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Maria Godyń Bożena Groborz Agata Kwiatkowska-Lubańska Faculty Of Edited by: Maria Godyń Bożena Groborz Agata Kwiatkowska-Lubańska Faculty of Industrial Design Colour and Space Department Edited by: Maria Godyń Bożena Groborz Agata Kwiatkowska- -Lubańska Faculty of Industrial Design Colour and Space Department COLOUR CULTURE SCIENCE Editors Maria Godyń Bożena Groborz Agata Kwiatkowska-Lubańska Reviewers Prof. Jan Pamuła Dr. Verena Schindler Graphic design & layout Bożena Groborz Printed in Poland © Jan Matejko Academy of Fine Arts in Krakow Faculty of Industrial Design Kraków 2018 ISBN 978-83-948545-3-9 (pdf) Disclamer Matters of copyright for all images and text associated with the articles contained in COLOUR CULTURE SCIENCE are the responsibility of the authors. Jan Matejko Academy of Fine Arts does not accept responsibility for any liabilities arising from the publication of any of the articles. Publikację sfinansowano z dotacji projakościowej przyznanej przez Ministerstwo Nauki i Szkolnictwa Wyższego. Prezentowane wyniki badań, zrealizowane w ramach tematu nr 196, zostały sfinansowane z dotacji na naukę przyznanej przez Ministerstwo Nauki i Szkolnictwa Wyższego. COLOUR – CULTURE – SCIENCE 5 CONTENTS Preface 9 Colour & Culture 1. Lindsay Macdonald, Dimitris Mylonas, Colour Naming: Linking Vision and Speech 13 2. Karl Schawelka, The Irresistible Rise of Green 27 3. Katarzyna Schmidt-Przewoźna, The History of Red in Poland: Polish Cochineal Porphyrophora polonica and Other Natural Dyes 33 4. Barbara Widłak, Tincture in Heraldry: the Past and the Present 43 5. Cecilie Brøns, Maria Papadopoulou, True Colours: Polychromy in Ancient Greek Art and Its Dissemination in Museum Collections 63 6. Pietro Zennaro, Aesthetic Hypnosis on the Contemporary Architecture: the Role of Colour and Light 71 7. Robert Sowa, Marcin Koszałka, Glen Castinho, Colour as a Hero 79 Colour & Design 1. Francesca Valan, Color Design for Children’s Spaces and Children’s Color Perception 85 2. Jada Schumacher, A Manufactured Presence: Hazel Adler and the Colourization of Industry 95 3. Anna Kmita, Nina Duda, 100 Silesian Colours and Patterns. Project of Decorative Patterns and Sets of Colours Inspired by Applied Art of Upper Silesia 111 4. Maria Kirk Mikkelsen, Colour Combos. Methods in Design Education 121 5. Marcia R. Cohen, Color Flash! The Campus as a Think Tank: Designing from Art, Nature and Couture 129 6. Andrea Urland, Jana Vinarčíková, From Intuitive to Conceptual Approaches in Architectural Colour Design Training 137 7. Agnieszka Wójcik-Popek, Colours in Show Gardens in the Case Studies of BUGA 2015 and IGA 2013 147 8. Małgorzata Sawicka, Colour in Play Spaces for Children 159 9. Agnieszka Jacobson-Cielecka, About Colours and Relationships Between and with Objects 165 10. Alicja Panasiewicz, Adam Panasiewicz, Colour Coordinates, by naN, 2016 175 11. Wojciech F. Maciejewski, Using Virtual Reality in Quantifying the Relation Between Colour Temperature of Public Lighting and Perceived Personal Safety 181 6 COLOUR – CULTURE – SCIENCE Colour & Environment 1. Larissa Noury, Colour Harmony & Image of the City 189 2. Xavière Ollier, The Colourist Designer: an Archeology of Chromatic Imaginary. 197 3. Fiona McLachlan, Beichen Yu, Vague Memories: Old Colour in the City – the Re-introduction of Copperas Lime Wash in Scotland 205 4. Petro Rychkov, Nataliya Lushnikova, Semiotics of Material and Colour in Wooden Sacred Architecture of Historical Volhynia: Past and Present 215 5. Karolina Białobłocka, Colour Planning in the Early 20th-century Germany: Lübeck and Zerbst 229 6. Bożena Łebzuch, The Role and the Meaning of a Colour in Creating Parks and Palaces of the Henckel von Donnersmarck Family 239 7. Witold Gawlowski, On the Role of Colour in Context-Concept Relation 247 8. Agnieszka Rek-Lipczyńska, Izabela Kozłowska, The New Aspects of the Walls of the Blocks of Flats 257 9. Joanna Łapińska, The Colours of the Ephemeral World 265 10. Piotr Drozdowicz, Mural Versus Painting in Architectural Space 275 11. Katarzyna Słuchocka, Space and Image 283 12. Joanna Szwed, The Colour of the Light in the Urban Night Space Formation 291 13. Yulia Griber, Obedience to Unwritten Urban Color Norms 299 Editorial COLOUR – CULTURE – SCIENCE 9 We proudly present Colour–Culture–Science, a mon- text of wider culture, including the visual sphere and ograph containing an interdisciplinary review of re- linguistic representation of the world. The analysis search and project works focusing around the con- concentrates both on the differences stemming from cept of colour. The articles compiled in this work the various traditions of specific nations and social cover a very broad range of topics related to colour, groups, as well as on the search for historical sources its place in culture, both in the context of current on the modern significance of colour. The opening phenomena, as well as from the perspective of mul- article tackles the issue of linguistic differences in tifaceted historical research. The monograph is pub- the naming of colour which, compiled by scholars lished more than a year after the international con- from University College London as part of the Colour ference of the same name – Colour–Culture–Science, Naming Experiment project, were made available organised by the Department of Space and Colour through a multiple-language website in the years at the Faculty of Industrial Forms of the Jan Matejko 2009-2017. Next, the two authors direct their atten- Academy of Fine Arts in Kraków between 23rd and tion to two distinct colours – green and red, discuss- 24th April 2016. ing their history and place in European and Polish culture in terms of the pigments used and the sym- The event attracted both Polish and international bolism attributed to them. These topics are further specialists to Kraków who, even though usually en- developed in an article focusing on the role of colour gaged in completely different fields of academia or in heraldry, presented from a historical perspective art, thought colour to be a fascinating subject of re- and from the point of view of a designer preoccupied search, as well as artistic projects and undertakings. with production of modern-day versions of coats of Contributions to this book come from art historians, arms. The use of the latest research methods in ar- culture scholars, architects, painters, designers, film chaeology and restoration makes it possible to rec- makers, landscape architects and interior designers. reate authentic colours used by historical artists with Considering the wide range of issues presented, growing accuracy. This is the topic of the next article, often falling within the confines of very different where the author used the example of Greek art in science disciplines, the perception of the analysed museum collections. Reflections on the colour range phenomena in the context of different methodolo- of the modern metropolis in daytime and at night gies has revealed the multidimensional complexity within the context of the development of IT tech- of the concept of colour. The authors focused on an nologies and globalisation of the world’s economy analysis of symbolic aspects of colour, its aesthet- provides a sort of summary for the first chapter. ics, significance in the cultural space, its function in architecture and design, as well as its role in the The second chapter is devoted to projects in which process of communication (from the point of view colour constitutes a significant or even leading ele- of linguistics and visual communication). The phe- ment in the concept behind a work of art. The field nomenon of colour, investigated at the Academy of colour design is especially close to the hearts of mainly from the perspective of colour theory and art the conference organisers and this part of the book history, is a much broader concept that should not be is a very important part of the monograph from the appropriated by talented artists concentrating their perspective of the Faculty of Industrial Forms. The activities in the fields of fine arts and design. For author of the Colour for children’s spaces chapter this reason, the main purpose of the Colour Culture analyses the topic of colour perception among chil- Science monograph was an attempt to confront the dren aged 0 to 36 months and presents the princi- intuitive “artistic” approach to colour with scientific ples for designing colour schemes for this age group. methods used by specialists from other disciplines. Using the works of American designer Hazel Adler, e.g. prepared for Ford Motor Company or Du Pont The book is divided into three parts covering the fol- in the first half of the 20th century, the origins and lowing areas: Colour & Culture, Colour & Design, Col- the development of the profession of colour design- our & Environment. The first part offers reflections er in the United States is presented. The 100 Sile- on the presence and impact of colour in the con- sian patterns and colours project provided a basis for 10 COLOUR – CULTURE – SCIENCE presenting how folk art has inspired colour design. The articles compiled in Colour Culture Science hint The role of colour in landscape planning is tackled in at the plethora of topics related to colour and its the next two articles concerning German gardening place in culture but, for obvious reasons, offer only shows, BUGA 2015 and IGA 2013, and playgrounds a modest overview of selected issues. The editors of built in Kraków over the last decade. The use of this book hope that the future will bring further op- colour for display and exhibition purposes was pre- portunities for a more in-depth examination of the sented using the example of the Roundabout Bal- disciplines that take interest in investigating colour tic design exhibition and the Colour Coordinates by and that this book will be the first one in a long-last- naN project inspired by Johann Wolfgang Goethe’s ing series of publications devoted to the study of Farbenlehre. A distinct and important part of the sec- significance of colour in modern culture.
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