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In Colour Emotive Architecture

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In Colour Emotive Architecture Emotive in architecture colour Luis Barragán Chloé Eersel Delft University of Technology January 2016 Abstract Colour is a very powerful design tool that is not often used by architects. Most buildings around us have very monochrome or neutral palettes. With colour emotions can be evoked and architects could have an impact on people’s lives. An architect that dared to use bold colours in his emotive architecture was Luis Barragán. In his architecture, colour was one of the fundamental components. The theories of Johannes Itten and Wassily Kandinksy show that determining how colour is perceived is a very complex issue. Colours are perceived through different psychological layers making colour-emotion association different for everyone. Using symbolic, expressive and impressive effects of colour, three projects of Luis Barragán are analysed on the topic of how these colour effects can help evoke emotion in the built environment. In the Chapel de las Madres Capuchinas, the symbolic use of colour can be seen. The impressive effect of colour can be seen in Los Clubes. Casa Gilardi shows a sequence of different harmonies playing with the different expressions of colour. Impressive colour use is found to be the most universal as it relies on the biology of humans. Symbolic use of colour is already more specific and its perception depends mainly on culture. Expressive colour use is based on personal preference and is different for everyone. Keywords: colour psychology, Luis Barragán, emotive architecture, colour theory, colour perception, colour-emotion asscoiation iii Table of contents Abstract iii List of figures v 1. Introduction 1 1.1 Omission of colour 1 1.2 Colour and emotion 1 1.3 Luis Barragán 2 1.4 The three problems of colour 2 2. On architecture - Heritage, nostalgia and emotion 3 2.1 Heritage 3 2.2 Nostalgia 4 2.3 Emotion 4 3. On colour psychology - The colour experience pyramid 6 3.1 The psychological layers of colour 6 3.2 Personal preference 7 4. Symbolism in colour - Chapel de las Madres Capuchinas Sacrametarias del Purisímo 7 Corazón de María 4.1 Origins of symbolism 7 4.2 The yellow chapel 8 4.3 Lightness of yellow 9 4.4 Yellow in Christianity 10 5. Warm-cool contrast - Los Clubes 11 5.1 Playing with the senses 11 5.2 Los Clubes 11 5.3 Relativity of colour temperature 12 5.4 Combining contrasts 14 5.5 Another world 14 6. Colour harmony - Casa Gilardi 14 6.1 House of harmonies 14 6.2 Contrasting harmony 15 6.3 Harmonic quantity 16 6.4 Related harmony 17 6.4 Subjective subject 17 7. Conclusion 18 Notes 20 Bibliography 22 iv List of figures Figure 1 Luis Barragán, Chapel of las Madres Capuchinas Sacramentaries 9 del Purísimo Corazón de María. 1953. Figure 2 Luis Barragán, La Cuadra San Cristóbal. 1964-1969. 13 Figure 3 Luis Barragán, Gilardi pool. 1975-1977. 15 v 1 Introduction 1.1 Omission of colour Colour is a very strong design tool. It can evoke emotion and one might even say manipulate people. Though, when we think of great architecture the projects that come to our minds often have a very monochrome or neutral palette. If architects want to affect people’s lives it seems quite strange that colour is not a tool that is used more often. In the Renaissance, art’s emphasis lied on harmony and proportion. Form was primary and colour only secondary. This tradition of disegno over colore dates even further back to antiquity, to Aristotle for who the base of art was line.1 Other aspects, including colour, were just ornament. As colour was secondary it was regarded a problem. This had two sides to it. On one hand colour was often associated with negative themes like infantilism, vulgarism, or primitiveness. Secondly, colour was seen as superficial, supplementary or even trivial. This hierarchy of line over colour was also affirmed by nineteenth-century colour theorist Charles Blanc. He admitted to the fact that art could not be produced without using colour. But since we cannot avoid colour it should be controlled he believed. This attitude towards colour is something we can still see in today’s architecture. 1.2 Colour and emotion It has never been denied that colour can have an effect on our psyche or even our emotions. This brings us to the topic of colour and emotion. How can colour influence one’s emotions in an architectural environment? In Interaction of color, Josef Albers describes colour as “the most relative medium of art”. 2 This has different causes, the first being that no colour stands on its own. Colours are always surrounded by other colours which influence the appearance; the colours will interact with each other. Secondly, even though colour has the same projection on different people’s retinas, the perception will always be different. This has to do with the fact that there is always a difference between the physical state and psychic effect that colours have on us. Maybe we could say that interaction between colours is exactly that what arouses our emotions. If the whole world would be the same shade of blue we would perceive this as very normal and neutral. Without any difference or contrast everything would just appear the same to us hence not having any psychological effect. But is this still true if would look at the work of Yves Klein who solely used blue in his monochrome paintings? 3 Some would not agree that his paintings do not evoke any kind of emotion. 1 One architect that was friends with Josef Albers and so influenced by his theories on colour was Carlo Scarpa. Scarpa used colour briefly in his projects that are mainly known for the quality of detailing. Two projects of him of which it is known that he was influenced by Albers are the Fondazione Querini Stampalia and Castelvecchio in Verona. In the first he used schemes similar to Albers’ work in the tiling of the lobby floor. The second work of Scarpa where he used colour as a design tool is the wall of the cubic gallery of Castelvecchio where different colour nuances are to create a pattern of small cubes which together form larger cubes. Still, these uses of colour are too brief and subtle to investigate further upon colour and the emotions these could evoke. Another architect that was influenced by Albers in some of his works is the Mexican architect Luis Barragán. He used colour very boldly and daringly in his architecture. 1.3 Luis Barragán Luis Barragán (1902-1988) was a Mexican architect, originally from Guadalajara. He grew up between the ranches of his family and their residence in the city. In the beginning of his career he analysed the heritage of Mexican culture, focusing on both pre-Columbian and Spanish culture. With this he tried to find true Mexican architecture. Being influenced by the Spanish style, he made a trip to Europe where he mainly visited Spain. His first dwellings really show this Hispanic influence. During Barragán’s second trip to Europe he came into contact with modernism. After meeting Le Corbusier, Barragán analysed his book Vers une architecture in which he agreed on the idea of the poetic and emotional dimension of architecture created with light, shadow, the wall and the space. Still, Barragán can be seen as a more humanistic architect than Le Corbusier. Le Corbusier strongly believed in the ideas of modernism and purism. Barragán criticised the idea of architecture as a machine and was keener on the ideas of beauty and harmony. He believed that no artificial material could grab the main aspect that is beauty. Walls should interact with its surroundings and nature rather than being a stand-alone object. This also set him apart from the Mexican modernists, who’s most prominent figure was Juan O’Gorman. When looking at Barragán’s works from the period after his second trip to Europe one can most definitely see the modernist influence. The houses he built during this time seem quite minimalistic compared to his earlier works and are characterised by their lack of colour. Although not practicing modernism later in his career he took away the element of using planes as generators of space. After his slightly modernist years Barragán somewhat lost his faith in architecture and decided to devote himself to the design of gardens. In these years, he reflected on his own work and started developing his own architectural style he is still known for today. 2 The architecture of Luis Barragán shows a clear evolution over time. His architecture has evolved from his idea of Mexican architecture, to a more modernistic style and finally to his own unique style he is known for by many. Since the subject there is written on is colour, this thesis will mainly focus on the works of the second part of his career in which he has used colour more widely and boldly. 1.4 The three problems of colour In The art of color Johannes Itten describes three different aesthetic problems of colour, being the optical or impressive problem, the psychic or expressive problem and the symbolic or constructive problem. With all three problems certain emotions can be evoked. Using these three problems three projects of Barragán will be analysed in this thesis. The Chapel of las Madres Capuchinas in Tlalpan is a chapel where golden yellow colours are used to create a divine atmosphere. This shows use of colour for its symbolic meaning. In Los Clubes a warm colour palette is used, which makes the building contrast very much with the blue and green of the sky and trees around it.
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