Colour, Light, and Perception in Relation to Interior Space - Case Study Example

Colour, Light and Perception in Relation to Interior Space Introduction: The basic philosophy of interior designing is to provide the user with facilities that are aesthetically appealing, easy to maintain and “environmentally safe” as well as “operationally efficient” (Air Mobility Command: Interior Design Guide, 1999, p.1). Though design envisages the combination of an array of elements, the most prominent among them are colour and light and their appropriate utilization in the design, which facilitates the visual appeal for the facilities. The elements of colour and light are, further, mutually complimentary but it is also a fact that without light, people cannot perceive colour correctly. In addition, colour also has the ability to influence human emotions and, therefore, has a significant role in making the design effective. On the other hand, human beings learn through exploration and they possess an uncanny ability to recognize and make connection to patterns in radically different situations. Similarly, the perception of each individual differs, depending on several factors that are characteristic of the person, his or her social circumstances, life experiences, culture, education etc. Besides, the radiation of light on the surface of the ceiling or wall has a significant influence on people’s perception of the colour. Thus, it transpires that the perception of colour differs among people depending on their age, sex, environment in which and the time during which they view the colour as well as the amount of illumination on the surface. Chapter-1: The basic concept of sight in human beings evolves through the use of photoreceptors that “convert light into nerve signals” and their ability to discern the “specific wavelengths of light” which enables the perception of different colours (King, 2005, p.1). The photoreceptors, also known as “cones” has the ability to perceive different colours through their wavelengths by way of their “pigments” that are known as photo-pigment, which is a type of protein called “opsin” (p.1). These pigments tune colour “photoreceptors to specific wavelengths of light” and thus facilitates the perception of colour in humans (p.1). Thus, it becomes obvious that light has to play a crucial role in the perception of colour as it is the main element that enables them to recognize the variations in the colour hues. Research evidence further suggests that there are over 10 different eye types in animals and humans and they require “more than one type” of colour photoreceptor to perceive (p.2). The study finds that human beings have three kinds of cones, which represent the primary colours of blue, green and red, that enable a palette of around one million “distinguishable colours” (p.2). The level of the specific protein or opsin present in individuals may differ, which accounts for the primary reason in the variation of the perception of colour in people. Similarly, the perception of colour among humans varies in a “predictable and regular fashion,” depending on their culture, language and other attributes (p.7). Thus, while English has “blue” Russians perceive two varieties of the same colour such as “goluboy” that covers light blue shades while “siniy” connotes to the darker shades of blue (p.6). Besides, research studies contend that perception rather needs to be understood as flexible “bridge” that sways “under the weight” of cognitive processes than the “foundation” on which cognitive forces act upon (Ozgen et al, 2002, p.492). Therefore, it appears that though external elements may be the contributory factors in modulating the colour perception in individuals, the primary capability to recognize colour is naturally acquired and it varies considerably in individuals. Another significant factor in human perception of colour is the amount of light that is available to “illuminate coloured objects,” which affects the perception of colour (Elements of Color Perception - Metamerism, n.d., p.1). The modern world boasts of a wide array of technological support for facilitating proper lighting for interiors and, therefore, designers have the leeway to provide illumination to surfaces according to the needs of the facility they are designing. However, while deciding the colours of the interiors and the lighting to illuminate the various facets of the building, they need to consider the humans and possess an insight into the variation of the colour perception by the individuals who are likely to use the facility. Referring to recent studies, Karl R Gegenfurtner argues that more cells exist in the visual cortex concerning colour than previously conceived and with the present knowledge about how the “colour signal is sent from the eye to the brain” scientists will be able to scale stimuli and evaluate their impact on the area of cortical visuals (Gegenfurtner, 2003, p.570). The study also emphasises the need for further experiments using modern technology to understand the “visual responses in human beings” with a focus on “colour signals” instead of the “localisation of the regions” (p.570). However, none of the studies have challenged the notion of variation in colour perceptions of humans depending on various factors. This variation in perception can also be illustrated through the designs of prominent designers such Conrad Shawcross, especially in the example of “Slow Arc inside a Cube.” (Slow Arc inside a Cube IV, 2009) The above design of the mesh and the background of the walls will be perceived in many different ways as the light inside moves. The light also has potential effects on the shadow it casts n the walls and floor and as the light moves, both the individuals will perceive the whole ambience of the room differently. Thus, the imagery it portrays will manifest the impermanency and it will keep changing the form and perception of the mesh cage as well as the room that hosts it. Therefore, it can also illustrate the changes that occur when illumination occurs on objects in a room. Not only has the perception of the image changed, but the varied illumination transformed the whole ambience of the room. The emotional and cognitive developments in individuals vary considerably and thus their perception of colours may also differ depending on the levels of their emotional and cognitive developments. In addition, a study by Annette Werner finds that motion is another key element of natural visuals the “synergistic integration of colour and motion signals” is of high significance in the recognition of colour (Werner, 2007, p.1). The author concludes that human colour constancy “improves” when the object moves and, hence, colour perception also sensitive to motion (p.11). Another interesting aspect about colour is that the male and female genders perceive it quite differently and this can be evidenced from their preferences for specific colours over others. A survey conducted in this regard shows that while “23%” of women who took part in the study endorsed purple as their favourite colour, none of the males “chose purple” as their preferred colour (Hallock, 2003, p.1). This source further contends that women usually like “soft colors” while men prefer “bright colors: (p.1). On the other hand, I have personally experienced that people’s perception also vary based on their culture or ethnicity. Thus, while people from a Western cultural background associate black colour with mourning, traditional widowed women in India wear white colour to mourn the death of their husbands. A study by Brian A Wandell finds that a “pair of lights look the same” as another since both cause the same stimulation on the photoreceptors in a similar manner even though they are viewed from different backdrops as can be illustrated from the Albers below (Wandell, 1996, p.28). (Wandell, 1996, p.28) However, the research further contends that the “colour appearance” will change as the “context changes” (p.28). Thus, it transpires that the context in which light is presented also can have an influence on the colour perception of objects in a room. Chapter-2: The designer needs to “design for meaning” and thus build on concepts that are familiar to people so that they will be able to recognize and take cues from the “patterns in the design” (Stahl, 2005, p.14). As discussed earlier, since people’s perception changes with the placement of light and how it illuminates the objects in a room or the surface of its walls and floor, the designer has to consider these aspects while planning the interior design. (Lillington, 2011) The above images illustrates the fact that colour and lighting plays a significant role in the perception of design by the viewers. Though the mesh has the same basic design, both the images not only vary drastically but they are in utter contrast with each other. Thus, it transpires that the basic structure undergoes radical transformation in the perception of people, when its colour and the amount of illumination on it changes. To illustrate the concepts discussed above, I have designed a display piece for an exhibition and experimented with it to the visitors who have come for the exhibition. The specific details on the display item, the processes and the impact on the audience are discussed below: - In the above design that I have used for the exhibition, which is inspired by the design appended at Annexure-I, there is an illuminator at the centre of the box which has three colour options, which are blue, red and magenta, as seen above. The illuminator also can be adjusted to smooth and strong to alter the level of lighting. There is also a colour change button on the top of the exhibition item and the audience can see the different colour options and choose them according to their needs. In addition, it can be freely rotated on its base at 360 degree angle. I encouraged the visitors to the exhibition to involve actively in experimenting different levels of lighting and colour by changing their options. This offered them an opportunity to experience the various changes and understand how transformation occurs in their perception of the design according to the changes on colour and lighting. The study has been primarily intended for an audience that prefers to visit entertainment centres for amusement and the target group encompasses people from all age groups including children as well as elders. However, kids and youngsters are likely to constitute a major part of the visitors in such places. There is a high probability that most of them are not fully aware of the interplay between colour and light and the aspect of human perception of colour. Thus, they will be interested in gaining a general awareness of these factors, especially when they are offered an opportunity to interact with the designer and allowed to take part in the experimentation of the effects of colour and light on design. Therefore, through this project, I will be able to inform the audience about various aspects of designing through examining my display and how the design perceptions evolve when light and colours change. In addition, by observing the responses of the audience to various aspects of the exhibition and their reaction, I will be able to appreciate how the changes in colour and light are perceived by people of different age groups, sex, culture and ethnicity. By aligning my experience with the information I have gleaned from various sources as discussed in the foregoing chapter, I will be able gain a better understanding of the influence of colour and light on human perception of designs. Conclusion: From the evidence that has been examined and evaluated during the course of this study and as has been discerned from the observation of the visitors to the exhibition of my display, it transpires that humans perceive colour differently according to various characteristics that are unique to them. Thus, the human perception of colour depends on their sex, gender, age, culture and ethnic attributes. In addition, the background, lighting etc also dramatically transforms the perception of colour in humans. The study has further confirmed the fact that the interplay of colour and light also is a decisive factor in how humans perceive colour. Overall, in addition to validating the hypotheses that have been the premise for this study, it has also has facilitated in the researcher an understanding of the implications of colour perceptions in people. Besides, the researcher has also been able to create an awareness of the visitors to the exhibition about the influence of various factors in generating colour perception in humans by involving them in the process of experimentation about various aspects of the display. Thus, the audience have been able to understand the processes behind design, especially in the context of how designers use light and colour in interior design. Reference List Air Mobility Command. n.d. Available at [Accessed on 19 February 2013]. King, T. 2005. Human Color Perception, Cognition, and Culture: Why “Red” is Always Red. The Reporter. Available at [Accessed on 19 February 2013]. Lillington, C. 2011. Iconic Facade of New Library of Birmingham Lifted into Place. Birmingham Post. Available at [Accessed on 06 March2013]. Ozgen, E. et al. 2002. Acquisition of Categorical Colour Perception: A Perceptual Learning Approach to the Linguistic Relativity Hypothesis. American Psychological Association. Available at [Accessed on 19 February 2013]. Elements of Color Perception- Metamerism. n.d. Ampacet. Available at [Accessed on 19 February 2013]. Gegenfurtner, K. R.2003. Cortical Mechanisms of Colour Vision. Nature Publishing Group. Available at [Accessed on 19 February 2013]. Slow Arc Inside a Cube IV. 2009. Available at [Accessed on 06 March2013]. Stahl, A. 2005. Designing for Emotional Expressivity. Umea Institute of Design: Swedish Institute of Computer Science. Print. Werner, A. 2007. Color Constancy Improves, When an Object Moves: High-Level Motion in Uences Color Perception. Journal of Vision. Available at [Accessed on 19 February 2013]. Hallock, J. 2003. True Colors: Colors by Gender. Available at [Accessed on 19 February 2013]. Wandell, B. A. 1996. The Foundations of Color Measurement and Color Perception. Stanford University. Available at [Accessed on 19 February 2013]. Annexure-I Note: The image on the right side above is an Islamic motif that has inspired me for my design in the exhibition. The source is: Annexure-II Reflective Statement about the Display I am an interior designer and the five designs that I present in this exhibition are designed by me personally. The main concept for my designs relies on the premise that human perception of colour differs from person to person. Besides, these designs also conceptualise the notion that the elements of colour and light interplay in designs and have an influence on how humans perceive designs. I have drawn inspiration for these designs from the facades of buildings and also from Islam motifs as well as the designs of eminent designers such as Conrad Shawcross, especially from his work, “Slow Arc inside a Cube.” Basically, my design is an acrylic cube with 5 different patterns and with the interplay of colour and light in it, I intend to make the visitors experience the changes in their perception about the design of the cube. To illustrate this, I have used three colour variations such as blue, red and magenta. I have also used light levels that can be adjusted from soft to harsh so that the audience will be able to experiment with varying levels of light and how it influences the overall perception of the design. Once the visitors interact with the design and experiment with various colours and levels of light, I feel that they will be able to recognize the difference in perception that changes with the level of light and colour. My primary intention with this exhibition is to create awareness in the visitors about the human perception of colour and design and I am confident that once they experience the changes through experimentation they will be able to understand my conceptualisation of the design. Read More