7位敢于运用色彩的建筑师
7 Architects Who Weren't Afraid to Use Color

由专筑网邢子，李韧编译

有些建筑师喜欢色彩，有些建筑师则并不为其动摇，甚至对色彩有些排斥，有些人则认为绚丽的色彩对建筑来说太过诙谐、不严肃，从而很少运用。Timothy Brittain-Catlin在一篇关于色彩的文章中提到“建筑中的禁欲主义”、建筑师的“尴尬色彩”、以及“现代主义如何‘生成’明亮的色彩。”所以，虽然关于建筑颜色的争论并不是一个新的话题，但它也许永远都不会有终点。

在当今世界中，建筑师总是代表着身着黑色套装的刻板形象，而当我们静静地琢磨着Cosmic Latte这种色彩神奇的影响力时，有一些建筑师并不排斥在他们的作品中使用丰富的色彩。让我们看看过去以及现在的7个具有代表意义的建筑师。

Some architects love color, some are unmoved by it, some hate it, and some love to dismiss it as too whimsical or non-serious for architecture. In an essay on the subject, Timothy Brittain-Catlin mentions the “innate puritanism among clients of architecture,” architects and their “embarrassment of confronting color,” and how “Modernism tried to ‘educate out’ bright colors.” So, while the debate on color in architecture is far from being a new one, it is not finished, and probably never will be.
In today’s world where the exhausted stereotype of the no-nonsense architect clad in black still persists, and while we quietly mull over the strange pull of the Cosmic Latte, there are some architects who haven’t been afraid of using broad swathes of color in their work at all. Read on for a list of 7 such exemplary architects both from the past and the present.


安东尼·高迪（Antoni Gaudi）（1852 – 1926）


巴特罗之家｜Casa Batlló. Image © Wikimedia user M.Stallbaum licensed under Public Domain

作为加泰罗尼亚现代主义与新艺术运动的领导人，高迪充满幻想的作品特点就是使用传统的装饰艺术，如彩色玻璃、陶瓷以及用铁艺锻造其扭曲的形式，同时借鉴自然、神话和宗教内涵。建筑师对色彩的运用显而易见，例如Casa Vicens、El Capricho、Casa Batllo、Park Guell和Sagrada Familia等项目中的多色瓷砖、砖块以及石块，这些策略在其无数杰作中都有所体现。

Best known as one of the leaders of Catalan Modernism and Art Nouveau, Gaudi’s fantastical work is characterized as much by its use of traditional decorative arts like stained glass, ceramics, and wrought-iron forging as it is by its eccentric forms. Drawing from nature, mythology, and religion, the architect’s remarkable use of color is evident in the polychromatic tile, brick and stone-work in projects like the Casa Vicens, El Capricho, Casa Batllo, Park Guell and the Sagrada Familia, among countless other masterpieces.  


维森斯之家｜Casa Vicens. Image © Pol Viladoms


路易斯·巴拉干（Luis Barragán）（1902 – 1988）


吉拉迪住宅室内｜Interior of Casa Gilardi. Image © Wikimedia user Ulises00 licensed under Public Domain

虽然巴拉干的作品运用了大面积的鲜艳色彩，但即使在墨西哥夏日的阳光下，这种色彩运用效果仍然让人感到赏心悦目。大片的奶油粉红色和亮橙色的体块彼此垂直展开、一个充满阳光的黄色走廊、碰撞的锈红色与泥土灰色体块、形成对比的深红色与鲜蓝色、灰绿色仙人掌后面的淡紫色墙壁，这些都是巴拉干（Barragan）的项目中众多色彩，他试图通过这些来表达“镇静、沉默、亲密和惊奇”的情感，以及他对地区文化和周边景观的理解与感悟。

While Barragán’s work makes use of whole planes splashed with bright, contrasting colors, it is never uncomfortable to look at, even in the Mexican summer sun. Expanses of creamy pink and bright orange at right angles to each other, a sunny yellow corridor, rust-red running into earthy grey, a solid chunk of scarlet against fresh blue, a lilac wall behind a dusty green cactus – these are a few of the many sights to behold in Barragán’s projects through which he sought to capture his obsession with “serenity, silence, intimacy and amazement,” the region’s culture, and the surrounding landscape.


吉拉迪住宅｜Fountain of Casa Gilardi. Image © Wikimedia user Ulises00 licensed under Public Domain


Fuente de los Amantes. Image © Flickr user Esparta Palma licensed under CC BY 2.0


卫星城塔 ｜Torres de Satélite. Image © Wikimedia user ProtoplasmaKid licensed under CC BY-SA 4.0


迈克尔·格雷夫斯（Michael Graves） (1934 – 2015)


St. Coletta学校 ｜St. Coletta School / Michael Graves. Image Courtesy of Michael Graves

“我喜欢文艺复兴建筑大师波罗米尼（Borromini），想要把这种丰富的感觉运用到我的作品中，但是如果你仅仅只运用了无彩色，那又有什么意思呢？”美国建筑师因为脱离现代主义者所奉行的纯粹传统主义而声名狼藉。他在后现代作品如St. Coletta学校、波特兰市政厅，以及华特迪士尼世界的“海豚度假村”中都使用了俏皮的色彩和大胆的形式。

“I love Borromini and want to get some of the feeling of the richness of that architecture into my work, but if you have to paint it white and make it flat, what's the point?'' The American architect notorious for breaking away from the purist traditions upheld by the modernists used playful colors and bold forms in his postmodern works such as St. Coletta School, Portland Building, and the Dolphin Resort at Walt Disney World.


波特兰市政厅｜Portland Building, 1982. Image © Wikimedia user Steve Morgan licensed under CC BY-SA 3.0


特奥·凡·杜斯堡（Theo Van Doesburg）（1883 – 1931）


Café l'Aubette. Image © Wikimedia user Claude Truong-Ngoc licensed under CC BY-SA 3.0

作为自学成才的艺术家和建筑师，以及风格派的主要支持者之一，杜斯堡在与其他设计师如Cafél'Aubette合作设计的空间中充分发挥了他对色彩的敏锐天赋。建筑空间中的多个表皮让色调、角度，水平和垂直元素以及几何形状发生变化，所有这些元素都通过大胆的色彩来表征纯粹的抽象和纯净。

The self-taught artist and architect, and one the main proponents of De Stijl, Doesburg applied his ideas about color with full vigor in the spaces he designed in collaboration with other designers, such as the Café l'Aubette. The multiple surfaces and planes in actual space allowed him to play with shifts in tones, contrasting angles, horizontal and vertical elements, and geometry, all in bold primary colors that stood for pure abstraction and purity.


彼得·库克（Peter Cook）


伯恩茅斯艺术大学艺术系画室｜Drawing Studio / CRAB studio. Image © Richard Bryant

“美术馆是一个圆滑有趣的建筑。进入入口之后，各种诱人的元素将会引导你进入一个未知的世界。”这并不是书上所描述的阿基格拉姆学派的项目，它是由彼得·库克的CRAB工作室设计和建造的奥地利公共艺术画廊。他认为阿基格拉姆学派的建筑的意义在于将其建造出来，这并不是一句玩笑话，他使用大胆的色彩以及激进的戏谑手法，这些根本不足为奇，因为他对千篇一律的东西本就不屑。

“The Kunsthaus offers a rotund, laughing, winking face to the city of Graz. The straightforward entry is followed by a tantalizing element – the travelator that invites you into the unknown. The mystery deepens in the dark, magic space...” This is no Archigram project on paper, it’s a public art gallery in Austria designed and built by Peter Cook’s CRAB Studio. The architect wasn’t joking when he said that Archigram’s designs were always meant to be built: marked by the same wit, color palette and radical playfulness, Cook is not afraid to throw around splashes of color, which is not surprising at all, given his added disdain for the “piety of biscuit-beige.”


奥地利WU大学法律与行政管理学院｜Departments Of Law And Central Administration / CRAB Studio. Image © Ronald Kreimel


邦德大学Abedian学校建筑学院｜Abedian School of Architecture / CRAB Studio. Image © Peter Bennetts


理查德·罗杰斯（Richard Rogers）


蓬皮杜艺术中心｜Centre Georges Pompidou. Image © Flickr user Alfie Ianni licensed under CC BY 2.0

高科技、功能主义、适应性强以及丰富多彩的色彩，这些都是罗杰斯作品的代名词，而他的代表作蓬皮杜艺术中心也很充分地表达了他的设计理念。乍看起来，这座博物馆似乎是一个巨大的矩形体量，上面满是彩色的管道和脚手架，但仔细研究就能揭示了其细致的颜色编码：蓝色的通风管、绿色的水管和消防管道、黄色和橙色的电气系统、红色的电梯和通风井，而白色为结构和构件。

High-tech, functionalist, adaptable, and colorful – the work of Richard Rogers today still imbibes the same spirit as the building that launched his career: the Centre Georges Pompidou. At first glance, the museum seems like a giant, rectangular mass of colorful pipes and scaffolding, but a close study reveals meticulous color coding: blue for ventilation, green for plumbing and fire control piping, yellow and orange for electrical systems, red for elevators and shafts, and white for structure and largest ventilation components.


千年穹顶｜Millennium Dome. Image © Flickr user James Jin licensed under CC BY-SA 2.0


里卡多·波菲（Ricardo Bofill）


红墙｜La Muralla Roja. Image © Gregori Civera


红墙｜La Muralla Roja. Image © Gregori Civera

西班牙建筑师的作品，特别是像El Sargazo公寓、Gaudi District、卡夫卡城堡（Kafka Castle），xanadú和La Muralla Roja这样的住宅项目，常常被赋予超现实主义的定义，波菲对色彩的掌握体现于他在迷宫般多层次的建筑中对紫红色、红色、蓝色、淡黄绿色、靛蓝色，紫色和橙色的大量应用，而这些色彩通常与周围景观形成鲜明的对比。

The work of the Spanish architect, more specifically the numerous housing projects like the El Sargazo Apartments, Gaudi District, Kafka Castle, Xanadú and La Muralla Roja, is often described as surrealistic or "Escheresque". Bofill’s mastery over color in his labyrinthine, multi-leveled buildings takes the form of dramatic shades of fuchsia, scarlet, blue, pistachio, indigo, violet and orange applied in generous amounts, often setting up a striking contrast with the surrounding landscape.


红墙｜La Muralla Roja. Image © Gregori Civera


红墙｜La Muralla Roja. Image © Gregori Civera


西班牙Xanadú公寓｜Xanadú. Image Courtesy of Ricardo Bofill


出处：本文译自www.archdaily.com/，转载请注明出处。