Colour in architecture
Colour is not a maquilage, but a study of the interconnections of volumes and the sensations they generate.
Color is the most important element of aesthetics, but aesthetics is not the only thing important to architecture. Share the podium with functionality, meet social needs, and some others. Although when we talk about colours, they sound like an old acquaintance, an architect is convinced that it is impossible to know the totality of the possible palette; the more meticulous and detailed the combination between them, the more possibilities of results are obtained. Although it sounds dense and almost irrelevant, the differences between the same range, when the application of color includes a change of scale, or the larger it is, the more valuable this difference in shades will be. One example is the sky: a good storm with grey tones or a sunset with pinkish/orangeish tones will make the view more attractive to the eyes. The bottle neck of the color in large dimensions and the example taken, is a diaphanous, with an even sky blue, where the sensation is not of impact but of immensity or perfection. All this led to the architecture, is analyzed from the changes of tonalities that has x material, such as concrete, with its range of grays providing porosity and an interesting texture. On a larger scale, greater complexity and more studied should be the relationship between colors, due to the capacity for analysis and study that the human eye has. It's not a law. A minimal piece can be as complex as a small piece, but it will have more margin for error due to the field of perception of the eye, which is more comfortable to analyze a large piece. Color can and should be used in architecture as volumetries, and not for faces. It is not a maquilaje, but a study of the interconnections of volumes and the sensations they generate. Both the color and the absence of color (see works by Mies Van der Rohe, Alvaro Siza, Aires Mateus) are thought and intended, being the complement to a sought-after volumetry; a sensation generated. But never applied on a material with its own identity, invading its characteristics. Colour must be thought of as a material in itself, when it is intended, and respected, on a material already applied.