Color is One/Resident Chroma Ⅱ

Color is One ------ Resident Chroma Ⅱ

Bin Lu 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.

In painting, color invokes the illusion of space, creating depth from flatness, while architecture wants real space to become illusion.

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. 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 figure 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.

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.

Color is one.

这个毕业设计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色彩属性以一种创造性的生成设计方式，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。

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。
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筑空间概念模型，但是他最终以黑色和白色完成。 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。 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生成方式完成新的复杂性介于平面到景深与景深到平面之间。

颜色就是唯一。
Dimension:30"X10" Dimension:30"X10" Dimension:65"X32"
Special thanks to all my friends and SCI-ARC woodshop: Qing Cao,Monica McKay,Woody Wang,Zifan Liu,Shaochong Zhou,Cheeyoon Chun,Tiffany Liu,Gabriel Huerta,Brent Lucy,Jinming Feng,Xiaofeng Mei,Ye Li,Jiarui Liu,Liu Jing,Chuchen Feng,Yuhao Yang