THESIS: COLOURS AND EMOTIONS

COLOURS AND EMOTIONS

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“This Design Research Dissertation is presented to the School of Architecture, Oxford Brookes University in part fulfillment of the regulations for the Master in Architectural Design. This Design Research Dissertation is an original piece of work which is made available for copying with permission of the Head of the School of Architecture.

Signed .......................................................................................................

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TRACKING THE COLOURS (COLOURS AND EMOTIONS) PERCEPTION OF THE COLOUR AND THE EMOTIONS EVOKE FROM THE PERCEIVER REVITALIZE THE HUE OF HEMEL HEMPSTEAD

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Abstract The core proposition of Revitalize the Hue of Hemel Hempstead is to express the disconnection of colour towards architecture. Colour has been an enormous factor for the emotions evoke from the perception of architecture. This research is focus on the ideas of altering the people’s perception towards colour. “the past is better than the present and definitely better than the future; our best days are behind us; and if we want to have a glorious future, we have to recreate that great past.” The misguided preconception of bringing back the ‘missing colours’, would also bringing back the nostalgia. This research is to explore on strategies of the colours usage in the city and the emotions evoke from different colour scheme usage in the city.

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Contents 7-12 Introduction Chapter 1 13-25 Literature Review 26 Research Methodology Chapter 2 27-63 Case Studies 66-67 Precedence Studies Chapter 3 68-73 Proposed Site 74-77 Colour Palette Chapter 4 80-83 Program Brief 84-87 Models Chapter 5 90-99 Design Development Chapter 6 100-104 Final Design 105-107 Conclusion 108-110 Bibiography 111 Appendix

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Introduction

This research topic is about how tracking the emotions of the perceiver towards colour.

Does colour has an effect on feelings?

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Personal Motivations Flipping through those old black and white photos when I was a kid, i would wonder what I would perceive without the absence of colour. Do the ‘missing’ colours also symbolize the loss of the details, the time, the weather and the surrounding context that leaves us unknown. At the same time, for the people that is having colour deficiency, how would they perceive the same image that I was looking? And do we having the similar emotions? Or not?

“Colour is fundamental to our experience of the world around us” (Clair, 2018). Imagine the memory, scene that leaving strong impact, the description is always comes with the colour, making it sounds more visualize to others.

Describing the objects with colours, peo¬ple can tell the context, where you can see with the maps of train, the weather, the location.

Colour is so powerful where it is also telling the story of surrounding context. Even people with colour deficiency perceive colour in their way, and telling the story of their own perspective.

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Introduction According to Cambridge dictionary, “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.”

(Anon., n.d.) Is colour, just a physiological phenomenaa sensation resulting from different wavelength of light receptors in the eye? “Colour has an enormous psychological and associative potential, as much as perception is linked with memory and recognition, the colour is derived from our cultural habitat.” (Grynsztejn, 2002) The same hue presented deliberate various emotions to every individual, as the amount of individuality experiencing colours is equally extreme.

This research is to explore on how the colours could be perceive in relation to architecture and to be appreciated.

Colour, an ever changing motion, where the visibility strongly depends on the shades, light and surrounding context. The diversity of the colours impacts the perceiver in every moment, giving them a medium to read, perceive, understand their surrounding context. “Colours were in the white light, energies of light and colours are just energies within.”

(Gage, 1995)

THE PRISM OF LIGHT Sir Issac Newton, 1672 White light is refracted with a prism, resolves into 7 componenets colours.

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The first colour system dates back to the discover of 7 hues by the Greek Philosopher, Aristotle where he stated that the properties of colour was determined by the intensity of natural light. Yet, the breakthrough comes after the theory of prism of light proposed by Sir Issac Newton where the mixture of colours comes through a refraction of white light and in reverse process too. This colour studies is extremely important as colour studies previously is limited to the surface colour.

In the past, where people thought the rainbow is a creation of God, where colours light of the rainbow is a gift from the God. Until the prism of light, Sir Issac Newton breaks the myth of colours of light is created from the refraction of white light, where pushing the development of colour theories in future, to explore on the properties of the colour. “The unique face that colour only materialize when light bounces off a surface, and it doesn’t exist in itself only when looked at.” (Grynsztejn, 2002) Light and colour are fundamental characteristics. Whenever the presence of colour, there must be the presence of light. Colour loses its properties in the dark, where no one could ever perceive it no matter how powerful the colour is.

“Architecture is not a building, it is an active connection, a practice which activates all the materialise space and their inhabitation. To intervene the making and unmaking of all these boundaries.” (Grynsztejn, 2002) Colours plays an significance role in the transformation of architecture style these days.

In relation to architecture, the role of colour in architecture has slowly becomes more on a ‘cosmetic’ to the building, rather than create or altering the atmosphere of the building with the usage of colours. Its undeniable that the invention of paint and dyes do makes the user the ease to utilize and change the colour in anytime. Yet, the colour chosen has to be based on certain basis, theory or context as colours are also part of the identity of the architecture, or either shaping the architecture.

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Personal Area of Study Delacroix wrote, “ the elements of colour theory have been neither analysed nor taught in our schools of art, because in France it is considered superrflous to study the laws of colour, according to the saying. Draftmen may be made, but colourist are born. Secrets of colour theory? Why call these secrets which all artists must learn and should be taught?”

(Gage, 1995) Thus, this research would be looking into how the colour elements has been built up until present day, of the theory and of the history of colour, and how is the technologies changes the way of colour is explained, and how does it work to alter the human perception towards colour nowadays.

It is vital to look into the colour theories that has developed till present days. It helps to provide the fundamental background of understanding on the theories and research that affecting how the choice of colours are chosen in these days. Furthermore, understanding of the history of the naming of the colours integrate additional layer of how colours could be perceive in different people, regardless of their cultural background. It also reflects how the transformation of the system of colour after the standardization of the colour, by ‘coding’ them, making the differences of how people perceive the colour. For instance, most of the people still prefer to ‘see’ the colour in a physical contact when purchasing in the hardware shop. Despite the changes of the system of categorization of the colour for the ease of people, people still prefer to perceive and making contact in real life. Every naming of colours and ways of perceiving are distinctive to every individual. Thus, it is important to understand the history lies behind the name of every colours.

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This research would also be looking onto the perception of individual towards colour. To study on the science of optics where how the retina of every individual perceives the colour. And most importantly, integrating with the advanced technology, how can the perception be altered and does the emotions/response evoke could be affected as well. The study on the perception would provide an idea of how a space, openings could be deconstruct, alter the user’s perception and how the building interact with the user with the alternative of colours.

The integration of the colours on the architecture materialise the space, blurring the boundaries of space, acting as a visually connection of building element, and divert the perception of the user, articulating the circulation of the architecture.

This research would also go through the precedence studies of colour in relation to architecture, to study the usage of colour in the existing architecture studies. Urban explorer might read cities/architecture in their form/style more than the colour, but the main elements that able to stimulate the perceiver’s eye would be the perceptual patterns that enlightened by the colours. Without the presence of the colour, it would resulted in the monotonous language of the architecture to the city dwellers. “A sense of colour, in fact, may be a cultural’s least recognized, but most direct, visual signature.” (Swirnoff, 2000) The use of colour in city is a collective expression. When comes to the use of colour in the city, it becomes no longer personal. The repetitive usage of colours over the time slowly become the significance visual of the city, and also become the favour of the population over there, cultivating their own identity with colour.

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Chapter 1 Literature Review Research Methodology

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Literature Review

The colour system progressed from the past to present has always missing out the cultural context. from the progress of identifying the basic hue to the newton’s colour of prisms, colour theory is always focus on the description studies of colours and the scientific approach which digitalalize colouring system with the standardized colour code. The colour tends to focus on the interaction of different hues without identify the human perception towards the colour.

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“We naturally place these colours first, because they belong together, or in a great degree, to the subject- to the eye itself. “ They are the foundation of the whole doctorine, and open to our view the chromatic harmony on which so much difference of opinion has existed. Their appearance have been known from ancient date; but as they were too evanescent to be arrested.” (Goethe, 1970)

HISTORY OF COLOUR SYSTEM Figure illustrated by author

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By looking into The Theory of Colour, German philosopher, Goethe reduces the colour to their origin and simplest elements. His principle of colour is making up from the the phenomena of contrast and gradation, and the answer of contributing the chief elements of beauty. Goethe’s subjective view of colour where his theory tend to follow the footsteps of the Aristotle’s view where colour arises from the transition of brightness and darkness and refute the statement of wavelength of colour proposed by Newton. Goethe theory focus more on the description of the colour through the aesthetic view, which he claimed, “thus the colours produced by refraction may be filthy explained by the doctrine of the semi transparent mediums.” (Goethe, 1970), in which he stated where the refraction through a prism is not necessary for these effects.

However, in Goethe theory of colours, where he refutes the Newton’s theory of prisms of light without mentioned about how the wavelength of light(colours) works in the colour theory. Goethe’s theory enforces only on the intensity of the light towards colour, ignoring the perceptual experience of the observer towards colour. The theory developed is more on explaining the theory, categorization of the colour, without considering the user’s experience, reaction towards colour.

‘Doctorine to be developed here is an aesthetic colour theory originating in the experience and intuition of a painter. For the artist, effects are decisive, rather than agents as studied by chemistry and physics.”

(Gage, 1995)

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THEORY OF COLOURS, 1810 Light Spectrum Johann Wolfgang von Goethe

Painter and educator, Johannes Itten, in his book of The Art of Colour, tend to highlight on the remarkable visual effect and the simultaneous contrast, focus on the juxtaposition of the subjective perceptual experience and the objective laws of the colour. Despite explaining colour with the theory, Johannes Itten experiment colour based on the existing artwork and perceiver(his students).

He also tend to connecting colour with the realm of other senses, and stressing on the importance of light in the visibility of the colour.

Also, he categorize colour aesthetics into 3 directions, Impression(Visually), Expression (Emotionally), Construction (Symbolically), but stating that one must not ignore any of these categories when looking into colours. The colour system developed by Johannes Itten is convincing, through the “Subjective Timbre” colour studies, as his experiment taking consideration of the perception of the subject (his students).

THE ART OF COLOR, 1961 Subjective Feelings and Objective Colour Principles Johannes Itten

The reference of the artwork to study on the colour include Asian and western cultures, forming a less bias conception of the perception towards the colour.

And most importantly, he developed the theory to not only consider colour in the hue or gradation of light, but also considering the scale, position of the colour that affects the perception of human.

This theory breakthrough the colour theory in the past where the colour is always investigate on the properties of colour, while the perceptual experience never be considered. “In the studies of subjective colour, I have found that the not only the choice and juxtaposition of hues but also the size and orientation of areas may be highly characteristic.”

(Itten, 1970) In his studies, the colour studies has to be taken in consideration in terms of the size and position, where it also affects how the image to be perceived by the audience.

Notes: “Subjective Timbre”: Experiment of student discover on subjective on the form and colour.

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“Colour is fundamental to our experience around us.� (Clair, 2018) Through the Secret Lives of Colour, by journalist Kassia St Clair, despite describing or inventing a new colour theory, she describes the history of the naming of the colours.

Through the wonderful stories of the book, reader can have a clear understanding of how the colour is derived from the socio-culture creation. The history of the colour consists of also mades up part of the perceptual experience of the society towards certain hue, which also influences the usage of colour of the society in the future, eventually leads to the forming of an identity of the population. The fact that the history of colour is explained with the integration of cultural background, forming the gap that has been ignored by the colour theorist throughout the years, by providing the glossary of the cultural context of colour. Also, justified why naming of colour is important for people to remember the colour despite of the coding system of colour that has invented throughout the centuries, still feeling unfamiliar towards the people. The history gives a brief understanding of how the colour made of and how certain colour means to certain people.

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“The beginning of building coincides with the beginning of textiles.” (Scheerbart, 2003) Through Alberti’s De Pictura, stained glass designer, where his intention is to explore on the ways that the subject(art/ visual image) could be present closer to the observer.

Alberti interest in the effect of light and shadow to the colour, where his theory is to study how the image reaches the eye, how our eyes function to perceive the image, and in what procedures, we can alter the medium to connect the both process. Ghiberti is always emphasis on the first principle of nature-light. Where he considers the light as the medium to convey the vision, to our human’s eye. And, the effect of the consistency of the vision, even the after image produced after a strong light stimuli, creating varying appearance of the visual image to be seen. “Colour, induced by material structures to permit the indirect reflection of light, as cellular structure do naturally, would greatly enhance the built environment.” (Gage, 1995) Through the stained glass mechanism, inviting the coloured lights to the interior, Alberti’s theories plays a big role where colour could also perceive not only through the retina, but with other human sense. Inviting the coloured light could also evoke the emotions of the perceiver, where it is already studied

by Kandinsky in his synthestic experiments in the era of chromotheraphy, further substantiated that the belief that exposure to various coloured light could resulted in effect on human bodily functions, where the visual contact to the colour, could also evoke other human response, including the emotions.

VANISHING POINT, 1450 Principles of Distance, Dimensions and Proportions Leon Battista Alberti

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Colour and Emotions The case studies taking from the experiment published in The Influence of the Blue Ray Of the Sunlight and Of the Blue Colour of the sky, usage of blue-filtered light in mixing with ultra-violet light stimulating human responses, where the certain amount of coloured lights could trigger the physiological response of human. Sense of colour is an essential value to human, human do react to the coloured light unconciously. Though the results obtained contradict with the quantifies experiments conducted by the French psychologist, Charles Fere in the 1880s, where he concludes that the blue light(mixing with ultraviolet light) stimulated the cell growth, enhances the speed of recovering of patients; while red light is in reverse. While Charles Fere proposed that red light has the most stimulating effect and the violet ois the most calming. Regardless of the results, both of the experiments conclude that coloured lights do trigger human response indirectly.

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Colour Perception The different of the colour perception perceived by human and animals caused the various psychological and physiological response. The range of vision diverse from monotone colour spectrum to the full colour spectrum and ultraviolet, tends to distinguish the limitation and range of human colours perception. Despite the colours spectrum to be perceive, the range of vision is various, define by the characteristics of the animals. The scale and position of perceiving the same visual image compared to human vision, to explore on the human ergonomics in relationship with the perception of the architecture.

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Colour Blindness Pingelap, a Micronesian island in the South Pacific, is being named as ‘the Island of the Colourblind’. Results shown around 10 % of the population is still suffer from achro¬matopsia, a gene of condition that resulted in vision impairment. Achromatopsia has been circulated in the island since 1775. The inheritance of genetic fault, and the religious that discourages the marriage to the outsiders, leading to the increasingly affected population circle.

This disease has severely affect the islander’s lifestyle.

The is¬landers tend to hide from the sun to prevent the direct contact with the sunlight, as the islander described, that the sunray is like an overexposure image of black and white. “People with achromatopsia are extremely light-sensitive, which is a burden on a super sunny, tropical island” (Stone, 2018). They tend to shift their routine of daily activities at nightime hunting source of food to ensure the freshness of food. The perception of colour has strongly shape the lifestyle of the perceiver.

Notes: Achromatopsia: Achromatopsia unable to distinguish any colour, while colour blindness vision still able to distinguish up to 20 different hues.

The Island of the Colorblind, 2015 Photographer Rendition of Colourblind Vision Sanne De Wilde

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Colourblind vision of Oxford, 2018 Author’s Rendition of High Street, Oxford

“In a monochrome world, color is “just a word” to those who cannot see it,.” (Stone, 2018). While interviewing the Is¬lander, they claimed to ‘see’ red the most, and picking green as their favourite colour, though green is one of the least recog¬nizable shades. It might be one of the way they appreciating the jungle vegetation surrounds them, with the common per-ception where trees and vegetation are green. “They don’t see color at all. That’s why everything appears to them in shades of grey” (Stone, 2018). In the absence of colours, the Islanders tend to appreciate the visual of form, sculpture and space due to the missing of the perception of colours.

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Fish Vision

Bird Vision

Dog Vision Figure 1a-1d Animals Perception Author’s Rendition of Animals Perception towards High Street, Oxford

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Green . Red . Blue . Ultraviolet Light Monocular Vision Distorted View Figure 1a

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Full Colour Spectrum . Ultraviolet Light Binocular Vision Focal View Figure 1b

Dichromatic Colour Spectrum (ranges from blue to yellow) Binocular Vision Figure 1c

Colour Spectrum (Orange to Red) Figure 1d

Cow Vision

Monocular Vision Magnificient View

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Research Methodology Of the multidisciplinary combining together and assessment of these existing theories of colour, historical, and anthropologist studies on the perception of colour, this research would be exploring the perception of colour through various research methods, i.e. precedent studies, physical models and also case studies.

From the precedence studies from imaging presentation(films) and physical building(architecture), it sets a comparison of how human perceive a real object and of visual presentation, and to identify the type of emotions response from the perceive throughout different virtual aspect. Also, to study how the colours has been applied in these two distinctive medium along the years, to identify role of transformation of the colour takes part in the society. “Cinema soon proved to be a critical means for transmitting both political and architectural ideas.” (Scheerbart, 2003) Besides, physical model making experiments with the proposed colour theories over the years, and develop to an extend where to study how colour could also take part in my site in further development. It is also to justify the existing proposed colour theories and in an extend to explore the possibilities of various outcome from the proposed colour theories.

“Perception comes from the reception of visual stimulation, processing and evoked response to hormonal system.”

(M.D.VERNON, 1971) In addition, this research would also explore on the perception of normal vision, colour deficiency vision and animal vision. This is to study on the maximum wavelength that could perceived by the retina, also to determine the scale of

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Chapter 2 Case Studies Colours on the screen Colours on the architecture Precedence Studies

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The Wizard of Oz

Film in 1939, directed by Victor Fleming, is the first technicolour full-length movie produced in the film industry. Back before 1939, audience has used to black and white film, The Wizard of Oz was the pioneer for all the colour studies in the film until today. The success of this film comes from an ingenious choice of colours and movie sets, integrate with additional layers of features, elements to overcome the shortage of colour technology during that period.

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scene 1_

Figure 2a

Film in 1939, directed by Victor Fleming, is the first technicolour full-length movie produced in the film industry.

Back before 1939, audience has used to black and white film, The Wizard of Oz was the pioneer for all the colour studies in the film until today. The success of this film comes from an ingenious choice of colours and movie sets, integrate with additional layers of features, elements to overcome the shortage of colour tech¬nology during that period.

scene 2_

Figure 2b

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The affinity of colours chosen (sepia), plays down the visual intensity, making the audi¬ence to experience less visual shock, as they are exposed with the familiar visual intensity, also to reflect the dull and unsatisfied of Dorothy’s life.

Sepia tone set for all of the scenes in Kansas (Dorothy home, demonstrates the mantle of romantic and nostalgia ambience. As described by the colourist, George Field, sepia displays as a ‘powerful dusky brown colour, of a fine tex¬ture’. (Clair, 2018), shaping an emotional feelings of ‘home’.

Figure 2c

scene 3_ Costume of the Professor Marvels is carefully designed and planned.

Integrating colours with textures, such as plain-coÂŹlour coat, checkers pants, embroidery vest, silk tie, suit undershirt and glossy boots stood out from the other characters in the scene, as limited colour palette could be display on this scene (monochrome colour scheme settings). As colour is adjusted to the same gradation, the costume easily distinguish the role of a character.

Also, colours schemes planning symbolize the significance role of Professor Marvels in the story scheme.

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scene 4_ Triadic colour scheme (red, blue, yellow) was introduced in this scene. As colour is adjusted to the same gradation, though the hues selected are intense (primary hues), they tend to harmony with each other. Green is selected as the backdrop colour, considering it as one of the hue in the tetradic colour schemes. Thus, green is able to form a balanced with the existing colour schemes chosen., and also not distracting the audience’s attention from the main characters.

Using the building elements-door, setting the boundaries of distinguish colour scheme, door frames the colourful exterior view, evoke the audience’s curiosity, slowly leading the audience to perceive full frame of the colourful world outside completely.

Figure 2d

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scene 5_ Yellow brick road, Red pavement, Blue pool and pond, colours that we experience in real life has comes to the visual image on the screen to be perceived.

Objects and the luminance and artificial colours associated with the characters of Munchkin Land and Oz symbolize the happiness discovery of modern times. This is where Dorothy realise that she’s not in Kansas anymore. It is also symbolize how the emotions evoke from the perception of colours, could affected by the cultural background.

Figure 2e

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Virtuous / Evil Green_ “The crooked hands and skin colour of the Wicked Witch of the West appears to be a light yellowish green. Studies has showed that there exist a cross cultural dislike of the weak blend of chartreuse”. “Murky green is an example of the distorted luminance effects from hues that violate the natural orders of lightness,” (Branigan, 2018) this messy connection of colour makes the viewer felt disconcert and confused, leading the character unfa¬vourable by the audience.

In contrast, there is a big difference either the colour is cast in its natural state. As this scene shown, emerald green leading audience to a visualisation of a jewel-like form, mesmerize the audience in a magi¬cal city, where the realisation of the dream could happens here. “The Emerald city, is the metaphor for the magical fulfillment of dream, it lures the character in because they want something from it.” (Baum, 1900). By altering the luminosity of hue of green, leading to an extremely contrast emotions of the audience, also indicates the importance of lights in the presence of the state of colour.

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Discordant scheme Characters are associated with specific colours, show their nature form of texture and colours. Pale blue pinafore represent the powerless Dorothy, symbolize the characteristic of the brownish Cowardly Lion and yellowishbrown of scarecrow resonance with the earth tone, which is most found in nature, also fitting the characteristic of scarecrow. Characteristic of lacking of heart by the silver tin man also symbolise the nature effect of the coldcolour tone, relating to the unwelcoming emotions deliberate from the cold tones of the commercial building nowadays.

Figure 2f

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Texturalise the colour “The slippers have red sequins sewn onto their exterior that serve to reflect light.” (Branigan, 2018). Red Ruby shoes, where the vigorous colour of red, symbolize the visual courage that could leads Dorothy all the way to the yellow brick road. Red, symbolizing the power, compassion and courage, fitting what Dorothy requires on that plot. In the prism of light published by Sir Issac Newton, red colour is the most intense colour as it has the longest wavelength.” (Edith Anderson Feisner, 2014). Also, it explains why red is act as a signalling colour in most of the traffic light in the world.

Textualize the red also enable the element to stand out from the existing red, highlights the importance of Red Ruby shoes in this plot. Also, overlaying the shoes with glittering effect, it solves the Technicolour issue of the limited colour palette to be presented.

Figure 2h

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Complimentary scheme “Red-green alone are pairs of hues that do not combine or mix with each other’” (Branigan, 2018). This kind of disharmony exemplify the conflict, symbolize the disagreement between the evil witch and righteous Red Ruby shoes (wore by Dorothy).

Additionally, red and green also displaying a form of static visual, where none of the colours could overwhelm by each other. This complementary colour scheme is also widely used in future to create a contradict feelings, for example in the film, Amelie,2001

Figure 2i

Figure 2a-2i The Wizard of Oz Movie Screenshot

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The Grand Budapest Hotel

Film in 2014, the director, Wes Anderson has been one of the most talented director in controlling the colour mode to set up/create emotion /mode towards the audience. the usage of the colour are also integrated with the composition and spatial arrangement, frame within a frame, that builds layering with the story, making audience to slowly draw to the scene. the colour changes throughout the whole movie yet restricted to a single hue in a movie frame making the story telling in a whimsical way.

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Monochromatic Colour Scheme In this film, the colour spectrum used in a frame is limited into 3 colour spectrum. This is to divert the audience’s attention to the overall view of the image, making the audience perceive the film in a more symmetrical and balance perspective, the degradation of the colours used , where the main character(storyteller) is always placed at the most extreme hue at that colour spectrum, or the lightest, or the darkest. This therefore alter the audience perception to focus on the emotions of the character.

Symmetrical and Balance

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Figure 3 The Grand Budapest Hotel Movie Screenshot

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Amelie

Film in 2001, directed by Jean-Pierre Jeunet. There are 3 major hues in this movie, which is yellow, green and red. the red is always ap-pear with the green to show the contradictness within the character, amelie, where the longing for the love (red) while still remaining calm(green). red and green colour is chosen as they are the most contrast hue, considering they are situated at the opposite location in the munsell colour system.

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Author’s Rendition of Amelie Movie Screenshot

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Complimentary Colour Scheme In this film, the set chosen is designed with the specific colours spectrum (red and green), displaying the green and red hue of the character in an intense or contrary emotions. Green and red is chosen as these are the two hues that not only contradict with each other, also forming a static visual image where both of the hues could not override by each other, according to the The art of colour by Johannes Itten.

Contradict and Competitive

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Sin City

Film in 2005, directed by Frank Miller, Quentin Tarantino, Robert Rodriguez. In this film, only certain hue is visible along with the charÂŹacter. the colour chosen to associate with the character are based on the personality of the character, to make it more convincing and logical to the audience. the single hue tends to draw the focus of the audi-ence solely to the expression and emotions of the character. this building up the complexity and conflict of the story and immersed audience to have the similar emotion with the character.

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Author’s Rendition of Sin City Movie Screenshot

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Discordant Colour Scheme Associating specific colours spectrum to a character, has been used by the director dates back to The Wizard of Oz, though it was due to the insufficient of the technology in the past. Yet, in the future, this colour scheme is widely used by the director, especially to the fictional characters. Yet, the colour scheme chosen to associated with the character has been carefully chosen, as the specific colours do symbolize and triggers certain emotions towards the audience.

This colour scheme has been celebrated until the present days, where the usage of black and white in the good and evil star wars character, or the superman and dark knight character.

Associative and Repulsive

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Avatar

Film in 2009, directed by James Cameron. In this film, only certain hue is visible along with the charÂŹacter. the colour chosen to associate with the character are based on the personality of the character, to make it more convincing and logical to the audience. the single hue tends to draw the focus of the audi-ence solely to the expression and emotions of the character. this building up the complexity and conflict of the story and immersed audience to have the similar emotion with the char-acter.

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Analogous Colour Scheme “Harmony implies balance, symmetry of forces.” “When people speak of colour harmony, they are evaluating the joint effect of two or more colours. The colour combinations called ‘harmonious’ in common speech usually are composed of closely similar chromas, or else of different colours that meet without sharp contrast.” (Itten, 1970) The director uses the range of the blue spectrum to green spectrum, to express the intense yet harmonious feelings. And also, ultraviolet light fits the fictional character well, also to implies the difference of time plot between the fictional and the reality zone, giving it a huge contrast in the colour spectrum.

Balanced and Intense

Author’s Rendition of Avatar Movie Screenshot

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Figure 4a

Figure 4b

Figure 4c Figure 4a-c Avatar Movie Screenshot

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Case Studies Colours on the screen Colours on the architecture Precedence Studies

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Casa Gilardi (Luis Baragan)

Inspired by the Mexico artist, San Miguel de Chapultepec, usage of colour blends simultaneously with the shades of Mexico. The simplicity and refinement of colours, infusing towards users perception of colour and happiness. “In bringing the coloration of the exterior to the interior, thus creating a visual connection and sense of belonging and anchoring� (Linton, 1999).

Figure 5a

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To build up the continuity of the shades of hue, the entrance is celebrated with a pink façade to harmonize with the landscape oF surrounding context. The intensity of colour increases along the pathway design, where from the brownish wood to the yellow glow of corridor until the red and blue wall on the open-plan dining room. The skylights is installed on top of the blue wall to create a reflective surface for the light, which changes along with the sunlight direction. Red, blue and yellow is chosen for interiors as the strongest expression of contrast of hue. ““Each hue acquires and effect or reality, concreteness” (Itten, 1970)

Figure 5b

The colours of nature is appreciated with painting the blossom flowers colour, purple and white on the surrounding wall, where shades of green are exclude to stress on the colours of the tree.

Figure 5a-c Author’s Rendition of Perspective View Casa Giraldi

Figure 5c

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La Muralla (Ricardo Bofill)

Inspired by architecture of Arab Mediterranean Area, it was a modern interpretation of casbah (citadel).

Ziggurat and stagerring giving this building a layering of the continuity of shades. The perÂŹception of colour tends to change in every turning and steps taken.

Contrast or continuity, striking spectrum of red and blue is used to paint every walls of the apartment.

Analogous colour scheme is used with the hues bteside are selected on the colour wheel, ranging from red to pink, and blue to violet. While shades of red contrast with the landscape in the background, the spectrum of blue tends to provide a continuity to the backdrop (the sky and water).

Figure 6a

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Figure 6b

Figure 6c

Figure 6a-c Author’s Rendition of Perspective View La Muralla

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The Favella Painting Project (Jeroen Koolhaas, Dre Urhahn) Inspired by the hip-hop culture of Brazil, Jeroen Koolhaas and Dre Urhahn was planning to regenerate Santa Manta, a slum comÂŹmunity in Rio. To eliminate the dull and deadly perception of the town, Haas and Hahn choose to use the primitive hue in the colour wheel.

The walls was painted according to the hue location in the colour wheel, as it potrays a harmonious accelerate and descending hue. The colour is paint in diagonal strikes to potray the illuminaÂŹtion of sun rays.

Therefore, creating a lively and vibrant, reflecting the creativity that the community possed.

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Figure 7a-b Author’s Rendition of Exterior Perspective View of Santa Manta

Figure 7a

Figure 7b

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Girona, Spain

Located in Girona, lies along the Onar River, this city consist of three zones, the old quarter, modern section and residential area. Instead of vibrant hue, shades of yel¬low is painted along the houses of the river.

“When a saturated yellow is to produce the main effect, the composition generally must assume a light over-all character… When he wants radiant yellow, he can bring them out in collectively light groups, where saturated red would be felt as merely dark, without chromatic splendor” (Itten, 1970)

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As the strategic geographical area of the houses, yellow tends to glow with the sunlight striking and creates reflective luminance surface to the river. Also, to harmony with the existing context, to the green landscape and a beige Gothic cathedral, yellow is choÂŹsen as it falls between these two hues in the colour wheel.

Figure 8a

Figure 8b

Figure 8a-b Author’s Rendition of Exterior Perspective View of Girona

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Case Studies Colours on the screen Colours on the architecture Precedence Studies

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Mobile Fashion Store/ Kooo Architects To highlight the immovable challenge that happens in Japanese construction industry, the pavilion is constructed by the colourful hoods, also known as bousai zoukin, which is obtainable in most of the commonplace in Japanese schools. By embodies with the colour and highly cushioned materials, the pavilion creating awareness to the public with the symbolic colour and design of the materials used, which he quoted, to achieve of making a ‘Japanese Design’.

Interior Perspective

Elevation

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Old Water and Observatory Tower in Prague / Petr Hรกjek ARCHITEKTI Located on the only dominant point with the view of city panorama, the lost of the view of the tower due to the development of town.

Thus a periscope is built to frame the city view and curated an architectural space for people to perceive city view. Integrated with the library and exhibitions, it allows the tower to be attract the people to utilise the building, and making the periscope observation cabin accessible to the town people.

Observatory Spot

Illustration of Observatory Tower Mechanism

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Site Plan Hemel Hempstead in colour Illustrated by author

Chapter 3 Site Context Emotions on Old/New Town Hemel Hempstead Colours Palette

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Hemel Hempstead A town of Hertfordshire, located on 24 miles north west of London. Hemel Hempstead has been constantly changing after the new town planning in 1950s-1960s, to accomodate the excessive population of Londoners. The openings of Kent’s Brush Factory and John Dickinon’s Paper Mills creates more jobs to the population, leading to a fast and cheap materials to be used to build houses to ensure sufficient houses is provided.

Varied architecture and time scale of the buildings are vanished and replaced with a monotonous scale of the industrial buildings, adding with the Leverstock brick and tile making industry, houses of Hemel Hempstead become a monotonous scale of orange to brown tone due to the massive brick construction of houses. Also, it creates a big contrast compared to the established village, such as Apsley, Boxmoor and Leverstock Green which has their own individuality.

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Hemel Hempstead Maps Author’s Rendition of Transition of the Fishery Inn in Hemel Hempstead

In 2003, Hemel Hempstead has been voted as the ugliest town in the United Kingdom according to the article posted by Crap Town Repost. “The stimulus of the colour occurs in the orchestration of connected facades on a street. “(Swirnoff, 2000) A linear grouping, or cluster of colours of orange brown lends coherence to a brownstone neighbourhood. Recurrence of these colours confers an identity to a district. Architecture in Hemel Hempstead has been build into same scale, colour and of the same façade, where the monotonous scale of the architecture making the town looks ‘no character’ to others. The changes of the town do receive op¬posite emotions towards the people, where some celebrates with and some feel the absence towards the place. Visitor that has been interviewed, commented that the iconic Kodak building looks like ‘bog standard buildings’, while the famous Marlowes shopping center looks dowdy. The uninteresting character of the architecture in Hemel Hempstead slowly affects the human activities of the people. Less people can be seen enjoying the public space, even on the weekends, as people do not find the town interesting, which do not trigger the emotions of ‘seek’ to the people there. The façade design in the new town also loses its character.

The sematographic façade, the sculpture detailing or painted details on the facade used in old town has been removed and replaced with the commercial font on the façade, where people tend to perceive similar tone of colour, and resulted in less excitement during the perception.

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The reason for selecting the proposed site is to potray how the opposite colour tone of Hemel Hempstead will effect the emotions of people there., and most imporÂŹtantly, to investigate the impact of colour toward the people perception in the absence of cultural context. The proposed site is located at opposite the Fishery Inn. Fishery Inn has function as a stop for provisions for Boat people in the past. The trading further encourage the development of new town as Hemel Hempstead is located along the canal river from London. Interestingly, tracing back the map of Hemel Hempstead, Fishery Inn has always become the connected spot over the years, tieing the bond of the old and new town, no matter how development changes the site planning in Hemel Hempstead. Thus, Fishery Inn could be serve as the connection viewpoint of the old and new town of Hemel Hempstead. From this viewpoint, we observe the changes of the town in terms of colour, scale and history.

Fishery Inn Proposed Site Location

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Also, located on the walking distance from the train station, it makes the visitor easily accessible to the site. The connection point of the old and new town of Hemel Hempstead could gather the visitor of old and new town, and exchange the experiences perceive by them, also provide an open space for the visitor to interact.

Located beside the canal also draws the attention of people coming from different village through the canal. Through the slow boat of people, people able to take notes of the history surrounding the Hemel Hempstead. Also, have a visual connection with the activities nearby, and involve themselves in the visitor experience.

Kodak Tower Viewpoint 1

Apsley Paper Mills Viewpoint 2

Kent Brush Factory Viewpoint 3

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Figure 9a

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Figure 9a-t Hemel Hempstead Street View Captured by Author

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Chapter 4 Program brief Models Exploration

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Program Brief

Collage Medium of Colour Illustrated by Author

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The proposed program is to create an interactive gallery/ observatory tower. This gallery serves as the collection of the artefacts of the paintings, also providing painting, brush workshop, kodak film gallery to engage the visitor to participate, also as a recognition to the achievement of the Hemel Hempstead in the past. Furthermore, these are also medium to portray the properties of colours that are obtainable in the town.

Collage Coloured vision of Hemel Hempsted skyline Illustrated by Author

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The concept of the design is to create a landmark architecture building at the signification point of the town. According to the art of colour stated

by Johannes Itten, “In the studies of subjective colour, I have found that the not only the choice and juxtaposition of hues but also the size and orientation of areas may be highly characteristic.” (Itten, 1970) By creating a placement of hierarchy to the rigid skyline of the city, the abrupt change could signal the eye of the audience, drawing the attention of the visitor.

The entrance shifted diagonally opposed to the street pathway. This is to breakthrough the rigid perpendicular street planning of Hemel Hempstead. By shifting the orientation of the building, the building could be showered in the unpredictable scarce of sunlight, creating various luminosity of colours and shadows inside the building. The proposed building could also universally distinguished by a marked shift of colour and material among the perspective view of Hemel Hempstead, which stated in City of Colour, “a significance of the aperture is thus a function of the urban code, on spoken visually and universally”. (Swirnoff, 2000)

Also, function of interactive tmuseum could serve as an open stage to the visitor. The observatory tower not only involve the participation of the visitor in the interactive gallery, also making the movements, momentums and ideas of the visitor to frame their own perception, creating a different perspective of view to the town with the filters of colours.

Eventually, forming a linkage between building and the urban context of the town, makes people feel more connected to the town.

Paper & Brush Making Process Illustrated by Author

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At the first point, various models has been carried out to study the diffusion of coloured lights. The choice of colours chosen from triadic colour scheme, as the proposed intention is to bring vibrant colours to the town, excites the feeling of the visitor. And this juxtaposition of the colour from the exisiting colour schemes of the town gives a new perspective of the visitor to look at their town again. The triadic colour schemes also tends to create irrealistic, fantasy feelings, but at the same time is is visually harmonise, and creates a sense of balance and harmony in forces. “If all three colours is lightened to the same brilliance, and the pure colour added in small areas, a harmony in contrast of extension results.”

(Itten, 1970) Models Exploration

“In the studies of subjective colour, I have found that the not only the choice and juxtaposition of hues but also the size and orientation of areas may be highly characteristic.

(Itten, 1970) “The models has been explore with increasing scale and openings to study the human perception towards coloured lights.

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Singular Horizontal Openings

Figure 10a

The singular opening creates a linear and stripes of light to the interior. The frontal light creates a hierarchy on the exposed position. The universal shift of the colour stimulate the visual representation of the perceiver, where perceiver would be more aware of the hue of lights. Also, in the intense light source, the colours may be juxtapose with the existing building materials, making a dramatic contrast, creating a spectacular visual sensation, and a focal point of the surface.

Figure 10b

Figure 10c

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Figure 10d

Figure 10e

Figure 10f

Multiple Vertical/ Horizontal Openings “Colours play a role in organizing the continuum of facades on a street.

Harmonic groupings, adjacent to one another either in hue or value, can create a sense of flow.� (Swirnoff, 2000) A series of uniform openings to create a linear continuous composition of the model. This is to organize a paramount parameter, an equal and balanced qualities of light and shadow, to the perceiver. The repetition and layering of the façade form a linear continuum of the light, drawing the eyes perceive in a harmonious rhythm, where their apertures are tie together. And also, increasingly intensity of shadow and degradation of luminiousity along the openings changes along with the position of the light source.

Figure 10g

Figure 10h

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Various scale and positions of openings

“The harsh reflected light of the surrounding desert blanches out colour, but reveal the reticulation and textures of the material.� (Swirnoff, 2000) The different altitude of the openings create a dramatic effect to the interior, where the visual perceived are based on the position of the perceiver. Also, the lights scattered by the proximity of openings form a filtered ambience where the light of colours could be altered along with different materials used.

The scale of opening also creating a spatial sense, where the boundaries of the light making a temporary defining space in the interior.

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Figure 10l

Figure 10m

The scale and position of openings also affected how the perspective to be perceived. The arrangement of the openings are to explore on how to frame the view and consequently alter the movement of the perceiver in the space, articulating the boundary frames. “The concept of perspective requires a fixed vantage point within the visual range of human eye.� (Swirnoff, 2000)W

Figure 10n

Figure 10a-10n Models Photos

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Chapter 5 Design development Models Exploration -Reflective Models Precedence Studies

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Design Proposal 1.0

This design proposal intends to create a accessible open platform for the visitor.

The tone and materials used such as brick and concrete to harmonize and blend in with the surrounding city landscape. The gallery is permitted up to two storeys height, to creates a balance to the surrounding skyline, but expanding on a larger building plot on site.

The function of the building is separated into different blocks on site and designed into a contrast of horizontal and vertical form, to harmonize to the skyline of the new town and old town, while two of the blocks of workshop and gallery covered the public space, the performance zone.

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Through the openings, visitor could perceive the colour of the town. However, there is no definite entrance to the building. People could access the building from various direction. And colours perceived, are as similar to the existing building, due to the rigid form of the design. As the light pass through the building, it forms a linear coloured light, and the coloured light makes the visitor to feel calm.

Design Proposal 2.0

To broaden the field of angle of view to the visitor, the interactive gallery has been heightened to 5 storeys. And also, to frame a specific point of view in the town. The performance zone is still located on the ground floor, before the entrance of the tower, as a public space to engage the visitors. Gallery and workshops are located along the riverbank to enjoy the canal view. The openings of the tower strategically located to frame certain point of city view. And reducing the scale of openings, making the viewing experience more personal. In this point, the parallel openings making the colours perceived by the visitor appear to be monotonous, even adding with the layers of colour.

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Design Proposal 3.0

This design proposal draws a huge change to the original proposal. After reconsidering the theory of colour, this proposal intend to create a concept of kaleidoscope observatory tower. The framing of view on 3 different locations shape the form into a triangular position in the site, where each corner framing the view of the specific location of the town.

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Kaleidoscope View of Kodak Tower Hemel Hempstead Illustrated by Author

This design proposal draws a huge change to the original proposal. After reconsidering the theory of colour, this proposal intend to create a concept of kaleidoscope observatory tower. The framing of view on 3 different locations shape the form into a triangular position in the site, where each corner framing the view of the specific location of the town.

Exterior Perspective Illustrated by Author

To explore on the refection of light into the building, the form of

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The shifting of the perception of the concept also to highlight the temporarily moment in present days. Of the dissatisfaction feelings perceived by the peoples in town, due to the rapid development of changes of town, where the visual image experienced might vanish in one day. This observatory tower intended to remind of the people in the town to capture the moment perceived, and also looking into the town with another perspective.

The triadic colour scheme(hue of red, blue, and yellow) would be the chosen colour filter. As triadic colour scheme enable to vibrant the mood, bringing an idealistic, unreal emotions to the visitor experience. Shadow cast by these hues are eloquent and shapely projections, mixing with the real and illusory perspective. Also the colours selected from the categorizes of primary hues, tend to form a balanced visual perception to the visitor. Despite a dramatic shadows casted into the interior, a sense of harmony and balanced is still able to perceived by the visitor.

Interior Perspective 1 Illustrated by Author

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Interior Perspective 2 Illustrated by Author

Interior Perspective 3 Illustrated by Author

Exterior Perspective Illustrated by Author

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Figure 11a

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Reflective Models Figure 11d

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Figure 11a-k Reflective Model Photos Figure 11k

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Precedence Studies Wannabe, 1991 Café Krasnapolsky, Olafur Eliasson “We stage the artefacts, but most importantly, we shaped the artefacts are perceived.”

(Grynsztejn, 2002) Installation of Wannabe 1991 project shift the concept of perception where the artwork is always passively perceived, while involving the participitation of human activity in the perception, giving back the audience a unique and individual experience. Taking reference of the Art of Colour by Johannes Itten, this concept shift the studies of alternating the size and orientation of art work to be perceived, while perceiver can frame their own view in the architecture

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Cityscope by Marco Hemmerling

The proposed cityscope installation making people to perceive the urban view in ground floor. The use of the theory reflection, fragmented the view of the town to the coloured panels for the people to perceive. The colourtransformation, generates an intentional alienated vision, fragmented the perspective of perception.

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Chapter 6 Final Design

The intention of the proposed design is to create an interactive kaleidoscope tower. The hierarchy of the tower among the existing landscape is to shift the visual perception, to signal the visual contrast of the visitor nearby. The interior space would covered by double layers of screen, an exterior faรงade and the interior window screen.

The proposed building would consists of dynamic and static plarform, where the interactive gallery perform as an open stage. The perception is altered based on the movement of the perceiver. While in the static platform, the gallery, view is framed to a specific view, which is the location of factory and the kodak tower, which also symbolizes the achievement of the town.

Interior Perspective

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Gallery 2

The tower is circulated with a staircase but located at the front and rear of the tower in every level. This is to enable the viewer to have a panorama view of the city, while circulating the tower.

The staircase also plays with the perception of interspersed along the interior and exterior of the buildings, and along exterior and interior facades, where the perceiver would be showered in the rhythmic pattern of shadows.

Ground floor act as an atrium, allows a clear passage way for the visitor to access to the canal. The unobstructed platform also creating an open air seating platform for the visitor to enjoy the scenary at river.

Interactive Gallery

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Gallery View towards Hemel Hempstead City

The workshops are located on the first and second floor as machinaries are easily accessible. Besides, the noise could be filtered with the crowd activities at the site. Also, the workshop would be surrounded by trees and forming a eyepleasing view. The gallery is located on the top of the floor, to frame a wider angle of view of the city, also encourage visitor to experience the whole tower.

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Ground Floor Atrium

The material proposed are concrete and glass. This is to shape the contrast of how the shadow casted between these two distinctive in material reflectivity. Exterior glass faรงade would diffuse the light into the interior, according to the position of sunlight, where the shadows casted on the visitor inconsistent. The reflected screen not only deconstruct the city view, also reflect the colour of the surrounding context and the reflecting the view interior to the existing exterior image, where visitor could experience as it submerged on the visual image, also making the colour factor of the building unpredictable.

Level 2 Open Space

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Chapter 7 Conclusion

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This research is about how colour could affect’s people emotions. After a brief introduction of how the perception of colour connected to the response of the perceiver, and how various preconception towards colour has been delivered in our daily life. Through the studies of the fundamental colour theories from different perspective, philosopher, artist, journalist and glass designer, colour theories developed highlighted how the visual image could be presented. Thus, this research continue to explore on the case studies on the perception or the emotions response from the perceiver, where it further assure colours perceive evoke different human response to every individual. Also, the colour theories studied formulate a series of colour scheme which has been apply in the movies and architecture in future.

In chapter 2, emotions of colours has been studied through the selection of films and the architecture project. Usage of the colours are so distinctive in these 2 medium, from the range of composition, spatial elements, showing how the colours fragmented in these 2 mediums can affected how the people perceive the colour. Architecture building tends to focus on single hue and playing with the materials and texture to cast the shadows, leaving the perception to be subjective.

While in the films studies, a colour scheme has been construct beforehand to deliver the emotions/message of the film to the audience.

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The design proposed in relation to the research studies, where applying the colour theories and colour schemes developed through film studies to convey the emotions to the perceiver in the design. Triadic colour scheme are selected to juxtapose with the existing monotone colour scheme of the site, also integrated with the light elements. Further models has been developed to study on the relationship of scale of openings and colour in relation to the light. From the exploration, it concludes that the atmosphere of the interior could be affected by the scale of openings, despite of colours. Thus, the human response to the colour could be altered with the manipulation of the spatial elements too.

As a conclusion, usage of colour could affects human emotions, but with the integration of light elements. Light factors are the fundamental element to show the presence of the colour, where could only perceived by human. Thus, lights and colours are inseparable elements in the architecture, where the impact of colours are always enhanced with the light factors.

The future research, I would suggest to explore more on the ‘hidden colours’ that are unperceivable by the human retina.

And how these colours could be discovered with the aid of the advanced technologies in present days, to study on the effect of these hidden colours to the human response.

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Appendix

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