The Right Angle Journal - Summer 2019 - 14

angles and use a classroom colour scheme that changes according to the age and education
level of the child.
With Art Nouveau, from 1890 to the beginning of the First World War, ornamentation, floral
elements and colour were once again in full bloom. Buildings such as Olbrich's Secession
Building and Wagner's Majolikahaus, both in Vienna, and Gaudí's Casa Batlló in Barcelona
express the unconventional use of colour and ornamentation. This short period came to a halt
at the beginning of the First World War, to be followed by the modern movements like De Stijl,
the Bauhaus and the Vienna Modern, with Adolf Loos at the helm. In his essay "Ornament and
Crime," Loos advocates clean surfaces rather than lavish decorations. So extreme were his
views that in a 1931 issue of the magazine Das Neue Frankfurt, he declares that "Bauhaus and
Constructivist Romanticism is no better than the Romanticism of the ornament."
After the Second World War, an even stronger modernism became the international norm,
fostered by the invention of the steel skeleton frame for skyscrapers, and encouraged by protagonists such as Gropius and Mies van der Rohe, Richard Neutra, Phillip Johnson, I. M. Pei
and others. Mies, who was also the last Bauhaus director (he basically financed the school with
his own money), promoted the modern style based on the dictum "Form follows function." His
well-proportioned trademark black towers began to appear in New York, Chicago and Toronto
in the 50s and 60s.
Swiss-French architect Le Corbusier, who created buildings such as the Unité d'Habitation in
Marseille, and planned utopian settlements such as Radiant City, was one of the few modernist architects to use colour deliberately, and even developed his own colour harmony system.
Mostly however, the period after the Second World War was characterized by a lack of colour,
up to this day, interrupted only by the postmodern movement that rebelled against the dogma
of "Less is more," modelling their work after a quote by Robert Venturi: "Less is a bore."
Except for a few postmodern buildings, our inner cities are still dominated by modern skyscrapers based on functionality and optimal use of space. The facades are black, white or any
shade of grey. The visual monotony recalls an observation by Vasily Kandinsky:

Weissenhofsiedlung
(the Weissenhof
Estate).
PHOTO SOURCE:
RANDY JOHNSON

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The Right Angle Journal - Summer 2019

Table of Contents for the Digital Edition of The Right Angle Journal - Summer 2019

Colour
Index to Advertisers
Locations
The Right Angle Journal - Summer 2019 - Intro
The Right Angle Journal - Summer 2019 - cover1
The Right Angle Journal - Summer 2019 - cover2
The Right Angle Journal - Summer 2019 - 3
The Right Angle Journal - Summer 2019 - 4
The Right Angle Journal - Summer 2019 - 5
The Right Angle Journal - Summer 2019 - Colour
The Right Angle Journal - Summer 2019 - 7
The Right Angle Journal - Summer 2019 - 8
The Right Angle Journal - Summer 2019 - 9
The Right Angle Journal - Summer 2019 - 10
The Right Angle Journal - Summer 2019 - 11
The Right Angle Journal - Summer 2019 - 12
The Right Angle Journal - Summer 2019 - 13
The Right Angle Journal - Summer 2019 - 14
The Right Angle Journal - Summer 2019 - Index to Advertisers
The Right Angle Journal - Summer 2019 - 16
The Right Angle Journal - Summer 2019 - 17
The Right Angle Journal - Summer 2019 - Locations
The Right Angle Journal - Summer 2019 - cover3
The Right Angle Journal - Summer 2019 - cover4
https://www.nxtbook.com/naylor/BEFQ/BEFQ0220
https://www.nxtbook.com/naylor/BEFQ/BEFQ0120
https://www.nxtbook.com/naylor/BEFQ/BEFQ0419
https://www.nxtbook.com/naylor/BEFQ/BEFQ0319
https://www.nxtbook.com/naylor/BEFQ/BEFQ0219
https://www.nxtbook.com/naylor/BEFQ/BEFQ0119
https://www.nxtbook.com/naylor/BEFQ/BEFQ0418
https://www.nxtbook.com/naylor/BEFQ/BEFQ0318
https://www.nxtbook.com/naylor/BEFQ/BEFQ0218
https://www.nxtbook.com/naylor/BEFQ/BEFQ0118
https://www.nxtbook.com/naylor/BEFQ/BEFQ0417
https://www.nxtbook.com/naylor/BEFQ/BEFQ0317
https://www.nxtbookmedia.com