"The colors I choose there was to paint the first hotel, the Disneyland Hotel. Because of the cloudy sky we had in Paris, it had to be a particular kind of color who will fight those grey days. And also something you can see when you're driving up 'There it is! We're arriving!'"
About this Quote
Hench is talking like an artist, but he’s really describing a piece of crowd control: color as infrastructure. The “particular kind of color” isn’t about taste or palette theory for its own sake. It’s a solution to a local problem - Parisian overcast - and a brand problem - how to make a fantasy destination register instantly in the real world. He’s designing a building to perform, not simply to stand.
The line “fight those grey days” smuggles in a quiet thesis about Disneyland Paris itself: a project dropped into a climate and culture that don’t naturally cooperate with California’s sunlit optimism. Instead of pretending the context doesn’t exist, Hench acknowledges it and then aims to overpower it. That’s the Disney move at its most revealing: not realism, but engineered uplift. The hotel becomes a kind of emotional anti-weather system, a chromatic rebuttal to gloom.
The second aim is pure arrival choreography. “There it is! We’re arriving!” captures the guest’s inner monologue like a screenplay direction, and that’s the point: the architecture is meant to cue a feeling on schedule. Visibility from the road isn’t incidental; it’s the first beat in a narrative of anticipation, proof that the trip has tipped from commute to story.
Underneath the practicality is a philosophy of spectacle that’s almost disarmingly candid. Hench treats color as a beacon, a promise, a wayfinding device for desire. In a grey landscape, the bright facade doesn’t just advertise a hotel; it asserts an alternate reality you can literally see yourself entering.
The line “fight those grey days” smuggles in a quiet thesis about Disneyland Paris itself: a project dropped into a climate and culture that don’t naturally cooperate with California’s sunlit optimism. Instead of pretending the context doesn’t exist, Hench acknowledges it and then aims to overpower it. That’s the Disney move at its most revealing: not realism, but engineered uplift. The hotel becomes a kind of emotional anti-weather system, a chromatic rebuttal to gloom.
The second aim is pure arrival choreography. “There it is! We’re arriving!” captures the guest’s inner monologue like a screenplay direction, and that’s the point: the architecture is meant to cue a feeling on schedule. Visibility from the road isn’t incidental; it’s the first beat in a narrative of anticipation, proof that the trip has tipped from commute to story.
Underneath the practicality is a philosophy of spectacle that’s almost disarmingly candid. Hench treats color as a beacon, a promise, a wayfinding device for desire. In a grey landscape, the bright facade doesn’t just advertise a hotel; it asserts an alternate reality you can literally see yourself entering.
Quote Details
| Topic | Art |
|---|
More Quotes by John
Add to List
