Éloge de la couleur / In Praise of Colour
The aftermath of World War II introduces a new area of creation enhancing colour as a specific and autonomous element in the conception of environments. In France, pioneers like Jacques Fillacier, Georges Patrix and Bernard Lassus invent a profession in the intersection of architecture and design: colourism consulting. The period of the 1970s witnesses the emergence of a new generation of colourists––André Lemonnier, Jean-Philippe Lenclos, France and Michel Cler, Victor Grillo, Fabio Rieti and Ryoichi Shigeta––that introduces significant new approaches on how to deal with colour in urbanism, architecture, design and graphic design. This exhibition has been organized as part of the Georges Pompidou Centre’s 40th anniversary celebrations, in partnership with the National Museum of Modern Art/Centre of Industrial Design – Pompidou Centre. Commissioners: Cloé Pitiot, Conservator, National Museum of Modern Art; Marion Guibert, Attaché of Conservation, National Museum of Modern Art; Sylvette Botella-Gaudichon, Attachée of Conservation, La Piscine Roubaix. A catalogue will be available.
Claude Monet (1840-1926)
“Colour is my day-long obsession, joy and torment.” As quoted in Claude Monet: Les Nymphéas (1926) by Georges Clemenceau, Ch. 2.
Claude Monet, Nymphéas, 1916-1919 Water-Lilies Oil on canvas, 200×180 cm Fondation Beyeler, Riehen Basel, Beyeler Collection, Photo Robert Bayer
Julio Le Parc (b. 1928, Mendoza, Argentina)
Julio Le Parc, Martha Le Parc avec Lunettes pour une vision autre (Glasses for Another Vision), 1965. Photo: © Julio Le Parc / Atelier Le Parc.
Julio Le Parc, La Longue Marche, Étape n° 3 (The Long March, Step n° 3), 1974. Courtesy the artist. Photo: © Julio Le Parc / Atelier Le Parc.
René Magritte (1898-1967)
The Treachery of Images
René Magritte (1898-1967) described the act of painting as “the art of putting colours side by side in such a way that their real aspect vanishes, so that familiar objects—the sky, people, trees, mountains, furniture, the stars, solid structures, graffiti—become united in a single poetically organized image. The poetry of this image dispenses with any symbolic significance, old or new.”
René Magritte, La condition humaine [The Human Condition], 1935, Norfolk Museum Service.
21 September 2016 – 23 January 2017
Galerie 2, Musée national d’art moderne Centre Pompidou, Paris, France
Christian Herdeg (b. 1942)
At first, Swiss artist Christian Herdeg used the medium of light in a narrative way, drawing on pop art. Subsequently, the interaction between neon tubes, geometric forms and various materials came to the fore. During the 1970s, his research focused entirely on the coloured radiance and colour combinations of light. In order to achieve his subtly nuanced spectrum of coloured light, he expanded the palette of conventional standard fluorescent tubes, adding around 300 shades. Together with chemists from Leuchtstoffwerke Heidelberg, he developed pigments that made it possible to modulate the chromaticity of inert gases. Since 1982, Herdeg has also used his experience in large-format art-in-architecture projects and in the public space. These interventions have contributed significantly to his international reputation as a light artist.
Daniel Buren (b. 1938)
Paul Klee (1879-1940)
Paul Klee, Plant-like in the Sense of 143, 1915 © MNAM Centre Pompidou © Public Domain
Paul Klee, The Deer, 1919 © Georges Meguerditchian – Centre Pompidou, MNAM-CCI /Dist. RMN-GP © Public Domaine
The exhibition takes ‘romantic irony’ and the associated ideas of satire and parody as themes of Klee to explore. Philosopher Friedrich Schlegel qualified irony as a transcendental buffoonery: All must be playful, and all must be serious, frank, and deeply hidden. This approach helps clarify Klee’s work as playfully drawing attention to his attempt at expressing the ineffable despite the fundamental impossibility of doing so. The exhibition shows how Klee assimilates some contemporary influences and turns away from others in order to create his unique expression.
Marc Chagall (1887-1985)
Marc Chagall: The Triumph of Music The Philharmonie de Paris exhibition explores the artist’s creations for the stage, the décors and architectural works he was commissioned to produce, all somehow tied to music. The show brings together some three hundred artworks (paintings, drawings, costumes, sculptures and ceramics), with multimedia installations featuring the ceiling of the Paris Opera thanks to extraordinary technology developed by Google Lab, and photographs (for the most part previously unpublished), including those of Marc Chagall’s studio taken by Izis in the 1960s.
Chagall created the scenery and costumes for the ballets Aleko in Mexico in 1942 and The Firebird in New York in 1945. Chagall eventually returned to France, where the Paris Opera commissioned similar work for Daphnis et Chloé in 1958 (1959 for the Paris Opera premiere). In 1962 the presiding Minister of Cultural Affairs André Malraux commissioned Chagall to paint the ceiling of the Palais Garnier Opera House.
The chaotic and colourful atmosphere of the circus captivated Chagall. Here, he saw all aspects of life represented, from the comic to the tragic.
Serge Poliakoff / atelier Simon Marq Composition bleue, vitrail panneau d’exposition, 1963. Coll. musée des Beaux-arts de Reims © ADAGP, Paris, 2015 © Photo C. Devleeschauwer
Maria-Helena Vieira Da Silva / atelier Simon Marq, Composition, 1963, Coll. musée des Beaux-arts de Reims © ADAGP, Paris, 2015 © Photo C. Devleeschauwer
Pierre Bonnard (1867-1947), Nu dans un intérieur, Courtesy National Gallery of Art, Washington © ADAGP, Paris 2015
Frank Gehry: Cleveland Clinic Lou Ruvo Center for Brain Health, 2005-2010, Central Interior Space, Detail. © Photo: Iwan Baan
Exhibition: Éloge de la couleur. In Praise of Colour. La Piscine – Musée d’art et d’industrie André Diligent, Roubaix, France
1 April – 11 June 2017
André LEMONNIER (b 1937) Possibilités de mélanges à partir de 3 couleurs primaires plus le blanc, 1972, Possibilities of mixing 3 primary colours and white. Oil on Canvas. Collection Centre Pompidou, Paris. Musée national d’art moderne – Centre de création industrielle. Photo © Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. RMN-GP. © André Lemonnier.
Exhibition: Monet. Fondation Beyeler Riehen Basel, Switzerland
22 January – 28 May 2017
Claude Monet, Matinée sur la Seine, 1897 Morning on the Seine Oil on canvas, 89,9×92,7 cm The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection, 1933 Photo- © The Art Institute of Chicago / Art Resource, NY / Scala, Florence
Exhibition: Julio Le Parc: Form into Action. Pérez Art Museum Miami , Florida, USA.
18 November 2016 – 19 March 2017
Julio Le Parc, Cloison à lames réfléchissantes (Partition with Reflective Strips), 1966/2005. Julio Le Parc © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris. Photo: André Morin.
Julio Le Parc’s color approach is based on a rigorous system as follows:
“I started my research on color in 1959 taking care not to adopt the approach of a colorist; I dealt with colors the same way as with forms. When I was working with colors, it was not to create a dominantly rose or blue, a ‘hot’ or ‘cold’ painting. I began to use not only one color but all of them. I composed a full palette going from yellow to yellow, passing through green, blue, violet, red and orange. The colors were pure; they were mixed neither with black nor with white. I forbade myself to use any other colors than those selected—the range of 14 colors, though limited, seemed to accommodate all the possible variations of color mixtures.”
René Magritte (1898-1967), L’incendie [The Fire], 1943, Musées royaux des Beaux-Arts de Belgique, Bruxelles / photo: J. Geleyns / Ro scan © Ch. Herscovici, courtesy of c/o SABAM Belgium.
René Magritte, Le Blanc Seing, 1965. National Gallery of Art, Washington © Adagp, Paris 2016
Christian Herdeg: Lyrical Minimalism, Zurich, Switzerland
27 October 2016 – 15 January 2017
Museum Haus Konstruktiv
Foundation for constructive, concrete and conceptual art
Daniel Buren. The Observatory of Light, Work in situ
11 Mai 2016 – April 2017
Fondation Louis Vuitton, Paris, France
Paul Klee. L’ironie à l’œuvre (Irony at Work)
6 April 2016 – 1 August 2016, 11am–9pm
Gallery 2, Centre Pompidou, Paris, France
Paul Klee, The Hopeless, 1914
Paul Klee, Insula dulcamara, 1938 © Zentrum Paul Klee, Bern © Public Domain
The exhibition at Centre Pompidou is organized around seven themes that highlight the different periods of Paul Klee’s artistic work: Satirical Beginnings, Klee and Cubism, Mechanical Theatre (Dadaism and Surrealism), Klee and Constructivism (The Years at Bauhaus Dessau), Looking Back, (The 1930s), Klee and Picasso (The 1932 Picasso Show in Zurich and its Impact on Klee), Years of Crisis (Nazi Politics, War and Klee’s Illness).
This thematic retrospective brings together around 250 works from leading international collections and the Zentrum Paul Klee. Half of the works are shown in France for the first time. Among the rare masterpieces are two legendary watercolors from the Walter Benjamin collection: Introducing the Miracle (1916) and Angelus Novus (1920).
Angela Lampe, director at Musée national d’art moderne, is the exhibition’s curator.
Marc Chagall, The Triumph of Music
Exhibition until Sunday 31 January 2016
Philharmonie de Paris, 221, Avenue Jean-Jaurès, 75019 Paris, France
“Color is all. When color is right, form is right. Color is everything, color is vibration like music; everything is vibration.” (Marc Chagall)
André Malraux was a friend of the artist: “What other living artist could have painted the ceiling of the Paris Opera like Chagall did? He is one of the greatest colourists of our times […] a great many of his canvases and the ceiling of the Opera form an illustrious image, which is a significant part of the most beautiful poetry of our times”.
AIC 2016 Interim Meeting, Santiago, CHILE
Colour in Urban Life: Images, Objects, Spaces
18-21 October 2016
Venue: Centro Extensión, Universidad Católica de Chile, Santiago de Chile
Organizer: Asociación Chilena del Color, ACC (Chilean Colour Association)
It is predicted that by 2050 two-thirds of the world’s population will live in cities. Managing urban areas and building equitable and sustainable cities of all sizes are the most important development challenges of the 21st century. What role will color play? Have you ever wondered what the cities of tomorrow will look like? You might think of smart buildings, farmscrapers, intelligent lighting, delivery drones, robo-taxis, sensor and network systems, data and surveillance culture. Often smart cities are imagined as being carbon-free, with a lot of greenery, renewable energy and homes with roof-mounted solar panels. But should a city just be efficient, unpolluted and safe? What is a city but its people! How do people experience color in their environment — both real and digital? Life in cities can be hectic and stressful. Let’s discuss whether or not colors contribute to making cities more beautiful, pleasant, quiet and fun. How does color pervade urban spaces, objects and images? How do new lighting technologies affect the colors and ambiance? The worlds of digital and material color are fusing. How can the color aspect improve our daily experience, quality and usability in our cities? The Chilean Color Association – Asociación Chilena del Color (ACC), founded in 2008 in Valdivia, is organizing the AIC 2016 Interim Meeting “Color in Urban Life: Images, Objects and Spaces”, to be held 18–21 October 2016 in Santiago de Chile. The conference will be an excellent opportunity to discuss the role of color in urban life in the past, present and future.
The aim of AIC2016 Interim Meeting is to share experiences regarding the use of color in images, objects and space, from different perspectives and disciplines, thus contributing to a better user experience, improving usability, and also to improve life quality in our cities.
Chagall, Soulages, Benzaken… Le vitrail contemporain
Exhibition Stained-Glass Windows as Contemporary Art
until Monday 21 September 2015
Cité de l’architecture et du patrimoine
Galerie basse des expositions temporaires
1, Place du Trocadéro, 75016 Paris, France
Jean Michel Alberola, Creation of the World, model of stained-glass window, scale 1/10, for an ambulatory bay of Nevers Cathedral, a national monument of France, located in the town of Nevers, around 1986-1989 © ADAGP, Paris, 2015 © CNAP/Photo Yves Chenot
Pierre Bonnard. Painting Arcadia
17 March 2015 — 19 July 2015
Musée d’Orsay, Paris, France
The exhibition is divided into eight sections: Japanism, intimacy, the unexpected, photography, portraits, wild garden, colour, and great decorative works.
Pierre Bonnard. Les couleurs de l’intime
Realized by Bruno Ulmer
52 mn DVD 1h22 16/9 – NTSC -All Zone
French and English
Pierre Bonnard (1867-1947), a painter of the intimacy. His unique use of colour makes him one of the key players of 20th century painting.
For more than half a century, Fukumi Shimura has been weaving kimonos with silk threads that she dyes with plants. Influenced by the Mingei movement, which recognises the value of popular arts, she has always searched for beauty in the ‘tsumugi’, the silk pongee that the Japanese peasants weaved for their daily use. Thanks to her particular sensitivity and imagination, she was promoted to the level of Living National Treasure in 1990. Now almost 90 years old, she continues to express her fascination with nature and its infinite variety of colours in her creations.
Some statements by Fukumi Shimura:
I become one with colours.
But how could a troubled mind obtain the colours from nature in their primary pureness?
Green is the colour that switches back and forth between two worlds, that of life and that of death.
Naming colours is an act of love.
In the past, I thought I had to devote ten years to a colour, today I think it needs a life.
Sonia Delaunay – The Colours of Abstraction
17 October 2014 – 22 February 2015
Musée d’Art Moderne de la Ville de Paris, Paris, France
This is the first major Sonia Delaunay (1885-1979) retrospective in Paris since 1967. The Musée d’Art Moderne de la Ville de Paris is bringing together three remarkably recreated environments and over 400 works: paintings, wall decorations, gouaches, prints, fashion items and textiles. Tracing the artist’s evolution since the beginning of the 20th century to the late 1970s, this monographic exhibition highlights her work in the applied arts, her distinctive place in Europe’s avant-garde movements and her major role as a pioneering abstract painter.
Robert Delaunay – Rythmes sans fin
15 October 2014 – 12 January 2015
Centre Pompidou, Paris, France
“Rythmes sans fin” explores the astonishing work of Robert Delaunay (1885-1941) during the Twenties and Thirties.
The exhibition “Rythmes sans fin” devoted by the Centre Pompidou to the extraordinarily rich and varied Robert Delaunay collection brings together around 80 works in the form of paintings, drawings, reliefs, mosaics, models, a tapestry and a large number of documentary photographs. Thanks to the large donation made by Sonia Delaunay and her son Charles to the Musée National d’Art Moderne in 1964, the Centre Pompidou now possesses the world’s largest collection of works by Robert and Sonia Delaunay. “Rythmes sans fin” explores the astonishing body of work that Robert Delaunay began after the war. Particularly after the Thirties, he regained an interest in mural painting, and thus extended his field of work to the modern environment by moving towards monumentality. The exhibition reveals how his painting gradually moved away from the flat plane of the painting into the architectural space.
Niki de Saint Phalle
17 September 2014 – 2 February 2015
Grand Palais, Galeries nationales, Paris, France
Niki de Saint Phalle (1930-2002) is one of the most renowned artists from the mid-twentieth century. Throughout her prolific career, Saint Phalle created a complex body of work in various media which was deeply embedded with socio-political issues. With themes ranging from joyful to profound to intellectual, the paradoxal nature of her work has yet to be fully explored. She was one of the first women to receive international acclaim and recognition during her lifetime, as well as successfully create a public persona. Similar to Warhol, Saint Phalle was able to use the media to skillfully guide the reception of her work.
The exhibition was organized in collaboration with the Réunion des musées nationaux – Grand Palais and the Guggenheim Museum Bilbao, with the kind participation of the Niki Charitable Art Foundation. The exhibition benefits from loans from the Sprengel Museum in Hanover, Germany and the Musée d’Art Moderne et d’Art Contemporain (MAMAC) in Nice, France – both recipients of generous donations from the artist.
Curator : Camille Morineau
1 October 2014 – 18 January 2015
Grand Palais, Galeries nationales, Paris, France
Katsushika Hokusai is the most famous Japanese artist in the world. The exhibition will be divided into two phases to protect the most fragile works. The overall argument and design will be the same, but about a hundred works will be replaced in the course of the exhibition: the prints will be replaced by equivalent prints, often from the same series; the paintings on silk and paper will be exchanged with works of a similar nature and quality.
This exhibition is organized by the Reunion des Musées Nationaux – Grand Palais and The Japan Foundation
Curator: Seiji Nagata, specialist in Hokusai, director of Katsushika Hokusai Museum of Art, in collaboration with Laure Dalon, assistant scientific director of the Réunion des musées nationaux – Grand Palais.
8 October 2014 – 26 January 2015
Centre Pompidou, Galerie sud, Paris, France
The name of Frank Owen Gehry in itself embodies the image of contemporary architecture. Globally recognised for projects that have now made him an icon, his work has revolutionised the aesthetics of architecture, and its social and cultural role within the city. Gehry began to work on his approach in Los Angeles. In the Sixties, he mixed with the Californian art scene and became close to several artists, including Ed Ruscha, Richard Serra, Claes Oldenburg, Larry Bell and Ron Davis. His encounter with the works of Robert Rauschenberg and Jasper Johns opened the way to a reconfiguration of his architectural style.
Frank Gehry, Biomuseo, 2000, Panama, Panama, © Gehry Partners, LLP
The aftermath of World War II introduces a new area of creation enhancing colour as a constitutive element in the conception of environments in Europe, in the United States and Japan. The period of the 1970s witnesses the emergence of a new generation of ‘colourists’ that introduces significant new approaches on how to deal with colour in urbanism and regional architecture. Colour concepts progressively increase in scale to be applied to new towns, transport infrastructures, industrial areas, shopping malls and public spaces. As the work of colourists has been integrated into the chain of industrial product design, colour has become a notable feature of the postmodern city.
Contemporary Collections from 1960s to today
Musée National d’Art Moderne Centre Pompidou
Level 4, Hall 16
Open every day except Tuesday, 11am – 9pm
Ticketing counters close at 8pm
Interview with France and Michel Cler
Original French Text: “’Environnements polychromes’ au Centre Pompidou, exposition présentant notamment des oeuvres de France et Michel Cler, Propos recueillis par Verena M. Schindler,” in Primaires ‘Couleurs Sensibles’, n°173, June 2012, edited by Annie Mollard-Desfour and Laurence Pauliac, Paris: Centre Français de la Couleur, pp. 40-44.
English Edition: ‘Polychrome Environments’ at the Centre Pompidou in Paris, including Works of France and Michel Cler, Architect–Colour Consultants. Interview conducted by Verena M. Schindler. Paris, February 29, 2012. Available online at www.ad-chroma.com
France and Michel Cler
Colour Palette, French West Indies, 1982, Gouache on Canson
© Fonds national d’art contemporain, Centre Pompidou, Paris, France
ad chroma Talk
Colours and Ecology
Thursday, 10 May 2012, 7:00 pm
Venue: Lisaa, Amphithéâtre, 8 square Henri Delormel, 75014 Paris, France
(Metro Station: Denfert-Rochereau)
This talk is co-organised by ad chroma and Lisaa – L’institut supérieur des arts appliqués
Colours and sustainable development: What are the interactions?
In response to repetitive ecological crises and socio-economic changes our societies have been obliged to deeply reconsider their relationship with the environment. No sector has been spared, so high are the stakes. In the fields of colour and light – what about them? “Green” is a flagship word for ecology that we use and misuse! Beyond a semantic approach still to be studied, we propose a panorama of interactions colours/sustainable development in order to better understand what has undergone a change and what possibilities we have. Mutations and changes of paradigm have marked the history of humanity. Our world evolves as well as our viewpoint.
Béatrice Gisclard, Designer, Consultant for Sustainable Development
Raphaële Héliot, Consultant Architect
Please book by E-mail firstname.lastname@example.org or phone 0033(0)1 45 80 91 15
General Assembly 2012
When: Tuesday, 21 February 2012, 6.30pm
Where: L’institut supérieur des arts appliqués, Lisaa
55 Rue du Cherche-Midi, 75006 Paris, France
1. Treasurer’s Financial Report 2011
2. General Secretary’s Report of Events 2011
3. President’s Prospects, Outlook and Policy
You are invited to participate.
President ad chroma
64 rue Vergniaud, 75013 Paris
t. (33) 01 45 80 91 15
ad chroma Talk
in cooperation with L’institut supérieur des arts appliqués, Lisaa
Tuesday, 11 October 2011, 6.30pm
55 Rue du Cherche-Midi, 75006 Paris, France
Colours and Surfaces of the Architecture of the City of Zurich
The architects and urbanists of the city’s department of urban planning wished to have at their disposal solid arguments for colour decisions in urban settings.
Based on the question ‘What are the colours of Zurich?’, Haus der Farbe – Professional College for Colour Design Zurich has developed tools for colour planning in cooperation with the city’s department. However, instead of elaborating a colour plan, the project managers formulated a set of criteria based on an inventory and detailed analysis of the status quo. The results are unique as they are profoundly democratic: they have been made available to everybody with the goal of progressively enhancing the quality of colour design in the city. This talk in Paris will present the methods and results of this completed five-year research project and discuss the possibilities of adapting the elaborated tools to other contexts.
Aware of the fact that not only colour but also the material characteristics of façades have importance in urban space, Haus der Farbe is today involved in a new research project that deals with the analysis of built surfaces. In the second part of this talk, the project’s main objective will be presented, which is to make available a sample collection of different surfaces used in architecture. The aim is to preserve a rich history and to support the development of new techniques.
Speakers: Lino Sibillano and Stefanie Wettstein, Co-directors Haus der Farbe, and Matteo Laffranchi, Responsible for the Surfaces Course
Limited space. Please confirm by e-mail: email@example.com or phone: (33) 01 45 80 91 15
Exhibit of colour portraits of buildings in Zurich, Switzerland
Colour portrait of the cinema Radium in Zurich
Samples of architectural surfaces
General Assembly 2011
29 September 2011, 6.30pm
64 rue Vergniaud, 75013 Paris, France
1. Treasurer’s Financial Report
2. General Secretary’s Report of Past Events
3. President’s Prospects, Outlook and Policy
You are all invited to participate.
President ad chroma
64 rue Vergniaud, 75013 Paris
t. (33) 01 45 80 91 15
Colours, Textures, Lights.
Ambiances and Living Environments
Publication edited by Nicole Singier, Director CAUE de l’Ain
Friday, 10 June 2011, 3-5pm
Venue: Salle d’Audience du Parlement de Dombes, Place de la Terrasse, Trévoux, France
Maire of Trévoux, President of Communauté de communes Saône Vallée
President CAUE de l’AIN, Vice-President General Council
Illustrated Talks—An Exceptional Dialogue
“Colour Approaches in Urbanism”
Architect, Director, Colour Centre of the City of Moscow, Moscow
Colour Consultant, Architect-Urbanist, President ad chroma, Paris
“Couleurs, matieres, lumieres, Ambiances et cadres de vie”
Nicole Singier, Director CAUE de l’Ain
Agnes Bureau, Journalist, M&G éditions
Couleurs, matières, lumières —
Ambiances et cadres de vie
Edited by CAUE de l’Ain,
Conseil d’Architecture, d’Urbanisme et de l’Environnement de l’Ain
34 Rue Général Delestraint
phone +33 (0)4 74 21 11 31
Interaction of Colour and Light in the Arts and Sciences
Midterm Meeting of the International Colour Association (AIC)
Venue: Zürcher Hochschule der Künste (ZHdK)—Zurich University of Arts, Zurich, Switzerland
Date: 7-10 June 2011
Much interest is devoted to the interaction of colour & light in today’s scientific and artistic research communities. New technologies, materials and media are now being deployed to enhance and stimulate our experience of daily life in real and virtual, permanent and ephemeral environments. The aim of the AIC 2011 conference is to explore how the interaction of colour & light plays a crucial role in the perception, conception and realization of spaces and platforms in different fields from both a theoretical and practical point of view. Using terms and concepts such as appearance, interaction, performance, event, and by privileging the materiality, mediality, and the interactive dimension of colour & light, the conference presentations should demonstrate how productive the theme of the INTERACTION OF COLOUR & LIGHT IN THE ARTS AND SCIENCES is. The fields of inquiry include education, design, art, media, lighting, architecture, theatre, dance, as well as psychology, colour science and technology. The AIC 2011 Midterm Meeting aims to further discussion and nurture the latest findings in these various fields.
ad chroma presented the paper:
ENIGMATIC SEARCH: LIGHT AND COLOUR IN TODAY’S URBANSCAPE. A PLEASURABLE PARADOX
Further contributions of ad chroma members are:
Melanie Yonge and France Cler: INTERACTIVE CHROMATIC TOOLS FOR ARCHITECTURAL COLOUR DESIGN
Jean-Paul Leclercq: A PROTOTYPE OF GONIOPHOTOSCOPE AND ITS USE
Pierre Bonnefille: COLOUR AND LIGHT WALL WORKS IN ARCHITECTURAL SPACE
Michel Cler, France Cler, Verena M. Schindler: COLOUR AND LIGHT IN URBAN PLANNING: POLICY, PALETTES AND THE SENSE OF PLACE, MOOD AND MOVEMENT
More than 300 participants from 38 countries were present in the AIC 2011 Midterm Meeting in Zurich.
The AIC 2011 Book of Abstracts and the Proceedings CD edited by Verena M. Schindler and Stephan Cuber are available at AIC 2011 Proceedings
Enigmatic Search: Light and Colour in Today’s Urbanscape. A Pleasurable Paradox.
ad chroma poster presented at AIC 2011 Midterm Meeting in Zurich