COLOUR CULTURE OF BYELORUSSIAN
Colour culture is a complicated phenomenon and a lot of branches of science are necessery for studing this one.
Colour features of people architecture, painting, and decorative arts can be used as a base for studing the national colour preference.
The researches of colour preference permited to observer the correlation between tradishional and modern ones, to reveal their ethnic originelity. The investigation gives the opportunity to distinguish 6 different historically-ethnografical colourspace regions of Belarus.
Analisis of colour patterns was completed with experimental methods, such as "The Choice", "The Ranging". These methods permited to study a colour preference in laboratory conditions and to compare them with world scientific results.
The preferential colours were chosen for colour decision of same Minsk residential districts. And parallel investigation was made in conditions of real colour space. Empiric data indicate comparison between generalized estimate and objective characteristics of colour decision.
The investigation shows that traditional colour preferences of Byelorussians are being preserved and are being enriched at the expence of new natural and artificial pigments in architecture.
See text : COLOUR CULTURE AND DEVELOPMENT OF ARCHITECTURAL MULTICOLOUR PAINTING IN BYELORUSSIA

COLOUR CULTURE AND ENVIRONMENTAL COLOUR DESIGN:
THEORY AND PRATICE.
What is a colour and colour combinations for architects? What do they mean for us ? They are not only pictures, not line or space. Colour is not only the way to express ideas and feelings. Colour is everything: idea and space, sensation, emotion and symbol. Colour is a made of living, a form of conscience. We have to be architects and artists in the same time, we need the knowledge about colour design to define the main problem: how to deal with real world complexity and how colour can act to the aesthetics of recognition.
Our colour design process might be considered as a process of constant modeling of the colour characteristics and elements of the environment. The most important stages might be summered up in the three main ways:
- analysis;
- modeling, with respect to the different factors and bonds in order to define the colour features of each element;
- discussions and final choice of materials, colour-bearers, methods and techniques of the colouring.
Aprofound analysis of the existing situation is of primer importance. It is carried out in accordance with a number of factors, which influence the integral colour decision. We used the methods of site investigation, expert observation, samples collection, tests and inquiries of the stuff etc., as well as photographic and sketch registration of the complex and surroundings in order to define:
1) the colour preferences of the persons, of the stuff, of the professional architects and of the student-architects, as well as a new generation of designers-architects;
2) traditional coloristics palette, colour passport of historic and architectural monuments and churchers in this region;
3) existing colouristics palette of the regional landscape and colour passport of architectural comlexs.
The substantional part of the design process anyhow is the process of modelling with respect to the influencing factors: surroudings, functional and spatial organisation; architectural, technological and "gestalt" elements, specifics of visual perception and dynamical changes It is carried out in several levels using modern technical decign tools, such as:
- grafic analysis, colour choice and harmonization with the help of Natural Colour System (NCS) and its accessories;
- flat and spatial material models in different colour scales.
The most important last stage: evaluation and final choice, discussion and expert judgment of colour versions and different colour design projects.

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