The Architectonic Colour - 010 Publishers

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Alberto Sartoris, Casa Morand-Pasteur, axonometry of interior, 1933 Alberto Sartoris, Casa Morand-Pasteur, axonometry of interior, 1933 15 Braham, W., Modern Color / Modern Architecture (Burlington, 2002); this book’s sketch of the colour theory of Purism is rather inadequate. method, every wall is painted in the primary colours of red, yellow or blue, along with white, grey and black. In contrast to this restriction of the palette, the dynamic method makes use of all colours. Sartoris believed that, to generate harmony, it was best to make use of dissonance and contrast, thus creating an animated unity, a vital harmony. With this, he took a stand against the monochrome interior and the monochordal composition of the interior, and saw his idea of harmony as the normal link in attuning architecture and divergent furnishings. In a recent study, William Braham has dealt with Ozenfant’s ideas on polychromy in the thirties.¹⁵ In 1937, Ozenfant published several articles on colour in relation to architecture, and these formed the basis of Braham’s study. <strong>The</strong> articles showed that Ozenfant had definitively abandoned his Purist standpoint, and that he had not followed Le Corbusier’s transformation of this standpoint to architecture. His ideas were a complete repudiation of a position that he had first advanced in 1918, in conjunction with Le Corbusier, and which Le Corbusier still appeared to advocate. Ozenfant adopted an almost scientific approach, as had been elaborated by Signac at the end of the nineteenth century. <strong>Colour</strong> was treated as an autonomous phenomenon, subject to its own laws. In architecture, colour was not directly connected to form and proportion, but rather to ambience, use, the furnishings, and the entire upholstery of the interior. One can conclude that, in the early thirties, a picture arose of the architectonic 14
15 Amédée Ozenfant, colour scheme of interior of own studio in London, 1937
Page 1 and 2: The Architectonic Colour Polychromy
Page 3 and 4: Exterior and interior 94 The associ
Page 5 and 6: chromy in Purist architecture only
Page 7 and 8: 1 Introduction The review of the ar
Page 9 and 10: 11 Fernand Léger, Pierre Jeanneret
Page 11: et-Coli. However, much use was made

The Architectonic Colour - 010 Publishers

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