Josef Albers spent 26 years painting nested squares to prove that color is not a fixed property but a perceptual event. The Homage to the Square series — over 1000 panels in concentric saturated bands on warm cream gesso — became the canonical study of how adjacent hues alter each other.
Translated into interface, the system reads as Bauhaus-modernist discipline: warm cream page, hairline rules, zero radii, sans-serif typography spaced with German precision, and a small set of fully saturated chromatic blocks used as both structure and accent. Every color earns its place by interacting with its neighbour.
约瑟夫·阿尔伯斯在 1950 到 1976 年间画了一千多幅"向方形致敬"——同心嵌套的纯色方块，铺在暖米色底子上。他用这件事证明一个道理：颜色不是固定的属性，而是眼睛与相邻颜色合谋出的感知事件。这套画与他 1963 年的《色彩构成》一起，奠定了战后整整一代设计师的色彩语言。
把它做成界面语言，骨子里是包豪斯式的克制：暖米色铺底、发丝灰分割线、零圆角、无衬线字体配以德式精确的字距；再加一小撮饱和度极高的色块——钴蓝、正红、暖黄、翡翠绿、深紫、亮橙——按需嵌套出现，既是结构，也是重点。每一个颜色都因为它的邻居而存在。