Dissertations / Theses on the topic 'Color in architecture'

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.<br>Includes bibliographical references (p. 77).<br>I have always been interested in painting, particularly in the use of color to describe space, time and emotion. This thesis integrates painterly concepts in the making of architecture. Some issues explored include color complementarity, material color, and the expressive use of color in the design process. By thinking of color a<; I design I endeavor to enhance the habitable experience and enable color to actively generate the creation of architecture. The vehicle for color study is the design of a pedestrian bridge in Tacoma Washington. The focus is to produce several schemes exploring color and material and its sequencing along the bridge. The programmatic scope is constrained to maximize issues of color and form making. The design used various media to visualize the design and explore two color systems. Additive color systems lead to painting, pastels, colored pencil, and plaster casting. The computer facilitated image processing, geometrical modelling, and color/ texture mapping in a "subtractive" color system.<br>by Mark C. Buchanan.<br>M.Arch.

The art of painting opens vast expressive possibilities for architecture, wherein architecture can produce a more conducive atmosphere for the contemplation of painting. The subtle affinities between the two fields stirred me to explore the individualistic expressiveness of the sensory realm in a painting and how it can inspire an architect. My thesis starts from an interest in a painting of Kandinsky's. The painting "Yellow, Red, Blue" stirred my curiosity in the potency of its beauty and made me ask questions in regards to what I can capture, learn and express architecturally. The aim is to design a Contemporary Art Center to be situated within the fabric of Virginia Tech campus. Throughout the various stages of design, the finality of the project resulted from dealing with the various inputs from: Kandinsky's painting as a catalyst and inspirer to the design, to the contextual issues and ways of urban integration and also dealing with the nature of the project's function and programmatic needs.<br>Master of Architecture

Play is important in a child's development, growth and education. Children must be given a space where--in place of formal education--wonder and the love of play can be fostered and encouraged, allowing them to transition into becoming young individuals. By constructing a building with them in mind, children are offered opportunities to discover, play, and wonder.<br>Master of Architecture<br>This thesis challenges the typical symmetrical, standard, or traditional school system in an attempt to teach children concepts of light, shadow and color, geometry and to provide them with a sense of their natural environment, or surroundings all while inviting them to learn in a playful matter.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Includes bibliographical references (leaves 71-73).<br>Just as the invention of photography challenged the world's visual literacy at the turn of the century, so has computer graphics begun to reshape visual communication. Although still in its infancy, recently developed tools for visual communication have made computer graphics and electronic imaging accessible to a much larger number of artists and other professionals. The use of these systems has emphasized a new need for an automatic color image proofing system combining text and images in variable size. Such a system would ease the distribution of and accessibility to digital images with high quality and low cost. This thesis describes the Color Proofer, a system that has been designed to meet these needs. This system includes a software package that performs basic image processing functions similar to basic darkroom manipulations, designed for color hardcopy. It also includes a system for creating halftone dot fonts to aid in the production of high quality color proofs. A typesetter capable of producing magazine quality color images and text is an integral component of the Color Proofer. The Color Proofer is designed for photographers and graphic designers who want high quality proofs of computer generated images.<br>by Elizabeth Rosenzweig.<br>M.S.V.S.

An integral part of human vision is the perception of color through the reflection of light. At any moment the human eye is receiving a complex polychromatic reflection of its environment, and the human mind is perceiving many hundreds or thousands of colors. In architecture, light is often a primary consideration in a design, but color is rarely discussed. It makes its presence known, however, as the light entering into a building will carry with it the reflections of the environment. The elements of architecture appear quite different at varying times of the day; at varying times of the year. Even at the same time of day two walls painted the same color will appear as two different colors if placed in different light conditions. This thesis attempts to capture this phenomenon and elaborate on the possibilities of working with light through reflection. It is not meant to give a specific answer, but rather to show the results of a search to find a way of working with light through color.<br>Master of Architecture

This thesis reviews the role of environmental colour, that found on the large manmade surfaces of pavements, facades and roofs. In addition, it provides a conceptual framework for the planner 'to think through' urban colour, that is, to reflect fully upon as a basis for developing strategies and evaluating options. In the built environment, colour is an essential, ubiquitous, enjoyable, and, now, highly topical element. However, much of the available information is, to the planner, too specialized, complicated by unresolved debates or dated. Therefore, to clarify the subject concisely and creatively for the planner, this thesis reviews pertinent literature, with material mainly drawn from architecture, fine arts, geography, optics, psychology, and urban design. Examples of recent or renowned uses of environmental colour, primarily from the 'Western' world for reasons of similarity of culture and climate to Canada, supplement the literature review. As a result, this thesis reveals to the planner that environmental colour may be thought through in terms of 'Place' and 'Power' and that, far from playing one principal role, environmental colour has many precise parts. Each of the surfaces on which colour occurs offers different constraints and opportunities for colour use. At various scales of perception, different factors also influence such use. Colour's power is both spatial, to transform the appearance of our surroundings through changing light conditions, surface spectral qualities, angles of perception, and synaesthesia, and psychological, to influence our well-being, through arousal, pleasure, and control. With this 'Power in Place', colour's symbolic, aesthetic, and functional values modify its six main roles, Background, Meaningful, Timely, Ciruculatory, Illusory, and Pictorial, to produce the array of precise parts which range from 'Backdrop' to 'Advertizer'. To realize the importance of these parts, the planner promotes 'thought through' environmental colour through strategies of education, exemplification, encouragement and enforcement, and through the contributions of various professional roles. However, more research is still needed about colour's environmental potential and the public's preferences in order to develop clear colour policies, especially if, as Ellen Marx (1972) confidently predicts: La tâche de l'urbaniste futur sera sans doute d'approfondir les critères qualitatifs et quantitatifs de la couleur et de la lumière, en collaboration étroite avec des biologistes, des psychologues, et des socilogues qui auront défini les besoins fondamentaux de silence, de l'espace, d'information et de communication de l'être humain. (The task of the future urban planner will undoubtably be to deepen the qualitative and quantitative criteria of colour and light, in direct collaboration with biologists, psychologists, and sociologists who will have defined the fundamentals of silence, space, information, and communication needed to be human.)<br>Applied Science, Faculty of<br>Community and Regional Planning (SCARP), School of<br>Graduate

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1999.<br>Includes bibliographical references (leaves 95-97).<br>This thesis provides details of research undertaken to determine practical methods of increasing the size and color capabilities of the edgelit hologram. Primary emphasis lies in the application of the edgelit hologram for image display purposes. However, the techniques developed here are applicable to other holographic recording techniques which utilize a steep-angled reference beam. The technical issues involved with edgelit holography using a glass block recording method and DuPont photopolymer recording materials are described. The considerations and procedures for scaling the size of the edgelit hologram up to 20.3 x 25.5 cm (8 x10 in) (400% larger than previously demonstrated) are given. Collimated reference beam, and phase-conjugate illumination techniques are used to record transfer images of three-dimensional objects in two steps, and techniques for obtaining true-color holographic diffusers are described. Finally, a coupled H1-H2 edgelit hologram recording method is described which has potential applications for the mass-production of holographic diffusers and stereograms.<br>by Ryder Sean Nesbitt.<br>S.M.

Thesis: S.B., Massachusetts Institute of Technology, Department of Architecture, 2014.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 42-43).<br>It is without a doubt that color is one of the most important and distinctive features of any physical or digital product. With the expansion of the world wide web and increasingly new digital media and online technologies, the color choices that web designers make become a forefront of discussion. A well-designed color palette improves a web page's visual aesthetic and facilitates user interaction. In spite of the wealth of information currently available for designing websites, it is not easy for web designers to create cultural and industry appropriate color selections and determine the best usage for color on a webpage. This thesis project addresses these concerns in two parts. In the first part, a color analysis tool ("Palettes") is created to collect data on how colors are being used in existing websites. The abilities of Palettes include finding 1) the full spectrum of colors used on a website, 2) the percentage of each color on the page, 3) the CSS properties of each color, and 4) the HTML classes or ID associated with each color. In the second part, a semi-automated empirical study of approximately 2,000 websites across 24 countries and 12 different industry-related categories was conducted using this tool. From the pilot study, it can be seen that the primary usage of a website's main colors are in highlighting "action" features, such as buttons and links. Results also show that certain colors can be identified as universally used in website design for all countries and categories studied, but culture-specific and industry-specific palettes can also be identified. Examples of "preferred" palettes are presented along with suggestions on how designers can work with such palettes.<br>by Annie Yue Tang.<br>S.B.

Thesis (M.L.A.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains x, 60 p.; also includes graphics. Includes bibliographical references (p. 55-56). Available online via OhioLINK's ETD Center

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1997.<br>Includes bibliographical references (p. 45).<br>This thesis explores the way in which color and light change the way we understand our built environment. The site for this thesis is at the west end of the Esplanade. The Esplanade is a recreational park along the Boston side of the Charles River in Massachusetts. The park has built facilities for sailing, concerts, and eating that detour off to one side or the other of the park's system of paths. The topography of the site is quite flat. Movement through the park is seemingly timeless as one walks parallel to the water, past unremarkable landmarks. The west end of the Esplanade is a long, narrow strip of land between the Charles River and a small lagoon. Through the exploration of color and light, this thesis tries to recover a sense of time at both a large and small scale as one moves through the site. The sense of time is revealed through the constantly changing interaction between light and materials as the sun moves from east to west. It also tries to introduce a new spacial understanding of the site by breaking away from the existing parallel movement both physically and visually. The vehicle for this exploration is a proposal for a recreational building that includes a swimming pool with changing facilities, cafe and community art gallery.<br>by Deirdre A. Terzian.<br>M.Arch.

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.<br>Includes bibliographical references (p. 137-146).<br>This thesis is focused on the visual perception evaluation of colors within an environment of a highly automated lighting control strategy. Digitally controlled lighting systems equipped with light emitting diodes, LEDs, can produce a range of different qualities of light, adjustable to users' requirements. In this context of unparalleled controllability, a novel energy-saving lighting control concept inspired this research: strategic control of Red, Yellow, Green & Blue LEDs forming white light can further increase energy efficiency. The resulting (more efficient) white light, however, would have decreased "color rendering" (i.e. the ability of accurately reproduce the colors of illuminated objects). The notable point is that while color rendering is necessarily affected, the appearance and light levels of the white light can stay the same. But how objects' distorted colors are perceived within a real life architectural context is a key, ensuing question. This research investigated the hypothesis that a significant range of color distortions would be unnoticeable under a dynamically controlled LED system, when operating outside of users' main field of view. If successful, such control technique could minimize peak hours lighting energy waste, and potentially enable up to 25% of power reduction.<br>(cont.) Three incremental series of psychophysical experiments were performed based on subjective assessment of color changes under continuously modulated color rendering from white LEDs. Visual tests were carried out for central and peripheral vision on a full scale mockup of an architectural scenario. Results confirmed the fundamental hypothesis, showing that the majority of subjects did not detect the color changes in their periphery while the same color changes were noticeable with direct observation. The conclusion chapter provides fundamental guidelines for how to extrapolate the experimental results into real life and apply the data to architectural settings. Hypothetical architectural scenarios are presented and the potential for energy savings is discussed.<br>by Maria do Rosário Thompson.<br>Ph.D.

This thesis is about the multicolored gradients seen when using certain dichroic color lters with artificial light. As of now, this phenomenon lacks a unambiguous descriptor, and “Goniochromatic Gradient” is proposed. With help of optical physics, the science of color vision and information about dichroic products, principles for the relationship between goniochromatic gradients and dichroic filters are formulated for anyone interested in exploring this visual phenomenon.

Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, February, 2021<br>Cataloged from the official pdf thesis.<br>Includes bibliographical references (pages 310-319).<br>Our current global health crisis has clearly rendered how a lack of stable housing, access to care, and the effects of climate change, disproportionately affect our communities of color. Contemporary development patterns demonstrate the inadequacies of unchecked neoliberalism, and its adverse effect on the development of equitable housing. Within this context, Miami presents itself as a vulnerable coastal city exemplar. A growing city, Miami struggles with an endemic affordability crisis, and the long lasting scars of segregation, redlining, and urban renewal in its most vulnerable communities. Today, the city's muddled past has been compounded with its uncertain future. Despite palpable climate change, construction continues along the Miami waterfront, fueled by foreign investors who park capital in luxury real estate. For local residents, both low and mid income, the cost of living continues to rise along with sea levels. Miami, outwardly marketed as a tropical oasis, is now regarded as one of the country's most inequitable cities. This thesis takes issue with the commodification of housing, and its adverse effects on the vulnerable communities of greater Miami. While Miami's surplus of luxury real estate swells, climate change and speculative development have combined to threaten the stability of the city's multi-ethnic core. Instead, it re-considers the cooperative, and the collective ownership of housing, as a mechanism by which communities can reclaim agency within hostile markets, and open up access to stabilize housing in response to climate gentrification, as well as opening up access to other forms of social and financial capital. It works to re-contextualize the cooperative ownership of housing within the Miami context, considering its deployment as an architectural response who's programming and spatial organizations respond to both collective use and collective need.<br>by Adiel Alexis Benitez.<br>M. Arch.<br>M.Arch. Massachusetts Institute of Technology, Department of Architecture

As emerging portable multimedia applications demand more and more computational throughput with limited energy consumption, the need for high-efficiency, high-throughput embedded processing is becoming an important challenge in computer architecture. In this regard, this dissertation addresses application-, architecture-, and technology-level issues in existing processing systems to provide efficient processing of multimedia in many, or ideally all, of its form. In particular, this dissertation explores color imaging in multimedia while focusing on two architectural enhancements for memory- and performance-hungry embedded applications: (1) a pixel-truncation technique and (2) a color-aware instruction set (CAX) for embedded multimedia systems. The pixel-truncation technique differs from previous techniques (e.g., 4:2:2 and 4:2:0 subsampling) used in image and video compression applications (e.g., JPEG and MPEG) in that it reduces the information content in individual pixel word sizes rather than in each dimension. Thus, this technique drastically reduces the bandwidth and memory required to transport and store color images without perceivable distortion in color. At the same time, it maintains the pixel storage format of color image processing in which each pixel computation is performed simultaneously on 3-D YCbCr components, which are widely used in the image and video processing community. CAX supports parallel operations on two-packed 16-bit (6:5:5) YCbCr data in a 32-bit datapath processor, providing greater concurrency and efficiency for processing color image sequences. This dissertation presents the impact of CAX on processing performance and on both area and energy efficiency for color imaging applications in three major processor architectures: dynamically scheduled (superscalar), statically scheduled (very long instruction word, VLIW), and embedded single instruction multiple data (SIMD) array processors. Unlike typical multimedia extensions, CAX obtains substantial performance and code density improvements through direct support for color data processing rather than depending solely on generic subword parallelism. In addition, the ability to reduce data format size reduces system cost. The reduction in data bandwidth also simplifies system design. In summary, CAX, coupled with the pixel-truncation technique, provides an efficient mechanism that meets the computational requirements and cost goals for future embedded multimedia products.

Thesis: S.M., Massachusetts Institute of Technology, Department of Architecture, 2014.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (page 75).<br>In this thesis, I defined and implemented a framework for design and evaluation of Multinodal Environmental Interfaces. Multimodal Environmental Interfaces allow users to control form, light, and color using natural modes of expression. The framework is defined by categorizing possible changes as discrete or continuous. Discrete and continuous properties of form, light, and color can be controlled by speech, gestures and facial expressions. In order to evaluate advantages and disadvantages of each of the modalities, I designed and conducted a series of experiments. I disproved my hypothesis that whereas discrete changes are easier to control with language, continuous changes are easier to control with gestures and facial expressions through a series of interactive prototypes. I proved my hypothesis that the perception of whether a gesture or a speech command feels intuitive is consistent among the majority of users.<br>by Ekaterina Ob'yedkova.<br>S.M.

[ES] Hoy en día es posible observar una difusión global del color blanco en el panorama de la arquitectura contemporánea. Las cuestiones vinculadas al empleo de este particular color penetran con profundas raíces en los tiempos antiguos, en la cultura, en la historia. Para buscar las razones tras el uso del blanco, la presente investigación propone un punto de vista holístico, analizando el mito, la poética y la ciencia del blanco en arquitectura. Estas tres claves de lectura del fenómeno del blanco conducen a diferentes razones para explicar su empleo. Claves de lectura que se separan exclusivamente para obtener un estudio más ordenado del tema, pero que en la complejidad de la arquitectura actúan de forma inseparable. La tesis estudia y analiza el escenario de la arquitectura contemporánea a partir del color, pero teniendo conciencia que este representa solo un parámetro entre los muchos que realizan la forma y el espacio de la arquitectura. De las obras del pasado, de los tratados y de las teorías, hoy llega una narración llena de alternancias - de épocas de revival, pero también de renacimientos y vanguardias -, un verdadero mito en el que el color blanco, a pesar de todo, resiste con constancia hasta establecerse en la memoria actual. Al acercarse a la época hodierna, los contornos de ese mito se vuelven más nítidos y precisos, y las cuestiones históricas y culturales se unen con las innovadas necesidades de la práctica arquitectónica contemporánea. Varios arquitectos emplean el blanco para sus obras y para lograr determinadas y distintas ideas. Se define entonces una poética del blanco, es decir, una forma esencialmente subjetiva de pensar y construir arquitectura. Para investigar estas instancias individuales y específicas, al análisis de obras de arquitectura se une una serie de diálogos sobre el blanco que enriquecen el tema con las experiencias directas de los arquitectos. Aunque el color sea un fenómeno por su naturaleza muy subjetivo, el empleo del blanco en arquitectura es soportado por la ciencia y, en particular, por algunas ventajas físicas y químicas. La construcción del blanco es posible gracias a varias técnicas que amplían y extienden su larga tradición constructiva gracias a la innovada eficacia de métodos antiguos, pero también con nuevas tecnologías y materiales. El estudio se enfoca en particular en el análisis de la cultura arquitectónica española, portuguesa e italiana; la investigación no se limita a estos ámbitos geográficos, extendiéndose a considerar un horizonte global para la arquitectura blanca. El análisis de las obras de arquitectura blanca publicadas en revistas científicas de relevancia internacional proporciona un dato estadístico y objetivo de la condición global de la cuestión. La definición de la tendencia contemporánea al empleo del blanco, se remonta a la segunda mitad del siglo XX, cuando algunas obras acogen los valores del mito y los renuevan de una forma actual. No obstante, la difusión global del blanco en arquitectura se debe a su capacidad de representar ideales diferentes y múltiples. Se deduce, entonces, que el blanco no es el color de una homogeneización, sino que representa un factor común a muchas experiencias de la contemporaneidad.<br>[CA] Hui en dia és possible observar una difusió global del color blanc en el panorama de l'arquitectura contemporània. Les qüestions vinculades a l'ús d'aquest particular color, penetren amb profundes arrels en l'antiguitat, en la cultura, en la història. Per a cercar les raons de l'ús del blanc, la present investigació proposa un punt de vista holístic, analitzant el mite, la poètica i la ciència del blanc en arquitectura. Aquestes tres claus de lectura del fenòmen del blanc conduïxen a diferents raons per explicar el seu ús. Claus de lectura que se separen exclusivament per a obtindre un estudi més ordenat del tema, però que en la complexitat de l'arquitectura actuen de forma inseparable. La tesi estudia i analitza l'escenari de l'arquitectura contemporània a partir del color, però tenint consciència que aquest representa només un paràmetre entre els molts que realitzen la forma i l'espai de l'arquitectura. De les obres del passat, dels tractats i de les teories, hui arriba una narració plena d'alternances - d'èpoques de revival, però també de renaixements i avantguardes -, un vertader mite en què el color blanc, malgrat tot, resisteix amb constància fins a establir-se en la memòria actual. A l'acostar-se a l'època hodierna, els contorns d'eixe mite es tornen més nítids i precisos, i les qüestions històriques i culturals s'uneixen amb les innovades necessitats de la pràctica arquitectònica contemporània. Diversos arquitectes empren el blanc per a les seues obres i per a aconseguir determinades i distintes idees. Es defineix llavors una poètica del blanc, és a dir, una forma essencialment subjectiva de pensar i construir arquitectura. Per a investigar estes instàncies individuals i específiques, a l'anàlisi d'obres d'arquitectura s'unix una sèrie de diàlegs sobre el blanc que enriquixen el tema amb les experiències directes dels arquitectes. Encara que el color siga un fenòmen per la seua naturalesa molt subjectiu, l'ús del blanc en arquitectura és recolzat per la ciència i, en particular, per alguns avantatges físics i químics. La construcció del blanc és possible gràcies a diverses tècniques que amplien i estenen la seua llarga tradició constructiva gràcies a la innovada eficàcia de métodes antics, però també amb noves tecnologies i materials. L'estudi s'enfoca en particular en l'anàlisi de la cultura arquitectònica espanyola, portuguesa i italiana; la investigació no es limita a aquestos àmbits geogràfics, estenent-se a considerar un horitzó global per a l'arquitectura blanca. L'anàlisi de les obres d'arquitectura blanca publicades en revistes científiques de rellevància internacional proporciona una dada estadística i un objectiu de la condició global de la qüestió. La definició de la tendència contemporània a l'ús del blanc, es remunta a la Segona meitat del segle XX, quan algunes obres acullen els valors del mite i els renoven d'una forma actual. No obstant això, la difusió global del blanc en arquitectura es deu a la seua capacitat de representar ideals diferents i múltiples. Es dedueix, llavors, que el blanc no és el color d'una homogeneïtzació, sinó que representa un factor comú a moltes experiències de la contemporaneïtat.<br>[EN] Today it is possible to observe a global diffusion of white color in the panorama of contemporary architecture. The issues linked to the use of this particular color, penetrate with deep roots in ancient times, in culture, in history. To find the reasons for the use of white, this research proposes a holistic point of view, analyzing the myth, the poetics and the science of white in architecture. The three keys to reading the phenomenon of white lead to different reasons to explain its use. Reading keys that are separated exclusively to obtain a more orderly study of the theme, but that in the complexity of architecture act in an inseparable way. The thesis studies and analyzes the scenario of contemporary architecture starting from color, being aware that this represents only one parameter among the many that realize the shape and space of architecture. From the works of the past, from the treatises and from the theories, today arrives a narration of continuous alternations - of epochs of revival, but also of rebirths and vanguards -, a true myth in which the white color, In spite of everything, it endures with constancy until it is established in the present memory. As we approach today's times, the outlines of this myth become clearer and more precise, and historical and cultural issues are combined with the innovated needs of contemporary architectural practice. Various architects use white for their works and to materialize certain and different ideas. This defines a poetics of white, or in other words, an essentially subjective form of thinking and building architecture. To analyze these individual and specific instances, the analysis of architectural works is accompanied by a series of dialogues on white that enrich the theme with the direct experience of architects. Although color is a very subjective phenomenon by its nature, the use of white in architecture is supported by science and, in particular, by some physical and chemical advantages. The construction of white is possible thanks to various techniques that expand and extend its long construction tradition thanks to the renewed efficiency of ancient methods, but also with new technologies and materials. The study focuses in particular on the analysis of Spanish, Portuguese and Italian architectural culture, but the research is not limited to these geographical areas, extending in considering a global horizon for white architecture. The analysis of works of white architecture published in scientific journals of international importance, provides a statistical and objective data of the global condition of the issue. The definition of the contemporary tendency to use white dates back to the second half of the twentieth century, when some works embrace the values of myth and renew it in a contemporary way. Despite this, the global diffusion of white in architecture is due to its capacity to represent different and multiple ideals. It is therefore deduced that white is not the color of homogenization, but on the contrary it is a common factor in many contemporary experiences.<br>Marco, PD. (2020). Arquitectura blanca. Mito, poética, ciencia. El color blanco en la arquitectura contemporánea [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/160488<br>TESIS

Original project of Skärholmen was composed of a system of public spaces, but this was `broken´  by the closure of the connection between the two squares in 1986. Street between shopping buildings became part of the shoping mall. The current situation is dominated by the activity of consumption, and Storholmsgatan is characterized by an atmosphere of anxiety and constant over-stimutation. The project aims to think through what form of ´restoration´ of this system of public spaces could take. How can we work with quite constrained, long, linear spaces as site for architecture? What is the role of rhythm in producing experience? A theme for design is to produce spacial hierarchy and make  a contemporary variation on modernism’s approach of the funcional color in design process.

If the theories of Piaget (stages of cognitive development) and Bruner (anything can be taught to anyone as long as it is taught in their language) are combined and applied to an elementary school the resulting conclusion is very quickly hands-on learning. Or, more simply, elementary-aged children understand their world through tangible experiences, so teach them through tangible experiences. A child's early memory code is formed by concrete experiences (combinations of the 5 senses), but these experiences become the building blocks for their later abstract cognitive thought patterns. This theory of education is widely applied from the standpoint of teach (hands on lessons, manipulative, etc.), but is a low if not nonexistent priority in constructing the environments in our schools. The experiential aspects of our schools should not only provide for a purely more pleasing environment, but should also allow for strong behavioral imprinting experiences that would result in memory niches -- the foundation for later abstract cognitive thought patterns. This diagram shows the progression of memory coding through these stages and how the resulting thoughts would be accessed.<br>Master of Architecture

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.<br>Includes bibliographical references (p. 67-71).<br>This thesis is an examination of the 1976 Museum of Modern Art exhibition of color photographs by William Eggleston-the second one-man show of color photography in the museum's history- with particular attention to the exhibition monograph, William Eggleston's Guide. From hundreds of slides, MoMA Director of Photography John Szarkowski dominated the process of selecting the 75 images for the exhibition and 48 to be carefully packaged in the Guide, a faux family photo album/road trip guidebook. It is my contention that, despite their verbal emphasis on the Modernist and universal (rather than Southern) nature of the images, the photographs can be read as being replete with the mythology of the Old South- its decay, vulgarity, and even horror. Through this act of manipulation, the images in the Guide appealed in a voyeuristic way to an elite Northern art world audience, ever eager to reinforce its own intellectual, economic, and ethical superiority over other parts of the country. Due to its presumed "vulgarity" and absence of aesthetic mystique at the time, color photography required for its inaugural moment at the museum a sharp distancing from the documentary tradition and advertising-the complete erasure of social context afforded by a Modernist aesthetic.<br>(cont.) The two-faced posture maintained by the curator and photographer combined a canny understanding of the cultural power of the images with an overtly Modernist disavowal of it.<br>by Anna Karrer Kivlan.<br>S.M.

Visual recognition is the problem of learning visual categories from a limited set of samples and identifying new instances of those categories, the problem is often separated into two types: the specific case and the generic category case. In the specific case the objective is to identify instances of a particular object, place or person. Whereas in the generic category case we seek to recognize different instances that belong to the same conceptual class: cars, pedestrians, road signs and mugs. Specific object recognition works by matching and geometric verification. In contrast, generic object categorization often includes a statistical model of their appearance and/or shape.This thesis proposes a computer vision system for detecting and tracking multiple targets in videos. A preliminary work of this thesis consists on the adaptation of color according to lighting variations and relevance of the color. Then, literature shows a wide variety of tracking methods, which have both advantages and limitations, depending on the object to track and the context. Here, a deterministic method is developed to automatically adapt the tracking method to the context through the cooperation of two complementary techniques. A first proposition combines covariance matching for modeling characteristics texture-color information with optical flow (KLT) of a set of points uniformly distributed on the object . A second technique associates covariance and Mean-Shift. In both cases, the cooperation allows a good robustness of the tracking whatever the nature of the target, while reducing the global execution times .The second contribution is the definition of descriptors both discriminative and compact to be included in the target representation. To improve the ability of visual recognition of descriptors two approaches are proposed. The first is an adaptation operators (LBP to Local Binary Patterns ) for inclusion in the covariance matrices . This method is called ELBCM for Enhanced Local Binary Covariance Matrices . The second approach is based on the analysis of different spaces and color invariants to obtain a descriptor which is discriminating and robust to illumination changes.The third contribution addresses the problem of multi-target tracking, the difficulties of which are the matching ambiguities, the occlusions, the merging and division of trajectories.Finally to speed algorithms and provide a usable quick solution in embedded applications this thesis proposes a series of optimizations to accelerate the matching using covariance matrices. Data layout transformations, vectorizing the calculations (using SIMD instructions) and some loop transformations had made possible the real-time execution of the algorithm not only on Intel classic but also on embedded platforms (ARM Cortex A9 and Intel U9300).

This thesis studies the use of stained glass as a building material and how it can enhance the visual presence of light, materiality and space in a building interior. Lighting, color, and texture were integral paths of study which culminated in a stained glass installation at the concrete Cube at the Research + Design Facility in Blacksburg, Virginia. The resulting space becomes a room that reveals a dimension of architectural space not rarely studied or thought about when designing, revealing the way light continually shapes and defines a space throughout the seasons and time of day. The goal of the installation is to highlight ordinary conditions of light and space in a new light through color intervention of the interior.<br>Master of Architecture

Este estudo tem como objetivo entender o acontecimento cromático, desde a relação da cor com a luz, passando por fatores fisiológicos e cognitivos humanos, até a compreensão dos atributos que formam as cores, os contrastes e as sínteses cromáticas. Pretende-se, também, entender de que modo a utilização dos sistemas de notação cromática pode auxiliar na compreensão do cromatismo presente e como os métodos de leitura cromática, elaborados por Jean Philippe Lenclos e por Giovanni Brino, podem contribuir para o entendimento das cores existentes no local. Por fim, almeja-se compreender como os arquitetos podem se apropriar das cores de modo que sejam um instrumento eficiente na especificação cromática do projeto arquitetônico, definindo, de forma consciente e objetiva, um olhar inédito com relação ao colorido circundante.<br>This study aims to understand the chromatic occurrence, from the relationship of color with light, through human physiological and cognitive factors, to the understanding of the attributes that form colors, contrasts and chromatic syntheses. It also aims to comprehend how the use of chromatic notation systems can assist in understanding chromaticism and how the color reading methods developed by Jean Philippe Lenclos and Giovanni Brino can contribute in understanding existing colors on site. Finally, this study longs for studying how architects can use color as an efficient instrument in the chromatic specification of architectural design, setting, consciously and objectively, a unique look with a colorful surrounding.

In 21st century Scandinavia, the use of colored paint in the built environment has decreasedconsiderably. Instead, color changing LEDs can be found in many homes. In this thesis, an experimentwas set up to investigate how these two coloring methods differ and coincide with regards toemotional response and perception of materiality. Four cubicles, two painted and two colored bylight, were evaluated by ten participants. The painted cubicles were perceived as more material intheir appearance with regards to texture and color than their counterparts. A greater feeling ofnervousness, stress, and disorientation was felt in the light-colored cubicles as opposed to aheightened feeling of inspiration, excitement and calmness in the painted cubicles. Though it isimportant to remember the difference was not significant. In addition, preconceived connotations tothe color tone could be an influencing factor and so further studies on additional tones should beconducted. Lastly, benefits and drawbacks with the coloring methods were discussed.

Color is a significant architectural element, which is open to become a major representative element in the process of design. This study aims to understand the limits of using color as an architectural element and discuss the transformative effects of the use of color with respect to meaning and design levels of buildings. The study is composed of two main parts. In the first part limits of using color as a complementary and consequential part of design are discussed. The architectural understanding of color in the 20th century is utilized as the main ground for a contemporary case study. The case study in the second part uses residential buildings in Ankara as the main domain to understand the continuities and discontinuities between color preferences and architectural meaning. The method of the study is based on comparison of the facades of residential buildings of various contexts, scales, languages and typologies in five different categories. The first category is &ldquo<br>The Figural Use of Color&rdquo<br>which is constituted by decorated facades. &ldquo<br>The Elemental Use of Color&rdquo<br>is the second category based upon the continuity between tectonic elements of facade and color. The third is the &ldquo<br>Material Color and Painting,&rdquo<br>which is based upon the color representations of the natural material preferences supported by additional painting. &ldquo<br>Tectonic Use of Color&rdquo<br>as the fourth frame implies color brought by the nature of the material. The last category is &ldquo<br>Monochromatic Use of Color&rdquo<br>in which the facades are colored in a single hue or different lightness of the same hue.

Mestrado em Cor na Arquitectura<br>A cor pode ser encarada como uma linguagem, uma entidade simbólica, um instrumento fundamental para a criação de espaços ou para qualquer outra forma de expressão. Para desenvolver o estudo relativamente à problemática da utilização da cor na arquitectura, e assim determinarmos as implicações acerca do modo como a cor se manifesta, também enquanto símbolo, foram seleccionadas duas obras do arquitecto, pintor, escultor e professor Pancho Guedes: O Leão que Ri (Lourenço Marques, 1956) e a Casa da Quinta da Beloura (Sintra, 2005). Pretende-se averiguar de que forma a cor é manipulada de acordo com uma intenção ou estímulo, que tipo de linguagem simbólica poderá ser identificada de acordo com as teorias de Jung, Itten e Mahnke, em especial, ou se será possível definir algum padrão que dê origem a uma norma. Sugere-se a continuação do estudo de outras obras deste autor que, através da sua originalidade e sentido crítico, representam uma riqueza e variedade de expressão notável. Apesar do próprio arquitecto enunciar mais de vinte modos diferentes de fazer arquitectura – categorizando-os segundo tipologias conceptuais e de influências – não é possível identificar uma cronologia ou sequência específica no seu trabalho, pela acentuada intemporalidade presente na sua obra. No entanto, a definição de um carácter único como apanágio de uma arquitectura singular, representa uma contribuição para o conhecimento da sua obra<br>Color can be faced as a language, a symbolic entity, a fundamental instrument to the conception of places or to any other manner of expression. In order to develop the study concerning the utilisation of color in architecture and to determine the implications about the way color expresses itself, two projects of the architect, painter, sculptor and professor Pancho Guedes, were selected: The Smiling Lion (Lourenço Marques, 1956) and Quinta da Beloura Villa (Sintra, 2005). We pretend to find which way color is manipulated according to a purpose or stimulus, which type of symbolic language can be identified according to Jung, Itten and Mahnke’s theories, or if it is possible to define a pattern that originates a norm. We suggest the development of studies concerning other projects by this author, whose originality and critical sense, represent a remarkable variety of expression. Although Pancho Guedes annunciates more than twenty different ways of doing architecture – classifying them by conceptual typologies and influences – it is not possible to identify a chronology or special sequence in his work. However, the definition of a unique character as a mark of an outstanding architecture, represents a contribution to the knowledge of his work.

This project is a celebration. Inspired by time spent in Baltimore, this thesis examines how standardized elements can be utilized to create Architecture and make astute, functional, contextually sensitive, and pleasurable design accessible for all. With the heavy, stuccoed buildings of New Orleans as precedent, the Neutral Grounds Market utilizes CMUs for both practical and aesthetic purposes. Drawing from a rich lineage of structural polychromy and through knitting CMUs together into a subtle pattern, the building speaks to its colorful context, despite the lack of CMU structures in the area. Weaving ethics and aesthetics, the site sits within a Food Desert and this thesis begins at the seam of three neighborhoods - Freret, Milan, and Uptown. Block by block varies tremendously within these neighborhoods, and the static images of both the opulence and desolation of New Orleans becomes clear here. Aiming to bring not only fresh food into the neighborhood, but to work realistically within the diverse backgrounds of the residents’ lives, the program integrates a Farmer’s Market with a Grocery Store so fresh food will constantly be available and can meet the needs of all the citizens. In addressing context as a matter of both the material, built environment and the personal, human milieu this thesis addresses the economic and the emotional as a pair, realizing the importance of each. This integrated program creates a new civic space which will bolster the vibrant growth already begun on Freret St. and throughout the neighborhoods. This project is a celebration.<br>Master of Architecture<br>This project is a celebration. Inspired by time spent in Baltimore, this thesis examines how standardized elements can be utilized to create Architecture and make astute, functional, contextually sensitive, and pleasurable design accessible for all.

Architecture and music share intrinsic meanings generated by a constant stream of metaphors which are forms of poetic transformations. This thesis sought to challenge the present way an architect-musician makes drawings through the exploration of multimedia possibilities at hand. The drawings are composed using Macromedia Flash MX. OPEN HOMEPAGE.EXE To download flash player, click here: <a href="http://www.macromedia.com/shockwave/download/download.cgi?P1_Prod_Version=ShockwaveFlash"> Download flash Player</a><br>Master of Architecture

In an industrial hallway, the pipes and garage doors are echoed with a soft, yet plastic skin.Intense filtered sunlight streams through a sheath of fuchsia--we walk beneath it and it washes our faces with color.A monochromatic corridor is transformed by unexpected passages of turquoise, red, and pink. A demure sheetrock wall becomes ethereal and gentle, luring us behind to only find ourselves.The works are celebratory and act as a landscape, tombstone rubbing, line drawing, and uberquilt--all wrapped into one.

Within my studio practice I have been examining the aesthetics of leisure spaces, the implications of good and bad taste, and what it means to live one’s best life. Considering the history of design motifs and the influence of color upon the human psyche, my thesis exhibition of abstract paintings contains references to patterns, design movements, and modes of artifice that have historically been seen as brazen and tacky. These include nods to the Memphis Design group, faux marble, terrazzo, stucco, and artificial sand. Each has held an important place in the history of designed spaces, and at one time or another they were deeply celebrated before being criticized. I am drawn to the parallels between the surface treatment of furniture and architectural spaces, and the surface of a canvas. My use of materials includes a mixture of high- and lowbrow to reinterpret media such as highly pigmented acrylic paint, natural and artificial sand, volcanic pumice, and hardware store products for DIY home improvement. I use a formal, modernist painting language to elevate the artificial and superficial to the hierarchy associated with the moral underpinnings of modernism. By being entirely serious about the unserious, this work aims to question the value we assign to play and why tastefulness rarely aligns with fun.

Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Interiores e Reabilitação do Edificado apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.<br>N/A

Dans le cadre d'une création-recherche, la question initiale qui présidait cette réflexion épistémologique était de savoir comment penser la couleur et la coloration dans l'architecture traditionnelle et contemporaine dans les villes du sud tunisien. Ma thèse est fondée sur l'interprétation empruntée d'une propre expérience sur le terrain. J'ai élaboré une analyse chromatique rétrospective du site, de la ville et de l'architecture dans leurs dimensions économiques, sociales et culturelles. Ce travail d'invention de la couleur est, dans le fonds de ses parties, formé pour comprendre l'identité chromatique du lieu culturel. Ma recherche consiste à l'application de la méthode de planification scientifique à partir de laquelle les enjeux objectifs de la classification des couleurs ont été dégagés sur la base des facteurs sensoriels et des notions rationnelles. Elle regroupe toutes les activités qui consistent à structurer, fonder et évaluer un savoir chromatique en s'ouvrant sur des expériences de coloristes professionnels. Une pensée du développement a été établie au niveau de la couleur qui s'intègre dans une progression dynamique du secteur particulier du design environnement et développe ses propres concepts, usages et finalités au sein d'un milieu culturel spécifique. À travers cette recherche, j'ai développé le concept de la couleur locale comme étant un souci individuel, une pratique socioculturelle, un savoir scientifique et enfin comme un matériau et un processus de développement durable. Comment la couleur locale représente-t-elle un équilibre savant et permanent entre dimensions culturelles et axes d'acculturation ?

Este trabalho objetiva analisar as composições cromáticas aplicadas, no ambiente hospitalar, buscando uma correlação entre as cores usadas, nas composições e no bem-estar físico, psicológico, emocional e social de pacientes hospitalares, tendo em vista possíveis influências ao tratamento terapêutico de cura. Partiu-se do princípio que o ambiente construído influencia ações, sentimentos e emoções humanas. A cor, sendo um dos principais elementos da arquitetura, participa ativamente às respostas humanas decorrentes de sua interação com o ambiente. O estudo compreendeu as questões relativas às cores em todos os seus aspectos e as inúmeras possibilidades de suas aplicações na arquitetura. Focou-se o estudo, no ambiente hospitalar, que vem passando por reformulações, guiadas por pesquisas, nas áreas da psicologia ambiental, neurociência e psicofísica. Levantando-se as recentes conceituações e diretrizes projetuais para o design do ambiente hospitalar, foi possível verificar a ocorrência das composições cromáticas como elementos transformadores. Por fim, para demonstrar as relações que se estabeleceram entre as composições cromáticas, o design do ambiente hospitalar e a promoção à saúde, constituindo projetos denominados de Hospitais do Futuro, foram apresentados três casos, cujos projetos ilustram representativamente as questões debatidas neste trabalho. Ao se realçar o papel das composições cromáticas e do design hospitalar, no processo de recuperação da saúde e no bem-estar dos usuários, evidenciou-se o papel do arquiteto como agente central, possibilitando e criando condições ideais para o tratamento terapêutico e para o desenvolvimento das atividades. Foi identificado, como resultado da pesquisa, que o design, capaz dessas transformações, deve, acima de tudo, considerar a variedade de estímulos, e voltando-se às composições cromáticas, representa as variedades de matizes, a contraposição de brilho das superfícies e o uso de contrastes.<br>This paper aims to analyze the chromatic compositions applied in the hospital environment, looking for a correlation between the colors used in the compositions and the physical, psychological, emotional and social well-being of the hospital patients, with a view to its possible influence in therapeutic healing. It started from the assumption that the built environment influences in actions, feelings and human emotions. The color, one of the main elements of architecture, participates actively in the responses resulting from human interaction with the environment. The study included questions relating to color in all its aspects and the many possibilities of its applications in architecture. It was also focused in the hospital environment, subject that has been under reformulations guided by researches in the fields of environmental psychology, neuroscience and psychophysics. Raising the recent conceptualizations and projective guidelines for the hospital environment design, it was possible to detect the chromatic compositions as elements capable to transform. Finally, to demonstrate the relationships established between the chromatic compositions, the design of hospitals environment and health promotion, composing projects named as \"Hospitals of the Future\", three cases were presented, whose projects representatively illustrate the issues discussed in this paper. By highlighting the function of chromatic compositions of the hospital environment design in the process of regaining the users health and well-being, the role of the architect as a central agent was demonstrated, enabling and creating ideal conditions for the therapeutic treatment and for the activities development. As a result of the research, it was identified that the design capable of these transformations must above all consider the variety of stimuli, and turning to the chromatic compositions, it represents the variety of hues, the contraposition of the surface brightness and the use of contrasts.

Thesis (Master of Architecture)--University of Cincinnati, 2009.<br>Advisor: Vicent Sansalone. Title from electronic thesis title page (viewed July 27, 2009). Includes abstract. Keywords: culture; tradition; color; weaving; pattern; texture; education; Guatemala; indigenous rights; critical regionalism; rural community. Includes bibliographical references.

L’innovation du lieu hospitalier intéresse le domaine de conception et de création dans une lecture et une démarche esthétique et poïétique. Cette recherche vise à alimenter des réflexions en esthétique et en poïétique, par le biais des interrogations sur la couleur et la lumière. La démarche conceptuelle s’achève par un va-et-vient entre pratique et théorie, entre sensibilité et système nerveux, entre complexité et simplicité. Je cherche à travers cette recherche, à trouver une autre identité aux espaces sanitaires en Tunisie, respectant à la fois, les exigences technico médicales et l’identité patrimoniale. Je pose les problématiques de la démarche et de la méthodologie, de la réflexion et de la lecture, du théorique et d’empirique. Les différentes parties de cette recherche doctorale portent sur la relation entre conceptions couleur et lumière et certaines interrogations en matière de poïétique et d’esthétique<br>Innovation hospital design interested field and creation in reading and aesthetic and poietic approach. This research aims to contribute to reflections on aesthetics and poietics, through questions about color and light. The conceptual approach ends with a back and forth between theory and practice, between sensitivity and nervous system, between complexity and simplicity. I'm looking through this research, to find another identity sanitary spaces Tunisia, respecting both the technical requirements and medical heritage identity. I put the problems of the approach and methodology, reflection and reading, the theoretical and empirical. The different parts of this doctoral research focuses on the relationship between color and light designs and some questions for poietic and aesthetic

A discussion concerning the frame, foundation, midsection and stair of the Odd Fellows Lodge. Influenced by the precedents of rural Virginia's pragmatic building techniques and the personal and poetic work of architect Carlo Scarpa, the interventions to the Lodge maintain its gentle existence while asserting a new presence as an introduction to downtown Blacksburg.<br>Master of Architecture

L'objectif de cet écrit est d'explorer la singularité d'un métier, celui de coloriste designer, qui prend sa source dans la couleur et qui se nourrit de l'espace urbain et de son histoire. Au cœur de l'art qui se fait, l'art appliqué à la ville, la couleur est à la fois la source, l'outil, et le projet. Cette polychromie urbaine d'hier, d'aujourd'hui et de demain constitue l'avènement d'une pensée voulue nouvelle de la couleur dans la ville. Envisageant la pratique du métier de coloriste comme relevant d'une archéologie qui ouvre à une pensée par strate, allusion au terrain et aux couches sédimentaires qui la composent, allusion à l'architecture et aux successions de couches de peinture et d'enduits qui la construisent au fil du temps, allusion à la ville et à son évolution, je fais aussi et surtout, allusion à une pensée qui se construit par niveaux successifs qui se rendent indispensables les uns aux autres. Au cœur de cette pensée chromatique stratifiée, c'est bien le métier de coloriste qui est interrogé, et les connexions qui s'établissent entre les strates au sein desquelles il s'inscrit. La première strate, qui établit les connexions entre couleur, coloration et coloris du point de vue la couleur, pose la place du coloriste dans l'ère industrielle. La seconde, celle de la coloration, empruntera au terrain du design et du projet. La dernière, celle qui pour moi est singulière, ouvrira à un imaginaire chromatique interstitiel, tel un éloge du projet en action et de ses outils et sera celle du coloris<br>The purpose of this writing is to explore the singularity of a profession as a colorist designer, which originates in color and that feeds the urban space and its history. At the heart of the art that is, applied art to the city, the color is both the source and the tool and the project. This urban polychromy of yesterday, today and tomorrow is the advent of a new thought desired of color in the city. Considering the practice of the profession colorist as belonging to an archeology that opens to a thought by layer, referring to the land and sedimentary layers that compose it, referring to the architecture and layers of paint and coatings estates which build over time, referring to the city and its evolution, I also and especially refers to a thought that is built through successive levels that make themselves indispensable to each other. At the heart of this layered chromatic thought, it is the job of colorist that is queried, and connections that are established between the strata in which it operates. The first stratum, which establishes connections between color, coloration and shade in point of view of the color, instead of laying colorist in the industrial era. The second, the one of coloring, borrow the land of design and project. The last one that for me is singular, open in an interstitial chromatic fantasy as a eulogy of the project in action and its tools will be the shade

Through my art process and material selection, I investigate how interior spaces long to accumulate memories and possessions. I am interested in encroaching floor to ceiling build-up of collected goods kept in the homes of individuals unable to discard or part with possessions. These individual’s daily movements through their space and their denial of the surrounding mass informs my work. My work is larger than human scale, made of multiple units, and dense; yet understated by the subtle use of color and repeated materials. When I make an installation it often begins with creating a wall or a floor that delineates itself from the actual architecture of a room. I procure discarded domestic fragments such as carpet, shingles, and blinds. I select one material for each project to emphasize excessive quantities. I seek out donated goods and trash piles, heaps on the edge of consumer waste. The sourcing of these materials is serendipitous. I elevate these mundane materials by taking them out of their original context. The cycle of regeneration moves from material to “art object” back to material again as the work is displayed and dispersed back into the cycle of waste. In this thesis I will discuss how through my process and materials, I investigate interior spaces where memory and possessions accumulate.