The Different Historical Use Of Colour Art Essay

The usage of coloring material in history has gone through a long narrative. It has been used because of its ability in changing temper and ambiance, and besides because of its symbolic significances.

The earliest known use of coloring material in interior infinites started when adult male drew on walls of caves and graves, which continues with the application on cathedrals, castles, and ordinary places.

However, despite the use in day-to-day life, there ‘re times when the potency of coloring material is forgotten. Few causes such as the motion Minimalism and the term ‘chromophobia ‘ are portion of it. But sing its ability in changing perceptual experience of infinite and making direct connexion with the user, should we re-examine the usage of coloring material in modern architecture in order to turn out its value?

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The use of coloring material has been involved in the architectural development in ancient Egypt and Greece. It has been used largely because of the association of coloring material with certain symbolism in the civilizations.

Ancient Egypt, one of the most documented civilisations, used pictures on walls and ceilings in order to state the narrative of their civilisation, from day-to-day life to conflict scenes. Earth pigments are used in making these pictures – ruddy, xanthous ocher, besides green, bluish, violet, black, white, and grey. Each coloring material is used to symbolize certain facets, for illustration ruddy ocher for skin coloring material of work forces, while yellow is used for the adult females. While in the Greece history, the Palace of Knossos, is a distinguishable illustration of the usage of coloring material in its architecture. The most outstanding characteristic in the edifice is its big ruddy and black columns ( Rompilla, Ethel, 2005 ) .

Palace of Knossos

Based on these illustrations, we realize that coloring material can be used to make certain effects in its application, either symbolically or structurally. In the Palace of Knossos, coloring material is able to pull strings the visual aspect of the edifice. The coloring material ruddy and black applied creates a distinguishable characteristic in the edifice. Even in its use in symbolism, coloring material creates relation with certain people. This sort of happening, relation between coloring material and certain civilization, still lives presents. We can see how certain civilization is associated with certain coloring material. For illustration, the Japanese is frequently associated with the nuance of white and bluish. On the other manus, Mexico is associated with brighter coloring material tones. For these people, the coloring material chosen can function as a connexion between them and their civilization and therefore its application is more than merely ornament. This is one of the facets which can be used as a consideration in using coloring material in architecture.

The colors in Japan civilization ( left ) and Mexico ( right )

Association with civilization and impact on construction will lend on how objects and infinites perceived by the spectator. More on this issue will be examined exhaustively in the following chapters.

THE REDISCOVERY OF COLOUR: Towards a Dynamic Architecture

Coloring material Throughout History

Sing the importance of coloring material in mundane life, to detect what has been done in its use in the yesteryear, is portion of cognizing to what extent coloring material has achieved in its application. Therefore, the followers is an observation on the function of coloring material in three ancient civilisation, Egypt, Greece, and Rome. The observation will concentrate on the function of coloring material non merely in its symbolic significance to a peculiar civilization, but besides in footings of creative activity of humanistic disciplines. These include pictures, ceramics, sculpture, and besides architecture.


Egyptian civilisation, ( 3000-500 B.C.E ) , had developed an advanced creative activity in humanistic disciplines. Colour, was used as an built-in portion in the procedure. The colors of the Egyptian were obtained from finely land minerals, and assorted with a poster paint base, stuff prepared from gum or egg albumins. In the ulterior clip, they began to acquire color pigments from inorganic beginnings, excessively. The 10 basic colors being used by the Egyptians are white, grey, xanthous, burned umber, brown, ruddy, green, bluish, violet, and black. In portrait pictures, the Egyptian ever used black for eyes and hair. This pattern is besides used in portrayal sculptures to sketch the sculptures, ensuing an enhanced colors and defined forms.


The recorded history of Grecian civilisation spans from about 800 B.C.E to 250 B.C.E. Colour was widely used in ancient Greek. It was besides applied in their human figures sculpture. These figures did non look like what we see today as colourless sculptures. In its production, these figures used to be coloured with vivid-coloured pigments. However, clip and conditions caused these colorss to melt, go forthing these sculptures colourless as we see them presents.

In footings of the coloring material palettes they used, the Greece has its foundation from the Egyptian. They used white, light brown ( ochre ) , violet ( ruddy violet besides known as Tyrian purple ) , black ( from carbon black and fume ) , xanthous, yellowish-orange, brown, grey, green ( known as Grecian viridity or cupric acetate ) , and blue. The coloring material Tyrian purple was used in the ulterior civilisation of Roman, nevertheless it was the Greeks who found it foremost. Plato wrote about the importance of the Tyrian purple in his Republic, bespeaking its use in assorted major rites, such as births, deceases, and matrimonies. And besides about how the coloring material was perceived by the Greeks as the most beautiful colorss due to its equal proportions of dark and light.

Tyrian purple ( left ) and Grecian viridity or Verdigris ( right )

3. Rome

The Romans use of coloring material were largely influenced by the tradition of Greeks, this includes their coloring material pallets and use in humanistic disciplines. However, unlike the Greece esteem to tyrian purple, the most popular coloring material in the civilisation was red, which was reflected in the ruins of Pompeii.

Red coloring material dominates the walls of Pompeii ruins

The coloring material pallets used are largely similar but brighter than the Greeks. They are white, black, warm red, Tyrian purple, bluish green, leaf green. Yellow, earth brown, purple, sea froth green, cool ruddy, and grey.

As how we ‘ve read about the history on how different colorss were used in the civilisation, the tradition of coloring material as a symbol of civilization is still carried along presents. However, besides its relation to civilization, there ‘s another concern sing on how coloring material is perceived based on scientific discipline. The findings are regarded as an of import accomplishment which helps to heighten the esthesis perceived, particularly in footings of humanistic disciplines and design.

Colour Theory

“ Take a good expression unit of ammunition and you ‘ll see that everything is coloured. ”

K. Schippers

In order to understand the coloring material esthesis, one must foremost understand how our eyes perceive them. Colour, fade outing absolutely in our life, may look as a really normal experience. But it really is a really of import facet in our vision because it plays a large portion in determining our ocular perceptual experience. So, what is colour?

Colour, in natural philosophies and optics, is defined as ‘component parts of visible radiation ‘ ( Fisher, Pat and Zelanski, Paul, 1989 ) . Bing able to see color enables human to distinguish objects seen more easy, compared to what might perchance be seen in merely sunglassess of grey ( known as monochromatic vision ) . The benefits of seeing coloring material is absent in some animate beings. Animals such as Canis familiariss, do n’t see color vision. This status causes that they can merely descry other animals, for illustration coneies, merely if they move.

The experience of seeing coloring material would non be possible if non because of the aid of visible radiation in our vision. Our eyes perceive differences in light frequences merely as how we perceive differences in sound frequences with our ears. While differences in sound frequences enable us to hear different pitch, differences in light frequences enable us to see different coloring materials. The color field that human perceive scopes from the longest seeable wavelength ( ruddy ) to the shortest seeable wavelength ( violet ) .

Light, in assorted wavelength and brightness, enters our eyes through cornea, a transparent outer covering. The standard visible radiation so will be focused on the dorsum of the surface of the oculus. The dorsum of the oculus is covered by the retina, which contain many beds of cells. The bed which is of import in color vision consist two receptors called rods and cones. Rods enable us to see black and white visions in dim visible radiation, while cones enable us to see chromaticities under brighter illuming status. Hence, through these series of mechanisms, we are able to see coloring material.

An observation of how light affects the coloring material perceived by human eyes has been done by the Gallic Impressionist, Claude Monet, in making his plant. In the creative activity of his plants, Monet frequently painted the same scenes, such as hayricks and cathedral ‘ face, under different illuming status. Once, he decided to lease a room opposite Rouen Cathedral and stayed there for months painting the cathedral in different times of the twenty-four hours. It appeared that in full noon sunshine, the frontage of the edifice is washed with gilded coloring material and a little blue shadow. While at sundown, the surface is coloured pale blue pink, with tonss of oranges and reds in the edifice ‘s deferrals.

Paintings of Rouen Cathedral by Monet

Monet is non the lone 1 who was in hunt of happening the account behind the function of coloring material in human ‘ ocular perceptual experience. Many theoretician and writers, exhausted old ages researching in order to derive more cognition about the relation between to help them in the use of coloring material. Their wonder brought them to a series of experiments in order to happen account on how colours impact our vision. The surveies include scrutiny on the mechanism of eyes and the colors perceived, which besides brings about the function of visible radiation in impacting the visual aspect of colorss.

The first pronunciamento closest to color theory was created by an ancient Greek philosopher named Empedocles. He concluded that it is the oculus of the perceiver which perceived coloring materials and that coloring material is non a belongings of the object being observed. This thought had been germinating along with the finds by other people, such as Aristotle. Aristotle, another Greek philosopher, assumed that the colorss were formed by the blending of sunshine, visible radiation, fire, and the deficiency of visible radiation in assorted grades. The development was continued subsequently with people from different backgrounds, such as theoretician, writers, and physicist. Some of these people are Sir Isaac Newton, Johann Wolfgang von Goethe, Albert Munsell, Johannes Itten, and Joseph Albers. Each contributes to the cognition of coloring material we use presents.

The Loss of Colour

Bing used and developed since the early civilisation, there were times when the usage of coloring material is being ignored. The state of affairs is caused by several grounds, such as the thought of white as a better pick than colorss, and how this thought is strengthen by the outgrowth of the Modern Movement and International Style, who preferred the natural coloring material of the stuffs, and subsequently on the thought of black, white, and grey in Minimalism. These motions has changed people ‘s perceptual experience of coloring material and hence ensuing turning away in its application.


“ Though your wickednesss be as vermilion, they shall be every bit white as snow. ”

Isaiah 1:18, Bible

The color white, through assorted civilizations, has been associated with flawlessness, artlessness, and cleanliness. Colour, on the other manus, is perceived as the antonym of whiteness, which is uncleanness and the less-than-true. The word ‘colour ‘ , which is colorem in Latin, is related to celare, means to conceal or hide. In Middle English ‘to coloring material ‘ agencies to mask.

2. Chromophobia

Another signifier of rejection of coloring material is called chromophobia. Chromophobia, based on David Batchelor, is defined as ‘ a fright of corruptness or taint through coloring material ‘ . He mentioned that chromophobia “ manifests itself in the many and varied efforts to purge coloring material from civilization, to devaluate coloring material, to decrease its significance, to deny its complexity. “ ( Batchelor, David, 2000 )

The rejection of coloring material happens in two ways. First, coloring material is perceived as being ‘made out of foreign body- normally the feminine, the vulgar, … ‘.In this instance, coloring material is treated as something foreign, something ‘alien ‘ ( Batchelor, David, 2000 ) so that it is considered unsafe. Charles Blanc, a color theoretician, identified coloring material with the ‘feminine ‘ in art and as something that can non be detached from life. Not merely that, he even see coloring material as a lasting internal menace. Therefore, he came up with the thought of either wholly disregarding coloring material or commanding it, in order to forestalling it from destroying everything.

Besides specifying coloring material as unsafe, harmonizing to David Batchelor, the word ‘chromophobia ‘ , is besides used for the thought of coloring material as “ something superficial, auxiliary, and as a secondary quality of experience ” ( Batchelor, David, 2000 ) , which leads to miss of consideration in its use. This perceptual experience besides ensuing coloring material being used merely as ornament in architecture. This instance had happened in the yesteryear and was criticized by Vitruvius. He complained that edifices were painted without sing its relation with the architectural signifier, which means there was non much consideration put in the idea procedure therefore ensuing an unsatisfying undertaking.

3.The Modern Movement, International Style and Minimalism

The influence of chromophobia and perceptual experience of white as a better pick besides had its impact in architecture. It appeared in the signifier of architectural manners called the Modern Movement and the International Style, which frequently termed their plants as ‘minimal ‘ . In this period, visible radiation and impersonal tones are preferred in the infinite. White is the most dominant coloring material because it allows colorss and visible radiation of the environing reflects into the infinite and that it is felt as natural coloring material. Colour, on the other manus, is being avoided because it makes a dramatic contrast with the surrounding. The celebrated people in this period are Mies van der Rohe and Walter Gropius. Their plants, reflecting the thought of Modern Movement, shows restraint usage of coloring material. Alternatively of utilizing colorss, they use the echt coloring material and texture from the stuffs used, such as steel, glass, concrete, masonry, and rock, which dominates their plants.

Minimalism, another architectural manner, is besides much associated with the usage of white. The term ‘minimalism ‘ is applied to works demoing decrease in signifiers, normally created with level surfaces that reflect a simple and placid ambiance. White coloring material is chosen as the most dominant coloring material, since it is seen as coloring material with pure, smooth, and calm quality, and hence goes along with the thought of composure and tranquility in minimal art. Samuel Wagstaff, an art conservator, mentioned that this new aesthetics in black, white, and grey, is aimed to maintain the spectator from being ‘ biased by the emotionality of coloring material. ‘ ( Meyer, James, 2010 ) . So, white coloring material, along with black and grey are preferred to be used here.

The rejection of coloring material in architecture does non merely go on among the designers, but it besides affected the people. A few instances of rejection of coloring material towards coloured edifices in the yesteryear had been experienced by designers. It happened to Belgian designer Huib Hoste, who throughout his calling has been experimenting with colorss in his plant. One of his plants, the Zwart Huis ( Black House ) , which was created for Raymond de Beir Knokke in 1924 was painted deep black and partially ruddy for its walls. Complains came from the neighbors who felt uncomfortable by the too-striking-colours and on how it broke the harmoniousness within the environing environment. In 2001, a similar job occured with the work by MVRDV. Planing an full orange office edifice in a courtyard in Amsterdam, provoked dissapproval from the neighbors who felt annoyed with the orange freshness that forced its manner to the environing homes. “ Everything around you is orangish – you did n’t inquire for it, you did n’t desire it, but you ca n’t make anything about it ” , they said ( Komossa, Susanne, 2009, p.254 ) .

Coloring material in Architecture

Traces of the perceptual experience of white-black-gray as a better pick than coloring material in infinites can still be seen in today ‘s architecture. However, despite the rejection of coloring material, few modern designers who believe in the benefits of coloring material in architecture emerged into pattern, for whom the thought of coloring material was an indispensable component, opposing the thought of coloring material as ornaments.

The first thought of utilizing coloring material in modern architecture emerged in 1920s, inspired by pictures. Three designers who were known to utilize coloring material in their plants in this period are Le Corbusier, Theo new wave Doesburg, and Bruno Taut, but each designer has different attack in using coloring material in their plants.

Theo new wave Doesburg is the member of De Stijl Movement, an of import achievement in using coloring material in architecture. Other motions utilizing coloring material as their conceptual design footing are Constructivism and Expressionism. In De Stijl, coloring material is considered as an of import component and is developed as a tool in making a new spacial experience. The end of the motion is to accomplish an ideal hereafter where walls that separate work forces would be broken down. The designers of De Stijl believe that the 3-dimensional belongingss of mass and volume is against the end of the motion, and in order to accomplish their end, these constituents must be broken down through the usage of colorss. The method they used is to put color planes on corners and boundaries, ensuing a alteration in the volume of infinite. Here, colorss were used non merely as mere ornament, but it besides plays an of import portion in changing the ocular experience of the user spatially.

However, Le Corbusier called new wave Doesburg ‘ application on coloring material as disguise architectural and disagreed with the usage of coloring material to weakens the physical infinite or to hide its existent spacial proportions ( Komossa, Susanne, 2009 ) . Opposing this thought, in his work, Le Corbusier coloured the full wall surfaces to do them an single elements, so that it would non upset the spacial consequence of the architecture. These colored walls were used as an intercession against the largely painted white infinites in the edifice. The colors here, as Batchelor commented, was used by Le Corbusier to do his architecture ‘even more white.

Having a different attack with his two chaps designers, Bruno Taut ‘s purpose was to utilize coloring material as ‘an agent of societal reform ‘ . His end was to make assorted individualities in a big lodging estates, where people from overcrowded flats in the backyard of Berlin will be the residents of the edifice.

Along with the development of coloring material in architecture, more “ colour-architects ” emerged. Some of the recent designers are Luis Barragan and Ricardo Legoretta whose plants invariably exhibit the usage of vivacious colorss. Their use of such bright colorss are influenced by the topographic point where they grow, Mexico. Mexico covered its land with colorful edifices such as ruddy, tap, turquoise, xanthous, making bright figures under the wide sum of sunshine perceived in the state. Luis Barragan used the colors in his edifice more towards a psychological manner which is to arouse dreamlike and surreal atmosphere. While Ricardo Legoretta, inspired by the twentieth century mural pictures, focused more on the benefits of coloring material physically, which is to stress forms and to deny mass of the edifices.

Herzog and de Meuron, is besides another illustration of those who supported the use of coloring material in modern architecture. The design of their first house in Basle suburb is covered with bluish bed that engages the spectator.

In the yesteryear, coloring material in architecture was largely used in order to associate to certain symbolism and civilization. But, with the outgrowth of these designers, the use of coloring material in infinites has gone towards a different way, which is to concern more about how it heighten the perceptual experience of infinite and non merely by presenting symbolic significance or by utilizing it as adorning elements applied on the walls. Looking at the development on how coloring material is perceived in today ‘s architecture, merely as mentioned by Rem Koolhas, “ the hereafter of coloring material is looking bright. ” ( Koolhas, Rem, 2001 )

Colour Affects Perception of Space: Psychology and Physically

The importance of utilizing coloring material in infinite is based on the thought of the impact it has on the user of the infinite. Hence, before farther account about how the user is affected by the presence of coloring material in infinite, the followers will first briefly explicate the importance of coloring material in determining human ocular perceptual experience.

Percept is a critical connexion between homo and their surrounding environment. It can besides mention to a more complicated and higher degree of believing procedure. Percept enables human existences to make up one’s mind what has been sensed and so analyse that esthesis. Besides absorbing the information received from the detectors, perceptual experience besides acts as a filter that sorting of import and utile information.

In architectural design, where work chiefly is about the creative activity of infinite, perceptual experience of infinite is however of import. In order to comprehend the infinite, one must first sense the infinite. To feel a infinite is to go cognizant of ain ego ‘s being in the infinite and hence one is able to separate between the ego and the surrounding. This is done through the usage of human senses, which are hearing, seeing, odor, gustatory sensation, and touch. But as we ever hear, “ Seeing is believing ” , ocular perceptual experience is really of import in determining perceptual experience of infinite. Here, coloring materials can play a major function.

As mentioned earlier, coloring material has the ability to impact our perceptual experience of infinite. It could go on either psychologically and physically. Physically, coloring material is capable in impacting the size, form, mass, and volume of a edifice or an interior infinite, which means coloring material has an ability to lead on its spectator. This facet was observed in Joseph ‘s Alber ‘s book, Interaction of Colour, as how coloring material is ever ne’er seen as it is in world, ensuing the existent ( infinite perceived by the spectator ) and the factual ( the physical infinite boundary line by walls in world ) . He besides stressed the demands to ever maintain the thought of color deceives in head, in order to utilize it efficaciously.

The use of a edifice ‘s physical construction due to its color use is reflected in the High Tech Park undertaking in China. The usage of white and bluish coloring material is chosen in order to stress each other on the visual aspect of the frontage. The coloring material blue creates the perceptual experience of deepness and at the same clip, affecting the uninterrupted signifier of the frontage, makes the forms appear longer than it really is in world.

High Tech Park Project in China

In footings of psychological, coloring material is able to impact the temper of the user of the infinite. Different tones of colorss create different atmosphere in the infinite. This phenomena was so being observed scientifically in footings of how it affects the wellness of human organic structure. One of the direct illustration of this benefits can be seen in chromotherapy. Chromo therapy, or coloring material therapy, is the “ pattern of utilizing coloured light and coloring material in the environment to bring around specific unwellness and in general to convey about good wellness consequence “ ( Hope and Walch, 1990, p.75 ) . The survey on chromo therapy is based on the find of how our organic structures, moving like prisms, absorb white visible radiation and other colorss, excessively. The therapy involves the usage of natural visible radiation that is filtered through a certain coloring material of glass. For illustration, patient with megrim will be treated with sunshine filtered through bluish glass, and depression can be treated with ruddy visible radiation.

Shower Chromotherapy gives good consequence

The ability of coloring material to mend creates the chance for application in healthcare infinites such as clinics and infirmaries. However, as mentioned earlier, coloring material does non merely affect human psychological science in footings of healing, but besides in footings of changing the temper of the spectator.

Based on people ‘s day-to-day activities which are either active or inactive, we can distinguish between the demands of stimulation and the demands to rest. Therefore the function of coloring material in the infinite is to offer atmosphere/moods that support stimulation and composure to the spectator. Balancing between both in the same infinite can ensue a dynamic environment and avoid humdrum atmosphere created by a individual coloring material.

The sense of balance between the two conditions can be achieved through commanding the grade of brightness in the infinite, because it is the facet that determines the temper created by colorss. The psychological consequence of coloring material on human organic structure was besides written by Kandinsky. He wrote, “ Assorted efforts to work this power of coloring material and use it to different nervous upsets have once more noted that ruddy visible radiation has an enlivening and exciting consequence upon the bosom, while bluish, on the other manus, can take to impermanent palsy. ” ( Dudek, Mark, 1996. )

In order to accomplish the right grade of brightness in the infinite non merely the brightness of the coloring materials need to be considered, but besides the strength of visible radiation that illuminates the surface.

Brightness and Darkness: The Intensity of Light and Colour

As explained in the earlier chapter, coloring material can merely be perceived with the being of visible radiation. And it is because of the presence of visible radiation that architecture can be seen and experienced. At the same clip, being of visible radiation as natural component in the infinite does non merely define architecture and the coloring material perceived, but besides nurtures the user of the infinites. This goes along with the use of coloring material in making a desirable temper and hence the combination of both can strongly heighten a sense of a comfy infinite to brood, which is the purpose of every infinites built. Hence, in order to integrate both, the grade of brightness of both elements have to be considered.

Controling visible radiation in the infinites requires consideration in few facets. The status of visible radiation and the alterations it made due to its way, signifier, coloring material, and its agreement ; has a possible to make assorted color perceptual experiences. Sing the possibility of alterations in comprehending coloring materials based on the lighting status, assorted sorts of ambiance might be created. Both natural and unreal lighting is able to be used in helping coloring material in the infinite.

Direct sunshine can do surfaces in the infinite appear lighter, while the indirect sunshine will do less dramatic shadow casting. Since the Sun moves throughout the twenty-four hours, different sorts of visible radiation will be experienced. Different visible radiations will reflect coloring material otherwise, ensuing the same coloring material might be perceived otherwise during different clip of the twenty-four hours. This has been proven by Monet ‘s observation in his picture of cathedral as mentioned in the old chapter.

Based on our ability to see objects hit by light, we can distinguish the grade of brightness we perceived. Brighter light makes it possible for a individual to see the environment that surrounds him. At the same clip it can besides stimulates the nervous system of the organic structure. Dim visible radiation, as the antonym, has the contrary consequence. It causes the organic structure to retire into itself. The comparing on how grade of brightness affect human organic structure can be experienced in how people feel when there is maximal visible radiation on a cheery twenty-four hours compare to a showery twenty-four hours with small light. People tends to be more active when the Sun is still out and rest when it is dark.

However, every bit much as our organic structure needs to rest, to be in a wholly dark infinites cause feeling of uncomfortable. As Goethe wrote in his book Theory of Colours, “ If we keep the eyes open in a wholly dark topographic point, a certain sense of want is experienced. ” ( Goethe, Johann Woflgang von, 1970. ) . The sense of want is perceived due to human ‘ demands to hold contact with the external universe and becomes portion of the whole, which one time once more brings back the importance of visible radiation in infinites.

On the other manus, despite its ability to give a sense of connexion with the surrounding, visible radiation that is excessively strong or bright might be upseting for the spectator. The consequence might be experienced when one expression on a white, strongly lighted surface. Looking at a really bright surface might daze the oculus and for a minute disables the ability of oculus to distinguish objects in the surrounding environment. This might be experienced when one expression up at the Sun as the brightest beginning of visible radiation on Earth. Then, when we alter our regard off the Sun afterwards, we will see a impermanent uncomfortableness in our vision.

A high grade of brightness has a sort of force that demands attending from the spectator and stimulates the nervous system, hence it might do distraction on the activity a individual is making and cut down the degree of concentration. Dim visible radiation, on the other manus, is more utile to concentration-demanding activities, because it demands less attending which means less distraction for the spectator. ( Danger, Eric P. , 1987 )

Therefore the demands for stimulation and the demands to rest has to be balanced, every bit good as the context of the infinite which includes types of activities held in the infinite, user of the infinite, etc.

As how brighter visible radiation cause stimulation and demands attending from the spectator, the

same goes with bright coloring materials and hence bright colorss fit good for infinites necessitating tonss of activities, while on the other manus, darker colorss tend to quiet people and hence fit well for infinites to rest. The lighter the coloring material, the greater the consequence because the brightness of light coloring materials tend to distribute out on the retina, doing the eyes to give more attending towards it.

Bright coloured infinite to excite ( left ) , dark coloured infinites to rest ( right )

Bright colorss are associated with warm chromaticities which contain colorss related to ruddy, with red-orange as the warmest chromaticity. Others included in the class of warm chromaticities are xanthous, yellowish-orange, orange, ruddy, red-orange, and red-violet. While darker colorss are associated with cool chromaticities which contain colorss related to blue, with bluish green as the coolest chromaticity. Others included in this group are yellow-green, bluish green, bluish, and blue-violet.

The distinction between the brightness and darkness in coloring material is first being observed by a theoretician, Johann Wolfgang von Goethe. Goethe is a German poet who was besides interested in the phenomenon of coloring material. In 1810 he published a book called The Theory of Colours, consist of his probe and record about the map of the oculus and its reading of coloring material, instead than the belongingss of visible radiation.

Goethe assigned Numberss to primary and secondary chromaticities based on their brightness ( ability to give a glowing feeling ) . White, as the most aglow, is given the figure 10, followed by yellow ( 9 ) , orange ( 8 ) , ruddy ( 6 ) , green ( 6 ) , bluish ( 4 ) , violet ( 3 ) ; while black, as the least aglow is 0. The Numberss are used to fit these colorss, making braces of complementary colorss. Each pair consist of a light chromaticity and a dark chromaticity: xanthous – violet, orange-blue, and red-green. ( Feisner, Edith Anderson, 2006 )

This cognition therefore can be farther used in the infinite because our eyes in world require any given coloring materials along with its complementary. This is due to the manner complementary colorss provide psychological balance in fulfilling the demands of both warm and cool colorss.

Peoples have a strong inclination to unconsciously seek warm and cool chromaticities in the same infinite. This has been proven by Louis Cheskin, a coloring material adviser and writer. Cheskin did an experiment with three suites coloured in green. The first 1 was painted in a individual shadiness of green. The 2nd 1 is treated in three values of green. While the last 1 besides used three values of green yet he added the color vino red, which is the complementary of one of the values of green. The residents of the first room gave a negative reactions due to monotony. Residents of the 2nd room did non demo any defined respond, either favorable or unfavorable. While residents in the last room showed 94 % favorable reactions. ( Danger, Eric P. , 1987 )

By utilizing complementary colorss in the infinite, a sense of sensed balance in the infinite can be achieved. The balance achieved is non merely delighting for the eyes but besides contribute to altering the temper of the user to back up both active and inactive activities.

Example of the contrast between bright and dark infinites can be seen from the work of Philippe Starck in Le Lan Restaurant in Beijing. The colorss used varied between warm and cool colorss. Light is used to light siting countries, go forthing the infinites in between the bunchs of seats appear darker. Alternatively of utilizing solid walls, colorful drapes are used to specify boundary of the infinite. The contrast is achieved non merely through uniting both light and dark in the same infinite, but besides through the coloring material contrast between the furnitures placed in the infinite.

Positions of Le Lan Restaurant by Philippe Starck

Even in private house, application of bright and dark infinites can add exhilaration to our day-to-day life. This is apparent in the work of Luis Barragan in a house of Fransisco Gilardi. In the home, Barragan used both warm and cool coloring material applied in the infinite. Constantly utilizing colorss in his plants, he believed that “ … coloring material and visible radiation have ever been a crucially of import invariable. Both are basic elements in the creative activity of an architectural infinite. ” Luis Barragan learned much from the work of Itten who is devoted to the Torahs of harmoniousness, contrast, and the spacial consequence of colors. In his plants, Barragan treated colour the same manner as other architectural constituents and he experiments and utilizes its ability in bring forthing esthesiss in the infinite. His plant on The Gilardi House, brooding of Francisco Gilardi, showed a adept consideration in helping coloring material with visible radiation in the infinite. The method of the coloring material used here, such as accomplishing brighter or softer chromaticities through direct and indirect lighting, utilizing colored glass to make chromatic atmosphere, has been experimented in his earlier plants. In the home, Barragan continued his experiment in utilizing white visible radiation in the infinite and how it landed on the colored perpendicular subdivisions. A yellow-painted corridor is placed nearby the entryway in order to fix the journey to an of import infinite. Walking down the corridor, visitant is faced with a radiating bluish infinite. The contrast between the warm and cool coloring material is aimed to collar the visitant ‘s vision. The visitant so comes out into the infinite with pool which is surrounded by three primary colorss ; blue, ruddy, xanthous. The whole composing of this infinite is supported by the colored surfaces around the pool and the contemplations created by the H2O.

Positions of The Gilardi House by Luis Barragan

Looking at the instance surveies we can see that to make both bright and dark infinites in the same infinite can extremely heighten the quality of the infinite and at the same clip avoiding feeling of a humdrum environment.


As mentioned earlier, people need balance between stimulation and composure. This status besides occurs to kids, if non more of import, because they are at the self-development phase that require support for both stimulation and composure in the infinite. And as kids tend to develop themselves based on what is given by the environment, a balance between both active and inactive has to be achieved in order to take to a good self-development.

The presence of coloring material in kids architecture is considered to hold a peculiar relevancy. This is due to the manner kids perceive and develop consciousness towards it at an early age. ( Dudek, Mark, 1996. ) It is a linguistic communication that can easy associate to these immature kids better than signifier in infinite. In this instance, while most architecture put more concern in the signifiers of the infinite, kids might non comprehend it every bit good as grownups do and therefore the usage of coloring material in kids ‘s architecture is really of import in order to present the desired spacial perceptual experience. The usage of coloring material for easy spacial apprehension in kids infinites can be evidently seen in a nursery school in Covolo. Colour in the nursery school is used to distinguish infinites for instructor and pupils. Blue is used to bespeak instructors ‘ infinites, yellow for the youngest kids, viridity for the older 1s, while ruddy is for thresholds.

Nursery School in Covolo by C+S Associates

The development of kids is determined by the ability of kids in comprehending coloring material ( Kopacz, Jeanne, 2004 ) . Peoples believed that babes are foremost attracted to black and white in their early hebdomads after they were born. Along with their growing, they will react to bright colorss. Colours in babes ‘ vision serves as their primary stimulation since they are unable to appreciate signifier yet. However, although they are already able to acknowledge colorss in their vision, these colorss have to be near adequate to them because they ‘re of course shortsighted at foremost. Based on the thought of babes ‘ response towards colorss, playthings and vesture are made bright colorss. At the same clip, these bright colorss are desirable to promote their encephalon activity.

By the age of 3 to 4 old ages, kids are to the full capable in organizing a clear sense of coloring material penchant, and bit by bit acknowledge forms around them. And by the age of 9, they normally are form-oriented.

Bright colorss are frequently used in children-associated designs. Beside to make a certain temper, people associate bright colorss with childhood as an active and fun phase of life. However, the use of bright colorss required control because the presence of excessively much bright coloring material in the infinite might ensuing the antonym from what is desired. As coloring material are able to impact the temper of the user, the hit of bright coloring materials can do kids experience agitated, be overactive, and even exhausted ( Rui Olds, Anita. 2001 ) .

A instance survey on a child care named The Copper House demo how the coloring material pallet chosen are based on the kids ‘s age. They chose pink, Prunus persica, and salmon tones for babies, more stimulating coloring material such as leafy vegetables, blue-greens, or even calmer tones like laid-back yellow and purples, for yearlings group. And bright, energetic colorss such as yellows, oranges, and purples against a calming background, for preschool kids.

Stimulation in the infinite for kids has to be gradual, as dramatic alterations might be over-stimulating or even disorient and frightens the kids. At the same clip to make an environment with no alterations, for illustration infinite that is merely formed by white walls and fluorescent lighting, might insulate the value of coloring material in the infinite. Therefore, sing the importance of coloring material in kids ‘s development, coloring material can non be isolated from kids ‘ infinites because its application is important in finding the quality of the infinite created.


Re-examining the use of coloring material in architecture makes us cognizant of the benefits gained from its application. However, recognizing the potency of coloring material, more people decided non to utilize it than to see its application in architecture. Traces of rejection of coloring material still can be seen today. Buildings in white and grey are easy found anyplace.

Colour in its use is able to command what will be perceived by the spectator. This is due to color ‘s ability to command temper in the infinite based on the strength of visible radiation and the brightness of the coloring material. The contrast of visible radiation and darkness in the infinite can make dynamic environment between active and inactive stimulation for the users of the infinite. This is the ground why coloring material has to be extremely considered in its application in kids ‘ infinites as kids need both stimulation and composure in their growing.

By being able to make a desirable temper in the infinite, the user ‘s comfort can be enhanced. Since the purpose of the infinite created is to fulfill the demands of the users, use of coloring material in architecture has to be encouraged in order to add quality to the spacial experience.