This book is an account of a significant aspect of Le Corbusier's work - the relationships between form and colour. The book relates the way in which he arrived at a personal architectonic polychromy in the early 1920s and how his theories relating to Purism developed.
How do architects use color? Do they adopt a different strategy or starting point for every project? Do they gradually cultivate individual color palettes, which develop alongside their body of built work? Do they utilize, or are they aware of, the body of theoretical work that underpins the use of color in the past, and forms the basis of most of the color systems commercially available today? Informed by the author’s thirty years in architectural practice and academia, this book investigates, documents and analyzes the work of a number of contemporary architects in order to respond to these questions and provide a clear reference of contemporary color use. The book suggests a holistic approach to the integration of color in architecture; through a series of thematic essays, the text explores and reveals underlying principles in color design and application. Case studies include: AHMM Caruso St John Erich Wiesner and Otto Steidle Gigon/Guyer O’Donnell + Tuomey Sauerbruch Hutton Steven Holl UN Studio. The book provides clear insights into how particular contemporary architects use color confidently and intelligently as an integral part of their design philosophy, in conjunction with their choices of materials and finishes. Offering a stimulating view of the history of color theory, and pragmatic advice to practicing architects, this book will be inspiring to both design professionals and students.
As far back as the earliest Greek temples, color has been an integral part of architecture but also one of its least understood elements. Color theory is rarely taught in architecture schools, leaving architects to puzzle out the hows and whys of which colors to select and how they interact, complement, or clash. Color for Architects is profusely illustrated and provides a clear, concise primer on color for designers of every kind. This latest volume in our Architecture Briefs series combines the theoretical and practical, providing the basics on which to build a fuller mastery of this essential component of design. A wealth of built examples, exercises, and activities allows students to apply their learning of color to real-world situations.
A comprehensive guide to all major types of architectural drawings encompasses a wide range of drawing techniques, professional advice, examples, and information on media, styles, effects, and execution.
Pioneering manifesto by founder of "International School." Technical and aesthetic theories, views of industry, economics, relation of form to function, "mass-production split," and much more. Profusely illustrated.
A classic examination of superb design through the centuries. Widely regarded as a classic in the field, Experiencing Architecture explores the history and promise of good design. Generously illustrated with historical examples of designing excellence—ranging from teacups, riding boots, and golf balls to the villas of Palladio and the fish-feeding pavilion of Beijing's Winter Palace—Rasmussen's accessible guide invites us to appreciate architecture not only as a profession, but as an art that shapes everyday experience. In the past, Rasmussen argues, architecture was not just an individual pursuit, but a community undertaking. Dwellings were built with a natural feeling for place, materials and use, resulting in “a remarkably suitable comeliness.” While we cannot return to a former age, Rasmussen notes, we can still design spaces that are beautiful and useful by seeking to understand architecture as an art form that must be experienced. An understanding of good design comes not only from one's professional experience of architecture as an abstract, individual pursuit, but also from one's shared, everyday experience of architecture in real time—its particular use of light, color, shape, scale, texture, rhythm and sound. Experiencing Architecture reminds us of what good architectural design has accomplished over time, what it can accomplish still, and why it is worth pursuing. Wide-ranging and approachable, it is for anyone who has ever wondered “what instrument the architect plays on.”
"The nature of colour should change -no longer just a thin layer of change, but something that genuinely alters perception" -this stipulation of Rem Koolhaas is echoes by the world famous architects and designers Alessandro Mendini and Norman Foster. In this volume, they present between them a total of 90 colours -each covering half a page -accompanied by comments on the background, the significance and the applications of the colours. Studies of colours from each office form the basis of this book, and were previously only available in extravagant individual editions. With this comprehensive and consistent presentation of the varying approaches to colour, we have a compendium which shows the wide use of colour in today's technologically advanced architecture with its modern, post-modern and deconstructive orientation. The range of examples of the colours in practice includes load-bearing structures, facades, interior design, furnishing and the entire specturm of product design.
This book orchestrates a convergence of two discourses from the 1960s—Nelson Goodman’s aesthetic theory on one side and critiques of modern architecture articulated by figures like Peter Blake, Charles Jencks, and Robert Venturi/Denise Scott Brown on the other. Grounded in Goodman’s aesthetic theory, the book explores his conceptual framework within the context of modern architecture. At the heart of the investigation lies Goodman’s concept of exemplification. While his notion of denotation pertains to representational elements, often ornaments, in architecture, exemplification accentuates specific formal properties at the expense of others, including color, spatial orientation, transparency, seriality, and the like. Supplemented by findings from phenomenology, the book traces these effects in buildings, notably those by Ludwig Mies van der Rohe, Walter Gropius, Le Corbusier, and Frank Lloyd Wright—all key figures in the critiques of modern architecture. Employing Goodman’s framework, the book aims to address accusations of emptiness and alienation directed at modern architecture in the postwar era. It illustrates that modern architecture symbolizes aesthetically in a fundamentally different way than architecture from earlier periods. This book will be of interest to architects, artists, researchers, and students in architecture, architectural history, theory, cultural theory, philosophy, and aesthetics.