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The most important compositional tool in the hands of an architect when designing buildings is colour. Light and colour are inseparable from each other. The surrounding world is perceived as colored due to the rays of light reflecting the sky, various objects, etc. Human vision has a beautiful quality of perceiving the whole world as colored. But colour can cause not only positive emotions but also negative ones.
The Main Task
The task of the architect who develops the colour scheme is to achieve its maximum contribution to human labour activity. Colour can also visually change a room’s proportion and improve its microclimate.
Colour can reveal the plastic properties of rooms, can contribute to the organisation of space, and be a means of guiding movement. With the help of colour, a certain rhythm can be introduced, colour accents are created in places of compositional nodes, and a psychological interconnection of interiors is formed.
The development of a colour solution can be divided into three stages.
The first stage is the choice of colours in the system of spaces or a separate space. The choice of colour is usually associated with the orientation of the building or interior. For example, north-facing rooms are typically painted in warm colours. They are creamy light brown, apricot, etc. This partly compensates for the lack of direct sunlight in the room, making its microclimate visually warmer. In the northern regions, it is possible to paint those rooms oriented to the south in warm colours since you can not be afraid of overheating the rooms.
It is desirable to paint in warm or neutral-warm colours in rooms where natural daylight does not penetrate. Cold colour can have rooms oriented to the south or southwest, in the southern and central regions, and rooms with high heat emissions.
The second stage in developing a colour solution is the selection of appropriate colour ratios, determining the contrasts of the interacting colours, and determining the degree of difference in brightness. In this case, the criterion can be the amount of colour.
The third stage is the choice of materials for decoration and the selection of light sources. Here the architect must take into account the properties of finishing materials, the nature of the texture of their surfaces, and the nature of natural and artificial lighting. The latter factor is essential because some colours are distorted by artificial light, which has a different emission spectrum than white daylight. For example, incandescent lamps with a yellow spectrum of radiation or some fluorescent lamps with a cold range of radiation (CFL) significantly distort the room’s colour.
With the colour solution of the internal system, it is possible to apply the theory of the leading colour. You can always use the approach of natural colour, which comes from the distribution of colour in nature, which usually causes positive emotions in a person. The roots of this theory lie in ancient Chinese philosophy, which was later developed and supplemented by the German scientists Freeling and Auer.