Dissertations / Theses on the topic 'Colour, aesthetics, urban design'

Doctor of Philosophy (PhD)
The overall aim of this research was to examine aesthetic response to façade colour. Drawing on a range of theories and studies from environment-behaviour studies (EBS), Nasar’s (1994) probabilistic model of aesthetic response to building attributes provided a theoretical framework within which to examine patterns of response. Prompted by the Development Control Plan for Sydney Regional Environmental Plan: Sydney Harbour Catchment (NSWDOP, 2005), this research also linked its aims and methods to planning policy in Sydney. The main research questions focussed on whether changes in aesthetic response are associated with variations in façade colour; and whether changes in judgements about building size, congruity and preference are associated with differences in façade colour. A quasi-experimental research design was used to examine patterns of aesthetic response. The independent variable was represented by four façade colours in two classifications. An existing process, environmental colour mapping, was augmented with digital technology and used to isolate, identify and manipulate the independent variable and for preparation of visual stimuli (Foote, 1983; Iijima, 1995; Lenclos, 1977; Porter, 1997). Façade colour classifications were created from extant colour theories (including those of Albers, 1963; Hard & Sivik, 2001 and Itten, 1961). The façade colour classifications were further developed using F-sort and Q-sort methodology (Amin, 2000; Miller, Wiley & Wolfe, 1986; Stephenson, 1953). Ten dependent variables, linked to overall aesthetic response, were drawn from studies relating to environmental evaluation, building congruity and preference (Groat, 1992; Janssens, 2001; Russell, 1988; Russell, 2003; Russell, Ward & Pratt, 1981; Wohlwill & Harris, 1980). The dependent variables were presented in the form of a semantic differential rating scale and a sample group of 288 evaluated the visual stimuli. The Latin-square technique was used for the controlled presentation of visual stimuli. Factor analysis, correlation analysis and analysis of variance were applied to the data. The findings indicate that variations in aesthetic response are associated with differences in façade colour. Judgements about building size varied by up to 5% and buildings featuring contrasting façade colours were judged to be larger and more dominant. Judgements about a building’s congruity varied by up to 13% and buildings that featured harmonious colours were considered to be more congruous. Preference varied and harmonious façade colours were not necessarily preferred over contrasting façade colours. The outcomes from this research suggest that a new approach to façade colour within the context of planning policy may be appropriate. A model of façade colour evaluation is presented and, unlike current planning guidelines, the model allows for a participatory approach to façade colour evaluation and specification. The model allows for factors that may influence aesthetic response to façade colour (such as contextual, perceptual and idiographic factors) as well as variation in architectural expression with respect to façade colour.

The overall aim of this research was to examine aesthetic response to façade colour. Drawing on a range of theories and studies from environment-behaviour studies (EBS), Nasar’s (1994) probabilistic model of aesthetic response to building attributes provided a theoretical framework within which to examine patterns of response. Prompted by the Development Control Plan for Sydney Regional Environmental Plan: Sydney Harbour Catchment (NSWDOP, 2005), this research also linked its aims and methods to planning policy in Sydney. The main research questions focussed on whether changes in aesthetic response are associated with variations in façade colour; and whether changes in judgements about building size, congruity and preference are associated with differences in façade colour. A quasi-experimental research design was used to examine patterns of aesthetic response. The independent variable was represented by four façade colours in two classifications. An existing process, environmental colour mapping, was augmented with digital technology and used to isolate, identify and manipulate the independent variable and for preparation of visual stimuli (Foote, 1983; Iijima, 1995; Lenclos, 1977; Porter, 1997). Façade colour classifications were created from extant colour theories (including those of Albers, 1963; Hard & Sivik, 2001 and Itten, 1961). The façade colour classifications were further developed using F-sort and Q-sort methodology (Amin, 2000; Miller, Wiley & Wolfe, 1986; Stephenson, 1953). Ten dependent variables, linked to overall aesthetic response, were drawn from studies relating to environmental evaluation, building congruity and preference (Groat, 1992; Janssens, 2001; Russell, 1988; Russell, 2003; Russell, Ward & Pratt, 1981; Wohlwill & Harris, 1980). The dependent variables were presented in the form of a semantic differential rating scale and a sample group of 288 evaluated the visual stimuli. The Latin-square technique was used for the controlled presentation of visual stimuli. Factor analysis, correlation analysis and analysis of variance were applied to the data. The findings indicate that variations in aesthetic response are associated with differences in façade colour. Judgements about building size varied by up to 5% and buildings featuring contrasting façade colours were judged to be larger and more dominant. Judgements about a building’s congruity varied by up to 13% and buildings that featured harmonious colours were considered to be more congruous. Preference varied and harmonious façade colours were not necessarily preferred over contrasting façade colours. The outcomes from this research suggest that a new approach to façade colour within the context of planning policy may be appropriate. A model of façade colour evaluation is presented and, unlike current planning guidelines, the model allows for a participatory approach to façade colour evaluation and specification. The model allows for factors that may influence aesthetic response to façade colour (such as contextual, perceptual and idiographic factors) as well as variation in architectural expression with respect to façade colour.

Thesis (Ph. D.)--University of Sydney, 2008.
Includes tables and questionnaire. Includes list of publications. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Faculty of Architecture, Design and Planning. Title from title screen (viewed May 5, 2009) Includes bibliographical references. Also available in print form.

Colour has inherent meaning that evokes strong associations and is used by brand managers to capture the consumers attention and convey the brand's personality. Despite the importance of colour as a communication cue for brand identity, empirical studies of colour are still needed to consider how the meaning of colour changes in the context of specific product categories. An experiment was conducted with 1078 participants to test the effect on both brand logo colour and product category context on brand personality perceptions, as well as attitude towards the brand and purchase intention. The results of this study indicate that the effect of brand logo colour on brand personality judgments, attitude towards a brand and purchase intension is dependent upon product category context. For example, while fashion brand may be viewed as dynamic when adopting a green logo, the use of green logo in the context of technology was found to reduce perceptions that the brand was dynamic. This research contributes to marketing literature through providing initial evidence of context effects. Further, it provides marketing managers with insight into the role of brand colour, within specific industry context.

Although the term ‘design praxis’ has been frequently used by design practitioners in relation to everyday practice, there is a lack of empirical works that provide a theoretical framework for understanding the multidimensional notion of this process. Using constructivist grounded theory, this study developed a conceptual model of the Environmental Colour Design Praxis that synthesised perceptual, pragmatic, creative and social domains related to design praxis. The robust conceptualisation of the ECDP with a focus on design thinking and analysis of design experiences within contemporary social environments substantiates its theoretical contribution to understanding of the design praxis phenomena; and reveals opportunities for improvement in environmental colour design.

Sound in our human world is broken down into two general types : desirable and undesirable. Unwanted sounds in our lives, that we also call “noises”, induce diverse kinds of physical and psychological reactions, many of them unhealthy. As humans living in the Anthropocene, we bring noise with us everywhere we go, creating soundscapes of random sources that we either enjoy or find annoying, while masking more aesthetically resonant sounds. As our modern society is moving faster, the urban soundscape becoming noisier, and our attention taken by technology, we forget to pay attention to our surrounding world. By questioning noise and collaborating with it, this present work aims to give other qualities, sonorities and colors to sound, to change our perception of noise pollution within an urban acoustic context. How does our perception of noise impact our behaviors ? Our social and spatial interactions and our attention towards our surrounding environment ?  Could we find oher qualities that used to be invisible if we would approach the world with our sense of hearing ?

Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiv, 184 p.; also includes graphics. Includes bibliographical references (p. 153-184). Available online via OhioLINK's ETD Center

Design brief is the descriptive and connective medium of design competitions. The main aim (design problem) of the design competition is explained by means of design brief which is setting up all needs and requirements or design program (specification) which is explaining the requirement list. The definition of design problem should be formulated to make clear statements in order to avoid misapprehensions by forming creative environment to enable creation of new ideas. The communication processes are composed between the participants of the competition, which are the client, competitors, jury and the public, by means of the formulation of design problem by the design brief. This thesis aims to understand the role of design brief as different from design program (specification) in the process and result of the urban design competitions by studying the nature and effects of design brief as the main communication tool in the design and evaluation processes in design competitions. Three urban design competitions are chosen as the main study areas of the thesis because of their different processes and results.

This study seeks to understand the larger cultural context that gave rise to what is referred to as "non-design," a term designated to denote a particular aesthetic that is characterized by a suspicion of, and/or rejection of, "conscious" design, while embracing various phenomenon that emerge without "intention" or "deliberate human design." The study traces the phenomenon of "non-design" in British and American design culture of the postwar period. The author argues that following Friedrich von Hayek's theories of the "undesigned" nature of social institutions and his concept of a "spontaneous order" of the 1940s, non-design first emerged in design discourse and practice in the early 1950s in England, particularly in the work of certain members of the Independent Group, and by the mid-1960s it gained currency in the United States in the architectural and urban theories of Charles Moore, Robert Venturi and Denise Scott Brown, and particularly in Reyner Banham's writing on American urbanism. While rarely made explicit, this dissertation argues that the concept of non-design played an important role in design and urban debates of the postwar period.

Since the industrial revolution, technological developments and increased population have caused environmental damages such as lavish use of sources, pollution increased waste areas, poisoned wastes, harmless gasses, decreased green areas, global warming and climate change, harming of the ozone layer, decreased forests areas and natural sources. Appearance of the term of Global Warming makes the humanity to revise their facilities in all fields. To protect the nature and architectural environment, firstly, green architecture, ecological architecture and then sustainability occurred. This term has been proposed not to be a new term but a response to environmental disturbances caused by human activities and it is re-conceptualization of architecture. Sustainable architecture or sustainability is lot more extensive than ecological and green architecture. It contains the imbalance between environmental problems which is natural environment and consumption that occurred all around the world. An important part of sustainability debate focused on urban planning and design for more sustainable forms and patterns. In particular it is discussed that planning and design of urban areas have a major effect on transport and therefore can help reduce car usage, emissions, global warming and climate change. There are many planning and design approaches and movement that introduce certain criteria and strategies to prevent car dependency and encourage people to use public transportation and walking. To achieve sustainable transport, there should be design for walkable and easy accessible areas. Planning movements, such as New Urbanism and Transit Oriented Development, particularly came to the forefront of planning and influenced planning approaches. However, when review the literature, it is seen that planning movements, such as New Urbanism and Transit Oriented Development originated and were implemented mostly in West Europeean and North American Cities. The purpose of this study is to find out whether all those criteria, principles and strategies are also relevant planning approaches for more non-western cities like Baku which has a very different planning background and therefore possibly different urban form and tranmsport issues. In order to answer the abovementioned question, planning and design approaches in the literatureand and in these recent planning movements were studied and a check list was formed which indicate planning and design approaches that can help attain a more sustainable transport outcome. The checklist was then applied to the case of Baku.

It is being observed that there has been an increase in the number of urban design competitions in the last decade in Turkey. Competitions are crucial methods of enriching theoretical and practical frameworks of the disciplines by creating a platform for discursive attitudes. That reveals the importance of the notion of competition as a process covering from the decision for organizing a competition to the decision of the jury for the winner and also post-competition events such as colloquium. Due to these facts, competition process as a whole can be considered as a discursive practice where diverse discursive approaches are represented via design brief, submitted projects and colloquiums that enrich and develop both theory and practice of urban design. There is not a single definition for urban design rather there are some approaches to the field mostly pointing to its interdisciplinary features. This fact makes urban design field vulnerable and open to critiques but at the same time enables contributions from diverse disciplines. It reveals the importance of competitions which forms a platform for new ideas and perspectives. Competition, with its definite structure of rules, definite role players from diverse disciplines who are involved in the process, documents produced throughout the process by different discourses, can be conceptualized as a dimension in space-time that makes it possible to observe different discourses in the same place and at the same time, sometimes in conflict with each other, sometimes overlapped onto each other and sometimes juxtaposed. Therefore competition is a platform where different discursive formations, with their objects, enunciative modalities, concepts and strategies, are exercised and practiced by human subject. When considered from that point of view, instead of focusing on the inception of urban design in Turkey, when the term is conceptualized, how and when competitions were utilized and instrumentalized in spreading the term, as a consequence how this struggle enabled positions for the field can be diagnosed more explicitly. The aim of this dissertation is to analyze urban design competition processes via design briefs, questions-answers, winning projects, jury reports and if available evaluation articles and colloquium reports with the adoption of archaeological methodology of Michel Foucault, discursive formation. His methodological approach in his book Archaeology of Knowledge(1972), has been adopted to construct a conceptual framework within that context, the study has focused on national, open, single phase competitions containing the term &ldquo
urban design&rdquo
in its announced title and it has been found that there are 35 cases starting from the year 1980. Design briefs, questions-answers, prize-winning projects and jury reports were analyzed, in addition survey and interview methods are utilized to reveal the discursive formations within the competition process. It is found that this is an ongoing process of forming a discursive formation when urban design is concerned and competitions play a significant role in framing such attitudes. Such a discursive analysis made within the context of competitions will help us to draw a general framework to reveal the discursive formations in the field that will help us to understand its position, grasp the underlying facts behind these processes of Urban Design Competitions in Turkey and this will give us the chance to rethink and define new frameworks and discursive formations to establish new perspectives and understandings of urban design in Turkey in the context of competitions.

The objective of this study is to seek the reasons of both the actual crime and fear of crime on urban streets, to evaluate the relationships between fear and physical attributes and to find out how physical attributes can help to reduce this. The study aims at developing new urban design principles in order to decrease the crime risks for users in historic residential neighborhoods. To do that, the study identifies the risky and unsecure spaces and potential places with high crime rates in Istiklal Neighborhood. The study also explains the relationship between crime and the design of the built environment and the role of urban design tools in reducing the crime rate and creating safer places by the help of this case study, held in Istiklal Neighborhood, Ankara.

Since 1960s, the scope of urban design broadened in a way that to control the formation process of urban space as a whole. In this respect urban coding became a distinct branch in urban planning as an integrating mechanism of planning and design processes. Thus, design control has become a crucial part of the development control systems especially in the western countries. Although the development legislation in Turkey as an urban coding system has various weaknesses about urban design and design control, it provides important tools to control urban form from macro scale to micro scale. Aim of this study is to analyze the capabilities and deficiencies of the development legislation in Turkey as a design control system. The mostly stated complaint about the planned areas in the cities of Turkey is the loss of diversity and peculiar character of settlements as a result of the homogenization of their spatial pattern, namely apartmentalization. This problem is basically related with the exclusion of urban design from the planning process. The planning approach in Turkey merely oriented to readjustment of property appropriate to small-scale development, ignoring the concerns in regard to urban design. Therefore, beyond a technical fault resulting from the legislation, this is an outcome iv of the way legal tools are used that does not realize the value of potentia l possibilities in the legislation. However, if the legal tools are used efficiently in an approach that bring the considerations of urban design into fore, it might be possible to come out with more satisfactory environments in terms of diversity and richness of urban space. This is the basic hypothesis examined in this study. In this context, firstly the relation between urban coding and design is investigated in its historical development and a hierarchical model for design control is defined. Then the development legislation in Turkey is evaluated in the frame of this model. Finally, territorial hierarchy of space is taken up as a design criterion and the capacity of legal tools in control of the transitional zones, which are critical elements of territorial hierarchy, is examined.

Urban places, besides their physical characteristics, are regarded as grounds where personal or communal meanings are created and accumulated. An individual can capture the meaning of a place, or create a new meaning by relying on his/her own feelings and experiences. This substantial role of urban places makes them the core concepts of environmental perception and urban design studies. This research, by discussing the idea of togetherness of meaning and design in urban spaces, presents trees both as place making and meaning generating features, and raises the term tree-places. The reason behind this is the capability of trees in terms of place formation, and their meanings for people which are shaped throughout the history. However, the attention of urban planners and designers towards working with trees in urban spaces is inadequate. They tend to focus solely on aesthetic appearances and biological contributions of trees. Moreover, trees are mostly thought afterwards, outside design processes. This attitude can be overcome through the identification of design principles with trees in urban exterior spaces. In this respect, this research presents a two-fold study, one of which is the meaning and the other is the design. Trees, in this context, are seen as the bridge connecting these two phenomena. While answering the question why trees have been chosen to relate meaning and design, an investigation is made on the deeply-rooted relationship between man and trees, and its traces on urban place. In order to strengthen the argument of the place making characteristics of trees, the existing urban places defined by trees are discussed under the term of tree-places. The study concludes with inferences from the theoretical discussions and case research that provide guidelines for urban design with trees. Trees are the essentials of people and cities, and the silent witnesses of history. For this reason, they are presented as valuable beings and design elements that create distinct urban places while supporting the concept of meaning.

Fires, with their sudden appearance and destructive character, cause property losses beside much more death and injury especially in cities. Providing fire safety is a multi-faceted context that is related with staff, vehicle, equipment, function, organization, technology, education and consciousness. These are related, indirectly, with spatial organization that is the other side of the issue: they affect space or they are affected from space. In research context, the fire stations are evaluated as a unit of emergency and land use element of urban space. By associating the concepts related to emergency management and to urban scale, the space-time relation is examined in urban areas. This research bases on the spatial deficiencies of fire stations in urban areas which are reasons of the fire losses. Level of laws and regulations in Turkey for spatial requirements are examined. Site selection and design criteria of fire stations are evaluated with available information about implications in Ankara case study. As a result of the interviews that have been made to top executive of fire station, it is found that process of site selection and design of fire stations is going on with subjective experiences in urban space. In conclusion of the research, it is displayed that the decisions about the site selection and design of the fire stations are related to not only population criterion, but also many issues in macro-meso-micro scales. It is considered that the set of multi-criteria that are reached in this regard will provide contribution in legal organization and developing the standards.

Public spaces play essential roles in urban life for the city, the public and individuals, by setting strong relations between urban space and social and cultural values. Public spaces and their essential components have multi-dimensional impacts on people. Public art, as a constituent of public space, includes a wide range of artworks, activities and outcomes, contributing to the significance of the places in a variety of ways. However, each culture, country and city, has diverse policies and outcomes of public art based on different perspectives. Focusing on the public art policies in Ankara over the last two decades, this thesis seeks to examine how far the recent policies have contributed to the city. By carrying out in-depth investigation on the public art work interventions and policies of the Ankara Metropolitan Municipality, the thesis assesses the multi-dimensional contributions of these policies and interventions. It seeks to discuss how far the public artwork policies of localities are crucial for creating genuine public spaces of cities.

When human constructs the physical surrounding, a psychological environment of meanings is being created, accompanying the world of shapes and masses. Interventions into built environment affect the meanings extracted from the composition of the physical setting and the response of people to design strategies reveals the importance of them. The entrance spine of a city is important in creating an image of the city in the minds of the observers, and the protocol highway of Ankara introduces the city to other countries&
#8217
leaders and visitors. So any intervention into this highway will affect the symbolic image formed. As such, attaching claddings onto visible faç
ades of buildings in terms of beautification changes the appearance of the streetscape, and Municipality&
#8217
s approach to faç
ade improvement does not heed the prestige of this corridor
being an application rather than a well-advised project. This thesis aims to study the quality of the streetscape under the principles of design in terms of objective and subjective dimensions with respect to the physical characteristics of the setting and people&
#8217
s interpretations from it, and the objective of this study is to question the success of this intervention with regard to solutions to improve the quality of the streetscape. To this end evaluative analyses are studied in the second chapter and the third chapter introduces a matrix of design principles. According to these evaluations, most design concerns are being underestimated, resulting in the monotony of the streetscape but the streetscape appears to be visually more ordered compared to the past.

Bakgrund: Evidensbaserad Design (EBD) är en process som har utvecklats för att säkerställa att beslut om planering och utformning av vårdmiljön bygger på trovärdig forskning med målet att skapa bästa möjliga resultat för personal, patienter och närstående. Vårdmiljöforskning visar att en välplanerad och genomtänkt fysisk vårdmiljö spelar en viktig roll för patientsäkerhet, patientnöjdhet och arbetstillfredsställelse hos personalen. Inom begreppsramen för EBD ingår den visuella miljön som en variation av den fysiska miljön. Det finns redan mycket forskning som undersöker olika aspekter av den visuella miljön inom vården, men det finns dock lite forskning som beskriver åtgärder som syftar till att förbättra vårdmiljön på en akutmottagning.   Syfte: Att beskriva personalens upplevelse av den visuella miljön på akutmottagningen.   Metod: En kvalitativ induktiv intervjustudie genomfördes vid två akutmottagningar i södra Sverige. Femton (n = 15) intervjuer med legitimerade sjuksköterskor, undersköterskor och läkare utfördes. Intervjuerna analyserades med hjälp av innehållsanalys. Resultat: Personalen vid akutmottagningen upplevde att en balanserad visuell miljö främjar välbefinnande. Balansen består av en integration av klinisk funktionalitet och estetiska intryck. Den visuella miljön kan distrahera på olika sätt, vilket skapar en avledning från stressiga upplevelser. Det kan också uppmuntra nyfikenhet och reflektion. Aspekter av den visuella miljön kan emellertid vara distraherande på ett provocerande sätt vilket i sin tur kan ökar stress. En balanserad visuell miljön skapar atmosfär för vårdande. Den visuella miljön har en stimulerande känslomässig inverkan som kan vara både positiv och negativ samt stimulera delaktighet och dialog.   Slutsats: Att skapa en balanserad visuell miljö på akutmottagningen kräver en helhetssyn som inkludera funktionella och personliga perspektiv. Man kan dra slutsatsen att en balanserad visuell miljö i slutändan kan förbättra atmosfären på akutmottagningen och därmed bidra till en stödjande miljö som främjar en känsla av välbefinnande hos personal, patienter och närstående.
Background: Evidence-based Design (EBD) is a process that has been developed to ensure that decisions on planning and design of the healthcare environment are based on credible research with the goal of creating the best possible outcomes for staff, patients and next-of kin. Research on health care design shows that a well-planned and thought out physical environment plays an important role in patient safety, patient satisfaction and job satisfaction for the staff.  Within the conceptual framework of EBD, the visual environment is included as a variation of the physical environment. There is a substantial amount of research that examines different aspects of the visual environment within healthcare, there is however little research describing interventions aimed at improving the healthcare environment in an emergency department (ED). Purpose: To describe the staff experiences of the visual environment at an ED. Method: A qualitative inductive interview study was conducted at two emergency departments in southern Sweden.  Fifteen (n=15) interviews including registered nurses, assistant nurses and emergency physicians were conducted. The interviews were analyzed using content analysis. Result: The staff at the emergency department experienced that a balanced visual environment promotes well-being. The balance consists of an integration between clinical functionality and aesthetic impressions. The visual environment can be distracting in various ways, creating a diversion from stressful experiences. It can also encourage curiosity and reflection. Aspects of the visual environment can however be equally distracting in a provocative manner, reinforcing stress. The visual environment has a stimulating emotional impact that can be both positive and negative as well as stimulating participation and dialogue. A balanced visuell environment creates an atmosphere which supports caring. Conclusion: Creating a balanced visual environment in the emergency requires a holistic approach incorporating practical and personal perspectives. It can be concluded that providing a balanced visual environment can ultimately improve the atmosphere of the emergency department and thereby promote a sense of well-being in staff, patients and next-of kin.

The city, since the industrialization period, is no longer the product of a single mind. With bold and massive investment in infrastructure networks that followed this period, engineering professions gained unparallel social status and gained importance in municipality ranks. In parallel to this, social sciences have been very slow to pick up on the issue of mobility. The global neoliberal environment and more competitive one in which cities are confronted today, has resulted with local governments, public-private partnerships and new ways of augmenting chances of economical investments. Municipality documents used as a basis for the production and construction of urban environments are not equipped to deal with commercial and political motivated drawings and plans. There is a lack of communication between both languages that result in an unfiltered ‘laissez faire’ of aesthetics. Spatial design fields are capable of creating terminology that can properly address the serious issues concerning our networks of flows but are not enough by themselves considering the economical environment and the following self-generated urbanity inflicting our cities. Landscape architecture offers an open-ended perspective on small to large scale networks of infrastructures, thus possibly being able to bridge the gap between institutional planning mechanisms and actual design. The theoretical background generated from this research will be applied to a case scenario. Boulevard Taschereau (also called provincial road 134 at some parts) is among the most important and used arteries of the South Shore of Montréal, Québec (Canada). A contextual solution to boulevard Taschereau’s congestion issues will have to be generated in order for it to meet the expectations and social needs of its current and future users.

For whom do we draw buildings? Why does contemporary architecture look the way it does?Why are certain aesthetics considered more valid than others? With this project, I propose Dirty Geometry: norm-bending design that could challenge conventions within the field of architecture. It is an investigation of concepts such as ugliness, beauty, architecture and the human body, interiority, femininity and ”bad taste”. The purpose is to, with the aid of parametric design processes, make Stockholm less boring and more dirty. Dirty Geometry is both the creative process sprung from one’s personal desires, and the resulting design. It aims to celebrate the weird, playful and colorful in an empowering way. This thesis project draws a lot of inspiration from camp aesthetics and drag culture, because of the way humour is used in a subversive way to question gender identities, power structures and norms.

La multiplication de l’alternative d’aménagement « ville nouvelle » à proximité des métropoles au XXe siècle dans le monde, laisse a priori croire à la reproduction d’un archétype urbain, la « cité-jardin » et a posteriori, attendre une évolution vers un prototype propre au XXIe siècle. Ces postulats incitent à un approfondissement sur la forme existante et l’image reflétée : quel paysage urbain fabriqué et à fabriquer. En ce sens, cette thèse de doctorat permet d’exploiter le binôme « ville nouvelle/paysage urbain ».De l’observation à la qualification, l’analyse s’appuie sur les pratiques traditionnelles des précurseurs du townscape (lectures pittoresque et morphologique, analyse séquentielle, silhouette, inventaire urbain), par le biais d’images fixes (photographies) et d’images en mouvement (vidéo) recueillies en France, Chine, Pays-Bas, Finlande, États-Unis et Angleterre. Les composantes de l’aménagement sont développées selon quatre thématiques : le(s) centre(s) ville(s), le tissu minéral (de la mobilité), le tissu de nature, et le « tissu vertical » ou membrane architecturale. Face au constat du manque de renouvellement dans l’interprétation graphique du paysage, une représentation prenant en compte l’expérience sensible de type « carte d’identité » est encouragée. Pluridisciplinaire, achronique et internationale, notre recherche confirme l’identité conceptuelle de la « ville nouvelle métropolitaine » du XXe siècle en s’écartant de l’idée de modèle urbain ; elle reconnait au paysage ses qualités in-transposables et sa capacité de levier dans l’aménagement du territoire ; elle accentue le rôle de l’esthétique urbaine contribuant au plaisir des « villeneuviens »
The proliferation of new towns as an alternative development near the metropolis in the 20th Century in the world, a priori suggests the reproduction of an urban archetype, the “garden city”, a posteriori a change towards a specific 21st Century prototype might be expected. These assumptions encourage a deepening of the existing form and of its reflected image: what type of townscape built and yet to be built. The present doctoral thesis enables us to take advantage of the binomial “new town/townscape”.From observation to qualification, the analysis is based on the precursors of townscape's traditional practices: picturesque survey, serial vision, skyline, urban inventory and morphological reading. The methodology operates mainly through still images (photographs) and moving images (video) collected through fieldwork in France, China, the Netherlands, Finland, the USA and England.The major components of the “metropolitan new towns” development are presented along four themes: multipolarity or town-center(s), mineral fabric or mobility weft, natural fabric and “vertical fabric” or “architectural membrane”. Considering the lack of renewal in the graphic interpretation of townscapes, a representation such as an “Identity Map”, which expresses a more sensitive experience, is proposed.This multidisciplinary, achronic and international research confirms the facial identity of the “metropolitan new town” of the 20th Century, downplaying the notion of an urban model. It recognizes in the townscape both non-transferable qualities and a leveraging potential for territorial development. It emphasizes the role of urban aesthetics in contributing to the pleasure of new town residents

This study tries to tackle the notion of “urban aesthetics” as it was articulated throughout the first three decades of the 20th century in Portuguese writing on the city, and practised in different forms of spatial production. A diffuse vocabulary – estética urbana, estética citadina, estética da cidade, das edificações, da rua… – signals a persistent understanding of the city as a work of art, both in the way it was experienced – an “urban aesthetic” – and contrived – an “urban aesthetics.” The general ambition of this study is to give visibility to and to reconstruct the conditions of legibility of this set of writings and practices which responded to the once alluring call of the aesthetic. The territory elected to trace the conceptual and practical unravelling of these ideas – so intricately linked to the particularities of place – is Lisbon. In this city, the topic becomes almost unavoidable in writings on urban presents and futures after 1900. Aesthetic arguments were consistently and insistently employed to critically describe urban beauty or, more frequently, urban ugliness, to advocate aesthetic improvement and to justify or criticize concrete ideas and projects. This phenomenon is studied against a background of intense international exchange during this formative phase of the modern planning disciplines, from Town and City Planning to Städtebau and Urbanisme. Aesthetic considerations were manifestly present, and it is argued that aesthetic discourse in Lisbon signals the reception of internationally circulating ideas, words, images and people. More precisely, this study proceeds to a kind of archaeology of the gaze and discourse of “urban aesthetics,” studying the functions it performed within different social, cultural and political contexts and the relations and tensions with relevant urban realities which pervaded it. One conclusion is that the notion of an “urban aesthetics” remained ill-defined, a common place relying on shared adversity to the modern urban landscape rather than any explicit program or solution. Subsequently, the assimilation by municipal regulation and institutions of public demands of “aesthetic supervision” is reconstructed. The four years of municipal council activity of the architect Miguel Ventura Terra, from 1908 to 1913, were crucial in this tentative articulation of actual practices of aesthetic control and urban design, even if along the subsequent decades they were never given the desired legal and institutional breath. Finally, during the 1930s the vocabulary of “urban aesthetics” was appropriated by a new generation of architects, urban planners and politicians and put at the service of the urban ideals of a dictatorial New State, signalling the persistence of aesthetic considerations in the local institution of the discipline of planning. An epilogue proposes that the viewpoint of urban aesthetics can contribute to new perspectives over the production and experience of Lisbon during the first decades of the 20th century.
La presente investigación enfoca la noción de “estética urbana” tal como la fueron articulando las escritos sobre la ciudad y los diferentes modos de hacer cuidad durante las primeras tres décadas del siglo XX. Un copioso vocabulario – estética urbana, estética citadina, estética da cidade, das edificações, da rua… – señala un entendimiento persistente de la ciudad experimentada y deseada como obra de arte. La aspiración global de la investigación es dar visibilidad y reconstruir las condiciones de legibilidad a este conjunto de escritos y prácticas que respondían a la llamada antes atractiva del estético. Lisboa es el territorio elegido para rastrear su enredo conceptual y material. Sobre todo a partir de 1900 el tema se vuelve una parada casi obligatoria en escritos sobre el presente y futuro de la ciudad. El uso de argumentos de carácter estético para describir críticamente la belleza o, más comúnmente, la fealdad urbana, para promover mejoras estéticas o para justificar o criticar ideas y proyectos concretos era consistente e insistente. En el trasfondo se apunta el cerrado intercambio internacional durante la formación de las modernas disciplinas urbanísticas, de la Town and City Planning a la Städtebau y el Urbanisme. Dentro del horizonte disciplinar, las consideraciones estéticas tenían lugar relevante, y el desarrollo de la “estética urbana” en Lisboa es interpretado como manifestación de la recepción de ideas, palabras, imágenes y personas que circulaban internacionalmente. Asimismo, se propone una especie de arqueología de la mirada y del discurso de la “estética urbana,” estudiando las funciones que la noción ejercía en distintos contextos sociales, culturales y políticos y las relaciones y tensiones que nacían del embate con realidades urbanas relevantes. Una de las conclusiones es que la noción de “estética urbana” apenas se definía; era un lugar común que se alimentaba más de la hostilidad compartida ante el moderno paisaje urbano que de un programa o solución explícito. Por otro lado, se indaga como las exigencias de la opinión pública de “supervisión estética” eran asimiladas o no en ordenanzas e instituciones municipales o nacionales. Los cuatro años en los que el arquitecto Miguel Ventura Terra integró el ayuntamiento de la ciudad, de 1908 a 1913, resultan decisivos en el pretendido despliegue de prácticas eficaces de controlo estético y diseño urbano, incluso cuando no recibieron la deseada amplitud legal e institucional durante las dos décadas siguientes. Después de 1926 el vocabulario de la “estética urbana” fue, por ende, apropiado por una nueva generación de arquitectos, urbanistas y políticos y puesta al servicio de los ideales urbanos de la dictadura del Estado Novo, sugiriendo que motivos estéticos persistan en la constitución de la moderna disciplina urbanística. Un epílogo propone que la mirada hacia y desde la estética urbana puede contribuir a esbozar nuevas perspectivas sobre la producción y experiencia de la ciudad de Lisboa durante las primeras décadas del siglo XX.
Este estudo aborda a noção de “estética urbana” ou “da cidade,” tal como foi formulada durante as primeiras três décadas do século XX em escritos sobre a cidade, e praticada em diferentes formas de produção de espaço. Um profuso vocabulário – estética urbana, estética citadina, estética da cidade, das edificações, da rua… – assinala um entendimento persistente da cidade experimentada e desejada como obra de arte. A ambição global deste estudo é a de dar visibilidade a e reconstruir as condições de legibilidade deste conjunto de escritos e práticas que respondiam ao apelo outrora tentador do estético. O território elegido para rastrear a trama conceptual e prática destas ideias – tão intrincadamente ligadas às especificidades do lugar – é Lisboa. Sobretudo a partir de 1900 o tema torna-se passagem quase obrigatória em escritos sobre o presente e o futuro da cidade. Argumentos de carácter estético eram mobilizados de forma consistente e insistente para descrever criticamente a beleza e, mais comummente, a fealdade urbanas, para promover “embelezamentos” e para justificar ou criticar ideias e projectos concretos. Este fenómeno é visto contra o fundo de um denso intercâmbio internacional durante a formação das modernas disciplinas urbanísticas, da Town and City Planning à Städtebau e ao Urbanisme. Neste panorama, considerações estéticas marcavam presença, e o florescimento da “estética urbana” em Lisboa é entendida como sintoma da recepção desta circulação internacional de ideias, palavras, imagens e pessoas. Mais especificamente, este estudo propõe uma espécie de arqueologia do olhar e do discurso da “estética urbana,” estudando as funções desempenhadas por este termo em diferentes contextos sociais, culturais e políticos e as relações e tensões que nasciam do seu confronto com realidades urbanas relevantes. Uma conclusão é que a noção de “estética urbana” ficou por definir; era um lugar comum que dependia mais de uma animosidade partilhada perante a moderna paisagem urbana do que um programa ou solução explícita. De seguida, a assimilação (e não-assimilação) das exigências públicas de “supervisão estética” em regulamentos e instituições municipais ou nacionais é rastreada. Os quatro anos em que o arquitecto Miguel Ventura Terra foi vereador da cidade, entre 1908 e 1913, revelam-se cruciais nesta tentativa de articular práticas efectivas de controlo estético e desenho urbano, mesmo se durante as duas décadas subsequentes estas nunca receberam a desejada abrangência legal e institucional. A partir de 1926 o vocabulário da “estética urbana” foi apropriado por uma nova geração de arquitectos, urbanistas e políticos, e posto ao serviço dos ideais urbanos da ditadura do Estado Novo, sinalizando a persistência de motivos estéticos na constituição da moderna disciplina urbanística. Um epílogo propõe que o olhar para e desde a estética urbana pode contribuir a trazer novas perspectivas sobre a produção e experiência da cidade de Lisboa durante as primeiras décadas do século XX.

This thesis aims to create new perspectives in urban lighting design by discovering people&
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s preferences in urban lighting through an exploratory research on people&
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s perceptive experience of urban space at night. In this study, I aim to analyze the common approaches and methods of urban lighting design and make their critique through my research results. Primary research objectives include the evaluation of what people perceive from the urban lighting design and how they feel about the design outcomes. In order to explore people&
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s experience of lit urban space at night, my research comprises a survey that aims to discover people&
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s opinions on certain lit urbanscenes collected from the city of Ankara. Urban lighting design is a discipline that emerged to improve the aesthetic quality of urban space. It has significant effects on people and consequently on urban life. However, in this discipline, exploration of people&
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s needs and preference is a neglected phenomenon. Therefore, this study suggests that it is necessary to review the designer-centered perspective on urban lighting design and question whether existing approach to this discipline has preferable outcomes for people. Through this research I aim to test whether it is appropriate to pursue and carry out the existing type of lighting design, and propose new perspectives to urban lighting.

Colour contributes to our everyday experience. The purpose of this research is to explore how landscape architects can use colour in the hardscape of outdoor public spaces to enhance functionality and human experience. Based on a literature review of architectural history and current trends in western architecture and landscape architecture, a Colour Assessment Framework for urban parks was developed to assess functionality of colour in outdoor spaces. Using this framework along with photo documentation, colour treatment of three contemporary parks in Europe was assessed. Results revealed various techniques of colour application in hardscape features that delineated spaces based on the categories of spatiality, identity, relativity, and instrumentality. This research is valuable because it allows designers to consider how the positive attributes of colour can be better incorporated into design to improve landscape function and human experience.

博士
國立雲林科技大學
設計學研究所博士班
100
The main purpose of this study is to construct Taiwan''s urban design aesthetics. It comes from the inference of Taiwan''s urban development and aesthetic principle. The process of Taiwan''s evolution has its own power, it experienced the world''s most rapid, complete economic and social evolution, and showed its diversity and colorful performance in the city. It can analyze Taiwan''s urban design, urbanology, and urban phenomenon from the aesthetic point of view and direct urban Planning. From Roland Barthes''s aspect of "textuality", it regarded "urban designer" as "designer", "urban space" as "text", and "inhabitant" as "readers" and explored the urban space in Taiwan. To begin with, from the aesthetic system to understand the aesthetics origination of urban environment, methodology is from the spatial practice mechanism of urban design, the process of domestic and international urban design development and aesthetic implications of historical periods, lead the aesthetic analysis into the field of urban design, bring up the aesthetics summary of preliminary urban design and analytical framework, inspect city agents, urban designers in different chances of the historical stage and the dominant assessment of urban design aesthetics. So that it can analyze for the future urban development. Then enter Taiwan’s urban space, from the point of view of design aesthetics to assess all kinds of stages of urban design theory and techniques, as a preliminary discussion to construct Taiwan''s urban design aesthetic. The first city in Taiwan is a principle of traditional Chinese urban design aesthetics: beauty of integration, beauty of coordination, beauty of kindness, and beauty of harmony. Finally is a principle of modern and postmodern urban design aesthetics: beauty of ideal, beauty of centralize, beauty of function, beauty of diversity, beauty of symbol, beauty of harmonious, beauty of simple. Finally, compare the smaller places and its type chances with case study as a focus to understand the aesthetic implications in the formation of Taiwan''s city, discuss urban agents, urban designers in the different chances of historical stage and the effect to urban design aesthetics. Bring up urban design prospect. When we follow the trend of world and enter the world system, commodities regarded as a power are presentation of market mechanism and capital (financial) logic . If it escapes from the operation of world capitalism, it will be isolated or suffer from trade retaliation. Under the influence of the informationization space, and advancement of technology, geographic space is compressed. Its liquidity is also enhanced. The original space has gone beyond the historic meaning of the place. Consumption of goods enters the symbol system intentionally or unintentionally, imitation or counterfeit surpasses reality, thereby symbols no longer meet or disguise the" realistic" referent, they are in the fully self-determined world of mobile symbol, replace the referent, cause the implosion of image and reality. Under the circumstances, urban design does not focus on the formal operation, further pursue urban design can also express certain "meaning" or "implication". So if a city can tell stories, create a wonderful imaginative space, it can obtain power control in the postmodern urban. It reflects that the era of information consumption and narrative design are coming.

abstract: As a significant level of the reformation and transformation of our society has been provoked by environmental deterioration, ecological approaches in environmental design have drawn much attention from professionals as an alternative world view and also as a practical design approach. Particularly in landscape architecture, ecological understanding has been at the very core of the profession since its emergence and plays an important role in the decision making processes. While ecology supports the profession with an objective rationale, aesthetics plays another major role in providing various understandings about the aesthetic experience of people, which is rather subjective. However, the ways to seek the balance between them are still controversial. Furthermore, the conventional aesthetic value system of landscape appears to have limitations for guiding us to an appropriate appreciation, especially in dealing with newly emerging urban landscape patterns such as regeneration of post-industrial landscapes. Understanding these issues, there have been continuous attempts to describe the relation between ecology and aesthetics, suggesting that a new approach known as "ecological aesthetics," can bring us a new set of viewpoints seeking a reunion of nature and culture, and science and art. It asserts that "there is a type of beauty" in the landscape associated with its ecological health which people could aesthetically appreciate; and therefore, revealing the "hidden" beauty of nature in more visible ways should be the primary concern of today's ecological designers. This research mainly consists of extensive literature research and a case study on two landscape restructuring projects of post-industrial landscapes in Seoul, Korea. The literature research redefines the tasks of landscape architecture based on the idea of ecological aesthetics, and the case study seeks the potentials and limitations of current design projects. This research proposes a framework for landscape perception and reflects on the lessons that would be useful for better practice and research.
Dissertation/Thesis
Ph.D. Environmental Design and Planning 2011

This dissertation is about sound in context. Since sensory processing is inherently multimodal, research in sound is necessarily multidisciplinary. The present work has been guided by principles of systematicity, ecological validity, complementarity of  methods, and integration of science and art. The main tools to investigate the mediating relationship of people and environment through sound have been empiricism and psychophysics. Four of the seven included papers focus on perception. In paper A, urban soundscapes were reproduced in a 3D installation. Analysis of results from an experiment revealed correlations between acoustic features and physiological indicators of stress and relaxation. Paper B evaluated soundscapes of different type. Perceived quality was predicted not only by psychoacoustic descriptors but also personality traits. Sound reproduction quality was manipulated in paper D, causing two effects on source localisation which were explained by spatial and semantic crossmodal correspondences. Crossmodal correspondence was central in paper C, a study of colour association with music. A response interface employing CIE Lab colour space, a novelty in music emotion research, was developed. A mixed method approach supported an emotion mediation hypothesis, evidenced in regression models and participant interviews. Three papers focus on design. Field surveys and acoustic measurements were carried out in restaurants. Paper E charted relations between acoustic, physical, and perceptual features, focussing on designable elements and materials. This investigation was pursued in Paper F where a taxonomy of sound sources was developed. Analysis of questionnaire data revealed perceptual and crossmodal effects. Lastly, paper G discussed how crossmodal correspondences facilitated creation of meaning in music by infusing ecologically founded sonification parameters with visual and spatial metaphors. The seven papers constitute an investigation into how sound affects us, and what sound means to us.
Denna doktorsavhandling handlar om ljud i sammanhang. Eftersom informationsbehandling genom sinnena alltid är multimodal så kräver ljudforskning en tvärvetenskaplig forskningsansats. Arbetet i denna avhandling har vägletts av principer såsom systematik, ekologisk validitet, samspel mellan metoder, och integration av vetenskap och konst. De viktigaste redskapen för att undersöka den ömsesidiga påverkan mellan människa och miljö genom ljud har varit empiri och psykofysik.Fyra artiklar handlar om perception. I artikel A återskapades urbana ljudlandskap i en 3D-ljudinstallation. Analys av experimentresultat avslöjade samband mellan akustiska mått och fysiologiska markörer av stress och avslappning.  Artikel B utvärderade olika typer av ljudlandskap. Upplevd kvalitet kunde prediceras inte bara av psykoakustiska mått utan även av personlighetsdrag. Ljudåtergivningskvalitet manipulerades i artikel D och orsakade två effekter på lokalisering av en ljudkälla vilka förklarades av rumslig och semantisk korsmodala kopplingar. Korsmodalitet var huvudpunkten i artikel C, en studie av färgassociation till musik. Ett användargränssnitt utvecklades som använder färgrymden CIE Lab, en nyhet i forskningfältet musik och känslor. En abduktiv metod stödde hypotesen att känslouttryck medierar korsmodala kopplingar, vilket framgick av regressionsmodeller och intervjuer med försökspersonerna.Tre artiklar handlar om design. Fältundersökningar och ljudmätningar utfördes i restauranger. Artikel E kartlade samband mellan akustiska, fysiska och perceptuella särdrag, med fokus på formbara element och material. Detta arbete fortsattes i artikel F varigenom en taxonomi av ljudkällor utvecklades. Analys av enkätdata avslöjade perceptuella och korsmodala effekter. Slutligen, artikel G diskuterade hur korsmodala kopplingar främjade meningsskapande i musik genom att ekologiskt motiverade sonifikationsparametrar samverkade med visuella och spatiala uttryck. De sju artiklarna utgör landmärken i avhandlingens utforskande av hur ljud påverkar oss, och vad ljud betyder för oss.

QC 20151118

As the world's energy demand increases, it is generally known that conventional energy systems will not sustain future civilizations without repercussions to human and environmental health. Transitioning from current energy systems to those with renewable sources will be challenging and will potentially alter landscape aesthetics. However, the design of renewable technology can minimize adverse effects and can even improve the quality of living in addition to producing electricity. Wind turbines located so that landscape quality is preserved, electricity generators embedded in play equipment, or the use of solar panels to shelter people are examples of how renewable technology has been aesthetically used to improve the quality of life. To test these new ideas, this research thesis searched for examples of how landscape architects can use aesthetics to integrate renewable energy into three types of locations: regions, urban areas, and university campuses. In chapter one, analyses of methods from the Western Renewable Energy Zones (WREZ) initiative in the United States and the South Limburg project in the Netherlands reveal examples of how landscape architects can use aesthetics in visual impact studies and scenarios, which help integrate renewable energy into regions. In chapter two, an analysis of urban renewable energy projects resulted in a series of strategies for using aesthetics and amenities that landscape architects can apply to urban projects which utilize renewable technology. Chapter three presents results from a study of a design for the Ball State University campus in Muncie, Indiana, which produced a method for how landscape architects can use renewable energy products as aesthetic and unique sources of energy generation for a campus community. The subject of renewable energy is developing in the field of landscape architecture, and this research asserts that the use of aesthetics and amenities is a viable method for integrating renewable technology into landscapes. Using readily available products or customizing technology to fit the needs of a project are two options for designers who work with renewable energy to provide aesthetics and amenities. The consideration of both regional and urban scales is important to developing reliable renewable energy systems and a better quality of life.
Renewable energy, aesthetics and landscape architecture -- Aesthetics in regional renewable energy planning -- Strategies for aesthetic applications of renewable energy -- Design method for using renewable energy products -- Conclusions on using aesthetics in renewable energy design.
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Department of Landscape Architecture