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

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.