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Ethereal material: Colour and material surface

Article  in  Construction Materials · December 2013

DOI: 10.1680/coma.12.00028

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Construction Materials Proceedings of the Institution of Civil Engineers
Construction Materials 166 December 2013 Issue CM6
Volume 166 Issue CM6 Pages 358–364 http://dx.doi.org/10.1680/coma.12.00028
Ethereal material: colour and material Paper 1200028
Received 30/06/2012 Accepted 24/01/2013
surface Published online 15/05/2013
McLachlan Keywords: design methods & aids/materials technology/
resins & plastics

ice | proceedings ICE Publishing: All rights reserved

Ethereal material: colour and

material surface
Fiona McLachlan MA(Hons), DipArch, ARB
Professor and Head of the Edinburgh School of Architecture and Landscape
Architecture, University of Edinburgh, UK

This article examines the role of colour as an integral consideration of material selection. It suggests that an
understanding of colour, and its potential to alter the general perception of form, space and surface, is as essential as
any other material property. Recent developments have led to a period of growth in the use of colour in architectural
design, for example through highly pigmented ceramic tiles, back-painted glass facades and pigmented concrete.
These offer permanent and durable surfaces. The potential of colour to alter the perception of space and form brings
with it a certain anxiety in its use, particularly when embedded on the exterior surfaces of buildings. Yet decisions on
colour are often arbitrary and left until late in the design process. The article will consider colour and material surface,
colour as conceptual material, the elusive properties of colour, which are entirely contingent on light conditions and
context, and colour specification in the design process.

1. Elusive colour
Colour can be a curious paradox. The coloured surfaces of
construction materials, which appear initially as solid and
tangible – clearly materials that one can hold, touch, and feel –
can also be considered as immaterial, unreliable, ethereal
phenomena of light. Each material surface, whether naturally
coloured or pigmented, reflects a specific part of the visible
spectrum, and absorbs the rest. The solid terracotta of brick,
the pale creamy yellow of sandstone, the vivid green of
oxidised copper, the intense blue of azurite, the sticky liquid
polychrome of paint or the polished sheen of ceramic tile,
instantly registers in both eyes and mind. The observer
perceives only the wavelength of the light that is reflected by
the particular molecular and chemical compound of each
material. The wavelength differentiates purple from yellow,
orange from blue, peppermint green from apple green.
Colour is more immediately perceived than form, and will tend
to dominate the reading of an object. It has the power to alter
entirely the appearance of a building or the experience of a space.
Architectural form therefore, like natural form, can be made
more or less conspicuous. Colour may either reinforce the form,
or camouflage through a distortion of the perception of the
volume, or the surface. For example, architects Sauerbruch
Hutton use polychromatic surfaces that wrap architectural forms
and subvert surfaces. They note ‘…the optical dissolution or
manipulation of form introduces uncertainty, doubt, ambiguity.
It engages you’ (Sauerbruch Hutton, 2006).
2. Colour as conceptual material
The curriculum or Vorkurs devised by Johannes Itten at the
Weimar Bauhaus in Germany (1923), included colour alongside
the other formative materials with which all students had to
engage, as part of their foundation studies (Figure 1). Clay,
stone, glass, wood, colour are all centrally placed within the
diagram. The concept of colour as independent from material is,
however, inherently problematical. Colour can never be
disassociated from surface, unless used as projected light.
Even then, the colour that is seen will still be contingent on
the nature of the surface on which it is being projected. It has an
immensely powerful effect but is often neglected or left late in
the design process. It may also surprise professionals in the
building industry that colour does not feature strongly in
contemporary architectural education. Nineteenth century
concerns of surface decoration gave way to the Modernists’
view of the plan as the generator of the building, and now, with
the ease of computer modelling, a further shift is evident to
spatial hierarchies and formal design as the focus of design
development. Material choice is still of prime importance, of
course, and students will be encouraged to consider materiality
as integral to the design process, but colour has not maintained
the same central position in architectural education.
Architects are not always confident in making colour choices,
or rarely integrate a conceptual use of colour early in the
design process. There is therefore a level of anxiety inherent
in the use of colour in the built environment. Some will work
with, or defer to, an artist, or colour designer rather than
make such decisions on their own. There are some notable
exceptions, which this article will consider, in which the use
of colour is a key driving force. In these cases, colour choice
is an inherent part of the design and material selection and
not an afterthought. If colour is to be incorporated as a
pigment, or as a durable, permanent surface coating, it

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Figure 1. Johannes Itten Bauhaus Vorkurs Curriculum diagram
(redrawn by F. McLachlan)
cannot be left until last. The architect Rem Koolhaas has
observed:
…there are 2 kinds of colour. The ones that are integral to a
material, or a substance – they cannot be changed and the ones that
are artificial, that can be applied and that transform the appearance
of things. The difference between colour and paint. (Koolhaas,
2001)
To the engineer, the surface appearance of a material may be
inconsequential, something best left well alone, if irrelevant to
the structural performance. That view only holds if the
engineer is seen as unconcerned with aesthetics, which is
clearly not true if the elegant forms and evident mastery of
material by Nervi, Frei Otto, Peter Rice or Anthony Hunt, to
name but a few, are considered. Increasingly, the use of
pigmented building materials, as well as surface coatings and
pigments introduced into otherwise bland substances such as
concrete, can be seen. So what is the role of colour in material
selection? Can one construct with colour?
The de Stijl architect, Gerrit Rietveld, suggested so, suspending
planes of red, yellow and blue in his seminal Schröder House in
Utrecht (1924). Irrespective of the materials of which they were
made, these appeared as essentially planes of pure primary
colour. The illusion was that the colour, and not merely
humble sheets of plywood coated with paint, defined and
contained the space. As with other materials, perhaps even
Ethereal material: colour and
material surface
McLachlan
more than most, colour carries symbolic and cultural meaning
and association. Unlike timber, steel, stone and glass that may
have similar connotations internationally, specific hues evoke
different cultural associations, and may also trigger subtly
different emotional reactions because of the cultural meaning.
3. Truth, honesty and expression
The Austrian architect, Adolf Loos, rejected decorative
embellishments to buildings. His work was seen as a pre-
cursor to early-twentieth-century Modernism. His attitude to
materials still resonates with that of many contemporary
architects and engineers – that a material should be seen and
expressed honestly, without mask or disguise. If paint is to be
used, it should cover, but not attempt to pretend to be anything
other than paint. Painting wood grain on wood for instance
would be dishonest, as would painting steel with a metallic
paint. Similarly, plastic grained to mimic wood is abhorrent to
many designers as it appears false.
Coatings can of course serve a purpose beyond the aesthetic.
They are one of the simplest means of adding protection to
materials and extending durability, particularly in testing
environmental conditions. The red oxide paint originally
applied to the Forth Bridge was chosen not for its colour,
but for its large molecular flakes which overlap in a crystalline
pattern, preventing water and salt air from penetrating down
to corrode the raw steel. More recently, when the bridge has
been re-coated with a two-part process, there would be little
reason to keep the colour except that it is so completely
associated with the identity of the bridge that to even
contemplate a change would have been seen as nigh-on
sacrilegious.
At the Funderwerk II, factory in St Veit an der Glan, Austria
(1987) architect Günther Domenig left sheet steel cladding to
rust for a few weeks, before sealing with a clear glaze. The
natural weathering produced a range of colours and dulled the
surface. As steel is rarely unfinished colour choice enters the
design process. Structural elements frequently large in scale are
often painted using ‘neutral’ white, or grey. Adopting a bright
yellow at Foster Associates Renault Distribution Centre at
Swindon (1980–1982), or a clear blue at Richard Rogers’
Inmos Factory in south Wales (1980–1982), or the codification
of exposed services at the Centre Pompidou by Piano, Rogers
and engineer, Peter Rice (1972–1976) immediately associates
them with the ‘high tech’ era when the structural design was
celebrated as integral to the architecture. The colour quickly
became one of the most memorable aspects of these buildings.
In factory finishes, for example powder coatings, common to
metal sheeting, curing involves melting and re-solidifying and
resultant chemical cross-linking to form a hard colour-fast and
durable surface. Factory-applied coatings have the advantage
of controlled and tested application essential for many projects
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Volume 166 Issue CM6 material surface
McLachlan

using tubular steel, such as the Mound Stand at Lord’s Cricket

Ground (1987) by Michael Hopkins Architects and engineer
Peter Rice, or more recently the yellow roof structure of
AHMM’s Monsoon Headquarters in London. Colour as a tool
in the branding of products or interior design is well under-
stood, but is less common in architecture. In all these examples
a strong use of colour on structural elements gives the building
a very clear identity. The coating is an honest expression of the
need for protection, but if the engineering was not elegant, the
use of colour would be dangerous by drawing attention to any
clumsy junctions.

These are all examples of colour use on structural elements.

Colour is even more powerful when used on the enclosure.
Wall surfaces define and articulate space, setting the character
and atmosphere of a room.

The Utrecht University Library in the Netherlands, by

architect Wiel Arets, combines pattern and pigmented coating.
To an observer, it appears either madness or extreme
confidence to paint the entire exterior and interior concrete
surfaces of the library in black, yet it undoubtedly creates a
very special, immersive and appropriately focused atmosphere
(Figures 2 and 3). The intense light from patterned glazing or
from interior lighting enlivens the huge void spaces and the Figure 2. Wiel Arets, Utrecht library exterior (photo: F. McLachlan)
focus shifts from the container to that which is contained – the
books and students. In this case, the architect chose to apply a
surface coating rather than add pigment into the concrete, the Concrete as Adrian Forty has noted, ‘is not a material but a
intensity of the black would not have been possible with process’ (Forty, 2006). Its appearance is entirely reliant on the
powdered pigment. The project is less about structural or source ingredients as well as the mould in which it is cast. One
material expression and more specifically experiential. The might argue that concrete has no specific appearance as a
atmosphere of the space is paramount, defined by the quality material. Why would one have any issue with adding or
of light and the powerful influence of the black walls and applying pigment? If the colour is derived purely from the
ceiling and scattered, red-rubber-clad furniture. Although the
black colour is conceived of as a permanent and integral part
of the design, as a surface coating, it could in theory, be
altered.

NORD Architects almost always use black externally. Their

timber-boarded ‘Shingle House’ at Dungeness, evokes the
black tar of the fishing boats, and the remote landscape,
whereas the elegant brick substation for the London Olympic
Park (2012) adopts an almost black brick to suggest
permanence and dignity in what might otherwise be seen as a
mundane, insignificant service building. In each case, the
material or applied colour is expressive and acts in support of
the architectural resolution.

4. Transformative colour
If truth and honesty of material expression is still a matter of
concern, how then should materials that can be significantly Figure 3. Wiel Arets, Utrecht library interior (photo: F. McLachlan)
altered or enhanced by an embedded pigment be considered?

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natural colour in the sand, cement and aggregate, then adding
a further ingredient seems an acceptable expression of the
material’s reliance on the properties of the mix. One concern
may be that most contemporary pigments are factory-made
chemical compounds, such as the inorganic (non-carbon) dyes.
Traditionally, mineral pigments were used as colourants – the
most common being iron oxide, which ranges from yellow
through to deep reds. Although naturally occurring, such
pigments are, of course, still chemical compounds.
The Museu Paula Rego, Casa das Histórias, by Pritzker Prize
winning architect, Eduardo Souta de Moura is a vivid orange/
red-tinted concrete building at Cascais, Portugal, using a
manufactured pigment. The architect was chosen directly by
the client, the painter, Paula Rego. Both seem to share an
interest in composition and colour, although Souta de Moura’s
pure forms provide more of a contrast for the work. What does
the colour do for the building?
It certainly makes it more memorable, more photogenic, (given
the number of periodicals in which it has featured), it is bolder
and curiously attractive – the transformational effect of the
simple pigment taking a very ordinary material to a different
level of expression. The architect chose the colour to contrast
with the green of the surrounding forest. He is interested in the
contrast between natural and man-made. One commentator
has noted that the concrete, and the pigment is ‘satisfyingly
uneven and painterly’, the colour imprecise (Richardson,
2009). Time will tell whether these pigments are stable, or
whether the unreliability of the colour will be readily accepted.
John Ruskin, noted ‘the artist who sacrifices a truth of form in
the pursuit of a truth of colour; sacrifices what is definite to
what is uncertain, and what is essential to what is accidental’
(Hyman, 2006).
Perhaps it is partly the very imprecision of colour-tinted
concrete that softens its effect, despite the boldness of the
shade. At David Chipperfield Architects’ monumental City of
Justice, law courts in Barcelona (2002–2009), the massive
volume is broken into nine towers, each of which is a different
subtly tinted concrete. The very severe rectangular forms, with
highly rigid repetitive elements forming a gridded, almost cage-
like appearance, are subverted and made more humane and
forgiving by the simple addition of pigment. In this case, the
colour has nothing to offer in terms of performance, it is purely
an aesthetic decision.
We are also witnessing a renewed interest in applied surface
pattern and decoration, using a variety of techniques and
materials such as screen printing on glass and precast concrete,
for example at Eberswalde Technical School, Switzerland
(1996) by architects Herzog and de Meuron. By applying the
same pattern across bands of glass and concrete, the surface is
Ethereal material: colour and
material surface
McLachlan
unified. Not only does the pattern transform the surface, the
images become more obvious when the building is wet and fade
as it dries.
In a recent art and architecture project in Edinburgh, the artist
Martin Creed specified 104 different colours of natural stone,
one for each step for his Work No 1059, (2011) on the
Scotsman Steps. The beauty of the materials used has
transformed the previously dark, horribly smelly, public stair.
Each of the stone steps was sourced from one of a very wide
range of countries, yielding deep blues, rich greens, soft pinks,
white, beiges and black marbles. It is rare to experience a
project so driven by colour and surface. It is extraordinarily
joyful, the more so for those of us who carry the memory of the
stair before its transformation. In this case the effect of the
colour and material choice is extremely clear. It is the essence
of the conceptual idea.
5. Precision and imprecision
The Swiss architects Gigon/Guyer regularly work with artists
such as Helmut Federle. Collaborations with artists in relation
to colour are common, particularly in central Europe where
colour consultants may be considered as full collaborators in
the design process rather than someone who chooses one shade
over another. The artist also appears to be useful in sharing the
blame if colour choice becomes controversial. There is an
expectation that an artist will stir the emotions and is more
easily forgiven if not everyone appreciates the results. In 1999
they designed a small oddly shaped railway signal box or
Stellwerk, immediately adjacent to the railway tracks in
Zurich. The atmosphere is tinged with the rusty red oxide
dust that spills from the steel train lines on to the surrounding
surfaces every time a train brakes. The architects conceived the
building as highly contextual, employing a rich red-brown
pigment mixed into the concrete (Figures 4 and 5). Strangely,
and unexpectedly, the colour has faded and the deep brown has
gradually shifted to a strong pinky-orange. Rather than being
distraught by this change, the architects seem to revel in that
fact that they cannot be entirely in control of the colour. In
another of their later projects, an extension to a small art
gallery at Römerholz, they mixed copper dust into the concrete
mix then directed dribbles of water down the surface
deliberately inviting streaky green rivers to appear on the
surface of the concrete over time. This idea came from the
observation of the effect of staining on statues in the gardens
nearby. In each case, a simple pigment additive has made the
buildings more significant in some respect.
The colour of a painted coating, applied to the exposed
surface, is relatively simple to change, to correct an aesthetic
faux-pas or unpredicted environmental property. When colour
is permanent, such as with tinted or back-painted glass or
ceramic tile, confidence and skill is essential, and the choice of
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Figure 4. Gigon/Guyer Stellwerk, Zurich (photo: F. McLachlan)
colour is required to be more precise. There are numerous
examples of inappropriate colour and, equally, adding colour
to try to compensate for poorly conceived or poorly resolved
architecture is never successful. The best use of colour is when
it has been developed as an integral part of the design process
rather than as a hastily selected afterthought. Architects
O’Donnell and Tuomey, for example, admit that they may
not have a clear idea about which exact colour will be used
until quite late on, but they will be very sure of the conceptual
contribution that colour will make in the composition. Their
use of colour is generally as an elemental rarefier, defining a
Figure 5. Gigon/Guyer Stellwerk, Zurich detail (photo:
F. McLachlan)
362
Ethereal material: colour and
material surface
McLachlan
hierarchy, clarifying formal relationships, as in the An
Gaeláras Cultural Centre for Irish language, arts and culture
in Derry, Northern Ireland (2009). The colour choice still has
to be right, and O’Donnell and Tuomey tend to employ a
limited palette of blue, terracotta, pale green and yellow. These
are colours that they feel comfortable with personally, and that
complement natural brick, concrete and timber. Le Corbusier
also sought constraint in the choice of colour, publishing his
own colour ‘keyboards’, Claviers de Couleur in 1931 and 1959.
The shades were classified according to the effect of the colour
on space and therefore suggested functional relationships.
Finding colours with which one is personally comfortable and
sticking with them, may be good advice.
Colour choice can clearly be controversial especially on the
outside of buildings and if applied at the scale of a building.
Renzo Piano’s recent gridded rectangular offices at Central St
Giles in the centre of London are far from subtle. The intense
colour made by block-coloured ceramic tiles has been
criticised, not so much because of the idea of colour, but of
the harshness of the particular shades. Certain colours simply
do not work at that scale. Surprisingly, they chose to colour the
external surfaces and keep the faces to the internal courtyard
neutral. Had this been reversed as a strategy, the neighbours
may have been more forgiving.
6. Permanent pigments
The best-known exponents of colour in contemporary archi-
tecture are Berlin-based practice Sauerbruch Hutton. In their
case, the colour concept is completely integral and the actual
choices are honed through extraordinarily rigorous experi-
mentation and testing. This is not the norm and so it sets them
apart from most of their peers. Exact shades are modified to
compensate for the self-colour of the material, which can
subtly distort the effect. In their work variations on a theme
can be seen with the use of both ceramic tile and back-painted
glass. Their choice of coloured material is deliberately
permanent. The implication is clear. No one should come
along and make arbitrary change in the future. The colour is
sealed in, precise and definitive.
Pigmented materials, particularly cladding materials such as
fibre-cement, glazed terracotta, tinted, laminated, or back-
painted glass, are increasingly used in contemporary architec-
ture. Being much more durable than paint, these materials
offer an intensity of colour and permanence that make them
attractive, given their robustness and maintenance-free sur-
faces. Readily available, pigmented sheet materials such as
Marley Eternit, can be cut and fixed as cladding giving a solid
intense colour.
Traditional ‘faience’ has long been used on facades, for
example, by Hendrik Berlage at Holland House in London
Construction Materials
Volume 166 Issue CM6
(1916). Contemporary usage tends to be as rain screen
cladding, which is highly durable and can take advantage of
vivid stable hues, such as on Westminster Academy in London
by AHMM (2007). Architects Sauerbruch Hutton used thin
glazed terracotta rods on the complex layered facade of the
Brandhorst Museum in Munich (2007) (Figure 6). The colours
were chosen deliberately to modify their effect from close up to
far away. From a distance individual colours merge in the eye
of the viewer into a milky beige, yet close-up pistachio green,
soft pink and pale yellow compete with strong lilacs, emerald
green and brick red. The deception is intensified by the layering
of the vertical square-section rods, held by stainless steel
connectors clear of an undulating powder-coated metal surface
behind. It is rare to see such complexity applied purely in the
service of an optical effect. Even though this is a highly
sophisticated use of colour, the slightly distorted box-like form
is instantly recognisable and highly memorable. It has become
synonymous with the identity of Brandhorst Museum.
Similarly, coloured glass, which is now available in a vast range
of colours, provides intense, clear colour by sandwiching a film
of tinted plastic between sheets of glass or by applying paint to
the rear surface of the glass. Both Sauerbruch Hutton and
Swiss architects, Gigon/Guyer, have employed coloured glass
as a cladding material. In these cases the colour does not affect
the durability or the structural strength of the material, but it
can alter its thermal properties. The GMW Headquarters in
Berlin is Sauerbruch Hutton’s best-known building. Immense
care was taken with the section of the family of colours used on
the interactive west facade. Deeper hues had to be modified
because they absorbed too much heat. A similar issue occurred
when Gigon/Guyer added a deep brown pigment to the render
in a housing project near Zurich. The artist collaborator,
Figure 6. Sauerbruch Hutton, Brandhorst museum, Munich.
(photo: F. McLachlan)
Ethereal material: colour and
material surface
McLachlan
Harald F. Müller, had intended to make a clear visual and
symbolic relationship with the earthy brown of the adjacent
fields. By contrast, the inner faces to a courtyard were a strong
orange. A few years later, the coloured render had to be
lightened in colour to a paler browny-grey as the heat, which
was absorbed through the render, was adversely affecting the
insulating panels on which it had been applied.
In the case of coloured render, the change was relatively easy to
make; in the case of glass or ceramic tile, both cost and
manufacturing time make change virtually impossible.
Architects require confidence and care with specification.
With such permanent colour, the procurement process has to
include a facility for prototype, sampling, mock-ups. It must
also allow for an element of trial and error. If it does not, and
many examples of poor colour design can be observed, it can
be very detrimental to the overall project.
7. Colour in the design process
It is common for architects to have a general conceptual idea
that a project will make use of colour, but not to isolate and
select the actual hues until a relatively late stage in the design
process. William Braham argues that colour is always
subservient to form and notes ‘…architects still close their
eyes and wave their hands when the discussion turns to colour’
(Braham, 2002). Navigating ones way through this array of
colour choice is a complex task for both lay people and
professionals alike.
One of the vagaries of most procurement methods is that
specification is intertwined with price competition. The
architect may wish to be precise in selecting a particular
product and manufacturer, but more often than not, the final
selection involves a choice between named suppliers in order to
keep costs negotiable and competitive. It takes a wilful
architect, an unusually focused client, and an appropriate
procurement method, to define a sole supplier of a specific
product early on in the process. Selecting naturally coloured
materials is somewhat easier, as they may come within a set
price range, such as brick, laminates, ceramic tiles. The final
choice of colour could be made at any stage in this case.
Material choice is invariably related to economic drivers. In
some cases colour, or a simple coat of paint, is used where
more costly materials are not possible within the budget. With
paint, it is almost impossible to be precise until a manufacturer
has been agreed. Each paint manufacturer has its own brand
and named or coded colour. There are wide-ranging standards
that can help – for example Natural Color System (NCS),
British Standards and Pantone – but finding an exact match is
not as straightforward as one might expect.
Partly as a result of the sequence of construction, decorative
products are often chosen generically and final selection
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confirmed late on. Colour design is therefore frequently seen as
a last minute choice. The best colour design is integral to the
conceptual development of the project. The white steel of the
Lord’s Mound Stand, a light and airy summer pavilion, chimes
with the whites of the cricketers and would be hard to conceive
of as anything other than white. Similarly, the complex
polychromatic tiles of the Brandhorst Museum facade or any
of Sauerbruch Hutton’s coloured glass buildings are developed
in parallel with all other aspects of the design. The colours are
not afterthoughts, nor are they arbitrarily chosen.
Despite the building industries complete reliance on digital
drawings, sophisticated visualisations, and the development of
‘building information modelling’ (BIM), selecting coloured
materials digitally is rarely successful. Most architects will still
select from a physical swatch and, ideally, from sample
whether off the shelf or prototype. Neither should one choose
the colour remotely as light conditions and site context alter
the perception of the colour.
UN Studio’s extraordinary office buildings at La Defense in
Almere, the Netherlands make use of a glass sandwich panel
with an iridescent Radiant Colour/Light film as part of the
cladding. Viewed perpendicular to the facade, the glass appears
clear red, looking at an angle, or walking past the facade, the
colour appears to vary to green, yellow and orange (Figure 7). It
is entirely dynamic, being affected by passing clouds and the
angle of view. The building embraces the transient and unstable
nature of colour as a key element in the conceptual design.
The relationship between form, colour and material surface is a
complex one. Contingency is a fundamental issue with colour.
What the observer perceives is entirely dependent on the
Figure 7. UN Studio La Defense offices, Almere (photo:
F. McLachlan)
364
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Ethereal material: colour and
material surface
McLachlan
context, adjacencies, light conditions and material surface.
Colour is plastic, variable, always modifying in appearance. It
can easily overpower form, which may explain why many
architects and designers still play safe, adopt Adolf Loos’
principles, and focus on the natural colour of materials.
REFERENCES
Braham W (2002) Modern Colour, Modern Architecture.
Ashgate, Farnham, UK, p. 5.
Forty A (2006) The material without a history. In Liquid Stone:
New Architecture in Concrete (Cohen J-L and Moeller, Jr
GM (eds)). Birkhäuser, Basel, Switzerland, pp. 34–35.
Hyman J (2006) The Objective Eye: Colour, Form and Reality in
the Theory of Art. University of Chicago Press, Chicago,
IL, USA.
Koolhaas R (2001) The future of colours is looking bright. In
Colours (Koolhaas R, Foster N, Mendini A, et al. (eds)).
Birkhäuser, Basel, Switzerland, pp. 11–12.
Richardson V (2009) Souto de Moura’s storyhouse for Paula
Rego. Blueprint 20 October. See http://www.
blueprintmagazine.co.uk/index.php/architecture/souto-de-
mouras-storyhouse-for-paula-rego/ (accessed 21/06/2012).
Sauerbruch Hutton (2006) On colour and space. In Archive
(Sauerbruch Hutton (eds)). Lars Müller Publishing, Baden,
Switzerland, pp. 181–189.
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