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CHROMA CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE, ART AND PLANNING DEPARTMENT OF ARCHITECTURE SEMINAR. SPECIAL TOPIC IN THEORY THEORY IN ARCHITECTURE ELECTIVE I N S T R U C TO R : LO R E N A D E L R I O

“Color is life, we should not scorn this means of instilling life into our works”.

Antoni Gaudí, Conversation January 23, 1915.

The ways in which architects relates to color have changed through history and are constantly changing today.We can find a wide spectrum of the use of color in architecture from the total rejection of it, chroma-phobia, to the arbitrary and abusive use, chroma-hysteria. Often, color is considered superficial, supplementary, inessential, fake or cosmetic, but intentionally used, it can be a potent perceptual tool, offering interesting opportunities in architectural design.

Color perception in architecture is a complex phenomenon influenced by many parameters that go beyond the physical qualities. It has cultural associations and implications that vary from one place to another and that are related to memory and history. It has the power to modify the perception of context and define the identities of cities, sometimes as a consequence of restrains such as local materials, weather conditions or traditional construction systems.

Color can be used as a mechanism to transform the perception of spaces and dimensions. It can articulate and conceal formal elements but also it can render support or counterpoint to architecture features, allowing a plane to retreat or advance, 125

modifying the spatial effect. Also, color can be a method of highlighting the construction process by stressing the presence of an element or making it disappear. Color can be considered an independent layer in design, not being related to program or volumetric composition, but can be also applied with a functional purpose, as a system of orientation, information or identification.

These applications of color are based on reason, but frequently color is used for its potential to generate emotion and produce meaning and identity. Color has been described as a bridge between art and architecture.

This course examines some decisive examples of colorful architecture from vernacular constructions such as the white mediterranean villages to the work of architectural practices. This analysis introduces aspects of color theory in order to provide insights into how contemporary architects use color, counting on it as another material and design tool available to them. The study of these case studies focuses not only on color physics, perception and psychology, but also on the different design strategies. In addition, the main manifestos on this topic are discussed in the class from Semper’s “Preliminary remarks on polychrome architecture and sculpture in Antiquity” to the most recent ones which analyze how artificial colored light, translucencies and transparencies are used to generate a global sensorial experience. This seminar aims to contribute to a better understanding of color in architecture, providing a broad overview and discussion of this topic.

This seminar try to study the different roles that color has performanced in architecture through history in order to best exploit its’ features and to consider it as a powerful tool for the design process today.

The first aim of the seminar is reflecting on the use of color, and the different approaches that have been taken by architects through history, The final objective of the course is applying these concepts to students’ architectural approaches.

The seminar is carried out in both theory and practice. Lectures 126

provide students the necessary basis in this topic. Discussion classes based on recommended readings are held as well. Students are asked to develop a practical assigment using as theoretical support the main Manifestoes on this topic.

Also a series of case studies are analyzed by students in order to understand the different strategies, regarding color, used by architects.

Attendance and an intense participation of students are mandatory.

Class 01: Experiencing color. Introduction.

Class 02: Color and Vernacular architecture. Text: Luis Barragán, “the Color of Mexico.”

Class 03: Text Discussion: Le Corbusier, “Polychrome Architecture.”

Class 04: Constructive polychromy: structural color. Text: Gerrit Rietveld, “ Colour in architecture.”

Class 05: Text Discussion: Bruno Taut, “The rebirth of color” vs Theo Van Doesburg, “Space, Time and Color” Class 06: Case study choice.

Class 07: Color Codes.

Class 08: Functional Color. Text: Robert Venturi & Dennis Scott Brown, “Signs and systems for a mannerist architecture for today.”

Class 09: Text discussion: Rem Koolhaas, “ The future of color is looking bright.”

Class 10: Students’ projects pinup.

Class 11: Color meanings. Text: Michiel Riedijk, “Code, space and light.”

Class 12: Text Commentary.

Class 13: New materials for new colors.

Class 14: Color: the psychologic experience.

Class 15: Final presentation.

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BIBLIOGRAPHY C H R O M A

Albert, Josef. Interaction of Color.

Yale University Press, New Heaven, 1963.

Glasner, Barbara; Schmidt, Petra; Chroma, Design Architecture & Art in Color Basel, Boston: Birkhauser, 2010.

Riley II, Charles A. Color Codes: Modern Theories of Color in Philosophy, painting and architecture, literature, music and psychology.

Hanover: University Press of New England. 1995.

Swirnoff, Lois; Dimensional Color.

New York: W.W. Norton, 2003.

Meerwein, Gerhard; Rodeck, Bettina; Mahnke, Frank H; Bruce, Laura; Gaskins, Matthew D; Cohen, Paul; Color: communication in architectural space.

Basel, Boston: Birkhauser Verlag, 2007

Bahamón, Alejandro; Álvarez, Ana María; Light, Color, Sound: sensory effects in contemporary architecture.

New York: W.W. Norton & Co. 2010.

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Swirnoff, Lois. The Color of Cities: an International Perspective.

New York: McGraw-Hill, 2000.

Lenclos, Jean-Philippe; Lenclos, Dominique. Colors of the world: the geography of color.

Oxford: Butterworth Heinemann, 2002.

Mahnke, Frank H. Color, enviroment, and human response: an interdisciplinary understanding of color and its use as a beneficial element in the sesign of the architectural enviroment. The Ecology of Building Materials.

New York:Van Nostrand Reinhold, 1996.

Porter, Tom; Mikellides, Byron. Colour for Architecture today.

Abingdon, Oxon; New York, NY; Taylor & Francis, 2009.

Holtzschue, Linda. Understanding Color, an introduction for designers.

New York; Wiley, 2002.

Moor, Andrew. Colours of architecture: coloured glass in contemporary buildings.

London: Mitchell Beazley, 2006.

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Webb, Michael; Pizzini, Regina; Luxemburg, Leon.Volume, geometry, color.

Mulgrave,Vic: Images Pub. Group, 1998.

Bright, Keith; Cook, Geoff. The colour, light, and contrast manual: designing and managing inclusive built enviroments.

Chichester, West Sussex, UK; Ames, Iowa: Wiley-Blackwell, 2010.

Lejeune, Jean-FranÇois; Sabatino, Michelangelo. Modern architecture and the Mediterranean: vernacular dialogues and contested identities.

London, New York: Routeledge, 2010.

Klanten, Robert; Feireiss. Strike a pose!: eccentric architecture and spectacular spaces..

Berlin: Die Gestalten Verlag, 2008.

Zanco, Federica; Ilaria Valente. BarragĂĄn Guide.

Birsfelden, Switzerland: Barragan Foundation; Mexico: Arquine + RM, 2002.

Komossa, Susanne; Rouw, Kees; Hillen, Joost; Mackay, David; Technische Universiteit Delft. Afdeling Architectuur.

Colour in Contemporary Architecture: Projects, essays, calendar, manifestoes..

Amsterdam: SUN 2009.

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Topham, Sean. Plans and details for contemporary architects: building with colour.

London: Thames & Hudson, 2010.

Batchelor, David. Chromofobia.

London: Reaktion, 2000.

Lancaster, Michael. Colourscape.

London: Academy Editions, 1996.

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CASE STUDIES

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EXERCISE 1

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12:47 PM * Work by Cora Visnick BArch 2015 138

2:57 PM

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10:37 PM 4:36 PM with lamp

4:36 PM 10:37 PM

with lamp

10:37 PM

with lamp 139

EXERCISE 11 ITHACA COLOR STUDY 300 E. Seneca Street -CTB 3435c warm gray 2 155c 7629c sign 7606c 7628u

308 E. Seneca Street - Standard Art Bldg 7689c blue front warm gray 1u 1495c orange sign 1805c

312 E. Seneca Street - The Shop 155c painting along bottom 7617c brick 144c awning 7629c red 7407c yellow 377u white black 0961u 7692c blue splotch on stone wall

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* Work by Thomas Esser MArch 2014

318 E. Seneca Street - Private Business 3435c warm gray 2 155c 7629c sign 7606c 7628u

324 E. Seneca Street - Private Residence 105c 7618 white 7401c 156c 7622c

404 E. Seneca Street - Private Residence

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* Work by Thomas Esser MArch 2014

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The main hall is illuminated with indirect lighting. The color of the light inside of the room is significantly influenced by the natural color of the day lighting outside.

The image in the upper left depicts the normal appearance of the worship hall on an average day. As the sun sets the color of the space will naturally shift to a reddish hue, moving to143 The wards a blueish purple until the sun sets. natural day lighting links the indoor user to the

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