (documentation and archiving), as well as through land art performances at two sites (around Ozalj and around Jakovlje – on the doorstep of the capital, while along the lines of the green) – opens what we have called an INTRODUCTION to the large field of “Land Art, Earth Art, Earthworks: e/Earth and the Anthropocene.” The art and scientific symposium brings together participants who, from their own interpretive perspectives (visual arts, art history, landscape architecture, culturalanthropology, musical art, etc.), examine the correlation between the e/Earth, the Anthropocene and the art practices. Emphasis is placed on how local artists treat the natural environment—a non-urban space—as a land art (Earthworks) phenomenon, as well as on the ways in which land art has been critical of global phenomena, where we can say, to quote Ulrich Beck —one of the characteristics of globalization is also the global destruction of the environment. Unlike the land art concept of the 1960s, when the aforestated conceptual strategy was generated as an implementation of the dematerialization of the classical (or traditional) conception of artwork, as well as a negation of the principles of commercialization and institutionalization through museums and galleries; today, land art, as the art and performance of the Earth, must surely also comprise a critical dimension with regard to the aforementioned determinant of globalization, a phenomenon that also involves systematic environmental degradation. How pressing this topic has become is seen in recent events. Specifically, 2019 will be remembered as the year of catastrophic fires in the Amazon, often called the “Lungs of the World.” That largest rainforest in the world, about half the size of the United States, produces more than 20 percent of the world’s oxygen. As of August 29, 2019, more than 80,000 fires have been reported across Brazil, where 60 percent of the Amazon lies. As for local history, it is certain that this year will be remembered by the question, to quote journalist Nenad Jarić Dauenhauer, “what is behind the relentless logging of Croatian forests?” because of a worrisome illegal deforestation trend in Croatia. It suffices to visit Sljeme or Marjan or Zagreb’s Square of the Victims of Fascism, so let us paraphrase Hamlet’s observation, “Something is rotten...” In the sequel to the symposium that will follow in 2020, we believe that the aforementioned green art and artivist (art + activism) practices—from the very beginning of the New Art Practice to the present—will be both monographically documented and systematically theoretically elaborated. Assoc. Prof. Zvjezdana Jembrih, MFA Assist. Prof. Suzana Marjanić, PhD

2017

For contemporary research, peripheral realities, urban voids or dismantled areas and structures represent important opportunities for urban regeneration and redevelopment. The Color, through the "Color Design", becomes an approach that can achieve remarkable and immediate results with low cost. It is capable of transforming the visual impact of a building, a road, an entire neighbourhood; it orientes and creates harmony through the Visual rules and hierarchies, it can recover the identity and image of a place; it can highlights and enhances paths, obstacles, zones, functions, services, or informs through their universally recognizable codes. Even today, Bruno Taut's idea of improving the quality of life in popular neighborhoods with the creation of polychrome architectures is a reference: the color therefore constitutes the "accessible" decoration even for the most deprived areas. Like Color, Art is a tool for social and urban upbringing. Nowaday, Art no long...

2000

While the Sixties and “the Seventies witnessed an emergent group of architects, among them the Post-Modernists, who began re-experimenting with color by engaging it as an important facet of their design”, as Tom Porter mentioned in his book: Architectural Color (1984), a similar tendency started among Turkish architects in the Eighties. In my MS thesis I had studied “The Color Dimension in Urban Space” and concluded that generally architects’ use of color in urban space have followed five main approaches: For reinforcing or enriching architectural form, color is used without giving any reference to a specific concept; otherwise it is referred to history and traditions; to nature; to the built environment; or finally to materials. After investigation of Turkish architects’ approaches to color, after 1980 in determined arteries of Ankara, this paper concludes that actually similar approaches is valid in the architectural world, and aims to share and discuss this conclusion with experts in this field. Keywords: color, architectural form, history and traditions, nature, built environment, building material

Color Research & Application

Color, which extends from the urban scale to the space scale, is important design elements expressing the unique visual and psychological identity of a settlement in the architecture. Every settlement has original color schemes formed with natural and human construction elements. The tinctorial designs in urban settlements in the present day have become gradually distant from natural and cultural elements because of the developing construction techniques after the industrial revolution. However, the vernacular architecture was able to preserve its color identity from the landscape, building façades, and interior space colors. In this study the environmental color mapping method is used for the determination of the prevalent colors. The environmental color mapping studies are made with an on-site examination, the photographing in an unfiltered manner of the colors or with the specimentaking techniques. Subsequently, the averages are determined connected to the densities of the colors with the help of computer technologies. In this study, the Ayazini settlement sampling area was chosen, which was registered as a cultural heritage value connected to Afyonkarahisar Province. Ayazini, which is an extension of the Phrygian Valley, and that has a 6000-year-old past, is in a region where volcanic tufa rocks are found. The architectural fabric, the rock carvings, and the tufa building stone were formed with the shaping technique with the design of the inner spaces and the structural surfaces. The tufa rocks are the most important natural environmental elements, which determine the landscape, structure, and inner space character of Ayazini village. In this study, by taking the color change specimens occurring in the natural and artificial process of tufa rocks with the aim of producing the environmental color mapping of the Ayazini tufa, the averages connected to the densities of colors were determined. According to the data obtained at the end of the study, ıt was concluded that the dominant colors observed in the Ayazini tufa were khaki, pastel gray, ash gray, platinum, cadet gray, and armor gray. It is thought that these colors could be a reference for new designs with the landscape and architectural preservation activities that would be made at the settlement place. In this context, it is proposed for the colors obtained at the conclusion of the environmental color mapping to be used in the traditional house façades

Desafío a la estabilidad: Procesos artísticos en México / Challenging Stability: Artistic Processes in Mexico, 1952–1967, ed. Rita Eder (Mexico City: Instituto de Investigaciones Estéticas / MUAC, UNAM, 2014), 296–313., 2014

Color Research and Application, 2006

This article examines some of the outstanding contributions or points of interest in the research and application of color in architecture, from ancient times to the present. The discourses about color are classified by periods and according to the utterers: theoreticians or writers of architectural treatises, archeologists and historians of architecture, architects who have been relevant in professional practice, color theorists coming from the fields of architecture and design, and color researchers related to the International Color Association. As a conclusion, the main characteristics of these discourses about color are summarized, and a point is made about the use of instruments derived from color science in color design, implying that the evolution in the use of color in environmental design and the research in this field will increasingly rely on the interaction between scientists and designers. © 2006 Wiley Periodicals, Inc. Col Res Appl, 31, 350–363, 2006; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20224

[i2]: Innovación e Investigación en Arquitectura y Territorio. Escuela Politécnica Superior. Universidad de Alicante, 2015

Parece que en las últimas décadas la arquitectura ha comenzado finalmente a tener en cuenta el impacto que tanto su construcción como su puesta en funcionamiento tienen sobre el medio ambiente. Ello ha llevado a una transformación estética de la arquitectura para hacerla (parecer) más ecológica que se ha resuelto en gran medida mediante el uso extensivo de la técnica, incorporando y exhibiendo una batería de sistemas tecnológicos que buscan la máxima eficiencia, pero que sin embargo no atacan las raíces de la cuestión. Pues lo que en realidad hace falta es replantear en el origen las relaciones entre arquitectura, técnica y naturaleza, en busca de un comienzo alternativo . Este artículo propone en primer lugar un repaso a esta relación original, que de hecho es una relación contaminada desde el principio y condenada a su fracaso, aproximándose a su mito fundacional, el de Dédalo. A partir de ahí, se propondrán dos estrategias generales que la arquitectura puede ensayar para reconstruir, o al menos aliviar, esta difícil relación: una arquitectura de la visibilidad (y por tanto que sea crítica) y una arquitectura de la gratuidad (y que por tanto sea desinteresada). A ello seguirá un desarrollo más pormenorizado de las cuestiones en discusión, como la necesaria negociación hombre/arquitectura y naturaleza, las cuestiones relacionadas con el uso retórico de las tecnologías verdes, las demandas que estas estrategias de visibilidad y gratuidad implican y las relaciones entre physis y techne, para terminar con la cuestión del desinterés desde una óptica kantiana. Las breves conclusiones finales nos devolverán al punto en que se reconsidera, en vez de un origen para la arquitectura que impone una relación técnica (de explotación) con la naturaleza, un posible origen estético que imponga, en cambio, una relación desinteresada con la misma.

2013

Colour has accompanied man throughout time since the beginnings, the primitive man used colour to paint drawings in caves, so the relationship between man and colour was, and still is, one of the closest. In architecture, colour swung between the magic, ritualic role and aesthetics, between outside and inside, scoring or reinterpreting in every step new facets and meanings. This article is a brief overview of the main aspects of this evolution, from the prehistoric times to the present with an emphasis on the relationship between the colour and the architectural composition.

Colour is a tool of expression and communication which requires, on the part of designers, an updated knowledge of its scope of action. It is necessary, therefore, to understand the problems involved in the city of the end of the century, which will enable us to fully exploit its communicative and expressive potential. The research on the action of colour and its use as a tool of design of the urban image leads to the fact, today more than ever, that we have to admit that the science of colour is a science of information with a psychological and technical focus which has gained ground and has given back a referential function to colour in the contemporary city. Taking into account that daylight is the most important element that reveals colour appearance, this communication will emphasize the relationship between the changes of colour of daylight, the perceived colour of façades and the impact over the used paints. It will develop some provisional conclusions of the last researches of this team.