This approach left us more dependent, therefore, on the variations in tonality and hue to achieve depth within the surface. The simultaneous exploitation of physical depth, which occurs in some of our other fa ades, was not an option here. We re equally interested in the effect of oscillation, which is achieved when two neighbouring areas of colour are very similar in tonality and each demands a place in front of the other. As a result, the flat surface itself seems to become three-dimensional. Colour, like music, offers an unlimited range of expressions and atmospheres.
Clients have something to say about colour as well.
The earlier we introduce the colour concept into the project the better, in terms of the client identifying with colour as an integral part of the design and as an inescapable part of the image of their future building. When we deal with private clients, discussions on colour tend to follow a more iterative course than do those that we have with corporate clients. After all, houses are much more personal. Our designs don t go unnoticed , but that can be said of many buildings in general. As with any sort of design, a strong idea provokes strong reactions.