Human Perception of Colour

in Built Environment

Hiranshi Patel
SAL, School of Architecture
Abstract: The paper deals with different modes of appearance of color, how hu-
mans perceive and recognize space, and Gestalt Theories or theories of form, in
relation to color. This section of Document also shows a notion of how a spatial
context deals with Colour and the color palate of Art movement s and Architec-
ture of ‘Modernism’.
Keywords: Colour; Human Perception; Modernism

1. Definition of the Problem

Color constitutes one in all the foremost important properties of the visual im-
pression of the physical or virtual objects.
Perceiving the color of the physical objects provides the observers, not solely to
sense the pleasure of the variations however conjointly to induce the information
regarding their surroundings.

Consequently, this insensitive approach causes color pollution rather than making
a harmonious color scheme, significantly within the developing cities. Being im-
pressed by nature; personalities, particularly in visual arts, have utilized these
properties of color to precise themselves.

2. Abstract

The expedition of analysis started with an issue, Why some buildings charm and
impact over others? The understanding lies not are barely the visual, or the useful
or the spatial. It’s the expertise the foremost encompassing of the tip result that
matters within the matters within the engineered atmosphere.

Architecture is the expression of ‘being-in-world’ of men that belongs to a specific

time and place. The man embodies the three-dimensional house with all his
sense, his/her perception of the built atmosphere is the insight of all data derived
from his senses.

Colour is a vital part of attitude towards Architecture. The human eye first per-
ceives motion, brightness, color and then form. Everything we see is perceived
from Light, Color and Form. This paper will balance that light; form and color are 3
equal tools that are available to the architect in shaping architecture, while specif-
ically focusing on color in relation to spatial context.

It is considered as a separate design element that stands in dialogue with form

and light. Architecture concentrates primarily on spatial form, where color is sub-
ordinate to form. Size, proportion and structure are elements of pure spatial
form. Most painters have realized that through the application of color they can
trigger specific reactions within the viewer. Color affects Humans on both visual
and non-visual basis. An artist’s profession encompasses Painting, Sculpture and
Architecture.
Colors and their perceptions are answerable for a series of acutely aware and
subconscious stimuli in our psycho-spatial relationship. It also can give a group of
emotions or visual effects.
As Israel Pedrosa says in his book, "Color has no material existence: it's solely the
feeling created by bound nervous organizations below the action of sunshine,
with additional preciseness, the action angry by the action of the sunshine on the
organ of vision."
The color will show a definite volume or constructive detail, or visually mimic
bound aspects of the house. As well because the constructive components that
frame fine arts object, the appliance of colors on surfaces additionally influences
the user's expertise of the house. But colors don't exist while not the presence of
sunshine. If we have a tendency to produce a setting with walls, floors, and neu-
tral ceilings, once we apply bound colors on the various surfaces, we have a ten-
dency to get totally different visual effects.

3. Aim

To understand the Architectural influence of Colors of Art

Within the abstract framework that's originated by the communicative quality of

color as a mode construct, the foremost necessary subject of this study is made
public by the physical and abstract peculiarities of the surface study surfaces.

4. Objectives

Colour as a method for altering the living environment of the building structure.

Analyzing the selected buildings using the derived parameters and discovering
how latent the underlying principles are in case studies that manifest ‘color’ in
lived experience.

Experience of Built Form

Pre-conceived thoughts and Thoughts and emotions

emotions. derived from the built form.

Sensory Information

Perception

Emotion

Feelings

Senses

Thoughts Emotions

Feelings
5. Scope

To comment on the lived expertise of a designed form through color as

a sterilization tool. To analyze the chosen buildings using derived parameters and
discovers however the underlying principles and latent in case studies manifesting
‘color’ in lived experience.

What are the relatable ideologies revolving around art movements and its out-
comes on design? Philosophical background associated with the colour palate of a
movement. Why bound components were emphasized more? What was its im-
portance?

6. Methodology

 The sample is based on an examination of the specific cases which show the
main characteristics of the subject selected. The research explores how the
color meaning as a physical attribute shifts when it enters a three dimensional
space.
 The analysis further aims at the physical peculiarities of the color that can be
articulated by the architects on the space, assuming that colour is one of the
most essential instruments for achievement of this.
 This paper also analyzes how to use the color, especially in relation to im-
portant aspects of the movement of architecture in 20th century, of the envi-
ronment as a predictor of design ideas.
 Understanding the palate of painters though elements like: Textures, Scales,
Volumes, Depth, Transparency, Overlay
 A Comparative Analysis through Elements:
Sensory Elements:
i. Lines
ii. Planes
iii. Shapes
iv. Textures
v. Colours
vi. Light and Dark Space
Formal Elements:
i. Pattern and Repetition
ii. Rhythm
iii. Symmetry/Asymmetry
iv. Balance
v. Contrast
vi. Proportion and Scale
vii. Theme and Variation
{Analysis will be done on relevant case studies. Basic Analysis of Space definition
to be done through photographs, etc}.
7. Assumptions and Limitations

This thesis helps in seeking the concept of color used in architecture to express or
emphasize architectural thinking; it must focus on the human perception of archi-
tectural objects in the design discourse of their time. In view of the fact that the
design approach of human perception of color in a built environment other than
contemporary architectural discourse cannot be considered, the study prefers
parallel reading techniques. This methodology must be analyzed on a comparative
basis with regard to the tastes of the architects for color, as well as the debate on
contemporary design.
In order to provide a conceptual framework for the use of color on the built envi-
ronment, this analysis focuses on representations of the architectural end-
products of the 19th century discourse. One of the main reasons for this decision
is the change in the function and meaning of the shell of this time's three-
dimensional architectural objects.
8. Chaperization

Introduction

 Definition of the problem

 Abstract
 Aims/Objectives
 Scope/Methodology
 Assumptions

Physical Peculiarities of Color

 Physical definition of color

 Color Theories
 2D/3D Color Theories
 Human Color Perception: Light, Object, Color vision, Psychological Factors

Color on Built Environment as an Expression of Thought

 Color as concept for Human Beings

 Color in architecture and Art Movements
 Modernism
 Architects of Modernism working with Colors
 Case Studies
 Comparative analysis through Elements
 Forms of Colors: Symbolic meaning, Cultural Inspirations, Spatial Perception,
Psychological perception

Conclusion