Colour is Communication: Selected Projects for by Per Arnoldi (auth.)

By Per Arnoldi (auth.)

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The patients, many of them very young, are in every sense amidst life here. A crucial difficulty, almost an impossibility, in talking about the contribution of colour to a building, is usually the quite banal factor of the size of the building. A And when it comes to Foster + Partners, the buildings can be of a quite considerable size. But it is really quite logical" the colours are clearly part of a much larger context that cannot be reproduced or explained or captured by even the most advanced digital cameras.

A crucial difficulty, almost an impossibility, in talking about the contribution of colour to a building, is usually the quite banal factor of the size of the building. A And when it comes to Foster + Partners, the buildings can be of a quite considerable size. But it is really quite logical" the colours are clearly part of a much larger context that cannot be reproduced or explained or captured by even the most advanced digital cameras. I add an accent and can show an accent, but in the nature of things I cannot show the 100-metre long, bright white corridor that leads to the very blue door.

Old history meets new history. Graffiti (the Cyrillic greetings of the Soviet liberation troops) meet freshly polished glass areas. Steel meets stone. The transparent meets the massively solid; and with this of course, the strong accents of the colours and their mutual encounters that sparkle in the stone masses of the very large building. Christo and Jean-Claude wrapped the Reichstag. Foster unwrapped it and let. it blossom as a huge, flmctional, very inviting building. Gerhard Richter's large Hinterglas painting (6) peeps out with coquettish asymmetry through the facade windows like an unintentional warning of some of the colours that the great bui|ding has swallowed, digested and made its own.

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