Abstract:
The introduction and application of new products in the building market, joined to the continuous elaboration and re-interpretation of already known materials, in particular of those dedicated to the facades, produces new effects on the perception of the chromatic truth of the places where these are employed. Among these products and materials there are someone, employed in multiple shapes, finishes and textures, those use has been consolidated in the realization of facade claddings (concrete, metals, glass, plastics, composites, smart etc.). Their use in the context in which these facades are located produces particular chromatic effects, different from those of the tradition, or similar to it: chromatic agreements, contrasts (see J. Itten), dematerialization of the building envelope etc. Is it possible to lead a chromatic analysis of meaningful cases having the target to supply useful instruments to the design phase? This study has the proposal to complete a chromatic surveying of famous buildings by the means of common graphical instruments such as the pixel filter: a tool useful to identify the dominant tones that can be obtained from a photographic relief. Captured colors can be inserted in a diagram to classify their combinations: one dominant, two colors, three colors, four colors, contrast of light and dark, contrast of warm and cool colors, etc..These kind of studies would have to lead us to the definition of a table of chromatic harmonies and contrasts. The study means to consider all the elements of the context: sky, green, water, buildings etc, so as to be able to contemplate also the chromatic variants due to the change of the luminous or atmospheric conditions. Knowing that “varying the field of vision whichever chromatic manifestation can be obtained, just because seeing it is not never an objective fact, but it is participation, subjective interpretation” (J. Tornquist, 1999).
