Colourful Constructions

Unveiling the colourful past of architecture and the impact of colour on design.

Cathedral Church of St Michael, Coventry (1966) by Architect: John Piper (1903-1992), Sir Basil Spence (1907-1976) and Photographer: Henk SnoekRoyal Institute of British Architects

“Form without colour is like a body without a soul”


Owen Jones, 19th century

Parthenon, Athens, Artist: William Burges (1827-1881), 1800, From the collection of: Royal Institute of British Architects
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Parthenon, Athens, Architect: Iktinos (5thC BC), Kallicrates (5thC BC), Artist: Gottfried Semper (1803-1879), 1836, From the collection of: Royal Institute of British Architects
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Ancient buildings are often thought to be made of plain white or grey stone, but many were originally quite colourful. Architects used materials like painted wood, stucco, terracotta, and marble to add vibrant hues. The Parthenon, dedicated to Athena, although it looks white today, once had colourful columns in red, blue, and gold, with painted sculptures. Gottfried Semper's work, planned in 1836, aimed to explore the use of colour in architecture, including Greek, Roman, and Christian designs.

Measured drawings of San Giorgio Maggiore, Venice (1830) by Architect: Andrea Palladio (1508-1580) and Artist: David Mocatta (1806-1882Royal Institute of British Architects

Colour enhances Palladian principles

Palladio's architectural principles focused on symmetry and proportion. This measured drawing by David Mocatta of San Giorgio Maggiore in Venice demonstrates how colour can enhance these features, highlighting the precise proportions and symmetry central to Palladian design.

Alhambra Court in the Crystal Palace, Sydenham, London (1900) by Artist: Lanchester Henry Vaughan and Architect: Owen Jones (1809-1874)Royal Institute of British Architects

Owen Jones: A Colourful Vision

In a time when Neoclassical white dominated, Owen Jones turned to other cultures for inspiration, particularly Islamic design and the intricate decoration of the Alhambra. Together with Jules Goury they studied the patterns and how they enhance and enrich architecture. 

Pompeian ornament no. 1 (1856) by Architect: Owen Jones (1809-1874)Royal Institute of British Architects

The Grammar of Ornament

A pioneer of colour theory, Jones published The Grammar of Ornament, a seminal work on design that explored the use of colour, geometry and abstraction. The book drew from diverse cultures, particularly Islamic design, and remains a vital design resource over 150 years later.

Crystal Palace, Hyde Park, London (1851) by Architect: Sir Joseph Paxton (1803-1865)Royal Institute of British Architects

Colour & the Great Exhibition

Jones introduced his colour theories at the 1851 Great Exhibition, held in a vast iron and glass structure designed by Joseph Paxton. His bold interior scheme used only primary colours—blue, red, and yellow—in precise proportions to give depth and perspective to the space.

Grand Hotel Europa, Wenceslas Square, Praque (2010) by Architect: Bedrich Bendelmayer, Bohumil Hubschmann, Jan Letzel and Photographer: Valeria CarulloRoyal Institute of British Architects

A Colourful Architectural Revival

The Art Nouveau movement, flourished in the late 19th and early 20th centuries, often incorporating vibrant colours in architectural design. Located in Prague’s Wenceslas Square, The Grand Hotel was rebuilt in the geometric Art Nouveau style between 1903 and 1905.

Hospital de la Santa Creu and Sant Pau, Barcelona (2009) by Architect: Liuis Domenech i Montaner and Photographer: Christopher Hope-FitchRoyal Institute of British Architects

Modernisme: Catalan Art Nouveau

Lluís Domènech i Montaner's work exemplifies Catalan Modernisme, a movement that went beyond Art Nouveau, blending influences from other European styles. This blend created a unique aesthetic, rooted in Catalan identity and pushing the boundaries of artistic innovation.

Hospital de la Santa Creu and Sant Pau, Barcelona (2009) by Architect: Liuis Domenech i Montaner and Photographer: Christopher Hope-FitchRoyal Institute of British Architects

A Healing Palette

Colour was integral to the design of Barcelona's Hospital de la Santa Creu i Sant Pau (1910). Architect Lluís Domènech i Montaner used vibrant tiles and mosaics to create a healing atmosphere. The bright colours, combined with natural light, symbolised hope and enhanced the hospital environment. 

Hundertwasserhaus, Vienna (1994) by Architect: Friedensreich (1928-2000) and Photographer: Keith CollieRoyal Institute of British Architects

Hundertwasserhaus

This striking residential complex in Austria, demonstrates how colour can define a building's character. Designed by Friedensreich Hundertwasser, the building is a riot of vibrant colours and organic, irregular forms.

Bauhaus Building, Dessau (2007) by Architect: Walter Gropius (1883-1969) and Photographer: Hans Jan DurrRoyal Institute of British Architects

Bauhaus Movement

Bauhaus artists and architects such as Wassily Kandinsky explored the power of colour, believing it had a direct impact on human emotions. This led to the integration of colour theory into architectural design, influencing the use of colour in modernist buildings.

Sketch of a living room (1970) by Architect: Max Clendinning and Artist: Ralph AdronRoyal Institute of British Architects

Colourful Master: Max Clendinning

Max Clendinning's work is defined by his bold use of color and simple lines.  His colour-focused approach was characterised by simplicity and clean lines, using a limited palette to create striking, impactful designs, leaving a lasting legacy on interior design. 

Water pumping station, Isle of Dogs, London, Architect: John Outram, Photographer: Reid & Peck, 1991, From the collection of: Royal Institute of British Architects
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Water pumping station, Isle of Dogs, London, Architect: John Outram, Photographer: Reid & Peck, 1991, From the collection of: Royal Institute of British Architects
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John Outram's Isle of Dogs water pumping station uses colour to transform industrial architecture into a work of art. His vibrant colour choices and playful ornamentation, like exaggerated columns and geometric shapes, create a whimsical, layered aesthetic alongside the patterned brick facade. The Postmodern architectural movement of the late 20th century embraced colour as a means of reviving historical references and creating visually stimulating environments or buildings. 

The forecourt of the British Library (1998) by Photographer: Janet Hall and Architects: Colin St John Wilson & PartnersRoyal Institute of British Architects

British Library - a London landmark

The red brick used in the construction of the British Library's facade is a defining element of the building's design and helps it stand out in the Kings Cross area of London.  It is also often associated with the library's architect, Colin St John Wilson. 

Clore Gallery extension to the Tate Britain, London, Architect: James Stirling Michael Wilford & Associates, Photographer: Alastair Hunter, 1986, From the collection of: Royal Institute of British Architects
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Clore Gallery extension to Tate Britain, Millbank, London, Architect: James Stirling Michael Wilford & Associates, Photographer: Tim Benton, 1987, From the collection of: Royal Institute of British Architects
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The Clore Gallery extension showcases Stirling's subtle integration of colour, using a warm palette of yellow, pink and blue to harmonise with the Tate Britain's original architecture and define architectural features. The interior design utilises colour to differentiate spaces and create a welcoming atmosphere.

Walden 7 housing, Sant Just Desvern, Barcelona (2017) by Architect: Ricardo Bofill and Photographer: Anna DziubinskaRoyal Institute of British Architects

Walden 7 Housing Estate

Located in a suburb of Barcelona, Spain, Ricardo Bofill intentionally chose to break away from the monotonous and often grey aesthetics of traditional housing estates. The distinctive and unconventional use of colour adds vibrancy and uniqueness to the complex.

Museum of Contemporary Art, Niteroi, Architect: Oscar Niemeyer (1907-2012), Photographer: Cristobal Palma, 2002, From the collection of: Royal Institute of British Architects
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Museum of Contemporary Art, Niteroi, Architect: Oscar Niemeyer (1907-2012), Photographer: Cristobal Palma, 2002, From the collection of: Royal Institute of British Architects
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Museum of Contemporary Art, Niteroi, Architect: Oscar Niemeyer (1907-2012), Photographer: Cristobal Palma, 2002, From the collection of: Royal Institute of British Architects
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Museum of Contemporary Art, Niteroi, Architect: Oscar Niemeyer (1907-2012), Photographer: Cristobal Palma, 2002, From the collection of: Royal Institute of British Architects
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The white exterior of the MAC reflects the Brazilian sun, further emphasised by the museum's location amidst the natural landscape and blue waters of Guanabara Bay. A winding red ramp leads to the main exhibition spaces creating a dynamic transition from the exterior and interior. The use of red is associated with energy, creativity and passion, contrasting with its surroundings, enhancing the museum's visual appeal, fostering a sense of connection between art and nature.

Stained glass windows of a church, Verbier, Valais (2008) by Photographer: Ruth KamenRoyal Institute of British Architects

“The purest and most thoughtful minds are those which love colour the most.”


John Ruskin, The Stones of Venice – 1851-3

Credits: Story

Explore more from RIBA Collections here. 
All images are from RIBA Collections unless listed. 


Central St Giles. Rights: Valeria Carullo / RIBA Collections
Cathedral Church of St Michael. Rights: Henk Snoek / RIBA Collections
Grand Hotel Europa. Rights: Valeria Carullo / RIBA Collections
Hospital de la Santa Creu and Sant Pau. Rights: Christopher Hope-Fitch / RIBA Collections

Hundertwasserhaus. Rights: Bill Collie / RIBA Collections

Bauhaus Building. Rights: Hans Jan Durr / RIBA Collections
Water pumping station, Isle of Dogs. Rights: Reid & Peck / RIBA Collections

British Library. Rights: Janet Hall / RIBA Collections
Clore Gallery, Tate. Rights: Alastair Hunter / RIBA Collections
Clore Gallery, Tate: Tim Benton / RIBA Collections
Walden 7 Housing. Rights: Anna Dziubinska / RIBA Collections
Museum of Contemporary Art, Niteroi. Rights: Cristobal Palma / RIBA Collections
Stained glass windows of a church in Verbier. Rights: Ruth Kamen / RIBA Collections

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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