The use of colour, in architecture and in any art form, influences the emotional fruition value of any component and artifact.
After years in which the client avoided daring, and simply went on the “comfort zone” by combining textures of black and white, gray and turtledove, finally the colour is back in fashion. They also help the new trends that give colour an important value in terms of indoor comfort, where it can positively affect the senses.
In most cases, in flats it is easy to find painted walls in white or at least with very light colours because it is the easiest thing to do, not binding and which gives us the impression that everything is neat and clean. When instead the colour is the master, the environment is given a character, a personalization, establishing a more personal and intimate relationship with it. In fact, there are no beautiful or ugly colours, instead there are the right correlations between them with respect to the personal taste, to personal sensations, to the ego and how they affect the mood and perception of each person.
The colour therefore contributes to a greater understanding of the environment that surrounds us and is strongly linked to the context, its physical, landscaped and climatic properties. They can always have complex compositions in relation to matter, form, and not a small matter compared to the complex relationships with light.
Precisely because of these close and complex relationships that colour must be DESIGNED, only in this way can they become a solid ally in the architectural composition.
Therefore a more conscious design approach than the use of colour and material, makes the chromatic component an important element of the architectural compositional language: the colours combined with the material, volumes, surfaces and lights, contribute profoundly to define the identity of the spaces and buildings designed.
The colour choices can be dictated by multiple needs such as the context, the architectural style (both internal and external), the taste of the client, the personalization, the emotional language, the correlation with other components and all those other relationships that give the identity of any artifact.
The answers that these design approaches produce lead not only to a project capable of communicating something, an identity, but contributes strongly to the psychophysical well-being of the people who use it, influencing the mood also based on individual rooms in the house depending on the use that is made of it throughout the day. Then it becomes an investigation of the deepest emotional part of a space and which, placed as an important point at the design level, becomes a very important tool in the dynamics of indoor comfort.
It is necessary to underline a fundamental factor: not bringing colour design into a schematized context capable of canceling the creative capacity it can bring.
In order not to make this mistake, it is necessary to precisely trace the guidelines that are dictated by objective, subjective and functional factors. The objective ones concern everything that influences the mood of the user, subjective ones are all those factors that interact with the environment while those functional concern the interaction of colour with function.
In fact, in identifying a colour for a given environment, in addition to identifying the use, it is also necessary to know the time in which that environment is lived. For the environments most lived during the day it is useful to use a range of light colours that tend not to tire. While in environments where you find yourself in the evening, as in the bedrooms, it is useful to use soft colours that bring relaxation and harmony.