In the 70 years the French architects began to make extensive use of color. In urban landscapes of 60-ies dominated ahromatika. The architecture of those years, especially the mass, was identified with the gray concrete. The appearance of color was provoked by the wave of the concrete architecture, but the cause was rooted in the need to humanize the urban environment, to link it with multicolored natural environment, make it a color elements of the culture, listen to the wishes of the residents.
Different positions of prominent French architects (E. Ayo, A. and K. Vozhanskogo Shnaydta) for the use of color helps ensure a multiplicity of points of view on the role of color in architecture. These views are shared by more narrow specialists - colorists consultants, the nature of their activities directly associated with the architects. This specialty has acquired the rights of citizenship in France in the 50's, and now no neighborhood or industrial zone, no large public buildings are not designed without the participation of colorist consultant. Grew up a whole galaxy of representatives of the profession. Among them - J. Fillacier, B. Lassyus, J. F. l'Enclos, F. Rieti, etc.
E. Ayo: "I would say that the most significant in the appearance of the city that makes it incomprehensible that transforms him into the world of intricate and colorful, like a labyrinth, the world is truly poetic, does not meet the terms of logic."
The search aims to achieve the illusion of random, but the element of chance is for a particular purpose, he discovers in the end, some hidden order. For E. Ajo architecture - a world where color is of equal importance with its material basis, and unlike the typical functional-conceptual use of color, usually local, Ayo apply color without any direct connection with the geometry of form. Such use of color enriches the emotional architecture. Polychrome is conceived as a single color environment, rather than individual strokes on the facades of buildings.
( "Western architecture", Stroiizdat, 1987)
Photo 2, 3 and 4. Portraits of French poets at the ends of buildings (a mosaic of gray ceramic tiles, F. Rieti) on one of the squares of the residential area in Chanteloup-les-Vignes (Greater Paris, mid 70-ies).
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