| summary |
From among the possible ways of introducing graphic computing in the design studio, it is customary to develop an argument from point, to line, to shape and finally to colon The logic of this process is undeniable as technology and perhaps as history, but it should be questioned as pedagogy. A designer, tuned to the visual focus of the studio and searching for creative self-expression is not overly stimulated by drawing lines, at first laboriously, in imitation of what he can do by hand. Using color is among the more difficult of traditional studio chores -- it is not difficult on a computer. The manipulation of color can be a simple task if one is given reasonable software and a good graphic computer. Once introduced to students, the techniques for coloring elements on a computer find acceptance as a design tool. Methods can be quickly found for modifying the perception of space and form through the use of colon Modern architecture is rooted in the study of color as a generator of form. This idea permeated the teachings of its founders. Yet modernist concern for color has over time evolved into a pedagogy of space and form at the exclusion of color, so much so that the modern movement today stands accused by its detractors as being formed in many shades of grey. Modern architecture is not grey! This paper will illustrate how, using the modern graphic computer, color may be introduced to the studio and discovered as an element of design and as the substance of architectural form giving. |
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