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lugar existen limitaciones de tipo me-todolgico y procedimental: limitacio-nes tcnicas del instrumental empleado(Zenna Oconnor), criterios de seleccinde las gamas de colores dominantes enel paisaje (J.P. Lenclos), gestin de la in-formacin, terminologa del color (Gio-vanni Brino), etc. Se evidencia, por tan-to, un cierto retraso en la valoracin de

las circunstancias cromticas de los pro-yectos respecto de otras variables ar-quitectnicas que tradicionalmente s setienen muy en cuenta, como las lneasdel territorio o su lgica formal, lo quese debe tambin a una escasa tradicinmoderna de puesta en valor del coloren la arquitectura 1.

que acompaa a una obra. No obs-tante, se observa a menudo que la re-lacin cromtica del nuevo edificio res-pecto de su contexto inmediato quedaestudiada con menor intensidad o in-cluso con un exceso de desinters.

Los motivos de tal circunstancia res-ponden en primer lugar a la naturalezacompleja del fenmeno a estudiar. El co-

lor posee demasiadas variables que locondicionan e intervienen en su per-cepcin: variables colorimtricas, pig-mentos, fuente luminosa (Lois Swirnoff),extensin de la superficie (Karen Fri-dell), distancia de observacin (AndersHard), cesa (J.L. Caivano, A C. Hardy),contrastes (J. Albers), etc. En segundo

IntroduccinEn este artculo se reflexiona sobre

la vinculacin cromtica que estable-ce la arquitectura contempornea res-pecto a su contexto construido o na-tural. Todo objeto arquitectnicoestablece un dilogo formal con el pai-saje en el que se inserta, lo que impli-ca una reflexin sobre las caractersti-cas propias de la arquitectura y sucorrelato en el medio fsico: geometra,dimensiones, materialidad, color, etc.Los arquitectos describen habitual-mente la naturaleza de estas caracte-rsticas que sirven a menudo comopunto de partida y fuente de inspira-cin para desatar el proceso creativo

1/ En este sentido, ha sido muy importante la publicacin en1997 del paradigmtico texto de Le Corbusier PolicromaArquitectnica: Un estudio hecho por un arquitecto (tambin invo-

lucrado en la aventura de la pintura contempornea) para arqui-

tectos, 1931 (Le Corbusier & Regg, 1997).

06 LA ARQUITECTURA CONTEMPORNEA Y EL COLOR DEL PAISAJE:ENTRE EL MIMETISMO Y LA SINGULARIDADJuan Serra

1. Nave para astilleros. Friedrich Ernst von Garnier Stu-dio, Stralsund (Alemania), 2003. European Steel De-sign Award in 1999 (www.studiovongarnier.de)

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La percepcin de la arquitectura en-tendida como un objeto construidoubicado en un entorno se rige por laLey de Fondo-figura. Este principio esbsico para la percepcin del espacioy fue estudiado en profundidad tantopor Rudolf Arnheim como por el psi-clogo dans Egar Rubin (1886-1951).Debido a que nuestra percepcin es bi-

naria, tenemos tendencia a percibir lasgeometras de los objetos como figu-ras recortadas sobre superficies cir-cundantes e ilimitadas que se percibencomo fondo. En la percepcin de larealidad reconocemos no slo dos ni-veles de profundidad sino una suce-sin de niveles que configuran un es-

quema de distribucin complejo y or-ganizado. En 1915, Rubin identificaun cierto nmero de factores caracte-rsticos que facilitan el que una formasea percibida como figura en lugar defondo: su menor tamao respecto alfondo, su contorno cerrado, su mayortextura, su posicin inferior en la com-posicin, la simplicidad de su forma y

su simetra, la convexidad frente a laconcavidad y por supuesto el color.

El color puede ayudar a discriminarvisualmente dos objetos, uno que seinterpreta como figura respecto de otrou otros que se interpretan como fon-do. El tono, la saturacin y la lumi-nosidad del color pueden favorecer o

dificultar esta interpretacin que al-canza dos situaciones extremas: el mi-metismo, o la vinculacin cromticaabsoluta y aquello que vamos a deno-minar singularidad, que supone la m-xima capacidad de distincin entre fon-do y figura mediante el color. En laarquitectura contempornea se en-cuentran ejemplos de edificios con una

premeditada intencin de distinguirsevisualmente del entorno, reforzandosu valor como objetos independientesy descontextualizados, herederos deciertas disposiciones autistas y auto-referenciales del periodo de la moder-nidad, o quiz de las propuestas mspopulistas de la postmodernidad. Loscasos de arquitecturas contemporne-as que ceden su protagonismo al pai-saje por completo son los menos (mi-metismo), y en la mayor parte de loscasos se observan disposiciones inter-

medias de arquitecturas que dialogancromticamente con el medio pero nosuponen una disolucin en l. Desta-can autores como Le Corbusier, Sauer-bruch & Hutton, Zaha Hadid, Ernstvon Garnier, MVRDV, etc.

Una discusin terminolgicaen torno al camuflaje yel mimetismo

La palabra castellana camuflaje vie-ne etimolgicamente del francs ca-mouflage, que es precisamente la pa-labra que emplea Le Corbusier parareferirse al efecto cromtico que de-nominamos mimetismo. El problemade emplear el trmino camuflaje esque tiene connotaciones blicas y es-t peyorativamente considerado. Elpropio Le Corbusier habla de esta po-

2 y 3. Industria ThyssenKrupp AG Feuerbeschich-tungsanlage FBA 8. Friedrich Ernst von Garnier Studio,Dortmund (Alemania), 2003. Vista General (www.stu-diovongarnier.de)

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08

4

5 6

4. Chimenea en el puerto de Gnova. Giulio Bertagnae Aldo Bottoli (B&B Colour design), Osservatorio Co-lore, Liguria (Italia) (http://www.coloreliguria.it/ )

5. Quartier de La Grande-Borne. mile Aillaud, Grigny(Francia), 1967-1971. (En Noury, Larissa. La CouleurDans La Ville. Ed. Moniteur (Dpartment Architectu-re). Paris, 2008. p. 53. ISBN: 978-2-281-19309-1)

6. Unit d Habitation. Le Corbusier, Marsella (Francia),1945-1952. El colorido dispuesto en el interior de losbrisoleil permite reconocer e individualizar cada una

de las viviendas (En Noury, Larissa. La Couleur DansLa Ville. Ed. Moniteur (Dpartment Architecture). Pa-ris, 2008. p. 43. ISBN: 978-2-281-19309-1)

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sibilidad del camouflage architectu-ral que supone masacrar el volu-men, la forma, alterar completamen-

te la nocin de silueta y dice que setrata del camuflaje que triunf du-

rante la guerra: barcos camuflados,

aviones camuflados, caones camu-

flados.() (Le Corbusier & Regg,

1997). Su inters hacia el camoufla-

ge se orienta en una direccin que lconsidera opuesta y que se refiere asu empleo para jerarquizar e intro-ducir orden en el objeto arquitect-nico. Se trata de un segundo nivelcompositivo en el que lo que se es-tudia es la capacidad de integracin/desintegracin (respecto de las partescomponentes del objeto), y no la re-lacin de la globalidad del objeto res-pecto de su contexto. Interpretamosque Le Corbusier se desmarca de laacepcin militar del trmino camou-

flage para distanciarse de otras po-siciones artsticas que no son com-partidas por el maestro suizo y queconsisten exactamente en romper elvolumen arquitectnico, como es elcaso de la arquitectura neoplstica. Apesar de que existe algn ejemplo ensu obra que se aproxima al sistemacromtico-compositivo neoplstico,se comparte la interpretacin de R.Carro, quien asegura que el colori-do de Le Corbusier introduce una ten-sin en la caja espacial sin llegar a

romperla. Es una adecuada definicinque no compromete al arquitecto sui-zo en sus flirteos con De Stijl. Puededecirse que cuando el maestro suizoemplea el color para romper el volu-men de un elemento arquitectnico lohace para independizarlo de otro yque ambos se lean como objetos au-

veces se pretende que la arquitecturadesaparezca por estar ubicada en unentorno natural poco transformado ydel que se desea que prevalezcan suscualidades paisajsticas.

El despacho profesional del alemnFriedrich Ernst von Garnier ha des-arrollado interesantes y muy nume-rosas intervenciones cromticas con

la intencin de mimetizar edificios res-pecto de su entorno ambiental. Tal esel caso del conjunto edificado para laIndustria ThyssenKrup AG Feuer-beschichtungsanlage FBA 8 (Dort-mund, Alemania, 2003), una nave in-dustrial ubicada en un entornonatural con gran inters paisajsticoy en el que un conjunto construido delas dimensiones y caractersticas deeste complejo resultara muy pertur-bador. El estudio Garnier opta poruna composicin cromtica que mi-metice la arquitectura con el entornomediante el empleo de gamas de co-lor de tonos azules y verdes, poco cro-mticos y muy luminosos, que apro-ximan el color del edificio al del cieloy el campo circundante (figs. 1, 2, 3).

El equipo de diseadores de colorB&B (Giulio Bertagna e Aldo Botto-li), fundadores del Osservatorio Co-lore en Liguria (Italia), desarrolla unaestrategia de mimetismo en su pro-yecto de color para una Chimenea enel puerto de Gnova (fig. 4). La chi-menea se colorea disponiendo tresfranjas de color superpuestas: la in-ferior en tonos verdes como las pal-meras que existen en toda la drsenadel puerto, la intermedia en tonos tie-rras que se confunden con los coloresdominantes de las viviendas de G-nova y la superior de tono azul, quese difumina con el cielo.

2/ Le Lait de Chaux: La Loi Du Ripolin (A Coat of Whitewash:The Law of Ripolin) Le Corbusier The Decorative Art of Today,translated by James I. Dunnett (London: The Architectural Press,1987) First published as LArt dcoratif daujourdhui (Paris:Editions Crs, 1925)3/ Das Prinzip der Bekleidung en Neue Freie Presse, Viena, 4de septiembre de 1898. En Loos, Adolf; Quetglas, Jos y Opel,Adolf. Escritos 1897-1909, pp. 151-157.

tnomos, pero pocas veces lo reducea sus elementos componentes (lneasy planos). Aunque resulte paradjico,la ruptura de un volumen mediante elcolor en la obra de Le Corbusier estal servicio de una mejor lectura delpropio volumen, al que se libera desus aadidos secundarios.

La palabra francesa camoufler tie-

ne tambin el significado de disfra-zar, una acepcin interesante que per-mite al crtico M. Wigley (Wigley,1995) reflexionar sobre el empleo delcolor blanco en la arquitectura pu-rista. En concreto, sostiene que laLey de Ripoln 2 que formula LeCorbusier en 1925 es una continua-cin de El principio del revesti-miento 3 de Adolf Loos (1897-1909),y a su vez de los Principios del ves-tir formulados a mediados del sigloXIX por el arquitecto alemn Gottfried

Semper (1803-1879).Nosotros adoptamos el trmino mi-

metismo, que est heredado del reinoanimal y permite expresar la propie-dad de determinados organismos dedificultar su percepcin al confundir-se con el entorno, habitualmente pormotivos de seguridad o supervivencia.

Arquitecturas cromticamen-te mimticas

El mimetismo en la arquitectura se

emplea para hacer desaparecer una rea-lidad potencialmente perturbadora, porresultar desagradable o visualmente dis-torsionadora. Es muy habitual su em-pleo como estrategia para mitigar el im-pacto visual de grandes navesindustriales cuya escala no se adecua ala del entorno en que se ubican. Otras

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de cada vivienda se produca dentrode un contexto cromtico conjuntoque finalmente resultaba armnico.La individualidad no estaba reidacon la configuracin de un entornocromticamente coherente (GarcaCodoer, Llopis Verd et al., 2007).

Esta necesidad se traslad tambina las construcciones masivas de vi-

viendas sociales, que recurrieron alcolor para individualizar las casas yvincular arquitecturas con morado-res. En este campo destacan las sie-dlungen berlinesas desarrolladas porB. Taut tras la II G. M. (Onkel TomsHute, Zehlendorf, etc), o tantos ejem-plos de polgonos de viviendas socia-les en los aos setenta en Lisboa 4; lasintervenciones cromticas de EmileAillaud en Francia (fig. 5) o los con-juntos de viviendas de realojo en Es-paa, entre otros.

El propio Le Corbusier recurre alempleo del color en el caso de las Uni-t dHabitation (Marsella, 1947-1952), aunque resulta difcil valorarlas inquietudes antropolgicas quepudieron alentar tal disposicin (fig.6). El arquitecto justifica el empleodel color por motivos constructivos,para corregir las pequeas distorsio-nes geomtricas introducidas a con-secuencia de una incorrecta ejecucinde la obra. No obstante, considera-mos que la justificacin de tipo an-tropolgico parece ms creble, puesse fundamenta en una extensa tradi-cin cultural que puede intervenir, in-cluso, de un modo inconsciente. Locierto es que el color en las Unit d-Habitation permite singularizar cadavivienda y fue empleado de nuevo enaquellas que se construyeron con pos-terioridad a la de Marsella.

En ocasiones, el deseo de singulari-zar la arquitectura respecto del entor-no supone destacarla como objeto abs-tracto y aislado. Tal es el caso de laCasa Guerrero (2005) del arquitectoespaol Alberto Campo Baeza (1946-), quien emplea el color blanco paradistinguirse de un paisaje natural delque la arquitectura no desea partici-

par. La casa Guerrero se reafirma co-mo un prisma abstracto, rotundo y aje-no al contexto (fig. 7, 8), un buenejemplo de que el color blanco nosiempre es una opcin cromtica dis-creta y silenciosa (contrariamente a loque se suele pensar), sino que puederesultar llamativa y poderosa.

La Torre Agbar (Barcelona, 2005)del arquitecto francs Jean Nouvel,puede considerarse un ejemplo de ar-quitectura que se singulariza respec-to de su entorno. Es un edificio quedestaca como un hito visual en el pai-saje de la ciudad, tanto por su formageomtrica y su gran altura como porsu colorido. Durante el da el edificiopodra sugerir cierto mimetismo, porsu vinculacin cromtica con el azuldel mar y del cielo, as como con el ro-jo de las edificaciones de menor altu-ra (fig. 9, 10). No obstante, el efectode las luces artificiales durante la no-che transforma esta arquitectura enuna enorme lmpara urbana, que des-taca singularmente en el paisaje de Bar-celona (fig. 11).

Los colores muy contrastantes conrespecto a su entorno o muy crom-ticos en s mismos, pueden resultar tre-mendamente provocadores. El equipode arquitectura MVRDV tiene la ex-periencia desarrollada en el EstudioThonik La Casa Naranja en ms-terdam (Holanda, 1998-2001) (fig.

12). Se trata de un edificio cuya en-volvente exterior (fachadas, ventanas,antepechos, cubierta, etc) se pinta conun recubrimiento de poliuretano de to-no naranja, muy cromtico y lumino-so, alcanzando un elevado grado desaturacin, motivado adems por elfuerte contraste cromtico respecto alos colores del entorno, levemente cro-

mticos y prximos a los tonos grises.El edificio pretende individualizarserespecto de su entorno construido, pre-tende llamar la atencin sobre s mis-mo, distinguirse. No realiza ningunaconcesin figurativa ni cromtica almismo sino todo lo contrario: refuer-za la abstraccin, la independencia, laautonoma. Se convierte, como sea-lan literalmente sus autores, en unaseal publicitaria naranja. La es-trategia cromtica empleada ha resul-tado ser muy eficaz, pues a pesar deque el estudio se encuentra en el inte-rior de un patio de manzana, escondi-do y alejado respecto de la calle, su co-lorido consigue que tenga un papelprotagonista.

Este protagonismo no slo se ha li-mitado al mbito de la forma arqui-tectnica, sino que ha generado un de-bate social entre simpatizantes ydetractores del color, que se ha exten-dido a los medios de comunicacin yque ha dotado de un protagonismomucho mayor al edificio. Los propiosarquitectos se admiran ante la capaci-dad de reaccin que suscita el color.

Es impresionante que el colorde una casa pueda llamar tantola atencin: la arquitectura fun-ciona! El edificio captaba laatencin que el cliente quera quetuviera! (MVRDV)

4/ Estudiado en profundidad por: Pinheiro, Maria Cristina deSousa Arajo; A gestao da cor na habitaao social-Lisboa sc.XXI. Mestrado em Cor na Arquitectura, dic. 2005. Facultad deArquitectura Universidade Tcnica Lisboa (FAUTL). No publicado.

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mtico, por tratarse de conjuntos ur-banos completos. La estrategia de mi-metismo o singularidad se refiere, enestos casos, a la relacin entre un edi-ficio aislado y el entorno urbano al quepertenece. Es el caso de la propuestacromtica para la Kirchsteigfeldde Pos-tdam (Alemania, 1997) del asesor decolor Werner Spillmann, quien asegu-ra que pretende alcanzar en este entor-no construido la unidad en la varie-dad (Spillmann, 2009) (figs. 15, 16),adoptando una posicin intermedia en-tre un paisaje artificial completamentemontono y otro completamente frag-mentado. Es decir, aspira a disponer unesquema de color unitario a nivel glo-bal que a la vez permita cierta diferen-ciacin a nivel individual. El criterioempleado para tal diferenciacin cro-mtica responde al estudio de los dis-tintos grados de privacidad de los es-pacios, recurriendo a un empleo delcolor como estrategia para la descrip-cin del conjunto arquitectnico.

Existen otros ejemplos de arquitec-turas coloreadas que resultan ejem-plares respecto a su atencin al paisa-je natural en que se inscriben. Tal es elcaso del proyecto cromtico que la ase-

13

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13. Oficinas para GSW. Sauerbruch & Hutton archi-tects, Berln, 1991-99. La fachada se vincula cromti-camente con los tejados rojos de los edificios de me-nor altura del antiguo Berln oriental, mediante unsistema de lamas mviles de colores (En Sauerbruch,Matthias and Hutton, Louisa. Sauerbruch Hutton Ar-chive. Ed. Lars Mller. Baden, 2006. pp. 331. ISBN:9783037780831)

14. Oficinas para GSW. Sauerbruch & Hutton archi-tects, Berl n, 1991-99. La fachada opuesta d el edifi-cio se vincula cromticamente con los edificios de ofi-cinas del antiguo Berln occidental, con gamas tonalesgrises. (En Sauerbruch, Matthias and Hutton, Louisa.Sauerbruch Hutton Archive. Ed. Lars Mller. Baden,2006. pp. 331. ISBN: 9783037780831)

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ConclusionesEn un momento histrico especial-

mente sensible respecto a las relacionesestablecidas entre las producciones delhombre y su medio fsico, a todos losniveles de la cultura, resulta interesan-te comprender las posturas adoptadasrespecto a la vinculacin cromtica delos edificios con su contexto y que per-

miten las estrategias plsticas extremasde mimetismo y singularidad.

La arquitectura contempornea pa-rece estar desarrollndose a nivel cro-mtico en un mbito intermedio entrecierta contundencia formal propia de lamodernidad, cierta ostentosidad colo-rista con aire pop-postmoderno y cier-ta integracin cromtica resultado deuna concienciacin sostenible. La refle-xin sobre cmo atiende la arquitectu-ra contempornea al color del paisaje,en definitiva, implica un anlisis que va

ms all del color. Un anlisis que cues-tiona la trayectoria de la disciplina y lapuesta en crisis del objeto arquitectni-co entendido como elemento escultri-co aislado a la manera moderna. To-do ello a favor de una nueva actitud anteel proyecto, que tenga en cuenta ms va-riables contextuales como son aquellasde origen cromtico, fuertemente en-raizadas en nuestra memoria de un lu-gar y a la vez extremadamente vulnera-bles y fciles de distorsionar.

sora de color Grete Smedal desarrollapara Longyearbayen (Suecia, 1981)(figs. 17, 18). En una situacin geo-grficamente extrema (casi en el PoloNorte), con tres meses de total oscu-ridad y tres meses de sol de mediano-che, con una amplio contraste entre elpaisaje nevado y el verde de las po-cas clidas, la cuestin de la vincula-

cin con el paisaje resultaba especial-mente significativa:

(...) una cuestin recurrente en el diseode color en el entorno- similitud o con-traste- se volvi crucial, y exigi una de-cisin clara: nos interrogamos si debera-mos intentar esconder las estructurasconstruidas por el hombre en este entor-no o si era apropiado un contraste por dis-tincin. Como puede verse tras el anlisis,no hubiera sido posible emplear coloresque fueran similares a los del entorno na-tural en todas las situaciones del ao. Porejemplo, aquello que hubiera desapare-cido en un momento del ao se habra

manifestado con un contraste muy fuerteen otros momentos del ao. Consecuen-temente, la decisin fue la de entrar en di-logo con la naturaleza. En otras palabras,permitir que las estructuras construidaspor el hombre se definieran a s mismascon su escala de color caracterstica -ins-piradas en, pero no imitando- los coloresde la naturaleza (Smedal, 2009).

Es decir, el proyecto cromtico pa-ra Longyearbayen conforma su pro-pio paisaje cromtico artificial, puesresulta imposible una estrategia de in-tegracin en el paisaje cuyo croma-

tismo cambia completamente a lo lar-go del ao. Sin embargo, este paisajecromtico artificial no se impone so-bre el paisaje natural, no resulta agre-sivo o estridente, no le resta protago-nismo al excepcional entorno naturalsino que dialoga con l, establece unarelacin de igualdad y respeto.

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15. The Kirchsteigfeld. Wernwer Spillmann, Potsdam(Alemania), 1994. Una esquina del Kirchsteigfeld re-presenta con el nuevo deiseo de color para la zonacentral. (En Porter, Tom; and Mikellides, Byron. Colourfor Architecture Today. Ed. Taylor & Francis. London,2009. p. 37. ISBN: 9780415438148)16. The Kirchsteigfeld. Wernwer Spillmann, Potsdam(Alemania), 1994. Nuevo plan de color (En Porter, Tom;and Mikellides, Byron. Colour for Architecture Today.Ed. Taylor & Francis. London, 2009. p. 37. ISBN:9780415438148)

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Bibliografa

BETSKY, Aaron; Pleasurable and Essential: Colour andContent in the Work of Sauerbruch & Hutton en El Cro-quis, vol. 114, n. 1, 2003. pp. 6. ISSN: 0212-5683.

GAGE, John. Color y Cultura : La Prctica y El SignificadoDel Color De La Antigedad a La Abstraccin. Ed. Sirue-la. Madrid, 1997. pp. 335. ISBN: 8478443800.

GARCA CODOER, ngela; Llopis Verd, Jorge; Torres Bar-chino, Ana M. and Serra Lluch, Juan. El Color Como Fac-tor Diferencial En La Ciudad Histrica Del Arco Medite-

rrneo. Ed. Escuela Tcnica Superior de ArquitecturaMadrid, Universidad Politcnica de Madrid (ETSAM/UPM).Madrid, 2007.

HADID, Zaha. Zaha Hadid, 1996-2001 : Landscape as a Plan= El Paisaje Como Planta. Ed. El Croquis. Madrid, 2001.pp. 242.

LE CORBUSIER; and Regg, Arthur. Polychromie Architectu-rale: Le Corbusier Farbenklaviaturen Von 1931 Aund

1950=Le Corbusiers Color Keyboards from 1931 and

1959=Les Claviers De Couleurs De Le Corbusier De 1931

Et De 1959. Ed. Birkhuser. Basel, 1997. ISBN:376435612X.

MONTANER, Josep M. Sistemas Arquitectnicos Contem-porneos. Ed. Gustavo Gili. Barcelona, 2008. pp. 223.ISBN: 9788425221903.

Sauerbruch Hutton Architects; Sauerbruch, MatthiasandHutton, Louisa. Sauerbruch Hutton Archive. Ed. Lars M-

ller. Baden, 2006. pp. 331. ISBN: 9783037780831;3037780835. SMEDAL, Grete. The Longyearbayen Project: Approach

and Method. en . Porter, Tom; and Mikellides, Byron eds.,Colour for architecture today. Ed. Taylor & Francis. Lon-don, 2009 . pp. 73. ISBN: 9780415438148

SPILLMANN, Werner. Unity in Diversity at Kirchsteigfeld,Postdam en . Porter, Tom; and Mikellides, Byron eds.,Colour for architecture today. Ed. Taylor & Francis. Lon-don, 2009 . pp. 36. ISBN: 9780415438148

WIGLEY, Mark. White Walls, Designer Dresses : The Fas-hioning of Modern Architecture. Ed. MIT Press. Cam-bridge, 1995. pp. 424. ISBN: 0262231859.

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17. Paisajes de Longyearbyen y propuesta cromtica.Grete Smedal, Ocano Glacial rtico, Noruega, 1981(En Noury, Larissa. La Couleur Dans La Ville. Ed. Mo-niteur (Dpartment Architecture). Paris, 2008. p. 86.ISBN: 978-2-281-19309-1)

18. Paisaje de Longyearbyen y propuesta cromtica.Grete Smedal, Ocano Glacial rtico, Noruega, 1981(En Noury, Larissa. La Couleur Dans La Ville. Ed. Mo-niteur (Dpartment Architecture). Paris, 2008. p. 87.ISBN: 978-2-281-19309-1)

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CONTEMPORARY ARCHITECTURE ANDCOLOR OF THE LANDSCAPE: BETWEENMIMICRY AND UNIQUENESS

by Juan Serra

IntroductionThis article reflects on the link between color dis-plays on contemporary architecture and its naturalor built context. Every architectural object establish-es a formal dialogue with the landscape in which itfits, which should take into account the characteris-

tics of architecture and its counterpar t in the physi-cal environment: geometry, dimensions, materials,colors, etc. Architects usually describe the nature ofthese characteristics that often serve as a startingpoint and an inspiration source to unleash the cre-ative process of a building project. However, it is of-ten observed that the chromatic relat ionship of thenew building on its immediate context is studied withless intensity or even with an excess of disinterest.The reasons for this circumstance first responds tothe complex nature of the phenomenon being stud-ied. The color has too many variables that determineand affect its perception: colorimetric variables, pig-ments, light source (Lois Swirnoff), the extension ofthe surface (Karen Fridell), the distance of observa-tion (Andrers Hard), the cesium (JL Ca ivano, A C .Hardy), the chromatic contrasts (J. Albers, etc.). Sec-

ondly, there are methodological and procedural lim-itations: technical limitations of the equipment used(Zenna OConnor), criteria for selecting the colorranges that dominate the landscape (JP Lenclos), in-formation management, color terminology (GiovanniBrino, etc.). It is evident, therefore, a certain delay inthe assessment of the chromatic circumstances forthe project if compared to other architectural var i-ables traditionally well-attended, as the lines of theterritory or its formal logic, which is also due to a mod-ern tradition of low interest in architectural color.The conception of architecture as a constructed ob-ject located in an environment is governed by the Lawof Back-figure. This principle is basic to the percep-tion of space and was studied in depth both by RudolfArnheim and by the Danish psychologist Egar Rubin(1886-1951). As our perception is binary, we tend to

perceive the geometry of objects like figures cut onsurrounding and unlimited surfaces perceived asbackground. In the perception of reality we do notonly recognize two levels of deepness but a succes-sion of levels which form a complex and organizeddistribution scheme. In 1915, Rubin identifies manyfactors that facilitate that a form is perceived as fig-ure instead of a background: its smaller size over theground, its closed contour, its most texture, its low-er position in the composition, the simplicity of its

FIGURES1. Photograph of the author.

2. Photograph from the book: 100 x 100 Niemeyer.3 and 4. Three Powers Square, Brasilia, 1955-60.5 and 6. Mondadori Headquarters, 1974.

7. Drawing by Niemeyer.8 and 9. A drawing by Niemeyer (9). Photograph of BrasiliaCathedral.10. Drawing from an Exhibition Catalogue: Niemeyer, Tele-

fnica Foundation. 2007.11. Drawing by Oscar Niemeyer for the author, completed inhis study in Rio.12. Detail from the previous drawing.

13. Ministry of Defence (Brazilian Army), Brasilia.

14. Popular Theatre in Niteroi.15. Detail, adjustments to the Niemeyer drawing.

16. Photograph which presides over his office in Copaca-bana.17. Drawing by Niemeyer.18. Drawing by Niemeyer (Meu sosia e eu).

Niemeyers House 1953

longer in use, his work will transcend the generationsbecause nobody can take away the fascination pro-duced by a work created from the security that im-age, silhouette and spatial experience are fundamen-tal elements in architecture.In a certain way, Oscar Niemeyer emits a messageof simplicity despite the voluptuousness of his work.The reduction to a few materials, some elemental or-ganisations and an almost ingenious facility for the com-prehension and use of his buildings, confer him a mytho-logical image due to the relationship between theoriginal idea, the first line and the construction, as if notrace remains of the development of the project andthe many intermediary steps required to complete it.The emphasis on beauty as a functional ingredientmust be his most fertile and useful legacy for archi-tecture. The work of Oscar Niemeyer is more appre-ciated now than ever, and this will continue in thenear future because the criticism of formalism hasweakened.Indeed, there is no longer room to criticise his worksas anti-functionalist or extravagant with space, sinceit is the fusion of the two concepts of beauty andfunction which makes his work so good. Instead ofpaying meticulous attention to the programmed ac-tivity, he considers the experiential use of the spaceand perception as functions which are as important,or even more important, than any other. This attituderenders superfluous the various demands and detailswhich so often can drown a project, weighing it downand modifying it until there is an irreversible deteri-oration in what could have been a clean, intense andbeautiful work.11

BIBLIOGRAPHY

Specific Bibliography:Niemeyer, O:100 Aos de Arquitectura. 2007100 x 100 Niemeyer. Exhibition catalogue. Telefnica Foun-dation. Madrid. 2009.http://www.skyscrapercity.com/archive/index.php/t-558920.htmlAs Curvas do Tempo- Publisher Revan, Rio de Janeiro, 2000Meu Ssia e eu. - Campo das letras Porto 1999. Niemeyer.1992.Minha Arquitetura - 1937-2004 - Publisher Revan, Rio deJaneiro, 2004.

General bibliography:

Tafuri, m. Dal Co, F. Arquitectura Contempornea. Aguilar.Madrid 1978.Montaner, Josep Mara. Despus del MM. Arquitectura dela segunda mitad del siglo XX. GG. Barc. 1999.Lampugnani, V. M. Enciclopedia de la arquitectura del sigloXX. G.G Barc. 1989Benvolo, Leonardo. Historia de la arquitectura moderna.GG. Barcelona 1987.Boesiger / H. Girsberger. Le Corbusier 1910-65. GG.Barcelona 1978-98.Curtis, Wiliam. J.R. La arquitectura moderna desde 1900.Blume. Madrid 1986.

11/ arquia/documental 1/disco 1. Oscar Niemeyer. Unarquitecto comprometido. Belgium, 2000; Brazil 2003.12/ arquia/documental 1/disco 1. Oscar Niemeyer. Unarquitecto comprometido. Belgium, 2000; Brazil 2003.

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blend with the dominant colors of the houses in Gen-ova and the higher one with blue shades, which fadeinto the sky.

Chromatic uniqueness in architectureSometimes the color is intended to single out, to high-light in a more or less uniform context the singulari-ty of a part icular architecture . It i s common in de-graded environments, or those with a lack of a cleararchitectural character, to design certain individualworks that long for drawing attention to themselves.This building is taken from the rest, becomes inde-pendent, is targeted, and also tries to divert attention

from those other less attractive buildings. The chal-lenge of such a color proposal is to dignify the sur-rounding landscape and put it into value by workingindividually, but may fall in danger of building whatJM Montaner (Montaner, 2008) describes as autisticmonads, unconcerned with the environment. Thiscolor intention is currently booming and is often setto the service of other intentions: the significance,propagandistic, publicity, identity, and so on.The use of color as a strategy to single out a build-ing, takes root in the origins of human civilization(Gage, 1997). It is probably that one of the first des-tinations for color in architecture was to identify onesown home, and our cultural heritage shows us so.This fits with the architecture of many Mediterraneanvillages that possessed different colors on the wallsso that the sailors could recognize their own home

from the sea (Fig. 5, 6). In these built settings, how-ever, the uniqueness of each home is produced in achromatic context that finally is harmonic as a whole.Individuality was not at odds with the configurationof a chromatically coherent environment (GarciaCodoer, Llopis Verd et al., 2007).

This fact was also transfered to the massive housingconstruction programs, which use color to identifyand link houses with residents. In this area, it high-lights the Berlin Siedlungendeveloped by B. Taut af-ter the Second World War (Onkel Toms Hute, Zehlen-dorf, etc) (Fig. 7), the examples of social housingsettlements during the seventies in Lisbon, Emile Ail-lauds chromatic compositions in France (Fig. 8) orthe mass-housing programmes in Spain, among oth-ers.Le Corbusier himself resorts to the use of color in thecase of the Unit dHabitation(Marseille, 1947-1952),although it is difficult to assess the anthropologicalconcerns that might encourage such a display (Fig.9). The architect justifies the use of color for con-structive reasons, to correct small geometric distor-tions introduced as a result of an incorrect buildingtask. However, we believe that anthropological jus-tification seems more credible, because it is basedon an extensive cultural tradition which can operateeven in an unconscious way. The truth is that the col-or in the Unit dHabitationhousing is able to singu-

bind the Swiss architect on his flirtations with De Sti-jl. It can be said that when the Swiss master uses thecolor to break the volume, he does so to leave an ar-chitectural element alone from another and both tobe understood as autonomous objects, but rarely hereduces form to its component elements (lines andplanes). Paradoxically, the rupture of a volume withthe color in the work of Le Corbusier serves for a bet-ter reading of the volume itself, which is releasedfrom unnecessary additions.The French word camouflerhas also means to dis-guise, an interesting significance that allows the crit-ic M. Wigley (Wigley, 1995) to consider about thewhite color in purist architecture. Specifically, he ar-gues that Ripolin Law that made Le Corbusier in1925 is a continuation of The principle of coatingof Adolf Loos (1897-1909), and in turn of the Princi-ples of dressing written in the mid - nineteenth cen-tury by German a rchitect Gottfr ied Se mper (1803-1879).We adopt the term mimicry, which is inherited fromthe animal kingdom and expresses the property ofcertain bodies to impede their perception or confusewith the environment, usually for safety or survivalreasons.

Mimetic chromatically ArchitecturesMimicry in architecture is a source to remove poten-tially disturbing built realities, which are distortingor visually unpleasant. It is very common to use mim-

icry as a strategy to mitigate the visual impact oflarge-scale industrial units which are not suited tothe environment in which they are located. Othertimes the architecture is intended to disappear be-cause it is located in a natural environment and it isimportant to keep its natural beauties.The professional office of the German Friedrich Ernstvon Garnier has developed many interesting chro-matic interventions which try to mimic the buildingswith their environment. Such is the case of the builtThyessenKrup AG Industry Feuerbeschichtungsan-lage FBA 8(Dortmund, Germany, 2003), an industrialwarehouse located in a natural landscape with greatnatural interest, and in which a set built with the di-mensions and characteristics of this complex wouldbe very disturbing. Garnier s office chooses a com-position that mimics the architecture with the envi-

ronment through the use of color ranges of blue andgreen, little chromatic and bright, that approximatethe color of the building to the sky and the surround-ing area (Figs 1, 2, 3).The design color team B&B (Giulio Bertagna and Al-do Bottoli), founders of the Osservatorio Colore Lig-uria (Italy), develop a strategy of mimicry on a chim-ney in the port of Genova (Fig. 4). The chimney iscolored with three overlapping stripes: the bottomone with shades of green as the palm trees that ex-ist across the dock, the middle one in earth hues that

form and symmetry, its convexity versusconcavity,and of course, its color.Color can help us visually to discriminate two objects,one that is understodd as a figure over another orothers that are understood as background. The hue,saturation and brightness of color can either help orhinder our interpretation that reaches two extremesituations: mimicry, or the absolute chromatic link-ing, and what we will call uniqueness, which meansthe maximum capaci ty of distinctio n betw een fig-ure and background by color. In contemporary archi-tecture there are examples of buildings with a pre-meditated intent to distinguish visually from theenvironment, enhancing their value as separate anddecontextualized objects, heirs of certain autistic andself-referential trends from the period of modernity,or perhaps from those more populist proposals ofpostmodernity. Cases of contemporary architecturethat transfer its main role to the landscape are theleast (mimicry), and in most cases interim arrange-ments are seen, with colored architectures in rela-tion to the environment what does not imply a disso-lution in it. It stresses authors like Le Corbusier,Sauerbruch & Hutton, Zaha Hadid, Ernst von Garnier,MVRDV, and so on.

A terminological discussion about camouflage andmimicryThe Spanish word camuflajeetymologically comesfrom the French term camoufler, which is exactly the

word used by Le Corbusier to describe the effect wecall mimicry. The problem with using the word cam-ouflage is that it has pejorative connotations and isrelated to war. Le Corbusier himself speaks of th epossibility of architectural camouflage whichmeans to slaughter the volume, the shape, complete-ly alter the notion of silhouetteand says that it isthe camouflage that prevailed during the war: cam-

ouflaged boats, camouflaged planes, camouflaged

guns (...) (Le Corbusier & Regg, 1997). His interestin the camouflageis oriented in a direction he be-lieves to be opposite and that is related with the col-or possibility to prioritize and bring order in the archi-tectural object. This is a second level of compositionin which what it is studied is the ability to integrate/disintegrate (the component parts of the object), andnot the relationship of the whole object with its con-text. We interpret that Le Corbusier rejected the mil-itary sense of the word camouflage to distance him-self from other artistic positions that the Swiss masterdid not match with, and which exactly tried to breakthe architectural volume, such as neoplastic archi -tecture. Although there are some Le Corbusier sbuildings in which the color system composition ap-proximates to neoplasticism, we agree with R. Car-ro, who assures that Le Corbusiers color displays in-troduce a tension in the architectural box withoutbreaking it. This is a proper definition which does not

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environment in which it is allocated, but its referenceis much more difficult to be perceived (Fig. 20, 21).About this building, they say:(...) From the distance, the colored surface seems

to help to break up the large mass in relation with the

surrounding landscape, producing an optical mixture

of the skin, combined with the warm red brick adja-

cent facades while it simultaneously harmonizes with

the tonal ranges near the village, the agricultural land-

scape and the tones of the distant hills (Sauerbruch

Hutton Architects, Sauerbruch et al., 2006).

However, despite what the authors express in regard-ing to color, it is certain that the building finally does-nt camouflage chromatically into the landscape. Thevolume is still emerging as an abstract piece, moreluminous and chromatic than the environment, andwith a geometrical regularity which is difficult to hide.Other chromatic compositions are not linked to thesurrounding natural landscape but generate theirown background color, because it is a built landscape.The strategy of mimicry or uniqueness concerns inthese cases in the relationship between an iso latedbuilding and the urban environment to which it be-longs. We can state that in relation to the chromat-ic proposal for the Kirchsteigfeldin Potsdam (Ger-many, 1997) by the color consultant Werner Spillmann,who says that seeks to achieve in this built environ-ment unity within diversity (Spillmann, 2009) (Fig.22, 23), adopting a middle position between a com-pletely artificial monotonous landscape and a com-

pletely fragmented one. That is, he wishes to havea globally unique color scheme which, at the sametime, allows some differentiation at an individual lev-el. The criterion used for this study responds to thecolor differentiation between levels of privacy of thespaces, using color as a strategy for architecturaldescription.There are other architectural samples that try to catchattention chromatically and at the same time matchwith the natural landscape in which they locate. Thatis the case of Longyearbayen, by the color advisorGrete Smedal (Sweden, 1981) (Figs. 24, 25). In an ex-treme geographic position (almost at the North Pole),with three months of total darkness and three monthsof midnight sun, with a sharp contrast between thesnowy landscape and the green of the warm periods,the question of the connection with the landscape

was particularly significant:(...) A recurring issue in the design of color in the en-

vironment, similarity or contrast, became crucial, and

demanded a clear decision: we question whether we

should try to hide the man-made structures in this en-

vironment or was appropriate a contrast for distinc-

tion. As it can be seen after the analysis, it would not

have been possible to use colors that were similar to

those of the natural environment in all situations of

the year. For example, what would have disap-

much the attention: the architecture works! The build-

ing caught the attention that the client wanted me to

have! (MVRDV)

It should be noted that the colors displayed on thisproject have not only provoked a heated debate, buthave finally managed to legalize an irregular admin-istrative situation in which a space for work was be-ing used as housing.

Intermediate positions: the mostBetween those extreme positions that color allowsin relation with the environment (mimicry or unique-ness), there are intermediate cases where the archi-

tecture provides a dialect ical relationship with theenvironment that leads neither to an imposition norto a chromatic submission. These are, in fact, the ma-jority of the cases. Zaha Hadids words about the re-lationship between her projects and the environmentare relevant to clarify this fact which is very commonin the contemporary moment:My projects take into account the environment but

are not contextual. They do not give a polite reply to

the environment, although it has been taken into ac-

count (Hadid, 2001).

Sauerbruch Hutton Architects are also trying to rec-oncile some connection with the environment togeth-er with some powerful colors as it is manifested whentalk ing about the GSW Headquart ers Build ing inBerlin:I think there is not necessarily a contradiction be-

tween seeking a strong presence and work with thecontext. (Louisa Hutton)

(...) All our buildings stand out as individual objects,

but all of them have been generated in response to

circumstances from the immediate reality that we

find in the place (Matthias Sauerbruch)

(...) The main impetus for the choice of colors in our

urban projects often come from the context. For ex-

ample, for the building GSW, we chose a palette that

had a noticeable contrast to the sky, which is usu-

ally gray in Berlin. But combined with a look around,

particularly with the brick and terracotta roofs that

surround the building (Louisa Hutton) (Betsky, 2003).

In the headquarters building for GSW, it is seen thatone of the facades is chromatically linked with theterracotta facades and roofs of those buildings oflesser height of the former East Berlin, by designing

a system of movable slats with reddish hues (Fig. 18).The opposite building facade shows a completely dif-ferent display that links chromatically to those build-ings from Western Berlin (Fig. 19). This urban land-scape is made up of buildings of great height with bigamount of facades of glass curtain walls and flat roof,with irrelevant color schemes with shades of grayand white.In other Sauerbruch & Huttons examples, as theHigh-Bay Warehouse for Sedus(Dogern, Germany,2001/03), the arranged palettes are inspired by the

larize each house and was displayed again in thoseUnitthat were built after Marseilles one.Sometimes, the desire to singularize the building fromthe environment has an abstract purpose and wantsto high light the architecture as an isolated object.Such is the case of the GuerreroHouse (2005), ofSpanish architect Alberto Campo Baeza (1946 -), whouses the white color to distinguish the shape from anatural landscape in which architecture does notwant to participate. Guerrero House is understoodas a abstract prism, that reaffirms its alien nature cat-egorically (Fig. 10, 11), a good example to show thatcolor white is not always a quiet, unobtrusive coloroption (contrary to popular belief), but may be strik-ing and powerful.The Torre Agbar(Barcelona, 2005) by French archi-tect Jean Nouvel, can be analysed as an example ofarchitecture that stands out from the environment. Itis a building that aims to be a visual landmark in thecityscape, both for its geometric shape, its high al-titude and its color. With daylight, the building couldsuggest a kind of mimicry, by is linkage with the bluecolor of sea and sky, and with the red of the buildingswith lower height (Fig. 12, 13, 14). However, the effectof artificial lighting at night transforms the architec-ture in a large urban lamp, which stands uniquely inthe landscape of Barcelona.Very chromatic colors, or those which are highly con-trasting in relation to their environment , can be ex-tremely provocative. MVRDVarchitecture team has

such an expertise developed in the Study Thonikal-so known as The Orange House in Amsterdam(Netherlands, 1998-2001) (Figs. 15, 16, 17). It is a build-ing whose exterior envelope (walls, windows, rail-ings, deck, etc.) is painted with a polyurethane or-ange hue coating, with a very bright color, thatreaches a high degree of saturation, further encour-aged by the strong color contrast in accordance tothe environment, slightly c loser to gray hue s. Thebuilding is individualized in relation to its built envi-ronment, aims to draw attention to itself, and be dis-tinguished. The build ing makes no concession toshapes neither to colors: it strengthens the abstrac-tion, independence, autonomy. It becomes, as the au-thors point out literally an orange advertisement.The color strategy developed has proved to be veryeffective, as although the studio is inside a courtyard

and hidden from the street, it reaches a main role inthe environment thanks to color.This main role has not only been limited to the realmof architectural form, but it has generated a publicdebate between supporters and opponents to col-or, which has spread to the media and has provideda much greater prominence to the building. The ar-chitects themselves admire the ability of the color toprovoke a reaction to it:Its amazing the color of a house is able to call so

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1/ Montaner, J. M.: Sistemas ArquitectnicosContemporneos. Gustavo Gili, Barcelona, 2008; pp. 197, 212.2/ Adopting as well a critical position that sees the diagram as a genuine `Gedankenform (thinking form), used byarchitects to represent their own work (as) a way to think

about the world in the language of architectural research,

that sees in the diagrams a fundamental way of expression

and operation for the things to come. Aureli, P. V. y Mastrigli,G.: Architecture After the diagram. Lotus Internacional, 127,

2006; pp. 96-105.3/ Aside from giving his definition and showing the realimplications of diagrams, Vidler will explain what, for him, willbe the central subject from now on: not what it means to

think about diagrams, but in what way it is possible to think

with diagrams. Vidler, A.: What is a diagram anyway? enPeter Eisenman Feints. S. Cassar Editor, Skira, Milano, 2006;pp. 19-27.4/ David M. Sperling points out that the difference betweenthe current digital information revolution with the previousones, is that the former has entered architecture not throughproduction, but initially through design, constituting itself atpresent time as an sphere where productionand praxis

of space are immersed and interrelated. Sperling, D. M.:Architecture as a digital diagram. International Journal ofArchitectural Computing, 2(3), 2004; pp. 371-387.5/ Anthony Vidler comments that:After all, it is the drawing

er schematic tool used in architecture, but to argueand sustain, that they are complementary, that is tosay, to restore their status not as something second-ary, but rather that, besides representing, they are al-so useful for mental visualization and serve as an in-teract ive interface for reasoning, owning a propervalue. For this reasons, when approaching their study,it is convenient to concentrate on the representation-al aspect (as a form of expressionof a projectualtheoretical lexicon), on the strategic one (as a visualtactic for thinking, that unveils the design proce-dures) and on the pragmatic one (as an interfacefor

operation, that enables interaction throughout theprojectual processes), for these allow the rediscover-ing and redefinition of their contemporary estatus.2

Commonly, we know that they are a sort of represen-tation u sed to struc ture information or to explainsomething (these can be a picture, a statistical graph,a chart, a list, a figure or a timeline). The establisheddefinitions suggest an enormous amplitude of possi-bilities for their understanding, like for example, thedenomination of diagrapheinor marked by lines,that may refer to something written, as an a lphabetletter, a geometric figure, a list, a registry, a musicalscale, etc. (fig 1).Anthony Vidler has recently explained that, throughgeometric lines, a diagram can be a figure composedby lines, an illustrationor a set of lines, marks ortraces, but it is the function of these traces the one

thing that its important: a diagram is used for some-thing else. It illustrates a definition, and helps in the

verification of a proposition and represents the course

or result of any action or process3. By means of ab-straction is able to signify variations, actions or evenmental processes, because its at the same time vagueand precise. In this way, certain differences with re-spect to other schemes can be established, being theirspecificity to show relationsand make the proce-dures visible.

Concerning the architectural diagram, a very simpleway to distinguish its nature, would consist of the fol-lowing: whereas the sketch is already an attempt to de-fine form spatially, the diagram describes somethingwithout representing it, in an abstract way and withoutgiving detailed descriptions about scale or form. It cancontain a variety of symbols, in order to characterizephenomena and functional aspects of the surround-ings, but it mainly indicates material relations (fig 2).Along this conventional and analogous understand-ing of the diagram, it is necessary in addition, to iden-tify the implications of the recent digital qualities, aswell as the relation that is established between infor-mation technology and architecture. The role of thistechnology in the so called information age, has ledto a certain revision of the historical processes em-ployed for designing, which implies a reconsiderationof its limits, because today, these procedures deploy

THE DIAGRAM AS STRATEGY OFTHE CONTEMPORARY ARCHITECTURALPROJECT

by Juan Puebla Pons,Vctor Manuel Martnez Lpez

Analyzing the role of the diagram and its relation with-in the projectual process, throughout history, will con-stitute the objective of this work. Emphasis will bestressed in their present role, through the practice ofmany relevant architects, and this will also include the

digital variant, unveiling a form of thinking architec-ture as a system of relations, that assimilates informa-tion and complex phenomena.An alternative way to approach the contemporary pro-jective strategies, and the digital expressive devicesthat are used to visualize, to reason and to representthe project, can be achieved through a diagram. Anarchitectural diagram is not simply a drawing, it israther, a graphical device that describes somethingwithout necessarily representing it, and the best wayto comprehend the complexity of its nature, very littlestudied by the way, is arguing that, it is a strategy, akind of visualization that shows relations.Architecture that is thought diagrammatically is definedby one first decision, which is possible to get to knowand transmit by means of an abstract diagram, whichhas become and is better understood as an operative

code, that is not a hierarchic sketch for defining, nora diffuse contour for indetermination, but rather, a car-tography that shows paths, capable of representingform and process at the same time. The use of diagramsin the work of architects such as Peter Eisenman,Bernard Tschumi, Rem Koolhaas, Steven Holl, WinyMaas, Greg Lynn, Alejandro Zaera-Polo, Kazuyo Seji-ma or Ben Van Berkel, among others, is of particularinterest because it serves to demonstrate the privilegedstatus of this strategy in the contemporary project.J.M. Montaner has recently suggested1that an archi-tecture of diagramsconstitutes itself as an open work,capable to integrate heterogeneous data, and to rec-

tify by itself constantly, being the diagrammaticthought, harnessed by cybernetics, digital iteration, the

contemporary excess of information and other phe-

nomena, a relevant subject in the theory and proj-

ect, because the diagram is directed to the task of con-tinuously regenerating the capacity for innovation indesign, but mainly because it agrees with the idea ofstop seeing architecture as a maker of unique andsingular objects and moving to understand and

practice it, as strategy and process, as a system of

relations.Due to the previous arguments, it is necessary to dis-cern and identify the specificity of diagrams and theirtrue role along the history of the discipline. It is notabout situating them in front of the drawing or any oth-

peared in a time of the year would have been shown

with a strong contrast at other times of year. Con-

sequently, the decision was to enter into dialogue

with nature. In other words, let the man made struc-

tures define themselves with their characteristic col-

or scale, inspired but not imitating, the colors of na-

ture (Smedal, 2009).

That is, the chromatic project for Longyearbayen,conforms its own artificial color landscape. It is im-possible to develop an integration strategy in such aplace where chromatic landscape changes complete-ly throughout the year. However, this artificial colorlandscape is not imposed on the natural landscape,it is not aggressive or loud, it does not smother theexceptional natural environment but dialogues withit establishing a relationship of equality and respect.

ConclusionsIn nowadays, culture is particularly sensitive aboutthe relationships established between humans pro-ductions and their physical environment. It is inter-esting to understand the different positions taken in-to acc ount wh en linking the co lor of the bu ilding sto their context, and which bring to bear the extremeplastic strategies of mimicry and uniqueness.The contemporary architecture seems to be devel-oping color schemes at an intermediate level betweena kind of formal forceful heir to modernity itself, a kindof flamboyantly colored related with pop or post-mod-ern trends, and a kind of chromatic integration which

is the result of a sustainable awareness. The think-ing on how contemporary architecture serves to col-or of the landscape, finally, involves an analysis thatgoes beyond color. An analysis that questions thepath of the discipline and puts into crisis the archi-tecture understood as an isolated object, as a sculp-tural element in a modern way. All this in order toreach a new attitude for the project, which could takeinto account more contextual variables such as col-or, which is strongly rooted in our memory of a place,and yet very vulnerable and easy to distort.