Colored Architecture Tutorial

Docume entation: Ca aren-Maria Jörß 17.10.2011 / Englissh: August 2012 2

Colorred Arc chitecture (Frea ak Clien nt V1) Developer: Christtian Tonn

1. Introduction – the aim ms of Collored Arc chitecture e This sofftware supp ports design ning efficien nt and plaus sible colour schemes a nd material selections in the arch hitectural de esign process. The Co lored Archittecture softw ware protottype makes it possible to rapidly a and realisticcally assess s the effect of colour, materials m an nd light in arrchitectural modelling using a parameter--driven systtem.

The trad ditional wayy of renderin ng architecttural models s use radios sity visualizzation is ofte en too time-consum ming to be off practical use u in the de esign proce ess. To imprrove the woorkflow, the live radiosity calculattion of Colored Architec cture provid des a physic cally correct visualizati on of the material m whilst allowing g the param meters positiion of the su un, cloudine ess and surrface-colourr to be adjusted interactively.

Colored d Architecture adapts best b practice es, represen ntations and d tools in pllanning prac ctice such as a variantss, colour stu udies, colour harmoniess and contrrasts of colo our to suppoort the desig gn of materrial surfacess.

2. Use er interfac ce

Fig. 1 C Colored Arcchitecture user u interfacce The diffferent sideb bar panels will w be descrribed in the tutorial.

The ma ain window is divided in nto four view ws: Top leftt: View w from the le eft Top righ ht: Floo or plan

Bottom left: Central perspec ctive Bottom right: Fron nt view

3. Tuto orial After sta arting Colorred Architec cture, estab blish a connection with the server uusing the “@ @” button. In this tuto orial we will work with a pre-prepa red 3D arch hitectural model of a rooom originally designed d

by Piet Mondrian, using u it as an a example on which to o learn the basic princiiples and op peration of Colored d Architecture. In the “F File” menu, open the fille “MondrianRaum–Geeometrie.xm ml”. If the .xm ml file cann not be seen n, change th he extension n type in the e “Open File” dialog boox to “XML Geometry Model”.

3.1. Ca amera setttings e the positio on in the win ndow so tha at you can see s the blue e wall surfacce with a window in fro ont Change of you. In this tutorrial we will be b working p primarily witth central perspective. To return to this position n, it is advisa able to save e your posittion in the “C Camera setttings” in thee “View” me enu.

Fig. 2 C Camera setttings amera Settings” dialog box showss the currentt camera da ata. To makke the came era more wide The “Ca angle, in ncrease the e value for “angle “ of ap perture”.

3.2. Ch hanging th he geomettry of the 3 3D model In this e exercise we will design a colour sccheme for th he blue wall surface. F First, however, we need d to divide e the surfacce into more e sections. T To modify polygonal p su urfaces at a later date in the 3D model, C Colored Arcchitecture provides p a sseries of working tools in the right--hand toolba ar. They are e as follow ws:

H Horizontal se ection: take es a horizon ntal cross se ection throu ugh the seleected surfac ces. The leftt mouse button cuts through all selected su urfaces, the e middle mo ouse button through jus st one surface.

V Vertical secttion: takes a vertical crross section n through the selected ssurfaces. The T left mou use button ccuts through h all selecte ed surfaces,, the middle e mouse button throughh just one surface. s

R Rectangularr section: cu uts a rectan gle out of th he selected surface.

Join polygon ns: joins two o polygonal surfaces. Drag D the firs st polygon oover the sec cond while keeping g the left mo ouse button depressed d.

In the fo ollowing secction, we will divide the e blue wall surface s into several secctions: 1. Sele ect the blue wall surfac ce.

2. Click on the “Horizontal se ection” tool.

3. Whe en mouse moves m acros ss the surfa ace, a black k horizontal line appearrs. The line is oriented towa ards the surrface over which w the cu ursor rests.

4. If the line is harrd to see, sw witch on the e “Transparrency” mode e using the button in th he top toolbar.

Transpare ency: displa ays the 3D m model semi-transparen nt. ermine whe ere the surfa ace should be cut by pressing the left mouse button with hin the 5. Dete sele ected surfacce.

6. Use e the right mouse m button to end the e section crreation.

7. Rep peat steps 2-5 2 for a furtther horizon ntal line and d a vertical line l (using tthe “verticall section” button). At the end there should s be se everal sepa arated surfaces.

Fig. 3 The result of o changing g the geome etry: in “transparency mode”, m the ssection lines s are clearlyy visible.

If severa al surfaces are selecte ed at once, tthe black lin ne will creatte a sectionn through them all. If yo ou wish to join some of o the surfac ces again, u use the “Joiin polygons” tool. The ““Deselect selection” s button d deselects an ny active se elections.

To cut a rectangle out of a surrface, use th he “rectang gular section n” tool and ddrag a recta angle defining

the area a to be cut out. o To prod duce a hole e in the wall, the cut outt section caan be selectted and then deleted using the “Delete” button.

D Delete: delettes all selec cted objectss.

Occasio onally, deletting objects s can leave stray points s that no lon nger belongg to a surfac ce or line.

These p points can be b cleaned away a using g the comma and “Delete e unused pooints” in the “Options” menu.

If imporrting one’s own o project (the progra am supports s XML, DXF F, DAE and STL formats), one should ffirst run an automatic surface s sep aration routtine using th he “Create rrooms” func ction. This routine separates all a 3D objec cts at their jo oins into ind dividual surffaces. This can be nec cessary whe en importin ng files with geometries s that exten nd through or o past one another, foor example floor f slabs, ceiling sslabs or verrtical wall se ections span nning severral storeys. The functioon breaks th hese down into indiividual room ms and room m surfaces. In addition, “proper” edges are reequired for computing c light disstribution.

C Create room ms: breaks down larger geometries s into individ dual room ssurfaces.

3.3. Initial lightin ng calcula ation Once th he changes to the geom metry of the e model are more or les ss completee, an initial lighting calculattion needs to t be underttaken in pre eparation fo or working with w colours . This is spe ecial aspect of Colored d Architecture: when ch hanging the e colour scheme, not on nly the impaact of directt incident lig ght d. If one changes the colour but also o reflectionss need to be e considered c of a w wall, the atm mosphere of o the room m should also change with it. One e can start th he lighting calculation c uusing the “R Radiosity calculattion” button in the left-h hand toolba r.

R Radiosity ca alculation: sttarts a radio osity calcula ation

Fig. 4 L Live Radiossity calculatiion dialog b box

Fig. F 5 Adva anced radiossity settings s

The individual settiings are des scribed belo ow: Patch h size edge e length [m]]: the smalle er the patch size, the lo onger the caalculation will w take but the bette er the qualityy of the com mputation.

Maxiimum recurrsion depth: should alw ways be set to 1.

Reso olution of the sky [°]: is the degree e of segmen ntation of the sky.

Hem micube size [pixels]: [ is a measure o of how exac ct the final calculation c w will be. The value can be regarded as the e resolution of the virtua al camera.

Adva anced settin ngs…: the “adaptive “ pa atch resoluttion for large surfaces”” should alw ways be activvated for larg ge surfaces s as it impro oves the com mputation performance p e significanttly and the reducced resolution of the patch size iss barely visible on large e surfaces.

Direcct illuminatio on patch-lev vel scale: d etermines how h many patch p childre ren belong to t a patch parent. Patch pa arents are texture t pixe els that are subdivided s into patch cchildren. To o make the comp putation mo ore efficient, patch-child dren inherit the propertties of the ppatch parents.

Click on n “Start” to start s the Liv ve Radiosityy Calculation n. at every tim me the geom metry of the 3D model is changed, the radiosi ty calculatio on has to be e Note tha underta aken anew. To start a new n radiositty calculatio on, first choo ose “Reset”” in the “Rad diosity calculattion” dialog box, and th hen “Start”. has been co After the e radiosity calculation c ompleted, one o can start designingg with colou ur in the 3D model. W When desig gning with colour, c the l ines and po oints of the geometric m model can be b intrusive.

To hide these, choose “hide all a lines and points” in the “View” menu. m

Fig. 6 R Result of th he first live radiosity r callculation.

For morre realistic results, r “Fin nal gather” i n the “View w” menu sho ould be activvated. The “Final gathe er settingss” can be found in the “Options” “ m menu. The se etting “Num mber of final gather pas sses” is set to 3 for a g good balancce between performan ce and natu ural appearance If the value is sm maller, the responsse will be qu uicker but th he presenta ation quality y diminishes s.

To switcch between “Live radio osity” presen ntation and “flat colours”, use the “Live radios sity on/off” button in the top-rig ght toolbar.

L Live radiosityy on/off Using th he “POV-Ra ay radiosity calculation n” button in the t left-had toolbar, onne can save e an image of o the persspective win ndow. One should first call up the “POV-Ray settings” w window in the e “Options” menu, in which the e local, the size s of the i mage and image quality can be seet.

P POV-Ray ra adiosity calc culation

3.4. As ssigning colours c to room surrfaces To assig gn colours to t the separate surface es of the wa all, activate the “Colourr chooser palette” in the left-hand toolbar.

Colour choosser palette: switches on n the colourr chooser palette.

Fig. 7 C Colour choo oser palette e The colo our chooser palette co ontains 100 predefined colours. Sh hould more be needed, use the command “Add 100 0 colours to o the palette e” in the “To ools” menu. In the exam mple file, co olours #01 to t #11 havve already been b define ed and appliied to the in ndividual wa all surfaces.. To see wh hich colours have alrready been used in the e model, ch oose the co ommand “C Colour tree” in the “View w” menu and a panel appears with h a tree view w of the use ed colours and a defined but unusedd colours. This T view ca an be upda ated by right-clicking on n the tree a and choosing “update colour c tree”.. One can see s in our example e that the co olours #01 to #11 have e already be een applied d to the 3D m model.

Fig. 8 C Colour tree The follo owing stepss describe how h to defin ne a new co olour and ap pply it to a w wall surface e: 1. Scro oll down in the t colour palette p to th he next unus sed colour (#12). ( 2. Give e the colourr a name by y clicking on n “Name” att the right and enteringg “RedColou ur” in the dialo og box.

3. Click “OK” to co onfirm your input.

4. Cho oose “RGB” as the colo our space – this should d be preset at the right of the colou ur chooser.

5. Drag g the R slider to the rig ght and the G and B slider to the le eft.

6. Movve the mousse over the right-hand panel with the t red colo our until the pipette sho ows.

7. Click and drag the colour into i the view w of the mo odel and let go of the m mouse button on part off the blue wall. The T surface should be ccoloured re ed.

8. Rep peat these steps s for collour #13 “G GreenColourr” and #14 “YellowColoour”, adjusting the RGB B slide ers accordin ngly.

9. Colo our in the en ntire wall us sing these tthree colourrs, leaving two t blue surrfaces left over. o

a colouriing in the w wall surfaces s Fig. 9 The result after Several colour valu ues can be defined for each of the e numbered colours. Thhis is particularly usefu ul when th here are sevveral variants of a colo our, for exam mple for a window w fram me. These may m have different colour spa aces (LAB/R RAL) or diffe erent materrial propertie es (transpaarency). To create c a ne ew variant, click “New”” in the resp pective colo our chooser. The top ba ar of the collour now sh hows the different colour varriants and one o can cho oose – or de elete – the respective r ccolour variant from the bar.

Fig. 10 Two varian nts of a colo our Using th he “Colour Drag D & Drop” comman nd in the “To ools” menu, one can pi ck up a colo our from a surface in the model and apply it to anoth her surface simply by dragging d it ffrom one to the other.

3.5. Crreating collour harmonies A key fa acility of Colored Archittecture is th he ability to create colo our harmoniees. Colour combination c ns are crea ated accord ding to partic cular rules w which can be b used to create c colouur schemes s. Colour harmonies are the product of several s diffe erent factorrs. The colo our of the suurroundings s, the arrange ement of collours in a sp pace and th he respectiv ve sizes of the colouredd surfaces, as well as their inte ensity (satu uration) and brightnesss are the ma ain factors that influencce colour ha armonies. The T “Colour harmonies palette” ca an be activa ted by the correspondi c ing button inn the left-ha and toolbar::

C Colour harm monies palettte: switchess on the collour harmon nies palettee.

Colour harm monies pale ette Fig. 11 C Colored d Architecture comes with w 5 prese t colour harrmonies which can be aapplied individually to a colour o or combined d as require ed: f Munssell’s colourr harmony formula:

=

al arrangem ment of colou urs.

Itten:: creates a symmetrica Colo our hue harm mony: the same colourr hue within a particularr spectrum.

Satu uration harm mony: the sa ame saturattion within a particular spectrum. s Brigh htness harm mony: the sa ame brightn ness within a particularr spectrum.

Colour h harmonies are a created d using the ffollowing ba asic principle: 1. Swittch on the “Colour harm monies pale ette”.

2. Sele ect the prevviously colou ured surfac es of the fo ormer blue wall. w 3. To ssee the colo ours after se electing the e surfaces, click c the buttton “Transpparency of selected s item ms” in the toolbar:

Trransparenccy of selecte ed items 4. The selected co olours are now n shown with their numbers n in the t colour ccircle and lis sted along with h their surfacces.

5. Cho oose the “Co olour hue” harmony h ab bove the collour circle.

6. Drag g the slider around the e colour circcle to set a value v of 50% %.

7. Now w apply Satu uration and Brightnesss harmonies s in the sam me way, settting their va alues to 50% %.

8. In th he perspecttive view the e display wiill show how w the atmos sphere of thhe room cha anges acco ording to the setting.

9. In th he harmonie es that have e been crea ated, the colours harmo onise to 50% %. If the value for these three harmonie es is set to 100%, 1 one ssees four id dentical colo ours.

Fig. 12 The resultt after apply ying colour h harmonies In the lisst of the sellected colou urs, the dete ermining co olour for the e colour harm mony is sho own. The default ssetting is “a all colours”. It is also po ossible to make m one co olour or grouup of colourrs the determining colourr for the harmony. The hue of all th he selected colours ca n be change at once by b rotating the colour circle using g the mouse e.

For a be etter overvie ew it is poss sible to sho ow only certtain colours in the colouur palette. Using U the colour tree, it is posssible to de efine groupss of colours as describe ed below: 1.

2.

3.

4.

Righ ht-click in th he colour tre ee panel on n “Colour tre ee”.

In th he context menu, m choose “Add collour group”..

Give e the new colour c group p a name, fo or example “ThreeColo ours”.

In th he colour pa anels next to the colou r number, drag d the pre eviously cre ated colourrs “Red dColour”, “G GreenColou ur” and “Yel lowColour” into the newly createdd colour group.

5. In th he context menu m of the e new “Thre eColours” colour c group p (right-clickk on the colour group) therre is now a command c “Show only this colour group”. The e colour choooser palettte will now onlyy contain the ese colours s.

3.6. Crreating collour schem mes In the previous secction we exa amined how w to work wiith colours in the 3D m model. There e is also a more ab bstract way of working with colourrs and to sa ave colour combination s. Colour sc chemes can n be particularly usefful when on ne wants to investigate different ha armonies foor a 3D spac ce. The “Colour scheme pa anel” can be e opened ussing the corrresponding g tool in the left-hand to oolbar:

me panel: switches on the colour scheme s panel.

Colour schem

Fig. 13 Colour sch heme panell Use the e following steps s to crea ate a new ccolour schem me with free ely definablle surfaces:: 1. Swittch on the colour c schem me panel.

2. Divid de the white e square in the panel i nto 6 panels. To do thiis, drag twoo horizontal lines and one o vertical line from m the edge of the squa are inwards s.

3. The resulting panels can then be filled d with the th hree colours created ppreviously (““RedColour”, “Gre eenColour”,, “YellowColour”) as we ell as colour #7.

4. Makke sure thatt no surface es are seleccted in the model. m The colour c circlee should the en auto omatically show the colours from tthe colour scheme. s 5. Now w apply the “Munsell” colour c harmo ony to the colours. c 6. Cha ange the pro oportions off the coloure ed surfaces s in the colo our scheme panel by sh hifting the horizzontal and vertical v dividing lines.

7. The colours willl change co orrespondin ngly becaus se the Muns sell colour hharmony is calculated c base ed on relativve surface areas. Cha nge the res spective size es of the paanels until you y are happy with h the colour combinatio on.

8. Ope en the “Colo our tree” in the t “View” m menu. under “Colo 9. “Collour scheme e #1” should be listed u our schemes”. One cann also see the t colours that are used in n the colourr scheme (d don’t forget to refresh/u update the ddisplay).

plying the colour c harmo Fig. 14 Before app ony

Fig. F 15 Afte er applying the colour harmony h

olour schem mes can be created and adapted. These funcctions can be b found at the t Several different co he colour sccheme pane el (“New”, “D Del”, “Set”).. Using the “Set” functioon, the divis sion of the top of th surfacess in the colo our scheme e can be mo odified in a controlled c way. w

Fig. 16 Colour sch heme setting gs

3.7. Su uggesting colours 3.7.1. C Calculate suggested s d colours Based o on the colou ur hue and saturation s h harmonies, Colored Architecture aalso offers a small tool for calculatting suggested colours. To start th his function, choose “Suggest coloour combina ation” from the t “Tools” menu and a new colou ur scheme iis created. The T colours s it containss are then shown in the e colour cchooser pale ette.

Fig. 17 Result of a colour com mbination su uggestion

3.7.2. A Adobe Kuler Abode K Kuler is an online o tool for f calculatiing and sav ving colour themes t andd can be callled up with the “Colour themess” tool in the e “View” me enu. Colours can be drragged direcctly from Ad dobe Kuler into the colour choo oser palette e.

Fig. 18 Adobe Kuller Colour th hemes

3.8. Im mage analy ysis Image a analysis can n also serve e as a sourcce of inspira ation for colour schemees. This fun nction analyse es the distrib bution and frequency f o of colours in n a chosen image. The number of colours is reduced d to a numb ber that can be predefin ned.

mage analyssis: switche es on image e analysis.

Im

Fig. 19 Image ana alysis panell 1.

2.

3.

4.

5.

Ope en the “imag ge analysis”” panel.

Load an examp ple image, for f example e “Bildanalys se.jpg” usin ng the “Loadd” button.

Click on “Setup p” and enterr the numbe er of colours s required, for f examplee 3.

Click “Analyse”” to start the most comm e analysis a and the imag ge is reduce ed to the 3 m mon colours.

To ttransfer the colours to the t model, move the mouse m pointter over the image and use the “Pip pette” to pickk up a colou ur.

6. Drag g the desire ed colour to a field in th he colour ch hooser palette or alternnatively dire ectly onto a surfface in the 3D 3 model.

Fig. 20 Results off the image analysis

3.9. Co olorImagin ne Using C ColorImagine, you can load image s into Colorred Architec cture and coolour in predefined are eas of the im mage independently. An A existing rroom, for ex xample, can n be loaded as a photo o into the program m and the co olour of the walls, floorr and ceiling g surfaces can c be channged.

Fig. 21 ColorImag gine: Origina al image 1. Starrt “ColorIma agine” using g the corressponding fun nction in the e “View” meenu.

2. In th he ColorIma agine panel” load the o original imag ge “ColorIm magine.jpg” uusing the “L Load” button n.

3. Then load black-and-white e masks deffining the areas to colo our using “LLoad mask” (“Ra ahmen.jpg” and “Boden n.jpg”).

4. For each maskk image, Colored Archittecture crea ates a colou ur in the coloour chooser palette whicch can be used u to colour the imag ge.

5. The newly crea ated colours s are given tthe name of o the file (“R Rahmen” annd “Boden”)). Change th he colo our of “Rahm men” to red and the co lour of “Bod den” to grey y.

6. To ssee the resu ults, switch to the “New w image” tab b in the ima age analysiss panel.

Fig. 22+ +23 Masks

End result Fig. 24 E

3.10. P Position off the sun and a directtion of norrth Colourss change ass they are illuminated th hroughout the t day and this is impoortant to co onsider in the design o of spaces and a colour. Colored C Arcchitecture provides p the e possibility to examine e the effect of o light on the colour design d as itt changes th hroughout the t day. In addition, a it iss possible to t set differe ent parame eters that de etermine the e degree of natural illum mination us sing the “Poosition of the e sun and direction n of north” tool t in the le eft-hand too olbar.

P Position of th he sun and direction off north: swittches on the e corresponnding “Posittion of the sun s and dire ection of north” panel.

Fig. 25 Position of o the sun an nd direction n of north The pan nel shows th he skydome e from the ttop. The dire ection of no orth and thee position off the sun at a time of tthe day are e drawn on the t sky dom me. Here we e will define e where nortth lies for our 3D mode el and the position of the sun wh hen the mod del is locate ed in Rostoc ck.

1. Click on the texxt at the botttom of the ““Position off the sun an nd direction of north” pa anel where Weimar is alrea ady entered d.

2. A dialog box ap ppears with the “POV-R Ray Setting gs”.

Fig. 26 POV-Ra ay settings 3. In th he section “Calculate position p of th he sun”, cho oose “Rosto ock” in the l ist of locatio ons.

4. Ente er the time of o day and the date forr the simula ation.

5. Afte er choosing the settings s, click on “C Calculate position p of th he sun”. Thee calculated d values are e added to the se ection “Glob bal illuminattion”. he “Global illlumination”” section of the dialog box, b change e the directiion of north to 270°.

6. In th 7. Beccause the skky is genera ally changea able in Rostock, chang ge the settinng “CIE Sky y Illumination” to “S Sky type: CIE Skycode e IV-4 Partlyy clouded”.

8. To cchange the “Sky illumin nation” in th he Position of o the sun panel, p “CIE Sky Illumination” mustt be cchecked.

9. Con nfirm your in nput with “O OK”.

+28 Differe ent impressiions of the ssame room with a different positioon of the sun n and Fig. 27+ direction n of north

For a m more natural representa ation of lightt, leave the check mark k for “Use LLight adapta ation” switched on (in the e section “CIE Sky Illum mination”) in n the POV-R Ray settingss. If this is not n active, only the e purely phyysical values s for the co olour will be shown whic ch is unsuittable for natturally illumina ated colour design. d To view w how the co olours and illumination change over the cours se of the daay, there is a “time of day slider” b beneath the e sky dome. By changin ng the slider, the time of o day channges and the e passage of o light ove er the coursse of the da ay – and the e resulting colour c chang ges – can bbe seen live e in the perspecctive view of the room. The slider progresses from sunris se to sundoown.

If one happens to be b positione ed outside, it is necess sary to adap pt the displaay to the ligh hting conditio ons. Our eye es are able to adapt to changing lighting cond ditions autoomatically by controlling g the amo ount of lightt that passes through th he lens of our o eyes. In Colored Arrchitecture, this is achieve ed using the e “Adjust 100% normal brightness”” slider abov ve the stylissed sky dom me. The standarrd setting is 100% for in nteriors. In o outdoor situ uations, adju ust the slideer to the right until the light no longer blow ws out. Don’t forget to rreadjust the e settings when w transitiioning back k to the interior.

3.11. A Assigning textures to t room su urfaces To give the wall mo ore structurre, textures can be app plied to surfa aces. This i s done with h the “Texture es palette”.

T Textures pallette: switch hes on the ttextures palette.

Fig. 29 9 Textures palette p exture to an example, we e will add a brickwork te n external wall. w Changee the camera position so In our e that we are now vie ewing the ro oom from o utside.

1. Cha ange to the “Stone” category in the e texture pa anel.

2. Drag g the image e of the red brickwork ttexture, hold ding down the t mouse bbutton, to th he surface of o the w wall in the 3D 3 model.

3. Let g go of the mouse m button n and the te exture will be b applied to o the surfacce. In the co olour chooser pale ette, the textture replace es the previious colour of the wall. All other suurfaces thatt have been n assiigned the sa ame colour number willl be given this t texture.

4. To ccolourize the texture, drag d the RG GB sliders fo or that colou ur number. T The texture e is tinted wiith the chosen colo our.

5. The texture is currently c too o small nee eds to be scaled up in size. s This caan be done directly in the t mod del.

6. Activvate the button “texture e pan, zoom m, rotate” button in the top toolbarr.

Texture pan, p zoom, rotate: r activvates the co orresponding mouse m mode.

7. Click on the brickwork textture of the e element tha at needs to be b modifiedd in the 3D model. m An edit e men nu appears on the surfa ace with bu uttons for pa anning, rotating and sccaling the texture.

8. Cho oose the thirrd button “scale” and e enlarge the structure s off the brickwoork by dragging with th he mou use.

Fig. 30 0 Editing a texture t on th he model The GLSL shader in the progrram is autom matically ac ctive. This makes m the teexture look more three edimensiional and more m realistic c. This funcction can be e switched off o in the “Viiew” menu.

New texxtures can be b added by y placing a jpg image file f with the texture intoo the folder “PMBTexture en” in the pro ogram direc ctory. If Col ored Architecture is alrready open when copy ying in a new w texture, first update e the catalo ogue of textu ures. The new texture will then apppear in the textures To do this, choose c the command ““Update cattalogue of te extures” in tthe “View” menu. m panel. T

3.12. R Room nets s To display all the surfaces s of a room unfo olded onto a flat surfac ce, Colored Architecture also offerrs a “Room net” function. The colo ours of surfa aces can be e edited in th his view jusst like in other views. Liive radiosityy calculation is also ac ctive in this vview.

R Room net: creates c a fla attened room m net.

To activvate this vie ew, click the e button “Ro oom net� and then select a room ssurface. Colored Architeccture will au utomatically find the roo om it belong gs to. Right-click to sw witch to the room r net vie ew.

It is also o possible to o change which w wall su urface shou uld be in the e middle of tthe room ne et. Move the e cursor o over the white area aro ound the roo om net untill the symbo ol changes aand click the e button to cycle through the room r surfac ces that sho ould appear in the centrre of the rooom net.

Fig. 31 R Room net