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And somehow their fear of color became conflated with Modernism’s horror of ‘dishonesty’, perhaps because it was ‘dishonest’ to add color to building materials. Puritans have problems with things that they don’t understand their instinct is to attack. Save this picture! Keble College Chapel, Oxford, by William Butterfield (1867-1883). The multi-colored interiors of church after church were whitewashed initially during the Reformation across Europe, then smashed during the English Civil War, then both re-whitewashed and re-smashed Europe-wide in Catholic churches during the 1960s and 1970s.
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The evangelical churches in England, for example, devised a programme of systematically eradicating color from their buildings, explained in the popular handbook Repitching the Tentof 1996 which tells them how to do precisely that. This has religious (or possibly superstitious) origins, perhaps based on a terror of earthly passions.
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Many of the problems with color are to do with an innate puritanism among clients of architecture. Only later do architects emerge from the embarrassment of confronting color – Piers Gough said at the time that he chose a deep blue for the Circle in Bermondsey because it was the “nicest color” in the Shaws of Derwen catalogue nearly thirty years later he talks about it as a “landscapey” color, of the sky or of the water.Īnd “landscapey” is what it is. Not even the bright red cladding of the recent vast MAS in Antwerp was discussed in terms of what it might mean. See how critics responded to MAKE’s 2008 wedge-shaped buildings for the Jubilee Campus for the UK's University of Nottingham: the pinks and reds of the facades were either derided or completely ignored.
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Save this picture! A view into the Chapel of the Blessed Sacrament of St Giles’ church, Cheadle, by A.W.N. But elsewhere, Modernism tried to ‘educate out’ bright colors to the extent that today they are not mentioned in polite company, however much you might enjoy buying colorful objects for your home. Indeed, Girard’s 10,000-piece collection now fills an entire wing of a museum.
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They blow you away with blasts of unabashed, rich color covering every square millimetre of the space.įolk art is full of color: two exceptional mid-century Modernist designers-the American Alexander Girard and the Hungarian-born British textile designer Tibor Reich-returned to it time and again for inspiration. Now step back and look at a real colored building – William Butterfield’s All Saints’ Church, Margaret Street, London, or Keble College, Oxford, or the interior of A.W.N. Like blushing virgins, the better architecture students of about ten years ago started to use coy colors in their drawings: pastel pink, pastel blue, pastel green quite a lot of grey, some gold: a little like the least-bad wrapping paper from a high street store. You can read Brittain-Catlin's essay on British postmodernism, here. Timothy Brittain-Catlin, the fascinating journey that color has taken throughout history to the present day-oscillating between religious virtuosity and puritan fear-is unpicked and explained. In this essay by the British architect and academic Dr.