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1.
This research aims to know some of the most innovative aspects of color in composition of postmodern architecture in Europe, approximately between 1960 and 2000. We describe the main chromatic trends in this period following historian JA. Ramírez's formal classification: the new utopias (‘60s), neo‐illuminist rationalism (‘70s), figurative postmodernity (‘80s), and deconstructivism (‘90s). For each trend, we point out some color composition features; analyze a case study building; and reflect on later influence on contemporary colored architecture. © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 399–412, 2014 相似文献
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Antal Nemcsics 《Color research and application》2008,33(4):262-270
In 1956, we came to the decision at the Budapest Technical University to start large scale experiments on color harmony. The experiments and the processing of the experimental results have been completed in 2006, after 50 years of research work. The focal point of the experiments published in the current article has been the practical experience that the span of intervals between saturations and brightnesses of the compositions influence the harmony content of the composition, namely they determine in what extent we perceive the color composition as a harmonic one. Within the framework of experiments compositions have been shown to the participants, first those consisting of color pairs featuring the same hues and saturations but different brightnesses then those consisting of the same hues and brightnesses but different saturations. The method of experiments consisted of comparisons in pairs. There were 780 compositions prepared for the tests. The number of elementary observations during the tests comprised 544 000. It has been established that the variation of harmony content as a function of brightness‐ and saturation‐intervals could be described by a harmony function. It has been established that the variation of harmony content depending on brightness‐intervals is not, but that of depending on saturation intervals is being influenced by the hues of colors of the color pair in the composition. It has been established that in case of compositions with the maximum harmony content the interval of brightnesses of the colors making the color pair in each case gives d30V (d9Y), the interval of saturations gives d30T or is near to it. © 2008 Wiley Periodicals, Inc. Col Res Appl, 33, 262–270, 2008. 相似文献
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Antal Nemcsics 《Color research and application》2011,36(2):127-139
We, in 1956 the Department of Architecture at the Budapest University of Technology and Economics, decided to start an extensive color harmony experiment. The experimental work, the collation, and processing of the collected data, lasting 50 years, was completed in 2006. The experiments described in this article are based on earlier experimental results obtained from investigation into the harmony content of hue pairs. We then decided to search for a third hue, which in association with an existing pair, with high‐color harmony, forms a hue triad with high‐harmony content too. The compositions prepared for the experiment were composed in each case of three hues of four identical saturation but different brightness, forming a group of 12 colors. The color content of the compositions covered the color space uniformly. That was the first stage in the experiment, carried out with 60 compositions. In the second stage, we investigated the effect of the saturation content of the colors used in the composition, on the harmony content of the hue triads. For this experiment, we prepared 48 compositions. In these experiments, we applied the method of grading. We concluded that the level of the harmony content of the hue triads depends on the inclination between the hue planes in the Coloroid color space. We also concluded that to every hue, selected for starting point, six well‐definable groups of hues can be ordered from the Coloroid color space, from which color triads with high harmony content, can be selected. It showed conclusively that the saturation level of the individual members of the triads has a significant influence on their harmony content. © 2010 Wiley Periodicals, Inc. Col Res Appl, 2011 相似文献
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Experimental determination of laws of color harmony. Part 6: Numerical index system of color harmony
Antal Nemcsics 《Color research and application》2012,37(5):343-358
The numerical index system of color harmony is intended to mark a great number of color pairs, optimally any number of existing color pairs, by a number between 0 and 100. This number expresses the extent to which a color pair is being felt harmonious by the average of people and the level of harmony content it possesses. The experiments described in this article have determined the basic data necessary to create this system. The series of the experiments have been done in two stages. The first stage, in which 24 test objects were presented to the experimental subjects, was carried out twice first in 1988–1990 and again in 2004–2006. Every test set was composed of eight compositions. The number of scores, given to each of the compositions, determined the harmony content of the color pair groups, whose members are formed from the saturated colors of different hues and from the members of the grey scale. In the second stage of the experiment, these data served as references for the experimental subjects. In the second stage, there were 192 tests. In these tests, there were different numbers of compositions each formed of different color pairs. One of the members of these color pairs was the member of the saturated color of the first experiment. The second member was always of different saturation and lightness for each of the compositions, purposefully chosen to match the saturated colors. Based on the experimental scores, we obtained a color harmony surface linked to the intersections with the coordinates in the Coloroid system. The color harmony surfaces and the distances between the related intersections indicate the harmony content of the color pair. The numerical values of these distances are called the color harmony index number of the color pair. These data make the creation of a color harmony indexing system possible, expressing the color harmony content of all possible color pairs, in the color space. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2012 相似文献
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Antal Nemcsics 《Color research and application》2007,32(6):477-488
In 1956 we came to the decision at the Budapest Technical University to start large scale experiments on color harmony. The experiments and the processing of the experimental results have been completed in 2006, after 50 years of research work. Within the frame of the experiments 95 000 participants have carried out more than 36 million elementary observations and made elementary decisions. Only certain parts of the experimental results have been published up to now. This article starts publishing the results not published yet. Research work on color harmony carried out during these 50 years can be categorized into seven main groups. The present article deals with the group of experiments testing how much the harmony content of the scales found in different locations in various positions of the axial sections of the Coloroid color system differ from each other. Our experiments were focused to three groups: we examined the variations in the extent of harmony content in the following cases (1) scales carried by lines with different angles to the gray axis, consisting of colors having the same number of harmony intervals between them, (2) scales consisting of colors being parallel to the gray axis, featuring various saturations, having different harmony intervals between them, and (3) scales perpendicular to the gray axis, with different luminosity, having different harmony intervals between each other. The examined color scales contained six colors in each experiment. Experiments were carried out for 24 different axial sections of the Coloroid color system. After 15‐years interruption experiments were repeated; however, with compositions of different appearances. © 2007 Wiley Periodicals, Inc. Col Res Appl, 32, 477–488, 2007 相似文献
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Juan Serra 《Color research and application》2013,38(4):238-250
This article deals with the possibilities that color affords architectural composition, the strategies facilitated through color as a vocabulary of expression. It primarily focuses on the rules of grammar and syntax of color, and to a lesser degree on the semantic meanings, as this would entail multiple interpretations by the observer. Following an analysis of architectural color classification systems suggested by other authors, we reason that there are three main groups of plastic strategies. These are not mutually exclusive, but rather, complementary to each other: (I) color can influence the perception of the visual properties of architectural shapes; (II) color can describe the building and (III) color can be arranged for its intrinsic value. Each of these strategies deals with a different level of knowledge of the building, which requires both subconscious and conscious mechanisms of identification by the observer. These are the color strategies used by architects to express a particular compositional purpose. © 2012 Wiley Periodicals, Inc. Col Res Appl, 38, 238–250, 2013 相似文献
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Juan Serra 《Color research and application》2013,38(5):344-355
In the 21st century, there has been a noticeable move toward the versatility of color in architecture. This can be attested to through an analysis of the color of buildings designed by some of the leading modern and contemporary architects, and a critical review of works written about the colors used in their buildings. This analysis goes on to identify four concepts related to the term versatility: transformation, fragmentation, movement, and novelty. These four concepts help us to understand the way color is conceived and arranged in contemporary architecture. By doing so, we aim to re‐establish the importance of color in the design of architecture, overcoming some former theoretical and practical preconceptions stemming from the modern era. © 2012 Wiley Periodicals, Inc. Col Res Appl, 38, 344–355, 2013 相似文献
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Abstract: It is a recognized fact, that the relative surface coverage of the colors has a great influence on the harmony content. It is an open question that, in a composition, what is the optimum ratio between the surface area coverage of the colors, for maximum harmony content of the color pairs, selected for the composition. Various theories on color harmony already tried to answer this question, based on two substantially different principles. One is built on the mechanism of color vision, while the other one founded on statistical test results. The first approach was already proven not valid; but the second one was not proven right either due to the lack of available data. Our experiments aim is to fill this gap by using 324 compositions with different color coverage, to investigate its relation to harmony content. The statistical results were summarized in graphs as well as formulated in mathematical equations. The results show that the prime factor in the measure of harmony content is the relative surface coverage of the highly saturated colors. In most cases however the 50–50% ratio of color coverage leads to maximum harmony content in a composition. © 2013 Wiley Periodicals, Inc. Col Res Appl, 39, 387–398, 2014 相似文献
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Antal Nemcsics 《Color research and application》2009,34(1):33-44
At the Budapest University of Technology and Economics in 1956, we decided to start large‐scale experiments on color harmony. The experiments and the processing of the experimental data were completed in 2006. The experiments described in this article were based on a long established experience that harmony content of different hue pairs greatly differ from each other. The vast majority of former research activities on the subject of color harmony narrowed down mostly to investigations of saturated color pairs. Color samples of our experiments have been defined within the color space of the Coloroid color system, built on harmony thresholds. The compositions, prepared for the experiments, always consisted of two saturated hues and three low saturation colors of each hue at varying brightness, making it a total of eight colors. Within the framework of the experiments, 48 hues were used. Out of these, each of the 24 was formed into composition pairs with the remaining 48 hues, forming a total of 852 compositions. The paired‐comparison experiments were conducted with the use of the compositions prepared by collage technique. Color samples made of painted paper, between 1980 and 1985, have been repeated between 2002 and 2006 with the same color selection but with computer‐generated pseudorandom patch system compositions. It has been established that harmony content of hue pairs can be expressed by the relative angle of their hue planes in the Coloroid color space. The harmony content of hue pairs exceeds that of other pairs, when this angle is below 10°, between 30° and 40°, between 130° and 140° or near to 180°. Those color pairs of which hue planes are between 60° and 90° to each other in Coloroid color space, exhibit the least harmony content. © 2008 Wiley Periodicals, Inc. Col Res Appl, 34, 33–44, 2009. 相似文献
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Experimental determination of the laws of color harmony. Part 4: Color preference and the color harmony content 总被引:2,自引:0,他引:2
Antal Nemcsics 《Color research and application》2009,34(3):210-224
In 1956, we decided at the Budapest University of Technology and Economics to start a large‐scale experiment on color harmony. The experiments and the processing of the experimental results have been completed in 2006. These experiments, described in this article, form a study of how much are people, participating in the experiment, influenced by their own personal color preference in judging the harmony content of a composition. These experiments have utilized the results of former (1958–1969) color preference experiments and the system of color preference indexes, which were developed by the generalization of those results. Within the framework of these experiments, conducted between 1998 and 2006 there were 24 compositions, shown to the participants, at first one by one, then in pairs and at last in groups of six. They had to assess the harmony content of the compositions and award a score on a scale between 0 and 10. Each composition possessed a specific amount of harmony content according to the rules of color space, based on the Coloroid harmony threshold and verified by former experiments. In these experiments the number of elementary observations were 135 568. The people participating in the experiment were approximately equal number of men and women, from the age group between 10 and 70 years. During processing, by using the color preference numerical indexing system, we compared the results of those experiments with the color preference of a similar age group, by using color compositions, identical to the ones used in the present experiment. We have found that the sensation of the color harmony and its intensity have a strong relation to how the observers relate to colors and also their color preferences. The sensation of color harmony is also influenced by the gender and the age of the observer. © 2009 Wiley Periodicals, Inc. Col Res Appl, 34, 210–224, 2009 相似文献
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Enrico Giacopelli;Sabrina Gualtieri;Marco Zerbinatti; 《Color research and application》2024,49(1):144-162
Ivrea is a small city known throughout the world as the home of the Olivetti company. For many years, the innovative urban and architectural experiment inspired and supported by Adriano Olivetti, financed by his company for a large part of the twentieth century, was less well known internationally. His patronage and his far-sighted vision for urban society have produced results of great relevance in the history of Italian industrialization and Modern Architecture. Since 2018, the architectural assets, the archives, cultural heritage and social experiments, have become part of the UNESCO Catalogue of World Heritage Sites (Ivrea, industrial city of the 20th century). Today, many of these heritage buildings, characterized by external surfaces decorated with colored tiles of different types, have several conservation problems, due in many cases to the lack of ordinary maintenance. At the same time, the unavailability of original materials makes the planning of appropriate intervention solutions for maintenance and restoration difficult. This report intends to give an account of this event through two convergent approaches: (i) on the level of method, continually seeking a precise analysis of the materials, trying to refrain from the image of an ‘Olivetti's architecture’ flattened only on rationalist models—chromatically limited—to do justice to a less minimalist vision that has characterized the architectural heritage on matter since its inception; (ii) on the operative level, giving an account of the attempts to recover and restore that “world of colours” that is the Olivetti's city, also with a correct lexical reading of the architectural elements and the finding of materials (an operation declined toward “what can be done today”, given that many original products are unavailable and manufacturers are no longer in activity). 相似文献
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In 2018, Shanghai launched a campaign to renovate the façade of old residential areas. With the renovation of the façade of these residential buildings, problems such as chaotic colors, dull colors, and strongly conflicting colors of walls have increasingly occurred. In this article, the color data of building samples were obtained by field investigation and the color attribute grading evaluation of residential buildings was carried out by introducing evaluation factors; thus, the evaluation results of these buildings were finally obtained. Based on the analysis of the quantity and proportion of each color attribute at different evaluation levels, the color characteristics of residential buildings in Shanghai were finally summarized. Overall, Shanghai residential buildings are “warm colored” in hue, “bright” in lightness, and “partial white” in chromaticness. The research results provide theoretical support for the forward‐looking and scientific nature of color planning for residential buildings in the future and can serve as a reference for the selection of the main colors of building walls. 相似文献
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This study examines individuals' color associations with different building types (i.e., residences, schools, official buildings, hospitals, shopping malls, entertainment buildings, restaurants, hotels, factories, and religious buildings) and the reasons given behind their color choices. Ninety‐eight college students at a public institution in the southeast region of the United States participated in the study. Results indicate that color associations seem to be based on individual and emotional aspects where previous knowledge and experience with a particular building type play an important role. The reasons for color‐building associations are discussed and future research areas are suggested. © 2005 Wiley Periodicals, Inc. Col Res Appl, 31: 67–71, 2006; Published online in Wiley InterScience (www.interscience.wiley.com). DOI 10.1002/col.20174 相似文献
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Maryam Mohammadgholipour Eric Kirchner Elias Salleh 《Color research and application》2020,45(5):911-925
In the 1960s, Jean-Philippe Lenclos introduced a structured methodology for determining the color palettes of urban environments. After half a century, this method is widely used all over the world. Since this process contains subjective and time-consuming steps, we propose a quantitative improvement of Lenclos' methodology by introducing a fully digital procedure. This removes observer subjectivity and dependence on local illumination conditions. We applied the digital process to the four monumental buildings of Naghsh-e Jahan Square in Isfahan, a masterpiece of world architecture. The resulting color palettes are more accurate than those obtained in earlier studies. We obtained more accurate color coordinates, characterized by a wider color gamut, and quantified color variations within buildings and between monuments as well. 相似文献
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We have carried out a new study of the color combinations selected by Le Corbusier in ‘les claviers de couleurs’ for the Salubra wallpaper company in 1931, by analyzing them in the Natural Color System, which allows us to understand the perceptive variables of colors (hue, blackness, and chromaticness) as well as their combination criteria. Regarding the perceptive variables, we have discussed the selected hue ranges in relation to other color proposals of Le Corbusier himself, and we have shown the extensive presence of earthy hues, or the noteworthy absence of other colors such as yellows, violets, black, and white. We have also analyzed the chromaticness of colors, which is generally low, and the blackness, also very limited. In relation to the combination criteria, we aim to find out the underlying order in the color combinations by studying the similarities and contrasts of their perceptive variables. We demonstrate graphically, by a navigable three‐dimensional model, and with statistical support, some principles in Le Corbusier's color preferences, such as the combination of colors with equal chromaticness, the search of some contrast in blackness, or the usual resource of contrasting cool with warm colors, something slightly different to the contrast of complementary colors. We have also discussed other compositional criteria held by Le Corbusier to use color in his Purist architecture, which are related to the position and proportion of the surfaces to be colored, the connotations associated to different hues, or the use of plain colors, among others. © 2015 Wiley Periodicals, Inc. Col Res Appl, 41, 85–100, 2016 相似文献
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陶艺砖石在现代建筑与环境艺术中的审美及应用 总被引:1,自引:0,他引:1
探讨了现代陶艺在建筑及环境装饰中的表现形式,认为陶艺砖石在现代建筑与环境装饰中具有朴素自然的质感,可体现地方特色和历史文脉感;论述了陶艺砖石在现代建筑与环境艺术中的审美、应用的价值及前景。 相似文献
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Guosheng Hu Ai Sheng Yizhong Zhang Zhigeng Pan Mingmin Zhang 《Color research and application》2016,41(2):165-174
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Seasonality is a typical characteristic of Beijing's regional vegetation, and plant color is one of the most prominent visual factors of vegetation dynamic. In this research, we explored the composition and dynamic characteristics of plant color in Beijing's urban vegetation, involving the analysis of overall characteristics and respective features of leaf, flower, and fruit colors. Color data was collected from 177 woody plant species in Beijing Botanical Garden, spanning their annual life cycle, and identified with the colorimetry of the Natural Color System (NCS). Correlation and regression analyses were applied to reveal the temporal dynamic features of overall plant color richness. Cluster analysis was applied to categorize tree species based on typical colors of various plant organs. Color richness and color dispersion were introduced as two factors to measure color diversity of various tree species, applied in species evaluation by sorting and principal component analysis (PCA). Color dispersion of three‐dimensional NCS data was measured with a modified SD based on the calculation of mean spatial distance in the NCS space. Main results are as follows. The first part is plant color composition. The composition of all plant colors contains 862 NCS color species, 20 blackness species ranging from 3 to 90, 20 chromaticness species ranging from 0 to 90, 35 hue species ranging from G10Y‐B90G, and N. The second part is temporal dynamic of overall color richness. Leaf color richness and total color richness are significantly positively correlated with pentad (5‐day) sequence; flower color richness is significantly negatively correlated with pentad sequence; and fruit color richness first increases and then decreases over time. The third part is cluster analysis of tree species. Based on typical growing‐leaf color, various tree species were clustered into 6 categories; based on typical senescent‐leaf color, various tree species were clustered into 6 categories; based on typical flower color, various tree species were clustered into 15 categories; based on typical fruit color, various tree species were clustered into 7 categories. The fourth part is color diversity evaluation of various tree species with PCA. According to the PCA of flower‐leaf color diversity, the species with higher leaf color diversity and higher flower color diversity include Cotinus coggygria, Lagerstroemia indica, and Amygdalus triloba; the species with higher flower color diversity and lower leaf color diversity include Campsis radicans and Tamarix chinensis; the species with higher leaf color diversity and lower flower color diversity include Acer ginnala and Crataegus pinnatifida; the species with lower color diversity both for flower and leaf colors include Fontanesia fortune and Gleditsia sinensis. According to the PCA of leaf color diversity, the species with higher leaf color diversity in both leaf growth period and leaf senescence period include Diospyros kaki, Lagerstroemia indica and Paeonia suffruticosa; the species with higher leaf color diversity in leaf growth period and lower leaf color diversity in leaf senescence period include Amygdalus persica ‘Atropurpurea’ and Prunus virginiana ‘Canada Red’; the species with higher leaf color diversity in leaf senescent period and lower color diversity in leaf growth period include Quercus palustris, Armeniaca sibirica, and Metasequoia glyptostroboides; the species with lower leaf color diversity for the whole leaf development period include Gleditsia sinensis and Swida walteri. 相似文献