Woodlan Market promotes Organic Design


While the ideas developed by Le Corbusier about architectural polychromy during his purist phase have received substantial attention in the past decade,4 his postwar ideas about architectonic color have yet to be critically analyzed and placed in historical context. The origins of the changes in his palette, color theory, and design principles, as well as the impact of the change on industrially manufactured paints in his structures of the postwar period, have been addressed only briefly in prior research. This leaves a gap in the understanding of Le Corbusier’s postwar architecture. This paper focuses on Le Corbusier’s period of transition between 1930 and 1945, in the context of his complete oeuvre.

This article investigates the evolution of Le Corbusier’s thought about architectural polychromy during the transition period following his purist period by comparing and analyzing the use of color in his painting, architecture, and sculpture.

Color is a perilous agent in the expression of volume; very often it destroys or disorganizes volume because the intrinsic properties of color differ greatly: some are radiant and push forward, others recede, and still others are massive and stay in the real plane of the canvas, etc

One can determine the major group hierarchically, made up of yellow and red ochres, earth tones, white, black, ultramarine blue and of course certain shades derived from them by mixing.

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