The following article was originally published in The Southern Architect journal in September 1892, and was written by Edmund George Lind (1829-1909), professionally known as E.G. Lind, a British-born architect who spent most of his life and career in Baltimore, but practiced in Atlanta from 1883 to 1893.
Less an article than a few brief notes, here Lind offers guidance on selecting interior colors based on a room’s orientation to the sun.
Synthetic pigments developed in the 19th century brought a dizzying array of bright new colors into existence, and in the age when the rule-breaking artists of Impressionism shocked the public with the bold and vivacious tones of their paintings, color was the subject of both intense scientific scrutiny and countless mystical theories.
As de facto interior designers, architects had to possess a strong understanding of the relationship between light and color, and Lind took a special interest in color and its associations: in 1882 he presented his own mystical theory on “The Harmony Between Color and Music” to his colleagues in the American Institute of Architects.
Lind’s suggestions here are more or less conventional wisdom for choosing interior colors, and are perfectly applicable today. However, in a time when nearly all conventions are being actively dismantled and questioned, Lind’s insistence on adherence to a set of arbitrary rules feels amusingly antiquated. Rules, after all, are made to be broken.
“Coloring of Rooms”
“If the aspect of a room be north, northeast, northwest, or due east, the general tone of the coloring should be positively warm. Blues, greens, etc., all shaded colors which involve any predominant use of blues, must be avoided.
In such aspects the choice should tend towards reds and all their various combinations with yellow.
As the aspect approaches east and west, so colors should verge towards yellow, rather than red tints. In an eastern aspect, tints of light yellows, lemon colors, etc., are always effective and cheerful.
If the aspect is south or southwest or west, and opens to the sun, then we may venture on the use of cooler colors even on positive blue.
Where the light is strong, unobscured and plentiful the tone of coloring may be full.
Where the supply of light is small, the coloring should be light.
It should be borne in mind that full toned colors lessen the apparent size of a room, while light coloring enlarges it.”
E.G. Lind
Atlanta, Ga.