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COMPUTATION AS A TOOL FOR COLOUR FACADE DESIGN

COMPUTATION AS A TOOL FOR COLOUR FACADE DESIGN. Sally Semple Scott Chase. Department of Architecture. “And the hanging for the gate of the court was needlework, of blue and purple and scarlet and fine twined linen... ” Exodus 38.16. Tobermory. Burano. Turin. Chateau-Doble.

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COMPUTATION AS A TOOL FOR COLOUR FACADE DESIGN

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  1. COMPUTATION AS A TOOL FOR COLOUR FACADE DESIGN Sally Semple Scott Chase Department of Architecture

  2. “And the hanging for the gate of the court was needlework, of blue and purple and scarlet and fine twined linen... ” Exodus 38.16

  3. Tobermory

  4. Burano

  5. Turin

  6. Chateau-Doble Chateau-Double apartments (Lenclos)

  7. Dulux paints

  8. Identity Similarity Contrast Harmony

  9. Moon & Spencer: Colour harmony rules

  10. RGB vs. Munsell systems

  11. complexity of exterior colour

  12. Example: Glasgow terrace

  13. Adaptation of Moon & Spencer to Windows HSL

  14. Two step process • Generate the colour palette • Generate the set of colour combinations Parameters • Environmental colours • Undesirable hue ranges • Identity level • Similarity range • Contrast level • Step (granularity) • Manually alter the values for saturation and value Colour Combinations software

  15. Colour Combinations interface

  16. Design for contrast: “Burano” palette

  17. Design for integration: “Chateau-Double” palette

  18. Design for harmony

  19. Harmony definitions limited to hue • Excessive computation time for more than 50 hues • High knowledge of colour harmony and systems needed to adjust variables and interpret results • Conflict between Munsell and HSL colour systems produces distortions in harmonies • Manual selection and development required to produce useable designs Limitations

  20. Input by colour rather than number • Output format to allow better assessment of scheme in context • Allow a variety of facade forms rather than single example • Use different elements to establish context or provide unifying colour • Fix specific colours within a scheme or limit specific elements to their own palettes • Specify patterns or rhythms within a colour scheme • Allow variation in saturation and value • Address relative complexity of the design involving form and area of design elements • Use a more perceptually accurate colour system than HSL Possible further development

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