MEERWEIN | RODECK | MAHNKE

MEERWEIN | RODECK | MAHNKE

COLOR
COLOR
COMMUNICATION
INCOMMUNICATION
ARCHITECTURAL
IN ARCHITECTURAL
SPACE
SPACE

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Color – Communication in Architectural Space

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Meerwein Rodeck Mahnke

Color –
Communication in
Architectural Space

Birkhäuser
Basel • Boston • Berlin

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We would like to thank création baumann, Kvadrat, DLW, and Ruckstuhl AG for providing material.
Particular thanks goes to Ruckstuhl AG for their support in printing the book.

Title of the original German language edition:

Mensch – Farbe – Raum.
Grundlagen der Farbgestaltung in Architektur, Innenarchitektur, Design und Planung

G. Meerwein and B. Rodeck comprehensively revised the text and list of illustrations.
F. H. Mahnke supervised the translation into English.

Translation: Laura Bruce with Matthew Gaskins and Paul Cohen

This book was also published in German:

Farbe – Kommunikation im Raum, ISBN 3-7643-7595-7.

Cover:
Nadine Rinderer, Basel. The cover design is based on a photograph of Panama Werbeagentur
in Stuttgart. Architecture: zipherspaceworks; Color Design: Stefan Gabel.

Library of Congress Control Number: 2007922820

Bibliographic information published by the Deutsche Nationalbibliothek

The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed
bibliographic data are available on the Internet at http://dnb.d-nb.de.

This work is subject to copyright. All rights are reserved, whether the whole or part of the material
is concerned, specifically the rights of translation, reprinting, re-use of illustrations, recitation,
broadcasting, reproduction on microfilms or in other ways, and storage in data bases.
For any kind of use, permission of the copyright owner must be obtained.

First published in German in 1998

4th revised German edition, 1st English edition 2007

© 2007 Birkhäuser Verlag AG

Basel · Boston · Berlin
P.O. Box 133, CH-4010 Basel, Switzerland.
Part of Springer Science+Business Media

Printed on acid-free paper produced from chlorine-free pulp. TCF ∞

Printed in Germany

ISBN-10: 3-7643-7596-5
ISBN-13: 978-3-7643-7596-6

987654321
http://www.birkhauser.ch

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CONTENT

Introduction 9 6 Light and Color 39

The Technical Basis of Lighting –
1 Humans – The Focus of Design 10 Measurements and Units 40
Lamps and Their Properties 42
2 The Senses as Instruments of Communication 13 Aspects of Visual Ergonomics 44
Color Ergonomics/Visual Ergonomics
3 Color – An Environmental Element 16 The Structure of the Eye
Color – Communication in Architectural Space 17 Eye Muscles
Glare and Brightness
4 Humans and Color 18 Differences in Luminous Density and Surface Color
What is Color? 18 Biological Effect of Light 47
Seeing Color 18
Perception of Color 19 7 Material and Color 50
Experiencing Color 19
Spatial Color Experience Scheme 20 8 Architectural Aspects of Space 56
Biological Reactions to a Color Stimulus Aspects of Perception 56
The Collective Unconscious Aspects of the Design Process 56
Conscious Symbolism and Association What Does it Mean to Design? 57
Cultural Influence and Mannerism Properties of Elements 58
Trends, Fashion, Style Relationships between Elements 61
Personal Factors Relationships between Elements and the Viewer 61
Physiological and Neuropsychological Aspects 22
Understimulation – Overstimulation 9 Communication: People – Color – Space 63
Optical Patterns Interdisciplinary Aspects 63
Physiological Effects Human Needs Relevant to Design 65
Psychological Aspects Aspects of Color Perception in Architectural Space 68
Synesthesia
Symbolism of Colors 28 10 The Practice of Color Design 70
Aspects of Interior Architectural Color Design 70
5 The Design Essentials of Color 32 Relationship of People to Color
Color Fundamentals 33 Physiological Requirements
The Color Circle and the Color Order System 33 Psychological Requirements
The Effect of Color Contrasts 36 Relationship of Color to Building and Spatial
Light-Dark Contrast Function
Chromatic-Achromatic Contrast Relationship of Color to Space and Its Elements
Chromatic Contrast Orientation
Complementary Contrast Environmentally Friendly and Safe Materials
Intensity Contrast and Colors
Quantity Contrast Aesthetic Quality
Flicker Contrast Space as a Stimulating Environment 76
Cold-Warm Contrast Methodology 77
Physiological Contrast 38 Semantic Differential 78
Simultaneous Contrast
Successive Contrast

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2 CONTENT

11 Fields of Design 83 Therapeutic Facilities 115

Educational Institutions 83 Short-Term Therapeutic Facilities 115
Preschool 84 Impression and Visualization 116
Schools 86 Color and Material Design of the Essential
Seminar Rooms/Adult Education 89 Functional Units 117
User Profile 90
Small Children Therapeutic Facilities for Long-Term Stays 124
Schoolchildren and Adolescents Psychiatric Facilities 125
Adults in Further Education User Groups 125
Educators Residents
Impression and Visualization 92 Caregivers
Color and Material Design of Major Impression and Visualization 126
Functional Areas 93 Color and Material Design of the Essential
Functional Areas 127
Sports Facilities 94
Impression and Visualization, Color and Retirement Homes 130
Material Design 95 Impression and Visualization 132
Color and Material Design of the Main
Spa Facilities 95 Functional Areas 133
Impression and Visualization, Color and Alternative Concepts 135
Material Design 97 Home Care 135

Workplaces 97 Hospices 135

Aspects of Environmental Psychology 97 Impression and Visualization; Color and
Office Workplaces 101 Material Design 137
Open-Plan Offices 102
Individual and Combi-Offices 103 Children’s Hospices 137
Impression and Visualization, Color and Impression and Visualization; Color and
Material Design 103 Material Design 139
Computer Workstations 105
Restaurants 140
Commercial Workplaces 106 Impression and Visualization; Color and
Impression and Visualization in the Workplace 107 Material Design 142
Compensation and Consonance
Color as a Source of Information Apartments/Houses 145
Safety and Organizational Colors Impression and Visualization; Color and
Machine Colors Material Design 145
Summary of the Main Criteria for Quality
Workplace Design 113 Conclusion 147

Appendix 148
Bibliography 148
Photo Credits 151

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INTRODUCTION

Color: Communication in Architectural Space is the revised
edition of the German book Mensch-Farbe-Raum, which was
first published in 1998.
This revised version places greater emphasis on the commu-
nicative value of color in architectural space, with a focus on
the physiological, psychological, and neuropsychological as-
pects, as well as the relationships of visual ergonomics. Fash-
ions and trends in color are excluded, as the publication con-
centrates on substantive references to color in architecture
and interior design. The significance of the materials used in
color design is an important new aspect. The book aims to
sharpen our awareness of differentiated architectural and in-
terior architectural objectives, and to convey a fundamental
knowledge of the presence and effect of color and applied col-
or psychology. The spatial environments that are formative to
people’s main areas of life are analyzed here. Chapters 1–10 in
Color: Communication in Architectural Space present today’s
general knowledge as the basis for all design that uses color,
and chapter 11 describes examples in practice.
We would like to thank all those who supported us in working
on this book:
Professor Renate Gebessler, whose essays made a major con-
tribution to our understanding of the topic,
Professor Werner Spillmann, for his insightful comments
regarding color systems,
Ulrich Radzieowski, physicist, for his expert advice on the sub-
ject of light,
Véronique Hilfiker Durand, for her meticulous editing,
Muriel Comby, for creating a design that perfectly met our
needs,
Petra Becker and Solenn Borchers, for their patient work on
the visual material.
Gerhard Meerwein Bettina Rodeck Frank Mahnke

The book is aimed at architects, interior designers and color

designers, as well as students and committed practitioners.
There is also valuable information and inspiration for commu-
nal planning authorities, decision-makers, teachers, psycholo-
gists, and doctors.

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1
HUMANS – THE FOCUS OF DESIGN
Humans are the center of concern in the design of the archi-
tectural environment. In order to design an environment that
is tailored to people’s needs, human beings must be seen
holistically. It is also important to understand the phases of
life and development, the different areas of people’s lives, and
the environmental requirements that these entail. Humanistic
psychology’s fundamental anthropological positions are con-
cerned with humans as a holistic concept, according to which
a person is a physical-psychological-intellectual being, close-
ly connected with the material and immaterial components of
his or her world. “World” refers here to the entirety of the hu-
man condition. It is synonymous with the human environ-
ment, in the sense that it is a holistic habitat containing es-
sential biological, physical, physiological, psychological,
social, and aesthetic elements.
Viktor E. Frankl, internationally acclaimed founder of existen-
tial analysis and logotherapy, sees a human being as a three-
dimensional entity, consisting of body, mind, and spirit –
meaning that humans always act and react holistically. All
three dimensions, somatic, mental, and spiritual, are active
participants in the relationship between people and their en-
vironment.
Construction of Modulor, Le Corbusier >
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The somatic dimension consists of all
_ Physical processes
_ Organic, cellular processes
_ Biological-physiological bodily functions and the related
chemical and physical processes.
This dimension is the active center for physical and material
action. It governs our physical and material interaction with
the environment.
The mental dimension consists of
_ Emotions, feelings, and moods
_ Intellectual talents
_ Instincts, drives, affects, and habits
_ Social characteristics and acquired behavioral patterns.
This dimension is the experiential center of what we experi-
ence physically and intellectually. It governs our intellectual
and qualitative interaction with the environment.
The spiritual dimension consists of
_ Autonomous decisions and free will
_ Material and artistic interests
_ Creative-visionary ideas directed at human development
_ Human compassion and ethical competence.
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