Influence of Colours in Architecture

INFLUENCE OF COLOURS IN ARCHITECTURE

A DISSERTATION
Submitted by
KARTHIKA.C
2014701513
In partial fulfilment of the requirements
for the award of the degree
of
BACHELOR OF ARCHITECTURE
under
FACULTY OF ARCHITECTURE AND PALNNING
in
DEPARTMENT OF ARCHITECTURE
SCHOOL OF ARCHITECTURE AND PLANNING
ANNA UNIVERSITY
CHENNAI 600 025
April 2018
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ACKNOWLEGEMENT
Learning is a search, a quest, both for academic purpose as well as a means
of realization. Besides whatever professional achievements came our way in this
process some of them are those, which are totally beyond the realms of
thanksgiving.
I express my heartfelt thanks to Ar. Ganesamoorthy K. Achary who guided
me in the dissertation topic during internship programme II.
I earnestly express my sincere thanks to dissertation coordinator and guide
Mrs. Muthulakshmi for her inputs and valid criticism during the topic selection and
course of study.
I owe a great deal of thanks to those who strongly believed in me pushing my
abilities to the next level, allowing me to accomplish all that I desire in life.
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ABSTRACT
Many theoretical research works in different disciplines of knowledge have dealt

with the topic of colour, its properties, systems, and relationships. Colour is a lot
more than just a layer of paint on a surface, or a tool of decoration. It is a basic
element of design, and the most expressive, by the meaning it conveys, and the
psychological effects on the viewers. Colour has an important role in bringing out
the image of interior spaces by means of integration of the colours used in the
general interior design, in furniture, in wall floors and in accessories, for the
creation of the character as a whole. The concept of ‘brand space’ and its
relationship between the general images of interior space has also been a matter
of interest. Colour properties and the brand space identity are both very effective
in creating the attractive image of a designed commercial space.
The study shall try to concentrate on how colour and the brand space can be
integrated, and what are their parallel effects of this interaction on the interior
spaces of commercial buildings. To achieve this aim, a qualitative study where the
investigation depended on a survey regarding a selection of a number of buildings
of famous enterprises, and making an analysis of their features according to the
theoretical parameters adopted. The descriptive approach was adopted for the
purpose of analyzing the chosen samples, using photographs and information by
survey. The analyses were made on the basis of the properties of the colours,
colour theory used in the creation of brand spaces as the interior spaces of these
buildings, the psychological and visual effects on both the employees and the
users of these spaces.
Through the analyses, it was found out that colour properties are very effective in
creating positive effects on the atmosphere, realized by the contrast in the colour
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systems, between cold and warm colours, as well as in colour complementary

aspects, in widely used neutral colours with accent colours to give a kind of activity
and energy inside these spaces. It was concluded that Colour can be used to
realize certain emotional aims by using certain colour patterns that create an
atmosphere of attraction and excitement inside spaces, by creating an exciting
aesthetical image for the users, which enhance activities. Therefore, in
architecture and interior spaces the influence of colours are dominating.
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TABLE OF CONTENTS
CHAPTER 1
INFLUENCE OF COLOURS IN ARCHITECTURE PAGE NO
1.1 OVERVIEW 1
1.2 HISTORICAL BACKGROUND 1
1.2.1 IMPACTS 3
1.3 NEED 4
1.4 GOAL OF THE STUDY 4
1.5 DESIGN GOALS 5
1.6 OPPOURTUNITY OF THE STUDY 5
1.7 DRAWBACK OF THE STUDY 5
1.8 APPROACH OF THE STUDY 6
CHAPTER 2
DATA COLLECTION OF COLOURS
2.1 INTRODUCTION 6
2.2 DEFINITION OF COLOUR 7
2.3 COLOUR THEORY 7
2.3.1 HISTORY OF COLOUR THEORY 7
2.4 QUALITIES OF COLOUR 8
2.4.1 HUE 9
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2.4.2 CHROMA 9
2.4.3 VALUE 9
2.5 COLOUR WHEEL 10
2.5.1 PRIMARY COLOURS 11
2.5.2 SECONDARY COLOURS 11
2.5.3 TERTIARY COLOURS 11
2.6 COLOUR HARMONY 12
2.6.1 MONOCHROMATIC 12
2.6.2 COMPLEMENTARY 13
2.6.3 ANALOGOUS 14
2.6.4 SPLIT COMPLEMENTARY 14
2.6.5 TRIADIC 15
2.6.6 TETRADIC 16
2.7 SUBTRACTIVE COLOUR 16
2.8 ADDITIVE COLOUR 17
2.9 ACTIVE AND PASSIVE COLOUR 17
2.10 WARM COLOURS 18
2.11 COOL COLOURS 18
CHAPTER 3
PSYCHOLOGICAL ASPECTS OF COLOURS
3.1 HUMAN MIND 19
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3.2 PSYCHOLOGY 19
3.3 COLOUR PSYCHOLOGY 19
3.4 PSYCHOLOGICAL EFFECTS OF COLOURS 20
3.4.1 PSYCHOLOGICAL EFFECTS OF WARM COLOURS 20
3.4.2 PSYCHOLOGICAL EFFECTS OF COOL COLOURS 20
3.5 PERSONALITY BASED ON COLOURS 21
3.5.1 RED 21
3.5.2 ORANGE 21
3.5.3 YELLOW 21
3.5.4 GREEN 21
3.5.5 PURPLE 22
3.5.6 WHITE 22
3.5.7 BLACK 23
3.5.8 BLUE 23
3.5.9 GREY 23
3.6 COLOUR CAN INFLUENCE PERFORMANCE 23
3.7 COLOUR PSYCHOLOGY AS THERAPY 24
CHAPTER 4
LIVING WITH COLOURS
4.1 COLOURS IN MODERN LIFE 24
4.2 COLOURS IN CULTURE AND CREATIVITY 25
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4.3 COLOURS IN NATURE 26
4.4 COLOURS IN CITY 27
4.5 COLOURS IN MOVIE 27
4.6 VASTU COLOURS FOR HOME 28
4.6.1 RED 29
4.6.2 BLUE 30
4.6.3 GREEN 30
4.6.4 YELLOW 31
4.6.5 BROWN 31
4.6.6 PURPLE 31
4.6.7 ORANGE 32
4.6.8 WHITE 32
4.6.9 PASTELS 32
4.6.10 NEUTRAL 33
4.7 INTERIOR COLOURS FOR HOME 33
4.8 RELATIONSHIP BETWEEN INTERIOR DESIGN, COLOURS 34
AND MOOD
CHAPTER 5
LITERATURE CASE STUDY
5.1 IIM, KOLKATA
5.1.1 INTRODUCTION 38
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5.1.2 DESIGN BRIEF 39
5.1.3 INFERENCE AND CONCLUSION 42
5.2 GOOGLE OFFICE IN DUBLIN
5.2.2 FACILITIES 43
5.2.3 DESIGN BRIEF 44
5.2.4 INTERIOR DESIGNS 44
5.2.5 INFERENCE AND CONCLUSIONS 49
5.3 CASSATA PRIMARY SCHOOL AT BANGALORE
5.3.2 THEMES 50
5.3.3 USAGE OF COLOURS 52
5.3.4 ANALYSIS AND INFERENCE 55
5.3.5 MERITS 55
5.3.6 DEMERITS 56
5.3.7 INFERENCE AND CONCLUSION 56
5.4 NATIONAL INSTITUTE OF FASHION TECHNOLOGY AT CHENNAI
5.4.2 CONCEPT 57
5.4.3 COLOUR AND TEXTURE 58
5.4.4 LIGHT AND SHADOW 59
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5.4.5 OPENINGS 59
5.4.6 ANALYSIS AND INFERENCE 60
5.4.7 MERITS 60
5.4.8 DEMERITS 60
5.4.9 CONCLUSION 60
CHAPTER 6
ANALYSIS AND CONCLUSION
6.1 IIM, KOLKATA 61
6.2 GOOGLE OFFICE, DDDUBLIN 61
6.3 CASSATA PRIMARY SCHOOL, BANGALORE 61
6.4 NIFT, CHENNAI 62
6.5 OBSERVATIONS 62
6.6 CONCLUSIONS 63
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LIST OF FIGURES
Figure 1: NEWTON’S COLOUR WHEELl 21
Figure 2: GOTHE’S COLOUR WHEEL 22
Figure 3: ITTEN’S COLOUR WHEEL 22
Figure 4: HUE COLOUR 23
Figure 5: TINT, TONE AND SHADE 24
Figure 6: COLOUR WHEEL 25
Figure 7: MONOCHROMATIC SCHEME 27
Figure 8: COMPLEMENTARY SCHEME 27
Figure 9: ANALOGOUS SCHEME 28
Figure 10: SPLIT COMPLEMENTARY SCHEME 29
Figure 11: TRIADIC SCHEME 29
Figure 12: TETRADIC SCHEME 30
Figure 13: SUBTRACTIVE COLOUR 30
Figure 14: ADDITIVE COLOUR 31
Figure 15: ACTIVE AND PASSIVE COLOUR 31
Figure 16: WARM COLOUR 32
Figure 17: COOL COLOUR 32
Figure 18: COLOUR IN MOVIES 42
Figure 19: VASTHU COLOUR 42
Figure 20: VASTHU COLOUR CHART 43
Figure 21: VASTHU CHART 47
Figure 22: BLUE BEDROOM 49
Figure 23: DINING ROOM WITH YELLOW AND RED ARTWORK 49
Figure 24: ORANGE AND WHITE KITCHEN 49
Figure 25: EYE CATCHING DINING ROOM 50
Figure 26: VIBRANT YELLOW LIVING ROOM 50
Figure 27: CREAM LIVING ROOM WITH VIOLET ACCENTS 51
Figure 28: YELLOW POPS OF COLOUR IN A GREY LIVING ROOM 51
Figure 29: COLOURFUL EXTERNAL FACADE 52
Figure 30: EXTRENAL FACADE 53
Figure 31: COLOURFUL EXTERNAL AND INTERNAL FACADE 54
Figure 32: COLOURFUL FACADE 54
Figure 33: IIM COLOURFUL INTERIOR 55
Figure 34: IIM COLOURFUL INTERIOR 56
Figure 35: GOOGLE OFFICE RECEPTION 57
Figure 36: GOOGLE OFFICE RECEPTION 59
Figure 37: GOOGLE OFFICE COLOURFUL INTERIOR 59
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Figure 38: GOOGLE OFFUCE COLOURFUL INTERIOR 60

Figure 39: GOOGLE OFFICE DINING SPACE 60
Figure 40: GOOGLE OFFICE LOUNGE 61
Figure 41: GOOLGLE OFFICE WORK SPACE 61
Figure 42: GOOGLE OFFICE WORK SPACE 61
Figure 43: GOOGLE OFFICE RELAX SPACE 62
Figure 44: GOOGLE OFFICE WORK SPACE 62
Figure 45: CASSATA PRIMARY SCHOOL 64
Figure 46: CASSATA PRIMARY SCHOOL INTERIORS 66
Figure 47: CASSATA PRIMARY SCHOOL CEILING 67
Figure 48: CASSATA PRIMARY SCHOOL PEEP HOLES 67
Figure 49: CASSATA PRIMARY SCHOOL COLOURFUL STRIPES 67
Figure 50: CASSATA PRIMARY SCHOOL FACADE 68
Figure 51: CASSATA PRIMARY SCHOOL STARICASE 68
Figure 52: CASSATA PRIMARY SCHOOL STAIRCASE 69
Figure 53: NIFT ENTRANCE 70
Figure 54: CONCEPT CUBE 72
Figure 55: NIFT VIEWS 72
Figure 56: SKY LIGHTING PROVIDED AT ALL LEVELS AND CORRIDORS 73
Figure 57: NIFT VIEWS 73
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CHAPTER 1
INFLUENCES OF COLOURS IN ARCHITECTURE

1.1 OVERVIEW
 Colour is a visual experience that subconsciously affects individual's Function
and emotions. The human response to colour is based upon One's perception
of behavioral aspects that are controlled by the Brain. Many experiments have
been conducted to prove that colour is indeed and influential factor composed
of both subjective and objective aspects.
 Colour creates the connection between the surrounding environment and the
interior space.
 Colour affects individuals differently based upon their gender, age, culture and
other biological factors that are explored through this exploration. Throughout
history, ancient scholars used colour to solve mysteries among their time.
 Colour plays an essential role in interior design because it can be recognized
instantly and gives people a sensual visual perception. Each colour is
represented by certain mood and is associated with certain environment that
affects people's perception and emotion toward that space. People are now
thinking more about the environment they live in especially with surfacing of
the human oriented interior design trend; interior design will now respect
human beings and embody its natural quality.
 This dissertation includes a detail study of Influence of Colours in Architecture
which includes literature studies.
1.1 HISTORICAL BACKGROUND
• Since antiquity, human-being had been always trying to use colour by which
to record the secrets of his being and ambitions, by decorating the walls of
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his domicile for various purposes. He discovered these colours, either by

chance, or through experimentations. He also used colours to in drawings
to satisfy his feelings, looking forward towards future and immortality. He
named colours by names of animals which are naturally coloured. By that
we can imagine how the designer worked through these methods of colour
expressions.
• The Italian scholar and artist, Leonardo Da Vinci, had ante dated by many
centuries many psychologists by realizing the basic properties of green,
yellow, red, and blue colours and that by means of these colours we can
arrive at the other colours. He also discussed in his book “Treatise on
Paintings” the harmony between contrasting colours; and arrived at the fact
that by when putting yellow next to blue, and red next to green, both colours
will look brighter, creating a more aesthetic composition than putting similar
colours side by side.
• For many centuries, this book remained the basic theoretical source, until
the British scholar Isaac Newton the first light spectrum analysis later in the
seventeen century. He drew the plan of full circle of light spectrum, starting
with red, then orange, yellow, green, blue, indigo and violet; to return again
to red. This is considered the first attempt to organize an image of the realm
of light.
• The German astronomer Johann Tobias Mayer created the colour triangle,
while the physicist J. H. Lambert created the colour pyramid. After that, the
German poet Johann
• Wolfgang Von Gothe came out with the relation between colours and
distance phenomenon. The English Physician Thomas Young came forth
with the hypothesis of the three receptors of light to explain the ability of the
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eye to see colours. In 1866 the scholar Helmholz discovered the three basic
dimensions of Colour, Tint, value, and Chroma.
1.1.1 IMPACTS
JOSEPH ALBERS
"Colour is understood through experience"

 Know for his colour context studies that explores the interaction of colour.
 Studied at the Bauhaus as a painter, but joined the faculty as a stained glass
instructor and later became a professor of the arts.
 As a professor he “linked architecture and painting " and believed that colour is
depending on surrounding relation.
FABER BIRREN
"The study of colour is essentially a mental and psychological science, for
the term colour itself refers to sensation."
 Father of applied colour psychology (devoted his life to study of colour).

 Originator of OSHA colours.
 Established the profession of colour consultants.
 Discovered the relationship of the fundamental attributes pertaining to hue:
shade, tint and tone.
KARIM RASHID
 I use extensive variations of colours to create form, depth, mood, feeling,
texture and to touch our everyday public memory.
“Colour is not just surface and is not intangible It is very real, very
strong, A powerful tool and has a real physical presence"
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 Rashid is an industrial designer and interior architect known for his futuristic
designs that pushes the exploration of colour.
1.3 NEED
The need of this study is to understand the visual, symbolic, emotional and
psychological effects of Colours in Architecture.
1.4 GOAL OF THE STUDY
 This research was undertaken to find out how individuals react when in
an enclosed, coloured space; if their moods change and if colours can
increase stimulation, and stimulation can increase memory, then it is
possible that we could find that colour can increase memory. Colour can
perform a multitude of roles and can affect a person‟s emotions, energy
level, and sense of order, or disorder.
 Colours are psychological experiences. Colour is fundamental to sight,
identification, interpretation, perceptions, and senses. Some colours
evoke psychological reactions through signals such as warmth,
relaxation, danger, energy, purity, and death.
 Particular colours have very different effects on each individual.
Response to a colour may be influenced by a number of factors such as
the body’s need for a specific colour, a sad or happy memory associated
with a colour, family history, or current trends. In addition to that
determining the effects of colour formations on the interior spaces, and
how it enhances daily activities; and to what extent the properties of
colour, (hue, value and intensity), warm, cold, and neutral colours that
help in enhancing activities inside interior spaces will be addressed.
 In general, the aim of the study is to develop an argument about colours
and their impacts on people.
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1.5 DESIGN GOALS

From this colour study I hope to gain a better understanding of the psychological
effects of colour in an interior space and incorporate the findings into my designs
by:
 Bringing awareness to psychological effects of colour within a space.
 Applying colour in a way that contradiction the standard functional context.
 Integrating the surrounding elements of geographical location into space to

reflect the colour scheme.
 Creating a unique experience that change overall mood of the space.
 Provoking a psychological sensation through the use of different hues.
1.6 OPPOURTUNITY OF THE STUDY
An interior is a three dimensional world that completely envelops you in colour;

colour surfaces are all around you, above you, and beneath you. Interior colour is,
therefore, experienced quite differently from any other colour use. This research
will study the various colours, how they are perceived by individuals, their
psychological properties and how they also affect individual’s mood in enclosed
spaces.
1.7 DRAWBACK OF THE STUDY
Colours is a young field that is largely unexplored. Difference in the colours

changes the whole environment in a negative way that can cause fatigue,
increases stress, etc. Concerning the subject matter, it will investigate colour
concepts and systems, and the effects of its properties.
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1.8 APPROACH OF THE STUDY
This work of study relies on the theoretical basis of investigation, in clarifying the
relationship between colour formations.
The process depends on identifying the properties of used colours, and the
relation between the colours, by means of a psychological aspect regarding of the
form, the colours, and the function of every space.
 Abstract of the Report, and the Introduction of Influence of Colours in
Architecture, its Needs, Aims and Objective and Scopes and Limitations.
 Collect Data
 Primary Data – from Case Study
 Secondary Data- from Books, Journals, Reports and Websites.
 Discuss Case Studies and Literature Studies of Colours used in buildings.
 Finally give a conclusion stating how Colours can influence the
Architecture.
 Also add the References of, from where the secondary data was collected.
CHAPTER 2
DATA COLLECTION OF COLOURS
2.1 INTRODUCTION
This chapter aims at forming a theoretical framework of colour, its properties,
theory; where colours are considered the most beautiful elements in human life.
Colour is the design element that appeals to us, emotionally and psychologically,
and is considered the most powerful tool in the hands of the designer who looks
for the new that moves with his time and futuristic vision.
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2.2 DEFINTION OF COLOUR

The property possessed by an object of producing different sensations on the eye
as a result of the way it reflects or emits light.
2.3 COLOUR THEORY
Colour theory is a body of practical guidance to colour mixing and the visual
effects of a specific colour combination, whereas it analyzes only the relationships
of pure colours; it does not take colour lightness and saturation into account. While
the colour scheme can use any tints, shades, and tones, colour theory pays
attention only to the hue component.
2.3.1 HISTORY OF COLOUR THEORY
 The first colour wheel was invented by Sir Isaac Newton. He split white
sunlight into red, orange, yellow, green, cyan, and blue beams; then he joined
the two ends of the colour spectrum together to show the natural progression
of colours. Newton associated each colour with a note of a musical scale.
Figure 1: NEWTON’S COLOUR WHEELl
 After Newton, Johann Wolfgang Goethe began studying psychological effect

of colours. He noticed that blue gives a feeling of coolness and yellow has a
warming effect. Goethe created a colour wheel showing the psychological
effect of each colour. He divided all the colours into two groups, the plus side
(from red through orange to yellow) and the minus side (from green through
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violet to blue). Colours of the plus side produce excitement and cheerfulness.
Colours of the minus side are associated with weakness and unsettled
feelings.
Figure 2: GOTHE’S COLOUR WHEEL
 The current form of colour theory was developed by Johannes Itten, a Swiss
colour and art theorist. He developed 'colour chords' and modified the colour
wheel. Itten's colour wheel is based on red, yellow, and blue colours as the
primary triad and includes twelve hues.
Figure 3: ITTEN’S COLOUR WHEEL
2.4 QUALITIES OF COLOUR
Colour is the quality of light as reflected on a certain surface. It can be a colour of

light, of a sunlight spectrum, or an artificial electric light, or a result of reflection,
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absorption, or refraction. Colour itself has three primary qualities: Hue, Chroma,
Value.
2.4.1 HUE
It's the property by which we can differentiate between colours, saying: this is red,
or blue, etc. Light coming from a colour source has a clear indication to show an
object to be green or red; meaning a clear colour tint about which more than one
person agree upon when looking at the colour. Using names for colours, (hues),
requires a scale by which human being can prepare them easily. It was done by
using special colour wheels which solved this problem. Colours are recognized by
their wavelengths. The primary colours are recognized by their light spectrum.
(Red, orange, yellow, green, blue, indigo, and violet). All other colours have some
similarity to one or two of the primary colours of the light spectrum. Therefore, a
hue is the founding dimension of a colour determined by wavelength; in short hue
is the base colour.
Figure 4: HUE COLOUR
2.4.2 CHROMA
Chroma, most often called Saturation, refers to the intensity and purity of hue. The
intensity of the hue is decreased by,Tone - adding white and black (grey) or
adding direct complementary colour to the circle of the basic colours to desaturate.
2.4.3 VALUE
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Value is the third property of colour. It is the quality by which dark tone is
distinguished from light tone. It is the value of colour saturation by bright light, or
shade, or a value between a pure colour and another pure colour next to it in
Oswald Circle.
The colour value can be classified according to its relation with black and white
colours, into: Tint - adding white colour, to make it lighter or higher in value from its
original value. Shade - adding black to the colour, making it darker, or with a lower
value than what it was before.
Figure 5: TINT, TONE AND SHADE
2.5 COLOUR WHEEL
A Colour wheel or Colour circle is an abstract illustrative organization of colour

hues around a circle, which shows the relationships between primary, secondary and
tertiary colours. Sir Isaac Newton developed the first circular diagram of colours.
Since then, scientists and artists have studied and designed numerous variations
of this concept. Differences of opinion about the validity of one format over another
continue to provoke debate. There are 3 main divisions in the colour wheel, as
follows;
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2.5.1 PRIMARY COLOURS
Red, yellow and blue. In traditional colour theory (used in paint and pigments),
primary colours are the 3 pigment colours that cannot be mixed or formed by any
combination of other colours. All other colours are derived from these 3 hues.
2.5.2 SECONDARY COLOURS

Green, orange and purple. These are the colours formed by mixing the primary
colours.
2.5.3 TERTIARY COLOURS

Yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green.
These are the colours formed by mixing a primary and a secondary colour.
Figure 6: COLOUR WHEEL
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2.6 COLOUR HARMONY
Harmony can be defined as a pleasing arrangement of parts, whether it be music,

poetry, colour, or even an ice cream sundae. In visual experiences, harmony is
something that is pleasing to the eye. It engages the viewer and it creates an inner
sense of order, a balance in the visual experience. When something is not
harmonious, it's either boring or chaotic. At one extreme is a visual experience that
is so bland that the viewer is not engaged. The human brain will reject under-
stimulating information. At the other extreme is a visual experience that is so
overdone, so chaotic that the viewer can't stand to look at it. The human brain
rejects what it cannot organize, what it cannot understand. The visual task
requires that we present a logical structure. Colour harmony delivers visual
interest and a sense of order. In summary, extreme unity leads to under-
stimulation, extreme complexity leads to overstimulation. Harmony is a dynamic
equilibrium.
Basic techiques for creating colour schemes are as follows,
2.6.1 MONOCHROMATIC
Monochromatic colour schemes are made up of different tones, shades, and tints
of a single hue. These are the simplest colour schemes to create, as they’re all
taken from the same hue. This is a very cohesive colour scheme that looks clean
and polished. However, these schemes usually do not pop or grab as much
attention as some of the other colour harmonies.
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Figure 7: MONOCHROMATIC SCHEME
2.6.2 COMPLEMENTARY
Complementary colour schemes are based on the use of two colours from
opposite sides of the colour wheel. You can expand your colour options by using
tones, tints, and shades of these colours. Because the two hues will be wildly
different, these schemes can be very impactful and noticeable. An effective way
to use this colour scheme is to use one colour predominantly and use the second
colour as accents in your design.
Figure 8: COMPLEMENTARY SCHEME
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2.6.3 ANALOGOUS
Analogous schemes are formed by pairing one main colour with the two colours
directly next to it on the colour wheel. Generally, analogous colour schemes all
have the same chroma level, but by using tones, shades, and tints we can add
interest to these schemes and adapt them to our needs for designing websites.
These schemes are not high in contrast and are typically used to create a softer,
less contrasting design.
Figure 9: ANALOGOUS SCHEME
2.6.4 SPLIT COMPLEMENTARY
A split complementary colour scheme includes one dominant (base) colour and
two colours adjacent to its complement. This might sound confusing so check out
the image. It’s important to have enough difference in chroma and value between
the colours you select for this type of scheme to work well. Therefore, it might take
a bit to find the right combination of contrast and balance.
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Figure 10: SPLIT COMPLEMENTARY SCHEME
2.6.5 TRIADIC
Triadic (Triad) colour schemes are one of the more diverse colour schemes. They
are made up of three colours equally spaced around the colour wheel, which can
create a very balanced scheme if done right. To use a triadic harmony
successfully, the colours should be carefully balanced – let one colour dominate
and use the other two for accent. Just like the other colour schemes by using
different tints could soften the scheme.
Figure 11: TRIADIC SCHEME
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2.6.6 TETRADIC
Tetradic colour schemes are probably the most difficult schemes to pull off
effectively. This colour scheme uses four colours arranged into two
complementary pairs. A tetradic rich colour scheme offers plenty of possibilities
for variation and is also best if you use one as the dominant colour.
Figure 12: TETRADIC SCHEME
2.6 SUBTRACTIVE COLOUR
Colour resulting from absorption of light. Their mixtures are governed by the rule of
subtraction. All color, when mixed in certain proportions, the subtractive result is
black.
Figure 13: SUBTRACTIVE COLOUR
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2.7 ADDITIVE COLOUR
All colored light, when mixed in certain proportions, the additive result is white.
Color resulting from projection of light.
Figure 14: ADDITIVE COLOUR
2.8 ACTIVE AND PASSIVE COLOUR
The colour wheel can be divided into ranges that are visually active or passive.
Active colours will appear to advance when placed against passive hues. Passive
colours appear to recede when positioned against active hues. Most often warm,
saturated, light value hues are "active" and visually advance. Cool, low saturated,
dark value hues are "passive" and visually recede. Tints or hues with a low
saturation appear lighter than shades or highly saturated colours. Some colours
remain visually neutral or indifferent.
Figure 15: ACTIVE AND PASSIVE COLOUR
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2.9 WARM COLOURS
Warm colours include red, orange, and yellow, and variations of those three
colours. These are the colours of fire, of fall leaves, and of sunsets and sunrises,
and are generally energizing, passionate, and positive. Red and yellow are both
primary colours, with orange falling in the middle, which means warm colours are
all truly warm and aren’t created by combining a warm colour with a cool colour.
Use warm colours in your designs to reflect passion, happiness, enthusiasm,
power and energy.
Figure 16: WARM COLOUR
2.10 COOL COLOURS

Cool colours include green, blue, and purple, are often more subdued than warm
colours. They are the colours of night, of water, of nature, and are usually
calming, relaxing, and somewhat reserved. Blue is the only primary colour within
the cool spectrum, which means the other colours are created by combining blue
with a warm colour (yellow for green and red for purple). Greens take on some of
the attributes of yellow, and purple takes on some of the attributes of red. Use
cool colours in your designs to reflect calmness, professionalism,vtrust and
stability.
Figure 17: COOL COLOUR
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CHAPTER 3
PSYCHOLOGICAL ASPECTS OF COLOURS
3.1 HUMAN MIND
One of the two components of the central nervous system, the brain is the Centre
of thoughts and emotions. It is responsible for the coordination and control of
bodily activities and the interpretation of information from senses (sight, hearing,
smell, etc). That part of the central nervous system that includes all higher nervous
wandered; i couldn't get his words out of my head. Part of the central nervous
system involved in regulating and controlling human body function while
interpreting information from the senses transmitted through the nervous system.
3.2 PSYCHOLOGY
Psychology is an academic and applied discipline that involves the scientific study
of mental function and behaviors. It is completely about how the human mind
functions with environment. How it affect human mind from surrounding area.
Physical events that affect the conscious, subconscious and unconscious. How
the "Human mind function" with different kinds space like Residential, Institutional,
Industrial and Urban space.
3.2 COLOUR PSYCHOLOGY
We know that colours can affect our emotions but the question is whether this
happens purely as a result of meanings conveyed through signs, or if there is a
deeper link between colours and mental states. The psychoanalyst Carl Jung
famously said that “colours are the mother tongue of the subconscious”. While
colour symbols may differ between cultures and religions, as we have seen, a
great deal of colour meanings are recognized around the world.
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3.3 PSYCHOLOGICAL EFFECTS OF COLOUR
While perceptions of colour are somewhat subjective, there are some colour
effects that have universal meaning. Colours in the red area of the colour
spectrum are known as warm colours and include red, orange and yellow. These
warm colours evoke emotions ranging from feelings of warmth and comfort to
feelings of anger and hostility. Colours on the blue side of the spectrum are known
as cool colours and include blue, purple and green. These colours are often
described as calm, but can also call to mind feelings of sadness or indifference.
3.3.1 PSYCHOLOGICAL EFFECTS OF WARM COLOURS
Yellow or Orange colours are often associated with food and can cause your
tummy to growl a little. And that is the reason why so many restaurants use these
colours. We should be careful about using bright colours like orange and
especially yellow. They reflect more light and excessively stimulate a person’s
eyes which can lead to irritation.
3.3.2 PSYCHOLOGICAL EFFECTS OF COOL COLOUR
Purple utilizes both red and blue to provide a nice balance between stimulation
and serenity that is supposed to encourage creativity. Light purple is said to result
in a peaceful surrounding, thus relieving tension. These could be great colours for
a home or business office. These cool colours are typically considered restful.
There is a bit of scientific logic applied to this, because the eye focuses the colour
green directly on the retina, it is said to be less strainful on your eye muscles. The
colour blue is suggested for high-traffic rooms. Another cool colour, blue is
typically a calming and serene colour, said to decrease respiration and lower blood
pressure. The bedroom is a great place to use these colours as they should help
to relax.
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3.4 PERSONALITY BASED ON COLOURS
3.4.1 RED
 Associated with energy, war, danger, strength, power, determination as well

as passion, desire, and love.
 Enhances human metabolism, increases respiration rate, and raises blood
pressure.
 It attracts attention more than any other colour, at times signifying danger.
3.4.2 ORANGE
 Combines the energy of red and the happiness of yellow.

 Associated with joy, sunshine, and the tropics.
 Represents enthusiasm, fascination, happiness, creativity, determination,
attraction, success, encouragement, and stimulation.
3.4.3 YELLOW
 Associated with joy, happiness, intellect, and energy.

 Produces a warming effect, arouses cheerfulness, stimulates mental
activity, and generates muscle energy.
 Bright, pure yellow is an attention getter, which is the reason taxicabs are
painted this colour.
 When overused, yellow may have a disturbing effect.
 It is known that babies cry more in yellow rooms.
 Yellow indicates honor and loyalty. Later the meaning of yellow was
connected with cowardice.
3.4.4 GREEN
 Colour of nature. It symbolizes growth, harmony, freshness, and fertility.
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 Strong emotional correspondence with safety.

 Dark green is also commonly associated with money.
 Has great healing power.
 Green suggests stability and endurance.
 Colour of the sea. It is often associated with depth and stability.
 Symbolizes trust, loyalty, wisdom, confidence, intelligence, faith, truth, and
heaven.
 Considered beneficial to the mind and body.
 Slows human metabolism and produces a calming effect.
 Strongly associated with tranquility and calmness.
 Used to symbolize piety and sincerity.
3.4.5 PURPLE
 Combines the stability of blue and the energy of red.

 Associated with royalty. It symbolizes power, nobility, luxury, and ambition.
 Conveys wealth and extravagance.
 Associated with wisdom, dignity, independence, creativity, mystery, and
magic.
 Encourages creativity
3.4.6 WHITE
 Associated with light, goodness, innocence, purity, and virginity.

 Considered to be the colour of perfection.
 Signifies safety, purity, and cleanliness.
 Usually has a positive connotation.
 Can represent a successful beginning.
 Depicts faith and purity.
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3.4.7 BLACK
 Associated with power, elegance, formality, death, evil, and mystery.

 A mysterious colour associated with fear and the unknown (black holes).
 Usually has a negative connotation (blacklist, black humor, „black death‟).
 Denotes strength and authority; it is considered to be a very formal, elegant,
and prestigious colour.
 The symbol of grief.
3.4.8 BLUE
 Colours of professionalism.
 It promotes productivity, calmness.
 Its is trust worthy and dependable.
3.4.9 GREY
 It is associated with wisdom, intelligence.

 Gives the feel of long lasting.
 It is sleek colour.
3.5 COLOUR CAN INFLUENCE PERFORMANCE

Studies have also shown that certain colours can have an impact on performance.
No one likes to see a graded test covered in red ink, but one study found that
seeing the colour red before taking an exam actually hurt test performance. While
the colour red is often described as threatening, arousing or exciting, many
previous studies on the impact of the colour red have been largely inconclusive.
The study found, however, that exposing students to the colour red prior to an
exam has been shown to have a negative impact on test performance.
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In the first of the six experiments described in the study, 71 U.S. colleges students
were presented with a participant number coloured either red, green or black prior
to taking a five-minute test. The results revealed that students who were presented
with the red number before taking the test scored more than 20 percent lower than
those presented with the green and black numbers.
3.6 COLOUR PSYCHOLOGY AS THERAPY

Several ancient cultures, including the Egyptians and Chinese, practiced chromo
therapy, or the use of colours to heal. Chromo therapy is sometimes referred to as
light therapy or colourology and is still used today as a holistic or alternative
treatment.
In this treatment:
 Red was used to stimulate the body and mind and to increase circulation.
 Yellow was thought to stimulate the nerves and purify the body.
 Orange was used to heal the lungs and to increase energy levels.
 Blue was believed to soothe illnesses and treat pain.
 Indigo shades were thought to alleviate skin problems.
CHAPTER 4
LIVING WITH COLOURS
4.1 COLOURS IN MODERN LIFE
Street furniture’s, shop signs and bill boards are coloured to catch the eye and the
vehicles passing between them gleam in spectrum of shades. If you stumble
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across a surviving wilderness of unadorned concrete, you can be sure someone

will have decorated it with rainbow – hued graffiti.
It is no coincidence that the use of colour is to tempt people to buy their products.
If you think of a well-known brand recognition device, and it certainly is hard to
think of a brand that does not have a colour or colour combination associated with
it. Coke is red, Pepsi is blue, and whatever your preference – that is the first
reason why you will never pick up the wrong bottle.
Such use of colour is partly “empty”: one hue is chosen over another merely to
differentiate a brand, not to make any literal or symbolic associations. In law,
colours are not, in themselves, subject to trademark or copyright protection. A
company can only act to prevent others from using its “own” colour-as Pepsi has
done with blue-if deliberate imitations has occurred. Picking a colour that has no
intrinsic connection with the product makes it harder for competitors to dismiss
imitations as coincidence.
4.2 COLOURS IN CULTURE AND CREATIVITY
In the course of history, people have developed many different traditions of

representation. Styles of image-making vary according to culture, technology, and
location, and the kinds of images designers and illustrators create are governed by
their own ideas, beliefs, and perceptions.
In western art history, Christian symbolism has been a primary influence on colour
use. The church has its own traditions of using colour to represent aspects of faith.
Colours were related to liturgical seasons as early as the fourth century and were
systematized into a palette of black, white, red, green, and violet around 1200 by
Pope Innocent III. The same colours are used to this day, officially referred to by
their Latin names.
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 White (Albus) is worn for festivals such as Christmas and Easter and on
saints days.
 Red (Ruber), symbolizing blood is worn and displayed on fest days
associated with martyrdom.
 Green (Viridis) represents life and is worn for everyday occasions.
 Violet (Violaceus) is worn during Advent and Lent, signifying the time of
reflection and penitence.
 Black (Niger) is reserved for certain funeral masses, masses in
remembrance of the dead, and Good Friday, the day on which Christ
was crucified.
In the Islamic tradition, colours are conceived on the metaphysical level, deriving
from the idea that light and darkness are two eternal possibilities pervading the
universe.
 White is described as the light of the sun, which allows colours to flow
forth into the world.
 Black carries the concept of concealment, deriving from a notion of god
hiding within his own radiance
 Sandalwood can be viewed as a neutral base for all the colours of
nature.
4.3 COLOURS IN NATURE
In nature, red often combined with yellow or black, suggest poison or danger.
Some cunning nonpoisonous animals use false markings to convince predators
that they are toxic.
Meanwhile, flowers and fruits that requires pollination compete to attract insects
and animals with their colourful display.
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Some animals can change their colours. They may need to do this to defend
against predators, communicate with others, attract potential mates, repel rivals,
signal alarm, gain protection from the environment, or deceive approaching prey.
Camouflage is the best known form of colour adaptation and of course is a
technique borrowed by humans.
4.4 COLOUR IN THE CITY
Many contemporary architects use colour as a reflection of the use or immediate

environment of a building, or to make connections between it and broader cultural
themes and expectations. Architect Rem Koolhaas believes that the use of colour
must be guided by our changing perception.
Koolhas was one of the founders of the Office of Metropolitan Architecture (OMA),
an organization set up to define new theoretical and practical relationships for
architecture within contemporary culture. Examining the options architects have for
using colour, he traces a trajectory from the modernist position through the
“exuberance” of the 1960‟s and should change, no longer just a thin layer of
change, but something that genuinely alters perception. In this sense, the future of
colours is looking bright.”
This process of destabilizing city space of colour damage seems as irreversible

as it is sinister. As urban spaces are annexed by chain stores retailing the same
goods from the same manufacturers, they begin to adopt similar patterns of
signage. The streets of London and New York orient consumers toward a single
vision of fixed brands and corporate superiority. How fixed that template will
become remains to seen.
4.5 COLOURS IN MOVIE
Black and blue are used for horror movies, colour filled environment is created in
enterntainment movies. Therefore change in the colour will affect the whole movie,
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which doesn’t express any emotions as expected.
Figure 18: COLOUR IN MOVIES
Here, with a simple colour tweak, the house becomes less haunting and more
welcoming. Colour change in movies revolve under change in temperature.
4.6 VASTU COLOURS FOR HOME
Figure 19: VASTHU COLOUR
Wall considered as our mansion's strength which too needs proper attention.
Colours chosen for wall should be aesthetically affective which reflects our own
inner self. Wall colour influences the mood and style and appearance of the
house. There are colours which enhance your mood and sometimes doze you off.
While selecting the colour for your room people have tendency of running to the
shop to buy colour without analyzing anything about their room whether it is big or
small. So before doing this one should choose wall colour accordingly.
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Figure 20: VASTHU COLOUR CHART
Psychologists believe that colour influence our mood being very powerful and how
much time we spend in our rooms. Yellow, blue, and green colours are soothing
and natural which also makes our room look bigger. Black and gray are elegant
and sleek. Now a day there is a trend of using contrast in one room, three sides of
wall have a different colour and fourth wall will have a contrast of that colour. We
will now discuss the implication of different colours which will amaze you in all
way. Colours look different in different lights and shades.
4.6.1 RED
Red colour is a colour of passion, aggressiveness, warmth, energy and vibrancy. It

is a stimulating and active colour, and hence looks great in living room and dining
room. Different hues of red would also look good in rooms as it is as lively as
other. Red colour suggests warmth and boldness by giving you confidence. It is
more appreciable in the areas where you need energy and it is often avoided in
sleeping rooms.
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RED COLOUR FACTS
Some people have red colour as their favorite. This kind of person is extremely
passionate about his work and activity. This person never regrets and can
stampede the coming obstacles out of the way to reach his goal.
4.6.2 BLUE
Blue colour is the most universally equated with the beauty. It is the most soothing
colour which signifies tranquility and contentment. This colour is versatile in
expressing values. Blue colour is generally preferred for larger areas where soft
and lighter version is needed. Small rooms are not suitable for blue colour
according to interior design.
BLUE COLOUR FACTS
Blue lovers bear a hallmark of gentle and heaven. These kinds of people are calm
and serious by nature, they are good friends who stays with you in your bad times
and happy with you in your good times.
4.6.3 GREEN
Green represents growth, nature and relaxation. This colour is fresh and gaiety
which makes you feel relax and soothes your mood. It complements with any
colour for its universal appeal. It looks great in kitchen where you need to
concentrate well and provides your kitchen neat and clean look.
GREEN COLOUR FACTS
The lovers of green colour are endearing and enduring who believe in love and
romance.
They understand you more than any other person and believe in give and take.
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4.6.4 YELLOW
Yellow represents boldness, happiness and optimism. Tints of yellow are ideal for
all the rooms and make the room look bigger. It is the most natural and powerful
colour both in value and intense in purest form. It is perennial in interior design
which complements with green and red by providing freshness and gaiety.
YELLOW COLOUR FACTS
Yellow lovers are going with a flow type, if they see that things are not going well,
they drift apart. They get doze off easily if they do not get brightness in life.
4.6.5 BROWN
Brown is a colour of contentment and comfort. It is muscular and subtle and

makes a good choice for study rooms or library.
BROWN COLOUR FACTS
Brown colour lovers make sensitive partners who are open in love and relish
togetherness.
These people dream more and sometimes reality is hard to believe for them.
4.6.6 PURPLE
Purple denotes luxury, dignity and nobility and makes a perfect choice for the
guest's room or living room which may makes your guests feel the 'royal
treatment'.
PURPLE COLOUR FACTS
Purple lovers are somewhat self-centered. Female purple fans are nagging but
cool and composed. While male purple fans are methodological.
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4.6.7 ORANGE
Orange signifies warmth, action, comfort and energy. Orange would look great in
drawing room and living room, but too much of orange would not be a good idea in
home. Light hues of orange can use in some space.
ORANGE COLOUR FACTS
Orange colour lovers are serious and responsible in their work. Their personality is
intense and vibrant. They are great and responsible lovers. Two orange lovers
can't stay together and would not make a good pair.
4.6.8 WHITE
White implies cleanliness, virtue, purity, spaciousness and innocence. White

colour in rooms is elegant and creates a feeling of luxury. It goes well in master
bedroom which will soothes you when you are tiresome.
WHITE COLOUR FACTS
White lovers like privacy and never intimate with peoples. In some way they are
self-centered and self-esteemed.
4.6.9 PASTELS
Pastels are simple lighter tints of any colour such as light matt pink, phone colour
and other skin tones. When colour becomes so light and seem to give white touch
they become pastel. This type of colour is becoming more and more common as
they give elegant and sober look to the rooms.
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4.6.10 NEUTRAL
Using neutral colour doesn't mean to use fewer colours or no colour. Low intensity
colours which are used for background for other accent colours, features, furniture
and objects in a space can be classified as neutral. Light colours such as hue of
beige, off white and cream, these colours are generally called neutral colour.
4.7 INTERIOR COLOURS FOR HOME
Figure 21: VASTHU CHART
Vasthu defines specific colours for directions and corners of a house. These
colours influence and have an active role to play in our lives. Right colour at right
corner helps us improve physically and mentally.
Vasthu based guidelines for choosing right colours for each room of your house :
 Bed rooms: Light colours are suitable for bed rooms. Pink, blue, green,
gray and depicting fire. It can be utensils, or any other items. White or blue
are suitable for walls and flooring
 Guest room: for active and pleasant atmosphere prefer yellow, green,
blue, orange or lavender in their lighter shades
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 Study Room: to improve concentration and for pleasantness opt for green,
blue, light purple which also improve memory
 Baby/Kids room: bright colours are suitable for baby rooms be it pink,
blue, yellow orange or purple
 Bath rooms: white, light gray, pink or any pastel shade is suitable.
 Kitchen: Kitchen must have some tinge of red in it
Few additional tips : Green drives away anxiety(used in hospitals), blue cures
insomnia(sleeplessness), red solves your over weight problem, orange improves
your appetite, pink is for tension and yellow improves memory. Some colours add
zest to life and give positive attitude where as some colours act the opposite way.
Caution: Do not use bright colours on walls facing South and West windows and
doors,as they reflect light and cause glare.
Keep those doors and windows closed during day time so that the bright rays do
not reflect in the room. lavender in their lighter shades keep the rooms tranquil and
induce good sleep. Pink or cream coloured tiles or marble are good for flooring
4.8 RELATIONSHIP BETWEEN INTERIOR DESIGN, COLOUR AND MOOD
Blue bedroom - It calms and soothes, ushering in a sense of tranquility. Blue

evokes the colour of the sea and the sky, and darker shades such as navy can
create a relaxing nautical vibe. Below we see an elegant bedroom decked out in
shades of blue.
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Figure 22: BLUE BEDROOM
Bright dining room - vivid yellow and bold red have the power to energize and
even stimulate the appetite.
Figure 23: DINING ROOM WITH YELLOW AND RED ARTWORK
Orange kitchen - It has a similar stimulating effect, which is why this shade is
appropriate for the kitchen, especially when extra boost of energy is needed to
finish the dishes.
Figure 24: ORANGE AND WHITE KITCHEN
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Variations in blue - We know that blue can be a calming hue, each colour has a
variety of shades, all of which can have very different effects. For example, electric
blue is often more energizing than calming. While this shade may not be ideal for
relaxing spaces such as the bedroom, it’s a perfect choice for dining rooms,
especially when combined with vibrant flowers, as shown below.
Figure 25: EYE CATCHING DINING ROOM
The same goes for yellow! Soft lemony shades are soothing, while richer, more
saturated shades of yellow have an energizing effect. The living room below
features a variety of bright colours, making it a visually intriguing space.
Figure 26: VIBRANT YELLOW LIVING ROOM
Let‟s talk neutrals. Often grounding and stabilizing, neutral hues such as cream
and gray can also veer into dreary territory if they‟re not accented with other
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cheerful colours. The beige living room below is given a rich feel with the help of
upholstery in varying shades of purple.
Figure 27: CREAM LIVING ROOM WITH VIOLET ACCENTS
Gray can also be calming–a perfect hue for uniting a range of decor choices in
large and small spaces alike. Dependable and steady, this colour can be kept from
drabsville with vibrant accents, such as the taxicab yellow throw pillows and coffee
table tray in the living area below.
Figure 28: YELLOW POPS OF COLOUR IN A GREY LIVING ROOM
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CHAPTER 5
LITERATURE CASE STUDY
5.1 IIM, KOLKATA – COLOURFUL EXPRESSION OF GLASS IN

ARCHITECTURE
5.1.1 INTRODUCTION
Designed and developed by Abin Design Studio, the Building IMI, Kolkata is
inspired by nature. The sky with its various states and ever changing colours is
one of the most dynamic elements of nature and this is what has inspired the built
form façade. The coloured laminate with Vanceva PVB glass on the façade follows
no repetitive pattern and is symbolic of the unpredictable nature of the sky. It also
represents the vibrancy of today’s youth.
The client brief required a management institute of international standards.

Provisions for state-of-the- art facilities and smart classrooms have been made for.
The latest technological provisions in the institute allow for worldwide exchange of
knowledge through conventions and seminars. The architectural language of the
built form is a representation of this. The coloured façade gives it a unique identity.
Figure 29: COLOURFUL EXTERNAL FACADE
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5.1.2 DESIGN BRIEF
Architects : Abin Design Studio · Office Profile
Location : Kolkata, West Bengal, India
Architect in Charge : Abin Chaudhuri

Design Team : Abin Chaudhuri, Jui Mallik, Koushik Majumder
Area :11000.0 sq.m
Project Year : 2010
Figure 30: EXTRENAL FACADE
The building situated in a very dense residential urban fabric, was a huge
constraint and dictated linear planning. Special efforts were made to ensure create
non-monotonous spaces which did not follow expected linear pattern. The narrow
entrance to the site did not allow a naturally large frontage and curve glass façade
was designed such that it would create the necessary frontage for an institutional
building.
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Figure 31: COLOURFUL EXTERNAL AND INTERNAL FACADE
The chromatic glass façade comprises 2 layers of 5mm clear glass each with an
intermediate PVB layer 1.2mm thick which acts as an insulator, reducing the heat
buildup inside. The façade becomes more dynamic by night when the inside lights
are switched on and has a mesmerizing effect on the plaza below. The circulation
spaces and spill out zones have been created along the curved glass façade,
allowing them to be naturally lit in the day and giving them a more interesting and
dynamic feel. Emphasis has been given to interaction points not just for students
but also for the faculty encouraging exchange of knowledge and ideas at all
levels..
Figure 32: COLOURFUL FACADE
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The reception has been designed as a triple height space naturally lit by a huge
skylight above. The corridors and spill out spaces culminate around here at the
upper floor levels. Care has been taken to ensure that the library is also well lit
during the day and has been designed such that it is surrounded by glass on three
sides, shaded by the existing trees on site.
Figure 33: IIM COLOURFUL INTERIOR
Colour has subtly been introduced in the interiors as well in the form of coloured
glass partitions, coloured glass slits on the wall or simply in the furniture. An
integrated plaza with a water body has been designed. The water body receives
no direct sunlight and creates a comfortable micro-climate. Wherever possible
shading trees have been planted and soft landscape is introduced.
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Figure 34: IIM COLOURFUL INTERIOR
It is an institute that has achieved international standards not only by providing

state-ofthe-art facilities but also by having an architectural expression which
represents that.
5.1.3 INFERANCE & CONCLUSION
 The whole exercise of the architecture is found to be colourful & energetic.

 They have played with colour and light which provides an energetic
environment for the student and staffs.
 Emphasis has been given to interaction points not just for students but also
for the faculty encouraging exchange of knowledge and ideas at all levels.
 According to this study, this building is one good example for representing
Influence of Colours in Architecture
5.2 GOOGLE OFFICE IN DUBLIN
5.2.1 INTRODUCTION
Located in the tallest commercial building in Dublin, the Montevetro, or Google

Docks as it is now called, houses Google's headquarters for Europe, the Middle
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East and Africa designed by Camenzind Evolution. Â Historically befitting of

Googlian culture, the multihued complex boasts office spaces tagged with names
such as 'Clown College', 'Funland' and 'Bouncing Castle'.
LOCATION: Dublin
Figure 35: GOOGLE OFFICE RECEPTION
5.2.2 FACILITIES
Employees come from over 38 countries and 46 languages are spoken within the
office, with the company offering employees their own gym, swimming pool, pool
tables, shuffle boards, bean bags and swings the common language everyone
seems to speak is 'fun'. Â To further push the envelope and inspire creativity
among the many creatives that work in the Dublin office, Google provides free
food in its in-house cafeteria, beer in its Irish pub,
Segway‟s for quick transport and numerous other perks. Take a look at Google
Docks below to see their impressive setup.
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5.2.3 DESIGN BRIEF
The Floor Themes Include
 ‘SEARCH’ - dedicated to finding any information as a fast, seamless

experience.
 ‘APPINESS’ - dedicated to the popular Google Apps.
 ‘BE GREEN’ - expresses Google‟s ecological focus.
 ‘@HOME’ - dedicated to Google‟s aspiration of giving its users the feeling
of being at home.
 ‘CREATE’ - expresses the free, unrestrained and open-minded spirit
of Google, opening endless opportunities to its users and allowing
them to create.
 ‘ORGANIZE’ - dedicated to Google‟s mission to organize the world‟s
information and make it universally accessible and useful.
 ‘INNOVATE’ - expresses Google‟s boundlessly advanced, dynamic and
progressive character.
5.2.4 INTERIOR DESIGNS
The main area of each floor is the communication hub which is integrated among
various functionalities depending on each floor – from open plan and flexible
working spaces, to micro kitchens and informal meeting rooms, alternative
working zones, game areas, cafés, gym and even a 25m indoor swimming pool.
These spectacular hubs are created as unique highlights of each floor, bringing
an exciting fresh quality to the working experience.
The distinctive character of each floor theme is also reflected through different
materials, colours and shapes with either literal or more subconscious connection
to the particular theme dedicated to the floor.
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Figure 36: GOOGLE OFFICE RECEPTION
The highly recognizable “Google” letters in bright primaries can be seen as the
focal point for the interior reception area and the outer entrance.
Figure 37: GOOGLE OFFICE COLOURFUL INTERIOR
The giant letters house ‘work pods’ which are commonly found throughout all of
Google’s complexes.
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Figure 38: GOOGLE OFFUCE COLOURFUL INTERIOR
Many non-standard office spaces and collaborative areas such as this lounge can
be found throughout the complex.
Figure 39: GOOGLE OFFICE DINING SPACE
While much of the Google Docks offices are decorated in brilliant hues, this is
workspace is a bit more subdued with black and white elements with touches of
red. This self-serve „free food and drink‟ cafe is standard fare within the offices.
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Figure 40: GOOGLE OFFICE LOUNGE
Many of the lounge work spaces throughout the complex boast brightly hued
modern furnishings such as the curvy lounge chairs shown here.
Figure 41: GOOLGLE OFFICE WORK SPACE
This area reflects the use of themed decor to set the mood and promote specific
activities.
Figure 42: GOOGLE OFFICE WORK SPACE
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This nature-themed space features grassy grandstand seating, dewdrops on the

ceiling and woodsy accents.
Figure 43: GOOGLE OFFICE RELAX SPACE
Bean bag‟ seating, shown here, enables employees to kick back and relax while
waiting for that next big idea to come.
Figure 44: GOOGLE OFFICE WORK SPACE
The Dublin skyline and brilliant blue Irish skies are welcomed indoors with
expansive use of windows throughout the complex.
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5.2.5 INFERENCE & CONCLUSION
 I have learnt that Google office is one of the best examples for Colour
Psychology in Interiors.
 They have played with colours in every aspects such as Paints,
Furniture‟s, Textures, Lightings etc.
 They have introduced many themes according to their work and
departments.
 Google office provides the best environment for the staffs and
employees working there.
5.3 CASSATA PRIMARY SCHOOL AT BANGALORE
5.3.1 INTRODUCTION
Cadence Architecture designed a primary school that focuses on inspiring children

with its playful architectural features. The Cassata School in Bangalore, India, is a
five-story architectural marvel with a unique façade that stands out in its urban
setting. The exterior of the building is adorned with rounded, whimsical lettering
that adds an element of fun as well as function. Inside, the letters are actually
curved, multi-level windows that allow natural light to flow freely throughout open,
communal learning spaces. The letters and
modern, clean lines of the Cassata School‟s exterior help set it apart from
neighboring buildings which are designed in a more traditional style.
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Figure 45: CASSATA PRIMARY SCHOOL
Architects : Cadence
Principal Architects : Narendra Pirgal, Smaran Mallesh, Vikram Rajashekar
Project Architects : Sangeeta Patrick, Chaitra Koshy, Gowtham Archarya,
Harish Kumar.
Client : Planet Kids.
Location : Bengaluru, India.
Structural Engineer : Manjunath & co.
5.3.2 THEMES
Innovative Solutions To Specific Areas Or Smaller Spaces
The building takes the language of curved forms from the façade all the way
through the building, with curved walls forming small nooks for children to sit and
read or play within. The curves also form shelves in the classrooms and libraries
that allow for pupil work to be displayed. The ceiling panels, too, curve to follow
this strong language. In contrast to this is a strong language of very linear,
sculptural elements, which also form small gaps that are used for independent
study or as part of play.
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Alphabet Soup
The elevation of the building is strongly reminiscent of a desktop computer, its

monitor showing projecting letters. Nevertheless, the choice of letters is not
arbitrary. Only those letters were chosen that enclose an area and so are suitable
for being used as windows: a, b, d, e, o, p.
Imaginative Worlds For Children
The four-storied building contains a complex set of rooms, including classrooms,

library, multi-purpose space, activity rooms, and various play areas. Every
program requirement is met with a distinct, imaginatively designed world for
children. For example, more than half of the ground floor houses two playrooms,
with a slide, jungle gym and a kind of grotto, besides puzzle floors and a ball pool.
The actual classrooms, situated on the second and third floor, seem to occupy
only half of the school. In the basement, there is a large lecture room with a stage
and screen. Everything is connected by a green staircase and a void reaching
from the ground floor to the roof.
Watching And Hiding
The school is also characterized by a great “transparency”. I already mentioned

the letter façade with its numerous round windows. The latter provide for a
pleasant lighting both in the daytime on the inside and at night from the outside
when interior lighting is on. Further
“insights” are provided by the doors, all of which are equipped with peep holes
enabling the children to spy into the next room. So it is only fair that there are little
nooks and corners everywhere for hiding.
65
5.3.3 USAGE OF COLOURS
 The interior of the building uses colour and design choices to appeal to
kids.
 Constructed completely with children in mind, the building is filled with
bright colours, kid-sized elements, and fun features that encourage
learning and exploring.
 Each classroom is painted with a lime green accent wall and flooded
with natural light, creating a playful and cheery learning environment for
children.
 This is true particularly in comparison to the more dreary urban area that
surrounds the school. Many of the rooms are equipped with comfortable
reading nooks complete with brightly coloured accent pieces.
 And of course, everything is child-sized, from the handrails on the
staircases to the furniture.
Figure 46: CASSATA PRIMARY SCHOOL INTERIORS
On the first floor, wiggly ceiling panels, shelving and meandering walls encircle
tables and chairs in the corridor, continuing the facade's curving motif.
66
Figure 47: CASSATA PRIMARY SCHOOL CEILING
The school was conceived [as] a conglomeration of myriad child fantasies,"

said the architects. "These included letters coalescing to form the elevation,
to little nooks and corners for children to hide in, to little peep holes in every
door and multiple other experiences."
Figure 48: CASSATA PRIMARY SCHOOL PEEP HOLES
A large balcony on this level provides an outdoor play area and features a
horseshoeshaped wall painted in colourful stripes.
Figure 49: CASSATA PRIMARY SCHOOL COLOURFUL STRIPES
67
On the second and third floors, oddly-shaped apertures from the lettering on the
facade create windows at different heights
Figure 50: CASSATA PRIMARY SCHOOL FACADE
An angular structure covering one entrance to the building is painted vivid pink and
contrasts with the lime green walls inside the reception area.
Figure 51: CASSATA PRIMARY SCHOOL STARICASE
The main staircase that connects the five storeys built above ground rises through
an angular opening and is also painted bright green. "The sculpture void also
enables visual and special interaction between the different levels," explained the
architects.
68
Figure 52: CASSATA PRIMARY SCHOOL STAIRCASE
5.3.4 ANALYSIS & INFERANCE
The colours used in Cassata Primary School are perfectly based upon the colour
psychology of children’s. This building is organized from a child‟s perspective and
is articulated in a playful manner.
5.3.5 MERITS
 This colourful environment keeps the children‟s energetic and

enthusiastic towards studies and other activities.
 Conceived as an amalgamation of childhood fantasies, the architectural
treatment includes a façade of letters on the exterior elevation, little
nooks and corners for children to hide in and peep holes through every
door. The various programmatic requirements were seen as an
opportunity to create a distinct world for the youngsters.
 A colourful assemblage of worlds and experiences is connected via a
staircase and open void that cuts through the building in section,
enabling a visual dialogue across the different levels.
69
5.3.6 DEMERITS
 Though the curve creates a playful environment among the kids, it does
not suit for staffs. It is quite uncomfortable at times to run behind
children around the curves.
 It‟s a small place with more curves.
5.3.7 INFERANCE & CONCLUSION
Cassata Primary School is being built based on the Psychology of children’s. It

creates a perfect environment for the children’s to learn as well as play. Children’s
studying in this school are so active and energetic running around the colourful
curved environment. I would recommend this school to any parents who wants to
give their children a best schooling.
5.4 NATIONAL INSTITUTE OF FASHION TECHNOLOGY AT CHENNAI

5.4.1 INTRODUCTION
National Institute of Fashion Technology (NIFT) is a fashion institute in India. It

was set up in 1986 under the aegis of the Ministry of Textiles, Government of India
and is an institution of design, management and technology for the international
fashion business.
Figure 53: NIFT ENTRANCE
70
Client : NIFT
Architect : Sanjay Mohe, Shankar Bharatn
Location : Near Tidal Park, OMR Road
Climatic Conditions : Semi – Tropical
 The ARRIVAL PLAZA has an enhancing low height red wall leading
both to the main circular entrance court and to the auditorium which has
a welcoming entry guided by a chrome yellow wall.
 The ENTRANCE COURT again gives you the choice to proceed ahead
taking either of the circulation paths depending on your reason to be
there. The entrance flags off to the open Sky Bridge these acts as a nice
overlooking space
 The CENTRAL COURT, the most interactive zone of the campus. On
one side of the court lies the academic section & auditorium to the other.
The court is the only space to celebrate the events. In that case the
exterior wall of the auditorium flanks
one side of the courtyard forming a blank double wall. It doubles up as a projection
screen and the overlooking bridge becomes one of the galleries.
5.4.2 CONCEPT
The concept was inspired by a toy cube. A white toy cube that breaks into
multifaceted prismatic coloured forms by a simple manipulations and collapses back
into ubiquitous white cube. This was captured in built form in the many faceted
triangular pockets in the building that revealed its colour as person drove by. These
triangular coloured pockets serve as wind catchers and buffer for the space within
channeling the wind and keeping out the harsh Chennai sun.
71
Figure 54: CONCEPT CUBE
5.4.3 COLOUR & TEXTURE
 NIFT revels in the play of three basic colours, brick red, ink blue &
chrome yellow.
 The anti-glare film coated glass windows and the verdant green of the
lawns join the fun.
 By the ingenious combination of geometry and colours, a system of
aesthetic is developed that presents a different view from the road
composition depending on the point from which it is viewed.
 Same texture, no colour change from exterior to interior.
 The use of concrete establishes its own kind of plasticity resulting in a
strong sense of mass.
Figure 55: NIFT VIEWS
72
5.4.4 LIGHT & SHADOW
Different types of lighting used to lighten the corridor space, which gives lighting as
well as liveliness to space.
Figure 56: SKY LIGHTING PROVIDED AT ALL LEVELS AND CORRIDORS
5.4.5 OPENINGS
 Openings are creating vistas, which gives good views.

 The space appears to be very dynamic.
Figure 57: NIFT VIEWS
73
By an ingenious combination of geometry and use of colour, a system of aesthetic

is developed that presents a different combination and composition depending on
the point from which it is viewed, making a fashion statement.
5.4.6 ANALYSIS & INFERANCE
The usage of three basic colours red, blue and orange have been followed
throughout the entire campus. It gives enthusiastic and energetic environment to
the students.
5.4.7 MERITS
 Aural environment is well maintained in the lecture halls and studios as

they are away from the traffic zone.
 Central court with mini steps play role like amphitheatre and also for
interaction space.
 Corridors enhance learning through observation and informal
interaction.
 The sea breeze is captured to the interiors, through the narrow and tall
gaps between the angular units on the sea ward side of the building.
5.4.8 DEMERITS
 The usage of only three colours is slightly boring, they could have used
more colours in order to make it even more energetic.
 Lack of cross ventilation in classrooms and insufficient lighting for detail
works.
5.4.9 CONCLUSION
Ar.Sanjay Mohe has created a place which is perfect for emerging fashion
designers. Though NIFT lacks of cross ventilation in classrooms and insufficient
74
lighting for detail works, it still creates a colourful environment for fashion
designers to think and produce new designs.
CHAPTER 6
ANALYSIS AND CONCLUSION
6.1 IIM, KOLKATA
 The whole exercise of the architecture is found to be colourful & energetic.

 They have played with colour and light which provides an energetic
environment for the student and staffs.
 Emphasis has been given to interaction points not just for students but also
for the faculty encouraging exchange of knowledge and ideas at all levels.
 According to this study, this building is one good example for representing
Influence of Colours in Architecture.
6.2 GOOGLE OFFICE, DUBLIN
 This is one of the best colourful and energetic environment create for the
staffs and employees working here.
 They have played with colours in every aspects such as paints, furniture,
texture and lightings.
 Every department has different themes according to their type of work.
 The influence of colours in explained here clearly.
6.3 CASATTA PRIMARY SCHOOL, BANGALORE
 It is a kids learning environment.

 Vibrant colours and natural lightings are used in this school.
 Different themes are used to different spaces according to their usage.
75
 Multiple colours have been used to attract the children to keep them active.
 This school is articulated in a playful manner.
6.4 NIFT, CHENNAI
 It is a learning environment for grownups.

 The play of three basic colours such as, brick red, ink blue and chrome
yellow plays the important role.
 Different types of lightings are used to lighten the corridor space, which
creates liveliness to the space.
 Many open spaces of natural lightings are given in order to improve the
interaction and learning.
 It gives the energetic and enthusiastic environment to the students.
6.5 OBSERVATIONS
 Colourful environment makes the space lively and energetic.

 Proper use of colours and lights shows the influence of colours in
architecture.
 In the learning space, use of energetic colours such as dark and vibrant
colours makes the kids active and energetic.
 The colours and curves provides the active environment for the kids.
 NIFT makes use of only three basic colours, lightings and open space.
These three elements together gives the excellent environment for the
students.
 Open spaces and natural lightings provides the interaction between staffs
and students.
76
 From these case studies it has been observed that colour affects human in
psychological aspects.
 Colours as well as lightings both play an equal role in psychological aspects
of a human.
 The psychological aspect of a human varies upon each age group.
 The proper combination of lightings and colours can create a best
environment for the users.
 Open spaces and Natural lightings should also be given more importance in
order to provide a best environment.
 Each and every building has been designed according to the users comfort
and colour psychology.
6.6 CONCLUSIONS
Colour plays the vital role in these buildings. Different themes were used
according to their type of work.
 The research study adopted a comprehensive point of view about the

psychological effects of colour and how colour patterns have a visual effect
on human-being, in addition to a deeper understanding to colour
relationships and the identity of the interior space of buildings.
 Colour may have a strong effect on human psychology in everyday life,
where it may have different meanings according to the cultural and social
values of the community.
 Besides that, colour is a rich element of design that has to be understood in
a full context. It is an element of design that should be analyzed side by
side with its three dimensions (Hue, Value, Chroma).
77
 Space design should be made with consideration of the colours used, to

create the suitable emotional and psychological conditions, together with
physical conditions, according to the behavior and activities of customers
inside these spaces.
 With the analysis made for the chosen examples, it can be said that colour
can be used to realize certain emotional aims by using certain colour
patterns that create an atmosphere of attraction and excitement inside
spaces, by creating an exciting aesthetical image for the users, which
enhance activities.
78
BIBILOGRAPHIES
WEBSITES
 http://archinect.com/features/article/53292622/colour-in-architecture-more-thanjust-
decoration
 http://www.academia.edu/8845291/The_Effects_of_Colour_Psychology_on_Archit
ecture
 http://karenhaller.co.uk/blog/the-psychological-effects-of-colour-in-architecture/
 http://www.designrulz.com/product-design/2012/06/the-psychology-of-colour-anew-
guide-in-your-next-project/
 http://www.slideshare.net/BrittaniAnderson/the-psychology-of-colour-in-aninterior-
space
 http://www.archinomy.com/case-studies/1230/colour-meaning-symbolism-
andpsychology
 https://experiencingarchitecture.com/2011/05/19/colour/
 https://allcore.ca/blog/colour-theory-properties-and-harmonies/
 https://www.premiumbeat.com/blog/basic-properties-color/
 http://www.worqx.com/color/color_systems.htm
BOOKS
The interior design bible, Hamlyn
Colourscapes, inspiring palettes for the home
Design with colours - A sunset design guide
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INFLUENCE OF COLOURS IN ARCHITECTURE

INFLUENCE OF COLOURS IN ARCHITECTURE

Learning is a search, a quest, both for academic purpose as well as a means

of realization. Besides whatever professional achievements came our way in this

I express my heartfelt thanks to Ar. Ganesamoorthy K. Achary who guided

me in the dissertation topic during internship programme II.

I earnestly express my sincere thanks to dissertation coordinator and guide

I owe a great deal of thanks to those who strongly believed in me pushing my

Many theoretical research works in different disciplines of knowledge have dealt

systems, between cold and warm colours, as well as in colour complementary

INFLUENCE OF COLOURS IN ARCHITECTURE PAGE NO

1.2 HISTORICAL BACKGROUND 1

1.4 GOAL OF THE STUDY 4

1.5 DESIGN GOALS 5

1.6 OPPOURTUNITY OF THE STUDY 5

1.7 DRAWBACK OF THE STUDY 5

1.8 APPROACH OF THE STUDY 6

DATA COLLECTION OF COLOURS

2.2 DEFINITION OF COLOUR 7

2.3 COLOUR THEORY 7

2.3.1 HISTORY OF COLOUR THEORY 7

2.4 QUALITIES OF COLOUR 8

2.5 COLOUR WHEEL 10

2.5.1 PRIMARY COLOURS 11

2.5.2 SECONDARY COLOURS 11

2.5.3 TERTIARY COLOURS 11

2.6 COLOUR HARMONY 12

2.6.4 SPLIT COMPLEMENTARY 14

2.7 SUBTRACTIVE COLOUR 16

2.8 ADDITIVE COLOUR 17

2.9 ACTIVE AND PASSIVE COLOUR 17

2.10 WARM COLOURS 18

2.11 COOL COLOURS 18

PSYCHOLOGICAL ASPECTS OF COLOURS

3.1 HUMAN MIND 19

3.3 COLOUR PSYCHOLOGY 19

3.4 PSYCHOLOGICAL EFFECTS OF COLOURS 20

3.4.1 PSYCHOLOGICAL EFFECTS OF WARM COLOURS 20

3.4.2 PSYCHOLOGICAL EFFECTS OF COOL COLOURS 20

3.5 PERSONALITY BASED ON COLOURS 21

3.6 COLOUR CAN INFLUENCE PERFORMANCE 23

3.7 COLOUR PSYCHOLOGY AS THERAPY 24

LIVING WITH COLOURS

4.1 COLOURS IN MODERN LIFE 24

4.2 COLOURS IN CULTURE AND CREATIVITY 25

4.3 COLOURS IN NATURE 26

4.4 COLOURS IN CITY 27

4.5 COLOURS IN MOVIE 27

4.6 VASTU COLOURS FOR HOME 28

4.7 INTERIOR COLOURS FOR HOME 33

4.8 RELATIONSHIP BETWEEN INTERIOR DESIGN, COLOURS 34

LITERATURE CASE STUDY

5.1 IIM, KOLKATA

5.1.2 DESIGN BRIEF 39

5.1.3 INFERENCE AND CONCLUSION 42

5.2 GOOGLE OFFICE IN DUBLIN

5.2.3 DESIGN BRIEF 44

5.2.4 INTERIOR DESIGNS 44

5.2.5 INFERENCE AND CONCLUSIONS 49

5.3 CASSATA PRIMARY SCHOOL AT BANGALORE

5.3.3 USAGE OF COLOURS 52

5.3.4 ANALYSIS AND INFERENCE 55

5.3.7 INFERENCE AND CONCLUSION 56