The work of the French-Swiss architect Charles-Édouard Jeanneret is, among many other adjectives, comprehensive. Le Corbusier explored a wide range of scales in his work, from furniture design to urban planning for entire cities. His diverse portfolio also encompassed painting, varied projects, and writing books. One thing that isn't talked about as much, however, was the color theory he developed and applied to several of his architectural designs and artistic endeavors. Deeply rooted in his belief that color plays a significant role in evoking emotions and creating spatial illusions, Le Corbusier's color theory was described in his book "PolyChromie Architecturale" (polychrome architecture), published in 1931. There, he introduced his concept and a carefully curated range of colors that were intended to be used in specific architectural contexts.
In addition to the tones themselves, the architect developed a color selector, combining colorful and achromatic tones with different brightness values, reflecting his architectural and painting experiences that form the basis of all architectural polychromy. According to him, "These Keyboards of Color aim at stimulating personal selection, by placing the task of choosing on a sound systematic basis. In my opinion they offer a method of approach which is accurate and effective, one which makes it possible to plan, in the modern home, color harmonies which are definitely architectural and yet suited to the natural taste and needs." The selector allows users to slide a cardboard cutout along the pages, creating different color harmonies.
Colors are characterized into three groups: constructive, dynamic and transitional. Constructive colors consist of natural pigments used to create pleasant atmospheres and alter the perception of space. Often derived from earthy tones such as brown, ochre and sienna, they are employed to establish a sense of harmony, warmth, and a connection with the natural environment in architectural compositions. These colors form the fundamental palette that contributes to a space's overall ambiance and character.
Dynamic colors involve the use of synthetic pigments to create contrasting effects that evoke emotional responses. These colors are bold, vibrant, and intense, including shades of primary colors such as red, blue, and yellow. By introducing dynamic colors selectively, Le Corbusier aimed to create focal points and visual details that capture attention and infuse energy into an architectural composition. The use of dynamic colors allows for a heightened sense of drama, dynamism, and visual impact within the space.
Transitional colors, often called transparent colors, use transparent synthetic pigments and are employed to alter surfaces without affecting the perception of volume or spatial depth. They are typically used in glazes or translucent finishes to modify the appearance of materials, such as improving texture or altering the tonal qualities of a surface. They allow for subtle modifications and refinements within the architectural composition while maintaining the overall spatial perception of the space.
Corbusier applied his color theory to several of his iconic architectural designs. A notable example is the city of Chandigarh, which he designed in India. In this development, colors were carefully chosen and applied to the buildings to create a vibrant and functional atmosphere. The buildings feature mostly concrete facades with bright, contrasting colors in strategic architectural elements such as doors, pillars, windows, and shading elements to highlight important areas and create visual focal points.
Another example is the Unite d'Habitation in Marseille, France. Each housing unit was given a specific color palette, with walls and structural elements painted in vibrant hues such as yellow, red and blue, creating a dramatic contrast with the surroundings, adding vitality and energy to the residential spaces. In addition, Le Corbusier employed colors at different levels of saturation and brightness to emphasize architectural elements and highlight the visual hierarchy within the building.
The 1931 collection consists of 43 shades organized in 14 series, and another collection was launched in 1959, complementing the architectural polychrome with 20 more intense shades. To this day, products based on Le Corbusier's colors remain available from certified manufacturers and offer a wide range of options to create a personalized and timeless aesthetic for objects and spaces. These options allow for the design of harmonious colors, reminiscent of the dazzling works of the Franco-Swiss architect. His color theory represents a fundamental aspect of his architectural approach, evidencing his quest for the integration of color as an essential element in the creation of meaningful and emotionally impactful architectural spaces.
