Corbusier swatch book

Man needs coloursto live, it is an elementas necessaryas water or fire.

Royale Aspira in associationwith Les Couleurs Suisse AG, Zurich & Fondation Le Corbusier, Paris is proud to present , for the first time in Asia, the original colours of Le Corbusier and main characteristics of his theories on colour. Le Corbusier’s tryst with India began with his monumental work in Chandigarh. Now, we renew his inspiration and creative vision through his extraordinary masterpiece of colours with the Polychromie Architecturale and the harmonious claviers de couleurs.

Le Corbusier

+

Man needs coloursto live, it is an elementas necessaryas water or fire.

Royale Aspira in associationwith Les Couleurs Suisse AG, Zurich & Fondation Le Corbusier, Paris is proud to present , for the first time in Asia, the original colours of Le Corbusier and main characteristics of his theories on colour. Le Corbusier’s tryst with India began with his monumental work in Chandigarh. Now, we renew his inspiration and creative vision through his extraordinary masterpiece of colours with the Polychromie Architecturale and the harmonious claviers de couleurs.

Le Corbusier

+

Colour in architecture– a means as powerful as the ground plan and section. Or better: polychromy,a component of the ground plan and the section itself.Le Corbusier Everything designed, whether

by us or existing in nature, has a colour and every colour evokes an emotional response. We feel and experience colour on a very deep sub conscious level. Sometimes we are aware of our responses, at other times, we are not. Either way, colour profoundly affects our experiences in this world.

While most of us react to colour in a deeply personal and instinctive way, there are certain qualities and properties of colour that are universal. We are surrounded by shades, tints and tones of several million colours. But in reality, how many colours can be distinguished? It is a well-documented fact that

the human eye can perceive just a few hundred hues. Architecture and design desire a clear and consistent system that represents the familiar colours of nature with shades that can be matched in any combination, especially if it has been handpicked by a colour visionary. In Polychromie architecturale, Le Corbusier gives us an unparalleled colour selection drawn from nature’s familiar hues. He then guides us through natural harmonious colour combinations.

© FLC/ADAGP

Colour in architecture– a means as powerful as the ground plan and section. Or better: polychromy,a component of the ground plan and the section itself.Le Corbusier Everything designed, whether

by us or existing in nature, has a colour and every colour evokes an emotional response. We feel and experience colour on a very deep sub conscious level. Sometimes we are aware of our responses, at other times, we are not. Either way, colour profoundly affects our experiences in this world.

While most of us react to colour in a deeply personal and instinctive way, there are certain qualities and properties of colour that are universal. We are surrounded by shades, tints and tones of several million colours. But in reality, how many colours can be distinguished? It is a well-documented fact that

the human eye can perceive just a few hundred hues. Architecture and design desire a clear and consistent system that represents the familiar colours of nature with shades that can be matched in any combination, especially if it has been handpicked by a colour visionary. In Polychromie architecturale, Le Corbusier gives us an unparalleled colour selection drawn from nature’s familiar hues. He then guides us through natural harmonious colour combinations.

© FLC/ADAGP

Let’s for a moment consider what goes through the mind of a composer: What should the mood of the piece be? What’s the underlying score that holds it all together? Should soloists be accentuated? Should the melody, rhythm or the accents be repeated? It is the composer’s interpretation that brings the music to life.

Through his epic Polychromie Architecturale, Le Corbusier presents to us a natural and harmonious colour system. It consists of a skillfully standardized colour range with

consistent harmony, deliberate colour preferences for spatial and physiological impacts, and practical colour concepts that can be transferred to multiple coloured areas and objects. Le Corbusier remains among the most important and well known architects of the twentieth century and far beyond. His inimitable work reflects his enormous abilities as an artist and designer.

Le Corbusier’s choice of colours reflects a palette standardized by the hand of a master. Incorporated are nuances that qualify as eminently architectural, based on nature, culture, tradition, and the experiences of a unique architect, artist and designer. All colour tones within this easily accessible system are characterized by an impressive harmonious depth, and thus can be matched in any combination. It is interesting to observe that Le Corbusier deliberately excluded those colours that qualify as being non-architectural.

A Master Composerof Colour

Skillfully understanding the Effectsof Colour

Le Corbusier’s colour system is like a symphonic orchestra, its colour combinations resembling the composition of a piece of music.

© FLC/ADAGP

Let’s for a moment consider what goes through the mind of a composer: What should the mood of the piece be? What’s the underlying score that holds it all together? Should soloists be accentuated? Should the melody, rhythm or the accents be repeated? It is the composer’s interpretation that brings the music to life.

Through his epic Polychromie Architecturale, Le Corbusier presents to us a natural and harmonious colour system. It consists of a skillfully standardized colour range with

consistent harmony, deliberate colour preferences for spatial and physiological impacts, and practical colour concepts that can be transferred to multiple coloured areas and objects. Le Corbusier remains among the most important and well known architects of the twentieth century and far beyond. His inimitable work reflects his enormous abilities as an artist and designer.

Le Corbusier’s choice of colours reflects a palette standardized by the hand of a master. Incorporated are nuances that qualify as eminently architectural, based on nature, culture, tradition, and the experiences of a unique architect, artist and designer. All colour tones within this easily accessible system are characterized by an impressive harmonious depth, and thus can be matched in any combination. It is interesting to observe that Le Corbusier deliberately excluded those colours that qualify as being non-architectural.

A Master Composerof Colour

Skillfully understanding the Effectsof Colour

Le Corbusier’s colour system is like a symphonic orchestra, its colour combinations resembling the composition of a piece of music.

© FLC/ADAGP

Le Corbusier created two colour collections: the first in 1931, and the second in 1959. Both were crafted on one clear premise: To choose specific colours, they should not be viewed one after another, but experienced simultaneously: the eye should be able to evaluate and serve instinctively.

For this purpose, Le Corbusier has renounced to the sampling by common sample book. He has created diverse atmospheres, where each corresponds to specific virtues (or action) of colour at the same time as to fundamental manifestations of sensitivity - Les Claviers de Couleurs or the Colour Keyboards.

For Les Claviers de Couleurs de 1931, his first collection of keyboards, Le Corbusier developed 43 impressive colours.The colour series include:32001, 32010-32013, 32020-32024, 32030-32034, 32040-32042, 32050-32053, 32060, 32080-32082, 32090-32091, 32100-32102, 32110-32112, 32120-32123, 32130-32131, 32140-32142.

The colour series comprises of full tones and masterfully graded lighter shades.

This collection includes one white and one ochre tone, three orange shades, five colours in red and seven in red ochre & brown, five umber shades, four grey nuances, ten blue and seven grey colours.

With Les Clavier de Couleurs de 1959,Le Corbusier extended the Polychromie Architecturale by 20 strong colours with an emphatic variation in lightness.

This collection includes one white, three colours in yellow & ochre, one orange, three red colours, one shade in red ochre & brown, two umber nuances, four shades in black & grey, three blue and two green colours.

Colour modifies spaceWe see this for example in blue and its green combinations which creates an illusion of space, distancing walls. Red (and its brown or orange combinations) on the other hand, fixes a wall, affirms its exact position, its dimension its presence.

Colour classifies objectsMonochromy allows the exact evaluation of volumes of an object. Polychromy (two colours, three colours, etc...) destroys the pure form of an object, alters its volume, opposes an exact evaluation of this volume and, by reciprocity, allows one to appreciate in one volume only what one wishes to show: house, interior, object.

The ThreePrinciples

Les Claviers de Couleurs 1931 and 1959

Colour acts physiologically upon us and reacts strongly upon our sensitivitiesEach of us is instinctively drawn to certain colours and each colour seems to have a particular effect on us. The colour red for some is stimulating, implies power and vehemence; blue often connects the subjective perceptions of sky and sea, and can calm the senses; green reflects nature.

Le Corbusier defined three principles for the spatial and physiological effects of colours:

Le Corbusier created two colour collections: the first in 1931, and the second in 1959. Both were crafted on one clear premise: To choose specific colours, they should not be viewed one after another, but experienced simultaneously: the eye should be able to evaluate and serve instinctively.

For this purpose, Le Corbusier has renounced to the sampling by common sample book. He has created diverse atmospheres, where each corresponds to specific virtues (or action) of colour at the same time as to fundamental manifestations of sensitivity - Les Claviers de Couleurs or the Colour Keyboards.

For Les Claviers de Couleurs de 1931, his first collection of keyboards, Le Corbusier developed 43 impressive colours.The colour series include:32001, 32010-32013, 32020-32024, 32030-32034, 32040-32042, 32050-32053, 32060, 32080-32082, 32090-32091, 32100-32102, 32110-32112, 32120-32123, 32130-32131, 32140-32142.

The colour series comprises of full tones and masterfully graded lighter shades.

This collection includes one white and one ochre tone, three orange shades, five colours in red and seven in red ochre & brown, five umber shades, four grey nuances, ten blue and seven grey colours.

With Les Clavier de Couleurs de 1959,Le Corbusier extended the Polychromie Architecturale by 20 strong colours with an emphatic variation in lightness.

This collection includes one white, three colours in yellow & ochre, one orange, three red colours, one shade in red ochre & brown, two umber nuances, four shades in black & grey, three blue and two green colours.

Colour modifies spaceWe see this for example in blue and its green combinations which creates an illusion of space, distancing walls. Red (and its brown or orange combinations) on the other hand, fixes a wall, affirms its exact position, its dimension its presence.

Colour classifies objectsMonochromy allows the exact evaluation of volumes of an object. Polychromy (two colours, three colours, etc...) destroys the pure form of an object, alters its volume, opposes an exact evaluation of this volume and, by reciprocity, allows one to appreciate in one volume only what one wishes to show: house, interior, object.

The ThreePrinciples

Les Claviers de Couleurs 1931 and 1959

Colour acts physiologically upon us and reacts strongly upon our sensitivitiesEach of us is instinctively drawn to certain colours and each colour seems to have a particular effect on us. The colour red for some is stimulating, implies power and vehemence; blue often connects the subjective perceptions of sky and sea, and can calm the senses; green reflects nature.

Le Corbusier defined three principles for the spatial and physiological effects of colours:

The first ultramarine blue in the 1931 collection. An ultramarine nuance somewhat muted using white. It looks dynamic and luminescent and also retains its impressive effectiveness in shadow.

The first brightened ultramarine nuance of the 1931 collection.It resembles a sky blue. The sky on a clear, sunny day in summer.The colour has a dynamic appearance and is also luminescent in shadow.

The cream. Well balanced with stable aesthetics– an ideal background. Other colours can ideally come into their own against this reflecting tone.

blanc 32001

bleu outremer 31 32020

outremer moyen32021

The iron grey. Soft, warm, expressive and constructive– as velvety iron. Replaces black as the darkest nuance in the puristic grey series.

The medium grey. A somewhat darker grey. Looks elegant and restrained. It can cause walls to become more shaded and helps lighten up surrounding areas.

The natural, neutral grey. A bright, velvety, warm and shadowy grey shade. Replicates ease and silence. For Le Corbusier with the mural value Velvet.

A bright, almost fabric like pearl grey. The nuance is weakly luminescent and airy.For Le Corbusier also with the mural value Velvet.

gris foncé 31 32010

gris 31 32011

gris moyen 32012

gris clair 31 32013

The second brightened nuance of ultramarine in the first collection of 1931. It looks less dynamic and more static and stable in space. This nuance can loosen up narrow spaces. It looks very good in the shade and also in dark rooms.

The third lightened nuance of ultramarine in the first Le Corbusier collection. In a space it looks static and shrinking and is particularly effective in shadow. For Le Corbusier, outremer pâle also stands for Space. Bright ultramarine blue yields to attention and is associated with the sky.

The brightest ultramarine nuance of Le Corbusier’s polychromie. It is greyish and restrained. It has a dynamic appearance and looks very effective in shadow. outremer gris is the third basic shade reflecting Space.

outremer clair 32022

outremer pâle32023

outremer gris32024

The 43 shades from 1931

Colours shown are indicative only.

Please refer to Colour Keyboards Fandeck for actual shade reference.



The first ultramarine blue in the 1931 collection. An ultramarine nuance somewhat muted using white. It looks dynamic and luminescent and also retains its impressive effectiveness in shadow.

The first brightened ultramarine nuance of the 1931 collection.It resembles a sky blue. The sky on a clear, sunny day in summer.The colour has a dynamic appearance and is also luminescent in shadow.

The cream. Well balanced with stable aesthetics– an ideal background. Other colours can ideally come into their own against this reflecting tone.

blanc 32001

bleu outremer 31 32020

outremer moyen32021

The iron grey. Soft, warm, expressive and constructive– as velvety iron. Replaces black as the darkest nuance in the puristic grey series.

The medium grey. A somewhat darker grey. Looks elegant and restrained. It can cause walls to become more shaded and helps lighten up surrounding areas.

The natural, neutral grey. A bright, velvety, warm and shadowy grey shade. Replicates ease and silence. For Le Corbusier with the mural value Velvet.

A bright, almost fabric like pearl grey. The nuance is weakly luminescent and airy.For Le Corbusier also with the mural value Velvet.

gris foncé 31 32010

gris 31 32011

gris moyen 32012

gris clair 31 32013

The second brightened nuance of ultramarine in the first collection of 1931. It looks less dynamic and more static and stable in space. This nuance can loosen up narrow spaces. It looks very good in the shade and also in dark rooms.

The third lightened nuance of ultramarine in the first Le Corbusier collection. In a space it looks static and shrinking and is particularly effective in shadow. For Le Corbusier, outremer pâle also stands for Space. Bright ultramarine blue yields to attention and is associated with the sky.

The brightest ultramarine nuance of Le Corbusier’s polychromie. It is greyish and restrained. It has a dynamic appearance and looks very effective in shadow. outremer gris is the third basic shade reflecting Space.

outremer clair 32022

outremer pâle32023

outremer gris32024

The 43 shades from 1931





The rich and neutral brilliant green. The darkest green of the fifty series. A green dynamic, summerly Scenery. Appears best in full light.

he vernal green. The first green with mural value Scenery. Very expressive and dynamic encountering with incident light.

The green of spring. The second base tone in the sentiment Scenery. The natural spring. Fertility, growth and prosperity.

The gentle, pale green. Slightly silver grey. The third mural nuance in Scenery. Balanced and smooth mirrors the beginning of spring.

vert foncé 32050

vert 31 32051

vert clair 32052

vert jaune clair 32053

The english green. Reminds us of the noble room decoration, of aristocracy. Symbolizes freshness & creates impressions of the forest.

The slightly greyed english green. Resembles a bluish verona green. Appears harmonic, silent and withdrawing.

The light, mild grey green.Links retentively, statically to the landscape. It is naturally, quiet and soothing.

vert anglais 32040

vert anglais clair 32041

vert anglais pâle 32042

The strong coelin blue. The darkest coelin blue. Appears dynamic, leaps forward and attracts attention.

The luminous coelin blue with a green touch. It appears warm and dynamic and seems sensually mediterranean to the beholder.

bleu céruléen 31 32030

céruléen vif 32031

The medium coelin blue.Generates a warm atmosphere. The first base tone in Le Corbusier’s sentiment Sky.

The light coelin blue. A reflection of the summer sky in water. Subordinates to the forms of architecture. The second base tone in sky.

The lightest and greenestcoelin blue. The third base tonein Sky. A reflection of the skyin the spume of ocean waters.

céruléen moyen 32032

céruléen clair 32033

céruléen pâle 32034





The rich and neutral brilliant green. The darkest green of the fifty series. A green dynamic, summerly Scenery. Appears best in full light.

he vernal green. The first green with mural value Scenery. Very expressive and dynamic encountering with incident light.

The green of spring. The second base tone in the sentiment Scenery. The natural spring. Fertility, growth and prosperity.

The gentle, pale green. Slightly silver grey. The third mural nuance in Scenery. Balanced and smooth mirrors the beginning of spring.

vert foncé 32050

vert 31 32051

vert clair 32052

vert jaune clair 32053

The english green. Reminds us of the noble room decoration, of aristocracy. Symbolizes freshness & creates impressions of the forest.

The slightly greyed english green. Resembles a bluish verona green. Appears harmonic, silent and withdrawing.

The light, mild grey green.Links retentively, statically to the landscape. It is naturally, quiet and soothing.

vert anglais 32040

vert anglais clair 32041

vert anglais pâle 32042

The strong coelin blue. The darkest coelin blue. Appears dynamic, leaps forward and attracts attention.

The luminous coelin blue with a green touch. It appears warm and dynamic and seems sensually mediterranean to the beholder.

bleu céruléen 31 32030

céruléen vif 32031

The medium coelin blue.Generates a warm atmosphere. The first base tone in Le Corbusier’s sentiment Sky.

The light coelin blue. A reflection of the summer sky in water. Subordinates to the forms of architecture. The second base tone in sky.

The lightest and greenestcoelin blue. The third base tonein Sky. A reflection of the skyin the spume of ocean waters.

céruléen moyen 32032

céruléen clair 32033

céruléen pâle 32034





The deep dynamic red. The typical red! Cinnabar red or rouge vermillon.Exceptionally luminescent. Optically encountering in the room.

The gentle rose. A base tone in the sentiment Masonry. Highly harmonic, earthy and warm, stable and diffident.

The noble carmine red. Eminently steeped in history. Symbolizes cardinals and kings. Dignified and brilliant, elegantly shining. dynamic in light and shade.

The artistic red. Very traditional. The red used by famous painters. Emblazons the spaces. Dynamically impressing also in the umbrageous environment.

The pale dynamic rose. A medium rose, appearing slightly bluish. A pristinely masterful bleaching of rouge rubia 32101.

rouge vermillon 31 32090

rose pâle 32091

rouge carmin 32100

rouge rubia 32101

rose clair 32102

The natural sand nuance. Warm, luminescent and elegant. Ideal for living and fasade - the architectonic “yellow” of former times.

ocre 32060

The shiny dynamic orange. Youthful and optimistic. At it’s best in full light.

The dynamic apricot orange. Permanently attractive and touching in all light circumstances.

The sabulous orange. A base tone of Le Corbusier’s sentiment Sand. Earthy and suave, warm and discrete. An ideal background in any light.

orange 32080

orange clair 32081

orange pâle 32082





The deep dynamic red. The typical red! Cinnabar red or rouge vermillon.Exceptionally luminescent. Optically encountering in the room.

The gentle rose. A base tone in the sentiment Masonry. Highly harmonic, earthy and warm, stable and diffident.

The noble carmine red. Eminently steeped in history. Symbolizes cardinals and kings. Dignified and brilliant, elegantly shining. dynamic in light and shade.

The artistic red. Very traditional. The red used by famous painters. Emblazons the spaces. Dynamically impressing also in the umbrageous environment.

The pale dynamic rose. A medium rose, appearing slightly bluish. A pristinely masterful bleaching of rouge rubia 32101.

rouge vermillon 31 32090

rose pâle 32091

rouge carmin 32100

rouge rubia 32101

rose clair 32102

The natural sand nuance. Warm, luminescent and elegant. Ideal for living and fasade - the architectonic “yellow” of former times.

ocre 32060

The shiny dynamic orange. Youthful and optimistic. At it’s best in full light.

The dynamic apricot orange. Permanently attractive and touching in all light circumstances.

The sabulous orange. A base tone of Le Corbusier’s sentiment Sand. Earthy and suave, warm and discrete. An ideal background in any light.

orange 32080

orange clair 32081

orange pâle 32082





The marron. A deeply red brown nuance, similiar to a chestnut. The deeply burnt umbra. An artistic depiction of the shadow.

The sandy burnt umbra. Impresses as ideal background colour. As one of the three nuances with the mural value Sand.

terre d’ombre brûlée 31 32130

ombre brûlée claire 32131

The very dark natural umber. An elegant, velvety grey brown shade with hints of red and green. It looks stable and dynamic, especially in shaded environments.

The brightened natural umber. A grey brown that looks balanced, velvety and stoney. This shade looks stable and dynamic in light and shadow.

The bright and very discreet natural umber. As a shadow colour, this shade is ideal for combinations. It looks stable and static in any light, particularly also in shadowy surroundings.

ombre naturelle 3132140

ombre naturelle moyenne32141

ombre naturelle claire32142

The deeply burnt sienna. Slightly greyed. Impressively fixes the wall in front of light backgrounds.

The light brick red or a somewhat blear terracotta nuance. In deepness and breadth suited for timeless colour combinations.

The colour of a summerly wall. With the mural value Masonry.Loamy and soft. Applied by Le Corbusier in the dining room of the Villa la Roche.

The pale sienna. The lightest nuance of the series of burnt sienna. Sandy and scenic. Highly decent, diffident and discrete.

terre sienne brûlée 31 32120

terre sienne brique 32121

terre sienne claire 31 32122

terre sienne pâle 32123

The red of ancient architecture. Earthy, dynamic and effectively luminescent. Can fix spaces and let them come forward.

The medium terracotta tone. Earthy and dynamic in any light angle. Emphasises warm and cosy living.

The light red ochre nuance.Light, earthy and slightly rose red. For Le Corbusier a base tone in the clavier Masonry.

l’ocre rouge 32110

l’ocre rouge moyen 32111

l’ocre rouge clair 32112





The marron. A deeply red brown nuance, similiar to a chestnut. The deeply burnt umbra. An artistic depiction of the shadow.

The sandy burnt umbra. Impresses as ideal background colour. As one of the three nuances with the mural value Sand.

terre d’ombre brûlée 31 32130

ombre brûlée claire 32131

The very dark natural umber. An elegant, velvety grey brown shade with hints of red and green. It looks stable and dynamic, especially in shaded environments.

The brightened natural umber. A grey brown that looks balanced, velvety and stoney. This shade looks stable and dynamic in light and shadow.

The bright and very discreet natural umber. As a shadow colour, this shade is ideal for combinations. It looks stable and static in any light, particularly also in shadowy surroundings.

ombre naturelle 3132140

ombre naturelle moyenne32141

ombre naturelle claire32142

The deeply burnt sienna. Slightly greyed. Impressively fixes the wall in front of light backgrounds.

The light brick red or a somewhat blear terracotta nuance. In deepness and breadth suited for timeless colour combinations.

The colour of a summerly wall. With the mural value Masonry.Loamy and soft. Applied by Le Corbusier in the dining room of the Villa la Roche.

The pale sienna. The lightest nuance of the series of burnt sienna. Sandy and scenic. Highly decent, diffident and discrete.

terre sienne brûlée 31 32120

terre sienne brique 32121

terre sienne claire 31 32122

terre sienne pâle 32123

The red of ancient architecture. Earthy, dynamic and effectively luminescent. Can fix spaces and let them come forward.

The medium terracotta tone. Earthy and dynamic in any light angle. Emphasises warm and cosy living.

The light red ochre nuance.Light, earthy and slightly rose red. For Le Corbusier a base tone in the clavier Masonry.

l’ocre rouge 32110

l’ocre rouge moyen 32111

l’ocre rouge clair 32112





He organised his collection “to show colours in such a way that the individual can detect his own ‘affinity’” and that the individual colour selection can be performed very easily and effortlessly. The Colour Keyboards are present in the form of pattern cards onto which lighter tones that are suitable for primary walls (the base colours) are applied in larger stripes. The narrower stripes show smaller patterns with selected contrast colours. The shades are systematically structured in a

way that combinations of 3-5 colours at a time can be isolated. Le Corbusier named each pattern card with a term which specifies and directs the intention and manifests the polychromatic action: ‘Space’, for example, for combinations with light blue or grey wall surfaces, which cause an airy expansion of the space. Beyond that, there are material descriptions, such as ‘Velvet’ and ‘Sand’, refering to those qualities of the colour that replace the material textures in architecture.

BASE COLOUR COMBINATION 1base colour (A) + colour (a)

COMBINATION 2base colour (A) + colour (b)

CO

MB

INA

TIO

N 3

ba

se c

olo

ur

(A) +

co

lou

r (c

)+

colo

ur

(d) +

co

lou

r (e

)

Le Corbusier’s Polychromie Architecturale

Le Corbusier has created diverse atmospheres, where each corresponds to specific actions of colour at the same time as to fundamental manifestations of sensitivity - the colour keyboards.

32112

32042

32142

32050

32051

32041

A

ac

d

e b



He organised his collection “to show colours in such a way that the individual can detect his own ‘affinity’” and that the individual colour selection can be performed very easily and effortlessly. The Colour Keyboards are present in the form of pattern cards onto which lighter tones that are suitable for primary walls (the base colours) are applied in larger stripes. The narrower stripes show smaller patterns with selected contrast colours. The shades are systematically structured in a

way that combinations of 3-5 colours at a time can be isolated. Le Corbusier named each pattern card with a term which specifies and directs the intention and manifests the polychromatic action: ‘Space’, for example, for combinations with light blue or grey wall surfaces, which cause an airy expansion of the space. Beyond that, there are material descriptions, such as ‘Velvet’ and ‘Sand’, refering to those qualities of the colour that replace the material textures in architecture.

BASE COLOUR COMBINATION 1base colour (A) + colour (a)

COMBINATION 2base colour (A) + colour (b)

CO

MB

INA

TIO

N 3

ba

se c

olo

ur

(A) +

co

lou

r (c

)+

colo

ur

(d) +

co

lou

r (e

)

Le Corbusier’s Polychromie Architecturale

Le Corbusier has created diverse atmospheres, where each corresponds to specific actions of colour at the same time as to fundamental manifestations of sensitivity - the colour keyboards.

32112

32042

32142

32050

32051

32041

A

ac

d

e b



SPACE1.

32022

32140

32011

32120

32142

32090

For Le Corbusier, outremer clair stands for space. Accordingly, the brightened nuance of ultramarine (outremer clair 32022) builds a base colour in his mood ‘Space’. In this mood, Le Corbusier suggests in particular red ochres and brown shades, umber nuances, as well as red and grey shades.



SPACE1.

32022

32140

32011

32120

32142

32090

For Le Corbusier, outremer clair stands for space. Accordingly, the brightened nuance of ultramarine (outremer clair 32022) builds a base colour in his mood ‘Space’. In this mood, Le Corbusier suggests in particular red ochres and brown shades, umber nuances, as well as red and grey shades.



32034

32141

32112

32010

32110

32121

SKY 2.Le Corbusier sees bright cerulean as ‘the clear sky close to the horizon’. His mood ‘Sky’ presents the greenish and brightest coelin blue (céruléen pâle 32034) as base colour - with impressive grey, red ochre & brown as well as umber shades combinations (besides the creamy white blanc 32001).



32034

32141

32112

32010

32110

32121

SKY 2.Le Corbusier sees bright cerulean as ‘the clear sky close to the horizon’. His mood ‘Sky’ presents the greenish and brightest coelin blue (céruléen pâle 32034) as base colour - with impressive grey, red ochre & brown as well as umber shades combinations (besides the creamy white blanc 32001).



32012

32021

32111

32130

32101

32122

VELVET I3.Le Corbusier’s brighter grey has the mural meaning of velvet. The bright, warm and shadowy grey (gris moyen 32012) forms a basic shade in his ‘Velvet’ moods. Ultramarine blue, red and orange shades and all nuances of ochre red & brown can be combined excellently.



32012

32021

32111

32130

32101

32122

VELVET I3.Le Corbusier’s brighter grey has the mural meaning of velvet. The bright, warm and shadowy grey (gris moyen 32012) forms a basic shade in his ‘Velvet’ moods. Ultramarine blue, red and orange shades and all nuances of ochre red & brown can be combined excellently.



32001

32042

32023

32051

32081

32082

VELVET II4.Beside the brighter grey shades, the balanced creamy white represents a basic shade in Le Corbusier’s ‘Velvet’ moods. Well-balanced with stable aesthetics - an ideal background and a symbol of modern architecture. Other colours can ideally come into their own against this reflective tone.



32001

32042

32023

32051

32081

32082

VELVET II4.Beside the brighter grey shades, the balanced creamy white represents a basic shade in Le Corbusier’s ‘Velvet’ moods. Well-balanced with stable aesthetics - an ideal background and a symbol of modern architecture. Other colours can ideally come into their own against this reflective tone.



32091

32013

32123

32052

32031

32033

MASONRY II5.For Le Corbusier, the pale pink embodies ‘the wall’. rose pâle 32091 forms a basic shade in his moods ‘Masonry’. Here, it harmonizes particularly well with ultramarine or cerulean blues and white green shades. Other recommended combination shades include umber, red ochre and brown, grey and red.



32091

32013

32123

32052

32031

32033

MASONRY II5.For Le Corbusier, the pale pink embodies ‘the wall’. rose pâle 32091 forms a basic shade in his moods ‘Masonry’. Here, it harmonizes particularly well with ultramarine or cerulean blues and white green shades. Other recommended combination shades include umber, red ochre and brown, grey and red.



32131

32053

32024

32020

32040

32041

SAND I6.ombre brûlée claire 32131, the brightened burnt umber, is one of the colours that Le Corbusier characterizes as ‘Sand’. It impresses as a base colour and harmonizes with numerous other nuances particularly well, including several blue, green and grey shades (besides red and umber shades).



32131

32053

32024

32020

32040

32041

SAND I6.ombre brûlée claire 32131, the brightened burnt umber, is one of the colours that Le Corbusier characterizes as ‘Sand’. It impresses as a base colour and harmonizes with numerous other nuances particularly well, including several blue, green and grey shades (besides red and umber shades).



32060

32032

32102

32030

32080

32100

SAND II7.For Le Corbusier, light yellow ochre also stands for sand. ocre 32060 is a natural sandy base colour; it conveys the flair of a sunny beach. The bright, restrained and elegant ocre shade fits very well with all colour groups, especially with blue and red nuances (but also with green, umber and grey shades).



32060

32032

32102

32030

32080

32100

SAND II7.For Le Corbusier, light yellow ochre also stands for sand. ocre 32060 is a natural sandy base colour; it conveys the flair of a sunny beach. The bright, restrained and elegant ocre shade fits very well with all colour groups, especially with blue and red nuances (but also with green, umber and grey shades).



UNMATCHEDFLAME SPREAD RESISTANCE

UNSURPASSEDWATER BEADING TECHNOLOGY

ROYALE ASPIRAADVANTAGE

ENHANCEDANTI-MICROBIALFORMULA

5 YEAR PERFORMANCE WARRANTY*

5 YEARWARRANTY

Royale Aspira is the international gold

standard in paint. Technologically, one

of the most advanced in the world, it is

certified by global benchmarking institutions.

It is the first interior emulsion in India to

come with a 5 year performance warranty.

Endorsed by industry experts and opinion

leaders, by all standards, Royale Aspira

from Asian Paints, marks the future of paint.

Its unmatched performance, protection

and finish reveal countless colour

harmonies that transform physical

spaces into creative opportunities.

*Conditions apply. Please refer to Royale Aspira Warranty Document or call us at : 1800-209-5678

TEFLON® is a registered trademark of E. I. du Pont de Nemours and Company used under license by Asian Paints Limited.

TEFLON® SURFACE PROTECTOR

Visit us at: www.asianpaints.com/royale

to discover more on Royale Aspira.

ENVIRONMENTALLYRESPONSIBLE

SUPERIORSTAIN RESISTANCE

EXCEPTIONALCRACK BRIDGING PROPERTY

WALL PAINTED WITH ORDINARY PAINT

(over a period of time)

WALL PAINTED WITH ROYALE ASPIRA

(over a period of time)

Documents

Corbusier swatch book