色彩—建筑的菁華

維雷娜·M·申德勒

黃華青 譯

色彩—建筑的菁華

維雷娜·M·申德勒

黃華青 譯

從20世紀(jì)開始，顏色在建筑中的應(yīng)用——不僅是來自建筑師的，還包括了與藝術(shù)家之間的合作——變化之劇烈可以稱之為一次范式的轉(zhuǎn)變。獨(dú)特的、高飽和度的顏色鮮活地表達(dá)了人們對于舒適度、財(cái)富、樂趣、奢華和自由的強(qiáng)烈愿望。本文探討了該領(lǐng)域的新趨勢，包括創(chuàng)新型的色彩項(xiàng)目。傳統(tǒng)技術(shù)與新材料相結(jié)合，微妙的顏色和日光促成了獨(dú)特神秘的氛圍。同樣，LED和OLED技術(shù)的應(yīng)用已成為色光環(huán)境的主要趨勢。作為表皮，新的建筑立面變成了交互屏幕，透明玻璃薄膜反射波動變化的色彩，以及成為厚重的植被表皮。尤為具有革命性的是基于綠藻生物反應(yīng)立面的新型生態(tài)策略。發(fā)光色以其存在表達(dá)“感知能量”，并成為以更新、活力和韻律為目標(biāo)的彰顯。

色彩，光，材料，氛圍，新趨勢，交互屏幕，植生墻，LED環(huán)境

特別自1990年代中葉以來，建筑中色彩的意義得到了極大的延伸。這背后浸透著很多國際知名的建筑事務(wù)所的精妙感受和研究，包括索爾布魯赫·胡頓、斯蒂芬·霍爾、赫爾佐格與德梅隆、讓·努維爾、UNStudio事務(wù)所、弗蘭克·蓋里、扎哈·哈迪德、雅克布+麥克法倫等。這一顯著發(fā)展也歸功于與建筑師同時(shí)工作或合作設(shè)計(jì)的當(dāng)代藝術(shù)家及照明設(shè)計(jì)師的挑剔眼光，當(dāng)然還有特殊業(yè)主對此越來越高的認(rèn)識。建筑實(shí)踐從時(shí)裝、設(shè)計(jì)、攝影、表演藝術(shù)以及航天工程、數(shù)字和工業(yè)加工技術(shù)中汲取養(yǎng)分，更進(jìn)一步拓展了色彩運(yùn)用的可能性。顯著而高飽和度的色彩鮮明地傳達(dá)出極高的吸引力，并渴求更高的舒適、休閑、財(cái)富、愉悅、奢華及自由。結(jié)合半透明和透明材料，以及反射性、拋光或磨砂表面的新屬性，伴隨著使用精密材料帶來的改進(jìn)，色彩不僅更新了外觀及效果，同時(shí)變化的還有它的語義學(xué)、符號學(xué)及文化意涵。

神秘的摸索

在建筑設(shè)計(jì)中，處理環(huán)境天光一直都是一項(xiàng)重要目標(biāo)。然而，隨著當(dāng)代建筑的發(fā)展，這一看似平常的關(guān)注已經(jīng)凸顯為對新穎及創(chuàng)新的期待。

建筑師及藝術(shù)家經(jīng)常合作，例如赫爾佐格與德梅隆在巴塞羅那設(shè)計(jì)的2004會議中心及廣場，還有羅杰·迪恩納在巴塞爾設(shè)計(jì)的諾瓦蒂斯園區(qū)3號辦公樓，他們使用傳統(tǒng)或創(chuàng)新的立面材質(zhì)或獨(dú)特的材料特性，以極具表現(xiàn)力的方式處理天光及色彩。一些看似矛盾的手段，如透明與模糊、光澤與粗糙、反射及疊置，共同塑造著天光，使色彩凸顯，空間顯現(xiàn)或消失，外觀潛移默化。

巴塞爾的諾瓦蒂斯辦公樓就是一個(gè)典型案例，它的建筑立面由數(shù)百塊相互重疊的玻璃面板所覆蓋（圖1）。藝術(shù)家赫姆特·菲德爾與建筑師杰羅德·維德林共同創(chuàng)造出一種由閃亮而透明的玻璃面板組成的復(fù)雜表皮。這些色彩光澤各異的面板相互重疊，反射著周邊的景色和變幻莫測的光線，而直射光進(jìn)一步導(dǎo)致色彩在耀眼的白光下完全溶解。同時(shí)，陰影中玻璃面板的色彩及反光看起來則十分神秘，凸顯出立面精巧結(jié)構(gòu)的復(fù)雜度。

在巴塞羅那會議中心，天光展現(xiàn)了傳統(tǒng)技術(shù)（拉毛涂層）如何與新的材料處理方式及精心調(diào)和的色彩微差相結(jié)合，創(chuàng)造出獨(dú)一無二的神秘氛圍（圖2-4）。平滑玻璃面板與拉毛涂層的結(jié)合、光潔材料與粗糙材料的結(jié)合、平整表面與零碎平面的結(jié)合，將空間中光影及顏色的變換進(jìn)一步增強(qiáng)或柔化。

然而，什么是最觸動人心的？提到這個(gè)時(shí)常被忽略的話題，我們可以到彼得·卒姆托那里去尋找答案：是氛圍、空間的魔力、色彩和光線的能量在起作用，從而塑造人們的情緒嗎？用卒姆托的話來說：“是一切！一切都有影響！物件，人，空氣、光線、聲音、音調(diào)及色彩的品質(zhì)?！保?］19這一切共同組成了人類的居住環(huán)境，人類的棲居之所。然而，場所、色彩和光線只有當(dāng)其能夠增強(qiáng)并點(diǎn)燃人們的情緒時(shí)，才是有魔力的。正如他所說：“在我看來，真實(shí)世界的神奇就在于這種將物質(zhì)轉(zhuǎn)化為人類情感的‘點(diǎn)金術(shù)’，這個(gè)情感被建筑空間中的材料、物質(zhì)和形式所觸發(fā)的特殊時(shí)刻。”［1］ 20確實(shí)，現(xiàn)實(shí)世界的魔力與幸福、一致、和諧的感覺緊密相關(guān)。

1 諾瓦蒂斯辦公樓，巴塞爾，瑞士/Roger Diener， Diener + Diener Architekten， Novartis Campus Forum 3 Ofce Building，Basel， Switzerland， 2005（攝影/Photo? Verena M. Schindler）

新材料

1990年代，新引進(jìn)的半透明金屬材料使建筑立面產(chǎn)生一種起伏閃爍的效果，這是由于光線與彩色平面發(fā)生的關(guān)系。2009年建成的法國埃爾布萊青年文化中心，由Quintet建筑與城市工作室、帕特里克·本·蘇桑與弗洛爾·布林岡德共同設(shè)計(jì)。所采用的色彩方案與巴黎克勒爾工作室合作設(shè)計(jì)，是一個(gè)在立面上采用多種材料的案例（圖5）。為新材料賦予光學(xué)性能以及所謂的“效果色素”——例如珍珠般的或熒光色的特質(zhì)，不僅能增強(qiáng)光線效果，而且能創(chuàng)造出廣域的色譜。最完整的效果只有在行進(jìn)中才能看到，顏色隨著觀賞角度的不同而變化。在這個(gè)意義上，運(yùn)動也成為了構(gòu)筑建成環(huán)境色彩感知的必要元素。另一個(gè)由新材料創(chuàng)造色彩序列的案例，是荷蘭阿爾梅勒的拉德芳斯辦公樓立面，由UNStudio事務(wù)所于2004年設(shè)計(jì)（圖6）。這座建筑是一項(xiàng)更大范圍城市設(shè)計(jì)的一部分，內(nèi)庭院立面滿鋪鍍膜玻璃板，能夠過濾自然光，產(chǎn)生高飽和度且繽紛多彩的光線。依照太陽光、日光或所謂自然光的強(qiáng)度和方向，建筑中的照明和反射也能靈活捕捉并調(diào)節(jié)。如此產(chǎn)生的轉(zhuǎn)瞬即逝、變幻莫測的特質(zhì)，使建筑及其環(huán)境獲得張力，同時(shí)還具有脆弱性、模糊性和瞬息萬變的特性。在這個(gè)項(xiàng)目中，日光發(fā)揮了很大的作用，為色彩賦予極強(qiáng)的表現(xiàn)力。

同樣，位于代芬特爾，由IM Architecten設(shè)計(jì)的彩虹（L'Arc-en-Ciel）辦公樓的內(nèi)側(cè)立面玻璃覆有3M雙色玻璃涂層，因此具有艷麗的效果，

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 fa?ade 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 fa?ade'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 巴塞羅那會議中心，西班牙/Herzog & de Meuron， Forum Building and Plaza， Barcelona， Spain， 2004（攝影/Photo? Verena M. Schindler）5 青年文化中心，埃爾布萊，法國/Youth and Cultural Centre，Herblay， France， 2009， Quintet Architecture Urbanisme-Patrick Ben Soussan & Flore Bringand（攝影/Photo? Luc Boegli）

New Materials

During the 1990s newly introduced metallic opalescent materials generated a fluctuating appearance of architectural fa?ades 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 fa?ade （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顏色隨著視角的變化而變化（圖7）。

色光環(huán)境

當(dāng)代建筑距離勒·柯布西耶提出的預(yù)想已經(jīng)漸行漸遠(yuǎn)。勒·柯布西耶作為現(xiàn)代建筑中關(guān)于自然光與色彩最具影響力的思考者之一，認(rèn)為建筑就是“對光所帶來的一切進(jìn)行精巧、正確而宏偉的設(shè)計(jì)。”［2］31，［3］2004年，真正奠定潮流的一個(gè)色彩項(xiàng)目是韓國首爾的商場大廈，由UNStudio事務(wù)所設(shè)計(jì)（圖8、9）。4330片不透明的玻璃圓盤覆蓋在現(xiàn)有建筑的混凝土立面上，玻璃盤上特殊的雙色薄膜能夠在白天形成珍珠母效果的色澤，晚上每塊玻璃盤都會由電控LED燈點(diǎn)亮，形成一系列驚人的、不斷變化的色光效果。

在過去的15年，關(guān)于發(fā)光二極管（LED）以及可變塑基（OLED）技術(shù)已經(jīng)徹底改變了所有種類的顯示屏。動力照明系統(tǒng)以及使用人工色光環(huán)境的研究發(fā)展（即交互性裝置）已經(jīng)成為主導(dǎo)趨勢、商業(yè)工具以及媒體驅(qū)動的癡迷行為。這些科技的應(yīng)用，具有很強(qiáng)的感官刺激性及壓迫性，如今往往以商業(yè)行為或臨時(shí)性活動裝置的形式成為城市生活的一部分，例如“白夜”、燈光節(jié)、紐約的倒計(jì)時(shí)慶典、民族團(tuán)結(jié)慶典，以及其他在公共空間舉行的大型活動。商業(yè)性或娛樂性的氛圍需要快速變化的效果以及短暫而高強(qiáng)度的擾動：圓滑的廣告和時(shí)髦的玩樂在經(jīng)典的拉斯維加斯得到完美結(jié)合。因此，城市空間在視覺上逐漸消解、湮滅，成為閃爍熒幕所環(huán)繞的舞臺，而不再作為人類活動及交流的背景。建筑立面經(jīng)常被當(dāng)作屏幕，承載數(shù)碼編程控制的大型燈光秀及投影，因而建筑原先的色彩都被人工光遮蔽或是扭曲，無法再分辨。

6 拉德芳斯辦公樓，阿爾梅勒，荷蘭/La Defense Ofce Complex， Almere， Netherlands， 2004， UNStudio（攝影/Photo? Christian Richters）7 彩虹辦公樓，代芬特爾，荷蘭/L'Arc-en-Ciel Ofce Building，Deventer， Netherlands， 2004， IM Architecten（圖片來源/Image Source? Norbert van Onna， Architectural Photography， Archehov Publishers）

8.9 格樂麗雅百貨商店，首爾，韓國/Galleria Hall West， Seoul，South Korea， 2004， UNStudio（攝影/Photo? Christian Richters）

表皮的概念

當(dāng)今，建筑中所詮釋及應(yīng)用的表皮概念已經(jīng)顛覆了對立面的理解及處理方式。當(dāng)代建筑師與新材料的制造商、結(jié)構(gòu)工程師、采暖制冷技術(shù)專員、燈光設(shè)計(jì)師/工程師、植物學(xué)家及藝術(shù)家通力合作，用多種激動人心的方式展現(xiàn)了這些新的手法如何與色彩發(fā)生本質(zhì)聯(lián)系。

由于新的立面被看作表皮，它的色彩效果也就成為例如數(shù)控變色的巨大屏幕、反射變幻色彩的透明玻璃膜，或是種植植物的厚毯。這些新表皮的色彩及效果與周邊的地理、文化及社會背景是和諧還是反差？當(dāng)下決策者更青睞哪些立面品質(zhì)？立面的材質(zhì)及效果是通過色彩選擇及它們隱含或外顯的特征來理解的嗎？將簡單、傳統(tǒng)的立面轉(zhuǎn)換為一套服飾、面具、鏡子或薄膜的行為是否值得爭辯？這些可能性是否僅僅只是表面現(xiàn)象而已，也就是等同于妄論的關(guān)于城市日常生活體驗(yàn)的重要背景的幻想？

私有及公共建筑的色彩就像人的皮膚一樣，會成為城市特征的一部分。有些城市采用當(dāng)?shù)夭牧希@現(xiàn)出一種獨(dú)特的色彩。比如普羅旺斯的艾克斯看起來是金赭石色的，克萊蒙費(fèi)朗是深紫色的，而蒂永維爾則是用產(chǎn)自孚日的薔薇色紅砂巖建造的。

同樣，巴黎也有自己的色彩，從各種灰色到石灰?guī)r自身的中黃赭石色。這些石材來自城市地下的采石場，或是以假亂真的仿石材料。每座城市都有其主導(dǎo)性的色彩外觀。若干年后至今，城市成為了一座露天展示館，用來展現(xiàn)那些令建筑、色彩及城市綠化的關(guān)聯(lián)加強(qiáng)的創(chuàng)新性方式。讓·努維爾于2006年設(shè)計(jì)的布朗利河岸博物館是一個(gè)關(guān)鍵項(xiàng)目，它選擇了特定的深棕色、暖赭紅色、淡赭黃色，置身于石灰白主導(dǎo)的巴黎市中心。全玻璃的填充幕墻由半透明的“叢林綠”薄膜覆蓋，在沿河立面穿插以彩色的盒子［4］33。曾參與讓·努維爾的巴黎愛樂音樂廳的建筑師布里吉特·梅特拉，于2001年設(shè)計(jì)了位于巴黎的學(xué)生公寓（圖10），這是一座濃烈的紅色建筑，建筑的立面遮陽采用了不同深度的紅色，不僅與巴黎的布朗利河岸博物館相呼應(yīng)，還讓人聯(lián)想到索爾布魯赫·胡頓于1999年設(shè)計(jì)的柏林GSW總部大廈。梅特拉又發(fā)展了這種躁動的紅色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 fa?ades of La Defense Ofce Complex， Almere， Netherlands，2004 designed by UNStudio （Fig.6）.

Integrated in a larger urban plan， the fa?ades 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 fa?ade of the L'Arc-en-Ciel office building in Deventer designed by IM Architecten has 3M Dichroic Glass Finishes applied that give the glass fa?ade 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 fa?ade 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 fa?ades 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 學(xué)生公寓，巴黎，法國/Student Housing， Paris， France，2011， Brigitte Métra（圖片來源/Image Source? Métra + Associés）11 拉佳朗斯巴士中心及辦公樓，巴黎，法國/Le Garance Bus Centre and Ofces， Paris， France， 2015， Brigitte Métra， Métra + Associés（攝影/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 fa?ade 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 fa?ades 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 fa?ades do decision-makers currently privilege？ Are materials and efects of the fa?ade 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 fa?ade 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 fa?ade［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，進(jìn)一步體現(xiàn)在她于2015年設(shè)計(jì)的拉佳朗斯巴士中心及辦公建筑（圖11）。

垂直花園

在建筑中探索“綠色”的潛在策略涵蓋了將植物作為形式和色彩的靈感源泉——包括作為設(shè)計(jì)概念的明喻甚至暗喻——乃至將生長中的植物真正作為建筑的一種材料。

當(dāng)代建筑的一種新趨勢就是采用越來越多的綠色植物，不僅作為建筑構(gòu)成元素，而且用于墻上及屋頂上。因此，建筑與周圍環(huán)境融為一體，甚至成為自然本身的一部分。法國植物學(xué)家帕特里克·布朗克設(shè)計(jì)的“綠墻”是極其復(fù)雜的自然“藝術(shù)作品”，將“微群落”的概念與科學(xué)安排并系統(tǒng)灌溉的植物整合在一面墻上。布朗克設(shè)計(jì)的一個(gè)著名“綠墻”案例就是巴黎阿布吉爾街的“垂直花園”（圖12）。在此，植物并不隨著季節(jié)發(fā)生劇烈的、節(jié)奏性的色彩變化，反而借由人工方式保留了其植物組合的穩(wěn)定性。作為一面“常青”的表皮，它不僅成為建筑的固定元素，而且也成為一部分永久的城市景觀。

在可持續(xù)性的標(biāo)簽之下，建筑的屋頂被當(dāng)做第五立面，并轉(zhuǎn)變?yōu)橐黄G色空間或是草坪。例如雅克布+麥克法倫于2008年設(shè)計(jì)的塞納河岸時(shí)裝設(shè)計(jì)城［5］。建筑位于塞納河左岸，順著河岸延伸出一座全新的結(jié)構(gòu)，建筑師稱之為“插座”，在邊緣及頂部緊緊依附在一座1907年的工業(yè)倉庫的現(xiàn)有混凝土結(jié)構(gòu)之上。一項(xiàng)重要的靈感來源就是碧綠起伏的河水。建筑師還參考了奧斯特里茲河岸上美麗的綠樹，力求延續(xù)這一綠色景觀，其方式不僅通過建筑的色彩方案，而且還加入了一座綠植屋頂，由景觀建筑師米歇爾·德斯維涅設(shè)計(jì)，在屋頂上還可以看到壯觀的巴黎全景。無論靈感或初衷如何，這座新建筑的綠色都令它看起來有些奇怪。白天，它有點(diǎn)兒像是某種橄欖綠，但有時(shí)又轉(zhuǎn)化為耀眼的亮綠色。建筑室內(nèi)包括一座巨大、高聳、異形的穹頂，通過綠色的光給人造成一種綠色植物的幻象（圖13、14）。不用說，這座神秘的綠色建筑必然會激起批評聲四起，也很難與周邊環(huán)境建立積極的聯(lián)系。更何況，楊·凱薩萊的燈光設(shè)計(jì)更讓建筑轉(zhuǎn)變成生動的奇觀。晚上，建筑化為一只發(fā)出神秘光暈的螢火蟲，使河面的波瀾上灑滿綠光。傍晚的時(shí)候，建筑的效果則是閃閃發(fā)光的。

綠藻

然而，更具革命性的是一種以綠藻為核心的新型生態(tài)技術(shù)。XTU建筑事務(wù)所用一種活體綠色微藻類創(chuàng)造出具有生物活性的立面。

這個(gè)項(xiàng)目的設(shè)計(jì)事務(wù)所來自巴黎，由阿努克·勒岡德勒與尼古拉·德瑪齊耶創(chuàng)立。該項(xiàng)目可以說是極其未來主義和烏托邦的。他們構(gòu)想在不遠(yuǎn)的未來，整座懸浮城市都會是環(huán)境友好、無污染且自給自足的生態(tài)系統(tǒng)。XTU事務(wù)所實(shí)際上提出了一個(gè)針對可持續(xù)性城市的仿生學(xué)概念，將建筑學(xué)與農(nóng)業(yè)結(jié)合。他們?yōu)?015年米蘭世博會（主題為“滋養(yǎng)地球，生命之源”）設(shè)計(jì)的法國館，主題為“生產(chǎn)及提供食物的不同方式”。

阿努克·勒岡德勒來自農(nóng)學(xué)、生物學(xué)世家，她設(shè)計(jì)了光合作用的生態(tài)立面，就像是某種垂直溫室，“其中種植了吸收CO2的浮游藻類，形成了一個(gè)富氧的、油質(zhì)的生物群落?！保?］在這個(gè)光合生物反應(yīng)器的玻璃單元的空腔內(nèi)，不僅有空氣的流動，而且有類似于阿爾戈房子內(nèi)的微藻類培養(yǎng)群落。阿爾戈房子（圖15）是一座由 XTU事務(wù)所和SymBIO聯(lián)盟開發(fā)的真正意義上的實(shí)驗(yàn)樓，獲得巴黎左岸的“重塑巴黎”競賽的優(yōu)勝獎。在受光時(shí)，這個(gè)雙層立面如同一片由活體微生物組成的垂直農(nóng)場。它還發(fā)揮著溫度調(diào)節(jié)器的作用，將建筑的熱性能最優(yōu)化。在白天的不同時(shí)間，立面的不透明度隨著生物群落的密度而發(fā)生變化，因此也可作為動態(tài)的遮陽裝置。在這一體系中，玻璃幕墻與建筑之間形成共生的關(guān)系。藻類生長出的生物群落在每天傍晚被采集起來，可用作商業(yè)用途，例如醫(yī)藥、化妝品、食品加工，也包括生物燃料及生物能工業(yè)。XTU事務(wù)所構(gòu)想的未來無污染城市將由兩類建筑組成。第一類使用綠藻構(gòu)成的光合作用生物立面，就像上述這種建筑；第二種采用特殊的綠色混凝土，上面生長著可以吸收CO2的植物。

12 阿布吉爾街“垂直花園”，巴黎，法國/Oasis d'Aboukir， Paris，F(xiàn)rance， 2013， Patrick Blanc（攝影/Photo? Yann Monel）13 塞納河岸時(shí)裝設(shè)計(jì)城，巴黎，法國/Docks en Seine-City of Fashion and Design， Paris， France， 2008， Jakob + MacFarlane Architects（攝影/Photo? Verena M. Schindler）14 塞納河岸“插座”建構(gòu)的表皮/Skin of the Plug-Over，Docks en Seine-City of Fashion and Design， Paris， France，2008， Jakob + MacFarlane Architects（攝影/Photo? Verena M. Schindler）

15 阿爾戈房子，巴黎，法國/In Vivo， AlgoHouse， Paris，F(xiàn)rance， 2016（圖片來源/Image Source? XTU Architects，Anouk Legendre and Nicolas Desmazières）

彩虹色

就像藝術(shù)家保羅·克利所說，彩虹的色彩現(xiàn)象已超越地球上色彩的特質(zhì)，而屬于一種大氣層的、Sauerbruch Hutton's iconic GSW Headquarters Building in Berlin， 1999. Métra further developed this idea of a vibrating red coloured fa?ade 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 fa?ade 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 fa?ades.

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 biofa?ade， 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 fa?ade 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 biofa?ades of microalgae， as described above. The second is made of special green concrete upon which CO2-absorbing vegetation grows.

16 “新浪潮”光裝置，東景緣酒店，北京/ "Te New Wave"，by Nathalie Junod Ponsard， 2014. Light installation. Te TempleHotel， Beijing， China16（圖片來源/Image Source? Nathalie Junod Ponsard）17 Biomuseo 博物館，巴拿馬/Frank O. Gehry， Biomuseo， Panamá，2014（攝影/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乃至宇宙的領(lǐng)域（圖16）。21世紀(jì)以來，在建筑師以及合作藝術(shù)家的努力下，建筑中使用色彩的方式已經(jīng)發(fā)生如此驚人的變化。我們可以公正地說，色彩使用的范式也已悄然轉(zhuǎn)變（圖17）。

飽和、明亮而活潑的色彩刻畫出建筑立面，與特定光澤的建筑材料結(jié)合，改變了色彩的內(nèi)涵：不再讓人聯(lián)想到落后、破敗、商業(yè)主義、光怪陸離或旅游景點(diǎn)。

其中一個(gè)值得關(guān)注的項(xiàng)目是瑞士施利倫的里特公園服務(wù)樓，建于2014年，由蘇黎世的SLIK建筑事務(wù)所設(shè)計(jì)。不過其中最吸引人的是名為“虹膜”的色彩項(xiàng)目，由藝術(shù)家克里姆·塞勒設(shè)計(jì)（圖18、19）。在這座建筑中，色彩成為了建筑的一部分。采用飽和色的薄片狀百葉在立面上可以自由移動，不僅帶來獨(dú)特的視覺效果，而且也是能適應(yīng)不同個(gè)體需求的靈活手段。從外部看來，色彩將立面轉(zhuǎn)變?yōu)橐幻婊有缘膲?，有其自己的表情?/p>

就像赫爾佐格與德梅隆所說的那樣：建筑不能是中立的［7］。色彩不僅重新定義了建筑表面，也讓它變得極具表現(xiàn)力及反饋性，就像人體的皮膚一樣。也就是說，色彩不僅將建筑立面拓展為一個(gè)空間區(qū)域，而且進(jìn)一步延伸，成為一張薄膜，成為建筑外表面的延伸或壓縮。毋庸置疑，色彩不僅激發(fā)聯(lián)想，也影響并挑戰(zhàn)著個(gè)人的感官認(rèn)知。

對于赫爾佐格與德梅隆來說，藝術(shù)作品表達(dá)出的“創(chuàng)造性活力”及“知覺能量”要遠(yuǎn)遠(yuǎn)超出在日常生活中觀察到的常規(guī)模式。為什么建筑師要與藝術(shù)家合作，研究出特殊的色彩設(shè)計(jì)概念及效果呢？雅克·赫爾佐格回答道，“我們相信職業(yè)性。理想上說，詞語的‘職業(yè)者’就是詩人。大部分人只是簡單技術(shù)性地使用語言，但有些人就是比其他人更有天賦。對于色彩同樣如此。建筑師選擇某種顏色時(shí)，只是依據(jù)自己的品味，但沒有什么比訴諸個(gè)人品味更糟的了。如果某種顏色的選擇（所有顏色都是偉大的）沒有足夠的概念依據(jù)，那么就喪失了說服力和精確性：也就是一切讓建筑具有趣味的特質(zhì)?！保?］

伊曼努爾·穆魯于2011年為東京巢鴨信用銀行志村分行設(shè)計(jì)的彩虹色千層餅式立面，集合了12種設(shè)計(jì)巧妙的彩虹色，反射在建筑的白色立面之上（圖20）。

這些亮色的存在成為了一種走向復(fù)興、活力及韻律的宣言式表達(dá)。例如，2015年建于新加坡的南洋小學(xué)擴(kuò)建項(xiàng)目，由墨爾本的studio505工作室及LT&T建筑事務(wù)所共同設(shè)計(jì)（圖21、22）。

明黃色柱子支撐著跨越中庭的連廊，這些連廊是為了便于在兩座平行的教學(xué)樓建筑間通行。建筑室內(nèi)的白色教室與外部五彩斑斕的世界形成戲劇性的對比，室外的流線型曲線的形體上染上看似數(shù)不清的水平色帶。這樣活潑的色彩完全改變了空間的外觀和體量，創(chuàng)造出驚人的明快氛圍。

這樣的色彩如果在里面呆上一整天，會不會令人難以忍受呢？色彩是如何被賦予如此根本性的地位？業(yè)主的想法是如何被改變而接受建筑師和藝術(shù)家提出的如此鮮艷明亮的色彩的呢？這又是為什么？正如建筑攝影師海因里奇·赫芬斯坦因所說：“……色彩對自由的渴望，上帝都會欣然接受。這些年來，色彩雖然受到爭論，但在建筑中的使用卻與日俱增。而且，可以看到人們在很多場合已經(jīng)變得如此開放、反教條，而自由自在?！保?］

由于色彩能夠在我們進(jìn)入、離開、穿行或繞行時(shí)將我們完全包裹，人們也尤其容易感受到色彩，以及它所代表和蘊(yùn)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，F(xiàn)rance， 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”色彩項(xiàng)目，里特公園服務(wù)樓，施利倫，瑞士/ Iris - Colour Concept of Artist Kerim Seiler. Am Rietpark D Service Building， Schlieren， Switzerland， 2014，SLIK Architekten（攝影/Photo? Tobias Mad?rin）

Demarcating the surfaces of building fa?ades，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 fa?ade 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 fa?ade 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 fa?ades 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 fa?ades. 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 巢鴨信用銀行志村分行，東京，日本/Sugamo Shinkin Bank， Shimura Branch， Tokyo， Japan， 2011， Emmanuelle Moureaux， emmanuelle moureaux architecture + design（攝影/Photo? Daisuke Shima/Nacasa & Partners Inc.）21.22 南洋小學(xué)擴(kuò)建項(xiàng)目，新加坡/Nanyang Primary School Extension， Singapore， 2015， studio505 and LT&T Architects （21攝影/Photo? John Gollings，22攝影/Photo? Rory Daniel）

藝術(shù)與建筑歷史學(xué)家，色彩顧問，獨(dú)立學(xué)者

2016-06-16