Dissertations / Theses on the topic 'Space sensation'

A small proportion of the population experiences synaesthesia, in which a stimulus (the inducer) causes a percept (the concurrent) in its own sensory domain, and in another domain, or another sub-domain of the same sense. This thesis is concerned with synaesthesiae in which numbers and letters take on spatial locations or colours. In Paper 1, alphabet-form synaesthesia is investigated. The majority of alphabet forms belonging to native English speakers are straight, horizontal lines. Any breaks, gaps or direction changes tend to fall in line with the parsing of the Alphabet Song. Synaesthetes show greater inducer-concurrent consistency than controls; their spatial attention can also be cued by letters. In Paper 2, synaesthetes with alphabet forms and number forms took part in case or parity judgement tasks. Synaesthetes behave similarly to controls on the parity judgement tasks (i.e. both groups categorise small numbers more quickly with the left hand than the right hand). In the case judgement task neither group shows an equivalent effect for letters of the alphabet. Controls alone show a QWERTY effect, in which letters on the left of the keyboard are categorised more quickly with the left hand than the right hand. A large-scale study of letter-colour and number-colour synaesthesia in Paper 3 shows that correlations between letter frequency and saturation, alphabetical position and saturation, magnitude and luminance, magnitude and saturation are seen when luminance and saturation are considered as across-hue and within-hue variables. Papers 4 and 5 are concerned with synaesthetic bidirectionality, wherein concurrents can elicit implicit mental representations of their inducers. While no experiment in these papers shows evidence for bidirectionality, this may be due to the presentation of concurrent colours as graphemes instead of colour blocks. However, priming effects appear during a synaesthetic Stroop task when numbers are presented as digits, suggesting a stronger role for digits than other notations in number-colour synaesthesia.

This work seeks to explore the unmeasurable qualities of architecture that enrich the architectural experience, with a focus on the roles of light, sound, and memory as they interact with architecture in the making of that experience.
Master of Architecture

This research undertaking suggests that the studio-based process of inventing original choreographic works can be seen, in certain frameworks, as a complex ‘theoretical practice’. It sets out to render the decisions that I, as an artist, make in the process of inventing three choreographic works, ‘Audience (1) Waltzers’, ‘Return Journey’ and ‘HaH’, more transparent and self-reflexive, and simultaneously to enquire into the question of whether, and how, writing might serve to illuminate aspects of my overall choreographic and performance practice. The studio-based process of inventing these three works– with which the written strands necessarily engage – reflects my desire to explore questions about dance, choreography and performance as they emerge in my practice and with reference to the canon of western contemporary dance performance. In the mixed-mode heuristic framework underlying the present investigation the studio-based and text-based strands of inquiry are integrated in an extra-hierarchical mode, functioning thus interdependently as strands having equal epistemic value within that undertaking. That is, each is equivalent in terms of an ongoing enquiry into knowledge. The present undertaking examines and reflects on the ways that modes and methods of inquiry appropriated from the tradition of contemporary and post-modern dance performance, the Somatic practices of Authentic Movement and Body-Mind Centering, together with the Buddhist practice of Mindfulness Meditation, support my status as remaining ‘present with’ sensations, emotions and thoughts that arise and inflect the other-than-linguistic qualitative reasoning that underlies the decisions I make in the process of inventing ‘signature’ choreographic works – by which I mean works that are recognisably my own. Investigations into the relationship between one’s ‘self’ and one’s thoughts are extended by borrowing selectively from published research within the fields of Philosophy, Science, Cognitive Science and Psychology. The mixed-mode heuristic framework provides for the emergence of a relational space between the studio-based and text-based strands of research. In this space the subtle, layered and always evolving sub-strands of both are rendered more transparent, thereby providing for the questions and decision-making processes underlying the invention of ‘Audience (1) Waltzers’, ‘Return Journey’ and ‘HaH’ to surface and become more fully revealed: can I create choreographic structures that might provide for audiences to have an intimate experience of dance and performance? And how might these choreographies also provide for somatic experiences of dance, and the space within which it unfolds, to be shared by the dancer(s) and audience in performance? I propose to demonstrate that this project’s original contributions to knowledge are located in (i) the design of the mixed-mode heuristic framework within which I examine and reflect on how writing, in a range of registers, might serve to illuminate the process of inventing original choreographic works (ii) the choreographic works ‘Audience (1) Waltzers’, ‘Return Journey’ and ‘HaH’ (iii) what can be identified as the category of ‘somatically-revolving-empathy’

An exploration of simultaneous presence and absence in Architecture and Landscape. The site of memory as metaphor[m] and narrative. Architecture persists the metapsyche glimpse into the infinite. A gestalt of space and time relative to an obscur sensory perspective. Architecture defines place within space. That the vague sphere of mental and psychological perception extends infinite past any boundary. It is these boundaries that awaken the thought of a simultaneous absence and presence within nature. Dimension is witnessed and felt by our need to justify this simultaneity. In this way, Architecture binds and manipulates the infinite [space] into a place of memory. It can then be conceived, conjured, realized, and memorialized as a metaphor of space and time. For the progression of Architecture, Architecture must be a fragment and artifact of the collective narrative. I'm not designing buildings. I'm creating graves to mark where conception and creation dance infinitely.
Master of Architecture

Place identity changes and transforms in relation with changing social conditions and physical environment. Social conditions change the place identity by changing people&rsquo
s perceptions and experiences in the space, while, at the same time, they are affected by these perceptions and experiences. Thus, place identity is in a state of flux in time with individuals, objects and societies. This thesis aims to study the evolving identity of public spaces by focusing on the case of Ankara, specifically the example of Gü
ven Park which was developed as a part of the public space strategy of creating a modern, westernized and secular capital city of newly-founded Turkish Republic. Therefore, as far as Ankara is concerned, beside &lsquo
place identity&rsquo
, the notion of &lsquo
national identity&rsquo
becomes prominent. This research examines the changes in the identity of Gü
ven Park in relation to the shifts in the identity of Ankara, and the analyses on the public space are carried out regarding three criteria -form or physical setting, activities and meanings attached to the public space- in different time periods.

I am interested in two spaces obverse to each other: open and closed. An open space develops organically based on how people inhabit it. Interacting with an open space is a dynamic, sporadic, multisensory, immersive, and subjective experience. In such spaces, we are confronted with an alternative aesthetic, one that is in conflict with the seamlessness of a closed space. A closed space is anchored on definite variables like structure, use and boundaries. While interaction between people and space is important, the space is tightly controlled and interaction is designed. Through this thesis project, I present a method that metaphorically transforms the experience of a walk through a closed space into an open-ended and immersive experience. When space develops as a response to our actions, it affords intimacy and a sense of belonging. It facilitates deeper expressiveness through engagement. By applying a method that uses fragmentation, recurrence and motion, I am metaphorically transforming an urban closed space to open. Through this transformation I am creating a fresh person-space dialogue that temporarily destabilizes perception and encourages physical sensation which allows for an intimate experience of the space. An immersive interaction with an open space transgresses the urban sterility of a closed space and is capable of creating a diversity of distinct experiences.

My thesis explores and develops an understanding of how the elements of a landscape operate on the aesthetic sense. Jay Appleton notes that while human beings are spontaneously aware of their environment, its objects have associational properties, which are not inherent in the objects themselves. He asserts that there is no detailed analysis of an actual landscape in terms, which can precisely relate biological and psychological experiences with the aesthetic satisfaction derived from the observation of natural and man-made objects distributed in a particular fashion.1 To challenge this assertion, I propose that the structure and confined landscape of certain gardens may be analysed to reveal their metaphysical properties and through them, the creative possibilities that can arise. Three specific locations are discussed, namely: The Leasowes, W. Midlands – the home of William Shenstone; Olney, Bucks – the home of William Cowper together with the associated Throckmorton Estate; and Dove Cottage, Grasmere, Cumbria – the home of William and Dorothy Wordsworth. Those individualistic gardens produced a focused spatial concept of sensory experience: a place to ‘be lived in’, where their owners were able to wander freely, experience freedom of thought, and find depths of poetic expression in response to powerful aesthetic conditions that arose. Their imaginations were able to experience fresh nuances, as they dwelled within places that required their active physical, emotional and intellectual participation. My proposition addresses the possibilities of articulating this spatial temporal phenomenon, in a relationship between psychological experience and aesthetic satisfaction. Examples of these poets’ work illustrate artistic response to the inspirational spaces of their gardens, which became sources of imagination and creativity in the second half of the eighteenth century.

This thesis explores the relationship between architecture and the blind people. For better clarity and understanding of the topic, The work has been divided into five distinctive parts. In the first, introduction part, I approach space sensation of a blind person from the physiological and psychological angle. This analysis is very important for the understanding of imagination, which the blind person has. Another important fact to understand is the way in which the blind person gets the information about the space and what is his ability to process it. Further, I explain the basic principles of the blind person’s movement through space and describe instructions of how to help blind people in the concrete spatial situations. In the next part, I give a short information about the historical progress of the relation between the society and the blind people. An important fact is that, as late as 200 years ago, the blind people were considered as “sub men” and did not have the full freedom privilege. This relation has been modified over time and nowadays, the blind people have the freedom of movement and all the rights to enjoy their lives. To meet the needs of the blind people, many associations have been created that act on their behalf. The associations have different modes of functioning, but their common goal is to help blind people with their social rehabilitation, looking for employment and removing architectural barriers. The core of my work is divided into two parts. In the first one, I focus on the problematic of the blind people and architecture from the functional aspect. The functional aspect is vital for the blind people. It corresponds to their safety in the environment. In this chapter, I treat in detail basic elements for designing buildings, for specifying barriers and principles of design for blind people. Furthermore, I describe the help tools the blind people need in order to move in the space. I evaluate the future of these tools and indicate the rapid technological progression which makes the life of blind people more comfortable. In the next part, I focus on the problematic of the blind people and architecture from the aesthetic aspect. This question has not been much explored yet, but is, nonetheless, very important. In this part of my work, I use more my personal experience and the knowledge coming from the exploration of space. Aesthetical values are subjective for all the people, with or without a handicap. Therefore, in this final chapter, I try to note the facts that can be used in the process of the aesthetical perception and to reflect on them. In the domain of aesthetical research, there also exist tools and institutions that help blind people in their comprehension of architecture. The division of my work emerged from the compilation of diverse facts in the process of writing. This thesis has an informative and practical character. It is intended for people who want to understand and to be informed about how to design architecture for the blind people. It will be directed towards people who build this kind of architecture and need an overview of how to make it. It is also intended for people interested in learning more about architecture.

Spaces with high occupancy density like classrooms are challenging to ventilate and use a lot of energy to maintain comfort. Usually, a compromise is made between low energy use and good Indoor Environmental Quality (IEQ), of which poor IEQ has consequences for occupants’ health, productivity and comfort. Alternative strategies that incorporate elevated air speeds can reduce cooling energy demand and provide occupant’s comfort and productivity at higher operative temperatures. A ventilation strategy, Intermittent Air Jet Strategy (IAJS), which optimizes controlled intermittent airflow and creates non-uniform airflow and non-isothermal conditions, critical for sedentary operations at elevated temperatures, is proposed herein. The primary aim of the work was to investigate the potential of IAJS as a ventilation system in high occupancy spaces. Ventilation parameters such as air distribution, thermal comfort and indoor air quality are evaluated and the system is compared with a traditional system, specifically, mixing ventilation (MV). A 3-part research process was used: (1) Technical (objective) evaluation of IAJS in-comparison to MV and displacement ventilation (DV) systems. (2) An occupant response study to IAJS. (3) Estimation of the cooling effect under IAJS and its implications on energy use. All studies were conducted in controlled chambers. The results show that while MV and DV creates steady airflow conditions, IAJS has  cyclic airflow profiles which results in a sinusoidal temperature profile around occupants. Air distribution capability of IAJS is similar to MV, both having a generic local air quality index in the occupied zone. On the other hand, the systems overall air change rate was higher than a MV. Thermal comfort results suggest that IAJS generates comfortable thermal climate at higher operative temperatures compared to MV. Occupant responses to IAJS show an improved thermal sensation, air quality perception and acceptability of indoor environment at higher temperatures as compared to MV. A comparative study to estimate the cooling effect of IAJS shows that upper HVAC setpoint can be increased from 2.3 – 4.5 oC for a neutral thermal sensation compared to a MV. This implies a substantial energy saving potential on the ventilation system. In general, IAJS showed a potential for use as a ventilation system in classrooms while promising energy savings.
Lokaler där många människor vistas, som t.ex. klassrum, är ofta svåra att ventilera. Att upprätthålla en bra termisk komfort kräver en hög energianvändning. Vanligtvis blir det en kompromiss mellan låg energianvändning och bra kvalitet på inomhusmiljön (IEQ). Dålig IEQ får konsekvenser för människors hälsa, produktivitet och komfort. Alternativa ventilationsstrategier, som använder förhöjda lufthastigheter, kan minska kylbehovet och därmed energianvändningen. I denna avhandling utvärderas en ny ventilationsstrategi, Intermittenta luftstrålar (IAJS), där korta perioder med hög lufthastighet genererar en svalkande effekt, när rummets temperatur upplevs som för hög. Det primära syftet med arbetet var att undersöka potentialen hos IAJS som ett ventilationssystem för klassrum, där den termiska lasten ofta är hög. Strategin jämförs mot traditionella ventilationsprinciper som omblandande ventilation (MV) och deplacerande ventilation (DV). Parametrar som luftdistributionsindex, termisk komfort, luftkvalitet och energibesparing har utvärderats. Alla studier utfördes i klimatkammare. Resultaten visar att medan MV och DV skapar konstanta luftflödesförhållanden genererar IAJS cykliska hastighetsprofiler samt en sinusformad temperaturvariation i vistelsezonen. IAJS klarar att bibehålla ett bra termiskt klimat vid högre operativa temperaturer jämfört med MV. I en jämförelse med ett traditionellt HVAC-system visar beräkningar  att dess börvärde kan höjas från 2.3 till 4.5 °C med bibehållen termisk komfort. Detta indikerar en avsevärd energibesparingspotential vid användande av IAJS.

La présente thèse a pour objet l’étude d’une partie du vocabulaire hobbesien, que nous définirons ici comme lexique de l’ "apparence". Par le terme d’apparence, que nous utilisons en tant que catégorie conceptuelle, nous nous référons à la problématique philosophique, typique des XVIe-XVIIe siècles, qui met en lumière une conscience nouvelle de la nature de la perception sensible. L’apparence montre, d’un côté, l’existence réelle et objective d’un monde en mesure de déterminer la sensibilité ; de l’autre, la conscience que nos représentations ne nous livrent pas un portrait fidèle du monde. La réflexion de Hobbes s’insère à l’intérieur de ce contexte: considérant la sensation comme le stade initial de la connaissance, dont dérive l’entière vie psychologique du sujet, le philosophe réduit nos représentations à des apparences qui n’ont aucune réalité en dehors de notre esprit. Cette conception détermine l’utilisation d’une terminologie particulière dont Hobbes se sert pour traiter le complexe thème de l’apparence des phénomènes. Notre travail se propose de reconstruire la réflexion hobbesienne sur une telle problématique en privilégiant une approche de type lexicographique, fondée sur la vérification des occurrences et concordances (publiées dans le vol. 2), mais aussi conceptuel, à travers les entrées répertoriées à cet effet. La méthodologie choisie est celle d’un examen des écrits de Hobbes mené dans un sens diachronique, en partant du principe qu’il s’agit là de la seule façon de vérifier la modulation des entrées dans leurs différents contextes (de la physiologie de la vision au rêve) tout en éclairant la pertinence par rapport à Hobbes du thème de phénoménisme
This thesis aims at studying part of Hobbes’s vocabulary, that I define «lexicon of appearance». The word ‘appearance’, used as a conceptual category, refers to the philosophic problematic, greatly debated in the XVIth and XVIIth century, that highlights a new conscience of the nature of the sensitive perception. On one hand, the image appearance shows the real and objective existence of a world capable of defining sensitivity. On the other hand, it shows us that our representations do not always portray a faithful image of the world. Hobbes’s theory fits perfectly in this context: by considering sensitivity as the initial phase of our knowledge, by which our whole psychological life derives from, he reduces our representations into ‘appearances’ that only exist in our mind.This conception determines the use of a particular terminology that Hobbes uses to deal with the complex theme of the appearances of phenomena. This thesis aims at reconstructing Hobbes’s reflection by favouring a lexicographic approach, checking the material elements (occurrences and concordances, published in Vol. 2) aswell as the conceptual aspects of the entry words. The methodology chosen focuses on examining Hobbes’s lexicon in a diachronic fashion. I will assume that this is the only way to verify the words’ variations in the different contexts (from physiology of vision to dream) and highlight, at the same time, Hobbes’s relevance to ‘phenomenalism’

Inscrit dans le champ des ambiances architecturales et urbaines, cette thèse interroge la constitution de l'expérience sensible dans les cheminements urbains à partir d'une méthode de parcours commenté " en aveugle ". Une enquête a été menée à Grenoble auprès de 34 personnes constituées en deux groupes d'âge, leur faisant parcourir, les yeux bandés, un espace de la ville où ils n'étaient jamais allés. À partir d'analyses détaillées des commentaires recueillis lors des parcours, nous montrons comment s'opère la mobilisation des sens dans la marche. En effet, des sens aux contextes de sens en passant par les objets d'expérience, nous explorons différentes perspectives pour rendre intelligible l'expérience sensible. Une réflexion particulière est alors menée sur l'impact du protocole d'enquête et la relation chercheur/participant en intégrant pleinement ces derniers aux analyses et à l'objet de recherche. Nous proposons enfin de nous saisir de la notion de " surgissement " pour révéler les aspects dynamiques de l'expérience sensible des espaces publics et cherchons à faire de cette notion un levier de discussion théorique ainsi qu'un outil de définition dans l'aménagement des espaces publics urbains, tant du point de vue physique et spatial que dans le cadre d'une politique du sensible confrontée à la standardisation ou à des effets de normalisation. S'appuyant sur des approches phénoménologiques et pragmatistes et soucieux des effets des modalités d'aménagement contemporain, ce travail contribue ainsi à la problématique des ambiances urbaines.

The development of station design provided new dimensions to both the sense and sensation of space. This is to be recaptured in the design of the museum, which requires obtaining an understanding of the influence, implications and impact railway stations and their supporting infrastructure had on architecture, the cityscape and the urban fabric, due to their large size, area and enclosed volume. Station design has contributed to modern design through the need to satisfy the uninterrupted, free-space enclosure of large volumes, necessitating progress in the knowledge of the structural application of the new materials discovered during the Industrial Revolution from which the modern architect is still benefiting. The impact of stations in these three mentioned fields furthermore had an indirect impact on society. The determination of all these influences by stations and their design will form the research subject of this dissertation.
Dissertation (MArch(Prof))--University of Pretoria, 2008.
Architecture
unrestricted

Giang Tsz Sheung Keith.
"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2001-2002, design report."
Includes bibliographical references (leaves 93).
Chapter 00 --- synopsis --- p.Page 01
Chapter 01 --- Theme and Concept --- p.Page 03
Chapter 02 --- Research --- p.Page 15
Chapter 03 --- Site --- p.Page 29
Chapter 04 --- Program --- p.Page 37
Chapter 05 --- Master plan --- p.Page 46
Chapter 06 --- Preliminary design concept / ideas --- p.Page 50
Chapter 07 --- Design Development --- p.Page 60
Chapter 08 --- Design / special studies --- p.Page 78
Chapter 09 --- Design / general public experience --- p.Page 83
Chapter 10 --- Design / cadet pilot experience --- p.Page 87
Chapter 11 --- Schedule --- p.Page 92
Chapter 12 --- Reference --- p.Page 93
Chapter 13 --- Appendix --- p.Page 94
Chapter 14 --- Acknowledgement --- p.Page 98

碩士
國立臺東大學
體育學系碩士班
100
This research focused on world gym fitness club member to use sensation experience of space environment importance, the degree of satisfaction team of the re-purchase. Uses the questionnaire survey method, by world gym fitness club member Taipei area(Neihu store ,Hsinchuang store, ,taipei101 Elite) as the research object, retrieve 405 valid questionnaires, use SPSS 12.0 for windows statistical software as analysis tool of this research. After item analysis, the description statistics

碩士
朝陽科技大學
建築系建築及都市設計碩博士班
102
In space design of hospitals, color schemes in different spaces are not only considered as indications, but also influence on patients' emotions. We chose a waiting room in a dentist clinic as sample, took field experiment methods to measure mental state of users in a environment with combinations of rose white and other five color tones on walls, and four furniture in similar colors. By this experiment we tried to understand how colors affect users based on their visual emotional feelings, emotions, preferences, and approach-avoidance intention in a medical space. Once we figured out what users prefer, we can find the essential factors for space design of a dentist clinic. The conclusions are as below: 1) What users care most is to feel comfortable in the waiting room. Also their favorite color is blue. 2) Users feel peaceful in the environment with rose white, blue, purple color tone walls and similar color furniture. 3) Combinations of different color tones of walls and furniture all have different effects. 4) Rose white walls paired with similar color furniture makes the most bright feeling and peaceful mind. Rose white walls paired with adjacent color furniture makes warm, tender and stable visual feelings and relaxing, joyful, comfortable, thoughtful and elegant emotional feelings, which is the most famous choice for users. Pink walls paired with similar color furniture or yellow walls paired with contract color furniture are also well balanced choice in visual feelings, emotional feelings and preference. Green color walls paired with adjacent color furniture provides bright visual feelings and relaxing emotional feelings. Blue color walls paired with contract color furniture provides warm and bright visual feelings and relaxing emotional feeling, or if the walls paired with similar color furniture it becomes stable in visual feelings. Purple color wall with complementary color furniture provides warm and bright visual feelings and relaxing, comfortable emotional feelings.

Chan Yuk Shing Brain.
"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1998-99, design report."
Includes bibliographical references.
Chapter 00 --- book
Chapter 00.1 --- brief ofbook
Chapter 002 --- design of the book´ؤbookof senses
Chapter 003 --- how to read
book [i]- writing
Chapter 01 --- foreplay
Chapter 01.1 --- acknowledgements
Chapter 01.2 --- preface
Chapter 02 --- prologue explains the thesis topic: unseen vision
Chapter 02.1 --- background study
Chapter 0211 --- sense study
sensation dialogue between blindness & non-blindness
Chapter 0212 --- blindness experience
Chapter - --- spatial experience
Chapter - --- concept of time
Chapter - --- concept of position
Chapter - --- concept of direction
Chapter - --- concept of orientation & mobility
Chapter 02.1.3 --- blindness text
Chapter - --- braille
Chapter 0214 --- novel of vision
Chapter - --- invisible cities
Chapter 02.2 --- existing situation
Chapter 02.3 --- precedent study
Chapter 03 --- vision(s)
Chapter 03.1 --- refer to approach 1
Chapter 03.1.1 --- sense & concept
Chapter 03.1.2 --- sense & space
Chapter 03.1.3 --- sense & architecture
Chapter 03.2 --- refer to approach 2
Chapter 03.2.1 --- program???
Chapter 03.2.2 --- activities
Chapter 03.3 --- refer to approach 3
Chapter 03.3.1 --- music/ sound
Chapter 03.3.2 --- other symbols
Chapter 04 --- dialogue
Chapter 05 --- spectrum
Chapter 05.1 --- spectrum of vision
Chapter 05.2 --- spectrum from blindness to non- blindness
Chapter 05.3 --- vision???reliable???
Chapter 06 --- wall
Chapter 07 --- conclusion of book [i]

碩士
國立臺灣藝術大學
美術教學碩士學位班
101
The present day, in the twenty-first century, Olafur Eliasson and his studio have interdisciplinary pioneering intergraded the spirit of art and the teamwork to his art projects. This strategy provided an opportunity for artists in this field to discuss the “consciously viewer” in the phenomenology that contributed by their knowledge of science, philosophy, sociology, psychology and architecture etc. In result, by connected the reaction of body and the perception of sensory, the viewers’ original perception of mind and space could be re-cognized and re-created into Eliasson’s art projects. This article will introduce Eliasson and his studio from his first began artworks in 1992 to 2012 recent works. It will discuss the concept of his artworks, the interaction with the contemporary arts, his scope of works and the original thought and the background of his arts. It will also explain the processes of his artistic creation in that time. Therefore, Eliasson’s consciousness of his works summarized including the concept of his contemporary performance in the social production and the phenomenology used to consciously experienced artworks. As the result, to understand oneself is by understanding contemporary people and the concept of the “consciously viewer” in Eliasson’s art projects.

碩士
國立臺中教育大學
美術學系碩士班
97
Abstract This research composition emphasizes the writer examination towards the humanities of society and of living. Its main focus is on persons reflected upon the expression of society landscape. What has also been passed down to the present age is the phenomenon of urbanization. Artistic works of people and ways of living are closely linked. The writer hopes, in this work, to convey the atmosphere of life of our present age, to contribute through artistic representations of modern persons, their various modes and features. Touching upon social science, anthropology, eastern and western philosophies, aesthetics, and the probe onto the integrative nature of painted works theory, this theory of research is based on Citation Analysis, the Theoretic Synthesis Approach, and Methods of Experimental Creation. A self-critical approach is used to understand the processes and course of outcomes of these personal creations, which are appraised by whether or not they meet anticipated objectives with maximum effectiveness. This research composition procures as core the thoughts within traditional formulation of Chinese paintings. It seeks out basic dimensions of the personal creations which are presented. By way of sketches, creative works of modern persons and the use of eastern artistic materials, one ponders upon the approaching extent of creative possibilities. The main framework of discussions of this research include: (1) Inquiry of the timeline of Chinese paintings? Environmental space. (2) Sensations of space of modern persons. (3) Creative thought and the practical aspects of figure painting. The scope of this research encompassescity inhabitants and their drawings from 2006 to 2008 as primary works. Creative practices aid in theoretical analysis, firmly establishing the writer creative objectives and future outlooks.