Colour can be used as a way of communication for the moods of people in the built environment. Collective findings have shown that colour has both psychological and physiological aspects. (Mahnke,1996,Küller,1976). Each colour has a certain meaning that has been studied by various researchers. People from various age groups with different background and education levels may have different inspirations towards different colours. In 1941, Eysenck carried out an investigation on colour preferences and his results suggested the following order of general colour preferences; blue, red, green, violet, orange and yellow. As he summarized a large number of sample size, this order was offered as a universal scale of colour preference (Porter, 1976). These results, however were based on unspecified colour samples (Janssens,2001). He also suggested that there is a strong biological relation between colour preference in wavelengths; short wavelengths are preferred to long wavelengths by adults, however for babies, children and elderly people, preference sequence for colours differ. More precise evaluation about colour preferences was based on NCS (Natural Colour System) and was reported by Sivik in 1974. A common assumption about colour preferences is that; our liking or disliking colours is a matter of personal taste. The evaluation of environmental colours might be both biologically and culturally determined (Janssens,2001). It has been suggested that, colour preferences differ from person to person, where previous knowledge and past experience play an important role. There is also a dependency between certain building types and colour preferences and saturation levels of the preferred colours (Manav,B and Tezel,E,2002). Depending on the literature survey on the topic, the present study consists of two parts. Firstly, it aims to focus on the fact that, the same colour may give rise to different inspirations for everyone and more than one color may give rise to the same impression. To study this statement, a catalogue of a quite popular colour producer firm in Turkey was selected and 41 colour chips on the catalogue were studied. 50 participants from different age groups and education levels were asked to match a list of adjectives such as exciting, dull, relaxing, warm,cold ...etc. to the colour chips in the catalogue. Participants were free to select more than one adjective from the list, they were also free to propose another color that was not present in the catalogue.In case, they did not have any color preference for the adjectives, it was recorded as ‘no emotional response’. At this stage, they were asked to think color conceptually, in general. The results indicate that, colors with very low value and high saturation levels were associated with negative moods such as boring, fearful, tiring, anxious, annoying, depressive and being serious. Colors with medium value and high saturation levels were associated with positive feelings as vivid, dynamic, striking, warm, cheerful and enjoying. In case the hue is kept constant, depending on the change in value and saturation levels, the mood associated with that particular hue also changes. Three different color chips of yellow were associated with six different moods. The same result was valid for the color blue. When the value level decreases, the mood changed from positive to negative. Also, there were certain moods such as confidence, sadness, inauspicious to which participants did not have an emotional response. After completing the list, in the second part of the study, they were asked to offer a colour chip from the catalogue for the walls of the various parts of a dwelling. Dwelling was selected as the building type for the study with the parts of living area, kitchen, bathroom, corridor, stair hall and children’s room. The responses were categorized regarding the frequencies of the moods associated with different colours. Also, suggestions of colour use in dwellings were categorized considering the type of the usage area, required mood in that area and proposed colour for that mood. The results revealed that pink (color for romantism and indicated as being classic) were selected for the sleepping room, a very light blue (color for relaxing, calm, peaceful and modernism) were selected for the living room, a very light yellow (color to be simple and plain) were offered for the dining area, pink (a striking color according to the responses) were selected for the childrens’ room, for kitchen and bathroom, colors too close to white that was associated with purity and hygene, were offered, and finally, for the entrance and the stair hall, a very light yellow ( a color that is indicated as plain and simple) was selected. Reasons for color-mood associations are discussed and future research areas are suggested. It is hoped that this paper will provide a base to the designers of buildings that satisfy user psychology.