New materialities of light and colour in spatial allegories

MSc Zlia SIMES and Prof. Dr. Maria Joo DURO

Portuguese Colour Association (APCOR),
ColourLab, Faculty of Architecture, Lisbon Technical University

ABSTRACT
This paper aims to present the concept of materiality from a basis of the perception of colour
and light as fundamental elements for the understanding of space. This dialogue is established
between the synchronic/diachronic on one hand and on the other, between the underlying
movement from natural to artificial environments. It is accomplished by reinforcing the
relevance of interpretation of a space-recipient that by the effects of light and colour
presents itself in constant mutation and with a variety of appearances. The apprehension of
space includes intellectual, cultural and sensory characteristics changing from selective filters
that determine the apprehended and rejected sensations. This includes external incentives motivation and experience -, the biological or internal incentives and the individual's cultural
values or groups. Meanings revealed by the potential inherent to the formal and
communicative domains act as a structured process where time and allegories create the
Ariadnes thread which connects us to Earth. In fact, colour has elemental components that
are common to most cultures and have revealed themselves since ancient times in terms of the
relation between nature and metaphysics where behaviour, transformation and concept
underlie the discovery of new materialities of colour and light.

1. SPACE, LANGUAGE AND TECHNOLOGY

Kahn mentioned that architecture is the studied construction of spaces and the continuous
renewal comes from the evolution of spaces concepts (Perello 1994). At present, the
transformations of space qualities originate changes in virtual technologies and reveal a new
space concept in opposition to the existential space: space as vehicle of representation.
The concept varies considering the different interpretative areas where the reality is not
rigid and validated universally. An absolute and objective space doesn't exist. What exists are
different ways of understanding space. Consequently, complex relationships are established
with other means of producing relationships of complementarity or reciprocal influence.
In search of dematerialization and superficial animation, for the achievement of the
transformation of space, texture, light and colour reveal the atmosphere and the place and this,
in turn, enables the association to a moment through memory. The balance between these
principles of unity and complexity may be one of the largest difficulties that the artist finds
and that, at the same time, is of primordial importance. Therefore, by composing visually, the
individual articulates and structures thought, feeling, sensation in the creative act of
perception. As Loureiro states, all men have the capacity to accomplish transformations, to
produce representations, to build allegories, to penetrate in symbols and myths.
Consequently, the use of space allegories presupposes the use of one or series of metaphors
that render a thought or an abstract reality that can be understood as several expression
Association Internationale de la Couleur (AIC). Interim Meeting in Stockholm June 15-18, 2008
Conference Theme: Colour Effects & Affects.
Proceedings, Paper no 045

categories and whose strategies and systems of relationships transmit signs and multireferencial areas that settle down between authors and places.
These visual creations with different implications generate an interactivity or dialogue with
the observer. The observer is a participant of the experience, abandoning contemplation and
passive interpretations.

2. MATERIALITY OF LIGHT AND COLOUR

Architectural work, paraphrasing Norberg-Schulz (1980), subdues the intrinsic value of
materiality and objects form to the inventive qualities of the poetics of space. That poetics is
made of emptiness, time, memory, colour, light and matter. The architectural artistic proposal
is driven by objects adjusted to the invention of poetics and not the opposite, because it is in
the emptiness defined by architecture that the human being exists, moves and creates links.
The exploration of colour happens with the use of form, matter, texture but tends to be
considered as a property of light. Merleau-Ponty (1967) observed that quality, light, colour,
depth that are there before us, are only there because they wake up an echo in our body. Light
allows visualizing and moulding spaces, but it can also define proportion, scale and effects,
whose poetic is nourished by the matter that, with the texture and colour incidence produces
tactile and luminous values.
This relationship with the concept and space structure has a moral and aesthetic effect that
is determined by a private incentive and interpretation, as Mondrian (1989) and Malevich
(Nakov 1975) have mentioned. Each of the spatial components and parts is bearer of a
meaning that constitutes the global sense of the work. Therefore, light and atmosphere are
perceived in a specific space and time as ephemeral values that generate singularity and
specificity. They become recognizable because they are sustained and produced by colours
and textures.
The use of this dialectic translates in a domain of a sensitive reason that acquires
transcendence and moulds the intemporality. It therefore, underlines the need to consider the
interaction of these visual forces with form, establishing a balance and an appropriate
relationship with space. On the other hand, the revelation of that structure and underlying
meanings of the perception of colour and form should be sustained by the interpretation of the
aesthetic experience.

3. THREE CONCEPTUALIZATIONS, FOUR ARCHITECTS

Lars Spuybroek & Kas Oosterhuis establish positions in the architectural discourse through
new technologies and new vocabularies, named as transarchitecture or liquid architecture, as
defined by Markos Novak (1991). This intellectual and cognitive process in constant
transformation represents a temporal identification and the subjects projection on things
revealing personal and cultural experiences connected to collective and cultural experiences.
The architectural bodies they create are spaces where visitors react and produce mutations
according to needs and functions. Colours are scaled by a computer that makes the colour
light environment part of the biorhythm of the buildings that generate digital realms of
Association Internationale de la Couleur (AIC). Interim Meeting in Stockholm June 15-18, 2008
Conference Theme: Colour Effects & Affects.
Proceedings, Paper no 045

interface with sound. Consequently, this expands on experimentation especially of light,

colour, shadow, nature and sound that are temporal and evanescent and open to a condition of
contingency that implies the possibility of building scenic moods actively affected by the
human body.

Figure 1. Pavillion H20 Expo by Lars Spuybroek & Kas Oosterhuis

Peter Zumthor adopts the formal paradigm of an architecture directly related with the
specificity of use and place which brings the idea of maximal expressiveness with minimal
expression and an artisan's cultural tradition, work of precision. The work is a plastic
representation of feelings and moods which allow the observer to interpret the formal and
spiritual message. In the manifestations of reality-natural and artificial-location and
temporality, alongside with the expressive connotations, the careful drawing, the singular
materials allow for the subtle changings to be noted. In this context, the composition is
harmonic, in that it establishes a relation between place, function and form.

Figure 2. Thermal Bath Vals by Peter Zumthor

Louis Le Roy, forerunner of environmental art, challenges our imaginative ability to
express a direct reaction to the concept of chaos. Texture, colour, weight, density, matter are
explored by a process of fusion with natures properties. Nature is the subject of the plastic
demonstration addressed to the conscious (resulting pleasant to its contemplation) and to the
subconscious (bearer of meanings much more complex than the simple visual pleasure).
These attributes demonstrate an ephemeral language, a poetics or a creation of a new
interactive and mystical environment. The process and the exploration of concepts are used as
an integral part of a discipline that crosses empirical, scientific and experimental areas and
introduces new technical, plastic and methodological solutions, useful for society and the
protection of nature. Hence, this environmental work is part of an eco-system. Although it is
not capable of changing the society, the author reinforces the transformation of reality, the
Association Internationale de la Couleur (AIC). Interim Meeting in Stockholm June 15-18, 2008
Conference Theme: Colour Effects & Affects.
Proceedings, Paper no 045

need for fantasy, the metaphysical possibility of generating visions, transformation of matter
and readaptation to the circumstances and atmospheres.

Figure 3. Eco-Cathedral by Louis Le Roy

In an era characterized by a variety of expressions which underlie the entire visual
culture and new interactive technologies these three case studies highlight the relevance of the
complex array of concepts relating the sensitive world with the intelligible world and attached
to the relations between colour and light when they are part of spatial allegories.

REFERENCES
Adrio, J. & Carvalho, R. 2007. Peter Zumthor. Jornal dos Arquitectos. N. 229. P. 42 57.
Bachelard, G. 1989. A potica do espao. So Paulo: Martins Fontes Editora, Lda.;
Bergson, H. 1992. The creative mind: an introduction to metaphors. New York: Citadel Press;
Deleuze, G. 1985. Limage-temps. Paris: ditions Minuit;
Mateo, J. 2007. Natural Metaphor: An anthology of essays on Architecture and Nature. Zurich: ETH
Swiss Federal Institute of Technology Zurich;
MerleauPonty, M. 1967. The Structure of Behavior. Boston: Beacon Press
Mondrian, Piet 1989. Realidad natural y Realidad Abstracta. Madrid: Editorial Debate.
Nakov, A. 1975. Malevitch crits. Paris: Ed. Champ Libre.
Norberg-Shulz, C. 1980. Genius Loci, Towards a Phenomenology of Architecture. New York: Rizzoli;
Novak, M. 1991. Liquid Architectures in cyberspace. Ciberspace: First Steps. New York, United
States. Available online http://www.zarcos.com/liquidarchitecture/ liquidarchitecture.html. Accessed
May, 2008;
Oosterhuis, K. 2004. Liquid Architecture. Rotterdam, Holland. Available online
http://www.oosterhuis.nl/quickstart/index.php?id=270&0=. Accessed May, 2008
Perello, A. 1994. Las claves de la arquitectura. Barcelona: Planeta Ediciones.
Roy, L. 2002. Nature and Culture Fusion Nature Cultuur Fusie.Rotterdam: Nai
Uitgevers/Publishers compilation Esther Boukema & Philippe Vlez Maintyre;
Spuybroek, L. 2004. Nox machining architecture. London: Thames & Hudson;
Zumthor, P. 2006. Atmosferas. Barcelona: Editorial Gustavo Gili, S.A.

Address: Zlia Simes, Portuguese Colour Association, Faculty of Architecture,

The Technical University of Lisbon (FAUTL), Rua S Nogueira, Plo
Universitrio, Alto da Ajuda, 1349-055 Lisboa, Portugal
E-mails: zeliasimoes@gmail.com, mjdurao@fa.utl.pt, apcor@fa.utl.pt

Association Internationale de la Couleur (AIC). Interim Meeting in Stockholm June 15-18, 2008
Conference Theme: Colour Effects & Affects.
Proceedings, Paper no 045