Avant-gardeNO.10— Resident Chroma by Bin Lu


Project Specs

非常感谢建筑师鲁彬将中英文和项目图片授权gooood发行。更多关于 Bin Lu on gooood
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 meaning.”
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 manys ketch 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被展现出空间感,它们没有跟随刻画的三维造型。他们主观地控制着绘画的特效。

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 thematerials 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.

颜色作为输入/输出的显示,成为一种分析工具,可以重新定义RGB如同一个计算机将颜色开发为一个创造者。简单的操作步骤被颜色的关联所合并在一起,从而创造出新的条件在没有丢失信息的情况下。简而言之,颜色和红色可以产生紫色。我们建立一套材料的工具箱包括很多非常好的属性,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 —— 给使用者以一套由不间断的传输感应循环通过红外线摄像头,激光测量,传导的纺线以及压力感应器来控制。因此,在结果上,我们突破了应用性被材料和建筑功能形成物体的局限。

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.

关于绘画与建筑有一个比较有趣的事。比起建筑来,绘画永远不是这个世界的重点。这个是不争的事实,但是随着时间的增长,绘画增加了它的价值。价格越来越贵,而建筑名作却不是。我既不是一个工程师,也不是一个画家,但更喜欢让这两方面互动,将两者交叉会是创造性的。对于生物学,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,以及这些事物表现性背后所隐藏的逻辑(代码)所感兴趣。因为总是喜欢一些“杂乱的”创作,或者那些可以产生“杂乱”的事物。这就是丛林风格。

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.

“色彩就是唯一/居住色彩2”在挪威奥斯陆“跃现”建筑协会展、瑞典皇家理工学院、瑞典国立艺术与设计学院、新泽西理工学院、肯特州立大学以及辛辛那提大学“未来设计原型研究”系列讲座中参展,由肯塔基大学院长Michael Speaks主持介绍。

Reference 2GBX works and other projects.


BLUA: http://www.blu-a.com/
BLOG: http://www.bluarchitecture.blogspot.com/
BLUA VIDEO: http://u.youku.com/user_show/id_UMjE4OTIyNjQw.html
EMAIL: blu@blu-a.com
更多关于 Bin Lu on gooood



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