By Gerhard Meerwein
Farben sind Bestandteil unserer Umwelt, der nat?rlichen ebenso wie der von Menschen gestalteten. Sie vermitteln Botschaften aller paintings und erf?llen so unterschiedliche Funktionen: sie informieren, ordnen, warnen. Sie dienen aber auch der Erf?llung ?sthetischer cause, beeinflussen Aussage, Wirkung und Akzeptanz von Gegenst?nden und R?umen.
So unterschiedlich Reaktionen auf Farben ausfallen, so lassen sich in Gestaltungsfragen doch allgemein g?ltige Farbkonzepte aufstellen, die den Erwartungen der verschiedenen Nutzergruppen entsprechen. Dieses Buch bietet einen Leitfaden, der auf vielf?ltigen wissenschaftlichen Erkenntnissen beruht und dem Architekturstudenten wie dem Fachmann als qualifizierte Beratungsbasis dient.
Die drei Herausgeber, Dr. B. Rodeck, Prof. G. Meerwein und F. H. Mahnke, sind langj?hrige Dozenten an den Salzburger Seminaren f?r Farbe und Umwelt der IACC.
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Ostwald’s system does not draw a po- W W V V V V S S > 34 Color system in cylindrical form (Munsell, RDS, ACC) > Color system in double-cone form (Ostwald, NCS, Müller, Ridgeway) 5 THE DESIGN ESSENTIALS OF COLOR sition between the inherent optical brightness of the color and the degree of luminance on the gray scale. Paint collections and color systems could be an initial help in deciding on a selection of colors. Ultimately, as a designer, When applying color systems, it is important to note that one should be open to developing a color individually in the the entire color tone area of complementary color mixes studio, or with a painter on site, to counter the quality of the have been filtered out of the system.
Range of movements in the 19th and 20th centuries. ” Semper spoke of “material-color-surfacing” as well as processed surfaces. This group includes the key characteristic, the “ultimate element” of spatial de- the cross-sectional view and grain of wood, the sign. Around 1900, this served as a foundation for Art Nouveau granulate texture of granite, the stratification of and the New Realism of the Deutscher Werkbund. Abstract marble, the woven texture of fabric, plaiting or yarn, and the fibrous texture of particle board.
40 above: Luminous flux below: Luminous intensity 6 LIGHT AND COLOR According to engineers who currently advise in planning, Unfortunately, these engineering and business considera- the lux value or illuminance constitutes the most important tions usually neglect the issue of light quality. The color ren- factor of the four technical measurements above. In the Euro- dering properties of a given light source, as well as the lumi- pean Standard, EN 12464-1, and German DIN Standard 5035, nance (cd/m2), are decisive for the quality of color, material, mandatory average values are prescribed for various uses of a and space.