B L A C K B U R N W I T H D A R W E N

C O LO U R S T U DY

Colour, along with scale, form and texture plays a significant role in the acceptability of development. Colour can influence how buildings sit in the landscape, either through integration or through accent and emphasis. Inappropriate use of colour, no matter how successful the manipulation of form, can render a development unsatisfactory and can seriously jeopardise the integrity of surrounding buildings / streetscape.

Successful use of colour can help to alter perceptions of scale and mass and assist with the legibility of developments, ensuring a contribution not only to the performance of the development but also to the street scene as a whole.

The colour study uses the NCS colour system as a theoretical model to categorise indigenous colours and as a tool for the design of new palettes. Research has shown that the basic colours we perceive are white and black and red yellow, green and blue. The NCS model places white and black as the vertical axis with the other colours progressing around the axis as a spectrum, allowing the division of colour spaces by simple percentage steps. Every conceivable colour relationship can therefore be located on this model.

By manipulating the amount of blackness in a colour, its complementary colour and its relationship to colours of similar blackness but different hue, it is possible to create palettes which integrate or camouflage forms, or accent and emphasise forms, or simply to break up large forms to make them appear smaller.

The colour study was based upon days of on site research, comparing key colours with the NCS swatch for identification in the NCS model. To provide some guidance to this work, the Borough was first divided into four character areas:

• The gateways, urban / rural edge • Town centres, Darwen and Blackburn • Canal corridor • Residential areas

These categories provided the framework for the research, a fifth area, industrial , was dropped as key buildings appeared in other zones, notably the canal corridor, and more recent buildings displayed such poor colour choice, this could have skewed the study.

INTRODUCTION TO COLOUR

THE STUDY ARE A

G AT E WAYS : T H E U R BA N E D G E 0 5

TOW N C E N T R E : B L AC K B U R N A N D DA R W E N 14

C A N A L C O R R I D O R 27

R E S I D E N T I A L A R E AS 4 0

GATEWAYS :

THE URBAN EDGE

Each of the four character areas has a section of key colours, a synthesis of the most frequently occurring colours in that area, together with the key accent colours, colours which provide smaller yet vital contributions to the perception of the colour range of that area.

From that synthesis, the colour palette for that area is developed and appears on the adjacent page. The palette offers a range of 77 colours for each Area, divided into 7 separate colour schemes of 11 colours each. These colour schemes are read horizontally, whist the palette as a whole is laid out in 5 vertical columns according to the function of colour selection.

Working from left to right , the first column of 21 colours, contains colours suitable for large areas of a development that require camouflage or integration. Depending upon the site context this may apply to developments seen against the landscape, the skyline, other buildings of a variety of materials etc. Locate the site context and follow the line horizontally, choosing which colour(s) in the first column best apply to the development. Always work horizontally to maintain the correct relationship between colours.

The next column of single colours are shades of grey selected in relationship to the mid tones of the first column colours. Greys provide a link between different colours of similar nuance and each shade of grey contains a tint of the principle colour selected in the first column.

The next column of 21 colours, moving right , identifies the specific complimentary colours to those in the first column, laid out in exactly the same order. Colours may be selected to complement and bring out the positive chromatic qualities of the first colour and can be used to accent aspects of the development. The remaining 2 columns are derived from the centre colours (mid tone) of the first column.

The next column, moving right , identifies colours of the same nuance, (the relationship of that colour to black and to its maximum colour intensity) , but for different hues (colours) .

Colours selected from this column will harmonise with each other and allow a larger range of colours to be introduced assisting in the articulation of form.

The final column identifies colours of the same nuance but differing chromaticness (intensity) . In most cases the chromaticness is increased for accent , but where the blackness of a colour is high accent is provided by maintaining the hue and increasing the whiteness. This particularly applies for the town centre and residential character areas where colours selected from this column would generally be applied to architectural features on buildings.

By selecting colours from the same horizontal line an appropriate colour scheme will be achieved in accordance with the objectives set out for the development as a whole.

T H E C O L O U R P A L E T T E S : H O W T O U S E T H E S T U D Y

C O L O U R S Y N T H E S I S / K E Y C O L O U R S

I N T EG R AT I O N A N D C A M O F L AG E C O LO U R S

G R E Y L I N K I N G C O LO U R S

C O M P L I M E N TA RY /AC C E N T C O LO U R S

H A R M O N I S I N G C O LO U R S

F I X E D N UA N C E

D I F F E R I N G H U E S

A R T I C U L AT I O N A N D AC C E N T C O LO U R S

F I X E D H U E

D I F F E R I N G C H R O M AT I C I N T E N S I T Y

C O L O U R S Y N T H E S I S / K E Y C O L O U R S

TOWN CENTRE :

BL ACKBURN AND DARWEN

Each of the four character areas has a section of key colours, a synthesis of the most frequently occurring colours in that area, together with the key accent colours, colours which provide smaller yet vital contributions to the perception of the colour range of that area.

From that synthesis, the colour palette for that area is developed and appears on the adjacent page. The palette offers a range of 77 colours for each Area, divided into 7 separate colour schemes of 11 colours each. These colour schemes are read horizontally, whist the palette as a whole is laid out in 5 vertical columns according to the function of colour selection.

Working from left to right , the first column of 21 colours, contains colours suitable for large areas of a development that require camouflage or integration. Depending upon the site context this may apply to developments seen against the landscape, the skyline, other buildings of a variety of materials etc. Locate the site context and follow the line horizontally, choosing which colour(s) in the first column best apply to the development. Always work horizontally to maintain the correct relationship between colours.

The next column of single colours are shades of grey selected in relationship to the mid tones of the first column colours. Greys provide a link between different colours of similar nuance and each shade of grey contains a tint of the principle colour selected in the first column.

The next column of 21 colours, moving right , identifies the specific complimentary colours to those in the first column, laid out in exactly the same order. Colours may be selected to complement and bring out the positive chromatic qualities of the first colour and can be used to accent aspects of the development. The remaining 2 columns are derived from the centre colours (mid tone) of the first column.

The next column, moving right , identifies colours of the same nuance, (the relationship of that colour to black and to its maximum colour intensity) , but for different hues (colours) .

Colours selected from this column will harmonise with each other and allow a larger range of colours to be introduced assisting in the articulation of form.

The final column identifies colours of the same nuance but differing chromaticness (intensity) . In most cases the chromaticness is increased for accent , but where the blackness of a colour is high accent is provided by maintaining the hue and increasing the whiteness. This particularly applies for the town centre and residential character areas where colours selected from this column would generally be applied to architectural features on buildings.

By selecting colours from the same horizontal line an appropriate colour scheme will be achieved in accordance with the objectives set out for the development as a whole.

T H E C O L O U R P A L E T T E S : H O W T O U S E T H E S T U D Y

C O L O U R S Y N T H E S I S / K E Y C O L O U R S

I N T EG R AT I O N A N D C A M O F L AG E C O LO U R S

G R E Y L I N K I N G C O LO U R S

C O M P L I M E N TA RY /AC C E N T C O LO U R S

H A R M O N I S I N G C O LO U R S

F I X E D N UA N C E

D I F F E R I N G H U E S

A R T I C U L AT I O N A N D AC C E N T C O LO U R S

F I X E D H U E

D I F F E R I N G C H R O M AT I C I N T E N S I T Y

C O L O U R S Y N T H E S I S / K E Y C O L O U R S

CANAL CORRIDOR

Each of the four character areas has a section of key colours, a synthesis of the most frequently occurring colours in that area, together with the key accent colours, colours which provide smaller yet vital contributions to the perception of the colour range of that area.

From that synthesis, the colour palette for that area is developed and appears on the adjacent page. The palette offers a range of 77 colours for each Area, divided into 7 separate colour schemes of 11 colours each. These colour schemes are read horizontally, whist the palette as a whole is laid out in 5 vertical columns according to the function of colour selection.

Working from left to right , the first column of 21 colours, contains colours suitable for large areas of a development that require camouflage or integration. Depending upon the site context this may apply to developments seen against the landscape, the skyline, other buildings of a variety of materials etc. Locate the site context and follow the line horizontally, choosing which colour(s) in the first column best apply to the development. Always work horizontally to maintain the correct relationship between colours.

The next column of single colours are shades of grey selected in relationship to the mid tones of the first column colours. Greys provide a link between different colours of similar nuance and each shade of grey contains a tint of the principle colour selected in the first column.

The next column of 21 colours, moving right , identifies the specific complimentary colours to those in the first column, laid out in exactly the same order. Colours may be selected to complement and bring out the positive chromatic qualities of the first colour and can be used to accent aspects of the development. The remaining 2 columns are derived from the centre colours (mid tone) of the first column.

The next column, moving right , identifies colours of the same nuance, (the relationship of that colour to black and to its maximum colour intensity) , but for different hues (colours) .

Colours selected from this column will harmonise with each other and allow a larger range of colours to be introduced assisting in the articulation of form.

The final column identifies colours of the same nuance but differing chromaticness (intensity) . In most cases the chromaticness is increased for accent , but where the blackness of a colour is high accent is provided by maintaining the hue and increasing the whiteness. This particularly applies for the town centre and residential character areas where colours selected from this column would generally be applied to architectural features on buildings.

By selecting colours from the same horizontal line an appropriate colour scheme will be achieved in accordance with the objectives set out for the development as a whole.

T H E C O L O U R P A L E T T E S : H O W T O U S E T H E S T U D Y

C O L O U R S Y N T H E S I S / K E Y C O L O U R S

I N T EG R AT I O N A N D C A M O F L AG E C O LO U R S

G R E Y L I N K I N G C O LO U R S

C O M P L I M E N TA RY /AC C E N T C O LO U R S

H A R M O N I S I N G C O LO U R S

F I X E D N UA N C E

D I F F E R I N G H U E S

A R T I C U L AT I O N A N D AC C E N T C O LO U R S

F I X E D H U E

D I F F E R I N G C H R O M AT I C I N T E N S I T Y

C O L O U R S Y N T H E S I S / K E Y C O L O U R S

RES IDENT IAL ARE AS

Each of the four character areas has a section of key colours, a synthesis of the most frequently occurring colours in that area, together with the key accent colours, colours which provide smaller yet vital contributions to the perception of the colour range of that area.

From that synthesis, the colour palette for that area is developed and appears on the adjacent page. The palette offers a range of 77 colours for each Area, divided into 7 separate colour schemes of 11 colours each. These colour schemes are read horizontally, whist the palette as a whole is laid out in 5 vertical columns according to the function of colour selection.

Working from left to right , the first column of 21 colours, contains colours suitable for large areas of a development that require camouflage or integration. Depending upon the site context this may apply to developments seen against the landscape, the skyline, other buildings of a variety of materials etc. Locate the site context and follow the line horizontally, choosing which colour(s) in the first column best apply to the development. Always work horizontally to maintain the correct relationship between colours.

The next column of single colours are shades of grey selected in relationship to the mid tones of the first column colours. Greys provide a link between different colours of similar nuance and each shade of grey contains a tint of the principle colour selected in the first column.

The next column of 21 colours, moving right , identifies the specific complimentary colours to those in the first column, laid out in exactly the same order. Colours may be selected to complement and bring out the positive chromatic qualities of the first colour and can be used to accent aspects of the development. The remaining 2 columns are derived from the centre colours (mid tone) of the first column.

The next column, moving right , identifies colours of the same nuance, (the relationship of that colour to black and to its maximum colour intensity) , but for different hues (colours) .

Colours selected from this column will harmonise with each other and allow a larger range of colours to be introduced assisting in the articulation of form.

The final column identifies colours of the same nuance but differing chromaticness (intensity) . In most cases the chromaticness is increased for accent , but where the blackness of a colour is high accent is provided by maintaining the hue and increasing the whiteness. This particularly applies for the town centre and residential character areas where colours selected from this column would generally be applied to architectural features on buildings.

By selecting colours from the same horizontal line an appropriate colour scheme will be achieved in accordance with the objectives set out for the development as a whole.

T H E C O L O U R P A L E T T E S : H O W T O U S E T H E S T U D Y

C O L O U R S Y N T H E S I S / K E Y C O L O U R S

I N T EG R AT I O N A N D C A M O F L AG E C O LO U R S

G R E Y L I N K I N G C O LO U R S

C O M P L I M E N TA RY /AC C E N T C O LO U R S

H A R M O N I S I N G C O LO U R S

F I X E D N UA N C E

D I F F E R I N G H U E S

A R T I C U L AT I O N A N D AC C E N T C O LO U R S

F I X E D H U E

D I F F E R I N G C H R O M AT I C I N T E N S I T Y

C O L O U R S Y N T H E S I S / K E Y C O L O U R S

C O L O U R S T U D Y P R E P A R E D B Y

E AT O N W AY G O O D A S S O C I AT E S

F O R B L A C K B U R N W I T H D A R W E N

B O R O U G H C O U N C I L , 2 0 0 5

W W W . E A T O N W A Y G O O D A S S O C I A T E S . C O . U K

8 H I G H S T R E E T S T O C K P O R T C H E S H I R E

S K1 1E G T : 016 1 4 7 6 10 6 0