As the world precious cultural heritage, the Palace Museum has attracted people around the world to visit. The rise of Historic Conservation area makes people could not only enjoy the culture of the Palace Museum, but also feel the original view of Beijing traditional street and experience its unique historic environment. As the precious unrecyclable resources in the urban environment, people have paid more and more attention to the recovery and update of historic conservation area. Color, the most intuitive element in the urban environment that could influence the vision, is one of the most effective methods to raise and protect the urban environment in the whole way. Color plays an irreplaceable role in the development and update of the historic conservation area and the protection of urban fabric. This thesis, based on the relevant subjects and theories such as chromatics, color geography and urban color space, carries out careful research to the color of the Palace Museum and Beichizi Historic Conservation Area, sorts the data of the research, make deep analysis to the data according to the historic influential element of regional color environment and put forward opinion and thought toward color based on the major influential element of Beichizi Historic Conservation Area—architecture. By recognizing the essence of historic color as the basis of the fixed position, the thesis also points out the controlling scope of the specific object and finally concludes the rigorous working method and procedure toward the control of historic color and the formulation of color spectrum of historic conservation area by illustrating the design examples. At first, the author collects the color of main architecture in the axle wire of the Palace Museum by using electric tintometer and standard color card of buildings. Then the color has been sorted into the main color, complementary color and additional color based on their covering. By sorting the data of different colors, the Munsell Color Value would be attained. After carrying out the quantitative analysis toward the color of the yellow glazed tile roof, red wall, grey wall and decorative painting of the Palace Museum, the author concludes the color threshold scope of each part by combining the regional characteristics. Secondly, the author makes research by sorting out the color of architectures in the historic conservation and regards the color of the Palace Museum as control benchmark, the color geography and color planning as the basis to give a comparative analysis to the Palace Museum and Beichizi Historic Conservation Area from hue, lightness and saturation so that the color control scope of different parts of each kind of architecture in the Beichizi Historic Conservation Area could be concluded. Finally, the author uses the control scope to perform redesign to the Beichizi Historic Conservation Area and explain the correctness of color control scope and the integrity of working procedure. As for the specific historic district, the main part of scenic color environment is the architecture, including the pattern, material and color rendering. This design regards the relationship between color and color as well as the relationship between the color and form as the major research object. By performing color define design to the entire color environment, including architecture, plant and equipment, the original color of historical architecture in the reservation has been recovered and the harmonious degree of the entire color environment of contemporary architecture and protective architecture. Limited by the particularity of history, the subjectivity of color design would be weakened and the using scope of color would be comparably strict. Because of the color control scope pattern and the influence of surroundings, it would differ from the ordinary urban color design.
Il Museo di Palazzo, prezioso patrimonio culturale, ha attratto visitatori da tutto il mondo. La costituzione di una nuova area mirata alla conservazione permette alla persone di scoprire sia il museo del palazzo che percepire, all’interno di una strada tradizionale, la cultura di Pechino nella sua interezza, dove e’ possibile sperimentare e conoscere la sua unica identita’. Le preziose risorse intangibili, relative all’dentita’ culturale di un luogo, nei tempi piu’ recenti vengono riscoperte e riqualificate; si presta sempre piu’ attenzione e rispetto nei riguardi del passato e della ricostruzione di scenari storici. Il colore, l’elemento più intuitivo e piu’ immediato da percepire, è uno dei metodi più efficaci per riqualificare e proteggere il contesto urbano. Il colore gioca un ruolo chiave nello sviluppo e nella riqualifica del tessuto ubano, da tutelare e conservare. Questa tesi, tratta temi e teorie riguardo il cromatismo, l’utilizzo del colore, la percezione visiva, la geografia e lo spazio colore. Si tratta di un’attenta ricerca nella scelta della colorazione del Museo di Palazzo e della riqualificazione dell’area storica di Beichizi, attraverso lo studio e un’analisi approfondita sul valore e l’identita’ storica che ha definito l’ambiente. Questa ricerca nasce un’accurata analisi storica, e si propone di definire, il colore come elemento storico che influenza maggiormente l’ambiente. Il colore che appartiene all’ambiente storico e all’rchitettura di Beichizi influnza la riqualificazione di esso. In questo progetto il colore viene riconosciuto come essenza storica, elemento fondante. La tesi sottolinea inoltre l’importanza della portata di controllo dell’oggetto specifico e conclude infine con il metodo procedurale di valutazione del controllo del colore attraverso un rigoroso studio storico e la formulazione dello spettro di colore che definiscono la zona di conservazione, illustrando gli step di di progettazione. Inizialmente, l’autore riconosce il colore dell’architettura principale nel filo asse del museo Palazzo utilizzando un colorimetro elettrico e una mappatura di colore standard che caratterizza gli edifici. Successivamente il colore viene ordinato secondo la seguente successione: colore principale, colore complementare e colore aggiuntivo in base alla relativa copertura. Separando i dati dei differenti colori, si ottiene il valore del colore di Munsell. L’analisi quantitativa viene effetturata per il colore giallo smaltato relativo alle tegole dei tetti, al muro rosso, al muro grigio e alla pittura decorativa del Museo di Palazzo. L’autore deduce l’ambito di soglia di colore di ogni parte combinandola con le caratteristiche regionali. Successivamente, viene classificato il colore delle architetture partendo dal colore del Museo di Palazzo come riferimento. In questo modo, la geografia del colore e la pianificazione del colore fungono come base per dare una analisi comparativa di tonalità luminosità e saturazione partendo dal Museo Palazzo e l’area di Beichizi. Le architettutre storiche fungono da rifermento e da punto di partenza per l’analisi, tanto da definire l’ambito di controllo del colore delle varie parti. Il campo di applicazione di controllo diventea cosi’ un elemento fondamentale per eseguire la riprogettazione e la riqualificazione dell’area storica e per gestire la correttezza della portata controllo del colore derente la progettazione. Per quanto riguarda lo specifico centro storico, l’elemento principale che definisce l’ambiente e’ definito dal colore scenico dell’architettura, questo elemento comprendere il modello, il materiale e la resa cromatica. La progettazione, definisce il rapporto tra i colori oltre al rapporto tra il colore e la forma, oggetto di ricerca principale. Con l’utilizzo del colore viene ridefinito il design dell’intero ambiente. Il l colore originale dell’architettura storica è stato recuperato e riproposto il grado armonico di tutto l’ambiente per definirne la riqualifica. Senza l’analisi storia del colore, la scelta sarebbe stata meno rigorosa e puramente arbitraria, priva di alcun legame con l’identita’ dell’area da riqualificare. Attraverso il controllo del colore e la sua applicazione, l’ambiente cambia aspetto ed emerge rispetto l’ordinario tessuto urbano.
Research on planning environment of historical color surrounding the Imperial Palace
YU, YAO
2014/2015
Abstract
As the world precious cultural heritage, the Palace Museum has attracted people around the world to visit. The rise of Historic Conservation area makes people could not only enjoy the culture of the Palace Museum, but also feel the original view of Beijing traditional street and experience its unique historic environment. As the precious unrecyclable resources in the urban environment, people have paid more and more attention to the recovery and update of historic conservation area. Color, the most intuitive element in the urban environment that could influence the vision, is one of the most effective methods to raise and protect the urban environment in the whole way. Color plays an irreplaceable role in the development and update of the historic conservation area and the protection of urban fabric. This thesis, based on the relevant subjects and theories such as chromatics, color geography and urban color space, carries out careful research to the color of the Palace Museum and Beichizi Historic Conservation Area, sorts the data of the research, make deep analysis to the data according to the historic influential element of regional color environment and put forward opinion and thought toward color based on the major influential element of Beichizi Historic Conservation Area—architecture. By recognizing the essence of historic color as the basis of the fixed position, the thesis also points out the controlling scope of the specific object and finally concludes the rigorous working method and procedure toward the control of historic color and the formulation of color spectrum of historic conservation area by illustrating the design examples. At first, the author collects the color of main architecture in the axle wire of the Palace Museum by using electric tintometer and standard color card of buildings. Then the color has been sorted into the main color, complementary color and additional color based on their covering. By sorting the data of different colors, the Munsell Color Value would be attained. After carrying out the quantitative analysis toward the color of the yellow glazed tile roof, red wall, grey wall and decorative painting of the Palace Museum, the author concludes the color threshold scope of each part by combining the regional characteristics. Secondly, the author makes research by sorting out the color of architectures in the historic conservation and regards the color of the Palace Museum as control benchmark, the color geography and color planning as the basis to give a comparative analysis to the Palace Museum and Beichizi Historic Conservation Area from hue, lightness and saturation so that the color control scope of different parts of each kind of architecture in the Beichizi Historic Conservation Area could be concluded. Finally, the author uses the control scope to perform redesign to the Beichizi Historic Conservation Area and explain the correctness of color control scope and the integrity of working procedure. As for the specific historic district, the main part of scenic color environment is the architecture, including the pattern, material and color rendering. This design regards the relationship between color and color as well as the relationship between the color and form as the major research object. By performing color define design to the entire color environment, including architecture, plant and equipment, the original color of historical architecture in the reservation has been recovered and the harmonious degree of the entire color environment of contemporary architecture and protective architecture. Limited by the particularity of history, the subjectivity of color design would be weakened and the using scope of color would be comparably strict. Because of the color control scope pattern and the influence of surroundings, it would differ from the ordinary urban color design.File | Dimensione | Formato | |
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https://hdl.handle.net/10589/109639