COLOR MATTERS: Color Becomes Space (Design)

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COLOR MATTERS Color Becomes Space

D E S I G N ArtEZ, University of the Arts, Zwolle Master, Interior Architecture corpo-real, 2019/20

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Lisabell Zint Tutor: Eric de Leuw

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D E S I G N

P A P E R

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Color Becomes Space

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PURPO SE METHO DO LO G Y GUI DELI NES

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DESI GN MANI FESTO

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Movement - Use of Space

Painting

Sketching

EMERGENCE

Connecting

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RESEARCH

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Implementing

SPATI AL

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Q U E S T I ON

CO N T E X T

ABSTRACT

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Color Becomes Space is a design research project that came about due to the lack of existing quality of urban public spaces, particularly in transition zones (metro-/train stations, corridors in public buildings, etc.). The lack of quality leads to a reduction in use - but even more importantly decreasing of a users mental well-being. This issue can be traced back to spatial based factors such as accessability and attractiveness through lighting, materiality and color. Considering the significant influence of color on the architectural environment and relating it back to a human’s response to it (for further information please have a look at my research paper ‚COLOR MATTERS: The Impact of Color in Urban Public Space on The User’s Mental Well-Being‘). My design research is based and driven by the aim of creating additional mental space by using color as the only element in order to promote and support mental well-being.

The content of the design chapter illustrates my discoveries and research outcomes structured into methodology, guidelines for implementing color and the emergence of color becoming space through sketching (planning), painting (making) and by moving through

ABSTR AC T

The application of the described guidelines requires no knowledge about colors but in order to get out the maximum of spatial effect it is indispensable to consider the previous noted meaning and associations of colors in certain cultures.

space as the perspective is constantly changing (perceiving). Following the composed instructions depending on certaing spatial requirements, this also contains a sort of design manual that enables anyone to create a mental color space themselves.

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o p p r e s s i v e n e s s +

←→

SPATI AL

←→ n a r r o w n e s s

C ONTEX T

As addressed before, this manual can be seen as assistance to visually add mental space to a physical space that is distinguished by a certain depressiveness through its oppressive and narrow conditions. Regarding the promotion of the user mental well-being that is being negatively influenced by these given environmental conditions. Case studies that could fall under stated circumstances are prisons, hospitals, stations or schools that are in great need of improvement and can be redefined by color.

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me ntal s pace

me n t a l space

m e n t a l sp a c e

Q U ES TI ON

How can color break physical architectural boundaries and thus add multi-mental space to a given space ?

R ESEAR C H

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Being aware of the co-relationship between the human being and the environment, it is unimaginable to start understanding human perception and experience in the particular context of urban public space based on color design. Given, the incorporation of color to promote the influence on psychological well-being, different purposes of color being placed in urban public space can be noted. The different utilization

of color can vaguely be structured into the three primary purposes PRACTICAL, DECORATIVE and INTERACTIVE. The focus of this design research lies within the combination of all approaches of color utilization.

Color Becomes Space aims to change the perception of space by making it seem deeper, wider or higher.

Considering the use of space through human movement, the implemented

PU R P OSE

color designs create awareness for the spatial conditions (interactive purpose).

Furthermore, color spaces can form a new spatial identity that is improving user associations.

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M E T H O D O L O G Y

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p r i s o n

CO L O R

LI G HT

P RO JE C TI O N

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R EA L

A R C H I TEC TU R A L

C ON T E XT

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„How can color itself create a spatial perception / become space?“

M ET HODOLOGY

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Two-dimensional composition of layered light squares creating the illusion of depth and width.

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Two-dimensional composition that picks up forms of spatial elements (window; pillar; etc.) creating the illusion of an additional space.

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Two-dimensional composition with gradation in lightness + chroma (intensity) creating the illusion of spatiality.

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Two-dimensional composition shaping color in diagonals creating the illusion of spatial perspective.

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G U I D E L I N E S

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Having in mind the starting point and motivation of this design manual, the visuals below can be read as guidelines for implementing color in a spatial scenario that falls under the above-described problem. Each method has its main focus depending on the space issue that needs to be improved. Further, the represented examples focus on parameters that have to be considered while implementing color into space.

These parameters are organized within the methods composition, gradation and shaping.

The The four methods that have been described before illustrating the ability and quality of color creating a spatial perception itself. Meaning that color being used carefully and by following certain guidelines can have a huge effect on the perception and associations of a space by adding mental space to it. c o r r i d o r

Implementing

GU I DELI NES

sc e n a r i o

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edge

center

window

1. composition (placement + repetition)

C O 23 L O R

C OMP O S I TIO N

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A B S TR A C T

A R C H ITEC TU R A L

C ON T E XT

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height

pillar

bottom

top

1. composition (placement + repetition)

p u b l i c

C O MP OS I T ION

c o r ri d o r

CO L OR

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R EA L

A R C H I TEC TU R A L

C ON TEXT

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40%

100%

70% 10%

100% center

window

2. gradation (lightness + chroma)

C 27 O LO R

G RA D ATIO N

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A B S TR A C T

A R C H ITEC TU R A L

C ON T E XT

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o f f i c e

C OLO R

G RA D ATIO N

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R EA L

A R C H I TEC TU R A L

C ON TEXT

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s t a i r c a s e

s c e n a r i o

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vertical balustrade

10% 40% 70% 100%

stairs height

center

2. gradation (lightness + chroma)

C 31 O L OR

G R A DAT ION

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A B S TR A C T

A R C H I TEC TU R A L

C ON T E XT

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one or two centered vanishing point(s)

a a

angle 30 °- 65°

stairs

centered square

3. shape (angle + alignment)

3. shape (angle + alignment)

GU ID ELINES

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C OLO R

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R EA L

h o sp i t al

S H A P ING

A R C H I TEC TU R A L

C ON TEXT

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The idea of connecting color spaces with each other is based on having multiple spaces towards two or three directions. That implies that if there is more surface given that allows the implementation of color the impact can be even maximized by making full use of the spatial potential. By doing so, it has to be noted that there is a thin line between implementing too much color and reaching the right balance for the most effective result.

Addressing the great influence of color, it is not dependent on the amount but rather on the methodology of color utilization in order to promote or redefine negative spatial associations. That said, I have developed two very minimalistic methods of connecting the main color spaces with each other aiming a larger transformation of sensory perception of the space.

Connecting

GU I DELI NES

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The most simple and minimalistic technique of connecting can be achieved through the placement of stripes.

Given the composition of the main color space and the width of the stripes implemented, additional stripes can start and end with those. Besides, added stripes can be directed towards spatial elements like columns or balustrade.

1. stripes

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The more complex option to connect is based on the method that implies the shaping of color in diagonals to create an illusion of spatial perspective (described in more detail on page 86-87).

This technique can be used for color spaces that are located on a side wall at a corridor corner (see picture above).

Imagine a person passing through space and walking closer towards the color space and passes it. The color space is being perceived by the user in perspective, meaning that horizontal lines appear as diagonals that vanish away into one point. By adopting these vanishing diagonals (top and bottom) and placing them onto a wall that is aligned 90° to first leads to a visual continuum of spatial perspective.

2. continuum of spatial perspective

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EM ER GENC E

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Like most of all design processes, the starting point of color becoming space as well is by roughly sketching it. Going back to the intention of a two-dimensional element becoming three-dimensional it makes sense that sketching on a white paper will give you the first impression of its value and emergence through your handwork. Therefore, it is not of importance that lines are being sketched straight in order to see the impact of color.

Once color hits the surface it will evolve itself as the first step towards your aim of creating space. According to the methods that have been mentioned before and the ways of applying them you can then form it as you like.

Sketching As soon as this step is made and you have brought a method of color becoming space on paper, the next option to experience the impact of its full emergence is to sketch it into space. Here, the three-dimensional meets the newly created three-dimensional and space is being added to space.

EM ER GENC E

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The next important step that represents the emergence - the becoming - is the action of painting. Painting on canvas/ wall what has been roughly sketched on paper for a conceptual blueprint leads to a more realistic approach about implementing color into a real architectural context (1:1 scale).

What happens is that the paint even intensifies the spatial impact as the colored surfaces are even and can easily be layered with other layers of paint to gain a gradation, for instance.

Painting

E MER GENC E

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Once the color spaces are implemented they can fully expand their impact on the use of the space - above all on the user well-being.

As one of the major aspects to consider for the final experience is the human movement. Through movement, all spaces become an experience as the views change along the way. Conse-

quently, the movement does play a very important role within the project of color becoming space as well. While walking through public interiors the color compositions placed on walls, ceilings and floors can at some point appear more or less spatial but also change their characteristic face from wide to high and long to short.

Movement - Use of Space

EM ER GENC E

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c o rr id o r

s c e n a r i o

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DESI GN -

t u r n

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c o rr id o r

s c e n a r i o

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p i l l a r

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c o rr id o r

s c e n a r i o

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p i l l a r

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s ta i r c a s e

s c e n a r i o

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The project ‚COLOR MATTERS’ started with curiosity and developed into a valuable discovery. Driven by the spatial potential of color I experienced the great power and beautiful influence that lies within its usage.

By shaping space without essentially changing the architectural base but exclusively using color as a tool, I gained innovative knowledge of how color behaves but also affects the sensory perception of the architectural environment when it‘s being used carefully. With this manual, I intend to share this compiled knowledge of mine and hope to help to spread conscious color implementation.

Once you have understood space and its conditions the matching color design can be significant. Also, impressive about color is its simplicity in utilization but at the same time, it can transform the environment into something completely different. Color can create new space, space identity as well as awareness for existing problems which can be solved at the same time. Therefore, my appeal to you - COLOR MATTERS and must always be considered with awareness.

M ANI F ESTO

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Lisabell Zint, 2020

„Enjoy each step of creating your own color space.

Color becomes space if you ensure that it will and as a beautiful side effect it will also lead to more mental space inside you.“

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COLOR MATTERS Color Becomes Space

D E S I G N ArtEZ, University of the Arts, Zwolle Master, Interior Architecture corpo-real, 2019/20

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Lisabell Zint Tutor: Eric de Leuw

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