85 הצבע כמרכיב פונקציונלי בחוויית המבנה 2024 אוגוסט 138 אדריכלות ישראלית | | | food for thought colorful compositions – as the leading component of the building experience Natalie Mann The emphasis that color perception does not refer to a certain color, but to a composition made up of several hues was discussed by Gestalt School old timers such as the German psychologists Max Wertheimer and Wolfgang Kohler, who focused on cognitive procedures operating in parallel with a number of cooperative sources responsible for form identification, a shading effect that creates depth and positioning of the object in space. According to Gestalt theory, which focuses on the gap between what we see and what we perceive, closing gaps is one of the most essential means of creating spatial continuity. The well known example of the "flickering" eye between the "vase" and two faces that seem to define it, illustrate that optical illusion best. That is, in complete contrast to Structuralist thought, which claims that all phenomena in the world have a uniform structure, the Gestalt claim is that the brain creates a personal reality based upon memories, experiences, opinions... and therefore, the essence of color always remains open to interpretation; closure of gaps for example, when we assume that light intensity decreases or increases according to the detail’s angle of view, or when bright parts of the structure are really closer than those hidden by the light. Thus, since the identification of the relationship between objects in space automatically occurs in the brain, any thought involvement with color composition inhibits the brain's process The distinction that visual expressions are not passive, but rather, are active and waiting for artistic response was widely discussed by 18th -century impressionist philosophers, such as British John Luke, who developed the idea of textology, and and Irish George Berkeley who claimed that each creation is the mother of previous attempts made throughout one’s life. Both have talked about sensory processes where "work" evolves while "making" is an added subjective act. Against this backdrop, this approach was prominently expressed in the various streams of modern art, emphasizing the role of colors in the design process, and especially the visual interaction that occurs between them, and between them and the beholder. of interpretation, and thereby extends the intensity of the beholder's involvement in the picture. Such an automatic vision occurs, for instance, when we produce a 3D image in the brain while actually looking at twodimensional photography, or when we recognize the size of an object while moving, whether it is close or far, or when we identify a white building as "white," even in the dark, or when its color changes according to the intensity of the available light. In this respect, the question of "attentional awakening" or "spotlight" for special attention is reflected in basic design rules such as contrast or exaggeration, which create "noise," or alternatively, balanced composition of a number of colors that create visual quiet. Indeed, cognitive psychologists (e.g., Anne Treisman) identify the processing of visual representation of space in two stages; the first is only a general identification of the object, and the second is a deeper analysis of detail enabling definition of characteristics. And so, in order that things are not perceived as too simple...the question of whether what we see is a real physical pigment or merely a formal feature of a material that causes us to believe so due to a certain reflection of light, is a dilemma. That is, despite the simple scientific explanation, the human brain has difficulty accepting the fact that a pigment - a substance with such tangible environmental properties, is nothing but an atom with a formal structure for a selective observation of light rays. Most pigments consist of carbon atomic chains related to each other in a chemical connection based on the equivalent of electronic sharing. Because this visualization process is constantly converted from the bidimensional image to a 3D brain, this paradox also creates increased tension between the boundaries of a shape and the colors which inform it. Bearing in mind that architectural depth is expressed by differing shades, then the human brain has to work overtime in closing gaps. Returning to the process of personal involvement in creative expressions, there are three main stages in which attention is drawn and enhances the effect: the first is the discovery phase accompanied by an uncontrolled instinctive response, usually accompanied by some sort of surprise, especially when the visual event is exceptional, such as a room painted all in one color, or alternatively, an item that receives multi-highlighting of many colors, on a neutral (say - white) background. The second is the getting-used-to phase which is usually accompanied by critical involvement, when the observer is trying to decipher the rationale behind colorful expression; and the third, and longer stage is when the effect self-destructs over time, enabling re-experiencing the colorful composition.
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