colour + light wk7 Dr Marisha McAuliffe

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1 colour + light wk7 Dr Marisha McAuliffe

2 Designing with colour Colour design is an important aspect in the design process. Using colours in architecture and interior design as the translation of abstract colour schemes, applying theories and meanings into real materials, surfaces, experience and use in a space, is a complex matter requiring creativity, judgment and develops with experience. Pile (1997) states that just as one would not start construction of a building without construction drawings and plans, one should not start working on colours in architecture or interior spaces without careful planning

Designing with colour Many colour sites on the internet promote colour schemes may not be directly applicable to actual colour schemes in design practice Many of these images are set up purely for

3 Designing with colour Many colour sites on the internet promote colour schemes may not be directly applicable to actual colour schemes in design practice Many of these images are set up purely for marketing purposes, touched up by image editing software, and therefore do not represent how the space may actually look in real life. Sq0KH_K09W2nvSke4GA&ust=

4 Designing with colour There are three critical questions that should be considered while working with colours: What? Who? Where? When asking what, it is important to reflect on the function of the space the colour design is for. For example, colour choice in residential interiors tends to be highly personal, but for commercial spaces, colour can be either architect s, designer s, or client s choice, or, in few cases for commercial design, the users of the space.

5 Designing with colour There are also many assumptions made about colour in space. For example, the myth that hospital interior colours should be generally white and blue to indicate cleanliness and being calm However, the overriding philosophy of a colour design should consider the user, intended ambience, atmosphere, desired mood and emotions, but fundamentally, based on colour knowledge and cutting edge research on colour effects, particularly in healthcare and educational design.

6 Designing with colour When considering the who in colour design, the architect or designer should be questioning who the end user of the space will be. Prior to designing a colour palette, it is critical to know the use of the space, and the end user needs and attitudes. For example, what the age group is and if they require specific needs. Avoiding assumptions such as young children are attracted more by colour than shapes and infants prefer red and blues Consideration for each context and user is everything.

7 Designing with colour The where points to the location of the surface or space being designed. Colour schemes vary considerably for climates such as Melbourne, Brisbane, Far North Queensland, Darwin, or Broome. For example, a scheme may be very appropriate for Ballarat or Bendigo (where there are a high amount of heritage listed buildings), but the same scheme may be totally inappropriate for a Darwin context. More than one site analysis, and a reasonable amount of research is required to understand different contexts. It is important to avoid assumptions that the Australian colour palette consists only of earthy hues, and that blue is not used in colour schemes in the Australian context. It would just as erroneous to assume that colour schemes in New Zealand only consist of black and white, with a silver fern motif.

8 Colour strategy Colour strategy principles should be developed early in the design process before a colour palette or materials are decided upon. Colour schemes that are decisively anchored early in the design process consider elements of space and light, design language and context, function and mood, and expressions of materiality and texture. The interrelated aspects for creating a successful colour design include (Mahnke, 1997): Relationship of people to colour Psychological elements Relationship of the space to function Orientation of the space Materials Chromic versatility

9 Relationship of people to colour The colour design, spatial elements, relationship and interplay of colours and space, is extremely important. It is not an end in itself but rather fulfils its purpose only when all elements of the overall design harmonise and complement one another. An appropriate colour design requires a professional and qualified analysis of the effects of colours in a spatial context, taking into account physiological, ergonomic, psychological, functional, and aesthetic demands of the space.

10 Physiological elements Physiological requirements focus (but should not be limited to) the physiology of sight and visual ergonomics. With a colour design proposal, the architect or designer must consider: Protection from disturbing brightness, reflective glare, and direct glare Adequate lighting (bearing in mind that an individual s lighting requirements change with age) Balanced distribution of luminous density Natural shading if possible. This is particularly relevant for brighter spaces High colour rendering

Relationship of the space to function and orientation The symbolic messages, associations, impressions, and the overall atmospheric affect has a decisive effect on each individual s personal level of

11 Relationship of the space to function and orientation The symbolic messages, associations, impressions, and the overall atmospheric affect has a decisive effect on each individual s personal level of acceptance, and the interplay of colour and spatial organisation has a subjective effect on a person s well-being. The ability to perceive colours and colour combinations in spaces as pleasant or unpleasant, and perceive them as positive or negative depends on the following basic, interrelated factors: Degree of chroma and contrasts Colour proportions Relative amount of surface to colour, and form to colour Location of coloured surfaces within a space

12 Monomaterials (such as sustainable, honest / pure materials, natural materials) Composite materials New materials (such as aerogel, titanium dioxide coatings, etc) New structures (such as 3D printing, CAM production, structural efficient materials, etc) Well-known materials with different manufacturing or use Smart materials (such as combinations of PCM clay-panel, electro-chromatic glass, etc) New decorative and structural materials (such as floating, sculptural glass, etc.) New materials with a technical function (such as solar panels as façade etc) Materials When selecting materials and colours, it is important to ensure that they are safe for people and the environment. The architect or designer should strive to use materials that have a positive effect on the spatial surroundings and enhance well-being. Whenever colour in architecture and interior design is discussed, it is commonly assumed that colour is primarily applied (through the use of paint or stain). Bearing in mind that colour can be utilised in architecture as either material or applied, there are many options for the integration of colour into architecture and design, namely:

Chromic versatility Colour design should be considered as more than application in blocks. For example, applied colour is more than painting a large singular flat surface.

13 Chromic versatility Colour design should be considered as more than application in blocks. For example, applied colour is more than painting a large singular flat surface. There are four concepts associated with chromatic versatility: Transformation Fragmentation Movement Innovation It should be taken into account that several of these elements can exist in the one context.

Transformation For transformation, consider how material and metals such as steel, copper, a rust finish, or titanium can enhance colour on building surfaces Titanium has a wide variety of colour

14 Transformation For transformation, consider how material and metals such as steel, copper, a rust finish, or titanium can enhance colour on building surfaces Titanium has a wide variety of colour finishes, and copper can be either coated to retain its original shine, or it can turn to green over time. The image here is a rust finish painted onto metal to create a brilliant orange hue (called corten:

Fragmentation In colour fragmentation, materials can be used as slats, battens, details

considered as a surface treatment, but rather the elements of architecture separate the

of this style of colour in architecture, using concrete render with tiling with blue

15 Fragmentation In colour fragmentation, materials can be used as slats, battens, details and slices of colour on a building surface, or within interior spaces Colour is not considered as a surface treatment, but rather the elements of architecture separate the surface into fragments University of South Australia s City West campus is a good example of this style of colour in architecture, using concrete render with tiling with blue steel detailing on balustrades. In these images, this is done through vertical and horizontal elements.

Movement When exploring colour as movement, colour can appear to make surfaces move through the angle and intensity of light, and variations of light and shadow.

16 Movement When exploring colour as movement, colour can appear to make surfaces move through the angle and intensity of light, and variations of light and shadow. Shown through staccato rhythms, the below façade changes and shifts over the course of the day, with some elements highlighted, and some not: the subtle slices of colour are emphasised through natural light.

Innovation Finally, there are two elements of innovation: colour can be used as a code : each fragment has a different use or is a different construction system, or colour as technology, where

17 Innovation Finally, there are two elements of innovation: colour can be used as a code : each fragment has a different use or is a different construction system, or colour as technology, where digital images can be transferred onto buildings in either literal or abstract forms, or integrated lighting can be used to create focus. This image identifies an early example of an innovative use of colour in technology; a form of building refinery demonstrated as a façade of a car park building in Adelaide, Australia

Lighting effects An effective lighting layout in architecture and design sources illumination from a variety of sources to create an array of effects Utilising light in this manner helps create

18 Lighting effects An effective lighting layout in architecture and design sources illumination from a variety of sources to create an array of effects Utilising light in this manner helps create experience, composition and ambiance within different environments. This is known as lighting in layers ; a method used for layering luminaires and systems to help create composition and a particular experience and response to many environments. Lighting in layers usually uses a combination of direct, direct-indirect, diffuse and indirect lighting.

19 Lighting effects

20 Lighting effects

21 Lighting effects

Direct lighting Direct lighting refers to a situation where the majority of light travels directly from the source to the area being illuminated.

22 Direct lighting Direct lighting refers to a situation where the majority of light travels directly from the source to the area being illuminated. It is best for focusing light onto areas where tasks are being performed and is usually used in environments such as work offices, gyms, and warehouses.

23 Indirect lighting Indirect lighting refers to lighting that is emitted from a light fixture toward a wall or ceiling, rather than directly toward the area to be lit. Reflected or diffused light created by indirect lighting is often used to avoid glare or shadows created by direct lighting.

24 Direct indirect lighting Direct/indirect lighting is a combination of both lighting effects and is considered by many lighting designers to produce the best lighting outcome in many situations.

25 Quantity and quality The two biggest contributors to functionality from a lighting perspective are quantity and quality. If there is too little light, it can be difficult to perform necessary tasks, but if there is too much light, glare can be the result, making the space unusable, or the architecture a hazard for those who drive or interact near it. Both scenarios can cause eye discomfort which lead to physical and emotional health issues.

26 Effects in lighting design Using direct and indirect lighting, there are three main effects in lighting design: ambient, task and accent. Ambient light is the general illumination surrounding the environment or subject. It is indirect and soft, reducing contrast and shadows and is achieved through natural and artificial light sources as well as reflection from surfaces. Task light is that which illuminates a small, specific area. A good example of this is a desk lamp which allows the addition of more light to complete a working task. Accent light is used to add highlight, drama and focus to interior spaces.

27 Effects in lighting design When designing quality of light, glare, contrast, uniformity and colour must be taken into consideration. Glare can be either direct, coming straight from a light source, or reflected, from a surface. Neither is acceptable in lighting design. Contrast describes a difference in illumination level between two points. It is necessary to utilise contrast in lighting design to allow people to distinguish objects from each other. However, too much contrast can limit the ability to see fine detail and results in eye fatigue. Uniformity refers to the overall environment and how comfortable those are within or around the space. Too much uniformity is not usually desirable and can cause visual boredom. Colour in lighting describes how the colour rendering and of a light source affects the colour of surrounding objects. This is a significant factor in the design of interior spaces with the main factors being colour appearance and colour rendering

28 Effects of light in space There are several key rules when considering quality and quantity. Russell (2008) proposes that the lighting designer should first identify the controllable aspects of light. This begins with the intensity of the light bright versus dark spaces.

29 Effects of light in space The next step is to examine the colour of light - cool versus warm and saturated colour, as can be seen here

30 Effects of light in space The final step is to scrutinise the type of light in the space. What is the texture of light? It is diffuse or directional?

31 Lighting in layers Adding light in layers is a critical element in qualitative lighting design, so considering lighting as a one step process should be avoided. The goals are to consider and identify the reasons why light is added into a space, in terms of quantity as well as quality. Here, Russell s (2008) five layers in lighting design are discussed as exemplar, since it is the most comprehensively detailed. He states that lighting design is made up of: Lighting to choreograph and experience: where do you want to lead the eye? Lighting to define mood and ambience: what quality of light do I want and need? Lighting to create accent and visual interest: what do I want to emphasise? Lighting to reveal design elements in the space: what do I want to reveal? Lighting for specific tasks: what will people be doing in that space?

32 Lighting to choreograph and experience The aim of this layer is to use the concept of phototropism to aid in transitioning people through space, creating goals that are obvious destinations; what Russell (2008) describes as subconscious way finding. The lighting is used to accent art, objects and furniture, but should not be considered a complete design solution. Choreographing in light becomes a sequence of one lit goal after the next. The key to success in creating choreographed lighting is to: Think in terms of light onto surfaces Try not to dwell on constructability, practicality, fixtures or fixture locations The focus is on light quality and location It is also on the geometry of the space vertical and protruding surfaces, unique materials and forms.

33 Lighting to define The lighting to define layer requires the lighting designer to think beyond terms of mood and emotion. Here, the elements that were considered in step one are explored and the designer considers accent lighting, diffuse downlighting, uplighting, and use of colour - warm and cool effects. Small quantities of light can provide significant effects, and relating emotions to the qualities of light using the three basic controllable elements (intensity, colour and texture) is essential. Light in this layer is through defining lit perimeters of spaces by using vertical surfaces and objects; creating a wash effect can create mood whilst helping to define objects and space. Lighting elements in space can also reveal scale and detail whilst creating a central focal point. Light can aid in providing a sense of boundary, define scale, and provide direction and destination. The keys to success in lighting to define is to: Maximise light by knowing the surface material, colour, and shape Remember that every design decision deserves a lighting decision - every time there is a decision about the use of material, colour, shape, form, scale, there should be a corresponding lighting decision.

34 Lighting for emphasis This layer focuses on emphasising various elements and aspects of the space, where washing or projecting light onto objects and surfaces creates the perception of brightness and colour, surface, texture and material can be emphasised through lighting. The keys to success in this layer is in articulating aspects of light through creating visual interest and hierarchy in: Charting the intensity of light bright versus dark elements Texture directional versus diffused light Colour warm and cool lighting and using surrounding colours to assist Shapes of light planes of light, pools of light, lines of light, and scallops of light. The goal of this layer is to emphasis the importance of objects, adding elements of sparkle, and creating contrast and variety.

35 Lighting for focal points When lighting for focal points, the aim is to reveal architectural elements and details of the environment. This takes two forms: 1. The general character of the space. This is achieved through uplighting, down lighting wall washing, ceiling washing, soft or spot lighting 2. The specific architectural elements that demand lighting attention: Columns: uplighting and downward accenting Coffers: uplighting or framing Soffits: washing Coves, slots, niches: perimeter lighting, cove lighting, framing For this layer, the origin of the light source is critical in revealing surfaces to define boundaries or to add volume. Light should be confined to certain elements, light techniques should be varied to break up spaces, and areas can be unified through the use of common lighting.

36 Lighting for specific tasks Unfortunately, this layer of lighting is usually the first, and sometimes the only layer of lighting that is considered. Rather than assuming that task lighting is sheer quantity, lighting should instead provide visual comfort for tasks as well as providing flexibility for different uses. Lighting criteria is assessed through identifying: The function of the room, the tasks, the location of the tasks and the illumination levels that would be required. Potential glare sources and the luminance distribution that will best assist the achievement of the appropriate visual environment.

37 Summary These five layers are essentially summed up as lighting as: Visual wayfinding language Creating experiences Emphasising space Creating attention Enabling activity For each, it is important to identify each piece of light and which layer it supports, whilst bearing in mind that sometimes one type of lighting may serve two layers. Applying light in layers considers light as both quality and quantity.

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CEILING DESIGN: WHAT is it? and what DOES IT DO?

CEILING DESIGN: WHAT is it? and what DOES IT DO? What is it Large horizontal surface attached to or suspended from building structure Elements: Planes Coves Coffers Slots Soffits Headers Slats Materials