Wednesday, 18 March 2020


Saturated Space is the Colour Research Cluster at the Architectural Association School of Architecture.
This website is a working resource for the group and its collaborators, and will develop in parallel to the seminars, exhibitions, and physical test-case studies that will take place and be produced between the school and the Cluster's partner organisations.

Below is the site's blog
where we will be writing articles, inviting guest posts, and uploading extracts from relevant texts... a technicoloured compost heap of knowledge.

Above are links to the site's various pages
where you can find out who and what we are, information about the events we are organising as they come up, our bibliographical archive of books to read on the subject, links to friends and partners, and to our online publications.

Monday, 28 March 2016

In the Light of a Clear Blue Wall

Exclusively for Saturated Space, Neil Stephen Flannagan tells the story of colour in the spaces of Gallaudet University for the deaf and hard of hearing.

"A dull shade of blue is spreading on the walls of Gallaudet University. It’s not an official color, but rather a practical accommodation for its students, who are overwhelmingly Deaf and so primarily communicate in sign language. This blue provides a comfortable, clear background to read the hands and faces used to converse. The factors that make blue special connect race, digital media, and the peculiar rarity of the color in the human environment. What it implies is a clear functional role for coloration and a reminder that to be “human-centered,” design must grapple with troublesome issues of identity and history."

Sunday, 13 September 2015

Whistler and Peacock Blue

^Whistler's Peacock Room, Neil Greentree / Freer Gallery of Art

Exclusively for Saturated Space, Amanda Kolson Hurley tells the engrossing, gossipy, tangled story of the genesis of the Peacock Room, its intimate relationship with Whistler the artist, and his reputation, the end it brought to a key friendship, all of which was deeply stained with the enigmatic and somewhat equivocal shade that suffused the room, and came to be known as Peacock Blue.

"The story behind James McNeill Whistler's Peacock Room is one of high artistic ambition, a quarrel over money, and a broken friendship. Less well known is the origin of its color scheme, especially the color we have come to know as "peacock blue." Why did Whistler paint the room a moody teal and not, as one would expect, the deep blue of a peacock's breast? This article considers Whistler's color choices and argues that "peacock blue" is a shade that owes more to Whistler than to nature."

Monday, 27 July 2015

Does the Barreleye Dream of Swiss Cheese? Windows, Mirrors and Holes

Exclusively for Saturated Space, Amelia Stein oscillates through the multiple transparencies -reflective, deep, superficial and profound- of our contemporary environment.

"This series of passages explores how transparency, reflectivity and opacity can adhere to, encroach on and confuse ideas about colour. It imagines a spectrum not just of light but of the mediation of light by these surface properties, which transmit, reflect and absorb light in time and space in ways both distinct from and connected to colour. Using the models of windows, mirrors and holes, and the examples of the barreleye fish, sunglasses and Swiss cheese, among others, this piece asks what we see when we look at, through, and into surfaces."

Sunday, 12 July 2015

I'm Beginning to See the Light

Exclusively for Saturated Space, Jack Murphy delves into the world of Robert Irwin's chromatic emitters.

"Robert Irwin is an American artist from Los Angeles whose work deals with perception. Cacophonous, a show of recent light pieces at the Pace Gallery in New York City. Starting from the ready-made cool white fluorescent tube 6' or 8' in length, Irwin layers coloured gels—sometimes up to a dozen overlays—to manipulate, reflect, darken, or fully obscure the bulb's output. A visit to the show affords the opportunity to reflect generally on Irwin's use of colour throughout his career, and to dig deep into the rich chromatic experience of these works."

Tuesday, 19 May 2015

Blinky Palermo's Wall drawings & Wall Paintings: Line, Colour and Consciousness

^Blinky Palermo, Wandmalerei im großen Saal der Kunsthalle, Kunsthalle Baden-Baden,
1970. Photograph Erika Fischer

Exclusively for Saturated Space, Mark Pimlott explores the subtle spatial ambiguities of Blinky Palermo's Wall works.

"This essay describes wall drawings and paintings made by German artist Blinky Palermo (born Peter Schwarze 1943 Leipzig-died 1977 Maldives). These works, no longer in existence, were bound to their architectural conditions, in art galleries, museums, temporary spaces for art or people’s homes. The form of these works varied from line drawings tracing architectural features to fields and figures of colour painted directly on walls that made viewers aware of the specific characteristics of envrionments, altering viewers' reading of them. The works were made within a practice of painting, and embedded within a phenomenological approach: their engagements with their settings activated those settings and their viewers’ relations to them. Although much has been made of Joseph Beuys’s influence on Palermo (he was a student of Beuys at the Kunstakademie Düsseldorf from 1963-1967), his work proposed a different role for art in society than Beuys: Palermo's work established his concerned with the viewer’s place in the world and accentuated consciousness as a vehicle for engagement therein."

Monday, 9 February 2015

Colour As I See It

^Dorothy Liebes, High Mass, circa 1943. Photo: American Craft Council

Exclusively for Saturated Space, Alexa Griffith Winton introduces us to the dyed world of Dorothy Liebes, who filled the gap left between the human need for tactile, sensual engagement with the surrounding environment, and the austere spaces created by post-war Modernist orthodoxy.

"Interiors magazine, in an obituary of textile designer and hand weaver Dorothy Liebes in 1972, called her, “the mother of the twentieth-century palette.” Liebes’ unusual and often bold use of colour, metallics, and unusual materials in her hand woven fabrics for the home helped shape the look of the post-war domestic interior in the United States. This essay looks at her approach to working with architects and interior designers within the context of her approach to colour, as well as some of Liebes’ many writings on colour published in both popular and design magazines."

Thursday, 18 December 2014

The Patriotic Face

Exclusively for Saturated Space, Joanne McNeil explores the evolution of eyeshadow pigments and attitudes towards make-up.

"This essay considers the aesthetics of eyeshadow pigments. Decades ago, blue was as customary an eyeshadow colour as lipstick in red. This pairing was patriotic, rather than natural, trimming skin to match the the Union Jack or the American Flag. Now blue eyeshadow is considered tacky and dated. It is more commonly sold in neutral muted shades of mulberry, olive, and taupe. These “natural” shades are just as decorative, in no way resembling the colour of human skin. Eyeshadow is to the face what curtains are to the stage."

Please either use the embedded reader below or click HERE to read the text.

Sunday, 30 November 2014

In Colour

^Radiator and wall tiles in the entrance corridor of the Villa Muller, Prague, 2005, photo by Adam Nathaniel Furman

Exclusively for Saturated Space, Charles Holland of Ordinary Architecture explores Adolf Loos' use of colour in relation to his notions of material integrity and of his spatial technique of the Raumplan.

Please either use the embedded reader below or click HERE to read the text.

Sunday, 23 November 2014

I Want to Invent this Colour

^Samsung Smartphone Homescreen

by Shumon Basar

I want to invent this colour. Lord knows all and he knows I'm trying. Ideally it would *just* happen, but not just like *Just Jared*. You see, I dreamt a dream in which I manage to index every colour I've ever seen -- acknowledged and not -- and from this archive that, as far as humans know, does not exist in time and in space, I concoct a single colour. It remains unnamed. Partly because I shun the pseudo poetics of 'Evening Lilac Shade' or 'Jam Surprise,' affronts to colour’s innate gaiety. And do not get me started on their numeric counterparts. Faceless strings of digits the spawn of industrialization. Soon comes the day, once again, when we name people, your children of the future, after strings of numbers. The ones their skin most closely resembles. I want to invent a colour that started in that dream -- and when you see it you will struggle to describe it too. I am not so immodest as to want to invent a new way of seeing. I leave that to the boys and girls of Silicon Valley and Seoul. I am writing to my old schoolteacher, Ms. Elceedee, a dowager now dwindling into senescence, who taunted me and told me I'd amount to nothing on this earth. I am writing to tell her about the colour I plan on inventing, most magnificent, beyond the limited scope of her punitive imagination, and that of my own heart's sight. The hues will erupt in unison. Swans will bow. Mountains blush. Search engines will wither. Prisoners will find peace. The only oversight in this otherwise most formidable plan is not knowing its fucking name. A name that people -- cultured, svelte, caring, fans of yoga -- can drop into their polite dinner conversations in and around the topics of sky, coats, skin, sex, simulations and vacation. I'm going to invent this amazing fucking colour bitch -- and by bitch I do not mean you, or any woman. I apologize, but, I just heard the phrase on a YouTube video that's been trending rather well of late. The sound was so crisp. It boomed from this TV, the size of a small state or large child, which, when switched on by retina eye recognition + NSA verification, the screen lit up in an array of colours only ever cited by the lucky few who venture North to the Aurora Borealis. That impossibly smooth landscape of vaporous colour bleeding seamlessly into each other. Perfect gradients. Cries and whispers. This colour, which cannot remain so doggedly without moniker forever, dear Lord, this colour is the one I want to invent.

Shumon Basar is a writer currently working on a book with Douglas Coupland and Hans Ulrich Obrist entitled The Age of Earthquakes: A Guide to the Extreme Present, which will be published by Penguin in March 2015. 

Sunday, 16 November 2014

Blue is For Blondes

^Parents Magazine, July 1970

Exclusively for Saturated Space, Alexandra Lange explores the evolution of American children's colour-space in the 20th Century.

"Recent research on the history of children and color shows that the gender binary (blue is for boys, pink is for girls) is of postwar vintage. Color has been an indicator, in the pint-sized realm, of so many other things. Age, separating the wardrobe of white-dressed infants from the breeched in colored rompers or knickers. Interests, manifested in wallpapers with transportation scenes or Western stampedes. Program, with bright colors in the playroom and soothing hues in the bedroom. Complexion, red for brunettes and blue for blondes. This essay explores a few of those choices, which overlap and interweave rather than advancing toward a color-coded future."

Please either use the embedded reader below or click HERE to read the text.

N.B the following note from the author:
"As my title suggests, the texts and images I examined seem to mean, by and large, "white children" when they say children. When talking about children and color, particularly in reference to complexion and appropriate historical themes, I expect there were different recommendations for non-white children historically, and indeed separate merchandising and advertising histories in the early 20th century. I did not find good references to such material in this first pass at the topic, but acknowledge the omission and plan to research further."

Monday, 3 November 2014

Your Gaze

^image from Tim Maughan's Instagram Feed

Exclusively for Saturated Space, Tim Maughan explores through prose the effect that digital consumption and the 'instagrammed' mediation of reality has on the timbre of our vision.

"Originally conceived by imagining what the world might look like if we could apply Instagram style colour filters to reality, 'Your gaze, brought to you by our sponsors' ended up being an exploration of how digital palettes alienate us from the true colours of reality, how the male gaze shades virtual worlds, and how social media has made us all the content between advertisements."

Please either use the embedded reader below or click HERE to read the text.

Wednesday, 8 October 2014

Pink Shirts & Pugin

^‘A little yellow drawing‐room’ painting by W.B.E.. Ranken from Basil Ionides, Colour and Interior Decoration, 1926

Exclusively for Saturated Space, Timothy Brittain-Catlin, author of "Bleak Houses: Disappointment and Failure in Architecture", writes about colour as an architectural weapon in the domestic environment.

"One doesn’t tend to think of interior designers as being natural terrorists, but in common with artists of other kinds they can deploy colours as if they were weapons, and they have a rich arsenal of materials with which to do it. A fully designed modern interior will plant colours into the house at different scales with different textures, in order to inflict a sequence of unavoidable colour combinations on the residents.

Architects should learn from this. Architecture is, so we think, a bigger thing than interior design, mainly because its elements are meant to be there for ever. This paper described how colour in architecture can be and has been deployed as a weapon against the unsuspecting."

Please either use the embedded reader below or click HERE to read the text.

Monday, 15 September 2014

Only Illusions and Nothing to Hide

^Marble floor tiling from the Capitoline Museum in Rome. According to the Capitoline Museum's website it's from the first half of the 4th century AD, recovered from the Esquiline Hill in Rome (Basilica lunii Bassi)

Exclusively for Saturated Space, Molly McCormick writes about the complex relationship between coloured marble and Roman Identity.

"Over the course of two centuries, Ancient Rome evolved from red brick backwater town to the coloured marble centre of the western world. However it didn't happen without a fight. To Pre-Imperial Senators, coloured marble was both alluring and dangerous: deathly cold, hotly debated. So how exactly did it become the covering of the Caput Mundi? For that, we look at a history of exoticism, misogyny, public relations and Imperial might that revolved around a seemingly innocuous material. One that was, eventually, essential to the culture of the eternal city. Both then and now."

Please either use the embedded reader below or click HERE to read the text.

Monday, 25 August 2014

Shades of Grey

^Student, Gerhard Richter, Oin on Canvas 1967 (source)

A Saturated Space contribution by Bernd Upmeyer, editor-in-chief of Monu magazine, that looks as Grey as a veil for the diversity of the full colour spectrum, an analogical symbol for a unity between multiplicities which he explores at the scale of publication, architecture and the city.

Please either use the embedded reader below or click HERE to read the text.

Monday, 4 August 2014

Ermine It Ain't

^Boris Johnson visiting the Crossrail dig

Exclusively for Saturated Space, Will Wiles (Author, Freelance writer and contributing editor for Icon Magazine) writes about the paradoxical invisibility of the ubiquitous, socially ambiguous, and as he discovers politically revealing phenomenon of Hi-Viz clothing.

"Fluorescent high-visibility safety gear has risen to dominate the British workplace and street scene. It's now commonplace to observe that the bright stuff, intended to be seen, has been made invisible by its ubiquity. But hi-viz is loaded with complicated and often contradictory meanings, and is increasingly prey to right-wing political appropriation – as the uniform of “hardworking people” – and condemnation – as the sign of “health and safety” and petty officialdom run riot. It has much to say about work, class and authority in modern Britain. Perhaps it's time to make it visible again."

Please either use the embedded reader below or click HERE to read the text.

Tuesday, 1 July 2014

It Ain’t Just (Black and) White: Thoughts on Colour in Architecture

^ James Turrell, the wolfsburg project at the kunstmuseum Germany

Exclusively for Saturated Space, Aaron Betsky writes an epic meander through the interrelationships between nature, the man-made, modernism and the local, the digital and the artistic, via the tones and hues of the spaces our bodies inhabit and which our architects design. Seeing the current design of spaces blending into a uniform gradient of smooth grays, he holds up some profound traditional, and excellent contemporary examples of inspiring alternative trajectories which defy the fashionable march into colourless entropy.

Please either use the embedded reader below or click HERE to read the text.

Wednesday, 4 June 2014

Meeting Chroma the Great: Pantone, From Chemistry to Fashion and Back

Exclusively for Saturated Space, Margaret McCormick writes about that ever- fashionable, and seemingly ubiquitous colour-matching corporation, Pantone.

"From its humble beginnings in 1963, Pantone made itself essential to manufacturing on a global scale via the creation of the Pantone Matching System (PMS) ® which revolutionized colour reproduction and selection. Though in the wake of the digital age, the company has sought a new image to stay relevant. Now describing itself as the “authority” on colour, Pantone has cornered the market on what makes a colour cool, hip and fashionable. But how does “cool” happen? What makes Pantone the authority and how does this change in branding affect a greater discourse of design?

The answer is one of perception and precedent, marketing and manufacturing, chemistry and charisma."

Please either use the embedded reader below or click HERE to read the text.

Wednesday, 7 May 2014

The Colour Purple in Ancient Rome

^Purple Blood, by Kurt Cobain

Exclusively for Saturated Space, Mark Bradley tells the story of Roman attitudes to authenticity and wealth through the colour purple...

Purple was, in a number of ways, the most important colour of classical antiquity. It was the colour of one of the fastest and most expensive dyes available to Rome, and for the imaginative Roman observer it could also describe the sea, blood, flowers, gems and marbles, even swans and rainbows. During the Roman Empire, it became increasingly associated with imperial authority, and politicians, poets and historians developed a sophisticated and versatile language for distinguishing and describing the various shades and patterns of purple that were available. This paper explores how one colour evolved as a marker of political, social and religious authority from the early Empire through to late antiquity, and discusses its development as an aesthetic category that qualified and distinguished a wide range of objects and phenomena. By examining the transformation of purple in ancient Rome, this paper puts to the test the axiom that the senses, and the way they are used, are shaped by the social and cultural preoccupations of the time.

Please either use the embedded reader below or click HERE to read the text.

Monday, 14 April 2014

Ruby Slippers: A Journey with Colour in the Land of Oz

^illustration by W.W. Denslow, 1900

Exclusively for Saturated Space, Hillary Bretcko writes about colour in the Land of Oz, and by extension, our cities through the lens of imagination...

"First published in 1900, L. Frank Baum's The Wonderful Wizard of Oz was revolutionary in its treatment of fictional worlds and the book as an object inherently tied the the story. This investigation into Dorothy's tale traces the use of colour throughout the book as it relates to themes of place, identity, artificiality, and perception as well as how the Wizard's City of Emeralds parallels our contemporary understanding of the global City."

Please either use the embedded reader below or click HERE to read the text.

Monday, 10 March 2014

Two Photographies

^RMIT Swanston Building by Lyons Architects, Melbourne  <source>

Exclusively for Saturated Space, Douglas Murphy writes about colour in architectural photography...

"The new media world of design blogs and other platforms have changed the way that architectural photography is experienced, and a new generation of photographers have been developing a new digital aesthetic for depicting architecture. This essay discusses the strange experience of seeing canonical buildings of the modern period portrayed in a different photographic style to convention, and discusses some of the links between the development of late 20th century architectural styles and changes in the conventions photographic depiction, focusing primarily of the introduction and transition to colour photography within architectural publishing."

Please either use the embedded reader below or click HERE to read the text.

Thursday, 20 February 2014

Colour as Synaesthetic Experience in Antiquity

^ "The Wine-Dark Sea" by Randall Stoltzfus (2004)

Dr Mark Bradley writes for us about the broad range of allusive meanings and sensory references mixed up in the delightfully metaphoric & inconstant nature of colour description in the ancient world.

"Colour is about more than just lightwaves hitting the retina. In ancient philosophical circles, colour was often described as the primary object of vision: it was the external ‘skin’ that existed at the surface of an object, and what made the object visible or ‘sensible’ to a viewer. And yet, Greek and Roman literature is riddled with examples of colour categories that do not make sense simply in visual terms: from Homer’s ‘wine-dark sea’ to ‘whey-coloured’ skin in ancient medicine, from blushing faces to the honey-coloured hair and marbled skin of coveted girls in Augustan elegy, and from the saffron garments of decadent easterners to the expensive fishy-smelling purple robes of the late-antique imperial court, colours appealed not just to sight, but also to smell, touch and taste. This essay suggests that colours in pre-modern societies such as Greece and Rome, because of their close ties to specific objects and phenomena (rather than just parts of the spectrum), were frequently synaesthetic experiences which appealed to multiple senses and mobilized more than just eyesight. Colour was a basic unit of sensory information through which ancients experienced and evaluated the world around them, and the collaboration of the senses in these experiences suggests an approach to perception, knowledge and understanding that could be very different from that employed in the modern west."

Please either use the embedded reader below or click HERE to read the text.

Reproduced with the permission of Acumen Publishing from S. Butler and A. Purves (eds) (2013) Synaesthesia and the Ancient Senses (‘The Senses in Antiquity’ series, volume I). Durham: Acumen. See

Thursday, 13 February 2014

Saturated Space V: The Drama of Colour

Thanks to everyone who came to our fifth event at the AA on the 10th February 2014, marking the second anniversary of much colourful discourse about Architecture, Urbanism and the Arts.
Please see below for the online versions of the lectures that were given that day, and click HERE for the rest of the online lectures on our Vimeo channel.

Above, Juliet Rufford on Performance Studies & the Uses of Theatricality

Above, Ivana Wingham on the Roman Baroque & Illusion

Above, Brian Hatton on Decoration Vs Ornament

Above, Antoni Malinowski on the Theatricality of Colour & Line

Sunday, 2 February 2014

Out of the Blue and Into the Pink

^Still from "Gentlemen Prefer Blondes" 1953, 20th Century Fox (source)

Exclusively for Saturated Space, Courtney Coffman writes about the 'colour that shall not be named', the luminous prancing preening painted fleshy omnipresent elephant in architecture's proverbially very white, abstracted and empty room...

"Culturally known as the most kitsch and taboo colour, pink has been making a recent appearance in contemporary architecture. At present, the history of pink in its use in architecture and art has been theorized and recognized by few, yet the use of pink elicits modalities of affect. Moving beyond the confines of domesticity and feminine spaces, pink may be claiming new disciplinary territories but there remains a self-consciousness as many practitioners restrict its application to interior-specific conditions. Yet, when pink does move into an exterior condition, the project remains domestic in scale. From book covers, installations, interiors, pop-up shelters and objects du jour, it seems fitting that pink is saturating contemporary discourse as the colour itself oscillates between natural and artificial, flesh and mechanization, innocence and sexuality. More definitive than the themes pink embodies is the specific hue of pink in contemporary work: magenta. Perhaps magenta is the new-and-improved cathode ray blue, despite its appropriation to novelty and popular culture."

Please either use the embedded reader below or click HERE to read the text.

Thursday, 21 November 2013

The Nothing That Consumes: How Battleship Gray Changed Design


Exclusively for Saturated Space, Margaret McCormick writes about the inadvertent rise of an all-consuming grayness so prevalent, so ubiquitous that we no longer even notice it, its insipidness, the lowness of its omnipresent chromatic common denominator.

In 1909 the Royal Navy began painting everything within grasp a vague, nothing kind of colour, one that was intended to be useful, not beautiful. Yet over 100 years later “Battleship Gray” has become the inescapable basis of almost all design and subsequently, most of the physical world. More than a post-war standard-issue metaphor for bureaucratic oppression or a dogmatic footnote in architectural academia, it is the colour of purgatory and boredom, the promise of a future while the soul is mortgaged: doing far more for and to design that it has ever been credit for. Further, the only way to break the bonds of its oppression is to acknowledge it as fact.

Please either use the embedded reader below or click HERE to read the text.

Wednesday, 23 October 2013

Shanghai de Lux: Projecting Modernity

Exclusively for Saturated Space, Evan Chakroff writes about Shanghai, its lights, its past and its projected future present.

"In Shanghai, light and colour give designers, planners, and policy makers the freedom to present an idealized image of their buildings, their city. Dynamic, animated lights dance through the haze, but hidden by darkness, massive fissures split the sidewalks, the water is undrinkable, and the air is toxic. While the idealized image the city seeks to project is one of uncontested modernity, conditions on the ground (in the harsh light of day) deny this. Architectural lighting is thus instrumental – even essential - in the projection of modernity, and represents a key aspect of Chinese society’s reclamation of agency following a long period of oppression and turmoil."

Please either use the embedded reader below or click HERE to read the text.

Monday, 2 September 2013

Functional Colour

^Lever House <source>

A paper by Michael Abrahamson exclusively for Saturated Space.

the notion of a “functional” colour – colour that does something for or with or to you – was common in the 1950s, and not only in advertising. A revolution was underway in the way products and environments were colourised, one in which architects and interior designers actively participated. Coined by colourist Faber Birren in the 1930s, "functional colour" was a banner that symbolised an empirical system of colour selection. This paper tests Birren's intentions against the application of colour at Lever House in New York, one of his most favoured architectural examples. The New York headquarters of Anglo-Dutch fats and oils conglomerate Unilever and its subsidiary Lever Brothers, much attention was lavished on the colourisation of both its outside (by Skidmore, Owings & Merrill) and its inside (by Raymond Loewy Associates). And yet, most historical study of Lever House to date hasn't penetrated its sleek, blue-green skin to reveal the colour systems at work within. Just what function did these colours have? 

Please either use the embedded reader below or click HERE to read the text.

Friday, 26 July 2013


"Eupnea" is a film by artist Ilona Sagar exclusively for Saturated Space. It explores the colour-space of healthcare environments in Britain, which to this day are guided in their design by colour analyses from the 1950s. This has created a historic and continuing relationship for millions of people between whole generations of memories and experiences across the gamut of life's most intense moments -from birth, to illness, dementia, and death- in which specific colours, surfaces and spaces become intertwined, become active players in the pain, hope, fear and release of the NHS' countless visitors.

Please be advised that this film is best viewed with headphones.

Artist's Description:

"The film focuses on the connection between colour, health and well-being through its manifestation in the design of hospitals. Hospitals can be seen as the site of a collision between internal and external languages in design, cognition and the human body. The external syntax of technical & functional systems clashes with an internal language which is messier, more visceral and emotional.

The film is an attempt to destabilise the identity and lineage of familiar municipal design languages and question the impact such syntax have. Much of the aesthetic of the film is charged with the Faden Birren functional colour chart for hospitals, schools and factories (1950,61,87). The highly influential therorist, Birren was primarily interested in the function of colour in workplace environments, and how to positively improve or challenge public, or shared environments. His functional colour schemes utilised tangible evidence rather than individual taste as their basis. Although the colour chart has become outmoded in other public sectors, it has been consistently referred to and used in the design of care environments. Originally intended to stimulate, heal and break up the institutional aesthetic, these colours have since become most strongly associated with the institutions of health.

As a part of the development of the film I interviewed ex-patients, health workers and architects anonymously about their experience of the hospital environment, with a particular emphasis on colour. They were asked to give an account of their time there without naming themselves, the hospital, or the reason for their stay. These monologues capture recollections of colour, form, texture and the subjects’ personal, often discordant relationships with the space.

Daylight green, dust yellow and muted blue are a few of the colours from Birren’s charts which have featured repeatedly in the interviews I have conducted.

The soundtrack to the piece features the choir 'Force Majeure'. Key to the design of a health environments is the visceral body, both as a passive and active agent. The choir takes on the role of an ‘organ’ or ‘organism’ both as musical construction and a body of people. The sounds produced by ‘Force Majeure’ range from abstract and onomatopoeic to the more familiar strains of traditional music. They represent a mute and stuttering dysfunctional language within design, but also in the body.

These intense layers of experience form a film work that can be read as a description of an existing building or a proposal and stimulus for a new health environment. In fact the film will define a space that sits somewhere between analysed reality and fictional proposal in an effort to interrogate the tacit meanings embodied within these charged spaces, and our relationship to them."


Voice Over: Penelope McGhie 
Choir: 'Force Majeure'
Sound Design: Doug Haywood
Gaffer: Tom Nowell

Ilona Sagar (b.1985, lives and works in London) received her BA in Fine Art from Goldsmiths College (2008) and her MFA in Sculpture from the Royal College of Art (2012). Sagar explores our shared interactions in both public and private space through the construction of fractured multimedia narratives, which are often overlaid with institutional system codes native to museums, churches and theaters. Recent exhibitions include Part of a Larger Whole, EU Commission (2013) UK, FEST13 New Directors Film festival (2013) POR, Heart of Darkness, Le Centre national d’art contemporain, Nice FR (2012); Unsound House, Carslaw St Lukes (2012); The Visionary Trading Project, Guest Projects (2012); States of Matter, the Swiss Church (2011); and Architectural Playgrounds, Barbican Gallery (2010). This October she will complete a commission for Art on the Underground in association with the publication Art Licks.