ID 313X COLOR DYNAMICS AND PERIOD

COLORS
1:30-6:30 TH

GROUP 3 – 19TH CENTURY AND BEYOND

TOPICS:
1. ENGLISH REGENCY

2. GREEK REVIVAL

3. VICTORIAN

4. ARTS & CRAFTS

5. JAPANESE

6. ART NOUVEAU

7. ART DECO

8. BAUHAUS

9. INTERNATIONAL STYLE

10. LUDWIG MIES VAN DER ROHE

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 (1) ENGLISH REGENCY

Royal Pavilion, Brighton, UK

INTRODUCTION
Regency style, decorative arts produced during the regency of George, prince of
Wales, and during his entire reign as King George IV of England, ending in 1830. The
major source of inspiration for Regency taste was found in Greek and Roman antiquity,
from which designers borrowed both structural and ornamental elements.
The classical revival of Regency style, emphasizing purity of detail and structure,
adhered to a stricter archaeological interpretation of antique modes than either
the Neoclassicism of the 18th century or the concurrent French Empire style.

Regency Style in brief:

 A new interpretation of Greek style with more emphasis on classical form;

 Low ceilings, plaster walls painted deep colours or papered with small repeat
patterns, stars, small wreaths;
 Fabric sometimes used to create tented rooms;
 Painted finishes in vogue simulating marble and wood graining.

Regency Furniture and Fabrics in brief:

 Elegant furniture, especially chairs;

 Sabre legs, brass inlay, penwork;
 Couches with scoll ends;
 Greek and Egyptian influences;
 Damask, striped silks, glazed fabric, taffetas, stripes.

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*Regency chaise loung scroll ends, sabre legs

*Regency ladies writing table or Bonheur du jour, made

of rosewoood with fine brass marquetry inlay, the
drawers and legs with gilt-bronze mounts. English circa
1805

*damask- a firm lustrous fabric

(as of linen, cotton, silk, or
rayon) made with flat patterns in
a satin weave on a plain-woven
ground on jacquard looms/
reversible figure

Windows

 Elaborate curtain treatments;

 Swag tails with fringes, cords and tassels.

Lighting

 Improved by newly invented oil lamps;

 Candelabras, chandeliers and torcheres in use.

Regency Buildings

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Regent’s Park Terrace, Carlton House Terrace, Buckingham Palace, Brighton Square,
The Royal Pavillion, Ickworth, The Soane Museum, Castle Coole Northern Ireland,
Stratfield Saye House, Apsley House.

Colours

 Sulpher yellow, crimson, deep green, royal blue;

 Powerful colours often used with tints of their complimentaries;
 Red very fashionable;
 Carpet colours were chosen to harmonise with the walls, the curtain fabrics were
paler than the walls, upholstery was co-ordinated with the curtain fabric, and
furniture paintwork was chosen to match the background colour of the wallpaper
or the walls themselves;
 Green popular for drawing rooms and libraries, and was also used

 for wood and ironwork, screens and blinds

SULPHUR YELLOW DEEP GREEN

CRIMSON ROYAL BLUE

SOURCES:

Cameron, C. (n.d.). A Regency Palette. Retrieved from Embracing Romance: http://www.embracingromance.com/a-regency-palette-colors-of-the-regency-era/

Chinn, A. (n.d.). Regency. Retrieved from Adrienne Chin: http://www.adriennechinn.co.uk/interior-design-styles/regency.htm

Merriam-Webster Dictionary. (n.d.).

n/a. (n.d.). Regency Style. Retrieved August 16, 2017, from Brittanica: https://www.britannica.com/art/Regency-style

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 (2) Greek Revival
History
The Greek Revival was an architectural movement of the late 18th and early 19th
centuries, predominantly in Northern Europe and the United States. A product of
Hellenism, it may be looked upon as the last phase in the development of Neoclassical
architecture.

Colors
In ancient times, the Greek temples were painted in bright colors, but, of course, the
paint has long since worn away, leaving behind the plain white marble that is now
associated with ancient Greek architecture. White, therefore, is an ideal color to use in
Greek Revival homes, especially on the outside. At the height of Greek Revival, natural
colors were in style, and so light, neutral tones or colors found in nature, such as green,
brown or gray, are also suitable choices for interior colors. Wallpaper was commonly
used at the time, as well. You can use stronger colors for accents or furniture. Gilding
was also used to emphasize certain features of the room.

Materials

Stucco and wood, and occasionally stone, are the essential

building materials of the Greek Revival style. Intended to
resemble stone or marble temples the buildings were usually
painted white or enhanced with a faux finish such as the Lee
Mansion at Arlington National Cemetery.

Characteristics

Exterior
Homes in the Greek Revival style were usually
painted white to resemble the white marble of
impressive and costly public buildings. The details
were bold, but with simple moldings. Heavy cornices,
gables with pediments, and unadorned friezes were
typical.

Interior
 Wooden floors were the norm for Greek
Revival, and were often coated with varnish.
Unlike modern wooden floors, however, floors
during the height of Greek revival were often
painted, and painted floors could be either
solid or patterned. Wall-to-wall carpeting was
rare, with area rugs being more common.
Geometric designs, classical motifs, trellis or
stripe patterns, sometimes with flowers, and
patterns reminiscent of Oriental rugs were all
used with this style in the past.

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  Columns are a characteristic commonly associated with the Greek style, and so
they are used extensively in Greek Revival homes. While they are more
prominent outside of the home, using decorative columns inside is highly
reminiscent of the style. Trim or molding on walls that create "panels" is another
common feature, as is trim, especially cornices, around the perimeter of the
ceiling. Cast plaster ornaments are also common for the style, especially if they
resemble decorative motifs commonly used in Greek architecture. These
ornaments can be both on the walls or as medallions on the ceiling or can be
used for door or window surrounds.

 Double hung windows with six panes in each half were common for Greek
Revival homes. While both windows and doors were decorated with trim,
windows were typically less intricate. The window treatments, however, could be
very elaborate. These were often made from heavy fabrics and adorned with trim
or tassels. In more important rooms, the treatments were often arranged into
swags, cascades or shaped valances, sometimes with tied back side curtains.
Plainer valances were often used in less important rooms. Rooms often had
interior shutters that could be closed to control light rather than relying on the
curtains for this task.

Sources:
How to Decorate a Home in Greek Revival. (n.d.). Retrieved from http://homeguides.sfgate.com/decorate-home-greek-revival-62995.html

Greek Revival architecture. (2017, August 13). Retrieved from https://en.wikipedia.org/wiki/Greek_Revival_architecture

Historic Styles / Greek Revival 1825-1860. (n.d.). Retrieved from https://www.wentworthstudio.com/historic-styles/greek-revival/

A NEW GREEK REVIVAL HOME IN HUDSON VALLEY. (n.d.). Retrieved from

http://www.katyelliott.com/blog/2009/02/new-greek-revival-home-in-hudson-valley.html

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 (3) VICTORIAN STYLE

Deep shades of red, green and amber were most popular for Victorian homes,
according to Interior Design It Yourself. Combinations of these three colors with other
rich tones would be used on walls, ceilings, moldings, fabrics and furniture coverings.
Though less intense colors were often used for a home's exterior, it was common for
trim to be painted in at least two or three contrasting colors. Color was not limited to
paint on interior or exterior walls and trim. Fabrics, rugs and especially wallpaper
reflected Victorian-aged decorators' love for color. Large floral designs, intricate
damasks and heavily embroidered textiles created an ornate display of color and
pattern when used together in the same room as seen in the pictures below.

Hughenden Manor, Buckinghamshire Standen, West Sussex Tyntesfiled, Somerset

The home of Victorian Prime Minister, Benjamin Disrael Philip Webb’s last commission, Beale family residence One of the last surviving Victorian
Estates in England

Homes that were located in towns tended to use darker colors due to the pollution. 
Lighter colors could be used in country homes and farmhouses and were more popular
during the early portion of Victorian era.  The lighter colors in the earlier years may have
also been due to the low availability of pigments, and color options were dependent on
what could be obtained.  Local, natural ingredients often had to be used to mix colors,
which limited the selections.

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COUNTRYHOUSE TOWN HOUSE

The Victorian era was all about opulence.  Those who had it flaunted it, and those who
didn’t found ways to mimic it.  Mass production came into play to bring the look to the
middle class.  To highlight the luxurious looks, deep rich colors such as hunter green,
mauve and mahogany were used as technology came into play making colors and
décor more widely available.

LUXURIOUS HOME MIDDLE CLASS HOME

A good example of the Victorian style is the "Painted Ladies" in San Francisco. The
term "painted ladies" refers to Victorian houses painted in three or more colors to
embellish their architectural detail. It was first used to describe the colorful homes in
San Francisco in the 1978 book Painted Ladies: San Francisco's Resplendent
Victorians.

(Painted ladies’ exterior and interiors)

"Victorian architecture" actually refers to styles that emerged in the period between
1830 and 1910, during the reign of Queen Victoria. The Victorian era spawned several
well-known styles, including Gothic revival, Italianate and Queen Anne

GOTHIC

The Victorian styles evolved largely from the imposing,

elaborate Gothic style, which appealed to the romantic
Victorian idea that fashion, architecture and furnishings

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should be beautiful rather than practical this style were a swing in the direction of desire
to return to nature and have the home be one with its surroundings. Exterior colors
reflected this as well, typically being earth tones such as warm reds, browns, and
yellows while the trim and detailing were painted in complimentary colors. Interior
woodwork was usually left natural and protected with varnish

ITALIANATE

The landscape gardener, writer, nurseryman and nature-lover Andrew Jackson

Downing first published "Cottage Residences" in 1842. In this book, Downing provides
building plans, designs for landscape and furnishings, and a great number of details for
creating a home that is in harmony with nature and is aesthetically pleasing to everyone
who views it. He provides six color swatches that are in keeping with the ideals of the
Picturesque movement, in which the subtle colors of nature are espoused as less
discordant than the whites and greens, which seemed to have been prevalent. The
colors he espoused are neutral and include gray, brown, fawn and what he called "drab"
— all the colors of natural materials such as sand, earth, clay, straw, slate and stone.

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(Foxbar-Dundas)

QUEEN ANN

Queen Anne style became popular, synthetic pigments allowed for vivid blues, greens,
purples, and yellows; also common were multihued schemes that celebrated the style's
diverse architectural details, such as turned porch spindles and fish-scale shingles
under the eaves.

In

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Islamic worlds. These thoughts were documented later in his 1856 book, "The Grammar
of Ornament," which eventually found its way into the hands of American designers and
architects, influencing their color palettes.

Sources:

 H. (n.d.). Home Styles. Retrieved August 14, 2017, from http://www.hgtv.com/design/home-styles

 Home Guides. (n.d.). Retrieved August 14, 2017, from http://homeguides.sfgate.com/
 Decorator Secrets. (n.d.). Retrieved August 14, 2017, from http://www.decoratorsecrets.com/victorian-colors.html
 Then, Now & Forever® - The Victorian Era Color Collection. (0451, January 01). Retrieved August 15, 2017, from
https://www.dunnedwards.com/colors/specs/posts/then-now-and-forever-r-the-victorian-era-color-collection

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 (4) ARTS & CRAFTS MOVEMENT

The Arts and Crafts

movement was an international
movement in the decorative and
fine arts that began in Britain
and flourished in Europe and
North America between about
1880 and 1920, emerging in
Japan in the 1920s. It stood for
traditional craftsmanship using
simple forms, and often used
medieval, romantic, or folk
styles of decoration. It
advocated economic and social
reform and was essentially anti-
industrial. The movement
developed earliest and most
fully in the British Isles, and
spread across the British
Empire and to the rest of
Europe and North America as
well as japan.

Notable designers:

 William Morris - set up own company with fellow artists called Morris, Marshall,
Faulkner & Co in 1861, (later just Morris & Co), which produced everything from
furniture and textiles to wallpaper and jewellery
 Charles Rennie Mackintosh
 Charles Francis Annesley Voysey - wallpaper, textiles and silverware
 William de Morgan - glass, tiles and pottery

WILLIAM MORRIS C. R. MACKINTOSH C. F. A.

VOYSEY

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Examples of great architecture of the time:

 Prairie School of Frank Lloyd Wright

 Bungalow style of houses popularised by Greene & Greene
 Charles Rennie Mackintosh’s Glasgow School of Art
 Holy Trinity in Sloane Street
 London and Red House in Kent, built as a home for William Morris.

<-PRAIRIE SCHOOL
ARCHITECTURE MOVEMENT-
Robie House by Frank lloyd
Wrigh

<- BUNGALOW STYLE HOUSE

- Duncan Irwin House by
Greene & Green

<- Red house in Kent, was the residence of

William Morris, is believed to be where Arts &
Crafts movement first originated.

CHARACTERISTICS OF ARTS & CRAFTS:

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  Handmade
 Simple forms with little ornamentation
 Truth to materials - Preserving and emphasizing the natural qualities of the
materials
 Natural motifs - The flora and fauna of the British countryside inspired the
patterns used.
 The vernacular - domestic, traditions of the British countryside provided the
main inspiration for the movement

ARTS & CRAFTS ELEMENTS

Furniture - are wooden and handmade. Oak is the most used wood usually unstained
and unvarnished. other trademarks are copper and leather straps. Chairs have rush or
leather seats.

Armchair Washstand Writing Desk

Ernest William Gimson
1892-1904
Ash, turned on a pole-lathe,
with splats of riven ash; rush
seat
Leonard F. Wyburd (designer) C.F.A. Voysey
William Frend De Morgan (Tiles) 1896
Liberty (manufacturer) Unstained, Unvarnished oak, copper panel,
After 1894 hinges and fittings

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 Screen Table
John Henry Dearie C.F.A. Voysey
1885-1910 1903
Glazed mahogany frame, with panels of canvas embroidered Oak, Originally unpolished
with silks in darning, stem and satin stitch And unstained; present dark
Varnish is a later addition

Floors - Wooden floors in either parquet or boards in oak give

that rustic feel. Polished or stained in a dark finish.

Fireplaces - original arts and crafts house, the fireplace still

dominates the room. They had huge wide hearths set in an
inglenook or recess. The mantelpiece was carved

Walls - commonly wood panelled but if painted is commonly a

dull green or greeny-blue.

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Wallpaper - The originals used vegetable dyes and wood blocks. Today, there are
literally hundreds of original William Morris designs still being manufactured by the
major companies. The firm Sanderson bought all the original printing blocks from
Morris's firm when it closed down.

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 COMMON ARTS & CRAFTS COLORS

Vegetable colors:

Hubbard-squash Zucchini green Sage Green Morris Blue Pale Oak Porcelain Blue
orange

Autumn colors:

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Tiles - very similar to art nouveau ones but with brighter colours - cobalt blue,
turquoise, greens and reds. Typical motifs include galleons and stylised flowers.

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Stained glass - this was very popular, because of its medieval feel

Curtains and curtain poles - plain wooden or

brass curtain poles. Curtains do not have any frills
or flounces.

Lighting -
plain wall sconces are the best lighting

Sources:

• Brooks, A. H. (1972). The Prairie School: Frank Lloyd Wright and his Midwest Contemporaries. Toronto: University of Toronto Press.

• Craig & Rose ltd. (2015, Febuary 15). www.craigandrose.com/inspiration/blog. Retrieved August 9, 2017, from www.craigandrose.com:
http://www.craigandrose.com/inspiration/period-style-arts-and-crafts

• Klassen, W. (2003). History of Western Architecture. Cebu, Philippines: San Carlos Publications.

• Mallgrave, H. (2009). Modern Architectural Theory: A Historical Survey (1673–1968 ed.). Cambridge University Press.

• Sanderson. (2014, December 14). www.bbc.com.uk/home/design. Retrieved August 9, 2017, from www.bbc.com.uk:
http://www.bbc.co.uk/homes/design/period_artscrafts.shtml#get_the_look

(5) JAPANESE
Every culture has its own sense of color, and Japan is no exception. From
prehistoric times to the present day, the Japanese have developed their own collection
of traditional colors, known as dentouiro, which are still recognized and used today.
These colors are usually influenced geographically, internal cultural affairs and
interactions from external influences.

GEOGRAPHICAL

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 Color perception can be different depending on surrounding environment. As its
says, “The grass is greener on the other side”, a person who lives in the desert can see
green differently than to those who live in grasslands. The four principle colors of Japan
were established through their environment and each holds a deeper meaning to
Japanese culture. Red (aka), Black (kuro), White (shiro), Blue (ao), visually representing
light and dark, clear and vague.

Red was associated to authority and wealth, which has religious ties as it is
commonly shown on temples. White means godly and purity, which is a popular color
on shrines and temples. Black exudes dignity and formality which are usually worn by
temple monks. Blue, however, had no ties with religion but was very popular on
ceramics named sometsuke.

Some colors are also dependent on natural dyes from plants. For example
akaneiro, a deep red color, which was produced by creating a dye from the root of a
plant called akane grass. Another example is azukiiro, a dull tone of red violet, or the
color of azuki beans. They also get colors from rats (nezumi) that expresses gray tones.
Three of the most popular colors are budou nezumi, a purple-grey tone inspired from a
grape mouse, fuji nezumi, a light purple-grey tone inspired from a Fuji mouse, cha
nezumi, a light brown-grey tone inspired from a tea mouse.

Fig. 1.1 Interiors from Azuchi castle Fig. 1.2 Home office design

Fig. 1.3 White kitchen interiors Fig.1.4 Blue as ornamentation for interiors

INTERNAL CULTURAL AFFAIRS

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 The beginnings of the traditional Japanese color system can be traced back to
the year 603, during the reign of Prince Shotoko who established the first Twelve Level
Cap and Rank System in Japan. Based on Confucian values and the five Chinese
elements, this social ordering system determined rank by merit rather than heritage. In
this system, kinjiki, meaning forbidden, were colors limited for high ranking government
officials and yurushiiro, permissible colors, were for common folks. Kinjiki were usually
bright and elegant colors with each holding significance as an aristocrat and Yurushiiro
were pale or dull colors.

Fig. 2.1 Color chart for aristocrats

EXTERNAL INFLUENCES

During the Meiji period, new colors were adopted due to introduction of chemical
dyes from Western trade. One of the richest colors during that time was aniline. Aniline
was introduced by Napoleon III’s wife, Empress Eugenie when she wore her flaming red
military boots. The Japanese were quickly impressed on how the color stayed longer
when their dyes didn’t. Immediately, they implemented these dyes to their paintings
bringing it to life with its opaque colors.

Fig. 3.1 A colorful Japanese school Fig. 3.2 Aniline applied to Japanese painting

TRADITIONAL COLORS

Although traditional colors suggest subdued colors or a sense of Greige (leaving

the material as is without tinting or staining), this is only applicable due to incapability of
the common. Royalties and officials were those who demand great colors to signify their

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wealth and power while the rest were either forbidden or were not able to dye their own
because they give more importance in dying those of the rich. This is the reason why
common Japanese homes are of neutral color scheme.

ZEN INFLUENCE

The concept of Zen is to keep a minimalist look with a simplistic, natural

essence. The concept allows organic flow between spaces reducing elements to
their core essential quality. It leaves the furnishings bare allowing them to
connect with other elements like lighting. Peaceful surrounding and serenity in
interiors, especially in choosing colors that represent nature. This is mostly what
makes up of Japanese interiors.

Fig. 4.1 & 4.2 Zen inspired Japanese interiors

BIBLIOGRAPHY

W, S., & F. (2013, September 11). The Traditional Colors of Japan. Retrieved August 13, 2017, from https://www.tofugu.com/japan/color-in-japan/

10 Ways to Add Japanese Style to Your Interior Design. (2015, January 28). Retrieved August 14, 2017, from http://freshome.com/2014/07/29/10-ways-to-add-
japanese-style-to-your-interior-design/

Thompson, G. (2016). Colors of Japan. Japan.

De Bortoli, M., & Maroto, J. (2001). Colours Across Culture: Translating Colors In Interactive Marketing Communications. Global Propaganda

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 (6) ART NOUVEAU
Art Nouveau is an international style of art, architecture and applied art, especially the
decorative arts, that was most popular between 1890 and 1910. A reaction to the
academic art of the 19th century, it was inspired by natural forms and structures,
particularly the curved lines of plants and flowers.

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History

The Art Nouveau movement lasted for about thirty years until 1910. This was a style
were natural forms were used for inspiration and used in an original way. The most
popular Art Nouveau motif was peacock feathers. The hallmark of the style are the
curved undulating lines known as whiplash lines, plant like forms and highly stylized
curvilinear designs. The style is often described as sinuous, rhythmical and dream like.

Art Nouveau Motifs and Patterns

- Floral motifs (often abstracted)
- Delicate female forms
- Peacocks
- Insect wings
- Bird feathers
- Shells
- Vines
- Flowers, (Poppy, wisteria, water
lilies, Japanese lotus….)
- S curves
- Whiplash lines

Another important influence on the new style was Japonism: the wave of enthusiasm
for Japanese woodblock printing, particularly the works of Hiroshige, Hokusai, and
Utagawa Kunisada. The stylized features of Japanese prints appeared in Art Nouveau
graphics, porcelain, jewelry, and furniture.

Form and Character

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 - A description published in Pan magazine of Hermann Obrist's wall hanging
Cyclamen (1894) described it as "sudden violent curves generated by the crack
of a whip.”
- Subsequently, not only did the work itself become better known as The Whiplash
but the term "whiplash" is frequently applied to the characteristic curves
employed by Art Nouveau artists.
- "whiplash" motifs, formed by dynamic, undulating, and flowing lines in a
syncopated rhythm and asymmetrical shape, are found throughout the
architecture, painting, sculpture, and other forms of Art Nouveau design.
- In architecture, hyperbolas and parabolas in windows, arches, and doors are
common, and decorative mouldings 'grow' into plant-derived forms
- Though Art Nouveau, designers selected and 'modernised' some of the more
abstract elements of Rococo style, such as flame and shell textures, they also
advocated the use of very stylised organic forms as a source of inspiration,
expanding the 'natural' repertoire to use seaweed, grasses, and insects.

Colors
- were muted and delicate. Natural vegetable dyes were used in wallpaper,
chintzes and other materials.
- Art Nouveau focuses heavily on warm colors, with cool tones only used to
highlight or accent. Particularly, Art Nouveau artists loved yellow. Loved it in
every shade
- Colors are super-saturated. They all look faded and dusty. When you add warm
colors + lack of saturation, you get this very romantic, nostalgic, dreamy sort of
feel to your piece, which was not only very referential to Japanese prints (which
are all done on yellowed paper with no stark whites, similar to Art Nouveau), but
was exactly the mood these artists were going for. Thy wanted to create a sort of
fantastical place in their work.

Common Art Nouveau

Colors:
- Pastels
- White
- Off white
- Olive
- Mustard
- Sage
- Brown
- Lilac
- Gold
- Peacock blue

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The Main Features of the Art Nouveau Style
- Muted delicate colors
- Flowing curved lines
- Natural forms
- Tiffany lamps
- Glassware
- Pewter
- Silver ware
- Peacock feathers
- Stained glass panels
- Furniture with curving lines
and rounded forms
- Upholstery in Art Nouveau themes
- Smooth plain tiles
- Stenciled walls and ceilings
- Ironwork
- Electric lighting

Bibliography

- Art Nouveau. (2017, August 15). Retrieved August 16, 2017, from
https://en.wikipedia.org/wiki/Art_Nouveau

- The Only Guide You Will Ever Need to Art Nouveau. (n.d.). Retrieved August 16,
2017, from http://chibirhm.livejournal.com/519432.html

- Art Nouveau Style | How to create the Art Nouveau look. (2017, July 23). Retrieved
August 16, 2017, from http://blog.sampleboard.com/2011/03/29/art-nouveau-style-
how-to-create-the-art-nouveau-look/

(7) ART DECO

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 Art Deco, also called style moderne, is a movement in the decorative arts and
architecture that originated in the 1920s and developed into a major style in western
Europe and the United States during the 1930s. Its name was derived from the
Exposition Internationale des Arts Décoratifs et Industriels Modernes, held in Paris in
1925, where the style was first exhibited. [ CITATION The17 \l 1033 ]. Art Deco design
represented modernism turned into fashion. Its products included both individually
crafted luxury items and mass-produced wares, but, in either case, the intention was to
create a sleek and anti-traditional elegance that symbolized wealth and sophistication.

According to Encyclopædia Britannica, the distinguishing features of the style are

simple, clean shapes, often with a “streamlined” look; ornaments that are geometric
or stylized from representational forms; and unusually varied, often expensive
materials, which frequently include man-made substances (plastics, especially
Bakelite; vita-glass; and ferroconcrete) in addition to natural ones (jade, silver, ivory,
obsidian, chrome, and rock crystal). Though Art Deco objects were rarely mass-
produced, the characteristic features of the style reflected admiration for the modernity
of the machine and for the inherent design qualities of machine-made objects (e.g.,
relative simplicity, planarity, symmetry, and unvaried repetition of elements).

Art Deco embraced all types of art, including crafts as well as fine arts. It was
applied to decorative art like interior design, furniture, jewellery, textiles, fashion and
industrial design, as well as to the applied art of architecture and the visual arts of
painting, and graphics. [ CITATION ENC \l 1033 ]

ART DECO COLOR SCHEMES

A. Bold & Bright- The economy was booming in during the Roaring 20's and
lively, energetic colours began to symbolize the prosperity of the times. Hues
like canary yellow, emerald green, peacock blue, royal purple and brilliant red
became all the rage.

B. Metallics-Silver, Gold, Metallic Blues and Charcoal Greys also represented

the wealth and prosperity of the times. Metallic finishes instantly add glitz,
glamour and imply luxury and wealth. This is the epitome of Art Deco style.

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 C. Neutrals-Art Deco was all about a streamlined, modern look and a neutral,
monochromatic color scheme easily achieved this feel. Creams, beiges,
taupes and medium browns became popular choices for interiors and
fashions.

D. Black & White-This is probably the most popular colour scheme during the
1920's and 1930's. Black and white checkerboard tiles, floors and wallpapers
were very trendy. Also, fashions became ultra-sophisticated and streamlined.
The classic Chanel black and white ensemble was the ultimate in chic
sophistication.

[ CITATION Mar13 \l 1033 ]

References
ENCYCLOPEDIA OF ART HISTORY. (n.d.). Art Deco (c.1925-40). Retrieved from Art Deco: History, Characteristics of a Style of Architecture, Decorative Arts:
http://www.visual-arts-cork.com/history-of-art/art-deco.htm

Marta. (2013, March 13). Art Deco Colours. Retrieved from Art Deco Style: http://artdecostyle.ca/art-deco-style-blog/art-deco-colours

The Editors of Encyclopædia Britannica. (2017, June 6). Art Deco. Retrieved from Encyclopedia Britannica: https://www.britannica.com/art/Art-Deco

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 (8) BAUHAUS

The Bauhaus was founded in 1919 in the city of Weimar

by German architect Walter Gropius (1883–1969). Its
core objective was a radical concept: to reimagine the
material world to reflect the unity of all the arts. Gropius
explained this vision for a union of art and design in the
Proclamation of the Bauhaus (1919), which described a
utopian craft guild combining architecture, sculpture, and
painting into a single creative expression. Gropius
developed a craft-based curriculum that would turn out
artisans and designers capable of creating useful and
beautiful objects appropriate to this new system of living.

One of the most notable members of the Bauhaus

movement was Florence Knoll who was famed for her
elegant and clean modernist designs. As a multi-talented
designer Knoll’s work included textiles, interior design,
space planning, furniture design and architecture. A
selection of Knoll’s furniture designs can be found here.
When speaking of the design process Knoll claimed ‘I
thought of these designs as architectural pieces’ and this
is clearly shown through the symmetrical angles of her
work. Knoll’s designs are definite talking points and would make a great centre focus for
any room renovation.

The design of the furniture following the lines of the Bauhaus have the following
characteristics:

  The used materials must be

organic and natural (such as
wood, leather, glass and metal)
  The main color but not absolutely
necessary is the Black color.
  They have smooth shapes,
consistent with the anatomical
features of the human body.
  Many of them are with oval and
rounded shapes.

Sources:

G rif f it h W int on, A lexandra. “T he Bauhaus, 1919–1 933. ” I n   Heilbru nn T imeline of A rt Hist ory . New Y ork: T he Met ropolit an Museum of A rt, 2000–.
ht t p: // www. met museum. or g/ t oah/ hd/ b auh/ h d_b auh. ht m (A ugust 2007; last revised O ct ober 2016)

ht t p: // www. archit ect ur eart des igns. com/ b ack- bauha us- design- modern- age/

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 (9) INTERNATIONAL STYLE
Influences in Interior Design

The movement originated in Europe, emphasizing the use of modern materials

and building techniques, and placing function first over ornamentation. Until the advent
of this new trend, the practice had been to create houses and buildings inspired by past
architectural themes.Proponents considered International Style the most elemental form
of Modernism. The most influential leaders of the style were Le Corbusier in France,
Walter Gropius and Ludwig Mies van der Rohe in Germany.

Glass, steel, aluminum, concrete and plaster were favored building materials for
International style architecture. Interior walls became simply partitions, which permited
much greater flexibility in room layouts. Former emphasis on specific rooms gave way
to a much looser sense of overlapping spaces. Thus was the birth of the “open floor
plan”. Wall surfaces were bare, and colors tended to be in black, white, gray or beige.
The monochromatic color scheme was the fashion of the day. Travertine marble and
polished stone were favored for interior surfaces. Furnishings were stark and low with
accents of chrome, glass, the newly fashionable Lucite. Upholstery and accents were
simple in keeping with the architectural trend. The style movement is usually seen
mixed with warmer pieces that have soft textures or wooden surfaces.

In other words, for color, walls are treated as background incorporating sparse
tones of black, white, brown gray, beige and chrome. Bursts of color are used as accent
and accessories, primary colors often adding the splash of red , yellow or blue that
livens the austere modern interior. Floors have natural elements such as wood, stone,
brick and cork to complement the open, airiness of modern interiors, adding just the
right amount of natural organics to compliment the concrete and glass structure.
Abstract patterned rugs, help soften the linearity and add s character. Windows have
plain white curtains or Venetian blinds that allow light to enter the interiors without
detracting from the open, uncluttered space.

Some examples of International Style in Interior design:

Walter Gropius' home

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 Glass House
Retreat of Philip
Johnson, with bricks for the fireplace and flooring and a mix of wood and black steel
windows

International Style
living room with Barcelona chairs , windowed walls and minimalism in all white with
wooden flooring

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Hooper House by Marcel Breuer, with natural elements like stone for the walls and
flooring with black furniture
Bibliography:

(n.d.). Retrieved August 16, 2017, from http://www.artsparx.com/internationalstyle.asp

Design Style 101: International Style. (n.d.). Retrieved August 16, 2017, from http://abeautifulmess.com/2015/10/design-style-101-international-style.html

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 (10) LUDWIG MIES VAN DER ROHE
Introduction

Ludwig Mies Van Der Rohe, original name Maria Ludwig Micheal Mies (born
March 27, 1886, Aachen, Germany – died August 17, 1969, Chicago, Illinois, U.S.),
German-born American architect whose rectilinear forms, crafted in elegant simplicity,
epitomized the International Style of architecture.

He influenced an entire generation of architects while tenured as head of the

architecture department at the Illinois Institute of Technology (IIT). During his 60-year
career, Mies established a design vocabulary that helped define Mid-Century
Modern architecture.

The United States has a love-hate relationship with Mies van der Rohe. Some say that
he stripped architecture of all humanity, creating cold, sterile and unlivable
environments. Others praise his work, saying he created architecture in its most pure
form. Believing that less is more, Mies van der Rohe designed rational, minimalist
skyscrapers, houses, and furniture.

He strove toward an architecture with a minimal framework of structural order

balanced against the implied freedom of free-flowing open space. He called his
buildings "skin and bones" architecture. He sought a rational approach that would guide
the creative process of architectural design, but he was always concerned with
expressing the spirit of the modern era.

Philisophy

” Less is More ”   and ” God is in the details ” were Ludwig Mies van der Rohe’s
approach to the creative process.

Mies did not design buildings with a particular style in mind. For him, the
philosophy came first. How a building looked was purely an expression of its era and its
materials. As he explained, “I am not interested in the history of civilization. I am
interested in our civilization. We are living it. Because I really believe, after a long time
of working and thinking and studying that architecture...can only express this civilization
we are in and nothing else.”

Although he was not the first architect to practice simplicity in design, he carried
the ideals of rationalism and minimalism to new levels. His philosophy that "less is
more" became a guiding principle for architects in the mid-twentieth century.

What is Neo-Miesian?

Neo means new. Miesian refers to Mies van der Rohe. A Neo-Miesian builds upon the

beliefs and approaches that Mies practiced—the "less is more" minimalist buildings in
glass and steel.

Although Miesian buildings are unornamented, they are not plain.  For example, the
famous Farnsworth House combines glass walls with pristine white steel columns.
Believing that "God is in the details," Mies van der Rohe achieved visual richness
through his meticulous and sometimes surprising choice of materials.

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COLORS

Many have been led to believe that Mies only really worked with very drab colors; black,
white, gray and tan.  But upon closer inspection the work of Mies Van Der Rohe is
populated with luxuriant colors and textures.  In the Barcelona Pavilion, he used a large
variety of different colored marble each with their own boldness.  He used tinted glass
and red velvet curtains.  These all combined in a kaleidoscope of color that offsets the
abstract planarity of the rest of the building.  Colors contribute to the dynamic shifts of
the plan, it gives the experience vitality.  As the years went on Mies’ color palette
became subtler.  In the buildings at IIT, the tan bricks and tinted windows offset with the
gray painted steel create a very subtle and magical color scheme.  The Seagram
building is clad in rich bronze and the windows are similarly tinted in a rich dark color,
which contrasts beautifully with the coolness of the travertine floor and cores.  Colors
here express the luxury of the client, they express decadence.

BLACK WHITE GRAY TAN/BROWN

TEXTURES

Design Styles

Mies created neutral spaces based on material honesty and structural integrity. His
modern thinking influenced today’s art and design movements. Like any avant-garde his
own experiences help him to develop his own personal theories. He found the
aesthetics in the use of single rectilinear and  planar forms, clean lines and pure use of
color. He eliminated unnecessary and superficial materials substituting them with
straightforward rich materials and forms. He used philosophy as a basis for his work. He
used rational thinking to achieve his spiritual goals in architecture. He intentionally left
room in his work for interpretation.

He taught his IIT students to build first with wood, then stone, and then brick before
progressing to concrete and steel. He believed that architects must completely
understand their materials before they can design.

His modern furniture is designed by fine craftsmanship. He mixed luxurious fabrics and
leather with chrome structures. Supporting structure and supporting faces of his chairs
created a feeling of lightness by delicate framing.

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WORKS

When Mies arrived in the United States in 1938, he was already internationally known
and established in his field. He designed one of his most famous buildings—the
Barcelona Pavilion—as the German Pavilion for the 1929 International Exposition in
Spain. It’s a magnificent example of his trademark emphasis on open space

His glass-walled Farnsworth House near Chicago stirred controversy and legal battles.
His bronze and glass Seagram Building in New York City (designed in collaboration
with Philip Johnson) is considered America's first glass skyscraper. Skyscrapers around
the world are modeled after designs by Mies van der Rohe.

Bibliography
ChicagoArchitecture. (n.d.). Ludwig Mies van der Rohe. Retrieved August 17, 2017, from Chicago Architecture Foundation: http://www.architecture.org/architecture-
chicago/visual-dictionary/entry/ludwig-mies-van-der-rohe/

colorineverydaylife. (2010, February 28). Ludwig Mies van der Rohe. Retrieved August 17, 2017, from Color in Everyday Life:
https://colorineverydaylife.wordpress.com/2010/02/28/ludwig-mies-van-der-rohe/

Craven, J. (2016, August 27). Mies van der Rohe - What is Neo-Miesian? Retrieved August 17, 2017, from ThoughtCo.: https://www.thoughtco.com/mies-van-der-rohe-neo-
miesian-177427

Eckardt, W. V. (n.d.). Ludwig Mies van der Rohe. Retrieved August 17, 2017, from Encyclopaedia Britannica: https://www.britannica.com/biography/Ludwig-Mies-van-der-Rohe

Ludwig Mies van der Rohe. (n.d.). Retrieved August 17, 2017, from Modern Luxury Furniture: http://www.usmlf.com/ludwig-mies-van-der-rohe

thelyingtruth. (2011, August 28). Mies-Conceptions. Retrieved August 17, 2017, from The Lying Truth: https://thelyingtruthofarchitecture.wordpress.com/2011/08/28/mies-
conceptions/

Cohen, J.-L. (1996). Mies Van Der Rohe. E & FN Spon.

Schulze, F., & Windhorst, E. (2012). Mies Van Der Rohe: A Critical Biography, New and Revised Edition. Chicago & London: The University of Chicago Press.

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