I. Introduction
In contrast to products of the fine arts, such as paintings and sculptures, a work of architecture has a permanent location in a particular surrounding. Therefore, Architecture is an art form, where the influence of the color of the surrounding is particularly significant, although this influence may have significance as to the suitable exposition of other art forms, too. When an environment has light colors, then introducing an object into the environment that has a dark color, and vice versa, contributes to the likelihood to perceive the object. However, it is interesting to note that aesthetical buildings generally do not display strong lightness difference with their surroundings. Most great works of Architecture that are located in an open area, so that they are predominantly perceived vis-à-vis the color of the sky that is a color of high lightness, themselves have a color of high lightness. In this work we name the influence the color properties of an environment exert on the aesthetics of an object being introduced into the environment, as the situated characteristic of aesthetics. There are abundant examples in the history of Architecture for this characteristic. However, more importantly, those works that are deemed most significant for the development of architectural theory appear to be manifestations of the situated nature of color aesthetics. Some of these buildings are the Parthenon by Phidias, Ictinus, Callicrates, Taj Mahal by Lahouri and Isa, Villa Rotonda by Palladio, Villa Savoie by Corbusier, and the Sydney Opera House by Utzon. These buildings are predominantly perceived against sky, and the colors of the buildings themselves also have colors of high lightness. The great works of Architecture that are situated in an environment that has colors with low lightness values, such as an urban situation with high rise buildings surrounding the site, a site in a forest, or in the mountains, so that the building is primarily viewed vis-à-vis surfaces with low lightness, then the Architectures also have colors of low lightness. Examples are the Seagram building by Mies van der Rohe, the Katsura Imperial Villa by Toshihito, the Ruby House by Lloyd-Wright, and the Therme Vals by Zumthor. A description of above listed buildings and their relevance to architectural theory is due to Kruft [1]. The aim of this work is to investigate if the apparent dependence of a bulding's color on the color of environment is to explain from computational modelling of color aesthetics.