先锋设计专辑 NO.7 — Resident Chroma 居住色彩 / 鲁彬

色彩就是唯一。程序可以产生“杂乱”,永远不用代码只是为了表现数据信息,否则我们根本就不需要建筑师的存在。喜欢一些“杂乱的”创作,或者那些可以产生“杂乱”的事物。这就是丛林风格。

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非常感谢鲁彬予gooood分享他的作品:居住色彩 Resident Chroma。
Appreciation towards Bin Lu for providing the following description:
 
 
“Resident Chroma” contains the following 4 major sections: Resident Chroma original, I, II and III.
Each section has its own principle redefine “color”. They are mutually independent as well as
mutually related.
 
“居住色彩”由以下四个主要章节:居住色彩原传,生化色彩1,居住色彩2和居住色彩3。每一个章节
都有它自身的原则去重新定义“色彩”。它们既互相独立却又互相关联。
 
 
Resident Chroma original is about the research works on the understanding about the color
structure and drawing technic from the original artist and scientist, in that way searching out the
problems and potential qualities to become the architectural issues. Resident Chroma I is more
about to explore the new opportunities for Material intelligence controlled by color. Resident
Chroma II is a discipline thesis research on the methodology creating the illusion through color
effects. Resident Chroma III is the final chapter to do the global onsite color application in order
to achieve new complexities by changing the architectural space from flatness to depth and depth
to flatness.
 
居住色彩原传是关于一些研究型的作品对于开创艺术家和科学家所开发色彩结构和绘画技术的理
解。以此来寻找问题和潜在的可能,从而成为建筑界的论点。生化色彩1更多探索关于一个通过色彩
控制材料智能的崭新机会。居住色彩2是一个学术性的论文研究通过颜色创造错觉的方法。居住色彩
3是最终章节关于在基地上建筑尺度的色彩运用,以此通过置换建筑空间从平面到景深与从景深到平
面来完成新的复杂性。
 
 
 
Resident Chroma original
居住色彩原传
 
“Color becomes contemporary as it moves away from indexicality, symbolism, codification, and
ideation because this move away from signification allows color to register traces of a much more
complex series of historically specific conditions and forces: those of technology, sensibility,
capital, taste, materiality, manufacture. In other words, when working through the field of effects,
color can do more to engage contemporaneity than when it works through the structures of
meaning.”
Sylvia Lavin “What Color is it Now? 2004”
 
“颜色具有当代性,当它从索引¬、象征意义汇编以及观念中移除,从某种意义上因为这一举动让颜
色更能追溯历史特定条件和环境下的一系列复杂性:技术,感知,资本,风格,质感,制造。换句
话说,通过特效领域的工作,颜色可以更好地切合当代性的特质相对于它本身通过色彩结构的定义
来工作。”
Sylvia Lavin “当今的颜色是什么?”,2004
 
 
“Color can be used in different ways: thin or thick, one-dimensional or layered. The thicker the
color and the more layers the greater the variety of impressions and effects.”
Liisa Aholainen & Bas Gremmen  “The Thickness of Color”, 2009
 
“颜色可以用不同的方式:薄或厚,一维或分层。颜色越厚,层数越多就有各种更大不同的影响和特
效。”
Liisa Aholainen & Bas Gremmen   颜色的厚度, 2009
 
 
zebra’s tattoo patterns
The color of zebra’s tattoo patterns disrupt its volumetric surface, but also encase and delineate.
Marking a change in direction at the juncture delicately change scale to conform to the
narrowness of leg.
 
斑马的纹身图案
斑马的纹身图案色彩混淆了它的表面体积,但又包住并且描绘形体。在结合点改变方向,优美的尺
度改变来顺应腿部的纤细。
 
 
The Five star Stories by Nagano Mamoru
As a tool color has been practiced directly by artists and designers in order to develop their own
styles. In architecture color is an important means of expression.
 
五星物语 Nagano Mamoru
颜色作为一个工具被艺术家和设计师直接运用于创作他们自己的风格。在建筑中,颜色是一个非常
重要的表达方式。
 
 
Left to right: drawings by Joe Sacco, Bill Plympton and Richard Sala. Stroke patterns in many
sketch drawings like these are laid out in image space and do not follow the 3D shapes depicted
by them. They control the painterly effects subjectively.
 
从左到右:绘画者Joe Sacco, Bill Plympton 和 Richard Sala。排线图案在很多像这样的手绘图中都
被展现出空间感,它们没有跟随刻画的三维造型。他们主观地控制着绘画的特效。
 
 
The Papua facial treatments, the craftsman’s tattoos and the Chinese opera facial masks work
with the accentuating enhancement of facial features. All sets of enhancements serve as
mediums of distinction. In the case of the craftsman’s tattoos, there exists an elaborate system of
typical characters. All of the surfaces are topological diagrams, an expression of organic
structure. Color both conforms and transforms, sometimes it transforms by conforming.
 
巴布亚脸谱,工匠的纹身,还有中国脸谱都增强了面部的特征。所有的增强都有不同方式的区别。
在工匠的纹身中,存在一个复杂的独有的特征系统。所有的结构都是拓扑式的原型,一个有机结构
的表达。颜色可以同时顺应或者改变,有时候通过顺应来改变。
 
 
 
 
The chastening culture of Modernism stripped architecture of all excess in the name of purity and
true, which for the most part, purged it of color of all types. Thus, the archetypal Modernist
building rose and reveled in an everlasting whitewash. In fact, through all cultures, whiteness
symbolizes cleanliness, perfection & innocence and as a mark of education, it appeals to the
intellect. Therefore, the use of color detracts from the ideal and leads to the lesser regions of a
“dirty”, untrustworthy reality.
 
精练的现代主义文化剥离所有多余的结构体系,标榜为纯净和真实,其中大部分,清除所有颜色的
类型。因此,典型的现代主义建筑崛起,陶醉在一个永恒的粉饰。事实上,通过各种文化,白色象
征着纯洁,完美和无暇,并作为一种教育的标志,它诉诸于智力。因此,理念降低了色彩的使用,
导致了更少区域的“不纯净”,不值得信任的现实。
 
However, the effectiveness of contemporary architecture relies on the dirty, the eccentric, the
disobedient, and the affective. Contemporary architecture embellishes the surface(s), it deceives,
it disguises, it exaggerates, it changes, it generates atmosphere & mood and color is a prime
vehicle through which these effects can be achieved. The transition from Modernist
chromophobia to contemporary chromophilia recalls and builds upon the similar transformation
that took place between the Renaissance and the Baroque hundreds of years ago; grisaille gave
way to Chiaroscuro, which was intensified by the dynamics of color, giving Baroque art and
architecture its painterly quality.
 
然而,当代建筑的有效性依赖于不纯净,不寻常,叛逆以及影响力。当代建筑装饰表面,它欺骗,
它伪装,它扩张,它变化,它产生的气氛与情绪并且色彩就是一个最好的载体来完成这些效果。现
代派chromophobia到当代派chromophilia的过渡回应并建立在几百年前从文艺复兴时期到巴洛克时
期的类似转型之上,浮雕式灰色装饰画画法给明暗对比画法让路,被富有动态的色彩所强化,给巴
洛克艺术与建筑带来了特有的绘画质感。
 
 
 
 
 
Chiaroscuro describes an invention in the art of painting to create the illusion of volumes in
space. The gradation effected from the light to the shadowed side of a three dimensional object.
For example in the Clarinet Player, by Picasso, a pyramidal form implies an image. The pyramid
has a strong contour to give the sense the figure is standing in a deep space. The Portuguese,
by Braque, uses a highly developed interlacing of horizontal and vertical gridding created by
gapped lines and intruding planes that create shallow spaces. Only gradually is the observer
able to invest this space with depth permitting the figure to assume substance.
 
明暗对比画法描述了一种发明在绘画艺术中,在空间中创造体量的幻觉。一个三维物体从亮面到阴
影面的渐变效果。比如在《单簧管演奏手》,由毕加索创作,一个锥形体表示一个图像。锥形体有
很强的轮廓线给人以一种感觉,如同日整个造型站立于一个很深的空间。《葡萄牙》,由巴洛克创
作,使用了高度成熟的由间距的线和交叠的平面所组成的横向和竖向交叉的网格来创造浅的空间。
只有渐变才能让观测者可以感受这种空间以深度的造型在虚假的物体中。
 

 

 

 

 

 

The base material before painted it matters, the material quality itself is important. Painting the
materials is also changing the material properties as well as painting.

 
在绘画之前的基础材料有很强的关联性,材料本身的质感非常重要。喷绘材料也在绘画的同时也改
变了材料的属性
 
 
 
 
 
 
 
 
Resident Chroma I
生化色彩1
 
Today materials are scientifically engineered to serve demanding purposes in a profit and
performance oriented world. The expertise of manufacturers grows rapidly to maximize efficiency
and push material limits.
 
当今材料被科学的运用在一个以有益且高效率为目的的世界里为了提供各种需求。制造商的专业技
术成长飞速为了能够最大化效率和扩展材料的有限性。
 
 
The consequence is an illusion of humans mastering nature.
 
最终的结果是人能够控制自然的假象。
 
 
The gap between human perception and physical behavior is an enormous issue today. We rely
on artificial intelligence executing codes with high precision in a physical environment. Materials
with specific properties become problem solvers rather than intelligent variables in fabrication.
 
人的感知以及物体特性之间的缺口正是当今最大的问题。我们依赖人工智能执行代码在一个高精确
控制下的物理环境中。材料所具有的特殊属性成为问题的解决者更多于构造中的智能变量。
 
 
 
 
 
 
Our project suggests a new interface to bridge the gap between technique and technology,
design and application, most importantly virtual and real. A global color control model builds up
the three dimensional data base. This is able to merge multiple parameters breaking out of the
singularity of conventional information mappings.
 
我们的项目建议一个新的界面来嫁接手法与技术,设计与应用,最重要的是虚拟与现实之间的缺
口。一个整体色彩控制模型建立了三维的数据基础。这可以使得整合不同的参数来突破常规信息之
间关联的单一性。
 
 
 
 
 
 
 
Color as input/output display becomes an analysis tool which redefines RGB as a calculator
opening up color being a generator. Simple procedures are merged by color mapping to create
new conditions without losing information. In short, blue and red generate purple. We are building
up a toolkit of materials with a great variety of attributes, such as the shaping capacities of
plastics, the tension resistance of fabrics, flex-abilities of fibers, and structural properties of
concrete – giving the user control by a constant sensor feedback loop by infrared cameras, laser
measuring, conductive yarn and pressure sensors. As a consequence we are breaking out of
applications being limited to materials and architectural functions being reduced to object.
 
颜色作为输入/输出的显示,成为一种分析工具,可以重新定义RGB如同一个计算机将颜色开发为一
个创造者。简单的操作步骤被颜色的关联所合并在一起,从而创造出新的条件在没有丢失信息的情
况下。简而言之,颜色和红色可以产生紫色。我们建立一套材料的工具箱包括很多非常好的属性,
如塑料潜在的造型性,织物的拉升阻力性,纤维的自由性,以及混凝土的结构性 —— 给使用者以一
套由不间断的传输感应循环通过红外线摄像头,激光测量,传导的纺线以及压力感应器来控制。因
此,在结果上,我们突破了应用性被材料和建筑功能形成物体的局限。
 
 
Material intelligence is redefined as a design tool in a playful environment – displayed and
combined in the color control model “Resident Chroma”.
 
材料智能被重新定义为一种设计工具在一个欢快的环境之中——显示合并在颜色控制系统“生化色
彩”之中。
 
 
 
 
Resident Chroma Ⅱ
居住色彩 2
 
 
This thesis is a discipline research about painting. It investigates the architect and the painter,
trying to figure out architecture out of painting. In architecture color has been used as a final
application to geometry, a last layer on tectonics, used as a lighting device, media, bringing out
qualities of materiality, ornamental and generally decorative. Using color from the beginning in a
generative way, one can gain the freedom to design architectural functions as multiple conditions
in space rather than limited to objects.
 
这个课题是一个关于绘画艺术在建筑学领域运用的学术性研究。它研究建筑师和绘画艺术家之间的
关系,尝试将建筑从绘画之中解放出来。在建筑中,颜色被作为最后形体上的运用,构造上的最后
一层,被使用作为一种灯光设备、媒体,不再具有材料的质感,具有装饰性和通常的修饰性。从设
计的开始就使用颜色以一种创造性的方式,可以从中获得自由,在空间中不同的条件下去设计建筑
的功能,不仅仅只是局限于建筑形体。
 
 
 
 
 
In painting, color invokes the illusion of space, creating depth from flatness, while architecture
wants real space to become illusion.
 
在绘画中,颜色使用了空间的幻觉,从平面创造景深,同时,建筑需要让真实的空间变成幻觉。
 
 
Robert Slutzky argued that color is primary. He studied color structure and then transposed it into
a 3-D formal structure. In his Chube/Chrome project, he started a system of color relationships
derived from Goethe's Farbenlehre, which he used to generate a series of conceptual models of
architectural space, but he ended up with white and black.
 
建筑师罗伯特斯鲁茨基认为颜色是主要的。他研究颜色结构并将它转化成三维的空间结构。在他的
《盒子/色彩》项目中,他开始于一系列的颜色关系从歌德的《Farbenlehre》所获得,他利用来创
造一系列的建中空间概念模型,但是他最终以黑色和白色完成。
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
To extend his idea, I created special effects. First painting a flatten surface that had the painterly
effect of depth from flatness to create 3-D geometry. By using color to paint the emergent
patterns I discovered they either disappeared or conformed with the graphic patterns. Second I
recreated the same surface with graphic figures on the flat parts and flipped the bottom surface
to the top with red color. Color both conforms and transforms, sometimes it transforms by
conforming. Hybridizing the graphic and the 3-D dimensional, hybridizing the depth of space, and
hybridizing shade and shadow affects that reverse color gradient. The building is artificial, but the
color is real.
 
为了扩展他的理念,我创造了一些特殊效果。首先,在一个平面上绘画,这些绘画将平面变成一些
具有绘画效果的从平面到景深的三维物体。使用颜色来绘饰产生涌现的图案,我发现它们消失于平
面之中或者融合于平面之重的图案。其次,我重新在相同的表面绘制平面上所具有的图案在平正的
区域并且用红色把底部的物体表面置换到最顶层(幻觉)。颜色同时顺应或者改变,有时候它通过
顺应来改变。混合平面图案和三维空间,混合空间景深,混合光影和阴影效果来反转颜色渐变。建
筑是人工的,但是颜色是真实的。
 
 
The result of the thesis is the possibility of a goal oriented sketching (painting) process using
color throughout the whole process of the design in a generative way that achieves new
complexities between flatness to depth and depth to flatness.
 
最终的课题是可行性的完全手绘(绘画)主导的通过使用颜色贯穿整个设计过程以一种创造性的方
式完成新的复杂性介于平面到景深与景深到平面之间。
 
 
Color is one.
颜色就是唯一。
 
 
 
 
Resident Chroma III
居住色彩 3
 
 
 
 
 
 
 
 
 
 
Back to the classical “Unite d’Habitation” by Le Corbusier, the agenda for the onsite application is
to rebuild the colorful façade which become both a thick surface and the new communication
platform on the vertical way of the building in order to create the architectural illusions which
makes exterior space inside and interior space outside. Surface patterning, color, relief, and
materiality are used to heighten the sense of irresolution between flatness and depth as well as
correlate graphic/pattern effects with mass inflections.
 
回到柯布经典的马赛公寓,建筑尺度的色彩运用试图重新改造色彩的立面,既作为一个厚的表面又
作为大楼垂直方向的一个新的交流平台来创造出建筑错觉,置换室内外建筑空间。表皮的图案,颜
色,浮雕,和材料属性的使用,加深了景深和平面的不确定性并且和绘画般的图案效果整体形变紧
密相连。
 
What’s after EMERGENT
If you real want me to put the works I did in catalog, I think there are two. The Algae systems
(extension of my 2GBX studio work that’s where I start to explore the design methodologies) and
coding jobs which can still be divided into 2 parts: the painting works and the rest. I think the
office started to change the direction to soft VS. rigid since the Yeosu Oceanic Pavilion project, at
that time I was back to finish my master diploma. It’s hard to tell, somehow it’s a little conflict with
my own interests on design, you can still tell the difference if you are looking at the projects on
the website, which is the one I worked on, 12th China National Games Arena is the last project I
did in the office, I start to question the complete allegiance to “EMERGENT” which for me I will
more define the logo as a wild style but handmade, also against “parametricism ”, “Total Fluidity”
on all scales where I studied at Vienna studio Hadid, I think I am more interested somewhere in
between, I do think coding can do “messy”, never use coding as pure date, otherwise we don’t
need architect. I need to define my own work.
 
涌现之后
如果真的要把我负责的那些项目归类,大致有两类:海藻能源装置系统(2GBX工作室开始探索设计
手法时期的作品延续)和程序化工作,还可以细分为绘画作品和其他两个分支。涌现组在韩国丽水
海洋馆开始转变其建筑风格为软体对抗硬体,在那时刚好需要回校完成我的研究生课题。很难说清
楚,可能是有一些和自身对设计兴趣的冲突,你可以从网站上看出我所做作品中的区别。全运会跆
拳道馆是我在涌现组最后完成的方案,慢慢开始怀疑曾经所完全拥护的“涌现理论”。对于我来说,更
多的把这个公司的坐标理解成一种野性的风格,但是是人工的,手动的,对抗着我在维也纳哈迪德
工作室所学习的“参数化主义”,“完全的流动性”在所有的尺度之上。我想我更适合在这两种不同风格
之间的某一个点。我认为程序可以产生“杂乱”,永远不用代码只是为了表现数据信息,否则我们根本
就不需要建筑师的存在。我需要重新界定我的个人作品。
 
 
Here is a funny thing between painting and architecture. Painting is not the point of this world
than architecture ever. That’s true. But it increases the value over time, the price goes up. Every
master piece of architecture is not. I’m neither an engineer nor a painter. I like to really interact
with those two and I think it is productive to cross those two over. I’m very interested in biology,
scientific invention, affect, color, and all those sorts of things. I’m much more interested in the
dividing network which crossover between things, the way things are expressed in the world and
the mystical logical (codes) behind that. I always like when there is a bit of messy work or things
like that which do get messy. It is the jungle style.
 
关于绘画与建筑有一个比较有趣的事。比起建筑来,绘画永远不是这个世界的重点。这个是不争的
事实,但是随着时间的增长,绘画增加了它的价值。价格越来越贵,而建筑名作却不是。我既不是
一个工程师,也不是一个画家,但更喜欢让这两方面互动,将两者交叉会是创造性的。对于生物
学,科学发明,影响,色彩所有这些我都非常感兴趣, 更对交织的网络所产生的各种交叉事物,以及
这些事物表现性背后所隐藏的逻辑(代码)所感兴趣。因为总是喜欢一些“杂乱的”创作,或者那些可
以产生“杂乱”的事物。这就是丛林风格。
 
 
Color is One/Resident Chroma II featured in "Prototyping the future of design research" at the
Architectural Society of Oslo’s “Pop-UP” event, KTH, Konstfack University, NJIT, Kent State
University, University of Cincinnati host by Dean of University Kentucky Michael Speaks.
 
“色彩就是唯一/居住色彩2”在挪威奥斯陆“跃现”建筑协会展、瑞典皇家理工学院、瑞典国立艺术与设
计学院、新泽西理工学院、肯特州立大学以及辛辛那提大学“未来设计原型研究”系列讲座中参展,由
肯塔基大学院长Michael Speaks主持介绍。
 
 
 
Reference 2GBX works and other projects.
提及到的2GBX工作室作品以及其他作品
 
 
 
 
 
 
 
 
 
 
 
 
 
 
MORE:
 
 
 
 
 
 
 
 
 
 
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