THE
AMERICAN ARCHITECT
FOUNDED 1876
COLOR — THE PART IT PLAYS IN THE DESIGN OF THE PUBLIC SERVICE BUILDING, BOSTON
By Harold Field Kellogg, A. I. A.
Few architects are given a free hand in designing any building. In the conception of the Public Service Building in Boston, the owner was most considerate, taking a trip around the world during the preparation of the plans. On his return, the idea of a completely colored building was suggested, approved and the construction begun. A colored quarter-scale model had much to do with the decision.
In starting anything new, the pioneer should assure himself that he will have to meet all the hardships and difficulties of blazing any trail into the unknown. For some years, architects have felt that no existing form or “style” in architecture met the requirements of the modern tall building. A new type of design would have to be born. But where was this new style to come from? To create something from nothing is obviously impossible and has never been successfully done. To express new elements, or interpret new requirements according to the old rules of good design is, however, possible. It means analysis, instead of imitation; diagnosis rather than repetition.
We, of this day and in this country, have a golden opportunity which has been granted to architects but twice before in history. The first development — the temple — reached its height in the age of Pericles in Greece; the second — the Gothic Cathedral — between the 13th and 15th centuries, in France. The first developed the post and lintel; the second solved the arch, and each was given its maximum of beauty.
The tall steel frame building is the problem it is our privilege to solve. What prospect could be more thrilling, considering that this is the richest and most progressive country today?
Since the use of painted hieroglyphics in Egyptian temples, color has played an important part in all design. It is destined to take an increasingly vital part in this new movement — in the creation of a typical American style.
This so-called modern style, if such yet exists, is certainly a vertical type, or has motion upward. What could accentuate this verticality more than the adoption of the color laws found in nature? All colors pale as they recede from the eye, become
Copyright, 1928, The Architectural & Building Press, Inc.
AMERICAN ARCHITECT
FOUNDED 1876
COLOR — THE PART IT PLAYS IN THE DESIGN OF THE PUBLIC SERVICE BUILDING, BOSTON
By Harold Field Kellogg, A. I. A.
Few architects are given a free hand in designing any building. In the conception of the Public Service Building in Boston, the owner was most considerate, taking a trip around the world during the preparation of the plans. On his return, the idea of a completely colored building was suggested, approved and the construction begun. A colored quarter-scale model had much to do with the decision.
In starting anything new, the pioneer should assure himself that he will have to meet all the hardships and difficulties of blazing any trail into the unknown. For some years, architects have felt that no existing form or “style” in architecture met the requirements of the modern tall building. A new type of design would have to be born. But where was this new style to come from? To create something from nothing is obviously impossible and has never been successfully done. To express new elements, or interpret new requirements according to the old rules of good design is, however, possible. It means analysis, instead of imitation; diagnosis rather than repetition.
We, of this day and in this country, have a golden opportunity which has been granted to architects but twice before in history. The first development — the temple — reached its height in the age of Pericles in Greece; the second — the Gothic Cathedral — between the 13th and 15th centuries, in France. The first developed the post and lintel; the second solved the arch, and each was given its maximum of beauty.
The tall steel frame building is the problem it is our privilege to solve. What prospect could be more thrilling, considering that this is the richest and most progressive country today?
Since the use of painted hieroglyphics in Egyptian temples, color has played an important part in all design. It is destined to take an increasingly vital part in this new movement — in the creation of a typical American style.
This so-called modern style, if such yet exists, is certainly a vertical type, or has motion upward. What could accentuate this verticality more than the adoption of the color laws found in nature? All colors pale as they recede from the eye, become
Copyright, 1928, The Architectural & Building Press, Inc.