# / . 4 % 8 4 - ! 9 -)#(!%, ,!.#!34%2 #OLOUR IN THE HISTORIC ENVIRONMENT 4HERE MAY BE MORE TO OUR PERCEPTION OF COLOUR THAN WE THINK 4HE PRESENT STATE OF ANARCHY ABOUT COLOUR IN THE HISTORIC ENVIRONMENT CALLS FOR POLICIES BASED ON CLEAR CRITERIA 7E ARE ACCUSTOMED TO THINK OF COLOUR LIKE TASTE AS A MATTER OF PERSONAL PREFERENCE WE KNOW WHAT WE LIKE AND WE LIKE WHAT WE KNOW "UT WHAT DO WE REALLY KNOW ABOUT COLOUR AND OUR INDIVIDUAL PREFERENCES !LTHOUGH WE ARE BORN WITH COLOUR VISION BOTH THE IDENTIFICATION AND APPLICATIONS OF COLOUR NEED TO BE LEARNT 7E BEGIN IN CHILDHOOD WITH A LEVEL OF WHAT COULD BE CALLED NAÕVE REALISM THINKING THAT THE GRASS IS GREEN SKY AND SEA BLUE AND THE EARTH BROWN 7ITH EXPERIENCE WE LEARN THAT REALITY IS MUCH MORE COMPLICATED "UT IN TERMS OF THE ENDLESS VARIATIONS OF COLOUR AND THE CONNECTIONS BETWEEN LIGHT AND PIGMENT OUR PERCEPTIONS OFTEN REMAIN SURPRISINGLY CLOSE TO THOSE EXPRESSED IN CHILDHOOD PAINTINGS )T IS SIGNIFICANT THAT EVEN AMONG PAINTERS WHO WERE TRADITIONALLY TRAINED IN COLOUR AND LIGHT THERE ARE THOSE WHOSE PERCEPTIONS ARE MORE ACUTE 7E REGARD THEM AS @GOOD COLOURISTS )T IS ALSO TRUE THAT IN SOME CASES AN ARTIST CAN EXPERIENCE A $AMASCENE CONVERSION TO THE POSSIBILITIES OF COLOUR 0AUL +LEE FOR EXAMPLE BEGAN HIS CAREER AS A GRAPHIC DESIGNER WORKING IN MONOCHROME AND @DISCOVERED COLOUR AT THE AGE OF WHEN VISITING THE 4UNISIAN TOWN OF (AMMAMET WITH !UGUST -ACKE (E WAS SENSITISED TO THE POSSIBILITIES OF POLYCHROME BY THE TRADITIONAL ARCHITECTURE AND CRAFTS HE ENCOUNTERED THERE 7E @SEE OR INTERPRET COLOUR IN DIFFERENT WAYS OFTEN ACCORDING TO OUR PARTICULAR INTERESTS NEEDS OR OCCUPATIONS 7E TEND TO SEE IT EITHER AS AN ASPECT OF A MATERIAL INHERENT IN ITS FABRIC OR AS APPLIED IN PAINTS OR COLOURINGS 4HE VALUES WE ASCRIBE TO THESE DIFFERENT @TYPES OF COLOUR OFTEN IGNORE THE FACT THAT BOTH ARE EQUALLY THE RESULT OF THE INTERACTION BETWEEN PIGMENT AND LIGHT 4HIS DICHOTOMY OF VISION CAN BE FOUND WITHIN THE CONSERVATION MOVEMENT !N INDIVIDUAL S VIEW OF COLOUR WILL BE AFFECTED BY WHETHER THEY WORK ON RESTORING PAINTINGS APPLYING PAINTS AND DECORATIVE SURFACES IN INTERIOR DESIGN OR CONSERVING HISTORIC SURFACES AS PART OF THE CONSERVATION OF HISTORIC BUILDINGS 7HEN THE DISCIPLINE OF BUILDING CONSERVATION AROSE OUT OF THE WRITINGS OF 7ILLIAM -ORRIS AND *OHN 2USKIN THE QUESTION OF @COLOURING BUILDINGS WITH APPLIED PIGMENTS SCARCELY AROSE 2USKIN HAD POINTED OUT THAT VIRTUALLY ALL COLOURS COULD BE ACHIEVED IN ARCHITECTURE THROUGH THE USE OF VARIOUS STONES AND IMPLICITLY COLOUR WAS SEEN AS AN INHERENT ASPECT OF THE MATERIALS OF CONSTRUCTION -ORRIS CONCERN WITH THE PATINA OF AGE AND HIS OBJECTION TO THE HARD AND OFTEN BRIGHT COLOURING OF MANUFACTURED BRICK REFLECTED HIS CONCERN ABOUT THE MECHANISATION OF THE FORMER CRAFT PROCESS OF CONSTRUCTION 4HE CONSTRUCTION OF THE #RYSTAL 0ALACE PROVIDED THE ARCHITECT AND DESIGNER /WEN *ONES WITH THE OPPORTUNITY TO EXPERIMENT WITH HIS IDEAS ON COLOUR AND DECORATION *ONES EMPLOYED STRONG COLOUR INTERNALLY AND EXTERNALLY WITH FOR EXAMPLE PALE GREY BLUE AND STRING YELLOW ON THE ROOF TRUSSES (E DEVELOPED PRINCIPLES FOR COLOUR DESIGN IN ARCHITECTURE AND THE DECORATIVE ARTS IN HIS 'RAMMAR OF /RNAMENT PUBLISHED IN 4HE BOOK EMPLOYED THE NEWLY DEVELOPED TECHNIQUE OF COLOUR PRINTING TO ILLUSTRATE THE USES OF PATTERN AND COLOUR IN VARIOUS PARTS OF THE WORLD %XAMPLES RANGED FROM ANCIENT CIVILISATIONS TO THOSE OF CONTEMPORARY %UROPE *ONES CONCLUDING PRINCIPLE WAS THAT @NO IMPROVEMENT CAN TAKE PLACE IN THE !RT OF THE PRESENT GENERATION UNTIL ALL CLASSES ARTISTS MANUFACTURERS AND THE PUBLIC ARE BETTER EDUCATED IN !RT AND THE EXISTENCE OF GENERAL PRINCIPLES IS MORE FULLY RECOGNISED !LTHOUGH THE #RYSTAL 0ALACE WAS INFLUENTIAL AS A BUILDING TYPE THE DESIGNER S GENERAL PRINCIPLES ON COLOUR HAVE BEEN LITTLE ACKNOWLEDGED EVEN TODAY 4HE INTRODUCTION OF MODERN MOVEMENT ARCHITECTURE AND POST MODERN ARCHITECTURE S USE OF COLOUR HAVE NOT ! REGENCY HOUSE IN 0ENZANCE A STUDY OF THE HISTORIC COLOURS USED ON THE EXTERNAL RENDERED WALLS OF THE TOWN IS CURRENTLY BEING UNDERTAKEN BY 0ENWITH $ISTRICT #OUNCIL 0HOTO BY ,ISA /ESTREICHER !RCHITECTURAL 0AINT !NALYSIS
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