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From Monopoly to Jean Nouvel's Serpentine Pavilion: Monochromatic Buildings and Rooms
Monochromaticity has been significant in twentieth-century visual art and its aims and disciplinary effects substantially theorized. In architecture and interior design, the rendering of buildings and spaces in a single colour has, in the last decade, gone from isolated instances to a notable international phenomenon across disparate styles. Looking to monochromatic art and its specific disciplinary history, this paper attempts to understand the ambitions, context, and consequences of monochromatic architecture. Characteristic of the critical reception of monochromatic art is a tension between the cultural meanings of colour and the physiological nature of colour perception. The immersive effects of the coloured interior are physiological, yet, as this paper argues, their use is cultural and argumentative.
From Monopoly to Jean Nouvel's Serpentine Pavilion: Monochromatic Buildings and Rooms
Monochromaticity has been significant in twentieth-century visual art and its aims and disciplinary effects substantially theorized. In architecture and interior design, the rendering of buildings and spaces in a single colour has, in the last decade, gone from isolated instances to a notable international phenomenon across disparate styles. Looking to monochromatic art and its specific disciplinary history, this paper attempts to understand the ambitions, context, and consequences of monochromatic architecture. Characteristic of the critical reception of monochromatic art is a tension between the cultural meanings of colour and the physiological nature of colour perception. The immersive effects of the coloured interior are physiological, yet, as this paper argues, their use is cultural and argumentative.
From Monopoly to Jean Nouvel's Serpentine Pavilion: Monochromatic Buildings and Rooms
Kaji-O'Grady, Sandra (author)
Architectural Theory Review ; 19 ; 141-153
2014-05-04
13 pages
Article (Journal)
Electronic Resource
English
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