cotta were utilized to give life and variety to the whole.
Cast stone was used only in the lighter colors, and with a multi-colored surface it was selected for copings, rather than terra cotta, as it could be made in larger pieces, to secure fewer joints.
The entire color scheme was kept on the upper half of the spectrum; that is, red, orange, yellow and green. Blues and violets were avoided. Perhaps when color effects are better known and their use more general, as it probably will be, the whole spectrum may be used. The most vivid colors pale, even in large masses, at a distance from the eye and the most vivid or saturated red or green appears gray at a distance.
In designing a building where color is to take a leading part, the general design must be one which explains the color, rather than confuses it. Simple piers, rising from the curb to coping, lend them
selves to the gradation of color. Lack of cornice, with its necessary shadow, simplifies and emphasizes the color. Colored accents should be secondary to the general color and in key with it, rather than in hard contrast to it.
The play of light and shade must be carefully handled with slight reveals, or the shadows, purple at a distance, will confuse the general warm tone. Deep shadows exist only under arches and balconies of the 3rd and 4th floors in the Public Service Building.
As all tall buildings should have a vertical movement in their general proportions, so all details, no matter what the shape or form, should have a vertical feeling. This can be accomplished by inserting vertical motives even in a horizontal panel. Color will accentuate this verticality. The use of gold, which goes with any color and adds a flicker of brilliancy to the detail, should be used only on
DETAIL OF MODEL OF ORNAMENTAL WINDOW TRIM
DETAIL OF MODEL OF ORNAMENTAL DOOR SURROUND
Cast stone was used only in the lighter colors, and with a multi-colored surface it was selected for copings, rather than terra cotta, as it could be made in larger pieces, to secure fewer joints.
The entire color scheme was kept on the upper half of the spectrum; that is, red, orange, yellow and green. Blues and violets were avoided. Perhaps when color effects are better known and their use more general, as it probably will be, the whole spectrum may be used. The most vivid colors pale, even in large masses, at a distance from the eye and the most vivid or saturated red or green appears gray at a distance.
In designing a building where color is to take a leading part, the general design must be one which explains the color, rather than confuses it. Simple piers, rising from the curb to coping, lend them
selves to the gradation of color. Lack of cornice, with its necessary shadow, simplifies and emphasizes the color. Colored accents should be secondary to the general color and in key with it, rather than in hard contrast to it.
The play of light and shade must be carefully handled with slight reveals, or the shadows, purple at a distance, will confuse the general warm tone. Deep shadows exist only under arches and balconies of the 3rd and 4th floors in the Public Service Building.
As all tall buildings should have a vertical movement in their general proportions, so all details, no matter what the shape or form, should have a vertical feeling. This can be accomplished by inserting vertical motives even in a horizontal panel. Color will accentuate this verticality. The use of gold, which goes with any color and adds a flicker of brilliancy to the detail, should be used only on
DETAIL OF MODEL OF ORNAMENTAL WINDOW TRIM
DETAIL OF MODEL OF ORNAMENTAL DOOR SURROUND