b'blue skyexposed to different lighting conditions. Playingof typically warm hues to explore the impacts withtheideaofreducingthevisualimpactcolour relationships can have on our perception ofincreaseddensity,Annascolourstudiesof form and provoke an opportunity for a greater ultimately led her to a scheme comprised ofuse of colour in our surrounding context.Resene Chetwode Blue, Resene Carousel Pink,Becauseofherpersonalpreferencefor Resene Drover, Resene Geraldine and Reseneneutral hues, Anna says the biggest challenge Bauhaus based on their relative saturations andwasallowingtheexpressionofcolourtobe value. In the proposed design outcome, largercentral to the project itself. Anyone who knows forms would be of lower value darker colours tomewouldagreeItendtobeanachromatic suppress their sense of mass on the surroundingperson. For this reason, my research challenged context while smaller forms would be paintedmetostepoutsideofmytypicalcreative with higher value hues. Through this alternationpractice. In turn, this allowed me to start to between low and high values, the visual impactchallengemypreconceptionsaroundthe of the overall scheme is reduced. complexities that lie between architecture and Duringherexperiments,Annadiscoveredart.Doingthisthroughtheuseofcolourin that cooler colours often took on an illuminatingmy paintings opened up my understanding of qualitywhenviewedundernaturallightinghow the two disciplines can be expressed in my circumstancesandshesoughttomakethecreative practice; inherently, in this project, it mostofthisvisualphenomenon.Togetheris the visual operation of colour that brings the asacolourpalette,ReseneChetwodeBlue,two practices together.Resene Carousel Pink, Resene Drover, ReseneOne of her most valuable discoveries was the GeraldineandReseneBauhausofferhugeeffect that New Zealands inherent natural light contrast to their surroundings being that theyhad on her Resene colour palette. Over the are highly saturated. But I saw that, when usedcourse of the project, I started to understand as an external finish for the building forms, thesehow the ambient lighting conditions of the site colourswouldfrequentlydesaturateunderinfluences the colours we see in our cities. The naturallightingconditionsespeciallywhenever-changing conditions of this context were viewedagainstthetypicalbackdropsofgreynot something I fully understood to be as truly andwhitewallsthatoftenmakeupourbuiltexpansive as they are across seasons, weather environments. Our cities also often sit in closeconditions and ranging proximity to the bush proximity to the blues and greens of the seaand sea. This is still a challenge I think about and bush. For this reason, I chose cooler tonesoften. We dont just want a blue city, despite opposite and right: Graduate Architect Anna Frames thesis project, Colour Resenein the City, explores issues of urban circulation and housing density. AnnaResene Geraldineleveraged her experience with artistic painting and colour theory to guide herChetwode Bluethesis research, which aimed to provoke discussion surrounding the use ofcolour within medium-density urban contexts. Her design concept features Resene Chetwode Blue, Resene Carousel Pink, Resene Drover, Resene Geraldine and Resene Bauhaus applied to a mixed-use urban development inReseneNewtown, Wellington, shown here under two different lighting conditions toCarousel Pinkdemonstrate how the paint colours would be affected. This is just one Reseneproposition for what the future character of Wellington could be, exploredBauhausthrough coloura proposition that aims to stray from the conformity that hasthe potential to strip character from our cities, explains Anna. ReseneDroverblackwhitemag.com 59'