Atmospheric Values of Colour

In order to fully understand the influence of colour on the atmosphere of an interior, an academic text relating to the subject has been sourced. The following evaluation is connected to a chapter within the book 'Intimus' by Mark Taylor and Julienna Preston. The chapter in question is entitled 'Structures of Atmosphere' and it is written by Jean Baudrillard.
This chapter is of great significance to the design for Burton Mill, as it directly discusses the subjects of traditional and natural colour. The mill design is intended to reflect elements of traditional country living, with the use of a natural colour palette in a Shabby Chic style.

Beginning with the subject of 'Traditional' colour, the author describes colour as being confined by tradition, and reflecting cultural meanings. Social role is also explained as having an effect on what dictates a person using certain colours. A person's likes or dislikes may be entirely shaped by the influence of their cultural background, and what is percieved to be acceptable.

It is stated that the treatment of colour in traditional use, can involve the rejection of its complete value. Here the author explains;

"Indeed, the bourgeois interior reduces it for the most part to discreet 'tints' and 'shades'. Grey, mauve, garnet, beige - all the shades assigned to velours, woollens and satins, to the profusion of fabrics, curtains, carpets and hangings, as also to heavier materials and 'period' forms, imply a moral refusal of both colour and space." (Baudrillard, J. 1996)

This quote closely relates to the interior design of Burton Mill, as the interior is intended to reflect the traditional aspects of country living. Mentioned above is the use of tints and shades of a colour, used in traditional fabrics. The intention for Burton Mill is to include these muted versions of colours in the main structure of the interior, but also within the traditional woollen upholstery fabrics.

Moving on through the text, the author addresses the subject of 'Natural' colour. It is documented that the use of colour was liberated through paintings. The overthrow of global order and conforming to the expected, saw the transition from loud colour, which was thought to be aggressive, to discreet tones. Throughout the passage, the author describes these loud colours as; violent, 'affected', vulgar. Here, the author explains further;

"They turn out to be nothing but an impossible echo of the state of nature, which explains why they are so aggressive, why they are so naive - and why they so very quickly take refuge in an order which, for all that is no longer the old moral order with its complete rejection of colour, is nevertheless a puritanical order of compromise with nature." (Baudrillard, J. 1996)

The passage is ended with the impression that pastel colours have now become the reigning colours. They are described as 'honest' colours, once liberated by painting. The final quote details this;

"Instead we encounter only the pastels, which aspire to be living colours but are in fact merely signs for them complete with a dash of moralism." (Baudrillard, J. 1996)

Finally, the interior of Burton Mill is intended to encompass these pastel colours, bringing a fresh and natural feel. However, bright fabrics will also be introduced, in order to reject the notion of conforming to the pastel theme. Some of the chosen fabrics may be eye-catching, but will still reflect the surrounding nature, with a pink and green colour scheme, and floral designs.


Bibliography:

Taylor, M. & Preston, J. (2006) Intimus: Interior Design Theory Reader (John Wiley & Sons Ltd., Chichester)