Designing Lightness - Structures For Saving Energy

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Presently, scientifically derived colour maps are easily accessible and applicable across various tools and platforms and suitable palettes exist for any given data (Box 2). The open availability of such colour maps ultimately leaves little legitimate room to continue using colour maps that cause visual distortion, are unreadable in some circumstances, or exclude readers from understanding them.

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Light, A. & Bartlein, P. J. The end of the rainbow? Color schemes for improved data graphics. Eos Trans. AGU 85, 385–391 (2004). Crameri, F. Geodynamic diagnostics, scientific visualisation and StagLab 3.0. Geoscientific Model Dev. 11, 2541–2562 (2018). Nuñez, J. R., Anderton, C. R. & Renslow, R. S. Optimizing colormaps with consideration for color vision deficiency to enable accurate interpretation of scientific data. PLoS ONE 13, e0199239 (2018). Developed the mathematically optimal colour map for readers with different colour-vision deficiencies named Cividis, which allows most accurate perception of data by as many viewers as possible. See the Pen [Testing HSL Colors (22 Jun 2021)](https://codepen.io/smashingmag/pen/gOWawpX) by Ahmad ShadeedLouis Kahn underscored the programmatic and spatial significance of daylight: “One may say that architecture is the thoughtful making of spaces. … It is the creating of spaces that evoke a feeling of appropriate use. To the musician a sheet of music is seeing from what he hears. A plan of a building should read like a harmony of spaces in light. Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is. Each space must be defined by its structure and the character of its natural light.” The focus on the building façade and the surface of the envelope need not be at the expense of interior luminous and spatial qualities, experience, comfort, and performance. The challenge of contemporary daylighting is to explore the full potential of design from the inside out and the outside in; to mediate space and surface; and to celebrate practical performance benefits as well as aesthetic, experiential, and ecological dimensions. Colour is not inherent in objects. A perceived colour is the portion of light that is reflected from a surface and translated into a specific colour by our eyes and brain (Box Fig. 1). A certain colour is perceived via its hue, the true tint (i.e., yellow, orange, red, violet, blue or green), and its luminosity (the measure of how bright or dark a hue is). Within the eye, one type of light receptors, the rod cells, process achromatic information (i.e., lightness or grey-scale vision), which is derived mostly from the light’s energy. The other type, the cone cells, handle chromatic information (the hue) mostly from the light’s wavelength. The latter transmit information to the brain and create the sensation of colour that is so familiar to most of us. MPL (Matplotlib): The MPL colour maps (available at ref. 62) developed by Stéfan van der Walt and Nathaniel Smith. MPL maps aim for the most accurate perceptual uniformity with its widely applied colour maps being: viridis, magma, plasma and inferno. These maps have spearheaded the way towards more scientific colour mapping. The MPL colour maps are all sequential and continuous only. The MPL colour maps are openly available (currently for use with Python) and often built into software.

Designing Lightness: Structures for Saving Energy: Van Hinte Designing Lightness: Structures for Saving Energy: Van Hinte

Alexander, K. R. & Shansky, M. S. Influence of hue, value, and chroma on the perceived heaviness of colors. Percept. Psychophys. 19, 72–74 (1976). Kovesi, P. Good colour maps: how to design them. CoRR abs/1509.03700 (2015). Provides a set of colour map diagnostics and shows that the most important factor designing a colour map is perceptually uniform lightness, allowing to construct more consistent and reliable ternary base colours to replace the problematic RGB primaries red, green, and blue. Here is an interactive demo that shows that. The input slider only changes the hue value, and the rest of the shades change based on that.Stauffer, R., Mayr, G. J., Dabernig, M. & Zeileis, A. Somewhere over the rainbow: how to make effective use of colors in meteorological visualizations. Bull. Am. Meteorological Soc. 96, 203–216 (2015). Daylighting masterpieces of exceptional beauty and architectural clarity form a body of seminal works that shape and inspire succeeding generations of designers. The legacy of the modern masters of light such as Alvar Aalto, Louis Kahn, Carlo Scarpa, and Luis Barragán continue to influence architects and daylighting designers to this day. It is hoped that the clarity, innovation, and elegance of the contemporary projects in the book will inform and inspire design practitioners, educators, and students in their own daylighting explorations. May The Art of Architectural Daylighting be of benefit to all those who seek to integrate the rich potential of daylighting into contemporary architectural design. Add real tactile texture to your design by embossing a texture to paper. This way, you have the chance to create a memorable piece that will certainly stand out from the crowd. Stylistically, it is not ideal to blend multiple textures in a design (unless necessary) as it can be overwhelming for the viewer.

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Oftentimes, we need to color a text with white color to make the text stand out. This white color is boring, and we can replace it with a very light shade of the color we have. We are surrounded by shapes that we may not think about much; we usually think of shapes as the main geometric structures. For designers, shape is one of the most important elements when it comes to branding development. These figures are at the root of logos and illustrations. Neitz, J. & Neitz, M. The genetics of normal and defective color vision. Vis. Res. 51, 633–651 (2011).Over the past decade, the “science of daylighting” has matured as practitioners and building-science researchers have continued to demonstrate measurable benefits of daylighting in the areas of energy savings, carbon and greenhouse gas reductions, increased human comfort, and improved productivity and health. Great improvements have also been made in digital rendering, analysis tools, and an ever-increasing number of daylight metrics, guidelines, and assessment methods. These developments have benefited architects and designers in more effectively integrating daylight with other design and performance issues. CET (Centre for Exploration Targeting): The CET colour maps 32 (available at ref. 65), developed by Peter Kovesi, aim to offer a large choice of the most common colour combinations in a wide variety of data formats. Many of the offered colour maps feature perceptual uniformity, although not all of them to the highest standards. The CET colour maps are continuous and cover sequential, diverging, and cyclic classes. This book is a call to build lighter. As a result of the rush to ever bigger cars, condos and airplanes, Dutch writers Adriaan Beukers and Ed van Hinte were forced to confront the combination of the growing costs of converting sufficient amounts of energy for production, distribution and waste disposal and the decreasing availability of raw materials. Beyond their call to build lighter, however, the authors give practical advice for doing so. Luo, M. R., Cui, G. & Li, C. Uniform colour spaces based on CIECAM02 colour appearance model. Color Res. Appl. 31, 320–330 (2006).