[雙語翻譯]建筑學(xué)專業(yè)外文翻譯—建筑環(huán)境色彩選擇策略

1、字?jǐn)?shù)：英文 字?jǐn)?shù)：英文 3211 3211 單詞， 單詞，16942 16942 字符；中文 字符；中文 5483 5483 漢字 漢字出處： 出處：Zennaro Zennaro P. P. Strategies Strategies in in colour colour choice choice for for architectural architectural built built environment[J]. env

2、ironment[J]. Journal Journal of of the the International International Colour Colour Association, Association, 2017, 2017, 19: 19: 15-22. 15-22.外文文獻(xiàn) 外文文獻(xiàn) Strategies in colour choice for architectural built environmentIn

3、the realisation of a colour design, or of a colour plan, every designer should have the availability of a set of basic tools to prevent him or her from performing prejudicial operations in the territory, in the landscape

4、, in the city, in the neighbourhood, and in the individual building. The same designer should then know some rules in the colour choice that will enhance the built environment. The approach to colour selection depends on

5、 many factors, for example the building size and function, the combination of spaces, the urban form, the dimensions of streets, alleys, plazas, squares and so on, but especially the specificity of the place. By this we

6、mean the history, traditions, culture, geographical location, the qualities and weaknesses, the range of possible design/conservation options and all those characteristics that distinguish one place from another. So it s

7、hould be clear to the designer who faces a chromatic project, that he or she primarily needs a dedicated strategy, different from case to case, specific to each place. The diversity of the places establishes the richness

8、 of traditions and customs that should be preserved and/or possibly updated.Introduction“Starting the study of perception, we find in the language the concept of where we collect and condense the values of civilisation:

9、spirituality (with churches), power (with offices), money (with banks), the goods (with department stores), the word (with «agorà»: coffee and walks).” Analogously Western urban centres are a collection an

10、d a condensation of colours. Each city centre tends to show emblematic colours, representing the level of civilisation. Commonly the colours used in historical urban centres are often low in saturation. The newer culture

11、s, preferring to live in a techno-scientific environment, are more attracted by highly-saturated colours.On the other hand, in the oriental culture we see empty urban centres. Considering Japan, in Tokyo the historical c

12、ity is concentric and the centre is empty. It is occupied by the heart of the nation: the religious and political power. The Emperor, Japan's religious and political leader, occupies this big empty space. So the colo

13、urs used are those of the tradition: red, gold and white. Similarly in the Chinese culture the urban centre is an empty space. In Beijing, the Forbidden City was exactly this kind of concentration of non-physical element

14、s: power and religion. The colours used also in this case were those of the Emperor. After the Communist revolution red became the main colour in China. But the tradition persists and the main colours are those of the fi

15、ve elements: Wood, Fire, Earth, Metal, and Water. In China, there are five very specific colours (i.e. blue-green, red, yellow, white, black) resonating with meaning through every layer of traditional and modern life, re

16、presenting emotional, physical, spiritual and directional forces.As synthetically expressed, transmitting a culture not only requires knowing technical aspects, but also other aspects affecting a society and its evolutio

17、n. Having care of colours is not only a personal pleasure but in architecture concerns the whole community. Everybody is influenced by colour and it seems necessary that designers should be provided with some basic infor