Inside the “Colour & Light in Architecture” research Unit of the Iuav University of Venice there is a group involved in the investigation of the colour and light role into the aesthetic evolution of the Italian architecture, specifically that of the northern industrialized area. The research scope is to identify the main phenomena taking place into the contemporary urban environment. The method used to catch the first results is focused on analysis of the most evident urban phenomena. In places with high anthropic impact it seems that the ugly tends to prevail, generously sponsored by the market that is finalized to increase the sales of its products. The dissonant colours, vulgar, ambiguous, are commonplace in every western city, none excluded. It seems that in these places the rules of colour/light composition are to be rewritten, if these have never been. Also the urban building walls are more subject of attention from the street art, graffiti writers, stickers, stencil artists and so on. Their not institutional presence often entails overlapping of several layers run by different hands. The lights and the colours of contemporariness sublimate in chaos, confusion, in self contradiction of our time, where the architecture remains queen in the chromatic exaggeration.
Sublime ugly architecture
ZENNARO, PIETRO
2011-01-01
Abstract
Inside the “Colour & Light in Architecture” research Unit of the Iuav University of Venice there is a group involved in the investigation of the colour and light role into the aesthetic evolution of the Italian architecture, specifically that of the northern industrialized area. The research scope is to identify the main phenomena taking place into the contemporary urban environment. The method used to catch the first results is focused on analysis of the most evident urban phenomena. In places with high anthropic impact it seems that the ugly tends to prevail, generously sponsored by the market that is finalized to increase the sales of its products. The dissonant colours, vulgar, ambiguous, are commonplace in every western city, none excluded. It seems that in these places the rules of colour/light composition are to be rewritten, if these have never been. Also the urban building walls are more subject of attention from the street art, graffiti writers, stickers, stencil artists and so on. Their not institutional presence often entails overlapping of several layers run by different hands. The lights and the colours of contemporariness sublimate in chaos, confusion, in self contradiction of our time, where the architecture remains queen in the chromatic exaggeration.
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