Colors evoke specific feelings; therefore, they are used to elicit particular effects on the surface they appear on or in the minds of observers contemplating them. In architecture, color plays a fundamental role in defining shape. Materials in their natural state already possess inherent coloration, which is perceived in a specific manner. However, when dyed, the observer's perception is altered, giving rise to associations between different sensations related to the same object. This transformation brought about by color occurs in various visual mediums, spanning from three-dimensional contexts like architecture to static and mobile two-dimensional forms such as engravings, photographs, paintings, and films.
Color is inextricably linked with light: objects appear to have color because of the absorption and reflection of certain wavelengths of light. The eyes’ cone cells detect these wavelengths and send signals to the brain, which processes the information to create the sensation of color. In its essence, color manifests itself through the various wavelengths of light that illuminate the surrounding environment, but its true essence lies in the complex neural processes within the eyes and brain, which ultimately shape (and change) the perception of the world. This means that colors are essentially abstract and completely subjective. The associations and correspondences of certain tones with certain feelings can vary according to the historical period and social context. A common ground in the color experience is that the human eye - when functioning as expected - sees the world in color.
Cinema is capable of recording life and the world with some truthfulness. It was not smooth to introduce colors. Without the technology to capture colored images, films were manually colored until the development of the Technicolor process. This process recorded images already colored during filming. Despite the resistance of critics and directors, who believed that significant aspects of the film - such as acting or narrative - would be lost with the "distraction" of color, color films were not repudiated. After all, the world is colored.
The duality between black and white and color is explored in cinema, articulating opposite ideas. The Wizard of Oz (director Victor Fleming, cinematography Harold Rosson, 1939) presents the real world as indolent and monotonous without colors, and, from Dorothy's entry into Oz, colors animate a more dynamic world. On the other hand, in Pleasantville (director Gary Ross, cinematography John Lindley, 1998), the perfect, flattened, and fantastical world is all in black and white. It becomes colored as it approaches a contradictory and conflicting reality. In these two cases, the use of color occurs between fantasy and reality at opposite extremes, which could reinforce the mutability of what is associated with color.
The associations of warm tones with vigor, drama, and eloquence, and cool tones with placidity and delicacy, have been present in art semantics for centuries. Natalie Kalmus, the head of the art department at Technicolor, further solidified these correspondences. In order to ensure that the camera and film accurately captured colors, she meticulously selected colors for the scenery and costumes that best complemented the recording capabilities of the equipment. Part of Kalmus' color analysis aligns with "common sense": for instance, blue symbolizes harmony and calmness, while gray is linked to sadness and uncertainty. On the other hand, some assertions sound unusual in contemporary times, like the calming effect of lemon yellow or the notion of opaque green representing laziness or envy.
The subjective (and changeable) character of colors makes their use another means of communication. Colors are associated with political positions and used as a sign for or against a certain side, like the US parties, the last decade’s elections in Brazil, and the Cold War. Blue and red were explored in the film Reddishblue Memories (2017) by artist Iván Argote. The emulsion used in Kodak films, and how the fading of the photograph “denounce” the company’s political position.
Pedro Almodóvar's sets and costumes not only add to his characters – and their lifestyles – but also convey the emotional ambiance of his plots. It is possible to make a historical reading of the Spanish context with Movida Madrileña, a cultural and artistic movement that emerged with the end of the Franco dictatorship, and the CutreLux style, a Spanish mixture of kitsch and punk. The heavy palette has become the director's signature. However, it is interesting to think that, along with his scripts, the colors "matured" from rebellious youth to adults of the 21st century without denying Movida’s formative role in Almodóvar's character or the impetus of his characters.
Wes Anderson's palette is highly colorful but much less pigmented. Pastel tones predominate, contributing to a more delicate and playful reading of his films. The combination of colors complements the peculiarities of its characters, their interactions, and the situations presented. While Anderson's colors bring positive sensations, Sofia Coppola uses pastels in a more melancholy way in her films. In both cases, the fading of colors – such as the black and white and color dichotomy – brings opposing ideas with the same resources.
The pairing of emotions and colors is straightforward in the film Hero (director Zhang Yimou, cinematography Christopher Doyle, 2002), where the different versions of the story are colored according to the intensity of the characters' feelings. The interpretation reiterates the hegemonic comparison – from the turbulent reds to the calming blues and greens to the appeased white – and, in a way, they represent the path of the individual in the practice of Zen Buddhism, whose objective is detachment from the mundane. Although the team declared that the color choice for the film was purely aesthetic, the particular interpretation is up to the viewer, as well as the perception of the nuances used.
The subjective reading of colors allows creative exploration in different fields of knowledge. Even though there is a certain homogenization of the images, especially indoors, the surrounding world is still colorful. The meaning, association, and chromatic correspondence remain open enough for different combinations. Movie screens prove it.
This article is part of the ArchDaily Topics: Color in Architecture presented by Sto.
Material, texture, sheen, and color are inseparable – the identity of a building becomes clear in an Architect’s choices of how these come together. Considered through the lifecycle of a building from design, occupation and legacy, we understand that achieving the right expression is tantamount to the success of a building. Sto’s innovative materials and data driven color system compliment design ambitions with technical knowledge and rigorous testing, to offer possibilities, accuracy, and longevity when Building in Color.
Produced by Sto, the short documentary ‘Building in Colour’ is a cinematic exploration into the role of materials and color in architecture, taking the work of Stirling Prize winning architect Michael Wilford CBE (1938 – 2023) as it's starting point.
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