先锋设计专辑 NO.7 — Resident Chroma 居住色彩 / 鲁彬



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非常感谢鲁彬予gooood分享他的作品:居住色彩 Resident Chroma。
Appreciation towards Bin Lu for providing the following description:
“Resident Chroma” contains the following 4 major sections: Resident Chroma original, I, II and III.
Each section has its own principle redefine “color”. They are mutually independent as well as
mutually related.
Resident Chroma original is about the research works on the understanding about the color
structure and drawing technic from the original artist and scientist, in that way searching out the
problems and potential qualities to become the architectural issues. Resident Chroma I is more
about to explore the new opportunities for Material intelligence controlled by color. Resident
Chroma II is a discipline thesis research on the methodology creating the illusion through color
effects. Resident Chroma III is the final chapter to do the global onsite color application in order
to achieve new complexities by changing the architectural space from flatness to depth and depth
to flatness.
Resident Chroma original
“Color becomes contemporary as it moves away from indexicality, symbolism, codification, and
ideation because this move away from signification allows color to register traces of a much more
complex series of historically specific conditions and forces: those of technology, sensibility,
capital, taste, materiality, manufacture. In other words, when working through the field of effects,
color can do more to engage contemporaneity than when it works through the structures of
Sylvia Lavin “What Color is it Now? 2004”
Sylvia Lavin “当今的颜色是什么?”,2004
“Color can be used in different ways: thin or thick, one-dimensional or layered. The thicker the
color and the more layers the greater the variety of impressions and effects.”
Liisa Aholainen & Bas Gremmen  “The Thickness of Color”, 2009
Liisa Aholainen & Bas Gremmen   颜色的厚度, 2009
zebra’s tattoo patterns
The color of zebra’s tattoo patterns disrupt its volumetric surface, but also encase and delineate.
Marking a change in direction at the juncture delicately change scale to conform to the
narrowness of leg.
The Five star Stories by Nagano Mamoru
As a tool color has been practiced directly by artists and designers in order to develop their own
styles. In architecture color is an important means of expression.
五星物语 Nagano Mamoru
Left to right: drawings by Joe Sacco, Bill Plympton and Richard Sala. Stroke patterns in many
sketch drawings like these are laid out in image space and do not follow the 3D shapes depicted
by them. They control the painterly effects subjectively.
从左到右:绘画者Joe Sacco, Bill Plympton 和 Richard Sala。排线图案在很多像这样的手绘图中都
The Papua facial treatments, the craftsman’s tattoos and the Chinese opera facial masks work
with the accentuating enhancement of facial features. All sets of enhancements serve as
mediums of distinction. In the case of the craftsman’s tattoos, there exists an elaborate system of
typical characters. All of the surfaces are topological diagrams, an expression of organic
structure. Color both conforms and transforms, sometimes it transforms by conforming.
The chastening culture of Modernism stripped architecture of all excess in the name of purity and
true, which for the most part, purged it of color of all types. Thus, the archetypal Modernist
building rose and reveled in an everlasting whitewash. In fact, through all cultures, whiteness
symbolizes cleanliness, perfection & innocence and as a mark of education, it appeals to the
intellect. Therefore, the use of color detracts from the ideal and leads to the lesser regions of a
“dirty”, untrustworthy reality.
However, the effectiveness of contemporary architecture relies on the dirty, the eccentric, the
disobedient, and the affective. Contemporary architecture embellishes the surface(s), it deceives,
it disguises, it exaggerates, it changes, it generates atmosphere & mood and color is a prime
vehicle through which these effects can be achieved. The transition from Modernist
chromophobia to contemporary chromophilia recalls and builds upon the similar transformation
that took place between the Renaissance and the Baroque hundreds of years ago; grisaille gave
way to Chiaroscuro, which was intensified by the dynamics of color, giving Baroque art and
architecture its painterly quality.
Chiaroscuro describes an invention in the art of painting to create the illusion of volumes in
space. The gradation effected from the light to the shadowed side of a three dimensional object.
For example in the Clarinet Player, by Picasso, a pyramidal form implies an image. The pyramid
has a strong contour to give the sense the figure is standing in a deep space. The Portuguese,
by Braque, uses a highly developed interlacing of horizontal and vertical gridding created by
gapped lines and intruding planes that create shallow spaces. Only gradually is the observer
able to invest this space with depth permitting the figure to assume substance.






The base material before painted it matters, the material quality itself is important. Painting the
materials is also changing the material properties as well as painting.

Resident Chroma I
Today materials are scientifically engineered to serve demanding purposes in a profit and
performance oriented world. The expertise of manufacturers grows rapidly to maximize efficiency
and push material limits.
The consequence is an illusion of humans mastering nature.
The gap between human perception and physical behavior is an enormous issue today. We rely
on artificial intelligence executing codes with high precision in a physical environment. Materials
with specific properties become problem solvers rather than intelligent variables in fabrication.
Our project suggests a new interface to bridge the gap between technique and technology,
design and application, most importantly virtual and real. A global color control model builds up
the three dimensional data base. This is able to merge multiple parameters breaking out of the
singularity of conventional information mappings.
Color as input/output display becomes an analysis tool which redefines RGB as a calculator
opening up color being a generator. Simple procedures are merged by color mapping to create
new conditions without losing information. In short, blue and red generate purple. We are building
up a toolkit of materials with a great variety of attributes, such as the shaping capacities of
plastics, the tension resistance of fabrics, flex-abilities of fibers, and structural properties of
concrete – giving the user control by a constant sensor feedback loop by infrared cameras, laser
measuring, conductive yarn and pressure sensors. As a consequence we are breaking out of
applications being limited to materials and architectural functions being reduced to object.
如塑料潜在的造型性,织物的拉升阻力性,纤维的自由性,以及混凝土的结构性 —— 给使用者以一
Material intelligence is redefined as a design tool in a playful environment – displayed and
combined in the color control model “Resident Chroma”.
Resident Chroma Ⅱ
居住色彩 2
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 figures 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.
Resident Chroma III
居住色彩 3
Back to the classical “Unite d’Habitation” by Le Corbusier, the agenda for the onsite application is
to rebuild the colorful façade which become both a thick surface and the new communication
platform on the vertical way of the building in order to create the architectural illusions which
makes exterior space inside and interior space outside. Surface patterning, color, relief, and
materiality are used to heighten the sense of irresolution between flatness and depth as well as
correlate graphic/pattern effects with mass inflections.
What’s after EMERGENT
If you real want me to put the works I did in catalog, I think there are two. The Algae systems
(extension of my 2GBX studio work that’s where I start to explore the design methodologies) and
coding jobs which can still be divided into 2 parts: the painting works and the rest. I think the
office started to change the direction to soft VS. rigid since the Yeosu Oceanic Pavilion project, at
that time I was back to finish my master diploma. It’s hard to tell, somehow it’s a little conflict with
my own interests on design, you can still tell the difference if you are looking at the projects on
the website, which is the one I worked on, 12th China National Games Arena is the last project I
did in the office, I start to question the complete allegiance to “EMERGENT” which for me I will
more define the logo as a wild style but handmade, also against “parametricism ”, “Total Fluidity”
on all scales where I studied at Vienna studio Hadid, I think I am more interested somewhere in
between, I do think coding can do “messy”, never use coding as pure date, otherwise we don’t
need architect. I need to define my own work.
Here is a funny thing between painting and architecture. Painting is not the point of this world
than architecture ever. That’s true. But it increases the value over time, the price goes up. Every
master piece of architecture is not. I’m neither an engineer nor a painter. I like to really interact
with those two and I think it is productive to cross those two over. I’m very interested in biology,
scientific invention, affect, color, and all those sorts of things. I’m much more interested in the
dividing network which crossover between things, the way things are expressed in the world and
the mystical logical (codes) behind that. I always like when there is a bit of messy work or things
like that which do get messy. It is the jungle style.
学,科学发明,影响,色彩所有这些我都非常感兴趣, 更对交织的网络所产生的各种交叉事物,以及
Color is One/Resident Chroma II featured in "Prototyping the future of design research" at the
Architectural Society of Oslo’s “Pop-UP” event, KTH, Konstfack University, NJIT, Kent State
University, University of Cincinnati host by Dean of University Kentucky Michael Speaks.
肯塔基大学院长Michael Speaks主持介绍。
Reference 2GBX works and other projects.


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