色彩—建筑的菁华

维雷娜·M·申德勒

黄华青 译

色彩—建筑的菁华

维雷娜·M·申德勒

黄华青 译

从20世纪开始，颜色在建筑中的应用——不仅是来自建筑师的，还包括了与艺术家之间的合作——变化之剧烈可以称之为一次范式的转变。独特的、高饱和度的颜色鲜活地表达了人们对于舒适度、财富、乐趣、奢华和自由的强烈愿望。本文探讨了该领域的新趋势，包括创新型的色彩项目。传统技术与新材料相结合，微妙的颜色和日光促成了独特神秘的氛围。同样，LED和OLED技术的应用已成为色光环境的主要趋势。作为表皮，新的建筑立面变成了交互屏幕，透明玻璃薄膜反射波动变化的色彩，以及成为厚重的植被表皮。尤为具有革命性的是基于绿藻生物反应立面的新型生态策略。发光色以其存在表达“感知能量”，并成为以更新、活力和韵律为目标的彰显。

色彩，光，材料，氛围，新趋势，交互屏幕，植生墙，LED环境

特别自1990年代中叶以来，建筑中色彩的意义得到了极大的延伸。这背后浸透着很多国际知名的建筑事务所的精妙感受和研究，包括索尔布鲁赫·胡顿、斯蒂芬·霍尔、赫尔佐格与德梅隆、让·努维尔、UNStudio事务所、弗兰克·盖里、扎哈·哈迪德、雅克布+麦克法伦等。这一显著发展也归功于与建筑师同时工作或合作设计的当代艺术家及照明设计师的挑剔眼光，当然还有特殊业主对此越来越高的认识。建筑实践从时装、设计、摄影、表演艺术以及航天工程、数字和工业加工技术中汲取养分，更进一步拓展了色彩运用的可能性。显著而高饱和度的色彩鲜明地传达出极高的吸引力，并渴求更高的舒适、休闲、财富、愉悦、奢华及自由。结合半透明和透明材料，以及反射性、抛光或磨砂表面的新属性，伴随着使用精密材料带来的改进，色彩不仅更新了外观及效果，同时变化的还有它的语义学、符号学及文化意涵。

神秘的摸索

在建筑设计中，处理环境天光一直都是一项重要目标。然而，随着当代建筑的发展，这一看似平常的关注已经凸显为对新颖及创新的期待。

建筑师及艺术家经常合作，例如赫尔佐格与德梅隆在巴塞罗那设计的2004会议中心及广场，还有罗杰·迪恩纳在巴塞尔设计的诺瓦蒂斯园区3号办公楼，他们使用传统或创新的立面材质或独特的材料特性，以极具表现力的方式处理天光及色彩。一些看似矛盾的手段，如透明与模糊、光泽与粗糙、反射及叠置，共同塑造着天光，使色彩凸显，空间显现或消失，外观潜移默化。

巴塞尔的诺瓦蒂斯办公楼就是一个典型案例，它的建筑立面由数百块相互重叠的玻璃面板所覆盖（图1）。艺术家赫姆特·菲德尔与建筑师杰罗德·维德林共同创造出一种由闪亮而透明的玻璃面板组成的复杂表皮。这些色彩光泽各异的面板相互重叠，反射着周边的景色和变幻莫测的光线，而直射光进一步导致色彩在耀眼的白光下完全溶解。同时，阴影中玻璃面板的色彩及反光看起来则十分神秘，凸显出立面精巧结构的复杂度。

在巴塞罗那会议中心，天光展现了传统技术（拉毛涂层）如何与新的材料处理方式及精心调和的色彩微差相结合，创造出独一无二的神秘氛围（图2-4）。平滑玻璃面板与拉毛涂层的结合、光洁材料与粗糙材料的结合、平整表面与零碎平面的结合，将空间中光影及颜色的变换进一步增强或柔化。

然而，什么是最触动人心的？提到这个时常被忽略的话题，我们可以到彼得·卒姆托那里去寻找答案：是氛围、空间的魔力、色彩和光线的能量在起作用，从而塑造人们的情绪吗？用卒姆托的话来说：“是一切！一切都有影响！物件，人，空气、光线、声音、音调及色彩的品质。”［1］19这一切共同组成了人类的居住环境，人类的栖居之所。然而，场所、色彩和光线只有当其能够增强并点燃人们的情绪时，才是有魔力的。正如他所说：“在我看来，真实世界的神奇就在于这种将物质转化为人类情感的‘点金术’，这个情感被建筑空间中的材料、物质和形式所触发的特殊时刻。”［1］ 20确实，现实世界的魔力与幸福、一致、和谐的感觉紧密相关。

1 诺瓦蒂斯办公楼，巴塞尔，瑞士/Roger Diener， Diener + Diener Architekten， Novartis Campus Forum 3 Ofce Building，Basel， Switzerland， 2005（摄影/Photo© Verena M. Schindler）

新材料

1990年代，新引进的半透明金属材料使建筑立面产生一种起伏闪烁的效果，这是由于光线与彩色平面发生的关系。2009年建成的法国埃尔布莱青年文化中心，由Quintet建筑与城市工作室、帕特里克·本·苏桑与弗洛尔·布林冈德共同设计。所采用的色彩方案与巴黎克勒尔工作室合作设计，是一个在立面上采用多种材料的案例（图5）。为新材料赋予光学性能以及所谓的“效果色素”——例如珍珠般的或荧光色的特质，不仅能增强光线效果，而且能创造出广域的色谱。最完整的效果只有在行进中才能看到，颜色随着观赏角度的不同而变化。在这个意义上，运动也成为了构筑建成环境色彩感知的必要元素。另一个由新材料创造色彩序列的案例，是荷兰阿尔梅勒的拉德芳斯办公楼立面，由UNStudio事务所于2004年设计（图6）。这座建筑是一项更大范围城市设计的一部分，内庭院立面满铺镀膜玻璃板，能够过滤自然光，产生高饱和度且缤纷多彩的光线。依照太阳光、日光或所谓自然光的强度和方向，建筑中的照明和反射也能灵活捕捉并调节。如此产生的转瞬即逝、变幻莫测的特质，使建筑及其环境获得张力，同时还具有脆弱性、模糊性和瞬息万变的特性。在这个项目中，日光发挥了很大的作用，为色彩赋予极强的表现力。

同样，位于代芬特尔，由IM Architecten设计的彩虹（L'Arc-en-Ciel）办公楼的内侧立面玻璃覆有3M双色玻璃涂层，因此具有艳丽的效果，

Especially since the mid-1990s， the meaning of colour in architecture has been extended through the refined sensibilities and research of internationally renowned architecture offices，such as Sauerbruch Hutton， Steven Holl， Herzog & de Meuron， Jean Nouvel， UNStudio， Frank O. Gehry， Zaha Hadid， and Jakob+MacFarlane. This impressive development has been underscored by the highly selective eye of contemporary artists and lighting designers working in parallel or in collaboration with architects， as well as the emerging consciousness of special clients. Borrowing from fashion， design， photography， the performing arts as well as aerospace， digital and industrial process engineering technologies， the architectural practice has acknowledged further - and contradictory -possibilities for colour. Distinctive， saturated colours vividly express the will to seduce and the desire for great comfort， ease， wealth， pleasure， luxury and freedom. Combined with new aspects of translucent，transparent materials and refective， glossy or matte surfaces， as well as being enhanced through the use of sophisticated materials， colour has not only been made to change its appearance and efects， but also its semantic， semiotic and cultural meaning.

Enigmatic search

Dealing with daylight in architectural environments has always been a main objective of architectural practice； however， in contemporary architecture this seemingly everyday concern has become underscored by the expectation of novelty and innovation. Architects and artists， often in collaborative works， e.g.， the Forum 2004 building and plaza in Barcelona by Herzog & de Meuron or the Novartis Campus Forum 3 office building in Basel， 2005， by Roger Diener use traditional or innovative surface textures and specific material qualities in order to deal with daylight and colour in a dynamic way. Seemingly paradoxical means -transparency and opacity， glossiness and roughness，reflection and superposition - shape daylight and make colour emerge， space appear or disappear and appearance change.

The Novartis Office Building in Basel provides an example of an architectural façade wrapped by a structure of hundreds of superimposed glass panels （Fig.1）. The artist Helmut Federle in collaboration with the architect Gerold Wiederlin created a sophisticated membrane compound of shiny，transparent glass panels. Overlapping and coloured in diferent hues these panels refect the landscaped surroundings and the fluctuating sunlight，whereby the direct illumination causes the colours to completely dissolve under the blurring white light； at the same time the colours and reflections of panels in the shadow appear mysterious and emphasize the complexity of the façade's intricate structure.

Te skylights of the Barcelona Forum show how traditional techniques （rough coating） combined with new ways of dealing with materials and finetuning colour nuances can produce a unique and enigmatic atmosphere （Fig.2-4）. Combinations of smooth glass cladding and rough coatings， glossy and matt materials， plain and fragmented surfaces enhance or soften the pleasurable play of light，shadow and colours in space.

However， what touches us most？ Raising the issue of this often neglected subject， we ask Peter Zumthor: Is it the atmosphere， the magic of a place，the energy of colours and lights that affect and put people in a particular mood？ In the words of Zumthor: "Everything！ Everything！ Tings， people， the quality of the air， the light， the sounds， tones and colours."［1］19Everything together constitutes the living human environment， human habitat. However， a place， colours and lights are only magic if they are able to enhance and inflame human sensations， as he states: "For me， the magic of the real is this 'alchemy' of transforming real substances into human sensations， this specific moment of emotional appropriation or seizure of material，matter and form in architectural space."［1］20Indeed the magic of the real is closely related to a feeling of well-being， coherence and harmony.

2-4 巴塞罗那会议中心，西班牙/Herzog & de Meuron， Forum Building and Plaza， Barcelona， Spain， 2004（摄影/Photo© Verena M. Schindler）5 青年文化中心，埃尔布莱，法国/Youth and Cultural Centre，Herblay， France， 2009， Quintet Architecture Urbanisme-Patrick Ben Soussan & Flore Bringand（摄影/Photo© Luc Boegli）

New Materials

During the 1990s newly introduced metallic opalescent materials generated a fluctuating appearance of architectural façades whereby light interacts with coloured surfaces. The Youth and Cultural Centre in Herblay， France， 2009， conceived by Quintet Architecture and Urbanism， Patrick Ben Soussan and Flore Bringand， incorporates a colour concept designed in collaboration with Atelier Cler， Paris， and is an example of using different materials on the façade （Fig.5）. To date new materials with optical properties and so-called "efect pigments"， e.g.， pearl and iridescent qualities not only increase effects of light but also create a颜色随着视角的变化而变化（图7）。

色光环境

当代建筑距离勒·柯布西耶提出的预想已经渐行渐远。勒·柯布西耶作为现代建筑中关于自然光与色彩最具影响力的思考者之一，认为建筑就是“对光所带来的一切进行精巧、正确而宏伟的设计。”［2］31，［3］2004年，真正奠定潮流的一个色彩项目是韩国首尔的商场大厦，由UNStudio事务所设计（图8、9）。4330片不透明的玻璃圆盘覆盖在现有建筑的混凝土立面上，玻璃盘上特殊的双色薄膜能够在白天形成珍珠母效果的色泽，晚上每块玻璃盘都会由电控LED灯点亮，形成一系列惊人的、不断变化的色光效果。

在过去的15年，关于发光二极管（LED）以及可变塑基（OLED）技术已经彻底改变了所有种类的显示屏。动力照明系统以及使用人工色光环境的研究发展（即交互性装置）已经成为主导趋势、商业工具以及媒体驱动的痴迷行为。这些科技的应用，具有很强的感官刺激性及压迫性，如今往往以商业行为或临时性活动装置的形式成为城市生活的一部分，例如“白夜”、灯光节、纽约的倒计时庆典、民族团结庆典，以及其他在公共空间举行的大型活动。商业性或娱乐性的氛围需要快速变化的效果以及短暂而高强度的扰动：圆滑的广告和时髦的玩乐在经典的拉斯维加斯得到完美结合。因此，城市空间在视觉上逐渐消解、湮灭，成为闪烁荧幕所环绕的舞台，而不再作为人类活动及交流的背景。建筑立面经常被当作屏幕，承载数码编程控制的大型灯光秀及投影，因而建筑原先的色彩都被人工光遮蔽或是扭曲，无法再分辨。

6 拉德芳斯办公楼，阿尔梅勒，荷兰/La Defense Ofce Complex， Almere， Netherlands， 2004， UNStudio（摄影/Photo© Christian Richters）7 彩虹办公楼，代芬特尔，荷兰/L'Arc-en-Ciel Ofce Building，Deventer， Netherlands， 2004， IM Architecten（图片来源/Image Source© Norbert van Onna， Architectural Photography， Archehov Publishers）

8.9 格乐丽雅百货商店，首尔，韩国/Galleria Hall West， Seoul，South Korea， 2004， UNStudio（摄影/Photo© Christian Richters）

表皮的概念

当今，建筑中所诠释及应用的表皮概念已经颠覆了对立面的理解及处理方式。当代建筑师与新材料的制造商、结构工程师、采暖制冷技术专员、灯光设计师/工程师、植物学家及艺术家通力合作，用多种激动人心的方式展现了这些新的手法如何与色彩发生本质联系。

由于新的立面被看作表皮，它的色彩效果也就成为例如数控变色的巨大屏幕、反射变幻色彩的透明玻璃膜，或是种植植物的厚毯。这些新表皮的色彩及效果与周边的地理、文化及社会背景是和谐还是反差？当下决策者更青睐哪些立面品质？立面的材质及效果是通过色彩选择及它们隐含或外显的特征来理解的吗？将简单、传统的立面转换为一套服饰、面具、镜子或薄膜的行为是否值得争辩？这些可能性是否仅仅只是表面现象而已，也就是等同于妄论的关于城市日常生活体验的重要背景的幻想？

私有及公共建筑的色彩就像人的皮肤一样，会成为城市特征的一部分。有些城市采用当地材料，而显现出一种独特的色彩。比如普罗旺斯的艾克斯看起来是金赭石色的，克莱蒙费朗是深紫色的，而蒂永维尔则是用产自孚日的蔷薇色红砂岩建造的。

同样，巴黎也有自己的色彩，从各种灰色到石灰岩自身的中黄赭石色。这些石材来自城市地下的采石场，或是以假乱真的仿石材料。每座城市都有其主导性的色彩外观。若干年后至今，城市成为了一座露天展示馆，用来展现那些令建筑、色彩及城市绿化的关联加强的创新性方式。让·努维尔于2006年设计的布朗利河岸博物馆是一个关键项目，它选择了特定的深棕色、暖赭红色、淡赭黄色，置身于石灰白主导的巴黎市中心。全玻璃的填充幕墙由半透明的“丛林绿”薄膜覆盖，在沿河立面穿插以彩色的盒子［4］33。曾参与让·努维尔的巴黎爱乐音乐厅的建筑师布里吉特·梅特拉，于2001年设计了位于巴黎的学生公寓（图10），这是一座浓烈的红色建筑，建筑的立面遮阳采用了不同深度的红色，不仅与巴黎的布朗利河岸博物館相呼应，还让人联想到索尔布鲁赫·胡顿于1999年设计的柏林GSW总部大厦。梅特拉又发展了这种躁动的红色broad palette of diferent colours. Te full efects can only be perceived by the viewer in motion， shifting colours depending on the angle of view. In this sense movement has become an essential element structuring the chromatic perception of the built environment. Another example of new materials causing an array of colours appeared on the façades of La Defense Ofce Complex， Almere， Netherlands，2004 designed by UNStudio （Fig.6）.

Integrated in a larger urban plan， the façades of the courtyards are clad with glass panels integrating thin films that filter natural light to produce light that is perceived as highly saturated and multi-coloured. Depending on the intensity and orientation of sunlight， daylight or so-called natural light， illumination and refections are captured and modulated. Such resulting ephemeral and transient aspects lend the architecture and its environment intensity， but also fragility， ambiguity and evanescence. Daylight is used here to great efect in this project expressively activating and energizing the colours.

As well， the inner façade of the L'Arc-en-Ciel office building in Deventer designed by IM Architecten has 3M Dichroic Glass Finishes applied that give the glass façade a brilliant effect， with colour shifting depending on the viewing angle （Fig. 7）.

Colour-Light Environments

Contemporary architecture is far from the premises of Le Corbusier， one of the most infuential thinkers about natural light and colour in modern architecture， who thought architecture to be "the masterly， correct and magnificent play of masses brought together in light."［2］31， ［3］In 2004， a truly trend-setting colour project was the Galleria Department Store in Seoul， South Korea， conceived by UNStudio（Fig. 8， 9）.

A total of 4330 non-translucent glass discs were mounted on the existing concrete façade of the building and include special dichroic thin-flm flters that generate a mother-of-pearl effect during the day， whilst during the night each glass disc is lit by LED lights digitally programmed to create a variety of astonishing changing colour-light efects.

In the last fifteen years investigations exploring LED （light emitting diode） as well as fexible plastic-based OLED （organic light emitting diode） technologies have revolutionized screens and displays of all sorts. Dynamic lighting systems as well as research developing understandings using artificial colour-light environments， i.e. interactive installations， are becoming a major trend， commercial tool and media-driven obsession. Often irritating and overwhelming the senses such applications are now commonly experienced as part of urban life in the form of commercial actions and temporary event-oriented installations，e.g.， Nuit Blanche， Light Festivals， New Year's Eve celebrations， manifestations of solidarity and other mass events performed in public space. The commercial-or entertainment-touch calls for rapid change efects and intense， short interventions: slick advertisement and fashionably fun are combined in the tradition of Las Vegas. As a result， urban space is de-constructed visually to the extent of annihilation as a media - imposed stage for fluctuating screens rather than background and platform for human presence and exchange. Often architectural façades are used as screens for digitally programmed gigantic performances and projections whereby original colours are either masked or distorted by artificial coloured lighting to the extent that they are no longer recognizable.

10 学生公寓，巴黎，法国/Student Housing， Paris， France，2011， Brigitte Métra（图片来源/Image Source© Métra + Associés）11 拉佳朗斯巴士中心及办公楼，巴黎，法国/Le Garance Bus Centre and Ofces， Paris， France， 2015， Brigitte Métra， Métra + Associés（摄影/Photo© Michel Bodi）

The Idea of Skin

The idea of skin as interpreted and applied in architecture has led to new understandings and treatments of the façade today. Contemporary architects-in collaboration with manufacturers of new materials， structural engineers， heating and cooling technology specialists， lighting designers/ engineers， botanists， and artists - demonstrate in a wide variety of exciting ways how these new treatments essentially concern colour.

Considered like skin， the colour effects of new façades have become， for example， huge screens changing colours via digital programmes， transparent glass membranes reflecting fluctuating colours， and dense tapestries of living vegetation. Are the colours and effects of new skins in harmony - or at odds -with the geographical， cultural and social context？What properties of façades do decision-makers currently privilege？ Are materials and efects of the façade understood in terms of colour range choices and their implicit and explicit identities？ What are some arguments for justifying the transformation of the simple， traditional façade into a costume，mask， mirror or membrane？ Are these possibilities addressed as mere phenomena of appearance， i.e.，as illusions that amount to misleading statements about the importance of context and performance in the lived experience of everyday life in the city？

Like a skin， the colour of private and public buildings forms part of the city's identity. Some cities are built with local materials revealing a specific chromatic appearance. Aix-en-Provence appears golden ochre， Clermont-Ferrand dark purplish， and Thionville is constructed with rosy sandstone from the Vosges.

As well， Paris has its own chromatic appearance with ranges of pale to middle yellow ochre of the limestone coming from the quarries underneath the city or of fake materials to equal the natural stone. Every city has its own dominant colour appearance. For a number of years now cities have served as an open-air showcase for novel ways to intensify the relationship between architecture， colour and urban greenery.

Jean Nouvel's Museum Quai Branly， 2006， is a key project because of its specifc palette ranging from dense browns and warm earthy reds to light ochre yellows applied in the middle of limestonewhite Paris. Fully glazed infill walls covered with translucent "jungle-green" sheet films alternate with the coloured boxes along the river façade［4］33. The architect Brigitte Métra， who was involved in the design of Jean Nouvel's Philharmonie de Paris，conceived Student Housing， 2011， in Paris （Fig. 10）as an intense red-coloured building， with sunshades in a variety of different shades of red echoing not only the Museum Quai Branly in Paris， but also立面，进一步体现在她于2015年设计的拉佳朗斯巴士中心及办公建筑（图11）。

垂直花园

在建筑中探索“绿色”的潜在策略涵盖了将植物作为形式和色彩的灵感源泉——包括作为设计概念的明喻甚至暗喻——乃至将生长中的植物真正作为建筑的一种材料。

当代建筑的一种新趋势就是采用越来越多的绿色植物，不仅作为建筑构成元素，而且用于墙上及屋顶上。因此，建筑与周围环境融为一体，甚至成为自然本身的一部分。法国植物学家帕特里克·布朗克设计的“绿墙”是极其复杂的自然“艺术作品”，将“微群落”的概念与科学安排并系统灌溉的植物整合在一面墙上。布朗克设计的一个著名“绿墙”案例就是巴黎阿布吉尔街的“垂直花园”（图12）。在此，植物并不随着季节发生剧烈的、节奏性的色彩变化，反而借由人工方式保留了其植物组合的稳定性。作为一面“常青”的表皮，它不仅成为建筑的固定元素，而且也成为一部分永久的城市景观。

在可持续性的标签之下，建筑的屋顶被当做第五立面，并转变为一片绿色空间或是草坪。例如雅克布+麦克法伦于2008年设计的塞纳河岸时装设计城［5］。建筑位于塞纳河左岸，顺着河岸延伸出一座全新的结构，建筑师称之为“插座”，在边缘及顶部紧紧依附在一座1907年的工业仓库的现有混凝土结构之上。一项重要的灵感来源就是碧绿起伏的河水。建筑师还参考了奥斯特里兹河岸上美丽的绿树，力求延续这一绿色景观，其方式不仅通过建筑的色彩方案，而且还加入了一座绿植屋顶，由景观建筑师米歇尔·德斯维涅设计，在屋顶上还可以看到壮观的巴黎全景。无论灵感或初衷如何，这座新建筑的绿色都令它看起来有些奇怪。白天，它有点儿像是某种橄榄绿，但有时又转化为耀眼的亮绿色。建筑室内包括一座巨大、高耸、异形的穹顶，通过绿色的光给人造成一种绿色植物的幻象（图13、14）。不用说，这座神秘的绿色建筑必然会激起批评声四起，也很难与周边环境建立积极的联系。更何况，杨·凯萨莱的灯光设计更让建筑转变成生动的奇观。晚上，建筑化为一只发出神秘光晕的萤火虫，使河面的波澜上洒满绿光。傍晚的时候，建筑的效果则是闪闪发光的。

绿藻

然而，更具革命性的是一种以绿藻为核心的新型生态技术。XTU建筑事务所用一种活体绿色微藻类创造出具有生物活性的立面。

这个项目的设计事务所来自巴黎，由阿努克·勒冈德勒与尼古拉·德玛齐耶创立。该项目可以说是极其未来主义和乌托邦的。他们构想在不远的未来，整座悬浮城市都会是环境友好、无污染且自给自足的生态系统。XTU事务所实际上提出了一个针对可持续性城市的仿生学概念，将建筑学与农业结合。他们为2015年米兰世博会（主题为“滋养地球，生命之源”）设计的法国馆，主题为“生产及提供食物的不同方式”。

阿努克·勒冈德勒来自农学、生物学世家，她设计了光合作用的生态立面，就像是某种垂直温室，“其中种植了吸收CO2的浮游藻类，形成了一个富氧的、油质的生物群落。”［6］在这个光合生物反应器的玻璃单元的空腔内，不仅有空气的流动，而且有类似于阿尔戈房子内的微藻类培养群落。阿尔戈房子（图15）是一座由 XTU事务所和SymBIO联盟开发的真正意义上的实验楼，获得巴黎左岸的“重塑巴黎”竞赛的优胜奖。在受光时，这个双层立面如同一片由活体微生物组成的垂直农场。它还发挥着温度调节器的作用，将建筑的热性能最优化。在白天的不同时间，立面的不透明度随着生物群落的密度而发生变化，因此也可作为动态的遮阳装置。在这一体系中，玻璃幕墙与建筑之间形成共生的关系。藻类生长出的生物群落在每天傍晚被采集起来，可用作商业用途，例如医药、化妆品、食品加工，也包括生物燃料及生物能工业。XTU事务所构想的未来无污染城市将由两类建筑组成。第一类使用绿藻构成的光合作用生物立面，就像上述这种建筑；第二种采用特殊的绿色混凝土，上面生长着可以吸收CO2的植物。

12 阿布吉尔街“垂直花园”，巴黎，法国/Oasis d'Aboukir， Paris，France， 2013， Patrick Blanc（摄影/Photo© Yann Monel）13 塞纳河岸时装设计城，巴黎，法国/Docks en Seine-City of Fashion and Design， Paris， France， 2008， Jakob + MacFarlane Architects（摄影/Photo© Verena M. Schindler）14 塞纳河岸“插座”建构的表皮/Skin of the Plug-Over，Docks en Seine-City of Fashion and Design， Paris， France，2008， Jakob + MacFarlane Architects（摄影/Photo© Verena M. Schindler）

15 阿尔戈房子，巴黎，法国/In Vivo， AlgoHouse， Paris，France， 2016（图片来源/Image Source© XTU Architects，Anouk Legendre and Nicolas Desmazières）

彩虹色

就像艺术家保罗·克利所说，彩虹的色彩现象已超越地球上色彩的特质，而属于一种大气层的、Sauerbruch Hutton's iconic GSW Headquarters Building in Berlin， 1999. Métra further developed this idea of a vibrating red coloured façade in her Le Garance Bus Centre and Ofces building design completed in 2015 （Fig. 11）.

Vertical Gardens

The underlying strategies of the investigation of ‘green' in architecture range from using plants as the inspiration for form and colour-including as simile and even metaphor fuelling the very design concept-to literally using the living vegetation as a constituent material in architecture.

In contemporary architecture a new trend is to integrate more and more green vegetation， not only as an element of composition， but also on walls and roofs. Tus architecture blends with its surroundings or becomes a piece of nature itself. Developed by the French botanist Patrick Blanc， his "green walls" （murs végétaux） are sophisticated pieces of natural "artwork" combining the notion of micro-biotope with scientifically arranged and systematically irrigated plants on a wall. One such remarkable example of Blanc's "green walls" in architecture is the "vertical garden" at Rue d'Aboukir in Paris （Fig. 12）. Here vegetation does not undergo substantial rhythmic chromatic variations in accordance with the season； rather these vegetal compositions on buildings are artifcially maintained. As "evergreen" coverings they have become constant elements of the architecture itself， as well as a permanent part of the urbanscape as a whole.

Under the label of sustainability， the roof is considered as the fifth façade and turned into a green space or prairie， as， for example， in the Docks en Seine - City of Fashion and Design， 2008，designed by Jakob + MacFarlane Architects.［5］Located on the left border of the Seine， the Docks en Seine extends along the riverfront through a new structure - which the architects call a "plugover" - that grips the concrete structure of an existing industrial warehouse of 1907 on the sides and on the top. An important source of inspiration was the green-coloured， undulating river. The architects also referred to the beautiful green foliage of the trees along the Quai d'Austerlitz， aiming to enhance a continuous green landscape， not only through the colour concept of the building， but also by incorporating a vegetal roof designed by landscape architect Michel Desvignes， which afords superb panoramic views of Paris. No matter what the inspiration or motive， in any case， the green colour of this new architecture contributes to its strangeness. During the day at times it appears to be a kind of olive green， but changes also to a dazzling green. In the interior the "plug-over" constitutes a huge， high， and irregular vault of a simulacrum of greenery embedded in a green-coloured light （Fig. 13， 14）. Needless to say， this mysterious green building provoked a great deal of criticism and had great difculty in establishing a positive relationship with its neighbours. Even further， Yann Kersalé's lighting design transforms the architecture into a lively spectacle. At night， the "plug-over" mutates into a mysterious glowing fireworm， flooding the river surface and its movements with luminescent green. At dawn， the efect is fuorescent.

Green Algae

Especially revolutionary， however， is a new ecological approach based on green algae. XTU Architects use living green microalgae to create bioreactive façades.

Te projects by the Paris-based ofce， founded by Anouk Legendre and Nicolas Desmazières， can be considered as ultra-futuristic and utopian. Tey imagine that in the near future entire floating cities will exist as environmentally friendly， nonpolluting， and self-sufficient eco-systems. XTU actually proposes a bionic concept - a synthesis of architecture and agriculture - for sustainable cities. Featuring the theme "Different Ways of Producing and Providing Food，" the architects designed the French pavilion for the 2015 Expo Milano - Feeding the Planet - Energy for Life.

Niece of agronomists and mother of a biologist，Anouk Legendre has conceived the creation of the photosynthetic biofaçade， a sort of vertical greenhouse where "CO2-absorbing planktonic algae are cultivated providing an oleaginous biomass rich in oxygen."［6］In the intermediate cavity of the glazing units of the photo-bioreactors， there is not only air flowing， but a microalgae culture like that in the Algo House - a genuine laboratory building -developed by XTU and the SymBIO consortium that won the Réinventer.Paris competition for Paris Rive Gauche （Fig. 15） .

Exposed to light， the double-skin façade serves as a vertical farm of living micro-organisms. They also act as thermal regulators optimizing energy performance in the building. Depending on the time of day， they are more or less opaque according to the density of the biomass， and thus serve as a dynamic solar shading device. In this system the curtain wall forms a symbiotic connection with the building. Collected daily in the late afternoon， the living biomass from algae can then be used for commercial purposes， e.g.， by the pharmaceutical， cosmetic， and food processing， as well as biofuels and bioenergy industries.

The non-polluting city of the future imagined by XTU is composed of two different types of buildings. Te frst type is built with photosynthetic biofaçades of microalgae， as described above. The second is made of special green concrete upon which CO2-absorbing vegetation grows.

16 “新浪潮”光装置，东景缘酒店，北京/ "Te New Wave"，by Nathalie Junod Ponsard， 2014. Light installation. Te TempleHotel， Beijing， China16（图片来源/Image Source© Nathalie Junod Ponsard）17 Biomuseo 博物馆，巴拿马/Frank O. Gehry， Biomuseo， Panamá，2014（摄影/Photo© Fernando Alda）

Rainbow Colours

As the artist Paul Klee claimed， the colour phenomena of the rainbow transcend earthly colour properties， belonging to the atmospheric， almost to the cosmic realm（Fig. 16）.

Since the turn of the twentieth century the ways that colour has been employed in architecture - not only by architects working alone， but also in collaboration with artists - have changed so strikingly that乃至宇宙的领域（图16）。21世纪以来，在建筑师以及合作艺术家的努力下，建筑中使用色彩的方式已经发生如此惊人的变化。我们可以公正地说，色彩使用的范式也已悄然转变（图17）。

饱和、明亮而活泼的色彩刻画出建筑立面，与特定光泽的建筑材料结合，改变了色彩的内涵：不再让人联想到落后、破败、商业主义、光怪陆离或旅游景点。

其中一个值得关注的项目是瑞士施利伦的里特公园服务楼，建于2014年，由苏黎世的SLIK建筑事务所设计。不过其中最吸引人的是名为“虹膜”的色彩项目，由艺术家克里姆·塞勒设计（图18、19）。在这座建筑中，色彩成为了建筑的一部分。采用饱和色的薄片状百叶在立面上可以自由移动，不仅带来独特的视觉效果，而且也是能适应不同个体需求的灵活手段。从外部看来，色彩将立面转变为一面互动性的墙，有其自己的表情。

就像赫尔佐格与德梅隆所说的那样：建筑不能是中立的［7］。色彩不仅重新定义了建筑表面，也让它变得极具表现力及反馈性，就像人体的皮肤一样。也就是说，色彩不仅将建筑立面拓展为一个空间区域，而且进一步延伸，成为一张薄膜，成为建筑外表面的延伸或压缩。毋庸置疑，色彩不仅激发联想，也影响并挑战着个人的感官认知。

对于赫尔佐格与德梅隆来说，艺术作品表达出的“创造性活力”及“知觉能量”要远远超出在日常生活中观察到的常规模式。为什么建筑师要与艺术家合作，研究出特殊的色彩设计概念及效果呢？雅克·赫尔佐格回答道，“我们相信职业性。理想上说，词语的‘职业者’就是诗人。大部分人只是简单技术性地使用语言，但有些人就是比其他人更有天赋。对于色彩同样如此。建筑师选择某种颜色时，只是依据自己的品味，但没有什么比诉诸个人品味更糟的了。如果某种颜色的选择（所有颜色都是伟大的）没有足够的概念依据，那么就丧失了说服力和精确性：也就是一切让建筑具有趣味的特质。”［8］

伊曼努尔·穆鲁于2011年为东京巢鸭信用银行志村分行设计的彩虹色千层饼式立面，集合了12种设计巧妙的彩虹色，反射在建筑的白色立面之上（图20）。

这些亮色的存在成为了一种走向复兴、活力及韵律的宣言式表达。例如，2015年建于新加坡的南洋小学扩建项目，由墨尔本的studio505工作室及LT&T建筑事务所共同设计（图21、22）。

明黄色柱子支撑着跨越中庭的连廊，这些连廊是为了便于在两座平行的教学楼建筑间通行。建筑室内的白色教室与外部五彩斑斓的世界形成戏剧性的对比，室外的流线型曲线的形体上染上看似数不清的水平色带。这样活泼的色彩完全改变了空间的外观和体量，创造出惊人的明快氛围。

这样的色彩如果在里面呆上一整天，会不会令人难以忍受呢？色彩是如何被赋予如此根本性的地位？业主的想法是如何被改变而接受建筑师和艺术家提出的如此鲜艳明亮的色彩的呢？这又是为什么？正如建筑摄影师海因里奇·赫芬斯坦因所说：“……色彩对自由的渴望，上帝都会欣然接受。这些年来，色彩虽然受到争论，但在建筑中的使用却与日俱增。而且，可以看到人们在很多场合已经变得如此开放、反教条，而自由自在。”［9］

由于色彩能够在我们进入、离开、穿行或绕行时将我们完全包裹，人们也尤其容易感受到色彩，以及它所代表和蕴含的能量。

/References:

［1］ Zumthor， P. The Magic of the Real. World Architecture， 175/2005: 18-20.

［2］ Le Corbusier. Towards a New Architecture. London，Architectural Press， 1927.

［3］ Schindler， V.M. Colour Culture in European Architecture: On Different Approaches to Applying Colour in Architecture. World Architecture，159/2003: 16-24.

［4］ Schindler， V.M. Jean Nouvel: Context and the Concept of the Vegetal. World Architecture，239/2010: 31-35.

［5］ Jakob + MacFarlane. The Docks of Paris， Paris，France， 2008. World Architecture， 209/2007: 76-79.

［6］ Borne， E. SymBio2: de micro à macro， XTU à l'origine d'une nouvelle filière industrielle？ Le Courrier de l'Architecte， 17 April 2013， http://www. Lecourrierdelarchitecte.com/article_4443， 2016-06-03.

［7］ Ursprung， P.， Ed.， Herzog & de Meuron. Natural History. Cat. Canadian Centre for Architecture，Montréal， Baden， Lars Müller Publishers， 2002.

［8］ Herzog & de Meuron 2002-2006. The Monument and the Intimate. El Croquis， 129/130， 2006.

［9］ Helfenstein， H. Colours Are Like the Wind: Jean Pfaff' s Colour Interventions in Architecture. Princeton， Princeton Architectural Press， 2005.one can rightfully claim that a paradigm shift has occurred （Fig. 17）.

18.19“虹膜”色彩项目，里特公园服务楼，施利伦，瑞士/ Iris - Colour Concept of Artist Kerim Seiler. Am Rietpark D Service Building， Schlieren， Switzerland， 2014，SLIK Architekten（摄影/Photo© Tobias Madörin）

Demarcating the surfaces of building façades，saturated， bright， vivid colours arranged in combination with the selective hues of building materials has led to a change of meaning: Colour is no longer considered as a feature of underdevelopment， poor conditions， commercialism，exoticism or tourist attraction.

Notable in the project of the Am Rietpark Service Building in Schlieren， Switzerland， 2014， by Zurich-based SLIK Architekten， however， is the fact that the colour concept named "Iris" was conceived by the artist Kerim Seiler （Fig. 18， 19） .

Here colour has become part of the architectural project. Free to move and be arranged， this outer skin of lamellar shutters painted in saturated colours not only provides a special effect， but also the flexible means of accommodating fluctuating individual needs and desires. Seen from the outside，colour transforms the façade into an interactive wall with its own autonomous expression.

As recalled by Herzog & de Meuron: Architecture cannot be neutral［7］. Colour not only defines the surface， but makes it dynamically expressive and responsive， like the skin of the human body， i.e. colour not only establishes the surface of a building as a spatial zone， but extends beyond， like a membrane， as an expansion - or contraction - of the building's periphery. Colours， inevitably not only evoke associations but afect and challenge individual perception.

For Herzog & de Meuron， a work of art expresses "creative vitality" and "perceptual energy" much more than is entailed in the usual mode of perceiving things in daily life. Why did the architects collaborate with the artist to establish a special colour concept and efects？ Jacques Herzog answers，"We are believers of professionalism. Ideally， the 'professional' for words is a poet. Others simply make technical or technocratic use of language，although some are more gifted than others. The same is true of colour. When an architect selects a colour， he does so according to his own taste. Tere is nothing worse than such recourse to individual taste. If the choice of a given colour （all colours are marvellous） is not conceptually grounded， what will be missing is forcefulness， precision: all the things that make architecture interesting."［8］

Emmanuelle Moureaux's concept of a rainbow mille-feuille façade for the Sugamo Shinkin Bank，Shimura branch in Tokyo， 2011， incorporates twelve fine-tuned rainbow colours that are reflected onto the white surfaces （Fig. 20）.

The presence of such luminous colours becomes the expression of an aim towards renewal，dynamism and rhythm such as in the Nanyang Primary School Extension， Singapore， 2015，conceived by Melbourne-based studio505 and LT&T Architects （Fig. 21， 22）.

Monochrome yellow columns support the bridges that fly over the central courtyard and facilitate easy connections between the two parallel wings of classrooms. The interior of the white classrooms is dramatically contrasting with the colourful world of fuid curvilinear shapes coloured with seemingly endless horizontal stripes. Te vivid colours completely alter the appearance of space and volume and create an astonishing refreshing atmosphere.

Are not such colours too powerful to be endured during the whole day？ How has it happened that colour has been given such a primordial role？ How has the clients' point of view been changed to accept architects' and artists' proposals for bright， luminous colours？And why？ As the architectural photographer Heinrich Helfenstein states， "…the gods are smiling kindly on colour's desire for freedom. For years now， colour has been debated and used in architecture with ever-increasing intensity. Moreover， it is apparent just how open-mindedly，nondogmatically， and perhaps also light-heartedly，people have proceeded in many cases...."［9］

Because of the capability of colour to surround us fully as we move in it， step out of it， walk through and around it， people are particularly sensitive to colour and the energy that it represents and signifes.

Colour: Te Essence of Architecture

Verena M. Schindler

Translated by HUANG Huaqing

Since the turn of the 20th century the ways that colour has been employed in architecture - not only by architects working alone， but also in collaboration with artists - have changed so strikingly that one can rightfully claim that a paradigm shift has occurred. Distinctive，saturated colours vividly express the desire for great comfort，wealth， pleasure， luxury and freedom. Tis article discusses new tendencies， including trend-setting colour projects. Traditional techniques combined with new materials， finetuned colours and daylight produce unique and enigmatic atmospheres. As well， the use of LED and OLED technologies has become a major trend in colour-light environments. Considered like skin， new façades have become interactive screens， transparent glass membranes refecting fuctuating colours， and dense tapestries of living vegetation. Especially revolutionary is a new ecological approach based on green algae creating bioreactive façades. The presence of such luminous colours expresses "perceptual energy" and becomes the manifestation of an aim towards renewal， dynamism and rhythm.

colour， light， material， atmosphere， new trends，interactive screens， living walls， LED environments

20 巢鸭信用银行志村分行，东京，日本/Sugamo Shinkin Bank， Shimura Branch， Tokyo， Japan， 2011， Emmanuelle Moureaux， emmanuelle moureaux architecture + design（摄影/Photo© Daisuke Shima/Nacasa & Partners Inc.）21.22 南洋小学扩建项目，新加坡/Nanyang Primary School Extension， Singapore， 2015， studio505 and LT&T Architects （21摄影/Photo© John Gollings，22摄影/Photo© Rory Daniel）

艺术与建筑历史学家，色彩顾问，独立学者

2016-06-16