The architectural colour design process: An evaluation of sequential media via semantic ratings

Abstract

In recent studies, contextual situations of applied colours are compared to colours presented as samples or chips. Findings of such studies point out different results in terms of similarities or differences between the evaluations of isolated/abstract colours and contextualized situations. Architectural and spatial contexts have their own characteristics regarding colouring criteria, so it is of great importance to examine the architectural/spatial colouring process from this point of view. This study explores this process by investigating the consistency of semantic ratings of four sequential stages of the architectural colour design process, namely, colour chips/samples, abstract compositions, perspective drawings and 3D models. The architectural context for the study was a simple interior space. Fifteen different colour schemes were applied on the four media representing the stages. Subjects rated the 15 sets against seven bipolar, five-step semantic differential scales. The scales consisted of harmonious-discord, pleasant-unpleasant, comfortableuncomfortable, spacious-confined, static-dynamic, exciting-calming and extroverted-introverted. Findings indicated that there are significant associations between the evaluations of the abstract compositions, the perspective drawings and the 3D models; however, the evaluations of colour chips are significantly different than the others. The medium effect observed mostly between abstract and contextualized media. Additionally, factor analysis showed that pleasantness, harmony, spaciousness and comfort are connected in the evaluations of contextual situations, while pleasantness and harmony differ from spaciousness and comfort in the evaluations of colour chips and abstract compositions. The factor of activity (arousal) (dynamism, excitement, and extroversion) stays the same for all four media. It is also found that different colour characteristics are determinative over different media.

Colour meaning and consumer expectations

“…2 For example, in one study participants were asked to rate colours against a number of bipolar semantic scales (such as beautiful-ugly) both in an abstract sense and when used with an object (such as a chair); colour meanings were found to vary with the context. 3 The effect of context or culture on colour meaning has also been found in other studies [4][5][6][7][8] and the theory of colour and context has been reviewed. 9 However, although colour meanings do sometimes depend on context there is also some recent evidence that some colour meanings are invariant to context.…”

Progression of color decision making in introductory design education

“…In this study, color design works were exemplified in 2dimensional abstract compositions, regardless of architectural context. Further longitudinal studies would reveal changes in color decision making in the later stages of design education, particularly regarding 3-dimensional space composition, 39 functional behavior, 9 and other contextual concerns. 35,40 Drawing upon literature on application of color theory in art, design and architecture, this article underscores the understanding of students' color decision making in a coherent and systematic framework.…”

Quantifying Aesthetics of Visual Design Applied to Automatic Design

“…Professional designers and researchers have specifically emphasized on the role of colors and color semantics as a means of visual language [73,85]. In architecture [86][87][88], interior design [89], textile [90], and product design in marketing [91], understanding values of colors and color semantics is acknowledged as a knowledge which can support not only non-designers but professional designers who conceptualize and ideate designs based on their own intuitions. This knowledge can enhance the processes involved in design, such as inspiring, brainstorming, exemplifying, and communicating among designers over design prototypes (see [89]).…”