[雙語翻譯]城市規(guī)劃外文翻譯—城市環(huán)境色彩設(shè)計(jì)初探（原文）

1、 The Journal of Public Space 2018 | Vol. 3 n. 1 https://www.journalpublicspace.org ISSN 2206-9658 | 93 City Space Architecture / Queensland University of Technology / UN-Habitat Exploring Environmental Colour Des

2、ign in Urban Contexts Galyna McLellan, Mirko Guaralda Queensland University of Technology, Australia School of Design, Creative Industries Faculty galyna.mclellan@qut.edu.au | m.guaralda@qut.edu.au Abstract T

3、he increasing complexity of urban colour and growing recognition of its psychological effects prompts rethinking of the current conceptual and methodological approaches to environmental colour design. Contemporary desi

4、gners are challenged to understand how evolving colour knowledge can be integrated with the fundamentals of colour design. This paper aims to elaborate on the concept of environmental colour composition (ECC) and outl

5、ines an alternative approach to colour design in urban environments. A better understanding of the dynamic relationships between the tangible and perceptual elements of an ECC can bring new meaning to the consideration

6、 of colour as an integral component of city design. The proposed concepts of environmental colour events and scenarios provide a foundation for both further theoretical inquiry and practical application of synthesised

7、colour knowledge in the design of urban environments. Keywords: environmental colour composition, environmental colour design, colour event, colour scenario THE JOURNAL OF PUBLIC SPACE To cite this article: McLell

8、an, G. and Guaralda, M. (2018). Exploring Environmental Colour Design in Urban Contexts. The Journal of Public Space, 3(1), 93-102, DOI: 10.5204/jps.v3i1.320 This article has been peer-reviewed and accepted for publicat

9、ion in The Journal of Public Space. Please see the Editorial Policies under the ‘About’ section of the journal website for further information. This work is licensed under a Creative Commons Attribution - Non Commercia

10、l 4.0 International License https://creativecommons.org/licenses/by-nc/4.0/ Galyna McLellan, Mirko Guaralda The Journal of Public Space, 3(1), 2018 | ISSN 2206-9658 | 95 City Space Architecture / Queensland Univers

11、ity of Technology / UN-Habitat The increasing complexity of urban colour and the recognition of its psychological effects has prompted rethinking of the conceptual and methodological approaches to environmental colour

12、design. The challenge for contemporary designers is understanding how evolving colour knowledge can be integrated with the fundamentals of colour design and how colour can be used to balance sensory stimulation and cre

13、ate desirable polychromatic experiences in urban contexts. Research in environmental colour psychology provides valuable information that can potentially guide design rationales but is not directly applicable to desig

14、n methods (Anter & Billger, 2008). Sharpe (1981) stated that the extensive data on colour psychology must to be organised and explained before a useful design methodology can be formulated. However, few scholars p

15、ursue systematic studies in this field from a designer’s perspective. Some leading architects search for their own methods to approach polychromatic environmental design in a holistic way. For example, McLachlan (2014

16、) provided an insightful account of the eight architectural practices known for their distinguished use of colour. Among others, she endorsed Sauerbruch and Hutton for their phenomenological approach to architectural

17、colour and design of dynamic colour experiences. Similarly, Steven Hall received praise for his experimentation with the transformative nature of colour and light. Mark Major (2009: 151–158) reviewed work that inspired

18、 expression of colour through light, as exemplified in the Zollverein Kokerei industrial complex in Gelsenkirghen, Germany and the Burj Al Arab tower in Dubai. He claims that ‘the seemingly infinite flexibility provid

19、ed by the new generation of tools … allow[s] lighting designers, architects and artists to approach the use of colour in architecture in a progressive manner’ (Major, 2009: 154). Prominent lighting artist Yann Kersale

20、(2009) describes his experimental installations on landmark buildings (designed by Jean Nouvel, Helmut Jahn and Patric Bochain) as articulating his vision of a ‘luminous, nocturnal architecture of colour and light’ (P

21、orter & Mikellides, 2009). Despite individual contributions, a comprehensive colour design framework that can be utilised by mainstream architecture and urban design remains undeveloped. The methods for documentin

22、g and presenting colour design projects also require designers’ attention. Conventional architectural palettes and city colour plans are generally created under controlled lighting conditions and documented in the form

23、 of two-dimensional swatches that represent materials or pigments. In real settings, the harmonious colour combinations selected by a designer can be affected by the interplay between the visual elements presented and

24、 intervention by large-scale digital advertising. Neither architectural palettes nor city colour plans can adequately reflect dynamic changes in environmental conditions or describe the likely psychological experiences

25、 in actual urban spaces. These concerns have evolved into the concept of environmental colour composition (ECC), a holistic representation of an urban colour scheme. An ECC was initially defined by Ronchi (2002) as a

26、 synthesis of the colour of all visual elements within an urban setting, including natural elements, colours of built forms and urban elements as well as spatial and human activity patterns. This perspective aims to br

27、oaden the boundaries of an architectural palette and expand the traditional dimensions of colour in city design. However, its conceptual framework requires further clarification (specifically of the components of a co