Modern Architecture In Color
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Modern Color/Modern Architecture
This title was first published in 2002. This really is a text that will fill a long-felt want. A key figure in that history is Amédée Ozenfant, painter, critic and friend of Le Corbusier, who in the first half of this century founded a school in London where he conducted experiments and wrote about color in architecture. Those experiments have been reconstructed for the book, which also includes reprints of his most important articles on the subject. This book provides a fascinating survey of this most contemporary topic that will inspire and inform designers and architects. Color has often been regarded as the final dressing of a building, subject to the vagaries of fashion and left to the client to select. There have been a number of studies of polychromy in the architecture of the more distant past, particularly in relation to modern conservation practices, but there is little or nothing on the architectural color of recent times, and especially within Modernism.
Modern Architecture in Color
"There are 112 color plates in this ... book which depict some of the most important work of such architects as Frank Lloyd Wright, Le Corbusier, Tange, Mies van der Rohe and Nervi. Each plate is accompanied by a commentary written by Kultermann which indicates the varied architectural solutions to industrial age problems. The plates are prefaced by a detailed introduction by Hofmann in which he examines a number of themes, including "the apparent conflict between the beautiful and the useful in architectural ideas through the ages" and the "connections between modern architecture and other art forms." He traces the development of modem architecture from three stylistic prototypes: a cast-iron factory (1848) by James Bogardus; the Crystal Palace (1851) by Joseph Paxton, and the Red House (1859) by Philip Webb"--Review in AJA Journal, March 1971.
The Color of Modernism
Author: Deborah Ascher Barnstone
language: en
Publisher: Bloomsbury Publishing
Release Date: 2021-12-30
One of the most enduring and pervasive myths about modernist architecture is that it was white-pure white walls both inside and out. Yet nothing could be further from the truth. The Color of Modernism explodes this myth of whiteness by offering a riot of color in modern architectural treatises, polemics, and buildings. Focusing on Germany in the early 20th century, one of modernism's most foundational and influential periods, it examines the different scientific and artistic color theories which were advanced by members of the German avant-garde, from Bruno Taut to Walter Gropius to Hans Scharoun. German color theory went on to have a profound influence on the modern movement, and Germany serves as the key case study for an international phenomenon which encompassed modern architects worldwide from le Corbusier and Alvar Aalto to Berthold Lubetkin and Lina Bo Bardi. Supported by accessible introductions to the development of color theory in philosophy, science and the arts, the book uses the German case to explore the new ways in which color was used in architecture and urban design, turning attention to an important yet overlooked aspect of the period. Much more than a mere correction to the historical record, the book leads the reader on an adventure into the color-filled worlds of psychology, the paranormal, theories of sensory perception, and pleasure, showing how each in turn influenced the modern movement. The Color of Modernism will fundamentally change the way the early modernist period is seen and discussed.