Color design in the Bauhaus laboratory of wall-painting

Authors

  • Michela Rossi Dipartimento di Design Politecnico di Milano

Keywords:

Color, lighting, visual perception, digital, design

Abstract

Representation is the weak element in color design. It actually seems to condition the expression of color in the project. The la always favored the design as a media between design and building, by the use of conventional codes and symbolic languages, which are able to unambiguously describe formal characteristics that couldn’t possibly be described in detail in the technical representation on scale. Even for the representation of the color, there is a long tradition of attempts to obtain an unambiguous identification through geometric conventions, mathematical coordinates and numerical formulas, but this can only marginally affect the tradition of architecture and interior design. This is due to difficulties in reproducing the elaborate, which forced to use watercolor drawings (colored or otherwise) in the original. The effects of representation tools on the project, and therefore the possibility of remote control of the color, required an investigation of the color’s representation when it becomes a decisive feature in the characterization of the inhabited space and therefore a research element for architectural and interior design. [...]

References

P. Caselli, Il colore progettato. La sperimentazione cromatica ottocentesca nel progetto di Damiani Almeida per il Teatro Politeama di Palermo, in DISEGNARE, n° 2, Gangemi, Roma, 1991, pag. 67-74.

G. Semper, Osservazioni preliminari sull’architettura dipinta e sulla plastica presso gli antichi (1834), in Architettura arte e scienza, edited by B. Gravagnuolo, Ciran, pagg. 87-91.

K. Hartmann, F. Bollerey, Il caso Taut, in RASSEGNA (colore: divieti, decreti, dispute) edited by R. Eco, N° 23, Anno VII, 23/3, C.I.P.I.A, Bologna, 1979, pagg. 68-74.

Theo Van Doesburg, Scritti di arte e architettura, edited by S. Polano, Officina Edizioni, Roma, 1979

Magdalena Droste, Bauhaus, Bauhaus-Archiv, Berlin.

Renate Scheper, Farbenfroh! Die Werkstatt für Wandmalerei am Bauhaus, Bauhaus-Archiv, Berlin, 1989.

The recent exhibition dedicated to Mondriand at Beaubourg in Paris documented through numerous drawings for internal dissolution of the continuity of spatial box through contrasting primary colors and his preference for an axonometric view of the traditional approach.

Le Corbusiers, Polycromie architecturale: Farbenklaviaturen von 1931 und 1959, Basel, Birkhauser, 2006.

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Published

2014-12-01

How to Cite

Rossi, M. (2014) “Color design in the Bauhaus laboratory of wall-painting”, Cultura e Scienza del Colore - Color Culture and Science, 2, pp. 55–60. Available at: https://jcolore.gruppodelcolore.it/ojs/index.php/CCSJ/article/view/14.02.09 (Accessed: 28 June 2022).

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Section

Papers