4.1.2. Square Environmental Color Analysis
1. Barra Square, located in front of the A-Ma Temple in the southern part of the Macau Peninsula, within the São Lourenço District, is named for its position in front of the A-Ma Temple and covers an area of approximately 4400 square meters. “Barra” in Portuguese means “barrier”, referring here to a barrier formed by the impact of river and sea water flow [
34]. The square faces the sea and is adjacent to the Macau Maritime Museum, tourist boat pier, the Maritime Museum’s administrative building, with Ma Kok Lane to the north and connecting to Rua do A-Ma to the south. The environmental landscape color of the square is primarily based on the greenery planted in the square, the public facilities provided, and cultural lantern installations. The square mainly plants large woody plants, such as flame trees, false bodhi trees, banyan trees, papaya, poinciana, and fan palms, complemented by low-growing goosefoot shrubs. The public facilities in the square include nearby newsstands, guide maps, seats, etc., and cultural colors mainly consist of lantern installations during major festivals. Additionally, the square’s ground is mainly paved with Portuguese-style cobblestone tiles in wave patterns, showcasing Macau’s unique maritime cultural characteristics.
The environmental color analysis of Barra Square resulted in a total of 67 extracted colors, including 20 architectural colors, 18 public facility colors, 18 landscape colors, and 11 cultural colors. The color atlas compilation is shown in
Figure 8.
The architectural colors of Barra Square primarily include the facades of the building, prominent facade decorations, doors, and windows. The colors are mainly concentrated in R (Red), YR (Yellow–Red), Y (Yellow), G (Green), BG (Blue–Green), B (Blue), PB (Blue–Purple), and RP (Red–Purple), with YR (Yellow–Red) and Y (Yellow) being the most prevalent. This is mainly because the A-Ma Temple follows traditional Chinese temple architecture, with the overall base tone being gray, as shown in
Figure 9a.
The colors of the public facilities at Barra Square include forecourt tiles, mail kiosks, tables, chairs, recycling bins, and trash cans. These are mainly concentrated in R (Red), YR (Yellow–Red), GY (Yellow–Green), G (Green), B (Blue), and PB (Blue–Purple), with the most in G (Green), B (Blue), and PB (Blue–Purple). This is mainly due to the larger number and volume of recycling bins in the forecourt, with mail kiosks and tables typically in Macau’s characteristic green. The tones are mostly low chroma and light stable, as shown in
Figure 9b.
The landscape colors of Barra Square primarily involve the representative vegetation around the square, mainly concentrating in Y (Yellow), G (Green), and GY (Yellow–Green), with the most in GY (Yellow–Green). The tones are mostly medium chroma and dark clear, as shown in
Figure 9c.
The cultural colors at Barra Square mainly include festive lanterns placed in the square and hanging flags, predominantly in R (Red), YR (Yellow–Red), Y (Yellow), GY (Yellow–Green), BG (Blue–Green), PB (Blue–Purple), and RP (Red–Purple), with the most in R (Red) and YR (Yellow–Red). This is mainly due to the influence of traditional Chinese culture, which uses bright colors, such as red and yellow–green, during festivals to signify liveliness and celebration. The tones are mostly high chroma, as shown in
Figure 9d.
Finally, the environmental colors of Barra Square are combined into a unified chromaticity chart, encompassing hues of R (Red), YR (Yellow–Red), Y (Yellow), G (Green), GY (Yellow–Green), BG (Blue–Green), B (Blue), PB (Blue–Purple), RP (Red–Purple), and N (Achromatic), as shown in
Figure 9e. GY (Yellow–Green) has the largest proportion at 26.9%, followed by G (Green), YR (Yellow–Red), R (Red), PB (Blue–Purple), Y (Yellow), B (Blue), and RP (Red–Purple), with the smallest being BG (Blue–Green) at 3%, as shown in
Figure 9f. The overall tone displays high chroma at 62.7%, predominantly in bright, light clear, and dark clear colors, followed by light stable, medium stable, white, and stable tones, as detailed in
Figure 9g.
Finally, by integrating the collected colors and eliminating duplicates, a color atlas of the environmental colors at Barra Square was compiled, as specifically illustrated in
Figure 10.
2. Lilau Square, also known as Muddy Fountain (Portuguese: Lilau) and Dragon Head Well, is located in a square on the north side of Mount Guia in Macau, covering an area of approximately 635 square meters. Its name derives from historical legends involving a Portuguese fountain and a Chinese well: during the Ming dynasty, an elderly lady constructed a pond here to store mountain spring water for the local residents to draw for drinking, hence the name “Lilau”, which in Portuguese means “mountain spring”. This area was one of the earliest places where Portuguese settled and is surrounded by Portuguese-style ancient buildings. It has been designated as part of Macau’s architectural, historical, and cultural heritage district and is also listed in the World Cultural Heritage List. Lilau Square embodies the culture and memories of the Sino-Portuguese community. The environmental colors of the forecourt primarily include large woody plants, such as false bodhi trees, banyan trees, and magnolia, complemented by shrubs, such as red-backed laurel, elephant ear vine, ash, red flower madder, podocarpus, and bottle orchid. Public installations include newsstands, seating, and wall fountains.
The environmental colors of Lilau Square were analyzed to include a total of 46 colors, consisting of 16 architectural colors, 8 public facility colors, and 22 landscape colors. The color atlas is summarized in
Figure 11.
The architectural colors of Lilau Square primarily include the main walls, doors, and windows of surrounding buildings, focusing mainly on R (Red), YR (Yellow–Red), Y (Yellow), BG (Blue–Green), PB (Blue–Purple), and N (Achromatic), with N (Achromatic) being the most prevalent. This is largely because the historic buildings near Lilau Square were traditionally inhabited by Portuguese, resulting in architectural color combinations such as yellow–white, red–white, and green–white, all exuding a European flair. The tones are mostly low chroma and dark stable, as shown in
Figure 12a.
The colors of the public facilities at Lilau Square, including forecourt tiles, mail kiosks, tables, chairs, and public fountains, are mainly concentrated in R (Red), YR (Yellow–Red), Y (Yellow), G (Green), B (Blue), and PB (Blue–Purple), with YR (Yellow–Red) being the most common. The tones are mostly low chroma and medium stable, as illustrated in
Figure 12b.
The landscape colors of Lilau Square, which mainly involve representative vegetation around the square, are concentrated in YR (Yellow–Red), Y (Yellow), G (Green), GY (Yellow–Green), and BG (Blue–Green), with GY (Yellow–Green) being the most prevalent. The tones are mostly medium chroma and dark clear, as depicted in
Figure 12c. Finally, the environmental colors of Lilau Square are combined into a unified chromaticity chart, including hues of R (Red), YR (Yellow–Red), Y (Yellow), G (Green), GY (Yellow–Green), BG (Blue–Green), B (Blue), PB (Blue–Purple), and N (Achromatic), as shown in
Figure 12d. GY (Yellow–Green) holds the largest proportion at 30.4%, followed by YR (Yellow–Red), Y (Yellow), N (Achromatic), R (Red), G (Green), PB (Blue–Purple), and BG (Blue–Green), with the smallest being B (Blue) at 2.2%, as illustrated in
Figure 12e. The overall tone exhibits high chroma at 52.1%, predominantly in bright, dark clear, and white colors, followed by dark stable, medium stable, light stable, and light clear colors, as detailed in
Figure 12f.
Finally, by integrating the collected colors and removing duplicates, a color atlas of the environmental colors at Lilau Square was compiled, as specifically illustrated in
Figure 13.
3. St. Augustine’s Square, located at the top of Mount Hill (historically known as Millstone Mountain) within the São Lourenço district on the Macau Peninsula, is a square that connects to Senado Square (via Travessa do Oriente), Rua da Felicidade, Rua Long Son, Rua da Palha, and Rua do Tung Sin Tong. The area also hosts a district police headquarters and the administrative center of Banco Comercial de Macau. Its Portuguese name is Largo de Santo Agostinho, covering an area of about 1060 m2. The surrounding historic buildings mainly include St. Joseph’s Seminary and Church, Dom Pedro V Theatre, Sir Robert Ho Tung Library, and St. Augustine’s Church. The environmental landscape colors include banyan trees and soft-leaved hibiscus as woody plants, complemented by lower goosefoot vines and Ficus shrubs, with planters adorned with aspidistra and millet grass, among other herbaceous plants. Public installations include newsstands, seating, and a shrine to the Virgin Mary (as shown in the image), while the forecourt surface features Portuguese-style wave-pattern cobblestone paving, adding a European flair to the square.
The environmental colors of St. Augustine’s Square were analyzed to include a total of 51 colors, consisting of 14 architectural colors, 21 colors for public facilities, and 16 landscape colors. The color atlas is summarized in
Figure 14.
The architectural colors of St. Augustine’s Square primarily include the main walls, doors, windows, and wall decorations of surrounding buildings. The colors mainly focus on Y (Yellow), G (Green), BG (Blue–Green), B (Blue), PB (Blue–Purple), and N (Achromatic), with Y (Yellow), G (Green), BG (Blue–Green), and N (Achromatic) being the most prevalent. The tones mostly consist of medium-chroma and light clear colors, as shown in
Figure 15a.
The colors of public facilities at St. Augustine’s Square include forecourt tiles, mail kiosks, tables, chairs, recycling bins, the Virgin Mary shrine, and guideposts. These are primarily in hues of YR (Yellow–Red), Y (Yellow), GY (Yellow–Green), G (Green), BG (Blue–Green), B (Blue), PB (Blue–Purple), and N (Achromatic), with Y (Yellow) being the most common. The tones are predominantly medium chroma and light clear, as depicted in
Figure 15b.
The landscape colors of St. Augustine’s Square focus on the representative vegetation around the square, concentrating mainly in R (Red), Y (Yellow), and GY (Yellow–Green), with GY (Yellow–Green) being the most common. The tones are primarily medium chroma and dark clear, as illustrated in
Figure 15c.
Finally, the environmental colors of St. Augustine’s Square are combined into a unified chromaticity chart, including hues of R (Red), YR (Yellow–Red), Y (Yellow), G (Green), GY (Yellow–Green), BG (Blue–Green), B (Blue), PB (Blue–Purple), and N (Achromatic), as detailed in
Figure 15d. GY (Yellow–Green) has the largest proportion at 29.4%, followed by Y (Yellow), G (Green), BG (Blue–Green), YR (Yellow–Red), N (Achromatic), PB (Blue–Purple), and B (Blue), with R (Red) being the least at 3.9%, as shown in
Figure 15e. The overall tone displays high chroma at 60.8%, predominantly in bright, dark clear, and light clear colors, followed by white, dark stable, medium stable, and light stable tones, as detailed in
Figure 15f.
Finally, by integrating the collected colors and removing duplicates, a color spectrum of the environmental colors at St. Augustine’s Square is compiled, as specifically illustrated in
Figure 16.
4. Senado Square, commonly known as the “Fountain”, is one of Macau’s four major squares. Located in the central district of the Macau Peninsula, it connects to Largo do São Domingos in the north and is adjacent to Avenida de Almeida Ribeiro in the south. The square is narrow and triangular, wider at the south and narrower at the north, covering an area of approximately 3700 square meters. It is the most bustling commercial and cultural activity area in Macau. During the colonial period, the newly appointed governors of Macau would hold review ceremonies of the Macau sea and land troops here. The statue of Portuguese officer Mesquita, once erected in the square, was destroyed and replaced with today’s fountain, giving rise to its common name. The surrounding notable buildings include the Civic and Municipal Affairs Bureau Building, Koi Kei Bakery, Macau Business Tourism Center, Holy House of Mercy, and Macau General Post Office Building. The environmental landscape colors mainly include woody plants, such as camphor trees, banyan trees, and fragrant camphor trees, complemented by shrubs, such as red flower madder, elephant ear vine, and Ficus, with planters adorned with millet grass and aspidistra, as well as yellow daisies hanging from streetlamps. Public installations primarily include public seats, and cultural colors mainly comprise lanterns and arches displayed during various festivals and major holidays. The environmental colors of Senado Square were analyzed to include a total of 97 colors, consisting of 17 architectural colors, 28 public facility colors, 28 landscape colors, and 24 cultural colors. The color atlas is summarized in
Figure 17.
The architectural colors of Senado Square primarily include the main walls, doors, windows, and wall decorations of the surrounding buildings. These colors are mainly concentrated in R (Red), YR (Yellow–Red), Y (Yellow), GY (Yellow–Green), G (Green), and N (Achromatic), with Y (Yellow) and N (Achromatic) being the most prevalent. The tones are mostly medium-chroma and light clear colors, as shown in
Figure 18a.
The public facility colors at Senado Square include the forecourt tiles, mail kiosks, tables, chairs, recycling bins, and guideposts. These colors are mainly concentrated in R (Red), YR (Yellow–Red), Y (Yellow), GY (Yellow–Green), G (Green), BG (Blue–Green), B (Blue), PB (Blue–Purple), RP (Red–Purple), and N (Achromatic), with Y (Yellow) being the most common. The tones are predominantly medium chroma and light clear, as depicted in
Figure 18b.
The landscape colors of Senado Square focus on the representative vegetation around the square, mainly concentrating in R (Red), YR (Yellow–Red), Y (Yellow), and GY (Yellow–Green), with GY (Yellow–Green) being the most common. The tones are primarily medium chroma and dark clear, as illustrated in
Figure 18c.
The cultural colors at Senado Square include festive lanterns and installations placed in the square during celebrations. These colors are primarily concentrated in R (Red), YR (Yellow–Red), Y (Yellow), GY (Yellow–Green), G (Green), BG (Blue–Green), B (Blue), PB (Blue–Purple), and RP (Red–Purple), with R (Red), YR (Yellow–Red), and Y (Yellow) being the most prevalent due to the influence of traditional Chinese culture, which uses bright and high-purity colors, such as red and yellow–green, during festivals to signify liveliness and celebration. The tones are mostly high chroma, as shown in
Figure 18d.
Finally, the environmental colors of Senado Square are combined into a unified chromaticity chart, including hues of R (Red), YR (Yellow–Red), Y (Yellow), G (Green), GY (Yellow–Green), BG (Blue–Green), B (Blue), PB (Blue–Purple), RP (Red–Purple), and N (Achromatic), as illustrated in
Figure 18e. GY (Yellow–Green) has the largest proportion at 24.7%, followed by Y (Yellow), YR (Yellow–Red), R (Red), G (Green), BG (Blue–Green), N (Achromatic), and PB (Blue–Purple), with RP (Red–Purple) and B (Blue) being the smallest at 4.1%, as illustrated in
Figure 18f. The overall tone exhibits high chroma at 62.9%, predominantly in bright and dark clear colors, followed by medium stable, dark stable, white, dark clear, and light stable tones, as detailed in
Figure 18g.
Finally, by integrating the collected colors and removing duplicates, a color spectrum of the environmental colors at Senado Square was compiled, as specifically illustrated in
Figure 19.
5. Cathedral Square, commonly known as “Dai Mio Ting”, is the square in front of the Cathedral of the Nativity of Our Lady. It is situated on a small hill in Macau’s Nam Van area and can be accessed via Cathedral Street, connecting to Avenida de Almeida Ribeiro and linking with Rua Long Son. From the square, Travessa do Paço connects to Rua do Campo, Bishop Lane and Cathedral Lane connect to Rua de Santo António, and Travessa do Bispo connects to Senado Square. The area is approximately 821 square meters. The square is now paved with black and white stones in a Southern European style and features a fountain and a stone cross. Significant historical buildings surrounding the square include the Cathedral of the Nativity of Our Lady, the Bishop’s Office of the Macau Diocese, and Portuguese residential houses. The environmental landscape colors primarily include woody plants, such as flame trees, banyan trees, and fan palms, complemented by low shrubs, such as golden dewdrop, elephant ear vine, and ash, with herbaceous plants, such as hibiscus and cockscomb, in the flower beds.
The environmental color analysis of Cathedral Square resulted in a total of 46 extracted colors, including 19 architectural colors, 6 public facility colors, and 21 landscape colors. The color atlas is summarized in
Figure 20.
The architectural colors of Cathedral Square primarily include the main walls, doors, windows, and wall decorations of the surrounding buildings. These colors are mainly concentrated in R (Red), YR (Yellow–Red), Y (Yellow), GY (Yellow–Green), G (Green), PB (Blue–Purple), and N (Achromatic), with YR (Yellow–Red) being the most prevalent. The tones are mostly medium-chroma and light clear colors, as shown in
Figure 21a.
The public facility colors at Cathedral Square include forecourt tiles and wall tiles, mainly concentrated in YR (Yellow–Red), PB (Blue–Purple), and N (Achromatic), with PB (Blue–Purple) being the most common. This is primarily due to the use of Portuguese tiles for wall decorations in Cathedral Square. The tones are mostly low-chroma and stable colors, including light stable, medium stable, and dark stable, as illustrated in
Figure 21b.
The landscape colors of Cathedral Square focus on the representative vegetation around the square, mainly concentrating in R (Red), Y (Yellow), and GY (Yellow–Green), with GY (Yellow–Green) being the most prevalent. The tones are primarily medium chroma and dark clear, as depicted in
Figure 21c.
Finally, the environmental colors of Cathedral Square are combined into a unified chromaticity chart, including hues of R (Red), YR (Yellow–Red), Y (Yellow), G (Green), GY (Yellow–Green), BG (Blue–Green), PB (Blue–Purple), and N (Achromatic), as illustrated in
Figure 21d. GY (Yellow–Green) has the largest proportion at 32.6%, followed by Y (Yellow), PB (Blue–Purple), YR (Yellow–Red), R (Red), G (Green), and N (Achromatic), with BG (Blue–Green) being the smallest at 2.2%, as illustrated in
Figure 21e. The overall tone exhibits high chroma at 60.9%, predominantly in bright colors, medium stable colors, and dark clear colors, followed by light clear, white, medium stable, and light stable tones, as detailed in
Figure 21f.
Finally, by integrating the collected colors and removing duplicates, a color spectrum of the environmental colors at Cathedral Square was compiled, as specifically illustrated in
Figure 22.
6. St. Dominic’s Square is a square located in the city center of the Macau Peninsula, specifically in front of St. Dominic’s Church. It connects to Senado Square to the south, links with Travessa do Meio to the west, and extends to Rua de São Domingos to the east, covering an area of approximately 587 square meters. In the 1990s, the Macau–Portuguese government paved the square with black and white cobblestones, turning it into a pedestrian-only zone in harmony with the surrounding streets. Occasionally, the square is used for gatherings, sit-ins to express demands, and various cultural and artistic activities, such as light festivals and Children’s Day celebrations. The main buildings surrounding the square include St. Dominic’s Church and commercial buildings with Portuguese architectural styles. The environmental landscape colors include the colors of large royal palms and fragrant camphor trees. Public installations feature seats and colorful apple promotional installations.
The environmental color analysis of St. Dominic’s Square resulted in a total of 22 extracted colors, including 11 architectural colors, 5 public facility colors, and 6 landscape colors. The color atlas is summarized in
Figure 23.
The architectural colors of St. Dominic’s Square primarily include the main walls, doors, windows, and wall decorations of the surrounding buildings. These colors are mainly concentrated in YR (Yellow–Red), Y (Yellow), G (Green), and N (Achromatic), with Y (Yellow) being the most prevalent. The tones are mostly medium-chroma and light clear colors, as shown in
Figure 24a.
The public facility colors at St. Dominic’s Square include forecourt tiles, tables, chairs, and notice boards. These colors are mainly concentrated in R (Red), YR (Yellow–Red), Y (Yellow), and PB (Blue–Purple), with YR (Yellow–Red) being the most common. The tones are predominantly medium chroma and light clear, as illustrated in
Figure 24b.
The landscape colors of St. Dominic’s Square focus on the representative vegetation around the square, mainly concentrating in Y (Yellow), GY (Yellow–Green), and BG (Blue–Green), with GY (Yellow–Green) being the most prevalent. The tones are primarily low chroma and dark stable, as depicted in
Figure 24c.
Finally, the environmental colors of St. Dominic’s Square are combined into a unified chromaticity chart, including hues of R (Red), YR (Yellow–Red), Y (Yellow), G (Green), GY (Yellow–Green), BG (Blue–Green), PB (Blue–Purple), and N (Achromatic), as illustrated in
Figure 24d. Y (Yellow) has the largest proportion at 40.9%, followed by YR (Yellow–Red), N (Achromatic), GY (Yellow–Green), and G (Green). The smallest proportions are R (Red), BG (Blue–Green), and PB (Blue–Purple), each at 4.5%, as illustrated in
Figure 24e. The overall tone exhibits both high chroma and medium chroma, each at 31.8%, predominantly featuring bright, dark clear, and dark stable colors, followed by white, dark clear, medium stable, and light stable tones, as detailed in
Figure 24f.
Finally, by integrating the collected colors and removing duplicates, a color spectrum of the environmental colors at St. Dominic’s Square was compiled, as specifically illustrated in
Figure 25.
7. The Company of Jesus Square is located in front of the Ruins of St. Paul’s on the Macau Peninsula, connecting to Rua de São Paulo, Travessa de São Paulo, Calçada de São Paulo, and Rua Direita de São Paulo. This square commemorates the Jesuit missionaries who established St. Paul’s College in Macau. It has now become one of Macau’s iconic landmarks, attracting tourists and serving as a venue for various events, celebrations, and outdoor photography. The square is characterized by a series of wide steps and adjacent sloping streets, with the main focal point being the Ruins of St. Paul’s. To the north, there is the Museum of Sacred Art and Crypt, and to the east is Mount Fortress, home to the Macau Museum. To the northwest of the square is the Na Tcha Temple. The environmental landscape colors primarily include plantings of elephant ear vines, red flower madder, and gold-edged boxwood, with sloping flowerbeds and one side planted with podocarpus, golden dewdrop, red-backed laurels, elephant ear vines, and crepe myrtle, with cockscomb flowerpots hanging on the edge of the flowerbeds.
The environmental color analysis of the Company of Jesus Square resulted in a total of 39 extracted colors, including 6 architectural colors, 2 public facility colors, 25 landscape colors, and 6 cultural colors. The color atlas is summarized in
Figure 26.
The architectural colors of the Company of Jesus Square primarily include the main walls, doors, windows, and wall decorations of the surrounding buildings. These colors are mainly concentrated in YR (Yellow–Red), Y (Yellow), and B (Blue), with YR (Yellow–Red) being the most prevalent. The tones are mostly low-chroma and light stable colors, as shown in
Figure 27a.
The landscape colors of the Company of Jesus Square focus on the representative vegetation around the square, mainly concentrating in R (Red), YR (Yellow–Red), Y (Yellow), GY (Yellow–Green), and G (Green), with GY (Yellow–Green) being the most prevalent. The tones are primarily medium chroma and dark clear, as depicted in
Figure 27b.
The cultural colors of the Company of Jesus Square mainly involve festive lanterns and installations placed in the flowerbeds beside the Ruins of St. Paul’s during celebrations. These colors are primarily concentrated in R (Red), Y (Yellow), PB (Blue–Purple), RP (Red–Purple), and N (Achromatic), with Y (Yellow) being the most common. The tones are mostly medium chroma and light clear, as shown in
Figure 27c.
Lastly, the environmental colors of the Company of Jesus Square are combined into a unified chromaticity chart, including hues of R (Red), YR (Yellow–Red), Y (Yellow), G (Green), GY (Yellow–Green), BG (Blue–Green), B (Blue), PB (Blue–Purple), RP (Red–Purple), and N (Achromatic), as illustrated in
Figure 27d. GY (Yellow–Green) has the largest proportion at 41%, followed by Y (Yellow), YR (Yellow–Red), G (Green), N (Achromatic), and R (Red). The smallest proportions are B (Blue), RP (Red–Purple), BG (Blue–Green), and PB (Blue–Purple), each at 2.6%, as illustrated in
Figure 27e. The overall tone exhibits high chroma at 64.1%, predominantly featuring bright and dark clear colors, followed by light stable, white, medium stable, dark stable, and light clear tones, as detailed in
Figure 27f.
To sum up, by integrating the collected colors and removing duplicates, a color spectrum of the environmental colors at the Company of Jesus Square was compiled, as specifically illustrated in
Figure 28.
8. Camões Square, located in the northwest of the Macau Peninsula and to the north of the old town area, is a square in the St. Anthony Parish. Its Portuguese name, Praça de Luís de Camões, is derived from the grotto in Camões Garden, which honors the Portuguese poet Luís de Camões for his patriotism and achievements. The Chinese name comes from the 18th century, when a Portuguese merchant named Marquês lived here. Marquês kept white pigeons that nested in the eaves, resembling a dove’s nest from afar, hence the name. Significant historical buildings around the square include St. Anthony’s Church, the Protestant Cemetery, the headquarters of the Orient Foundation, and Camões Garden. The environmental landscape colors primarily include large trees, such as banyan, broad-leaved acacia, camphor, silk floss tree, ironwood, tall banyan, crape myrtle, and gold-edged boxwood, complemented by shrubs, such as red flower madder, elephant ear vine, Ficus, and hibiscus, as well as smaller herbaceous plants, such as peacock plant, variegated dumb cane, and red-backed laurel. Public installations include seating and mail kiosks.
The environmental color analysis of Camões Square resulted in a total of 63 extracted colors, including 4 architectural colors, 8 public facility colors, and 51 landscape colors. The color atlas is summarized in
Figure 29.
The colors of public facilities at Camões Square primarily include the ground, public tables and chairs, mail kiosks, and the square’s clock. These colors are mainly concentrated in R (Red), YR (Yellow–Red), G (Green), PB (Blue–Purple), and N (Achromatic). The tones are predominantly low chroma and medium stable, as shown in
Figure 30a.
The landscape colors of Camões Square focus on the representative vegetation around the square, mainly concentrating in YR (Yellow–Red), Y (Yellow), GY (Yellow–Green), G (Green), and P (Purple), with GY (Yellow–Green) being the most prevalent. The tones are primarily medium chroma and dark clear, as depicted in
Figure 30b.
Lastly, the environmental colors of Camões Square are combined into a unified chromaticity chart, including hues of R (Red), YR (Yellow–Red), Y (Yellow), G (Green), GY (Yellow–Green), BG (Blue–Green), PB (Blue–Purple), P (Purple), and N (Achromatic), as illustrated in
Figure 30c. GY (Yellow–Green) has the largest proportion at 60.3%, followed by YR (Yellow–Red), Y (Yellow), P (Purple), R (Red), N (Achromatic), G (Green), and PB (Blue–Purple), with BG (Blue–Green) being the smallest at 1.6%, as illustrated in
Figure 30d. The overall tone exhibits high chroma at 60.3%, predominantly featuring bright, dark clear, and stable colors, followed by medium stable, light clear, white, and light stable tones, as detailed in
Figure 30e.
Finally, by integrating the collected colors and removing duplicates, a color spectrum of the environmental colors at Camões Square was compiled, as specifically illustrated in
Figure 31.