yellow-grey Costessy brick became popular in the 19th century and sometimes different bricks were used in combination to produce contrasting patterns. D Timber framing was a common material but was often concealed beneath plaster or, later, brickwork. Important buildings had a flint, brick and stone lower storey and vaulted undercroft, with timber-framed hall above. D Roofing materials ranged through dark brown thatch, red clay pantiles, with a black glazed variant and blue grey Welsh slates. PIGMENTS AND PAINT FINISHES Detailed research was undertaken in Akzo's technical laboratories into the colours which would have been available in this area associated with various historical periods. A palette of 38 colours was identified, five of which were specially developed for the project. Up to the end of the 18th century, colour pigments were expensive and their range was restricted. For example although white lead was used from the fourth century BC, zinc oxide was not available until the end of the 18th century and many other white pigments were not available until the end of the 19th century or early 20th century. For these reasons pure white is not recommended in the colour palette for buildings earlier than 18th century, cream or off-white being a suggested alternative. Black and brown pigments such as lamp black, umber and sienna were widely used for many centuries and Vandyke brown was in use in the 17th century. Before the 18th century oak was widely used for door and window frames and was not painted. The colour palette recommends that brown or grey is used instead of black for earlier buildings, being more sympathetic colours. Other colours commonly available before the 18th century were pigments such as red lead, red oxides and vermilion (mercuric sulphide) made in London in 1654, Naples Yellow made in mediaeval times, Prussian Blue from Berlin in 1704, Egyptian Blue made in Egypt in 3,000 BC and Green Earth or Terra Verte, mined in Verona from earliest times. Colours first made in the 19th century included vermilions, ultramarine and viridian green. In fact no chromate pigments were made until after about 1818 when the chromate radical became commercially available. The pigments were used to colour the basic limewash which was commonly used until quite recent times. Earth colours were often used - red and yellow ochres; also verdigris and lime-blue. More CONTEXT 40 The Castleand Market Square, Norwich. expensive pigments and mediums could be obtained but were reserved for specially rich effects inside important buildings. The cost of coloured pigments and the limited range available for use meant that they were only used intermittently and sparingly. The effect on the landscape can be seen in contemporary paintings of the Norwich School, being one of soft faded hues rather that bright colours. During the 18th century the increasing use of softwoods encouraged the development of 'gloss' paints, using linseed oil and white lead for a protective coating. Although today we consider that white paint complements the 18th century red brickwork, popular contemporary colours were softer muted greens, greys and browns. In the 19th century the use of coal created increasing dirt and pollution and led to the use of darker shades of chocolate brown, dark green, blue and black -traditional colours surviving today on the front doors of 19th century terraced houses. THE COLOUR STRATEGY Utilising the basic palette of colours developed for the city centre, the strategy is being implemented in several ways: D For larger schemes or groups of properties, Akzo will develop an appropriate colour palette. For example, in Elm Hill, a street of 16th and 17th century buildings largely owned by the City Council, the repainting programme has been carried out in a range of colours which was chosen to complement the historic and architectural character of the street. Pure white was rejected for window and door frames of 17th century buildings, brown or off-white being used instead. <)~ ~o~o nwhm~;;('/J streets are the //>-. -<1/4 .' subject of large ~ " V>i scale detailed ~ ✓ J, planning proposals, ~ -<'/, the planning officer can ~ .... ~A work with owners and ~ ~ V developers to carry out a ~<.I' scheme. In Timber Hill, where development of the Castle Mall shopping complex has stimulated refurbishment of almost all the buildings in the street, owners are receiving advice from Council Officers based on the colour palette. A range of colours has also been specified for the new buildings which form the street boundary of the new complex to emphasise their 20th century contribution. D For individual owners, Conservation Officers offer direct advice using the range of colours as a basis for discussions. GENERAL PRINCIPLES The use of colour on a single building, particularly in an urban setting, can be discordant if it is not considered in relation to its neighbours and the street scene as a whole. The palette provides a basis for making colour decisions in the broad context of the city's geography and historical development. As the colour strategy starts to influence buildings and streets, the use of sympathetic colours is producing a visual consistency. However, it is not our intention to use the recommended colour range inflexibly. The use of colours outside the palette will be considered carefully in relation to the whole streetscape and the creative use of colour as an expression of development and change is an important principle. Thanks to the Sikkens Foundation and the technical staff at Akzo Coatings, Norwich has had the opportunity to participate in this European project. Although the strategy would not have been developed without the assistance of the sponsors, nevertheless there is no obligation to use one particular product and owners are advised that similar colours can be obtained in other manufacturers' ranges. Enquiries regarding the colour palette should be directed to Brian Robson, Senior Designer, Colour Design Service, Akzo Coatings plc, 135 Milton Park, Abingdon, Oxon OX14 4SB. Tel: (0235) 862226. Ann Rostron, Head of Conservation and Design in Norwich City Planning Department. 9
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