Significance of Basic Design Elements in Spatial and Cultural Environment of Built Forms

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IJTSRD
Education
Volume 4 Issue 5
International Journal of Trend in Scientific Research and Development (IJTSRD)  
Volume 5 Issue 4, May-June 2021 Available Online: www.ijtsrd.com e-ISSN: 2456 – 6470 
 
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Page 917 
Significance of Basic Design Elements in 
Spatial and Cultural Environment of Built Forms 
Dr. Mukesh Kumar Lalji1, Dr. Amogh Kumar Gupta2, Dr. Sheetal Sharma3 
1Vice-Principal, Department of Technical Education, Employment and Skill Development, 
M. P. Govt. S. V. Polytechnic College, Bhopal, Madhya Pradesh, India 
2Professor and Head of Department, Institute of Architecture, 
SAGE University Indore& Chairman BOG, SPA, Delhi, India 
3Professor and Dean, School of Architecture, Vellore Institute of Technology University, 
Bhopal, Madhya Pradesh, India 
 
ABSTRACT 
Built form in any Organization carries the essence of any design and doing 
nothing is also a form of design. Elements of Design needs to be carefully 
studied and applied to creation of any space. Design sometimes suffers from a 
dilemma about its identity. It is not solely either an art or a science but is a 
combination of both. Applied design is not like physics or biology or writing or 
painting, but; it involves these areas and more. Design tends towards a 
generalized approach, collecting specifics from diverse areas as needed. 
Design is a combination of art, science, technology and intuition. Design does 
contain sound proven principals and criteria for judging its success. It is a 
combination of ideas, methods, deliverables, forms, functions and appearance. 
These criteria centre on the relationship between human needs and human 
environmental possible. The measure of the success of a particular applied 
design is how well it meets the needs of the people experiencing it.  
This paper discuss about the elements of design and the techniques used to 
incorporate them in ideal spatial creation. Balance and Positive combinations 
of form and functions 
 
 
KEYWORDS: Light, Colour, Form, Function, Space, Art, Architecture 
 
 
 
 
 
 
 
How to cite this paper: Dr. Mukesh 
Kumar Lalji | Dr. Amogh Kumar Gupta | 
Dr. Sheetal Sharma "Significance of Basic 
Design Elements in Spatial and Cultural 
Environment of Built 
Forms" Published in 
International Journal 
of Trend in Scientific 
Research 
and 
Development (ijtsrd), 
ISSN: 
2456-6470, 
Volume-5 | Issue-4, 
June 
2021, 
pp.917-925, 
URL: 
www.ijtsrd.com/papers/ijtsrd42473.pdf 
 
Copyright © 2021 by author (s) and 
International Journal of Trend in Scientific 
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1. INTRODUCTION: 
The introductory foundation of art and design deals with the 
elements and principals of design composition. It entails a 
brief knowledge of Indian religion, traditional and 
contemporary art and their uses in home. It also gives 
experience in freehand drawing, scale drawing, knowledge 
of law of field size and creating designs of art objects. Design 
is very much a part of our daily lives, it is found in nature as 
well as in man-made environment. Shapes, forms, colours 
texture etc. all combine to become a unify whole, which is 
commonly called “a design” arrangements one becomes 
aware of shapes, form, colour and texture. When each 
individual part (element), unifying in its own way, has 
carefully been placed together with all the other parts, it 
results in a unifying and beautiful whole (one design). 
Designing then is the act of arranging things to create a 
single effect. In designing the “elements” are the things we 
work with and the principals are what we do with them 
(elements).Space, line, shape, form, colour, value and texture 
are the elements with which artist work at create a design. 
The principal such as- balance, movement, repetition, 
emphasis, and contrast are ‘what’ artists do with the design 
elements to make a pleasing and satisfying “art form” 
 
2. ELEMENTS OF DESIGN 
Brief introduction of the Design elements like: 
 Space, 
 Line,  
 Shape, 
 Light, 
 Texture, 
 Form and  
 Colour 
2.1. SPACE 
Space is an element which surrounds us. It is plastic, in that 
it stretches to infinity, can be compressed into the most 
minute crevice and, yet exists only as a concept. Space can be 
experienced two and three dimensionally and it is a vital 
part of design. 
The effect of space varies with its application. An airplane 
moving across the sky is surrounded by space and a sense of 
openness & freedom exists. But what about the feeling of 
space in a crowded elevator? Space is there but the effect is 
entirely different. Forms have substance and they occupy 
space. This occupied space is known as Positive Space. 
Unoccupied or empty space is known as Negative Space. In 
works of art, the negative area plays a part as important to 
the whole design as the positive areas. 
 
 
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Figure 1 Feeling of Space in room with opening 
 
Figure 2 Feeling of Space in room with wall 
A flat surface has only two dimensional spaces which mean 
that, it has length and width but no depth. A canvas, on 
which an artist works, is flat surface and is called a picture 
plane. It is not possible to create actual depth or space in this 
picture plane, but an illusion of space, distance or depth is 
possible. Depth can be suggested with the use of converging 
lines. Parallel lines, as they move away into the distance, 
appear to come closer together, thus creating the illusion of 
distance and depth. 
Colours also have an effect on space. Warm or bright colours 
appear to be closer to the picture plane, whereas cool or dull 
colours tend to reach into the distance. When parts or areas 
of a flat picture plane are physically projected into space, a 
third dimensional form is created. 
2.2. LINE 
Line plays an important role in design. A line can simply be a 
mark or dot or point made by a pen or it can be any 
continuous mark which causes your eye to follow along its 
path. In design, line specifically refers to an actual or an 
implied mark, path, mass or edge, where length is dominant. 
Eyes readily travel along a line because a line is longer than 
it is wide. 
A line moves, and when it does so, it indicates direction by 
travelling in a path that leads somewhere – up, down, under, 
around, through, back, forward, left, right, into, over, 
diagonally, across etc. Frequently, lines which travel in many 
different directions at one time create an entirely different 
illusion than a single directional line. A single directional 
strength line leads the eye swiftly across the picture plane. 
Lines appear in different ways. There are curved lines, 
straight lines or a variation of the two. They can be long, 
short, thick, thin, sharp, light, dark, simple, or complex. Lines 
can be broken and yet have direction. 
They can be textured and coloured. A bold line indicates a 
feeling of power & confidence. Fine lines project a feeling of 
sensitivity; timidness; unsurely; distance etc. 
2.3. SHAPE 
Whenever we use a line to enclose an area, we create a 
shape. Also a combination of lines, results in shapes. Ways to 
recognize shapes are through difference in colour, value or 
texture between a shape and the area around it. A shape or 
figure is called a positive shape and occupies positive space. 
The area surrounding a shape is called the background/ 
foreground as the case may be. It is called a negative shape 
and occupies negative space. 
The shape of the fish is clearly distinct against the 
background because the line of the edges is sharply defined. 
Frequently, shapes are not clearly defines with sharp, hard 
edges, and it is more difficult to see where the shape ends 
and the background begins. There are all kinds of shapes – 
solid or opaque, linear, textured, coloured and outlined. 
Shapes can be transparent, revealing still other shapes 
behind them. Shapes may be party covered by other shapes 
may touch other shapes or stand alone. There are shapes 
within shapes and shapes around shapes. Similar shapes 
need not necessarily be identical, yet they can have a 
common relationship, which visually ties them together. 
Contrasting shapes differ from each other; depending on the 
treatment they have been given. Some shapes will command 
more attention than others, depending on their size, colour, 
value, texture, detail or their location. Shapes can promote 
new feelings and awaken old ones by making one relate to 
what is known and felt about your own environment for 
example, tall shapes are elevating. Solid shapes appear to be 
stable. Long flat shapes express calmness, and directionally 
downward shapes activate the sense of falling. Shape refers 
to the edge contour of a plane or the silhouette of a volume. 
It is the primary means by which we recognize and identify 
the form of an object. Since it is seen as the line that 
separates s form from its background, our perception of a 
form’s shape will depend on the degree of visual contrast 
between the form and its background. 
 
Figure 3 Stable, Unstable Shapes 
 
Figure 4 Shape forming to get recognized. 
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In architecture, we are concerned with the shapes of:  
 Planes (floors, walls, ceiling) that enclose space. 
 Openings (windows and doors) within a spatial 
enclosure 
2.4. LIGHT 
Light has different meaning for different people. To the 
physicist, it is a form of energy known as electromagnetic 
energy. To humans, light is a sensation or perception. There 
are two kinds of light – light from natural sources (primarily 
the sun) and light from artificial sources (primarily candle, 
fuel & electrical). 
There are three sets of interdependent requirements for 
adequate lighting. First, there is the functional requirement 
exacted in interest of securing adequate light for the physical 
task of seeing. Then, there is the psychological requirement 
that, lighting contributes its share towards the establishment 
of the atmosphere of space. Lastly, there is the design 
requirement for good lighting. IN the fulfillment of this 
requirement, the light must enhance the visual design of the 
object directly. All of the above must be synchronized in 
order to obtain good and adequate lighting. 
 
Figure 5 Light from Artificial Source in a corridor 
 
Figure 6 Light from natural Source 
 
Figure 7 Artificial Light 
2.4.1. Effect of light on colour and texture: 
Direct and indirect lighting, whether artificial or natural, 
have definite effect on the total value of the colour e.g. direct 
light on any colour will look dim or dull in the tonal values.  
2.4.2. Reflection of light 
To a large extent the colours used in decoration and the 
lighting schemes must be interrelated since the reflection of 
light from various surfaces will affect the overall level of 
illumination in the room. This is of considerable importance 
in an area such as a kitchen or server and counter where 
lighting is primarily considered as a functional requirement, 
but is often of less significance in a restaurant where the 
lighting is also used as an element of design. 
Light reflection from a surface will depend on the hue – 
colour in the sense of red, green, blue and so on; value – 
lightness ranging from 0 (black) to 10 (white); and chrome – 
saturation or intensity expressed from 0 (neutral) to 16 
(strongest colour).Under the Munsell system (BS 2660: 
1955) each colour is given a designing based on these scales 
and the percentage reflectance of light from a surface can be 
determined from the Munsell value using the following 
formula: 
Percentage Reflection = Value x (value – 1) 
The way in which light is reflected from a surface will also be 
affected by the concentration and direction of light falling on 
it and by its nature – i.e. whether a matt or gloss finish. 
2.5. TEXTURE 
Texture is the quality of a surface, whether it is smooth, 
rough, dull (malt) or glossy. We are able to observe texture 
visually, through sight and the sense of touch. The variety of 
reaction that is activated by touch is unlimited. Consider 
your own sensual reaction when you touch a feather and 
compare it to the sensation you feel when you touch a 
pineapple. 
Similarly, a different textures surface, painted with the same 
colour, creates interest because – tonal variations, due to 
smooth textures and rough textures surfaces, give brighter 
and darker tonal values, e.g. Sand-faced plaster and rough 
cast plaster wall painted with same colour will give different 
tonal values and different colour shades. Visually, texture 
can convey (I) richness as in silk against jute, (ii) harshness 
such as rough cast plaster against smooth plaster or rough 
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against smooth stone and (iii) fineness such as granite 
against marble or polished wood. Texture gives character to 
the design and it creates interest in appearance at the same 
time breaking the monotony. 
2.6. FORM 
Form shapes the space in which we line, by establishing its 
limits. 
Form defined as three dimensional shape, mass or structure, 
is the most inclusive and unchanging element of our usual 
world. Form is a word of many meanings, one to the 
accountant, and other to a lawyer, and another to the 
magician and so on. It is nothing definite but to the architects 
or interior designers, what you can see as a structure such as 
a door, which may be rectangular or door with an arch. Is a 
form. Similarly so many examples can be quoted and it can 
be seen as if it resembles a number of forms of natural things 
like flowers, leaves, trees, mountains, clouds, sun, stars etc. 
Form can be of any material – steel, concrete, brick, wood, 
glass, plaster, or combinations of these. There are only three 
basic forms: Plastic, Skeletal and Planner. Each of these basic 
forms might be rectilinear or curvilinear. If the form is 
rectilinear, its planes or solids are flat – like a square box – 
but if the form is curvilinear, its planes or solids are curved 
like a round box. Designers refer to certain forms as hard or 
soft. They are not referring to the material of the form but to 
their shapes. Hard forms have sharp edges whereas soft 
forms do not have sharp edges but, may have the curved or 
chamfered corners. 
 
 
 
Figure 8 Plastic, Skeletal and Planner Form. 
 Plastic form is not the material but it is a solid structure 
with minimum small sized punctures. 
 Skeletal form is one where in the frame-work is made 
prominent. 
 Planner form is an interlocking of horizontal, vertical or 
inclined planes of the structure. 
In interior designing, where it is combination of art, science, 
technology & intuition, the design of the furniture or space 
must be such that, it can be very comfortably activity. One 
must keep in mind that form must follow function and not 
vice versa. 
This phrase simply means that, the design of an object grows 
out of its purpose. The utilitarian function of the table forks 
and spoons is to carry food from the dishes to the mouths; of 
chairs to provide comfortable support to bodies in sitting 
position; of chests of drawers to store clothes; of walls and 
ceilings to provide enclosing protections and of windows to 
bring light and air into the house. Nearly everything in the 
house serves a specific useful function and that function is a 
basic consideration in its design. 
2.7. COLOUR 
This is one of the most important elements, which bring life, 
beauty (aesthetics), mood, emotion and character to the 
design. 
Since the beginning of time, colour in the world, at large has 
made a definite impression upon the human receptive 
nature. The systematic study of this subject, however, is a 
comparatively young science. It deals with influence in 
almost every part of human experience. Right from the 
colour of the handle of one’s toothbrush to the festival of 
colour named. Holi, which is celebrated with great 
enthusiasm in India, clearly indicate the utilization of colours 
in the stimulation of life and growth. 
What is colour? It is a sensation which causes stimulation of 
the eye. The white light, we see as daylight, is made up of all 
the colours of the rainbow. It is the mixture of light waves of 
different wavelengths that create a white look. 
2.7.1. 
IMPORTANCE OF COLOUR: 
Colours play a vital role in our lives in atmosphere and make 
it more interesting to live in. What about the effect of colour 
on our mood? Imagine the colour of a clear, bright blue sky 
on a cool, crisp day, which quickens our emotional response, 
and compare it to a dull, overcast grey sky. The first suggests 
cheerfulness and the latter, a feeling of somberness and 
sadness. 
2.7.2. EFFECT OF COLOUR ON HUMAN MINDS: 
Think about the psychology of colour ted walls seems to 
move forward: blue walls recede. It is does not work for you, 
do not worry. It’s never been proven. The reason? People are 
different, confronted with a red wall; one person reacts 
differently from another person with different experiences 
and sensitivities. 
If you are told a colour is fiery red, the colour would seem 
hot to you. If someone labels a colour cool green, you will 
probably believe it. It is not to so much a ca case seeing 
believes as it believes is seeing. A suggestive label leads to 
believing. A suggestive label leads to believing. But this does 
not necessarily mean everyone will see it that way. What is 
important is how you see colours. 
Besides emotional, colours have physical effects as well. A 
cotton judging establishment served a district consisting of 
several plantations. One year, the crops produced a much 
lower grade of cotton, the grading being determined by its 
whiteness, inspite of there being no change in seed, soil or 
rainfall. Someone finally solved the mystery. The large north 
windows of the cotton laboratory faced a high wood fence. 
During the year the fence had been painted red. Red 
reflected into the laboratory making the cotton appear less 
white than normal and therefore of poorer quality due to its 
reddish tint. 
 
Figure 9 Colour Spectrum - Light and Pigment Colours 
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2.7.3. Sources of Colour 
Colour in a restaurant or lounge may be created by three 
main techniques:  
 Coloured lights illuminating a white or neutral screen, 
draperies or background; 
 Coloured lamp shades over tables and other areas; and  
 Colours in the decoration and furniture producing 
reflection effects. 
The first method has limited application but provides the 
advantage of versatility since the positions of the lamps, the 
direction of the light, the colours used and the position and 
shape of the background curtains or draperies can all be 
modified to create animation and interest and this principle 
can be applied with fascinating results on water fountains 
and waterfalls. 
Coloured lamp shades are a useful way of producing local 
colour – for instance a pool of colour around a table, or over 
an alcove. However, this must be applied with caution and 
used only in local areas of neutral tones (black, grey and 
white). The effect of coloured light falling on a surface of 
another colour is to reflect only the chrome which is 
common to both. If the colours are in contrast the surface 
will simply appear black or grey.This effect of lighting on 
colour is also important when a restaurant changes from the 
use of natural lighting in the day time to artificial 
illumination in the evening, particularly where fluorescent 
lighting is used.Most of the colour and contrast in a room is 
introduces in the decoration of the walls and ceilings, and in 
the carpet, curtains and upholstery of chairs. Coloured table 
cloths and place mats will also provide splashes of local 
colour by reflection of light.  
2.7.4. Colour Combinations 
The range of colours which forms the spectrum in composed 
of three types: 
1. Primary colours – red, yellow and blue; 
2. Secondary colours – produced by mixing two of the 
pigments of primary colours in equal proportions 
(orange = red plus yellow, green = yellow plus blue, 
purple = blue plus red) ; and  
3. Tertiary colours – formed by mixing a primary and 
secondary colour, the effect depending on the 
proportions used (e.g. blue plus green = turquoise). 
The intensity of chrome of a colour can be modified by 
adding black, grey, or white to produce different tones. 
Shades are colours mixed with black or grey and tints are 
colours lightened by white (i.e. pastels). 
Colours can be represented as a circle to show their 
relationships and effects: 
 
Figure 10 Colour wheel 
The colours to the left lend to be dark or heavy while those 
to the right are light with a high reflective value. Colours on 
opposite sides of 
the circle are contrasting or 
complementary while those adjoining each other are said to 
be in harmony. A strong pure colour – one with high chrome 
– tends to dominate over larger areas of tinted pale or 
neutral colours, and can be used to highlight specific features 
of design or pattern. Similarly, metallic paints or films such 
as gilding can be used on prominent features to reflect light 
and sparkle. 
2.8. Effect of Colour 
Most colours tend to produce psychological responses 
mainly because of familiar associations with those colours in 
other areas and because of the effects of each particular 
stimulation of the sensory nerves of the eye. 
Blues and greens from a natural background role (sky, grass, 
trees) and tend to be seen as cool, relaxing and soothing 
colours which make the surface recede. They are less quickly 
and easily discerned in detail, and should be used in pure or 
pastel tones rather than grey shades. Dark blue is inclined to 
be oppressive (night) and should preferably be limited to 
small areas of detail. Having regard to the weather these 
colours are of limited application in restaurant design in 
northern climates and should not be used in rooms with a 
north aspect. 
Oranges, reds and yellows (sunshine, heat, fire) are by 
contrast warm stimulating gay colours tending also to 
advance sociable environment. These colours tend also to 
advance surfaces, making a room appear smaller and more 
intimate. The reflection of red tints has a flattering effect and 
tends to emphasis the richness and freshness of meat. 
Brilliant hues of these colours, however, must be used with 
caution. Against a background of direct contrast, for example 
red against green, the prolonged effect may be to produce 
dazzle and flickering in the eye. The sensitivity of the eye to 
brilliant colours such as red tires quickly and this visual 
fatigue tends to distort the appearance of other colours by 
emphasizing those in direct contrast. In a situation where 
there is a high turnover of occupancy-such as in snack bars-
bright colours may be attractive but in other situations some 
toning down or the larger areas- by dilution into shades and 
tints – is often desirable without detracting from the other 
benefits. 
Violet has almost the opposite effect of yellow, tending to 
produce an unreal sensation of withdrawal and escapism. On 
the other hand purple is a rich impressive colour (royalty) 
and is very effectively used in decoration features with gold. 
A mixture of intense colours tends to heighten the tension. 
Neutral shades such as cream and grey blend unnoticeably 
into the background. This effect is most desirable in a setting 
of elegance and simplicity where sufficient contrast in 
achieved by colours and patterns in the furnishing, paintings, 
flowers, etc, and food.Black and white is employed mainly in 
the furniture and furnishing to contrast with other colours, 
and may be used to separate different areas of colour 
schemes. White tablecloths also emphasis the colour 
contrasts of food and wine.Special effects may also be 
introduced to emphasis features and details or to provide 
focal points of interest and entertainment. Examples include 
stained glass and colouredmosaics which are often used in 
lounges and bars to add colour and sparkle, metallic colours 
or tints to impart sheen, and gilding carefully placed to 
reflect light. 
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3. STUDY OF COLOURS 
3.1. Classification of Colours: 
1. Primary Colours 
2. Secondary Colours 
3. 
Intermediately Colours 
4. Tertiary Colours 
5. Quaternary Colours 
 
Figure 11 Classification of Colours 
3.1.1. PRIMARY COLOURS 
Red, Yellow and Blue are called primary colours. The term 
primary or basic is used because we cannot get them by 
mixing other colours. They occur in either natural or man-
made pigments. By mixing a range of primary colours, we 
can get many other colours. All colours stem from these 
primary colours. 
 
Figure 11 Primary Colours 
 
Figure 12 Intermediate Colours 
3.1.2. SECONDARY COLOURS 
Whenever two primary colours are added in equal 
proportions a Secondary Colour is obtained. 
 50% Yellow + 50% Red = Orange 
 50% Red + 50% Blue = Violet (Purple) 
 50% Blue + 50% Yellow = Green 
3.1.3. 
INTERMEDIATE COLOURS 
When a primary colour and its adjacent secondary colour are 
mixed in equal proportions, we get an intermediate colour. 
1. Yellow + green = yellow green 
2. Red + orange = reddish orange  
3. Blue + green = bluish green 
4. Yellow + orange = yellowish orange 
5. Red + violet (purple) = reddish purple (violet) 
6. Blue + violet (purple) = bluish purple (violet) 
 
Figure 13 Secondary Colours 
3.1.4. TERTIARY COLOURS 
When two secondary colours are mixed in equal proportions, 
they form a neutralized primary colour i.e. Tertiary colours 
orange + green = neutralized primary Citron yellowish gray. 
3.1.5. QUARTERNARY COLOURS 
When two tertiary colours are mixed in equal proportions, 
they form neutralized secondary colour i.e. Quarternary 
colours. 
3.2. DIMENSIONS OF COLOUR 
Hue: It is the name of the colour such as yellow red, blue. 
Hue indicates the colour position in the colour wheel and the 
spectrum. In also indicates the warmth and coolness of a 
colour as under. Red is a warm colour, Blue is a cool colour 
and Green is an intermediate colour. 
Value: It only refers to the lightness of darkness of a colour, 
i.e. amount of light reflected or transmitted by the object. 
Between the whitest white and the blackest black there are 
countless degrees of light and dark values. Any hue can vary 
in value e.g. Red can become light pink of dark maroon. 
Intensity: It indicates a color’s brightness of dullness. This is 
determined by the quality of the dominant hue, e.g. Bright 
royal blue is more intense than powder blue. 
There are various ways to change a hue, value, or intensity of 
a colour. Adding white to red, changes it to a lighter red, 
known as a Tint. A colour would be darkened by adding 
black to it, and it could then be called a Shade. An Infinite 
variety of any colour is possible depending on how much we 
lighten or darken it.The tone of a colour has nothing to do 
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with its brightness or somberness; it simply means depth or 
strength of colour. In a black and white photograph, objects 
show up according to their tonal value, rather than the 
brilliance of their colour. 
3.3. STANDARD COLOUR HARMONIES 
It consists of various colour schemes i.e. Monochromatic, 
Analogous, Complementary, Split Complementary, Double 
Split Complementary, Triads, Contrast Colour Scheme, 
Harmonizing Colour Scheme and Neutrals. 
Monochromatic Scheme: This Scheme, simple but 
attractive, is one in which many tints and shades of a single 
colour are used. 
 
Figure 14 Monochromatic Scheme 
Analogous Scheme: This scheme permits the use of colours 
lying adjacent to each other on the chromatic circle (colour 
wheel). These colours are not necessarily used in their pure 
form but mixed together in varying amounts so that 
numerous shades may be developed from the few colours 
used. It is usual for one colour to dominate. 
Complementary Scheme: For a simple complementary 
scheme, two colour opposite to each other on the chromatic 
circle such as blue, violet and yellow, are used in under 
mentioned varying proportions such as 65-35, 75-25, 80-20. 
Neither of these need be used in the pure from but hundreds 
of shades may be obtained by blending them in varying 
amounts. 
Note that, the colour of the smaller area complements the 
colour of the larger area. 
 
Figure 15 Split Complementary 
Split Complementary Scheme: A split complementary 
takes the form of a ‘y’ on the colour wheel. The one are of the 
‘Y’ on the colour wheel. The one are of the ‘Y’ pointing for 
instance, to yellow orange, the other are to the yellow green 
and the stem of the ‘Y’ to violet. 
Note that, no primary colour can be split. 
Double Split (Near) Complementary: This take the form ‘X’ 
on the chromatic circle, for example, the top arms pointing to 
yellow orange and yellow green and the bottom arms 
pointing to red violet and blue violet. 
 
Figure 16 Near Complementary 
Triads: Another excellent colour scheme may be obtained by 
the mixture of triads, i.e. 3 colours located at the third points 
of the chromatic circle. For instance red, yellow and blue. 
 
Figure 17 The Triad 
 
Figure 18 The Tetrad 
Contrast Colour Scheme (Tetrad): These are usually based 
on two different primary colours red and blue for instance, 
or red and green (which is blue+ yellow). Contrast Colour 
Scheme can often be extremely effective, especially, if used in 
the proportion of 50-50, deliberately in a primitive way. 
The danger with contrast is that, they can look harsh or 
crude unless carefully handled. On the whole, they are best 
used in uneven balance. This can be used to break the 
harmonizing elements. 
Harmonizing Colour Scheme: These are colours based on 
or linked by the same primary colours. Quite a number of 
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colours that at first appear to be strongly contrasted, have in 
fact got some colour link. Pink and orange, for example, have 
some proportion of red as linking colour, orange being red 
and yellow. A one colour harmonizing scheme – that is one 
built up by using different tones and shades of the same 
colour, is probably easier to handle than any other. 
Neutrals: Perhaps the best way of defining a neutral is to 
call it a background colour-a colour which can be used in 
large areas without tiring or distracting the eyes and against 
which, other colours show up vividly and effectively, White is 
the most commonly used neutral, Black is good when used 
with white and other neutrals and grey has to be used 
carefully or it looks depressing, Brown (possibly because it is 
a mixture of three primary colours) is another very helpful 
neutral, especially, if quite a lot of grey has been added to it. 
The advantage of a neutral is that, it does not need to be 
changed too fast. 
Warm, Cool and Neutral Colours: (Refer colour wheel) 
Greenish yellow, Yellow, Orange yellow, Orange, Organism 
red, Purplish and are warm colours. 
Bluish green, Blue, Bluish purple are cool colours. 50% 
Yellow and 50% Blue i.e. Green and 50% Red and 50% Blue 
i.e. Purple are Neutral Colours. 
 
Figure 19 Colour Wheel 
4. Conclusion: 
Colours behave in most interesting ways. People are always 
fooled when they select a certain colour from a small colour 
chip to be applied to a large area. A colour of a certain hue 
and lightness appears different in interior spaces than in 
exterior spaces. It is even different in direct light and indirect 
light. The size matters, a small area will not look the same as 
a large area of the same colour. 
Thus, it is worth-while taking both time and trouble to 
understand how colours can work for you, because choosing 
colour scheme can be one of the most enjoyable aspects of 
house decoration. Through colours you can express your 
personality and make a home uniquely yours. The way the 
colours are put together in a room will determine its 
character and will differentiate it from any other. In an age of 
standardization and mass production, this is surely to be 
valued. 
Far more design freedom, application of theories, material 
choices stylistic development, locational fit, Elevation, 
options and more architectural Explorations. Architecture 
becomes important for architects own professional growth 
all over world, Designing projects most complex profession. 
Designing purpose of projects need redefinitions, architects 
own ideas also bound to change because it is critical to be 
observing the present trends. 
Architects will have their Exposure and Experience for 
designing projects. Hence the variety and diversity vise 
versa. This is the time to promote Architects collectively 
promote architecture projects and as well Educational based 
policies. Thematic approaches including cost conscious 
construction, culturally appropriate, climatically confirming, 
creativity, dialoguing, Energy Embodied, harmony with 
nature, scale of spaces, sequential privacy, connectivity, 
visual depths, functional flexibility, visual perception, 
experience of users and life cycle matters. 
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[2] Cruz, E., 2018. Biomimicry World Tour: research 
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International Journal of Trend in Scientific Research and Development (IJTSRD) @ www.ijtsrd.com eISSN: 2456-6470 
@ IJTSRD     |     Unique Paper ID – IJTSRD42473      |     Volume – 5 | Issue – 4     |     May-June 2021 
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