The article highlights the origin and development of the Albers’ color theory by noting that Albers ideas profoundly influenced Luis Barragan’s work with color. The article notes that although the utilization of highly changed color is contextual, evaluation of the color bands produced by individuals working independently, the crafts and traditional buildings highlight an absence of the cohesive patterns of Barragan. Furthermore, besides the environmental influences, the interest that Barragan gained from his friends shaped his work. In particular, Barragan’s designs seem not to be spontaneously generated by based on intelligent and scholarship authority (O'Leary 115). It is evident that Barragan’s friends, knowledge, and ideas from other artist influenced his selection of hues and color theories. Albers’s color theory promotes the idea of creating color designs that have compositions that seem to characterize overlapping rectangles. The first rectangle seems to have a double opening that frame the color at the behind while the other present as transparent and adopt a different hue as it overlaps the various colors of other rectangles (O'Leary 116).
The article asserts that Barragan’s earlier works characterized color applications that included hues that elucidate sharp light and dark contrast. Furthermore, he later included the idea of hue adjacencies that presented similar light intensity that was characteristic of the Albers’ color theory. The development of the Albers color theory initiated with the idea of combing warm centers with silent backgrounds. He later presented the idea of selecting hues for the squares that appeared to be adjacent to each other on the color wheel. In coherent with the Albers’ theory, Barragan’s architecture mainly present a situation where conflicting hue separates the building structures and with the utilization of hue adjacencies. This produces interconnected, unclear boundaries (O'Leary 118).
Barragan translated the Albers’ theory into the building environment by designing wall paintings that characterized changing of color patterns from hue contrast to hue adjacencies. The Satellite City Towers highlights a good example of the translation of the Albers’ theory. The building was repainted, and the hues were changed making the adjacent to each other and with similar intensity (O'Leary 117). Barragan considered the need of removing the yellow, cream and blue as they presented hue that contrasted the blue sky. This affirms Barragan’s developing preference for the idea of hue adjacencies that is in line with the Albers’ color theories. Furthermore, Barrigan’s last project the Casa Giliardi provides a clear evidence of the translation of Albers idea of opaque color combination in the creation of the appearance of transparency. The building’s model extensively explores Albers concept of color overlaps (O'Leary 119).
The Petronas Towers in Kuala Lumpur and One World Trade Center in the New York are examples of modern architects that advance Albers’ theory. The color design presented by the One World Trade Center aligns with the idea of hue adjacencies developed by Albers. In particular, the colors design for this building blends well with the blue sky reflection. Furthermore, in view that the building is situated near the ocean, the model account for the blue ocean color reflection. The designer of this architect also accounted for the sunrise and sunset glowing light reflection especially when the light strikes the sea. Selection of hue adjacencies color design gives the building a brilliant look from a distance view. Petronas Towers design exploits extensively Albers' idea of color overlaps. It colors overlaps in a strategic manner to creating an amazing pattern of two bright towers.
O’Leary, Patricia. “Barragan’s Homage to Albers.” ACSA Annual Meeting. 1995. PDF.