4.4 BUILDING MATERIALS AND FINISHES FOR WELL-BEING
4.4.3 Building Finishes: Impact of Colour on Well-being
Research has proven that both colour and light are the dominant factors in manmade built environments. Together their impact influences peoples psychological reactions and physiological well-being (Manhke 1987, p. x). Light creates colour and is considered to be a form of energy that affects body function as well as influencing the mind and people's emotions (Manhke 1987, 1). Colour also influences our estimation of volumes in architectural space, weight, time, noise and temperature (Manhke 1987, 10 & Augustin: 2009, p. 53-55). It is important for architects to understand the psychological effects of colour on individuals as one is able to use colour in the most appropriate way to enhance the well-being of building occupants passing through or using a particular space.
According to Manhke (1987, x -xi) both colour and light affect humans on both a visual as well as a non-visual basis. One can describe the visual basis as relating directly to the aesthetics of a space, how people perceive shadow, light and colour. Whereas the non-visual basis explores the impact colour can have on building users and how designers can use colour as a powerful psychological tool that can influence people's reactions, emotions, mood, vitality and energy. Colour affects muscular tension, heart rate, respiration, brain wave activity as well as other functions of the nervous system (Venolia 1988, p. 57 &59). Certain colours evoke specific emotions when viewed in a specific environment, such as lack of concentration, bad moods, nervousness, stress, visual problems, glare, anxiety, happiness, excitement etc. Colours either evoke pleasant or unpleasant reactions which in simple terms can relax us, energise us or have adverse impacts on our well-being.
4.4.3.1 Application of Colour and its Affects:
Colour has an effect on the perception of volume in architectural space. The lighter the colours used the increase in the size of the room. Conversely, darker colours decrease the apparent size of a room. Darker colours appear heavier and light colours seem less dense (Manhke 1987, p. 17 & Augustin 2009, p. 55). Colours also have an effect on the perception of temperatures in architectural space. Cool light colours are perceived to be cooler as opposed to warm brighter colours which are seen to be warmer. Lighter colours also reflect light more as opposed to darker colours which absorb light thereby adding to heat gain and loss (Manhke1987, p. 19). It is important to consider the benefits of using the correct colours in architecture, depending on the space and its purpose. However, it must be emphasized that
a building should have a variety of colours as the psychological power of one colour throughout a building will never satisfy all of the needs in an environment. A mix of calm and warm colours as well as accent colours are crucial in creating a stimulating environment (Manhke 1987, p. 20 -21).
When painting a room it is important to use colour contrasts rather than one monotonous colour. Research has proven that the eye requires any given colour to be balanced by a complementary colour. Complementary colours (figures 75 & 76) further provide a psychological balance of warmth and coolness of colours (Manhke 1987, p. 27 - 28).
Figure 74: Image shows both cool and warm colours. Warm colours such as red, orange and yellow stimulate activity and creativity by eliciting a warm, comfortable and exciting mood. Cool colours such as violet, blue and green are passive and calming; they reduce tension and increase concentration and bring in freshness and a relaxed feeling into space (www.asianpaints.com).
Figure 75 (left): Complementary colours are opposite each other (http://willkempartschool.com).
Figure 76 (right): Shows a bedroom using complementary colours. The colours contrast one
4.4.3.2 Analysis of the Dominant Hues:
Colour has an impact on building occupants. Not only does it produce mood associations and subjective and objective impressions but it also influences the estimation of weight, volume, time, temperature and noise in architectural environments. According to Manhke (1987 &
1996) numerous studies have been conducted that show common affective values of certain hues. This has made it possible for the architect or designer to assess mood-tones of colours with reasonable accuracy. The major colour hues, red, orange, yellow, green, blue, purple, black and white are presented in the table below through substantial research (Manhke 1987, p. 10-13 & Manhke 1996, p. 53-54). Table 1:
COLOUR HUE EFFECT, SYMBOLISM
IMPRESSIONS CHARACTERISTICS
RED EFFECT
Arousing
Exciting (bright red) Stimulating (red) Lively
SYMBOLISM Fire, Life, living, combat and war, love.
POSITIVE:
Passion, strength, activity, warmth, energy, excitement NEGATIVE:
Aggressive, intense, rage, blood.
Most dominant and dynamic of all colours. It draws attention and over rules all other hues.
Red has the longest wavelength and is a powerful colour that appears to be nearer than it is and therefore grabs our attention first. Raises our pulse rate.
ORANGE EFFECT
Exciting (bright orange) Stimulating (orange) Cheering (light orange) SYMBOLISM
Colour of nature in autumn, sunsets.
POSITIVE:
Jovial, lively, energetic, sociable, warmth, fun.
NEGATIVE:
Blustering, frustration
Orange is less imposing than red.
Has almost no negative cultural or emotional associations.
Aesthetically lighter hues of orange may appear cheap, without vigour.
YELLOW EFFECT Cheering SYMBOLISM Signifies enlightment, expansion, sunlight, communication
POSITIVE:
Sunny, cheerful, radiant, welcoming, high spirited, friendliness.
NEGATIVE:
Glaring
Yellow is considered to be happiest of all colours. Radiates warmth, cheerfulness and inspiration. Yellow wavelength is fairly long and stimulating.
The correct yellow will lift our spirits and self-esteem.
GREEN EFFECT
Retiring (light green) Relaxing (green) Refreshing (blue, green)
SYMBOLISM Represents power of nature, of life, yet it is the symbol of mould.
POSITIVE:
Tranquil, refreshing, quiet, natural, peace, balance.
NEGATIVE:
Common, blandness.
Green represents a withdrawl from stimulus. Green strikes the eye in such a way as to require no adjustment and is therefore considered to be the most restful colour to the eye.
COLOUR HUE EFFECT, SYMBOLISM
IMPRESSIONS CHARACTERISTICS BLUE EFFECT
Retiring (light blue) Relaxing (blue) SYMBOLISM Wetness, cleanliness, odourless, sea, sky.
POSITIVE:
Calm, secure, comfortable, sober, cool.
NEGATIVE:
Depressing, cold.
Psychologically the cool and relaxing nature of blue is a direct opposite to the warmth and excitement of red. Red seems vulgar at times while blue exhibits a noble character. Blue calms the mind and aids in concentration, its serene and mentally calming. It is considered to be the world's favourite colour.
PURPLE EFFECT Subduing SYMBOLISM Magic, wealth, mysticism.
POSITIVE:
Exclusive, luxury, truth, quality.
NEGATIVE:
Lonely, mournful, suppression.
Purple may evoke delicacy and richness or appear unsettling.
Purple is considered to be the least visible wave length.
WHITE EFFECT
Reflection (white) Sterile
SYMBOLISM White represents goodness, means clean.
POSITIVE:
Light, sterility, holiness, innocence, simplicity, hygiene.
NEGATIVE:
Coldness,
unfriendly, bland.
White is the most reflective colour. In effect it reflects the full force of the spectrum into our eyes. It is a strain to look at with intense light. It is the cleanliest, most hygienic and sterile of all colours.
BLACK EFFECT
Heaviness (black) Dark (pitch black) SYMBOLISM
The night sky, power of darkness, the fear of the unknown, death.
POSITIVE:
Sophistication, glamour, elegant.
NEGATIVE:
Oppression,
coldness, heaviness, darkness, terror.
Black heightens other colours and makes them appear more luminous. However it absorbs light, makes rooms appear smaller than they are and very heavy and confined.
GREY EFFECT
Quiet, calm (pure grey) SYMBOLISM
Industry, man-made structures of concrete and metal.
POSITIVE:
Neutral, quiet, calm NEGATIVE:
Dampness,
depression, lack of energy, tedious.
Grey lacks energy and has no will of its own to make a statement. In colour design it takes on the characteristic of the adjacent colour.
*Table adapted from Manhke (1987 & 1996).
4.4.3.3 The Impact of Colour in the Interior Environment:
As discussed previously each colour has its own unique symbolism and effect on building occupants. They each have their own characteristics and convey different impressions.
However when applied to the interior environment the location of a particular colour may have a great impact influencing a room’s character, the reactions it will create and the impacts it has on building occupants psychologically. Colour can be applied to the floor (bottom), the walls (sides) and the ceiling (top) and it is therefore important that one considers the physiological and emotional affects both positive and negative that different colour hues can have on each of these important surfaces. It is important to understand the impact that a particular colour can have on each different surface. For instance a colour that compliments the floor may not necessarily compliment the walls or the ceiling (Manhke 1996, p. 66). Table 2:
COLOUR CEILING WALLS FLOOR COMMENTS
RED Intruding,
disturbing, heavy.
Aggressive, advancing.
Conscious, alert, pompous.
This colour is seldom used as the dominant colour on walls, it is more of an accent colour.
PINK Delicate, comforting
Aggression, intimate, too sweet if not greyed.
Delicate, unfamiliar in this location.
Generally considered feminine and used in feminine spaces. Used for walls in a girls bedroom.
BROWN Oppressive and heavy if dark.
Secure, assuring if wood.
Steady &
stable.
Great difference between browns of natural
materials in comparison to that of paints.
ORANGE Stimulating, attention seeking.
Warm, luminous. Activating, motion orientated.
Orange is cheerful, lively and sociable.
YELLOW Light (lemon yellow), luminous, stimulating.
Warm (if towards orange) Exciting to irritating (if highly saturated).
Elevating, diverting.
High visibility used in industrial environments for safety purposes.
GREEN Protective (reflection can be unattractive).
Cool, secure, calm, reliable, passive, irritating if glaring.
Natural, soft, relaxing, cold (if toward blue-green).
Creates an environment for meditation and tasks involving concentration.
BLUE Cool, less advancing (if light), heavy
& oppressive (if dark).
Cool & distant (if light),
encouraging and space deepening (if dark).
Inspiring feeling of effortless movement, (if light).
Tends to be cold and bland if applied to large areas, especially in passages.
GREY Shadowy. Neutral to boring. Neutral Should be used in conjunction with another colour.
WHITE Empty, no design objections, helps to diffuse light, reduces shadows.
Neutral to empty, sterile, without energy.
Touch
inhibiting (not to be walked on)
Has many physiological effects.
BLACK Hollow to oppressive.
Ominous, dungeon like.
Odd, abstract. Hardly ever used in large expanses.
*Table adapted from Manhke (1987 & 1996).