Colors by Oscar Riera Ojeda, James McCown

By Oscar Riera Ojeda, James McCown

Structure intimately: shades examines how colour performs a job in even the main upscale architectural designs. The sequence itself examines the function of info in modern structure throughout the paintings of many rising and tested practitioners whose initiatives communicate sensitively and energetically on a small scale. colour is simply one other a type of information architects use to place their very own (»Архитектура в деталях: Цвет» исследует, какую роль играет цвет в самых престижных архитектурных проектах. Эта серия исследует роль деталей в современной архитектуре.)

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Hadid uses black skillfully to emphasize certain forms while minimizing others. The organizing stair of the museum appears to be multiple ships converging on a single port when seen from below or above. Their swarthy color adds to the sense of aggressiveness. In rejecting the accepted “neutral white box” museum design paradigm, Hadid replaces it with a inciting parti. 50 black Eric J. Cobb Architect, Stretch Residence, Seattle, 2003. In rooms where black is used sparingly, it nonetheless has impact.

Hadid uses black skillfully to emphasize certain forms while minimizing others. The organizing stair of the museum appears to be multiple ships converging on a single port when seen from below or above. Their swarthy color adds to the sense of aggressiveness. In rejecting the accepted “neutral white box” museum design paradigm, Hadid replaces it with a inciting parti. 50 black Eric J. Cobb Architect, Stretch Residence, Seattle, 2003. In rooms where black is used sparingly, it nonetheless has impact.

In the same way, today’s architects and designers use black as an essential Aloof from the vagaries of fashion and trendiness, black is a timeless choice. It represents at once a totality—a convergence of all colors—and the most primal act of a designer: Taking black ink to white paper. Previous spread: Diane Lewis Architects, Dworkin Apartment, New York, 1991. This spread: Harrison and Abramovitz, Corning Glass Center, Corning, New York, 1951. Black mullions for glass walls make for a different reading than lighter choices such as brushed steel, aluminum or chrome.

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