Dimensions and determinants of judgements of colour samples and a simulated interior space by architects and non‐architects

Abstract

Architects and non-architects made Semantic Differential ratings of colour samples (chips) and a simulated interior space (a model). In analyses of the total samples' ratings (architects and non-architects) of (a) colour chips and (b) models, and individual sample analyses, (c) architects' chip judgements, (d) architects' model judgements, (e) non-architects' chip judgements, and (f) non-architects' model judgements, five factors occurred, though not necessarily all in any one analysis. These were: (i) dynamism; (ii) spatial quality; (iii) emotional tone; (iv) evaluation; (v) complexity. Linear correlations between parameters of the Munsell Color System and the above factors in the various analyses were calculated, while parallel analyses were carried out employing a graphical technique described by Sivik (1974a) involving isosemantic maps. In all analyses, linear correlations between the colour parameters and judgements were found for the dynamism factor, spatial quality factor, and emotional tone factor. They were associated respectively with chroma, value, and hue. Inspection of the isosemantic maps indicated subsidiary effects of the non-dominant dimensions of a non-linear sort, though the maps also exhibited the linear relations. Linear correlations were low or non-existent for the evaluation and complexity factors, and the complex nature of their determinants was clear from the isosemantic maps. The dterminants of judgements were similar for architects and non-architects, with the exception of evaluative judgements for the models in which markedly different determinants were noted. Comparability of the present findings with other studies carried out in a variety of countries over a 20 year period was high for dynamism, spatial quality, and emotional tone, and it is suggested that there may be something inherent in the response to colour in relation to such judgements. Recent physiological work is discussed, and its limitations in terms of colours sampled and an overconcentration on the hue dimension noted. In contrast, it is suggested that dimensions of judgement, such as evaluation or complexity, reflect to a greater extent culture or training, and are hence independent of the basic colour attributes.

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

“…This work contradicts the research indicating a strong correspondence between colour chips and contextualized colours (e.g., Taft, 21 Sivik, 22 Hogg et al 25 ), the results showed that the colour chips cannot be considered as efficient representatives of architectural colouring. Significant associations observed between the semantic ratings of abstract graphics, and perspective drawings and models means that the abstract graphics were evaluated more similarly with the contextual media.…”

“…In doing so, typically researchers have investigated people's responses to more abstract stimulimainly colour chips-and neglected colour selection for real-world objects.'' When Hogg et al 25 compared semantic ratings of colour samples and a simulated interior space, they found generally high correlations. However, Stahre et al 26 compared the results of a colour-chip study to one of a full-scale room, and found that the colours were perceived as more distinct and stronger and that they aroused much stronger emotions in the full-scale room.…”

“…[24][25][26] Destefani and Whitfield questioned how people select colours for real settings and how they make such aesthetic decisions. 24 According to the authors, ''after more than a century of empirical research in psychology, answers to such elementary question remain elusive and the main reason is that psychology has focused upon questions of theoretical interest within psychology, and used colour as a means to this end.…”

Colour meaning and context

“…In a related field, there is growing evidence that context and experience may drive individual differences in colour preference 12 . There has also been work to suggest that there could be differences in colour associations made by professionals and laymen 13 . However, a study by Taft (1996) attested that there were few significant differences between semantic ratings on colour chips and contextual colours 1 .…”

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]).…”