The main hypotheses of the colour and light colour gradient of architectural activity

Abstract

The author's colour and light studies, in particular, the construction of a mathematical model of colour and light architectural activity, are based on a number of hypotheses, the first and foremost of which is the fundamental hypothesis of the existence of a natural attraction to colour and light architectural activity. The presented hypotheses - about the manifestation of the colour and light-colour gradient of architectural activity - are based on our own research [1-3], as well as on the research of other authors [9-16], and on the research of Doctor of Architecture Prof. V.V. Tovbych [4-8]. In particular, in general, the hypotheses regarding the manifestation of the colour and light colour gradient of architectural activity are conditionally divided into three generalised groups: the fundamental and philosophical gradient (Hypotheses 1-2) regarding the existence of a natural attraction to colour and light architectural activity; the theoretical and applied gradient (Hypotheses 3-31) regarding the definition of the main dynamic indicators of the development of a dynamic colour and light architectural and construction system; and the group on the fundamentally generalised definition of the functional connection between the process of manifestation of the impulse in colour and light architectural activity (against the background of the manifestation of the attraction to architectural activity) and the process of manifestation of the passional impulse in the ethnogenesis of L. M. Gumilev (Hypotheses 32-33). This "colour and light-colour" gradient of distribution is fully consistent with the generalised gradient of distribution of relevant hypotheses about the manifestation of architectural and urban planning activities, which was first introduced into architectural science by Doctor of Architecture, Professor V.V. Tovbych [5]. Given the short scope of the publication, only the first set of the most important hypotheses regarding the manifestation of the colour and light-colour gradient of architectural activity is presented below.