In the twentieth century, interest in color in architecture in Europe
has been expressed in several ways. Two periods can be distinguished c
haracterized by different perceptions of the issue. First, between the
1920s and the outbreak of the Second World War, architects themselves
tackled the question of color, either by adopting some sort of polyyc
hromy, or on the contrary by excluding it from the design of their bui
ldings. In the second period, in the 1950s, a new form of coloration e
merged, this time at the initiative of certain artist-painters. This w
as the most significant step in terms of social, even utilitarian, cha
racter (but it should not be confused with another phenomenon linked t
o the manifestation of color, the mural). The new step was taken above
all in France, where some artists preferred to apply their sensibilit
y and experience to constructed space-on a different scale fr om the t
raditional scale of the painting. Patient experimental attempts and me
ticulous research by these few forerunners gave rise to a new professi
on sewing architecture, that of the color consultant. It was with the
development of industrial architecture and thanks to the way society w
as evolving that attention turned to the ambiance of the workplace, an
d the color consultant could come onto the scene. Previously, other pr
ofessionals had been active for (or against) color in architecture, an
d prepared the ground for this specialization, A historical overview,
marked by certain events in the 20th century architectural movement, i
lluminates in this discussion the origins and the need for the new pro
fession. In a more detailed way, the working methods and some realizat
ions of the principal French color consultants are addressed-a present
ation that is intended to interest researchers or professionals by pro
viding specific information that, despite its importance, seems to be
lacking in specialized publications. (C) 1995 John Wiley & Sons, Inc.