Through the Colour Lens Through the Colopur Lens | Page 10

Through the Colour Lens
McLachlan (2013) agrees, stating that colour is perceived in the architecture and
design professions as ‘dangerous’. Bachelor (2010) describes this concept as
chromophobia, where colour in art and architecture is viewed apprehensively,
and the application of colour (especially bright hues) is characterised as lacking in
sophistication, yet a muted or achromic palette is considered refined and
admired.
Furthermore, applied colour is considered to be too highly complex, unstable,
subjective, unreliable, and too dependent upon location, time, form, and
material surface, hence the somewhat reluctance to integrate it into the modern
design palette. There is no doubt that in some cases, the lack of education and
therefore experience in colour design is perhaps one of the reasons for this -
colour theory is complicated and is a vast sphere of knowledge.
The crucial elements in creating stimulating living and working environments
include employing positive psychological responses and focal points within a
variety of stimuli. In order to achieve this, it is no longer acceptable to employ
the ‘trial and error’ method with the resultant outcomes having potential
negative consequences. More inclusive environments that are successful are
those that permit visual diversity and thus positive experiences. As Steele (1986)
states: “Drab colors, dull surroundings with no decorative elements…seem more
certain to have a depressing effect on users’ energy levels and willingness to take
action. Making effective design decisions in shaping a work setting requires one
to be able to combine the many individual elements—workplaces, furniture,
layouts, traffic ways, colors, shared facilities, lighting—into larger wholes. One
focus should be on a flow of experiences and influences on users, so that choices
are made based on long- as well as short-term effects, and on the workings of
the system as a whole as well as on the activities of individuals or small groups
considered independently” (Steele, 1986, p.84).
As such, the purpose of this book is to provide a broad background on colour
theory and a focussed application of colour design methodology, exploring how
to develop a colour design in spatial design environments based on a range of
factors that are not founded on trend, taste, or arbitrary choice. It employs
research, analysis and application of colour for spatial design for architecture,
interior architecture and design. It includes experimentation and application of
colour for projects using design tools, such as colour wheels, formulas and
methodologies. In so doing, it makes no assumptions about prior knowledge in
colour theory or application.
The aims of this book are to enable students and those within the design
profession to identify the benefits that can be achieved by using colour, light and
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