Le Corbusier’s Architectural Polychromy: A Masterclass in Colour in Architecture
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- Aug 28, 2025
- 10 min read
Le Corbusier’s Timeless Palette: Few architects have influenced architectural colour theory as profoundly as Le Corbusier. Far from embracing the “white walls” myth of modernism, Le Corbusier crafted a Polychromie Architecturale – two curated colour palettes (from 1931 and 1959) comprising 63 nuanced shades – to integrate colour as a fundamental architectural tool.
Developed in collaboration with the Swiss wallpaper firm Salubra, these palettes (often called the Salubra “colour keyboards”) were organised to guide designers in selecting harmonious combinations. Instead of treating colour as superficial ornament, Le Corbusier saw it as integral to form, space, and mood.
This article delves into Le Corbusier’s colour philosophy – from the makeup of his palettes and their spatial and emotional effects, to their continued relevance through Les Couleurs Suisse AG’s license – and compares his system with other influential colour theories like those of the Bauhaus (Josef Albers, Johannes Itten, etc.). Interior designers and architecture students alike will find practical insight and inspiration in how Le Corbusier’s approach brings clarity, harmony, and emotional resonance to design.
The Creation of Polychromie Architecturale: Salubra Palettes of 1931 and 1959
Le Corbusier developed his Architectural Polychromy in two phases with Salubra, resulting in a total of 63 architectural colours. In 1931, he introduced the first “Clavier de couleurs” (colour keyboard) featuring 43 shades arranged in 14 series. Each series consisted of a base hue with masterfully graduated tints ranging from saturated to pale, yielding what we might call “Clarity colours.” These 1931 colours were drawn from natural pigments and subtly tinted neutrals – velvety hues of white, grey, blue, green, ochre, and umber that could create serene backdrops or gentle spatial effects.
Le Corbusier selected these tones for their harmonious presence in nature and their ability to “radiate harmony in any combination”. In practice, the 1931 palette allowed architects to compose spaces with an inherent calm clarity: walls, ceilings, and architectural planes could be coloured without clashing to shape atmosphere while maintaining an overall unity.
In 1959, Le Corbusier expanded his system with a second collection of 20 additional colors, often referred to as “Intensity Colors.” These new shades were much bolder and more dynamic, introducing vibrant accents to complement the original set. The 1959 palette included stronger primary hues and deep tones – for example, rouge vermillon 59 (vermilion red) and other intense blues, greens, and yellows – designed to energize and punctuate spaces. Le Corbusier intended these intense pigments to be used sparingly, as powerful focal points or contrast elements within an otherwise harmonious scheme.
Together, the two collections formed a complete toolbox: the 1931 “Clarity” colours offered rich neutrals and gentle shades to define space and light, while the 1959 “Intensity” colours provided vibrant highlights for emphasis. The palettes reflect Le Corbusier’s belief that colors of nature can be universally pleasing and “harmonious in any combination”. Any designer can select any subset of the palette and be confident that the colours would work well together – a revolutionary idea that made, and today continues to make, colour selection more systematic yet deeply artistic.
To know more about Le Corbusier's contribution: find his books here.
Colour as an Architectural Tool, Not Decoration
From the outset, Le Corbusier’s philosophy treated colour on par with shape, material, and layout in design. He famously asserted that “the colouring of a house had the same importance as the floor plan and the structural design”. In other words, colour was never an afterthought or mere ornamentation to him – it was a core component of architecture’s expressive power.
In Le Corbusier’s own works, he orchestrated colours to reinforce the forms and functions of spaces. White was often used as a baseline to capture light, but always in dialogue with other colors: “Le Corbusier’s architecture was not purely white… it was deliberately complemented by dark shades and chromatic colours to enhance spatial effects and add an emotional dimension”. He would juxtapose neutrals and brights in a way that guides the eye through the space, highlights structural clarity, and even alters the perception of dimensions.
Critically, Le Corbusier rejected “chromophobia” – the modernist fear of colour as chaotic or frivolous. Instead, he proved that a disciplined palette could articulate structure and shape spatial narratives without resorting to pure white boxes. He described his colour keyboards as a method to compose “definitely architectural” colour` harmonies in the modern home.
By sliding interchangeable colour panels in these Salubra albums, a designer could experiment with schemes, much like a musician composing chords. This tool underscores his view: colour selection can – and should – be systematic and intentional, “a sound basis… to plan colour harmonies which are architectural and yet suited to natural taste and needs”.
In practice, many of his interiors and exteriors featured strategic colour blocks that aligned with the geometry. The result was polychromy with purpose: far from being a decorative afterthought, the colours were doing architectural work – defining zones, emphasising junctions, modulating light, and evoking atmosphere.
Shaping Space Through Colour
One of Le Corbusier’s great insights was how colour can alter spatial perception. He used colour to manipulate apparent proportions, depth, and focus within a room or on a facade. For example, in one analysis, it was noted that he sometimes painted load-bearing elements (like heavy columns or table legs) in a dark, stable colour (such as Prussian blue) to give them visual weight, while colouring ceilings or soffits in a lighter, receding blue (like ultramarine) so they appear higher or airier.
A dark floor or base in earthy umber might “ground” a space, whereas a light wall in pale blue could seemingly push outward, extending the room.
“Umber is a shadow colour… objects in this tone elude the viewer’s attention,” he observed – useful for downplaying unsightly features or making a space feel calmer. In contrast, brighter tones create a more striking presence – for instance, a vivid yellow or orange on a wall can make it visually advance, effectively tightening the space or drawing focus. Le Corbusier mastered these tricks: using cool, light colours to expand space and warm or dark colours to contract or separate it.
Perhaps the most famous example of spatial colour strategy is in his high-density housing project, Unité d’Habitation (Marseille, 1952). The concrete grid of the facade is brought to life with panels of bold colour on the interior sides of balconies. Each apartment unit received a unique combination of hues (including primary reds, blues, yellows, and greens), resulting in a pixellated tapestry across the elevation. These lively colours break up the mass of the slab block, giving the facade human scale and rhythm. They also help differentiate the modular units, preventing monotony despite the repetitive structure. Inside the Unité, Le Corbusier applied colour in corridors and apartment interiors to distinguish common areas from private niches, and to “highlight the visual hierarchy within the building”.
The overall effect is that residents navigate by colour as much as by plan – colour demarcates zones and aids orientation in what could otherwise be an overwhelming “concrete machine.” Unlike a plain white Modernist apartment block, the Unité d’Habitation feels dynamic and legible, largely thanks to its colour accents.
Unité d’Habitation (Berlin version, 1958) – Le Corbusier’s high-density housing designs often featured concrete facades animated by vibrant colour panels, as seen here. The bold hues enliven the structure and break down its scale, illustrating his principle that colour can humanise and articulate architectural form.
Le Corbusier also used colour to direct attention and orchestrate a visitor’s experience. In his buildings, a strategically placed band of intense colour could draw the eye to a doorway or a stair, effectively acting as signage without words. Dynamic colours – those few high-chroma pigments he allowed – were “employed not to support the structure but to create striking accents… capturing attention”
For instance, at the Capitol Complex in Chandigarh, India (1950s), the government buildings are mostly raw concrete (“béton brut”), but Le Corbusier famously painted certain porticoes and roof elements in bright primary colours. Visitors approaching the Assembly building, for example, are greeted by a monumental primary-colored mural and vividly painted columns, which signal the entry and add a sense of civic drama. Here, colour clearly marks important areas and breaks the monotony of large forms.
By introducing bold colour patches on select surfaces, Le Corbusier created focal points that guide the observer’s gaze through the composition. At the same time, these interventions were balanced with plenty of neutral surfaces so as not to overwhelm. This demonstrates a key aspect of his method: balance. A little saturated colour goes a long way against a background of whites, greys, or earth tones. Le Corbusier orchestrated this balance to achieve what he called “equilibres chromatiques” (chromatic equilibria), ensuring that colours support the spatial idea rather than distract from it.
In summary, through careful colour placement, Le Corbusier could expand space, contract it, punctuate it, or smooth it out. Colour became a tool for optical calibration: lighter hues to “stimulate an airy spaciousness” and stronger ones to “anchor” or draw notice. This approach allows architects to solve problems (like a low ceiling or a long corridor) with paint instead of structural intervention. It’s a testament to his skill that many people experience his buildings first emotionally – “this room feels calm, that facade feels lively” – long before analysing the forms. The colours create those impressions subconsciously by sculpting space in light and dark, warm and cool. For Le Corbusier, that was the highest aim: to deploy colour “as a means of sculpting architecture itself”, not just dressing it up.
Continued Relevance: Les Couleurs® Le Corbusier® and modern applications
Le Corbusier’s colour system proved so enduring that decades after his death it has been revived and maintained by Les Couleurs Suisse AG, which serves as the worldwide licensor of the Architectural Polychromy
The 63 colours were meticulously analysed and recreated to ensure the colours could be produced for contemporary use. Les Couleurs Suisse AG issues licenses to select manufacturers across the design and building industries, allowing these companies to produce their products in authentic Le Corbusier hues. This program has made it possible for architects and interior designers today to specify Le Corbusier’s palette in a wide array of applications, well beyond just paint and wallpaper.
Some examples of modern uses via licensed partners:
KARL BUBENHOFER AG: As a licensed Les Couleurs® Le Corbusier® manufacturer, Kabe offers a handpicked range of colours developed by the legendary architect Le Corbusier, bringing timeless harmony and elegance to modern architectural projects. Their paints meet the highest standards of quality, ensuring aesthetic excellence and durability, trusted by architects and designers across Europe.
Furniture and Carpets: Companies like Bosse Official and ANKER Gebr. Schoeller GmbH + Co. KG have produced modular furniture systems and flooring (carpets) in select Le Corbusier colours. The idea is that a designer can build an interior where the walls, floors, and furnishings share a common colour language, guaranteeing visual unity. Because the 63 colours are inherently balanced, using them across different materials still results in a coherent scheme. Les Couleurs Suisse ensures each licensee matches the colour standards faithfully, so “blanc 32001” or “bleu outremer 32020” is the same whether it’s paint, fabric, or laminate.
Building Facades: Le Corbusier’s colours are also available in exterior-grade products. For instance, IGP Powder Coatings produces powder coatings in all 63 shades, enabling metal facades, window frames, and cladding panels to be finished in these colours. Architects designing new buildings can thus apply Le Corbusier’s polychromy principles to exteriors – choosing a neutral field color from the 1931 set and accentuating with a 1959 highlight on sunshades or doors, for example. In an era where bold facade colours are back in style, referencing Le Corbusier’s palette lends both credibility and a proven harmony. Even historical preservation efforts, such as restorations of Le Corbusier buildings or mid-century modern structures, benefit from the availability of these original colours to faithfully re-create the intended look.
Product Design and Accents: Beyond architecture, a variety of interior fixtures and fittings now come in Le Corbusier colours – showing the wide influence of his system. For example, the German company JUNG produces electrical switches and outlets in Les Couleurs hues This means an interior designer can carry the colour scheme right down to the light switches on the wall, achieving a level of detail and integration that Le Corbusier himself would applaud. Similarly, FSB Franz Schneider Brakel offers door hardware (handles) in these colours.
The continued relevance of Le Corbusier’s colour system today can be summed up by its blend of artistry and practicality. It endures because it was never a random assortment of hues; it was a considered set meant to solve design problems and uplift spaces. As Architectural Digest reported, Les Couleurs Suisse has effectively made his system “a collection of professional tools” – complete with fan decks, swatches, and digital colour data – to take the guesswork out of colour selection.
This resonates with today’s designers facing an overwhelming market of paint chips. Instead of sorting through thousands of unknown tints, one can trust in the 63 shades “meticulously crafted to enhance architecture and design”. It’s like having Le Corbusier as a colour consultant on your project. Modern designers appreciate that the palette’s “extraordinary radiance, brilliance and depth” (owing to its mineral pigment roots) can bring a rich, matte elegance that many modern synthetic colours lack.
In minimalist contemporary spaces, a touch of Le Corbusier colour – perhaps a wall in ombre naturelle claire (natural umber light) or cabinets in vert anglais (English green) – instantly adds a layer of historical depth and human warmth.
Moreover, using Le Corbusier’s system carries an emotional heritage. Designers know these colours are the same that enlivened the Unité d’Habitation or the murals of Chandigarh. Thus, the palette’s continued use is not only practical for harmony but also cultural. It connects new designs to a larger lineage of architectural colour theory.