How Do Cultures Perceive Colours In Interior Design - Research Paper Example

HOW DO CULTURES PERCEIVE COLOURS IN INTERIOR DESIGN Maram Sultan Level 6 Independent Research Project Table of Contents Introduction....................................................................................................................3 Chapter One: Colour Interpretation ...............................................................................5 Chapter two: Cultures....................................................................................................8 Culture in the work field ……………………………………………………..….10 Colour meaning in Relation to different cultures……………………………….16 Meaning of colours to different cultures………………………………………..17 Chapter three: Restaurants............................................................................................22 Conclusion………………………….............................................................................28 References........................................................................................................................30 Bibliography……………………………………………………………………………..36 Introduction: This paper will explore how culture influences the choices of interior design colours. Interior Designers should be able to recognize the cultural platform of their own clients and celebrate their choice of colours by integrating these colours into the design trends and current styles. Due to the record breaking advancement in technology that our world is currently experiencing, interior designers have made full use of this advancement and are now able to use light, space, colour and decoration as specifically as possible. The paper reveals how the practice of interior design has become more specialised and the field has become a complex and challenging one. However, the need to use colours that do not conflict with the cultural practice of client will remain a priority and it must be preserved even amidst the ever changing trends in design. In chapter one, we will discuss the meaning of colors depending on various cultures and circumstances. Every color has different aspects to it and you can only learn the meaning of that color by understanding certain simple concepts about it. In chapter two, we will proceed further to explore how different cultures influence the appearance of interior designs. We will examine various cultures with regard to colour theory. The chapter we will prove that colour choices is the backbone of interior designing and so for designers to incorporate the “colour factor” and satisfy diverse cultures, they should have the ability to identify and recognise how differently cultures perceive colour. Throughout my research, I found that the definition of colour refers to all visual sensations. Colours can express feelings, ideas and emotions; therefore, people can communicate easily when using them. Designers are supposed to pay good attention to these little details, because whatever design they make should be well portrayed in the countries they are targeting. The wrong choice of colour selection and combination could transform the best designs into a nightmare if it is not perceived in the correct way. (Bratu, 2014) Different cultures perceive colours differently; mostly because of the relationship and meaning that these colours have within that culture. These relationships have been transmitted through the generations, if not even upon hundreds of years. (Karenhaller, 2014). Chapter three, on the contrary, will examine how various restaurants around the globe have embraced the idea of “colour choice” and “meaning” in their interior design. It also address the history and facts about colour production. Before the nineteenth century, the production of colour and the documentation of its location in nature were all completed by agents that were responsible for this job. In the older day’s natural substances, minerals, animals and plants were materials that colours used to be extracted and used from. Before chemicals were relied on in the colour industry in the mid-nineteenth century, “Cochineal, the red dye produced in the bodies of insects that feed on nopal cactus, Tyrian purple derived from the glands of a Mediterranean mollusc, Indian yellow gathered from the urine of cows who fed on mango leaves, and indigo, the blue dye wrung from fermented indigo plants” (Feeser, Goggin and Tobin, n.d.). These colour examples are originated from natural materials. (Feeser, Goggin and Tobin, n.d.). The process of producing colour is no longer complicated, and all manufacturers now produce large scale dyes in order to make the process even much easier, more efficient and cost effective. Recent developments have helped people from all around the world to create colours, from sources that have been collected throughout the years, therefore it became a very easy process to produce desired shades in no time. The final chaper – conclusion – will give a summarize of all the chapters and ideas addressed in each section of the paper. Chapter One: Colour interpretation The key factor in humans’ ability to sense colour is light, without it there is no clear vision, therefore the perception of colour can only be made with the presence of light. In 1666, Isaac Netwton discovered that if pure white light penetrates through a prism, it disperses and forms all noticeable colours. Separation of light any further to create other colours is impossible, simply due to the fact that each colour is made up of its unique single wavelength. (Schneider, 2012) What determines colour’s shade is its wavelength, for example, “cool” colours such as violet and blue are considered to have short wavelengths. “Warm” colours such as red and orange are considered to have long wavelengths. However, what makes it possible to observe a wide range of colours in the same object is light transmitting from an object, because human eyes stimulate various colour cones of the retina. Different researches of colour usage have steadily demonstrated that users prefer short wavelength colours (Valdez and Mehrabian, 1994). Also, experimental research has suggested that what appears to have a comforting effect and turns an interior space into a more peaceful environment, give the feeling of increased perceptions and spaciousness are the cool colours like blue and green. Warm shades like orange and red appear to have a motivating effect, where the interior spaces seem to be frustrating and less spacious. Arguing in line with one research work by Levy (1984), on the psychological meaning of colour, that colour and emotion are systematically and proportionally related. Certain colours provoke certain feelings. For instance, warm colours were discovered to particularly provoke “active feelings,”. That is, anger is provoked by red and yellow is the mastermind of sadness. On the contrary, cool colours provoke “calm feelings,”. That is to say blue stimulates a relaxing mood and purple causes a calm feeling (Yildirim, Hidayetoglu and Capanoglu, 2011). Colour emotion is defined as an emotion or a feeling that is induced to the brain during the process of perceiving colour. When perceiving colour, humans eye as well as the brain play vital roles in processing. Colour psychology is the study of the impact that colour has on our feelings, emotions and behaviors. Colour is all around us and can be used as a very strong communication tool since it is associated with a person’s psychology, influences the mood, as well as creates signal actions. "Given the prevalence of colour, one would expect colour psychology to be a well-developed area," scholars Markus Maier and Andrew Elliot says. "Surprisingly, little theoretical or empirical work has been conducted to date on the influence of color on psychological functioning, and the work that has been done has been driven mostly by practical concerns, not scientific rigor" (Cherry, 2014). Researchers have made some important revelations and observations concerning colour psychology as well as the influence it has on people, but research in the area is not yet fully complete. Despite that, it has become a very important concern when marketing items that are related to art, design, and many other areas. In marketing, for example, a journal on colours and cultures explores the effects of mall décor on consumer perceptions says that a typical way to make customers feel and response differently to an interior space is to choose a specific colour scheme. Different colour schemes in a mall décor has a positive impact on costumers attitudes, perceptions and shopping behaviors. Various scales were used in order to find these results and what was concluded after the research was undertaken is that people responded differently to warm and cool colours (Chebat and Morrin, 2007). Few people claim perception of colour depends on personality, however, certain colours have universal meanings within different cultures. “Colors in the red area of the color spectrum are known as warm colors and include red, orange and yellow. These warm colors evoke emotions ranging from feelings of warmth and comfort to feelings of anger and hostility. Colors on the blue side of the spectrum are known as cool colors and include blue, purple and green. These colors are often described as calm, but can also call to mind feelings of sadness or indifference” (Cherry, 2014). This example explains why colour can be used as a therapy to heal various illnesses. Given that these specific parts of the spectrum have a universal meaning, treatments can be done in regard to what each colour means within different cultures. “Colour preference test developed in the 1940’s by Mac Luscher, a Swiss psychologist” (Gage, 1999), is one test which is still embraced by ethnographers in today`s world. The test focuses its studies on people and cultures as well as chromotherapists that heal with colour and balance the lack of energy in a person’s body. Due to the fact that cultures perceive and interpret colour differently, this colour preference test is used as a standard method to diagnose illnesses. Research show that colour has a direct impact on a person’s physical and mental wellness. Chromotherapy, which is known as colour therapy uses “color light rays activate the nerves, glands, and blood” (Stevens, 1938). “It is believed that the aura around the effected human body part will appear discolored, which tells the color healer where the chemical imbalance, which produces illness, is located” (Anderson, 1975). “Color raying energy reaches both the mental and physical conditions, where most diseases originate, which then directly treats the cause and not just the symptoms” (Stevens, 1938). Colour therapy has been practiced for the past thousands of years to heal various symptoms, this not only shows that colour can affect ones mood but also shows that it can be used as a medication to heal diseases permanently. Currently, one’s cultural interpretations and previous events are what people base their understandings and realisations on. Making a connection with these bases are initially the reason why these perceptions are understandable and recognised. “since our experience of color is affected by our memory, by our knowledge of what color some object really is, we could claim that our color sensations are, in a sense, influenced by a lifetime of visual experiences” (Rossotti, 1983). Chapter Two: Cultures Culture means the “integrated pattern of human knowledge, belief, and behaviour that is both a result of and integral to the human capacity for learning and transmitting knowledge to succeeding generations. Culture thus consists of language, ideas, beliefs, customs, taboos, codes, institutions, tools, techniques, works of art, rituals, ceremonies, and symbols” (Webster, 2015). There are various meanings that all relate to the word culture, but in this essay it is more to do with the behaviors and belief characteristic of a particular group or society. Interior decorations and designs are largely influenced by culture and the period when such colours and designs cover. The choice of adornment in an interior of a building, public or domestic areas and colour schemes have significance to the kind of culture applied in the decoration or design. Every culture associate’s colours with different ideas and emotions. Each of these cultures have distinctive features and meanings to define the chosen designs and colours applied to their interior spaces. Culture in the work field When interior designers choose to work internationally, they should know what they’re putting themselves into. Applying unique designs and projects for international clients is not an easy task as some might expect. An interior designer should opt for a region to work in after gaining an efficient and effective understanding and fondness towards the people and culture of the particular country or segment. Initiating the first step is very vital, for example, being well prepared for a visit either for design shows, events, conferences, fair trades or exhibitions to establish relationships. Participating in these events as speakers, for example, aids in making significant contacts abroad as people will ask further questions and show more interests, all depending on the participant’s knowledge and understanding in his area and field. The aim is not only to get to know people but also learn about trends, styles, movements, differences, share ideas as well as experiences with various cultures and beliefs. Some designers might find that there are similarities in these designs, but some may find that there are various aspect that shape the final product of the design process such as “culture, wealth, education and history” (Leydecker, 2013). When working for international clients, a designer is offered a wide range of opportunities, they should also consider the huge responsibility and obstacles that they will face, and plan on ways to circumvent the barriers faced, if any. “For interior designers without any kind of connection to a foreign country, it can be an extremely difficult and risky venture”(Leydecker, 2013). Simon Hamilton used to work as an International Director for the British Institute of Interior Design (BIID) for four years, throughout his various visits to different countries he was once chosen by an African architectural practice, to create the interiors of new twin-tower development. Hamilton’s experience didn’t turn out as positively as expected, even though he has been travelling around the world on a regular basis and mixing with various diverse individuals and cultures . The range of complications that Hamilton faced during that time were mainly due to poor communication as well as misinterpreting the design brief. This misunderstanding happened because of the way Hamilton was treated when he was there, “I was not exposed to the real poverty and huge divide in society there; being driven in a luxury SUV from hotel to office to bar gave me a sense of security but also dread. Nowhere in the world have I felt such impending potential violence”(Leydecker, 2013). This experience taught Hamilton that all designers need to consider more than just simple basic needs of the culture, but also to adapt and live the life that environment is living in. Eventhough Hamilton has been travelling regularly as well as gaining knowledge and experience from different countries, this experience wasn’t as easy as he thought it would be. By taking a step away from his comfort zone, Hamilton took it a stage further and started to work abroad even more, until he found his most exciting and creatively rewarding project which was the 947 Rooms boutique hotel in Venice, Italy. The reason why Hamilton started to do work internationally is to share information, benefit, gain skills and knowledge from different organisations and industries. This is an example of how working in a different culture and society widens your vision and makes you more innovative and creative. However, good support has to always be there after establishing the right relations, considering the difficulties and expecting the worse since a designer who works internationally will always face language as well as cultural barriers. “Colour is a social phenomenon,” Michel Pastoureau contends. “It is society that ‘makes’ colour, defines it, gives it its meaning, constructs its codes and values, establishes its uses, and determines whether it is acceptable or not.” It is, of course, a natural phenomenon as well, but the meanings attached to and brought from colour are cultural and social processes (Feeser, Goggin and Tobin, n.d.). This is one out of the many quotes that I have found proving that culture could affect colour in interior spaces. Colours often have different meanings in various cultures, but in all societies, the meanings of colours have changed over the years. Some researchers say that colour effects and preferences have universal meanings, where warm colours evoke emotions that range from tenderness and cosiness to feelings of irritation and hostility, while cool colours are often describe as calm, but can also make a person feel sad or indifferent. Other researchers argue that there are universal preferences for some colours over others (Eysenck, 1941), On the other hand, there have been only a few cultural studies in regard to colour preference, but none are from nonindustrialised societies that are generally free from the regular impact of worldwide purchaser society. An article compares “the colour preferences of British adults and Himba adults who belong to a nonindustrialised culture” (Taylor, Clifford and Franklin, 2013) Northern Nambia, Himba is a rural village with no electricity or running water. There are only a few synthetic material which they use, therefore almost all of their day to day objects are handmade and crafted and are therefore considered unindustrialaised and civilized compared to Britain. This means that the surroundings of Himba villages are more natural than the surroundings of industrialised cultures that are dominated by manufactured items created in a wide range of artificial highly saturated colours. Since Himba and Britain are both a huge diverse culture when compared to each other, the colour preferences of a group of people from both countries were compared. The results showed that both countries colour preferences share very few characteristics with each other. “Himba colour preferences…lack the so called ‘universal and natural’ ” (Taylor, Clifford and Franklin, 2013) in relevance to the British culture. Their investigation established that “the relationship of colour preference is culturally specific: Both British and Himba color preferences are most successfully accounted for by the color object associations from their own culture” (Taylor, Clifford and Franklin, 2013). This article explains and proves how differently cultures perceive colour. The surroundings of Himba’s people explains their choices and results. While people from the British culture come from a very industrialised and more civilised background, therefore they are more open to see and acknowledge the colours that are more known and viewed. Furthermore, in the article they find out a couple of aspects that are relevant, one of which is how colour preference varies between those two different countries, as well as the data showing that there is no evidence for universally colour preferences or that “certain colors (such as blue) are “universally” or “naturally” liked or disliked” (Taylor, Clifford and Franklin, 2013). Three different cultures have been chosen to compare and contrast the different views in order to see how differently these various cultures perceive colour. England, for instance, representing the Western countries, for its cultural interior spaces, focuses on period detailing and neutral colours; China, representing the Asian countries, prefers clean, minimalist and light colour style except in traditional spaces. The Middle East, representing the Islamic countries, is interested in an older style or modern style but in a luxury feel. In England, they have developed the Elizabethan style in architecture and decorative arts. It was during this period that large manor houses were built to express the nobility. England usually embraces styles names after significant figures that represent a given period. The Georgian style reflects the early and late Georgian periods of 1714 to 1837. It follows colours and decorations that are of regency in style, and chooses colours that are in harmony and symmetry. The image below shows how all chosen colours within the Georgian style should apply to both pale colour schemes and woodwork. Georgian interior design also uses colours that project airiness, space and light, because its furniture pieces are designed with delicate materials and all of those little details had to match up together. (InteriorDesignPro, 2012) Comparing England to China, Colours have historical aspects and religion associated with them in both cultures. They are considered indispensable and important part of intercultural communication (He, 2009). The art of Feng Shui plays an important consideration in completing China’s cultural interior spaces because the ancient Chinese concepts of harmony and balance are based under it. Feng Shui has the ability to improve various aspects of a person’s life, this includes them being happy, as well as them becoming more wealthy. The basic techniques are becoming extremely popular and trendy by the Chinese culture in order to get positive energy either by changing the arrangement of the furniture, adding plants, getting the place more tidy or changing the colour of specific areas. Middle Eastern interior design uses textures and vivid colours. Marble and velvet are apparent features; and the use of colourful carpets and rugs are evident in most homes in the Middle East (How cultural differences impact interior design, 2014). The image below shows a traditional bedouin seating. This traditional Arabic style seating is either placed on the floor directly or kept on top of a frame to be raised (Zibdeh, 2013). These handmade cushions are made from wool that is extracted from camel, sheep or goat and are dyed in different colours to make various patterns. (Home Synchronize LLC, 2013) Colour Meanings in relation to different Cultures England, China and the Middle East have particular meaning or message when using colours. They associate colours differently when designing interior spaces. They apply a variety of associations to colours depending largely and mainly on their cultures. Beige, silver, gray and black are neutral colours that are very known in Western interior designs. They are known to be relaxing and elegant. “the colour beige offers some of the warmth of the color brown and the some of the crisp and coolness of the color white” (Bourn, 2010). Lulu Watts` home shown below – a north London textile designer - is full of neutral colour. She opted for a neutral background, but maintained an Indian White emulsion. The colours are blended in furniture and objects: the Ikea cabinet, red blind, and yellow cushions and tapestries. This represents a typical western interior design. (PiotrowskI, 2013). Meaning of colours to different cultures Neutral colours assist in bringing out other colours. They also help in toning down colours, which might be overpowering other colours. To a great extent blacks, tans, browns, beige and gold are considered warm by most cultures in the world. While white, silver, ivory, and gray are rather cooler colors. These cool and warm attributes are more subtle and flexible compared to that of blues or reds. Silver and gold always symbolises riches. Silver can be distinguishing and glamorous. Whereas gray-haired people are considered as old, men and women with aging in silver hair are perceived as aging gracefully. Gray is the neutral color of mourning and of formality. Together with blue suits, colour gray are part of a dress code in the corporate world. Charcoal, dark gray carries the attributes, mystery and strength of black. Gray is a sophisticated color that lacks much of negative qualities of black. Red for the Western culture like England, is seen as the colour of passion and excitement. It means danger, love and thrill. It is also associated with power and some religious undertones like the representation of red as Christmas (Cousins, 2012). For the Chinese culture, red represents the colour of happiness, joy and celebration; it is a colour associated with occasions like weddings or birthdays; it is associated to bring luck, long life and happiness (Counsins, 2012). (Xiaoxi Zhang, 2009) (Interior Designs for China, 2014) (Interior Designs for China, 2014) The colour red dominates various design spaces in China as shown above. Chinese colour preferences can be traced from its culture and history. History shows that Shang, Zhou, Tang and Qin dynasties, via their respective emperors, selected colours as symbols founded on the philosophy of the five components: water, wood, metal, fire and earth. Each of these elements correspond to colours black, green, blue, red, white and yellow, respectively. Primordial people of China held that the origins of everything emanated from the five components which would serve as their guide in understanding the natural movement of heavenly Dao. The people of China would select their attire, food, transportation and housing according to some factors like the natural changes in the seasons (Colours in Traditional Chinese Culture, 2014). They also create “a close and binding relationship between colour and ceramics, murals, paintings, and poetry…even city planning” (Colours in Traditional Chinese Culture, 2014). For them, “colour feeds the spirit and expresses the depth of human experience” (Colours in Traditional Chinese Culture, 2014). In the Middle East, red evokes feelings of danger and caution hence it is not often used in the interior spaces because it is considered as the colour of evil, however, is used as cushion cases for their traditional floor seating arrangements. Orange is seen in England or by the Western culture as the colour of harvest and autumn, which signifies the fall season and is closely associated with warmth and royalty. On the other hand, China, under the Asian culture, sees orange as courage and love, while in the Middle East, it is a colour for mourning and loss (Cousins, 2012). Using yellow colour for cultural interior spaces may be good for the Western culture because it represents a cheery nature, the warmth of the sun and hospitality. In the Asian culture, yellow is considered sacred and imperial, which also represents the royal ruling (Cousins, 2012). For the Middle East, yellow is associated with happiness and prosperity. Blue colour for the Western culture represents trust and authority. It is identified to be more of a masculine colour yet very calming, soothing and peaceful. In the Asian culture, blue represents ever-lasting or immortality; it is identified as a feminine colour while in the Middle East, blue means safe and protecting since it is associated with heaven, spirituality and also immortality (Cousins, 2012). The Western culture sees the colour green as luck; it is also associated with nature, the environment and the protection of environmental causes; it also means progress. Asian culture sees green to represent fertility and youth, yet it is also associated with exorcism and infidelity. In China, green is associated with cheating. The Middle East culture on the other hand associates green with that of Islam because it represents strength, fertility, luck and wealth (Cousins, 2012). Using purple in the interior spaces in Western culture represents royalty; it is associated with wealth and fame; it also represents modernism and progression. For the Asian culture, it also represents wealth and nobility with the exception in Thailand because it represents mourning. Middle East culture sees purple as associated with wealth, which also extends to the essence of virtue (Cousins, 2012). Brown colour used for the interior spaces is associated with either health or barrenness for the Western culture. It represents stability and dependability. For the Asian culture, brown is associated to mourning or it also represents earth. The Middle East sees brown as harmonious which signifies comfort (Cousins, 2012). Black is a colour associated with finality, death, formality and mourning in Western culture. Although this colour is considered powerful and strong, it implies control or force (Cousins, 2012). Asian culture sees black as masculine; it is also associated to wealth, health and prosperity, but in Thailand, black is associated with evil (Cousins, 2012). In the Middle East, black is considered a colour for rebirth and mourning; it is associated to evil by its culture. The colour white has a pleasant meaning for the Western culture. It means purity and peace. It represents clean and sterile, and even holiness. For the Asian culture, it is associated to death, funerals, unhappiness and misfortune which is the same for the Middle East, where it associates white to mourning. The Arabic culture, as represented by the Middle East, follow six basic colours: black, white, red, green, blue and yellow, with brown, pink, orange and purple, as additional colours. These colours carry out vitability because they represent the Arabic customs and are focused on human the experience such as the process of positive and negative implications. English and Arabic share more common functions and differences in using colours for their interior design spaces. They are found to be created based on an already prevailing meaning and the prospective new meaning. The colour appreciations are further defined based on categorising them either negative or positive (Hasan, 2011). Successful designers can manipulate the colour perception within different people and cultures by using specific principles that are related to harmony, contrast and balance. These characteristics change the way people see colour, and the objects that have been manipulated will look different in terms of size, space, and distance. When designers work with colour contrast, people can perceive colour differently depending on the surroundings. Colours juxtapose and make each other look slightly different. “red may make the blue appear ‘greeny’ because it brings out its complementary colour green in the blue. Conversely, the blue makes the red seem ‘orangey’ because it stimulates its complementary colour yellow.”(Edwards, C. 2011. P149) This juxtaposition happens because these colour schemes that are chosen above are a pair of bordering colours, and this effect happens with every pair. Chapter Three: Restaurants Now a days people visit restaurants more than before, one of the reasons is that restaurants weren’t as popular and trendy, and people always preferred healthy home cooked meals. Restaurants were considered to be a luxury, but nowadays eating out is the more attractive and affordable option due to competition within the segment, simply because it is much more convenient to go to a restaurant, order whatever you want and get your food in a very short time and hassle free. It has all become quite easy for people with higher budgets and income to enjoy and eat out, because of the variety of food options that is available, of course this segment of people wouldn’t just go for the food itself, but they would also consider the high-quality ambience, atmosphere and interior design of the restaurant they visit. This transformation of eating at home to eating out more often indicates how people’s habit of eating out has become more natural, and the popularity of restaurant foods has overcome the homemade foods, which keeps on increasing throughout the past years. Colours unconsciously shape many of the aspects that people face in their daily life. A person’s comfort level and attitude is also affected when being in an environment that has obvious colour schemes. Restaurants are becoming more popular therefore choosing the right colours for such a space is very important. Some colours can affect the way people perceive them, while some other colors can help in promoting more food by opening one’s appetite, hence restaurants gain higher profits (Radwan, 2015). Different colours have different effects. The colours red, orange and yellow tend to lift up a person’s appetite and are very well-known and common among restaurants. A person’s attitude as well as mood is affected, hence interior designers and their clients have to specify what kind of customers they are targeting, what type of mood they should be in, what type of surrounding as well as what kind of food that will be served, in order to have a specific colour scheme for the restaurant they are designing (Designbuildideas.eu, 2013). Colour choices are not as easy to select and approve, for example when designing a restaurant, there has to be a specific chosen theme. A scheme begins with a key or theme colour, selected for some logical reason. A key colour will usually be important in a finished scheme either because it occupies a large area or because it will be dominant for some other reason. There are a variety of reasons for selecting a particular colour tone as a key. When working with colour, beginner designers should use whatever opportunity they have to develop their work in various nonrepresentational exercises. The advantage of preparing and working with experimental schemes is that colour wouldn’t be tied up with money. There are no risks and it is completely cost effective, as they are only small schemes that could be used as samples for further advanced jobs. Designers should experiment the use of colours by applying them on mood boards and 3D rendering to explain the exact space that specific colours would be used in when working with various clients. After knowing the personality of the client they can then decide what type of colour scheme to choose for whatever interior space. What is interesting is that colour is found everywhere in all interior spaces without any exceptions: “walls, floor and ceiling, objects such as furniture, accessories, artworks, upholstery, fabrics, curtains or other window treatments … Windows may introduce areas of outdoor color or may appear as dark reflecting surfaces at night. Lamps or light fixtures may appear as areas of intense color, actually sources of light. Sunlight or lamps may create bright areas of light which can reflect the colors of the surfaces they fall on to other surfaces and objects. Brightness can vary widely from floor to ceiling and in various parts of a space according to proximity to windows or artificial light sources. Objects cast shadows, forming areas of color that appear darker than the same colors receiving strong light. All of these effects make the selection of color for a complete interior very complex” (Pile, 1997). Each and every corner has to be considered when designing a space therefore it is very important for an interior designer to have the skill of visualizing not only the most complex interior spaces, but also minor spaces in order to make excellent choices about colour. Let’s consider the interior design of Nobu Kuala Lumpur restaurant, in Southeast Asia (pictured below), owned by a British citizen. The neutral colours are at play. Interior is full of beige and tan colours, which are somewhat distinctive. These colours gives the restaurant of Nobu Kuala Lumpur a cooler and warmer tone. It enjoys the warmth of brown, the coolness of array of white light. The restaurant has a conservative colour that are usually reserved for the backgrounds. Generally, in design, beige is used in backgrounds. In Nobu Kuala Lumpur restaurant, one can see beige has taken on the features of colours around it, implying it has little impact on itself, but it influences the final impression the design, especially when used with some other colours. (Piotrowski & Rogers, 2007). “The Royal China Group consists of six of London’s most authentic and prestigious Chinese restaurants. The restaurant serves a traditional Hong Kong Chinese menu, perfect for guests wishing to indulge in authentic Chinese cuisine” (Luxuryhunter.co.uk, 2011). The Royal China Restaurant is operating in different branches across London; it also has opened international branches in Shanghai, Singapore, Bangkok and Dubai. Each one of them has different interior design, even though they are all part of the same group. The restaurant chain has recently refurbished a couple of their branches in London, the reason for that is to make them more contemporary. The oldest one, in Queensway kept the black and gold colour scheme the same, accept the light is brighter, their panels and ceilings were changed to different finishing styles and more mirrors were added. The branch in Canary Wharf has added new designs and a slight change in their colour schemes, “the contemporary new design features a gold leaf ceiling and gold tinted tiles behind the bar.  A striking deep red wall accented with gold panels along with a stunning Chinese mural, a signature image of all Royal China restaurants, forms the focal point of the room.” (Luxuryhunter.co.uk, 2011). The use of red, gold, and black in the Chinese culture is very significant. The colour red symbolises good fortune, blessing, as well as prosperity in Chinese culture. This colour is not only commonly used in their restaurants, but is also used for almost all happy occasions such as weddings because it represents good luck, joy and happiness therefore red should never be worn on funerals. Yellow and gold are considered to be the most attractive colours to the Chinese culture because “yellow symbolizes neutrality and good luck and is sometimes paired with red in place of gold. Yellow was the color of imperial china … it also represents freedom … Gold has long been used in China as a symbol of nobility and wealth” (Colour in Chinese Culture, 2014). Black is a dominant colour in their interior spaces as well, it separates the different colours from each other, the colour black represents wealth and health. On the other hand, “The London-based Royal China restaurant is located within the historic, colonial Raffles Hotel in Singapore” (Shepard, 2012). The five star hotel asked the Ministry of Design in Singapore to design the interior of the restaurant. The interior design had to be thought of carefully in order to get the best out of it. Collin Seah, the designer that was in charge of this design and the one that transformed the space into a luxurious contemporary dining room. In spite of the 6m high ceiling, Seah had the perfect solution for the “entrance foyer that curves, preventing patrons from seeing the dining room as they make their way through what is in essence an introduction to the restaurant … I really wanted to transform this great Cantonese restaurant with its traditional interiors to feel modern and uplifting,” says Seah. “So from the moment you enter and turn the corner round the towering fabric of wall, you sense a change from the traditional exterior of the Raffles Hotel. Nothing quite prepares you for the entirety of the blue, white and gold dining space within” (Shepard, 2012). The use of colour is unusual for Chinese cuisines, as red and gold are the colours that are usually chosen to create tremendous effects, but since this restaurant is in Singapore, their aim was to attract youngsters as well as people from all age groups, therefore the blue colour was chosen and was “inspired by brilliant blue cheong sam brocade” (Shepard, 2012). The experimentation to find the exact colour was hard since paint on walls is very different from the one on cloth since it is very textured, therefore capturing the correct colour was very challenging to the team. However, since this restaurant is a franchised one and the attraction aim is different, therefore the colour choice was more related to the country itself than the cuisine type, even though the colour blue to the Chinese culture is “A traditional colour which if used well in marketing materials brings feelings of traditional China … represents nature and renewal” (Colour in Chinese Culture, 2014). Even though Middle Eastern countries are sometimes against the use of red in their interior spaces, The Royal China restaurant in Dubai has a modern red interior with Chinese lanterns, brown wood tables and flooring. Dubai being the largest country with a high number of diversified nationalities that come from different backgrounds and ethnicity, of which according to the most recent statistics are 200,000 Chinese individuals ranging from professional employees to middle and low class workers as well as the extensive number of expatriates (FAQs, 2014). Due to the large amount of Chinese community that live in Dubai, they were taken into consideration when the colour red was chosen to be the main part within the restaurant’s interior design. The Royal China restaurant chain has various locations as stated above, but each one of them is more related to the culture it is in and the group of people that are targeted, therefore the interior design of the restaurant has to be slightly different from one branch to another. Altering the colour exactly like the way it’s been made makes this slight change obvious and more meaningful to the various cultures. In addition to the Royal China restaurant, Nobu Dubai restaurant (pictured below) also has some darker shades of brown seat and red carpet in its lounge. Just as in China, colour red symbolises good fortune, prosperity, and blessings to the people of Dubai. Darker shades of brown seats brings the element of black colour in the restaurant`s interior spaces. The darker shades separates the different colours from each other and it also represents wealth and health. Nobu Lounge, Dubai branch (Xiaoxi, 2009). Conclusion In conclusion, in chapter one and two, the paper has explored various meanings attributed to colours by different cultures. Even though culture and colour are inseparable entities, colour meanings can vary within every culture. An example is colour which is associated with anger and fire in Western countries but in China it’s associated with happiness and prosperity. Interior designers must balance between the cultural features, in terms of colours meanings, and the need to keep pace with the ever changing trends in interior design. Many researches explain that colour is a fundamental part, especially when associated with different cultures “The notion of an association between colours and cultures dates back at least to Luckiesh (1927; see also Adams and Osgood, 1973; Philbrick, 1976; Trueman, 1979; Gunnerod, 1991; Wiegersma and Van der Elst, 1988)(Chebat and Morrin, 2007). Who have showed that factors such as customs, race and type of civilization all directly influence colour preferences. As stated by Michel Pastoureau, we found that colours are difficult to study and have intricate cultural as well as social histories. This is due not only because they engender dissimilar physical variations in different position in relation to them, lights, materials and dyes, but also because there is a great variation across humanity due to the psychological associations with them. The varied meanings of color are much larger than their parts. We have also discussed, in this paper, various meaning attributed to colours. For instance, gray is the neutral color of mourning and of formality. Together with blue suits, colour gray are part of a dress code in the corporate world. Charcoal, dark gray carries the attributes, mystery and strength of black. Gray is a sophisticated color that lacks much of negative qualities of black. Red for the Western culture like England, is seen as the colour of passion and excitement. It means danger, love and thrill. It is also associated with power and some religious undertones like the representation of red as Christmas (Cousins, 2012). For the Chinese culture, red represents the colour of happiness, joy and celebration; it is a colour associated with occasions like weddings or birthdays; it is associated to bring luck, long life and happiness. The paper has also mentioned the meaning neutral colours and how they are used in interior design, where neutral colours assist in bringing out other colours. They also help in toning down colours which might be overpowering other colours. Chapeter three has given information as to why people visit restaurants more than before. One of the reasons was that restaurants weren’t as popular and trendy, and people always preferred healthy home cooked meals. Restaurants were considered to be a luxury, but nowadays eating out is the more eye-catching and affordable option due to competition within the segment, simply because it is much more convenient to go to a restaurant, order whatever you want and get your food in a very short time and hassle free. Since restaurants are becoming more popular, choosing the right colours for such a space is very important. Some colours can affect the way people perceive them, while some other colors can help in promoting more food by opening one’s appetite, hence restaurants gain higher profits. For instance, in Nobu Kuala Lumpur restaurant, one can see beige has taken on the features of colours around it, implying it has little impact on itself, but it influences the final impression the design, especially when used with some other colours. Reference List Anderson, M. (1975). Colour healing. Wellingborough: Thorsons. Billmeyer, F. and Saltzman, M. (1981). Principles of color technology. 2nd ed. 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Can Color Really Change How You Feel and Act?. [online] About. Available at: http://psychology.about.com/od/sensationandperception/a/colorpsych.htm [Accessed 17 Dec. 2014]. Designbuildideas.eu, (2013). 30 Restaurant Interior Design Color Schemes. [online] Available at: http://www.designbuildideas.eu/30-restaurant-interior-design-color-schemes/ [Accessed 1 Jan. 2015]. FAQs, D. (2014). Population of UAE. [online] Dubaifaqs.com. Available at: http://www.dubaifaqs.com/population-of-uae.php [Accessed 3 Jan. 2015]. Karenhaller, (2014). colour & design surgery…how does culture influence colour?. [online] Available at: http://karenhaller.co.uk/blog/colour-design-surgery-how-does-culture-influence-colour/ [Accessed 12 Nov. 2014]. Luxuryhunter.co.uk, (2011). Royal China Canary Wharf opens after refurbishment. [online] Available at: http://www.luxuryhunter.co.uk/2011/08/15/royal-china-canary-wharf-opens-after-refurbishment/ [Accessed 1 Jan. 2015]. Radwan, M. (2015). Restaurant color psychology. [online] 2knowmyself.com. Available at: http://www.2knowmyself.com/miscellaneous/Restaurant_color_psychology [Accessed 1 Jan. 2015]. Schneider, S. (2012). The Psychology Of Color In Design. [online] InstantShift - Web Designers and Developers Daily Resource. Available at: http://www.instantshift.com/2012/01/30/the-psychology-of-color-in-design/ [Accessed 1 Jan. 2015]. TheFreeDictionary.com, (2014). Colour. [online] Available at: http://www.thefreedictionary.com/colour [Accessed 8 Oct. 2014]. Webster, M. (2015). Culture - Definition and More from the Free Merriam-Webster Dictionary. [online] Merriam-webster.com. Available at: http://www.merriam-webster.com/dictionary/culture [Accessed 1 Nov. 2014]. Zibdeh, L. (2013). Traditional Arabic Style Seating. [online] Home Synchronize. Available at: http://homesynchronize.com/2013/06/traditional-arabic-style-seating/ [Accessed 9 Jan. 2015]. Read More