Downtown Miami July 4, 2007 — The colors here are analogous, red/white/blue
In the last couple of weeks, my blogs addressed dark tones and color distribution. Color distribution is the industry phrase for the Law of Chromatic Distribution.
In this blog, please note that the discussion is about color basics and its application. The basics are applicable to all the arts, as well as to interior design.
A room is divided up by four areas:
- Dominant Areas—Walls, floor and ceiling
- Medium Areas—Draperies and large upholstered furniture, bedcoverings, etc.
- Small Areas—Small upholstered furniture, chair-seats, pillows, table covers, etc.
- Accents—Piping, welting or fringes on draperies and upholstery, lampstands or shades, pattern motifs in wallpapers and textiles.
Sample of a Monochromatic color distribution
A color scheme is principally formed by the color used in the dominant and medium areas. The colors in the small areas and accents add punch, but are of less importance in the general effect of the composition. They can accentuate the colors used in the larger areas and sometimes help to tie the colors together for unity and harmony.
The basic color schemes: Monochromatic, monotone, complementary, analogous.
Monochromatic bedroom design
A monochromatic color scheme uses a single color on most every room surface. In this type of scheme, various darker shades, grayer tones, and paler tints of the main color may be included in the palette. In addition, the one color is often paired with white or another neutral. For example, a monochromatic room in gray might use single shade of gray paired with white. Yet it might also include dark blue upholstery fabric, pale gray walls, medium gray draperies in contrast with the walls, sometimes edging the draperies with a contrasting fringe or piping and welt the seams of the upholstered pieces in the same manner, also use a patterned area rug that includes both gray and white. The window and door trim as well as the ceiling might be painted in white.
Monotone living room
A monotone color scheme uses a single neutral color, such as gray or taupe, in the same tones, values and intensity. Although it is well unified, to avoid monotony, add accents or create textural variety in fabrics, such as velvet, satin, tweeds, linen, tapestries, etc., or in types of furnishings, such as plexiglass, glass, chrome, bronze, or a variety of exotic woods. This type of color scheme can be elegant by its simplicity. It is useful as a backdrop for art of exceptional merit.
The Night Café, (1888), by Vincent van Gogh, used red and green (complementary) to express what Van Gogh called “the terrible human passions.”
A complementary color scheme uses colors opposite each other on the color wheel, or the complement, such as green and red, blue and orange and purple and yellow. The distribution of these colors would vary in tone and value, as in pale green and soft pink, etc. In this scheme, a more agreeable harmony will be attained if each color is slightly tinged with similar colors to make them more appealing. So in that green and red scheme, it’s more visually appealing if the red is slightly tinged with yellow, (red-russet) and the green is also slightly tinged with yellow (citron). Or if the red is on the blue side (re-mulberry) the green should also be on the blue side (green-slate). For color
Impression, Sunrise by Claude Monet (1872) featured a tiny but vivid orange sun against a blue background (complementary). The painting gave its name to the Impressionist movement.
harmony, the same principle should be applied to the other complementary schemes and the proper color may be easily selected by inspecting the color wheel. Here’s a great website for you to explore about complementary colors: http://color-wheel-artist.com/complementary-colors.html.
Color wheel 1908
And for my artist colleagues, please note in the color circles what happens when you mix two complementary colors together on your palette. The three primaries when mixed with their secondary colors (complementary colors) all do the same thing, they neutralize each other. Yet, placed side-by-side they intensify each other. The color schemes can also be used in your paintings.
Analogous interior-resource, Pinterest
An analogous color scheme are any three adjoining hues in a 12 color wheel, or any three of six adjoining colors in a wheel of 24, as in the Miami fireworks image above. The colors can be used in any tonal or chromatic (intensity) values, as long as the law of chromatic distribution is maintained, (medium intensity on the dominant areas, etc.). In this type of scheme the colors close to each other always harmonize well. Using three colors of mutual tonal relationship is the safest selection. To avoid monotony, tonal variety is helpful, and it’s usually better to use one of the tones to dominate the others, by limiting the color of the walls to one color and repeat in small accents in other areas.
Pinterest illustration of analogous color scheme. Any three colors from a 12 or 24 color wheel.
A basic color scheme will use two colors that look appealing together. More advanced color schemes involve several related colors in “Analogous” combination, for example, text with such colors as red, yellow, and orange arranged together on a black background in a magazine article. The addition of light blue creates an “Accented Analogous” color scheme.
There is much to explore in the color world, but hopefully, this blog gives you some understanding about how to color your life! Feel free to ask questions . . .
Fireworks: By Averette at English Wikipedia – Digital photo taken by Marc Averette.Transferred from en.Wikipedia; en:File:Miamifireworks.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=10573309
A version of this article, by Michael Kimmelman, appears in print on January 27, 2015, on page C1 of the New York edition of the New York Times, with the headline: A Chance to Salvage a Master’s Creation
Photo Credit Fred R. Conrad/The New York Times
Paul Rudolph’s Orange County Government Center in Goshen, N.Y., is on the World Monuments Fund’s watch list.
Unless county legislators act quickly, a paragon of midcentury American idealism will be lost.
Paul Rudolph’s Orange County Government Center, in Goshen, N.Y., announces itself as a civic hub. It’s made of corrugated concrete and glass, organized into three pavilions around a courtyard, like an old wagon train around a village green.
A county proposal would tear down huge chunks of it, flatten the roof, destroy windows, swap out parts of the textured concrete facade and build what looks like an especially soul-crushing glass box. Goshen would end up with a Frankenstein’s monster, eviscerating a work that the World Monuments Fund, alarmed by precisely this turn of events, included on its global watch list alongside landmarks like Machu Picchu and the Great Wall of China.
Haters in Orange County government have been contemplating its demise for years, allowing it to fall into disrepair and shuttering the building, citing water damage after Hurricane Irene in 2011. Pictures of the interior from the early 1970s, when the center was still new, show a complex of animated spaces, by turns intimate and grand. Later renovations ruined the inside, making it cramped and dark. Rudolph was a master of sculpturing light and space, following in the footsteps of Frank Lloyd Wright, whose emotionalism he married to the cool Modernism of Europeans like Walter Gropius and Le Corbusier.
His style, unfortunately, came to be branded Brutalism, and turned off many. But the government center was conceived with lofty social aspirations, making tangible Rudolph’s concept of energetic governance as a democratic ideal. It was a beautiful notion; and while the architecture may never win any popularity contest, it was beautiful, too, with its poetry of asymmetric, interweaving volumes.
Although the center no longer seems to suit Orange County administrators, it can be repurposed. Gene Kaufman, the owner and principal of Gwathmey Siegel Kaufman Architects in New York City, has offered to pay the county $5 million for the building and restore it as an artists’ live-work space, with public exhibitions. Mr. Kaufman has also offered to design a brand new government center next door for $65 million — millions less than the $74 million county officials allotted some time ago for the plan to tear down part of the building and add the glass box.
But Steven M. Neuhaus, Orange County executive, seems determined to pursue the teardown plan. MidHudsonNews.com quoted him the other day as saying that “construction and deconstruction work” will begin “by spring of this year.” He recently vetoed a proposal that would have allowed the county to sell the center to Mr. Kaufman.
Customized fluted concrete blocks were used in Rudolph’s Orange County Government Center, Goshen, N.Y. (1963–71), which narrowly escaped recent demolition attempts. Courtesy of Library of Congress, Prints and Photographs Division.
County legislators meet on Feb. 5. They have a chance to override the veto. I gather that local merchants have complained about lost revenue since government workers relocated to temporary quarters after the center closed. They may be pushing for whatever is in the pipeline.
But many people who spoke at a public hearing last month in Goshen endorsed Mr. Kaufman’s proposal. It would save the center, potentially save the county a fortune, bring in tourist dollars and even put the Rudolph building on the tax rolls. Demolishing Penn Station seemed expedient to politicians and other people a half-century ago, when only a noisy bunch of architecture buffs and preservationists pleaded for its reprieve. Back then, Rudolph was a leading light in American architecture, his work the epitome of American invention and daring. He lived long enough (he died in 1997, at 78) to see his reputation decline with the rise of Post Modernism, whose own eclipse has coincided with renewed interest in Rudolph’s legacy.
Orange County legislators should take a look at his Art and Architecture Building at Yale, which Post Modernists had squarely in their cross hairs. Opened in 1963, it was restored several years ago by the firm of Gwathmey Siegel. Ugly partitions and drop ceilings from an unfortunate renovation were stripped away, years of contempt and neglect erased. Cramped, dark, byzantine spaces returned to how Rudolph intended them: light-filled, exalting, with serendipitous vistas and a communal, townlike connectedness. There’s a syncopated flow to the building. The concrete facade, its corduroy pattern bush-hammered by hand, looks quarried from some immense rock. Almost miraculous, the restoration vindicates Rudolph.
History is on the Government Center’s side, too. Here’s hoping county legislators are.
What do you think? Why do we continue to tear down our history?
Fallingwater Fireplace in Living Room section
If you are reading this, you are probably curious about Frank Lloyd Wright Interiors.
FLW was not a singer songwriter, he was not a shoemaker, he was not slothful, and he was not an interior designer. FLW was a creative genius in architectural methodology and an engineer. He knew he was an architect and engineer, but he also thought he was a designer of interiors and furniture maker. Fallingwater is a prime example of Wright’s
concept of organic architecture, “promoting harmony between man and nature through a design integrated with its site buildings, furnishings and surroundings as part of a unified, interrelated composition.”
His large sitting room at Fallingwater could have had several “conversation groupings.” There is ample bench-like seating that is designed for lots of people sitting side-by-side.FLW lined up the seating all around the perimeter of the room. Unless you are sitting with your sweetheart and holding hands, it is difficult to sit right next to someone and hold a conversation. The best seating is to group conversation areas so folks are sitting across from one another.
When last I visited his magnificent Fallingwater I found it curious there was no seating at the fireplace. The fireplace is a perfect conversation area, but the rock ledge he designed and installed is in the way.
Lined up sitting
The windows are behind the seating. It would be difficult to enjoy the view. A view or fireplace are natural focal points to group seating. Neither the view nor the fireplace was considered.
Fallingwater is the ultimate realization of his vision of man living in harmony with nature. Walls of glass enhance the site-and-house connection. But what about the functional connection for those using the space? He argued with his client about design and money. Instead of an agreed budget of $50,000 max, the cost escalated to $155,000.
Keep posted for a look at more of Wright’s ideas.