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materially inert surfaces of more recent mass-production
materials.
When colour in any surface or material quality is used with
sensitivity and intelligence it can harmonise and contribute
to the resonances of area character. Even radical depar-
tures from a norm can be astonishing and vibrant when
the nature of the impact on context is fully understood. In
some cases colour´s power is also seen by some as an easy
tool for brand identity and is implemented for signal effect
without subtlety or concern for the immediate surround-
ings. In some cases this with the uttermost banality particu-
larly when colour is used as a distractor to shift focus from
aesthetic poverty in material and formal articulation, often,
but by no means exclusively at the lower end of architec-
tural aspirations.
Colour is not a secondary or tertiary quality; it is not di-
vorced in any way from how we construct our relationship
to the urban environment.Venice is unthinkable as Venice
without its colour,Venetian red, and this red unmemorable
without its architectural atmospheres, its patina of fading
and flaking. Edinburgh is memorable for its enduring stark
dour granite; Risor in the south of Norway conjures that
brilliant sparkle of white painted wood.These are emotive
responses that give meaning to our understanding of place.
Frank H. Mahnke writes;
“Colour is an integral element of our world, not just in the
natural environment but also in the man made architectural
environment. Colour always played a role in the human
evolutionary process.The environment and its colours
are perceived, and the brain processes and judges what it
perceives on an objective and subjective basis. Psychological
influence, communication, information and effects on the
psyche are aspects of our perceptual judgment processes.
Hence the goal of colour design in an architectural space
are not relegated to decoration.”
These issues are we hope illuminated by our choice of par-
ticipants and projects in this exhibition through the inter-
face between examples of traditions and reinterpretation in
recent and current projects, tzs he relationship between
architectural and artistic practice in colour programming
and the perceptual experience of colour in architecture.
Farge i Byen
Oversettelse; Kine Angelo
Denne utstillingen har til hensikt å vise noen aspekter av
fargens og materialenes egenart i arkitektonisk sammen-
heng. Utstillingen har ikke en omfattende bredde, men vi
har heller valgt å fokusere på noen få - men likevel grunn-
leggende - aspekter av den praksis som påvirker fargeset-
tingen av vårt bymiljø.
Farge og materialitet spiller en fundamental rolle for vår
oppfatning av steder og miljø. De gir oss informasjon, de
forteller om vår historie, om stedsidentitet, om territorier
og funksjoner, om egenart og tilhørighet. Farge forteller
også om de svingningene vi har i privat og offentlig øko-
nomi og endringer i idealer som reflekterer sosial status.
Vi absorberer fargene både bevisst og ubevisst inn i våre
stedsopplevelser, og fargenes konstante endringer avhengig
av vær og årstider integreres i våre personlige mytologier
av steder og deres atmosfære.