From the past to the present.
Hello everyone, well it has been a long time since the latest post, but I should admit that the holidays me a little bit lazy, anyway I hope you too had a great and beautiful time during your holidays, now let´s get back to our everyday life and architectural life. As soon as possible I will publish a post to tell my experience with Antonio Gaudi´s book. In this post I will share one of the most interesting topic, and one of the most successful architects: Pier Luigi Nervi.
Pier Luigi Nervi.
Pier Luigi Nervi was born in Sondrio and attended the Civil Engineering School of Bologna from which he graduated in 1913; his formal education was quite similar to that experienced today by Italian civil engineering students. After graduating he joined the Society for Concrete Construction and, during World War I from 1915 to 1918, he served in the Corps of Engineering of the Italian Army. From 1961 to 1962 he was the Norton professor at Harvard University.
1.From the past to the present.
- Great interest to try to understand the relationship between building technology and aesthetic architecture.
-Architectural phenomenon: constituted as it is by a physical structure obeying objective requirements.
-Architecture is to a large extend dominated by laws independent of the designer´s personality.
-Every architectural project or magazine presenting different work rarely examine the relationship between form and structure.
-Basic quality of construction, contribute greatly to the achievement of a desired architectural expression.
-The way we choose the materials strongly affects the aesthetic part of the building.
Gothic style.
Gothic architecture is an architectural style that flourished in Europe during the High and Late Middle Ages. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th century France and lasting into the 16th century, Gothic architecture was known during the period as Opus Francigenum ("French work") with the term Gothic first appearing during the later part of the Renaissance.
And if we take a closer look we realise that it is unable to separate the feeling from the enjoyment produced by grandeur of space and the discovery of innumerable perfections.
Using materials correctly according to their natures influences the general impression produced by a work of architecture.
Excesses of dimension and disproportionate richness of decoration often result in vulgarity.
As Mies Van der Rohe says: Less is more, so it is even in the modern buildings, less spent on decoration better architectural results are received.
The great invention of the gothic architecture are the flying buttress, the clear visualisation of the principal lines along the diagonals of the groined vaults.
Even in the gothic architecture we can see the evolution of the structural elements.
In the past the relationship between architecture and building process became more determining as building technology became more advanced.
The building of Greeks and Egyptians were limited by the nature of the materials.
The Roman baths.
The roman architecture consisted in presenting the powerful forces in the static interplay of structures radically modified the planimetric distribution.
It is difficult determine today whether the Roman bath scheme was born as consequence of the invention of the groined vault, the scheme used for the Roman was taken up again throughout Europe during the Renaissance and remained unchanged until the end of the last century. The scheme of the Roman baths required enormous masses of masonry walls.
Seven Kinds of Colour Contrast.
1. Contrast of hue
2. Light-dark contrast
3. Cold-warm contrast
4. Complementary contrast
5. Simultaneous contrast
6. Contrast of saturation
7. Contrast of extension
1.CONTRAST OF HUE
Contrast of hue is illustrated by undiluted colors in their most intense luminosity. Some combinations are: yellow/red/blue; red/blue/green; blue/yellow/violet; yellow/green/violet/red; violet/green/blue/orange/black Just as black-white represents the extreme of light-dark contrast, so yellow/red/blue is the extreme instance of contrast of hue. At least three clearly differentiated hues are required. The intensity of contrast of hue diminishes as the hues employed are removed from the three primaries. Orange, green and violet are weaker in character than yellow, red and blue, and the effect of tertiary colors is still less distinct.
2.LIGHT-DARK CONTRAST The painter's strongest expressions of light and dark are white and black. The effects are opposite with the realm of grays and chromatic colors between them.
3.COLD-WARM CONTRAST
Cold-warm properties:
verbalized in a number of other contrary terms, coldwarm shadowsun transparentopaque sedativestimulant raredense airyearthy farnear lightheavy wetdryThese diverse impressions illustrate the versatile expresive powers of cold-warm contrast. It can be used to producehighly pictorial effects. In landscape, more distant objects always seem colder in color because of the intervening depthof air. Cold-warm contrast contains elements suggesting nearness and distance.
4.COMPLEMENTARY CONTRAST
Two colors are complementary if their pigments, mixed together produce a neutral gray-black. Physically, light of two complementary colors, mixed together, will yield white. Two such colors are a strange pair. They are opposite, they reequire each other. They incite each other to maximum vividness when adjacent; and they annihilate each other, to gray-black, when mixed - like fire and water.
There is always but one color complementary to a given color. In the color circle, complementary colors are diametrically opposite each other.
Examples of complementary pairs are:
yellow,
violet
blue,
orange
red,
green
In analyzing these pairs of complementaries, all three primaries - yellow, red, blue - are always present:
yellow, violet
= yellow, red + blue
blue, orange
= blue, yellow + red
red, green
= red, yellow + blue
5.SIMULTANEOUS CONTRAST
Simultaneous contrast results from the fact that for any given color the eye simultaneously requires the complementary color, and generates it spontaneously if it is not already present.
SATURATION CONTRAST
Saturation, or quality, relates to the degree of purity of a color. Contrast of saturation is the contrast between pure, intense colors and dull, diluted colors.
CONTRAST OF EXTENSION
Contrast of extension involves the relative areas of two or more color patches. It is the contrast between much and little, or great and small.
Contrast of Extension
42-44 Harmonious proportions of area for complementary colors:
Yellow : Violet = 1/4 : 3/4
Orange : Blue = 1/3 : 2/3
Red : Green = 1/2 : 1/2
45 Circle of primary and seondary colors in harmonious proportion
46 Equal proportions of red and green
47 A little red with a great deal of green makes the red highly active.
Until I share with you my next post hope you enjoy this one. Have a nice week!