colour + light wk8 Dr Marisha McAuliffe

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1 colour + light wk8 Dr Marisha McAuliffe

Designing with colour Initial assessment In the initial assessment stage, a review of the planning documents should be checked for issues concerning colour.

2 Designing with colour Initial assessment In the initial assessment stage, a review of the planning documents should be checked for issues concerning colour. For example, there may be restrictions due to council or governmental requirements, such as a heritage listing. If there have been previous discussions around the use of colour (such as branding colours) these will form a crucial part of the brief.

Designing with colour Site analysis In the space is not existing, the natural light from the site will need to be examined, as will the lighting concept for the building.

3 Designing with colour Site analysis In the space is not existing, the natural light from the site will need to be examined, as will the lighting concept for the building. Size and forms of the elements in the building concept will need to be considered, and the surrounding building impact will also need assessment. Once this is undertaken, the design professional will need to involve the client in the semantic differential analysis and continue it as the framework of a new colour design, rather than an analysis of an existing space.

Designing with colour If the space is existing, an analysis of the current colour situation will need to be recorded, so the first step is to undertake an initial analysis of the site.

4 Designing with colour If the space is existing, an analysis of the current colour situation will need to be recorded, so the first step is to undertake an initial analysis of the site. The following phases are based on Mahnke s (1990) research, so several of his polarity profile tools are used. As the site analysis progresses to more advanced procedures, the process is based on McAuliffe s (2015) colour methodology.

5 Designing with colour A complete analysis of the site with the impressions polarity profile as a recording mechanism will help the architect or designer gain a greater understanding of the overall impression of the site. It is not intended as a tool within itself, but rather as a set of tools to help give an overall impression of the site or space in the context of environmental psychology. Towards the centre of the rating scale, the numerical value declines to zero. A value of three carries more weight than a value of two or one, and the value zero in the middle of the scale represents neutrality between the two. Using this, record the overall impression of the space (even if it is an exterior space), where 0 is neutral, and 3 is considered extreme.

6 Designing with colour Impressions Polarity Profile (Mahnke, 1990)

7 Designing with colour - spatial analysis Once this is recorded, it may look something like this illustration, which was an analysis of an office space in a 1990s era building. The room is approximately 4000mm X 5000mm, faces south, is dark, and has very little natural light as it has a grille over the single half height window. There is little organisation in the room. It should be remembered that the colours within the space are not specifically being analysed as yet. Once this analysis is complete, a few short paragraphs giving an overall summary of the outcomes should be recorded. The summary should highlight the most positive and negative aspects.

8 Designing with colour - spatial analysis Once the analysis is complete, a few short paragraphs giving an overall summary of the outcomes should be recorded. The summary should highlight the most positive and negative aspects. The post analysis review should reflect on the current situation, but also frame the brief for the future. In this future focussed situation, there should be three main paragraphs: any negative elements that were considered most extreme should be considered a must change ; for the moderate negatives, a should change ; and for minor or neutral elements that could be improved upon, a could change. This helps define the needs from the wants.

9 Designing with colour colour analysis The next step is to undertake an analysis of the colour within the space using a colour analysis profile (Mahnke, 1990). This chart is different to the review of the environmental psychology through the polarity impressions profile in that it is intended to consider the impression that the colour gives to the space overall. This image is the colour analysis profile, post analysis for the office space mentioned just previously.

10 Designing with colour colour analysis Once the colour analysis is complete, a few short paragraphs giving an overall summary of the outcomes should be recorded. The summary should highlight the most positive and negative aspects. The post analysis review should reflect on the current situation, but also frame the brief for the future. In this future focussed situation, there should be three main paragraphs: any negative elements that were considered most extreme should be considered a must change ; for the moderate negatives, a should change ; and for minor or neutral elements that could be improved upon, a could change. This helps define the needs from the wants.

11 Semantic differential It is considered best practice to involve the client as much as possible in the colour design process. This is for several reasons, not least to ensure that they are on the same page as the architect or designer, but also to enable them to see the importance of the role that colour plays in the design and design process. Using the chart here (based on Osgood et al, 1957), the design professional should map out the ideal future spatial psychology (if the space is not yet realised), or if the space is existing, analyse the current perception of the space overall considering colour, form, volume, natural and artificial light. The chart should be completed in the same manner as those earlier. Once it is complete, the client should also complete a chart, but without the architect or designer present. This is crucial, as the client should not be influenced by the design professional.

Using a different colour, the client s analysis should be drawn into the

12 Semantic differential Once the architect or designer is finished, it may look similar to the next image when complete (shown in blue line). Using a different colour, the client s analysis should be drawn into the chart and compared to the designer s analysis (shown in red line in the image following).

Semantic differential Blue line = designer s analysis Red line = client s analysis If the two are comparable, the design objectives can then be formulated.

13 Semantic differential Blue line = designer s analysis Red line = client s analysis If the two are comparable, the design objectives can then be formulated. If the two do not compare in any way, issues will arise further on when developing the design objectives. Therefore, the architect or designer should undertake a further site analysis with the client to gain a deeper understanding of their perception of the space.

14 Exploring the colour palette The following photograph was taken to highlight colour, light and materials within a given space. Of particular note were the reflections and patterns in a seemingly boring photograph. In this context, the image frames a situation and emphasises the subtle colour not first apparent within a context. What first appears as a nondescript image can in fact highlight a potential colour palette that may not have been initially considered.

This should start the framework for the must change, the should change and those elements that could be improved upon; he

15 Post analysis review A post analysis review should reflect on the current situation as both the client and design professional perceive it. It is helpful to highlight the most and moderate extremes for the client, as seen here. This should start the framework for the must change, the should change and those elements that could be improved upon; he could change. The visual analysis may look similar to this, where the yellow dots are the must change and the green, should change ; the most pressing issues.

Developing colour objectives Requirements, demands and conditions of colour design vary from project to project and always present new challenges.

16 Developing colour objectives Requirements, demands and conditions of colour design vary from project to project and always present new challenges. The light and lighting, material, and colour should always be planned as an integrated component of an overall architectural and interior design concept aimed at achieving a humane and environmentally friendly objective; a synthesis of economy, ecology, ergonomics, and aesthetics.

17 Developing colour objectives Function what colours, materials, and application do we both agree on that allow and promote efficient task performance? Cost effectiveness what colours, materials, and application assist in reducing costs for the client? For example, an all white interior will require greater upkeep, especially in commercial spaces. Durability what colours, materials, and application promote the appropriateness of the functions and aesthetics of the space? Maintainability what materials are most easily maintained? For example, gloss finishes are easier to keep clean in high traffic areas, but are also potentially high in glare. Certain colours also may show less wear and tear. Compatibility what colours, materials, and application evoke a sense of architectural and environmental connection with the building s sense of scale, tradition, and historical significance? Design what colours, materials, and application inspire the user of the space to feel good about their surroundings and foster creativity, productivity and personal satisfaction? Creativity what colours, materials, and application allow creative and responsive solutions for everyday living and spaces that may be functional as well as enjoyable? Flexibility what colours, materials, and application encourage multifunctional activities and enhance the usefulness of the space in terms of the physical, technological, psychological and experiential characteristics? Timelessness what colours, materials, and application conjure a sense of timelessness through structural expression, suitability of materials, harmonious visual and tactile features, and classic fixtures and furnishings?

Here, the objectives are mapped out onto the chart, focussing on the future. On this diagram, the overall psychology elements of the future space are broadly proposed.

18 Future design objectives Following these steps, the future colour design objectives chart should be completed. The following is an example and would need to be adapted to meet the requirements of each design challenge. Here, the objectives are mapped out onto the chart, focussing on the future. On this diagram, the overall psychology elements of the future space are broadly proposed. This can be completed one of two ways: firstly, the old analyses can be drawn onto and thus the proposed changes are clearer and identify the differences between past and future goals - elements that are the most desired for change. The before elements are mapped as blue and red, and the future elements are green.

change ( 2 s ); and those aspects that could be improved

19 Future design objectives No matter if the first or second option is chosen, locate the must change ( 3 s); the should change ( 2 s ); and those aspects that could be improved upon ( 1 s ) - the could change, and document them accordingly.

Colour and materials From that diagram, the client is then asked which colours and values best represent the descriptors (such as trendy, cultivated, exciting, etc), bearing in mind that there may be

20 Colour and materials From that diagram, the client is then asked which colours and values best represent the descriptors (such as trendy, cultivated, exciting, etc), bearing in mind that there may be a series of colours that represent the concept of exciting, for example. The colour wheel is placed alongside the table to allow the client to point out the hue and values. Using the instance given previously, where the hypothetical client wished for a space to include colours that were active, bright and liberating (descriptors), hues that the client believed to match each descriptor were mapped as following:

Colour and material From this table, the client should choose three key goals for the space that they would like the architect or designer to achieve; one dominant, and two sub-dominants For this,

21 Colour and material From this table, the client should choose three key goals for the space that they would like the architect or designer to achieve; one dominant, and two sub-dominants For this, colour should not be taken into context i.e. the client should not choose a descriptor just because it is their favourite colour. In the example here, the hypothetical dominant these is airy and the two dominants are light and cheerful, as can be seen in the following image.

Colour and material Of course, at this stage, there are still gaps in some areas, but at the very least, the client is beginning to think in terms of colour and material perhaps even form.

22 Colour and material Of course, at this stage, there are still gaps in some areas, but at the very least, the client is beginning to think in terms of colour and material perhaps even form. In the above example early mapping is beginning to reveal a possible complementary or split complementary colour scheme. Material and texture is also being considered. This forms the basis for the next stage.

Colour scheme planning There are many aspects to planning a colour scheme. These include: Location, aspect, theme Architectural features what needs to be enhanced? What needs to recede?

23 Colour scheme planning There are many aspects to planning a colour scheme. These include: Location, aspect, theme Architectural features what needs to be enhanced? What needs to recede? Floor colour largest volume of colour The main objective of spatial colour design is to select effective colour areas and contrasts that meet the needs of users, functions, and specific situations. Dominant, subdominant, and accentuating colours and their respective proportions, should be planned according to the elements that link or differentiate them.

Colour scheme planning Colour design consideration should be given to: spatial relationship, its position with regard to other spaces (size, shape and compass

24 Colour scheme planning Colour design consideration should be given to: spatial relationship, its position with regard to other spaces (size, shape and compass orientation of the space or surface) lighting conditions (natural or artificial light) Furnishings materials used interplay of colours in the space/on the surface/s

25 Preliminary design The following steps are designed to assist both the design professional and the client in developing the preliminary colour design successfully. These phases include developing: an abstract colour chart elements of the space/surface material charts layouts and space designs Developing abstract colour charts Developing colour charts is beneficial in developing the colour design. These should be based on the colour objectives step, described earlier. Abstract colour charts can be simply bands of desired colours, such as paint swatches or material samples, which are easily obtainable from retailers and paint shops. Using the hues discussed during the colour objectives stage, set out the dominant and subdominant colours first. As shown in the earlier example, these are white, aqua and orange, in order of dominance. Setting out theses hues first will assist in defining a set colour scheme.

26 Preliminary design Care should be taken with regards to the dominant and subdominant colours. They should be reviewed in the context of the end user, psychology and other factors discussed in earlier chapters. If the hues are determined as inappropriate for the context, the client and design professional will need to re-evaluate colour choice or consider how neutral colours will tone down what could potentially be an unsuitable colour scheme. For example, if orange is a dominant colour choice, it may need to be change to a lighter hue (tint), or alternatively, downgraded to a subdominant hue with a neutral colour taking precedence, such as white. This process may take a number of weeks, but alternatives ought to be explored; final selection should be delayed until both client and design professional are satisfied.

27 Preliminary design Playing with colours can make this process easier. This can include exploring concepts with the chosen colours such as: One colour accent with neutral backgrounds Three colours interplaying with each other A story of related colours, playing with pattern, scale, form and contrast Placement, proportion, textures available Formal Symmetry Asymmetrical Angles Direct the eye Advancing Receding Hiding Emphasising form Provide contrast Neutralise

28 Defining elements Within the same process, defining elements of the space or surface should be considered, keeping in mind that several elements of a space or surface may share same colour. This can include smooth, textured, sliced, rippled, matt or glossy the possibilities are almost endless. However, colour and light behave differently according to the reflection and absorption of the surface treatment, so this will need to be taken into account. In building the preliminary colour design, there are four necessary steps: Photograph: taking photographs to consider the current lighting conditions, noting what time of day it is, as the time of day creates different effects on colour, material and texture. Envision: exploring possibilities using various hues in different quantities. Test samples: check the client and design professional have a shared understanding of the colour choices. Bear in mind that a paint swatch or material sample may not be sufficient to give a client an idea of what the space will look like. Check: It is always a good idea to check and double check your schemes against other items that may be staying in the space (such as furniture and fixtures); check with your client that they are After a satisfactory colour scheme is derived, assign real material colours to match the scheme.

Design The impressions, effects and symbolic meaning of colours may be altered by modification of intensity, value and character of the major hues.

29 Design The impressions, effects and symbolic meaning of colours may be altered by modification of intensity, value and character of the major hues. The location (top, sides, and bottom) of a colour within the interior can make a great deal of difference in influencing a room s character, the way it is perceived, and subsequent reactions to it (Mahnke, 1996). Human reaction to colour depends on a multitude of factors including: Hue and nuance Amount and location of the colour in space Paint colour and spatial function The effect of colour over time in the space.

Design A particular hue that may be perfectly suitable for the floor may stimulate an entirely different reaction when applied to the walls or ceiling.

30 Design A particular hue that may be perfectly suitable for the floor may stimulate an entirely different reaction when applied to the walls or ceiling. For example, when using red, the effects of the ceiling may be intruding, disturbing, heavy; the walls, aggressive, advancing; or the floor; floor: conscious, alert, perhaps pompous. For orange the effect may be for the ceiling, stimulating, attention-seeking; the walls, warm and luminous; or the floor, activating and motion-oriented. For browns, ceilings can appear oppressive and heavy (if in a dark hue); walls can give the perception of security, especially if timber, but far less so if it is not timber; and floors can give the impression of homeliness.

Design When using yellow, the value of hue should be taken into account. While it is considered an optimistic colour, people can become overstimulated very quickly.

31 Design When using yellow, the value of hue should be taken into account. While it is considered an optimistic colour, people can become overstimulated very quickly. For ceilings, it can create a light, luminous, or stimulating effect; for walls, warm (if the hue is more orange), exiting (if highly saturated); for the floor, elevating and diverting. Green is a popular colour for architecture and interior design, but again, the brightness of the hue should be taken into account. A green ceiling can give a protecting feeling; walls can be perceived as cool, secure, calm, reliable, passive, irritating if glaring (electric green), or muddy if olive coloured. Green floors can give the impression of naturalness, softness, relaxation, but can appear cold (if the hue is more blue-green).

32 Design Blue can appear calming; but it is not necessarily true for all blues. Some shades can send a cold and uncaring message. For blue ceilings, they can appear celestial, cool, less advancing (if light), or heavy and oppressive (if dark). Walls can appear cool and distant (if light), or encouraging and space-deepening (if dark), and floors, inspiring, effortless movement (if light), and substantial (if dark). Grey is most associated with the practical, timeless, middle-of-the-road, solid things in life. Some shades of grey are associated with old age, death, taxes, depression or a lost sense of direction. On the ceiling it can look shadowy, on the walls, neutral and understimulating, and on the floor, neutral.

33 Design For whites, on the ceiling, it helps to diffuse light sources and reduce shadows; for the walls, neutral to empty, sterile, low in energy. It can be very understimulating, depending on how white the walls are. White floors can be rather offputting and sterile. For black, a ceiling can look hollow and oppressive, walls, ominous, and floors can look odd or out of place.

34 Design On walls, colour can also make a significant difference, as seen here.

35 Design Finally, colour applied to floor perceptually affects a space differently:

Design The final step of the process is to use three dimensional models as the physical representation of the space to communicate the colour design concepts.

36 Design The final step of the process is to use three dimensional models as the physical representation of the space to communicate the colour design concepts. This is to gain a greater understanding of the interaction of volumes, or to gain an understanding of how colour, material and surface reacts within context because the physical spaces are not able to be tested. As such, a representation of the space is the only means of testing the colour design.

Design Additionally, clients often have difficulty in understanding or mentally visualising threedimensional space, especially as a built space that is not lifeless or achromatic, but instead

37 Design Additionally, clients often have difficulty in understanding or mentally visualising threedimensional space, especially as a built space that is not lifeless or achromatic, but instead consists of light and shadow with various hues. These environments can be shown through three dimensional modelling, or through plans, elevations or sections. However, material, finish, colour, texture and lighting is essential to give idea of scale and context.

Summary Ultimately, colour, material and lighting choices for surfaces and spaces are highly contextual; each situation is different, depending if the design is residential, retail, hospitality,

38 Summary Ultimately, colour, material and lighting choices for surfaces and spaces are highly contextual; each situation is different, depending if the design is residential, retail, hospitality, office, religious buildings, transport interchanges, or entertainment. Colour is also dependant on the locale, climate, culture, and activity and user preference. As with the majority of colour design projects, when applied in physical full scale environments, materials and colours appear and react very differently from samples, hence practical testing is highly recommended. This becomes clearer with past project experience and knowledge about materials available on the market

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