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The color field painters — Rothko, Newman, Albers — were asking in the 1950s what color alone could do to a viewer: whether a surface of pure pigment could carry weight without figure or narrative. Le Corbusier was asking the same question on the outside of a building. The facade of Corbusierhaus Berlin doesn't illustrate anything; it presents color in relationship — this hue next to that one, these proportions against those. Shot close, the distinction between painting and architecture stops being meaningful. What you're looking at is a color field. It happens to have apartments in it.
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