Le Corbusier by kt COLOR

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Text by Katrin Trautwein, 2004 Director KT Colour, Switzerland www.ktcolor.com

Colour is not intended to describe but to evoke, states Le Corbusier.

Finding out what Le Corbusier meant was the start of a remarkable adventure with colour.

After we were given the exclusive licence to produce a specific line of colours used by Le Corbusier in his architecture, we set out to assess and match them as perfectly as possible. We found ourselves in the role of the scientist trying to breathe life into a butterfly wing by describing it perfectly, spot for spot. By trying to recreate Le Corbusiers colours according to scientific rules of colour, we were missing their essence.

We became obsessed with pigments, with the powdered material that makes colour what it is. As Stephen Ball observes: naked pigments already are “works of art, the products of skill and creativity, substances of glorious elegance and splendor”. Le Corbusier would have agreed with this statement, and Yves Klein did as well.

Evelyne Tréhin of the Foundation Le Corbusier in Paris worked with us in adjusting each hue to match original colour swatches she had given us. Most of them were postage stamp sized bits of monochrome wallpaper, Le Corbusiers „colour on roles“ solution to standardizing the colour hues he considered to be „eminently architectural“.

What makes colour eminently architectural? How does it differ from other colour, if at all?

 

It is different, for reasons that became evident to us only after we tried to mix Le Corbusiers colours with the standard materials used to colour architectural space today.

 

The Romans at Pompeii used some 29 identified pigments to colour their architecture. Today’s industrial paint manufacturers have replaced these materials, based on coloured earth and other minerals, with about a dozen recent pigments, most of them made from organic petrochemical substances.

Ultramarine blue, once treasured as the synthetic replacement for the beautiful gemstone lapis lazuli, has been replaced with phthalocyanine blue. Gain or loss? Both – the recent pigment has a higher colour strength and is stable to acid, which ultramarine blue is not. On the other hand, the ultramarine pigment has a different chemical process by which it lets us see blue – the same process which makes atmospheric ozone look blue - and the powdery-dry light to deep blues we make with ultramarine cannot be made with any other pigment.

 

 

The expansive, airy lightness of light ultramarine blue shades and the magnetic colour depth of deep ultramarine shades have fascinated artists and craftsmen throughout the ages. Le Corbusier considers these qualities to be those that make ultramarine such a useful material in creating or defining volume in architecture. Yves Klein shared this fascination with the deepest of all ultramarine pigments, and we have recreated this blue as well.

What other materials did Le Corbusier rely on to define architectural space?

His sketches name other pigments to be used for their special qualities: natural earth pigments such as green and burnt umbers, raw and burnt Sienna, red and yellow ochres. Also cerulean blue, green earth, bone black and ivory white, carmine and cinnabar red and English green are listed as part of a “grande gamme” of colouring materials: the noble collection of pigments. As it happens, these pigments are all on the list of endangered species, being gritty, variable, hard to grind, expensive and mixed with something todays Chemist calls impurities. Gain or loss? Certainly a loss.

 

Le Corbusiers “eminently architectural” colouring materials are used for their ability to define space and for their ability to build bridges to other sensory experiences. On this level they remind us of the sea, a dusty rose, dusk, filtered light in the forest, sunwarmed bricks, the music of a cello or a saxophone, red velvet curtains, or early morning haze.

 

Smells, pictures, memories and experiences are evoked by this group of classic artists pigments. All of them have been used for their ability to breathe life into two-dimensional reprentations on canvas, murals and surfaces throughout our cultural history. This ability to breathe life into space makes them so useful to the architect.

Le Corbusier argues that the traditional colouring materials used to depict nature throughout history create colour that transcends fashion. Indeed, Le Corbusiers colour collection appears as modern today as ever. It is the sole remaining representative of colour usage based on selected pigments with their specific peculiarities. New schemes of colour usage are based on concepts of colour space, not on colourants themselves.

This, in a nutshell, is the reason-to-be for our use of the traditional pigments and for the selection introduced here: more than 60 mineral pigments are modulated in saturation to produce a range colours with a profound history of use and meaning in art and architecture.

Katrin Trautwein, 2004
Director KT Colour

 

The white background

Le Corbusier favoured white as the background for vibrant colour. Not neutral, harsh or flat whites made with titanium dioxide and carbon black: Le Corbusier’s softly reflecting whites are tinted with natural pigments. They are rich whites with the ability to transform surfaces and architectural space in a soft, full-bodied glow.

LC 32.000 Blanc de Titan, Appropriately called White Light in Switzerland. The colour of whitewash.

LC 43.2 Ivoire, The colour of the tusks of a young elephant, warm and elegant.

Greys and Black (1958)

The greys Le Corbusier used in the Fifties are cooler in shade than the Purist greys in the Twenties, and black makes its first appearance in the 1958 collection.

Warm greys were used against a white background; next to wood, concrete and other strongly coloured materials, these cool greys and black create remarkable contrast effects.

LC 43.5 Noir, As close to absolute black as possible.
LC 43.8 Gris moyen, A medium grey made with a hint of each colour of the rainbow.
LC 43.14 Gris clair, A subtle, cool and metallic grey.
LC 43.19 Gris foncé, Cool and deep, a blue grey as close to violett as grey will allow.

 

 

Blues (1958)

The classic artists’ palette held three blue pigments: Ultramarine blue with its ability create a perception of spatial depth between the viewer and the object, Cerulean blue with its unique tinge that is both red and green, and Prussian blue, velvety and outstandingly deep in full shades but flat and unattractive in pastels. All three of these pigments appear in Le Corbusier’s architectural palette. None of them can be made with the single blue pigment found in today’s industrial paints.

LC 43.10 Bleu outremer, Deep ultramarine, mixed with enough umber to reduce the dominance as seen in Yves Kleins blue.

LC 43.13 Bleu ceruleum, The blue of the sky, expansive and deep.

LC 43.18 Bleu foncé, Prussian blue shade, once banned by the church for its great colour
strength.

Yves Kleins Ultramarine Blue

Lapis lazuli and ultramarine have traditionally been associated with lofty spheres and the spiritual. Yves Klein’s blue aimed to transcend material boundaries by catching absolute blue in empty space. He experimented extensively to catch the pure pigments powdery quality in bound form. Conflicting rumours and many interpretations exist about the special qualities of patented I.K.B. Our quality was made for André Heller and Swarovski Crystal Worlds in Austria. It relies on a high level of a special pigment and a grinding technique that prevents the pigment from becoming too transparent and watery.

Ultramarine, True blue, the blue of the blue depth of space (Yves Klein).

Dynamic Greens (1958)

The greens shown here can best be understood in connection with the rest of Le Corbusier’s late colour collection. The contrast effects with yellow, red, pink, brown or blue demonstrate a colour balance that is quite remarkable for a green.

LC 43.6 Vert olive, Like ripe olives in late summer. Unlike sap green, this is an autumnal
shade.

LC 43.7 Vert vif, Le Corbusier mentions that this enamel-like green is ideal in combination
with red, yellow and other primaries.

Raw ochre (1958)

"Sand“ is the image evoked by Le Corbusier for the effect of these light natural ochres. The pigments come from sandy deposits of China Clay enriched with natural iron oxides. The translucence and gritty sparkle of these natural earth pigments differs significantly from the dull, less variable colour of their synthetic counterparts, the Mars yellows. It is the sandy sparkle that makes these colours ideal for use in architecture.

LC 43.11 Ocre jaune clair, High colour strength natural ochre, more like gold than yellow.

LC 43.15 Terre de Sienne claire, An elegant natural yellow with an inimitable sparkle in sunlight.

                       

Yellow and Orange (1958)

The widespread use of chrome and lead based pigments in the Fifties allowed Le Corbusier to integrate several deep, opaque „Primaries“ into his late colour collection. What would have been too dominant against a white background gave rise to harmonious colour combinations in connection with the stone, glass, concrete and wood constructions used later.

LC 43.17 Orange, Saturn red shade. Once of lead, this colour is made with a combination of non-toxic, dense and costly mineral pigments today.

LC 43.20 Jaune vif, A sunny yellow, to be used on lighted surfaces. The absence of light
becomes all the more noticeable when these shades are seen in the shadow.

Reds (1958)

Le Corbusier’s spectacular, self-confident but never aggressive reds are based on pigments that have been replaced with synthetic products that are transparent, clean and brittle by comparison. LC 43.1 and LC 43.3 were made with Chrome red, a muted fiery red, and LC 43.12 was made with dark Cadmium red, an expensive mineral pigment even then. We build these „extinct“ reds from mixtures of natural and synthetic pigments. Their brilliance and strength of expression comes from the complementary mixtures that span the entire visible spectrum.

LC 43.1 Rouge vif, Cinnabar shade. The balance is perfect between a fiery and an earthy red.

LC 43.3 Rose, A middle pink shade with a touch of ochre and purple – another finely
balanced red.

LC 43.12 Rouge rubis, A luxurious red, velvety and muted, with outstanding depth of colour.

Natural browns (1958)

Much used by Le Corbusier to materialize and stabilize surfaces or volumes, Terre d’ombre naturelle, Ombre brûlée and Terre de Sienne brûlée refer to three natural earth pigments widely used up to the advent of the synthetic iron oxide Mars pigments. The names refer to the area from which the natural pigments were obtained: Earth from Siena and Earth from Umbria. The richness and dense body of the natural pigments more than compensates for the time consuming colour corrections necessary in their use.

LC 43.4 Terre de Sienne brûlée, Glowing the sandy yellow earth from the area around Siena results in a rich red brown that differs in colour from all other red ochre pigments.

LC 43.9 Ombre brûlée, “A kind of sculptural expression which was a colour, „ said Joseph Beuys 1984 about a similar dark warm umber.

LC 43.16 Terre d’ombre naturelle, Raw umber at its deepest, nearly black, a colour that hides and conceals.

Whites

LC® 32.001 Crème, Cream
LC® 43.2 Ivoire, Ivory

Spatial qualities
Natural whites favored by Le Corbusier as a background for vibrant colour. Raw earth pigments prevent the whites from appearing harsh, even under artificial lighting conditions or placed next to black. The association is with alabaster, travertine and other softly reflecting white materials. Pigment base Titanium dioxide tinted with natural earth pigments

Greys

LC® 32.010 Gris fer, Iron grey
LC® 32.011 Gris,Grey
LC® 32.012 Gris clair 2, Light grey 2
LC® 32.013 Gris perle, Pearl grey

Spatial qualities
Extraordinary rich greys used to soften and widen space or deemphasize objects by hiding them in the shadows. Pigment base By no means neutral, these greys are associated with iron or soft grey sandstone. Oxide black mixed with varying degrees of natural umbers.

Ultramarine Blues

LC® 32.020 Bleu outremer 1, Ultramarine blue 1
LC® 32.021 Bleu ciel, Sky blue
LC® 32.022 Bleu outremer moyen, Ultramarine blue medium
LC® 32.023 Bleu clair, Light blue
LC® 32.024 Bleu pâle, Pale blue

Spatial qualities
The colours best suited for opening tight architectural space. The ultramarine pigment defies exact placement and creates a perception of spatial depth between the viewer and the object. Once based on lapis lazuli, these shades have traditionally been associated with lofty spheres and the spiritual.
Pigment base.  French ultramarine

 

 

Cerulean Blues

LC® 32.030 Bleu ceruleum foncé, Deep cerulean blue
LC® 32.031 Bleu ceruleum vif, Bright cerulean blue
LC® 32.032 Bleu ceruleum moyen 2, Medium cerulean blue
LC® 32.033 Bleu ceruleum clair, Light cerulean blue
LC® 32.034 Bleu ceruleum pâle, Pale cerulean blue

Spatial qualities
Also capable of widening space as are other blue and greys, this line has a more mediteranean flavour. Less airy and cool than the ultramarines, the association is with the summer sky, tropical waters and sandy lagoons.
Pigment base
Cobalt cerulean blue

Muted Greens

LC® 32.040 Vert foncé, English green
LC® 32.041 Vert Veronese, Veronese green
LC® 32.042 Vert Veronese clair, Light Veronese green

Spatial qualities
With their connotations of pines and woods, these greens link architecture to the scenery. Space widening as are other greyed colours, these greens diffuse light and hide objects.
Pigment base
Kobalt green and kobalt turquoise

Spring greens

LC® 32.050 Vert vif 2, Bright green
LC® 32.051 Vert moyen, Medium green
LC® 32.052 Vert jaune, Yellow green
LC® 32.053 Vert pâle, Pale green

Spatial qualities
Used less for their effect on space than for their fresh presence against white or ultramarine blue, these hues are well known to artists under names such as May green, Spring green or sap green, all indicating growth and change.
Pigment base
Cobalt green and natural ochre

 

Natural ochres

LC® 32.060 Ocre clair, Light ochre

Spatial qualities
Rich sandy ochres that require light to unfold their presence. These hues enlarge objects and narrow space by appearing to reduce space between object and viewer.
Pigment base

Natural French ochre

 

 

Orange shades

LC® 32.080 Orange vif, Bright orange
LC® 32.081 Abricot, Apricot
LC® 32.082 Abricot clair, Light apricot

Spatial qualities
Muddy oranges with a warming effect when used against Ivory white under good lighting. Walls are accented and their presence emphasized by the darker shades ; light apricot has a comforting sandy effect related to the ochres.
Pigment base
Mixed pigments, no single base

Cinnabar red

LC® 32.090 Rouge foncé, Deep red
LC® 32.091 Rose clair, Light rose

Spatial qualities
The opposite of ethereal ultramarine blue in every sense: space is narrowed, objects emphasized and the association has always been one of earthly pleasure and sin. To be used sparingly under good lighting. The pale shade lacks the passion of the deep cinnabar : a gentle reminder that can be used in a wider context. Pigment base The artists mercuric sulfide was replaced by chrome red in the 1950s and Pyrrole red mixed with natural oxides today.

LC 32.091: white with natural red ochre

Carmine reds

LC® 32.100 Rouge carminée, Carmine red
LC® 32.101 Rouge framboise, Raspberry red (Madder lake red)
LC® 32.102 Rose pâle, Pale rose

Spatial qualities
All reds and oranges emphasize surfaces and objects, need light to be effective, and find sparing but powerful use in Le Corbusiers polychrome architecture. The carmine reds have traditionally demonstrated luxury and wealth.

Pigment base
Permanent, synthetic reds

Red ochres

LC® 3.110 Ocre rouge, Red ochre
LC® 32.111 Ocre rouge moyen, Medium red ochre
LC® 32.112 Ocre rouge clair, Light red ochre
LC® 32.120 Brun rouge, Brown red (Burnt Siena deep)
LC® 32.121 Brique clair, Light brick
LC® 32.122 Terre de Sienne claire 2, Light natural Siena
LC® 32.123 Terre de Sienne pâle, Pale natural Siena

Spatial qualities
The most frequently used reds in le Corbusiers palette. The natural clays and sands these colours are derived from have been used throughout history to create shelter and warmth in living spaces. The redder the shade, the more pronounced its ability to narrow space and to emphasize surfaces. The lighter the shade, the sandier and less structuring it becomes.

Pigment base
Natural earth pigments and red oxides

Umbers

LC® 32.130 Marron, Chestnut
LC® 32.131 Terre d’ombre brûlée claire, Light burnt umber
LC® 32.140 Terre d’ombre nat. foncé, Deep natural umber
LC® 32.141 Terre d’ombre nat. moyen, Medium natural umber
LC® 32.142 Terre d’ombre nat. claire, Light natural umber

Spatial qualities
The dark umbers dissolve space by letting objects and volumes melt into the background. Dark walls or volumes defy exact placement. The light shades of these series are veiled warm greys with the understated elegance of velvet. Used to materialize surfaces under diffuse lighting with warm sandy effects.
Pigment base
Burnt and raw natural umbers

 

 

Note: Due to differences in computer monitors and individual settings the colours in these palettes should be considered only as an approximation of the real colour.