1. ⁘  ⁘  ⁘
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  38. brutalism 7
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  55. choice 8
  56. cities 51
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  59. Cleary, J.C. 8
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  62. collections 31
  63. Collison, Simon 3
  64. color 23
  65. commonplace 10
  66. communication 31
  67. community 7
  68. complexity 11
  69. connection 24
  70. constraints 25
  71. construction 9
  72. content 9
  73. Corbusier, Le 13
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  158. html 11
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  160. humanity 16
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  162. Huxley, Aldous 7
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  164. i 18
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  175. intuition 8
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  177. Irwin, Robert 65
  178. Isaacson, Walter 28
  179. Ishikawa, Sara 33
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  182. Jackson, Steven J. 14
  183. Jacobs, Jane 54
  184. Jacobs, Alan 5
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  186. Jones, Nick 5
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  190. Keith, Jeremy 6
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  232. metrics 19
  233. microsites 49
  234. Miller, J. Abbott 10
  235. Mills, C. Wright 9
  236. minimalism 10
  237. Miyazaki, Hayao 30
  238. Mod, Craig 15
  239. modularity 6
  240. Mollison, Bill 31
  241. morality 8
  242. Murakami, Haruki 21
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  244. Müller, Boris 7
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  350. Sōseki, Natsume 8
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  352. Tanizaki, Jun'ichirō 15
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Color

Close
  • Who's Afraid of Red, Yellow, & Blue^3

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    Lawrence Weschler:

    The red, for example, wasn't simply red – or rather it was: the surface was covered over in a completely even gloss of lipstick red paint – but (had it been doing that before?) the panel was reflecting ambient conditions like crazy, so much so that in fact almost none of the surface, strictly speaking, was red. Pool-like, it was reflecting the yellow ceiling panel beyond, whose own color was in turn being affected by the blue floor piece beyond that. There were purple effects and green, a sort of even bruise-brown hovering over the entire array when one now viewed the gallery from the side.

    Robert Irwin, Robert Irwin: A Conditional Art
    • color
    • perception
  • When the phenomena are endless

    "There can be no description or theory of color per se," Irwin insists, "when the phenomena are endless." The notion that color can be reduced to a series of codes, to a grammar, or to a form of "mathematics," to use Wittegensetein's term, is, for Irwin, nonsense, since color is dependent on context and ground-up perceptual experience. Beginning with color codes or concepts was to reduce in advance an infinitely wide range of phenomena to a limited set of categories, editing out all specificity in favor of abstraction.

    Matthew Simms, Robert Irwin: A Conditional Art
    • color
  • Irwin Fluorescents

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    IMG_6301.jpg

    In order: Kenny Price, Blue Lou, Legacy, Fourfold, Niagara.

    Irwin has explained that he decided to use the fluorescent tubes in the "dumbest" way possible, but, as one critic cautioned, "dumb, it turns out, has a special meaning for him: It's a form so simple that you end up not paying attention to it as a form." Irwin's interest was, rather, in the range of light, color, reflection, and shadow interaction made possible by combining tubes with different hues and finishes by wrapping them with theatrical gels.

    Robert Irwin, Robert Irwin: A Conditional Art
    1. ​​Interaction of Color​​
    • color
    • light
  • In the lee of the sills

    14.jpeg

    The first thing you register here is the dramatic inconsistency in the coloration of the timber cladding the house in Haldenstein: the natural hues of the wood survive only in the lee of the sills, like re-growth along the parties of a head of dyed hair. But a second glance takes in the precision of the cuts made to accommodate the window and the fact that the pine is used in seamless lengths.

    John Pawson, A Visual Inventory
    • wood
    • color
    • age
  • A universal correspondence

    In 1923 Kandinsky proposed a universal correspondence between the three elementary shapes and the three primary colors: the dynamic triangle is inherently yellow, the static square is intrinsically red, and the serene circle is naturally blue.

    The series ▲■● represents Kandinsky’s attempt to prove a universal correlation between color and geometry; it has become one of the most famous icons of the Bauhaus. Kandinsky conceived of these colors and shapes as a series of oppositions: yellow and blue represent the extremes of hot/cold, light/dark, and active/passive, while red is the intermediary between them. The triangle, square, and circle are graphic equivalents of the same polarities.

    Ellen Lupton & J. Abbott Miller, The ABC's of ▲■●: The Bauhaus and Design Theory
    • graphics
    • iconography
    • color
  • 250. Warm Colors

    Problem

    The greens and grays of hospitals and office corridors are depressing and cold. Natural wood, sunlight, bright colors are warm. In some way, the warmth of the colors in a room makes a great deal of difference between comfort and discomfort.

    Solution

    Choose surface colors which, together with the color of the natural light, reflected light, and artificial lights, create a warm light in the rooms.

    Christopher Alexander, Murray Silverstein & Sara Ishikawa, A Pattern Language
    • color
  • Hues subdued

    Colors in nature are, in general, more subdued than what comes directly from the pencil or the tube of paint. Greens, especially, tend to be a lot browner than we expect.

    Jenny Keller, Why Sketch?
    1. ​​The palette of nature​​
    2. ​​Colors in nature​​
    • color
  • The palette of nature

    "What nature does with its colors is invariably—the palette of nature is twice as complicated, at least twice as sophisticated, as anything any artist can ever come up with. On a couple levels.

    To start with, there are these amazing combinations of colors, filled with surprises and almost never wrong. I don't know how Nature ever conceived to put, say, those together. But, boy, are they right on the money!"

    Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees
    1. ​​Colors in nature​​
    2. ​​Hues subdued​​
    • nature
    • color
  • Colors in nature

    Twice every summer we discussed whether colors in nature could clash.

    Nicholson Baker, The Mezzanine
    1. ​​The palette of nature​​
    2. ​​Hues subdued​​
    • color
  • Color codes

    When not compelled to do otherwise, the Braun design team’s use of color in products was reduced to highly specific areas such as control switches. Restricting the use of color to small points on an otherwise neutral object concentrates its effect, which is shifted away from decoration and towards function, especially when each color is assigned a signal role such as green for ‘on / off' switches, red for ‘fm’ and yellow for ‘phono’ on hi-fis or yellow for the second hand on clocks and watches.

    This color coding of operating details is a primary example of the self-explanatory nature of Braun products.

    Sophie Lovell & Dieter Rams, Dieter Rams: As Little Design as Possible
    • color
  • Sketches

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    Sketches and written notes.

    Jenny Keller, Why Sketch?
    • color
  • The deception of color

    In order to use color effectively it is necessary to recognize
    that color deceives continually.

    What counts here – first and last – is not so-called knowledge
    of so-called facts, but vision – seeing.

    Josef Albers, Interaction of Color
    • vision
    • color
  • Not the what but the how

    Our concern is the interaction of color; that is, seeing
    what happens between colors.

    We are able to hear a single tone.
    But we almost never (that is, without special devices) see a single color
    unconnected and unrelated to other colors.
    Colors present themselves in continuous flux, constantly related to
    changing neighbors and changing conditions.

    As a consequence, this proves for the reading of color
    what Kandinsky often demanded for the reading of art:
    what counts is not the what but the how.

    Josef Albers, Interaction of Color
    • color
  • Disliked colors

    We try to recognize our preferences and our aversions –
    what colors dominate in our work; what colors, on the other hand,
    are rejected, disliked, or of no appeal. Usually a special effort
    in using disliked colors ends with our falling in love with them.

    Josef Albers, Interaction of Color
    • color
  • A cook with taste

    Observe the interior and exterior, the furniture and textile decoration
    following such color schemes, as well as commercialized color “suggestions”
    for innumerable do-it-yourselves.

    Our conclusion: we may forget for a while those rules of thumb
    of complementaries, whether complete or “split”, and of triads and
    tetrads as well.
    They are worn out.

    Second, no mechanical color system is flexible enough
    to precalculate the manifold changing factors, as named before,
    in a single prescribed recipe.

    Good painting, good coloring, is comparable to good cooking.
    Even a good cooking recipe demands tasting and repeated tasting
    while it is being followed.
    And the best tasting still depends on a cook with taste.

    Josef Albers, Interaction of Color
    • taste
    • color
  • Does it have color?

    Whether something “has color” or not is as hard to define verbally as are
    such questions as “what is music” or “what is musical."

    Josef Albers, Interaction of Color
    • color
  • Chromatic mutiny

    Nevertheless there were a number of colorful appliances produced by Braun, particularly from the late 1960s onwards, when plastics in bright primary colors became fashionable and available.

    T3 domino lighter
    KMM 2 coffee grinder
    HLD 4 hairdryer
    KF 145 coffee maker
    HT 95 pop-up toaster

    When Rams’s team used color in such a way, it was uncompromising in its intensity: loud and demanding. The highly reduced forms of the products that it clothed, which had gently rounded edges, smooth opaque surfaces and discreet (usually black) detailing only served to increase this intensity.

    "The intention was to create product alternatives for people who wished for strong color highlights in their living environments. This impulse came from marketing - not from design,” says Rams, dissociating himself from this approach. This was one instance where marketing got the upper hand in the decision-making process and the design team had to bow to contemporary fashion.

    Indeed, there is a defiant aspect to these chromatic exceptions; they are not so much compromises as mutinous responses. Nevertheless, the resulting products are beautiful objects in their stand-alone way.

    Sophie Lovell & Dieter Rams, Dieter Rams: As Little Design as Possible
    • color
  • A strange calligraphy

    Along the sand there will be frisky shadows, that will dance and fall away.
    Or, if there is snow, the flames will write a strange calligraphy against the whiteness.

    David Markson, Wittgenstein's Mistress
    • color
  • Interaction of Color

    A Book by Josef Albers
    yalebooks.yale.edu
    1. ​​The deception of color​​
    2. ​​Practice before theory​​
    3. ​​50 reds​​
    4. ​​Not the what but the how​​
    5. ​​Scotopic seeing​​
    1. ​​Irwin Fluorescents​​
    • color
    • graphics
    • communication
    • teaching
  • Better colormaps?

    An Article by Mark Liberman
    languagelog.ldc.upenn.edu
    Screenshot of languagelog.ldc.upenn.edu on 2021-11-10 at 6.20.42 AM.png

    A modest sample of alternative ways of coloring the same type of 2-D density plots of rates of F0 change and amplitude change.

    • color
    • visualization
  • Werner’s Nomenclature of Colours

    A Website by Nicholas Rougeux
    www.c82.net
    C75859E1-8F80-4157-A3CF-884F771C73D2.jpeg

    A recreation of the original 1821 color guidebook with new cross references, photographic examples, and posters designed by Nicholas Rougeux.

    • color
    • microsites
  • Color Controversy

    A Website by Leo Robinovitch
    colorcontroversy.com
    Screenshot of colorcontroversy.com on 2020-10-08 at 9.32.58 AM.png

    So some friends and I were talking about colors one day and how we all see colors a bit differently and how that's neat.

    But is there a color that is interpreted differently THE MOST? Is there a most controversial color? Well, (if I contrive an ongoing survey and collect data about it), the answer is yes, of course!

    • color
    • vision
    • perception
    • microsites
  • The Subtleties of Color

    A Series by Robert Simmon
    earthobservatory.nasa.gov
    Image from earthobservatory.nasa.gov on 2021-01-19 at 9.58.34 AM.jpeg

    The use of color to display data is a solved problem, right? Just pick a palette from a drop-down menu (probably either a grayscale ramp or a rainbow), set start and end points, press “apply,” and you’re done. Although we all know it’s not that simple, that’s often how colors are chosen in the real world. As a result, many visualizations fail to represent the underlying data as well as they could.

    • color
    • visualization
    • data

See also:
  1. vision
  2. graphics
  3. perception
  4. microsites
  5. visualization
  6. taste
  7. nature
  8. communication
  9. teaching
  10. iconography
  11. wood
  12. age
  13. data
  14. light
  1. Josef Albers
  2. Robert Irwin
  3. Sophie Lovell
  4. Dieter Rams
  5. Jenny Keller
  6. David Markson
  7. Nicholson Baker
  8. Lawrence Wechler
  9. Christopher Alexander
  10. Murray Silverstein
  11. Sara Ishikawa
  12. Ellen Lupton
  13. J. Abbott Miller
  14. Leo Robinovitch
  15. John Pawson
  16. Robert Simmon
  17. Nicholas Rougeux
  18. Matthew Simms
  19. Mark Liberman