{"id":22975,"date":"2021-10-12T18:16:51","date_gmt":"2021-10-12T16:16:51","guid":{"rendered":"https:\/\/archive.iask.hu\/?p=22975"},"modified":"2022-09-26T15:38:01","modified_gmt":"2022-09-26T13:38:01","slug":"tamas-fejerdy-talking-colours","status":"publish","type":"post","link":"https:\/\/archive.iask.hu\/en\/tamas-fejerdy-talking-colours\/","title":{"rendered":"Tam\u00e1s Fej\u00e9rdy: Talking Colours"},"content":{"rendered":"

\"\"“In our modern-day world, visual effects that originate from our \u2013 most comprehensively understood \u2013 environment are of particular importance and gaining prominence. These visual aids are not necessarily embedded in a high level of visual culture. Research focusing on the significance and impact of colours is not a recent endeavour and, as a discipline, colour science has produced significant research results and knowledge. This paper does not deal with colours, their usage nor effects in general but focuses on a well-defined area, that is, the colour of the fa\u00e7ades of historic buildings.
\nHowever, it seems necessary to emphasize here, at the very beginning, that the professional colouring of historic buildings is not a function of arbitrary design or customer taste. Since colouring should strive for historical authenticity, it must follow the rules defined by the architectural system of a given age\/style.
\nThis primarily means that related elements, rather than being fragmented, must also be synchronized architecturally with colouring, while taking into account that not every age and style applied or applies the architectural tool of polychromy. Eclecticism (historicism), for example, typically only made use of one colour, albeit well-chosen to achieve the desired aesthetic effect. The \u2018a posterior\u2019 over-colouration, which unfortunately is very much widespread today and even in a sense \u201cpopular,\u201d is not only unhistorical but also inappropriate from an aesthetic point of view. The topic of this study has been of interest to the author for several years, even decades, and the essence of what was said in his lectures within the framework of postgraduate education has already been formulated, in part. Furthermore, I recommend this work, the scope of which is intentionally limited, to all those for whom an aesthetic and historically authentic environment is important.” (Foreword)<\/em><\/p>\n

“Through his own work, research and experience, the author enriches us with knowledge that helps us to enjoy well-resolved building-colouring with our eyes during our travels, but also in our own environment, and to recognize what may have been confusing or uncertain so far, but we could not have justified it.” (Zsolt M\u00e1t\u00e9, architect)<\/em><\/p>\n

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In the book review video, we sought answers to the following questions:- What are the professional criteria for determining the colour of the facade of a listed building?
\n\u2013 What is the colour range to choose from and how many colours should be used for a fa\u00e7ade?
\n\u2013 In the case of privately owned listed buildings, what are the rights of the owner to have a say?
\n\u2013 How permanent and timeless are they, and how flexible are the rules on the renovation of listed buildings?<\/p>\n