Color had always been fundamental to the visual and symbolic human experience of architecture until the advent of modernism, which largely dismissed its evocative effects as ornamental and unmodern. Subjugated for decades by the monochromatic architecture of the International Style, color reemerged in the latter half of the 20th century to again take its place as a significant design aspect of architectural form. By the beginning of the 20th century, the scientific understanding of color through theories of physical light, pigments, and human perception was accepted within standard artistic methods and incorporated into art and design education. Following the color experiments of Cubism, the Dutch De Stijl movement conceptualized a spatial use of color to unify two-and three-dimensional forms. In De Stijl M anifes to V (1923), Cor van Eesteren, Theo van Doesburg, and Gerrit Rietveld argued, “We have given color its rightful place in Encyclopedia of 20th-century architecture 528 archite...