Urban light and color

In Colour for Architecture, published in 1976, the editors, Tom Porter and Byron Mikellides, explain that their book was “produced out of an awareness that colour, as a basic and vital force, is lacking from the built environment and that our knowledge of it is isolated and limited.”1 Lack of urb...

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Main Authors: Byrne, Alex, Hilbert, David R.
Other Authors: Massachusetts Institute of Technology. Department of Linguistics and Philosophy
Format: Article
Language:en_US
Published: Harvard University Graduate School of Design 2011
Online Access:http://hdl.handle.net/1721.1/61988
https://orcid.org/0000-0003-3652-1492
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author Byrne, Alex
Hilbert, David R.
author2 Massachusetts Institute of Technology. Department of Linguistics and Philosophy
author_facet Massachusetts Institute of Technology. Department of Linguistics and Philosophy
Byrne, Alex
Hilbert, David R.
author_sort Byrne, Alex
collection MIT
description In Colour for Architecture, published in 1976, the editors, Tom Porter and Byron Mikellides, explain that their book was “produced out of an awareness that colour, as a basic and vital force, is lacking from the built environment and that our knowledge of it is isolated and limited.”1 Lack of urban color was then especially salient in Britain—where the book was published—which had just begun to recoil at the Brutalist legacy of angular stained gray concrete strewn across the postwar landscape. Perhaps because the most urgent need was to inject some hue into this architectural dystopia, one of the main innovations illustrated in the book involves nothing more than cans of paint. Dull unfinished concrete façades, the interior of a subway station, a cement works, and so on, are shown enlivened by fields of bright color.
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spelling mit-1721.1/619882022-09-29T19:45:58Z Urban light and color Byrne, Alex Hilbert, David R. Massachusetts Institute of Technology. Department of Linguistics and Philosophy Byrne, Alex Byrne, Alex In Colour for Architecture, published in 1976, the editors, Tom Porter and Byron Mikellides, explain that their book was “produced out of an awareness that colour, as a basic and vital force, is lacking from the built environment and that our knowledge of it is isolated and limited.”1 Lack of urban color was then especially salient in Britain—where the book was published—which had just begun to recoil at the Brutalist legacy of angular stained gray concrete strewn across the postwar landscape. Perhaps because the most urgent need was to inject some hue into this architectural dystopia, one of the main innovations illustrated in the book involves nothing more than cans of paint. Dull unfinished concrete façades, the interior of a subway station, a cement works, and so on, are shown enlivened by fields of bright color. 2011-03-30T14:01:31Z 2011-03-30T14:01:31Z 2011 Article http://purl.org/eprint/type/JournalArticle 9781934510261 1934510262 2152-047X http://hdl.handle.net/1721.1/61988 Byrne, Alex, and David R. Hilbert. "Urban Light and Color." in New Geographies, 3: Urbanisms of Color, Gareth Doherty, editor. Cambridge, Ma: Harvard University Press, c2011. 184 p. https://orcid.org/0000-0003-3652-1492 en_US New Geographies (Book 3) Creative Commons Attribution-Noncommercial-Share Alike 3.0 http://creativecommons.org/licenses/by-nc-sa/3.0/ application/pdf Harvard University Graduate School of Design MIT web domain
spellingShingle Byrne, Alex
Hilbert, David R.
Urban light and color
title Urban light and color
title_full Urban light and color
title_fullStr Urban light and color
title_full_unstemmed Urban light and color
title_short Urban light and color
title_sort urban light and color
url http://hdl.handle.net/1721.1/61988
https://orcid.org/0000-0003-3652-1492
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