Change search
Refine search result
1 - 13 of 13
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 1.
    Arnkil, Harald
    et al.
    Aalto University School of Art and Design, Helsinki .
    Fridell Anter, Karin
    University College of Arts, Crafts and Design.
    Klarén, Ulf
    University College of Arts, Crafts and Design.
    Matusiak, Barbara
    Norwegian University of Science and Technology, Department of Architectural Design, Form and Colour Studies, Trondheim.
    PERCIFAL: Visual analysis of space, light and colour2011In: AIC 2011, Interaction of Colour & Light in the Arts and Sciences, Midterm Meeting of the International Colour Association, Zurich, Switzerland, 7–10 June 2011: Conference Proceedings, CD / [ed] Verena M. Schindler and Stephan Cuber, Zurich: pro/colore, 2011 , 2011, p. 229-232Conference paper (Refereed)
    Abstract [en]

    This paper addresses the need for better and more accurate methods of recording and analyzing the visual experience of architectural space. PERCIFAL (Perceptive Spatial Analysis of Colour and Light) is an ongoing project that aims at developing a method of analysis that can capture coherent spatial experiences of colour and light. The starting point for PERCIFAL is a method of visual evaluation of space and light, developed by Professor Anders Liljefors at the former department of architectural lighting at KTH Architecture. PERCIFAL is based on direct visual observations and the recording of these observations by verbal-semantic descriptions using a questionnaire. It has been developed primarily as an educational tool, but we see in it potential for a design tool for professionals as well as for an analytical method for research. The first test results, conducted in Sweden, Norway and Finland, show that the method has significant pedagogical merits and that it allows interesting comparisons between physical measurements and visual experiences of space, light and colour. 

    Download full text (pdf)
    PERCIFAL Visual analysis AIC Zurich 2011
  • 2.
    Fridell Anter, Karin
    University College of Arts, Crafts and Design.
    LJUS- OCH FÄRGBEGREPP och deras användning2012Report (Refereed)
    Abstract [sv]

    Det tvärvetenskapliga projektet SYN-TES. Människa, färg och ljus. Syntetisering för ett sammanhållet kunskapsfält har pågått på Konstfack under 2010-2011, med finansiering från KK-stiftelsen (ref. nr 2009/0195). Projektet har omfattat ett femtontal nordiska färg- och ljusspecialister från företag och olika akademiska discipliner. I anslutning till detta har det genomförs ett antal delprojekt kring avgränsade frågeställningar.                                       Detta delprojekt har behandlat begreppsbildning och terminologi kring färg och ljus, där förekomsten av konkurrerande traditioner ofta leder till missförstånd och försvårar kunskapsupp- byggnaden. Delprojektet i sin helhet publiceras i boken Colour and Light – Concepts and Confusions (Red. Arnkil, H. 2012. Helsinki: Aalto University School of Arts, Architecture and Design).                                                                                                             Denna rapport om ljus- och färgbegrepp bygger på Karin Fridell Anters artikel i boken. Texten har utarbetats i nära samarbete med Ulf Klarén och Harald Arnkil. Under arbetets gång har den diskuterats av SYN-TES samlade seminariegrupp. 

     

    Download full text (pdf)
    SYN-TES 3
  • 3.
    Fridell Anter, Karin
    et al.
    Royal Institute of Technology (KTH), Architecture, Sweden.
    Klarén, Ulf
    University College of Arts, Crafts and Design.
    NEUTRAL GREY – AN ABSTRACTION?2009In: Proceedings of the 11th Congress of the International Colour Association, AIC 2009 / [ed] AIC 2009 Editorial Committee:Dianne Smith, Margaret A. Pope, Nick Harkness, Paul Green-Armytage, Sydney: The Colour Society of Australia, Inc. September 2009, Sydney, Australia. , 2009, p. 1-4Conference paper (Refereed)
    Abstract [en]

    This paper presents part of the research project Greyness and spatial experience. Its main objective is to discuss the concept of neutral grey and to investigate the preconditions for perceiving neutral grey colours in different situations. Neutral grey is defined as having similarity only to black and white, not to the chromatic elementary colours.

    Greyish colour samples have been observed with different backgrounds and in different light. One of these series is presented in detail in the paper, the conclusions from others are considered in the discussion, together with relevant literature. Greyish colours are seldom perceived as neutral, but rather tend to get a perceived hue, which depends on the observation situation. Inherent neutral grey colours are not found in nature. In production of materials and artefacts no tolerance level can assure a total lack of hue.

    In conclusion we suggest that neutral grey should be considered as an abstraction, its unique but in practice unobtainable quality lying in its absolute lack of hue and chromaticness. 

    Download full text (pdf)
    NEUTRAL GREY -AN ABSTRACTIONFinal00236 AIC 2009 Sydney
  • 4.
    Fridell Anter, Karin
    et al.
    University College of Arts, Crafts and Design.
    Klarén, Ulf
    University College of Arts, Crafts and Design.
    Successive approximation in full scale rooms.: Colour and light research  starting from design experience.2011In: AIC 2011, Interaction of Colour & Light in the Arts and Sciences, Midterm Meeting of the International Colour Association, Zurich, Switzerland, 7–10 June 2011: Conference Proceedings, CD / [ed] Verena M. Schindler and Stephan Cuber., Zurich: pro/colore, 2011 , 2011Conference paper (Refereed)
    Abstract [en]

    OPTIMA is a pilot study attempting to simultaneously involve all visual aspects of the room, with an analysis starting from the totality instead of dividing it into different parameters. Its primary aim is to develop and test methods for this, combining a scientific approach and experience based practices of art and design

    Download full text (pdf)
    Successive aproximation in full scale rooms (OPTIMA)/AIC Zurich 2011
  • 5.
    Hellström, Björn
    et al.
    University College of Arts, Crafts and Design, Institutionen för Konst (K).
    Johansson, Bengt
    Zalyaletdinov, Philip
    Redesign of One Atmosphere: What do you want to hear?2008In: Faire une ambiance / Creating an atomsphere: Communications / Proceedings, 2008Conference paper (Refereed)
    Abstract [en]

    In an ongoing research project the design of acoustical atmospheres in large indoor spaces are investigated. The research question is: “How to redesign one sonic atmosphere into a variation of sub-atmospheres in large indoor spaces?” This question is especially valid for spaces such as semi-public commercial spaces (e.g. shopping malls), libraries, airports and communication spaces. The sonic atmosphere in these collective spaces is often loud, blurred and confusing, with little correspondence between visual and aural perception, and with weak articulations of spatial dimension, distance, borders and orientation. Together the different sound sources within these spaces generate a sonic hubbub. Even though such spaces comprise of several types of activities, the sonic atmosphere is the same all over the place.

    Hence, this research project focuses on design of sonic variations of the atmosphere; i.e., site specific sounds that deal with qualities such as communication, comfort, orientation, identity and privacy. The objective is to develop and test an interdisciplinary design methodology, which comprises a number of co-related methods; e.g. acoustic measurements, architectural site analysis, as well as virtual modeling and representation (visual and acoustic) of the space. The main part of the project is the virtual modeling and representation. It connects software that handles architectural 3D-modelling (SketchUp) with the Catt-Acoustic software, used for prediction and auralization.

    The research project also includes a case-study, which comprises proposals for redesign of a congress centre (Scandic Infra City), situated north of Stockholm. The proposals –consisting of architectural elements, sound installations (additions of sounds) as well as acoustical measures – will be demonstrated in a virtual model. The presumed effect is a differentiation in terms of a variety of sonic sub-atmospheres within the congress centre. The methodology developed in the project is intended to function as a tool for design measures of large indoor spaces. It is an interdisciplinary tool in that it supports acousticians as well as architects. The case-study may serve as a pilot model for future applications of redesign of the sonic atmosphere in large indoor spaces.

    This paper is a result of a research project, executed by the acoustic consultancy company ÅF-Ingemansson and the University College of Arts, Crafts & Design (Konstfack), Stockholm. The project has funding from the White’s Foundation for research and ARKUS, a Swedish foundation for the improvement of qualifications within architecture.

  • 6.
    Hellström, Björn
    et al.
    University College of Arts, Crafts and Design, Institutionen för Konst (K).
    Nilsson, Mats
    Becker, Peter
    Lundén, Peter
    Acoustic Design Artifacts and Methods for Urban Soundscapes2008In: The 15th International Congress on Sound and Vibration In: International Journal of Acoustics & Vibration, 2008, p. 52-52Conference paper (Refereed)
    Abstract [en]

    The research question is: “How to develop and apply acoustic artifacts and design methodologies for improving soundscapes in urban outdoor spaces?” In the project, this research question is limited to two specific types of urban outdoor spaces – city-park and city-square – and to two types of acoustic design artifacts. These are: I. Dynamic promotion of qualitative site specific sounds (e.g., the overall site specific sonic atmosphere, sounds from human activities, birds and fountains), which creates an improved soundscape. II. Sound-art installations, that creates delimited auditory sub-spaces within the park/square. The purpose and method is: 1. To provide two case-studies of artistic soundscape improvement, one in a noise polluted city-park and one in a city-square. The case-studies will serve as models for future applications of the new acoustic design artifacts. 2. To create and validate an innovative acoustic design methodology based on state-of-the-art real-time acoustic simulation tools integrated into the design process. The methodology will be validated in psychoacoustic listening experiments and field studies. 3. To determine the potential of the two acoustic design artifacts (I Dynamic promotion of qualitative site specific sounds, and II Sound-art installations) for providing pleasant and restorative soundscapes, in order to strengthening the social interaction as well as the spatial and aesthetical qualities in noise polluted city parks/squares. The present project beats a new track by combining acoustic design with sound art research, integrating methodologies based on real-time acoustic simulation and application of psychoacoustic methodology for validating simulations and for evaluating perceptual, emotional and behavioural effects on visitors to public open spaces. The ongoing research project, financed by the Swedish Research Council, is executed by the University College of Arts, Crafts and Design (Konstfack), Gösta Ekman Laboratory – Stockholm University and Karolinska Institutet and the Interactive Institute, all in Stockholm, Sweden.

  • 7.
    Klarén, Ulf
    University of Arts, Crafts and Design.
    Common basis for colour and light studies2018In: Progress in colour studies: cognition, language and beyond / [ed] Lindsay W. MacDonald, Carole P Biggam, Galina v. Paramei, Amsterdam: John Benjamins Publishing Company, 2018, p. 357-369Chapter in book (Refereed)
  • 8. Klarén, Ulf
    et al.
    Fridell Anter, Karin
    Colour and light in space: dynamic adaptation and spatial understanding2011In: Proceedings of AIC 2011- Midterm Meeting of the International Colour Association, Zurich, Switzerland (www.aic-colour.org). / [ed] Verena M. Schindler and Stephan Cuber, 2011, p. 485-488Conference paper (Refereed)
    Abstract [en]

    Based on our own observations and on scientific and scholarly references this paper discusses the appearance of colour constancy and the adaptation of colour and lightness in space. It presents part of an ongoing work, the aim of which is to formulate a spatially based colour knowledge. Our scientific approach is holistic and mainly directed towards colour and light phenomena as such, not towards underlying physiological processes. Earlier research has discussed lightness perception in colours very near neutral grey, with so low chromaticness that you can ignore the hue. In our research we have found that surfaces with nominally chromatic colours under special circumstances can be perceived as white and thus serve as anchors for perception of other colours in the field of vision. We also discuss how distinctions are made between perceived colours caused by on the light colour and such caused by the surface qualities. What we call adaptation is not limited to basic perception. Experience of colour in space is both perceptive and cognitive, as part of interaction between the individual and the world on many levels. 

    Download full text (pdf)
    Ulf Klarén and Karin Fridell Anter AIC 2011
  • 9.
    Klarén, Ulf
    et al.
    University College of Arts, Crafts and Design.
    Fridell Anter, Karin
    University College of Arts, Crafts and Design.
    THE SPACIOUS GREYNESS: ON COLOUR, LIGHT AND SPACE2009In: AIC 2009 Proceedings of the 11th Congress of the International Colour Association Sydney, Australia 27 September to 2 October 2009 / [ed] AIC 2009 Editorial Committee:Dianne Smith, Paul Green-Armytage, Margaret A. Pope, Nick Harkness, Sydney: The Colour Society of Australia, Inc. September 2009, Sydney, Australia. , 2009, p. 1-4Conference paper (Refereed)
    Abstract [en]

    In the project Greyness and spatial experience1 we have studied visual qualities in grey/greyish colours “on location” in the - spatial - world around. We have carried out a number of observation series not only aiming to investigate variation of greyness in different spatial situations but also to develop a methodology and equipment for such studies. In this paper perception of greyness is discussed in relation to our own observations and to scientific and scholarly references. We make some basic reflections on colour in spatial context and in relation to traditional colour theory.

    In spatial context colours with low chromaticness, near the grey-scale, play a more significant role than distinctly chromatic colours; hence they are very important in design of built spaces, both exterior and interior. The logically balanced distribution of greyness in shadows and in surfaces against the light produces a spatial feeling of coherency, and greyish inherent colours generally form a subordinated background to colours with high chromaticness. Simultaneously greyness to a high degree conduces to differentiation of spatial experience; an over-all spatial experience of greyness normally offers subtle but distinct contrasts of hue.

    In the field of colour most scientific research deals with colour phenomena as such. If focusing on colour as spatial phenomenon, colour theory can be given theoretical connection to intuitive understanding of the world around and be part of a wider field of aesthetic research. 

    Download full text (pdf)
    The Spacious Greyness AIC2009
  • 10.
    Klarén, Ulf
    et al.
    University College of Arts, Crafts and Design.
    Fridell Anter, Karin
    University College of Arts, Crafts and Design.
    The Spacious Greyness:On Colour Light and Space2009In: 11th Congress of the international Colour Association (AIC) 2009 - Proceedings / [ed] Dianne Smith, Paul Green-Armytage, Nick Harknesse, Margaret A. Pope,, Sydney, Australia: The Colour Society of Australia, Inc , 2009, p. 1-7Conference paper (Refereed)
    Abstract [en]

    In the project Greyness and spatial experience we have studied visual qualities in grey/greyish colours “on location” in the - spatial - world around. We have carried out a number of observation series not only aiming to investigate variation of greyness in different spatial situations but also to develop a methodology and equipment for such studies. In this paper perception of greyness is discussed in relation to our own observations and to scientific and scholarly references. We make some basic reflections on colour in spatial context and in relation to traditional colour theory. In spatial context colours with low chromaticness, near the grey-scale, play a more significant role than distinctly chromatic colours; hence they are very important in design of built spaces, both exterior and interior. The logically balanced distribution of greyness in shadows and in surfaces against the light produces a spatial feeling of coherency, and greyish inherent colours generally form a subordinated background to colours with high chromaticness. Simultaneously greyness to a high degree conduces to differentiation of spatial experience; an over-all spatial experience of greyness normally offers subtle but distinct contrasts of hue. In the field of colour most scientific research deals with colour phenomena as such. If focusing on colour as spatial phenomenon, colour theory can be given theoretical connection to intuitive understanding of the world around and be part of a wider field of aesthetic research.

    Download full text (pdf)
    Spacious Greyness, Sydney 2011
  • 11.
    Klarén, Ulf
    et al.
    University College of Arts, Crafts and Design.
    Fridell Anter, Karin
    University College of Arts, Crafts and Design.
    Arnkil, Harald
    Aalto University School of Arts, Design and Architecture, Helsinki.
    Always Something Else: Levels of experiencing colour and light2012In: In color we live: color and environment / [ed] Tien-Rien Lee,James Shyu, Color Association of Taiwan , 2012, p. 68-71Conference paper (Other academic)
    Abstract [en]

    This paper springs from a project about concept formation in the field of colour and light, andpresents a graphic model describing possible constituent relations between colour and lightexperiences. A deeper understanding of colour and light experiences calls for a coherent andwell-defined structure that can be used to describe connections and distinctions betweenexperiences of different kinds. This also can contribute to understanding of how colour andlight concepts are related to each other. We experience the world holistically. Our experiencesof colour, light and space have many aspects. Their relations to different levels of experiencealways have to be considered.

    Download full text (pdf)
    fulltext
  • 12.
    Lind, Ulla
    University College of Arts, Crafts and Design, Department of Visual Arts and Sloyd Education.
    Pappabilder: myten og mennesket2015In: Pappa'n i de mange land, Oslo: Det Internasjonale barnekunstmuseet , 2015, p. 26-53Chapter in book (Other academic)
  • 13.
    Matusiak, Barbara
    et al.
    Faculty of Architecture and Fine Art, Norwegian Univ. of Science and Technology .
    Fridell Anter, Karin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK).
    Arnkil, Harald
    Aalto University School of Art and Design, Helsinki  .
    Klarén, Ulf
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK).
    PERCIFAL method in use: Visual evaluation of three spaces2011In: AIC 2011, Interaction of Colour & Light in the Arts and Sciences, Midterm Meeting of the International Colour Association, Zurich, Switzerland, 7–10 June 2011: Conference Proceedings, CD / [ed] Verena M. Schindler and Stephan Cuber., Zurich: pro/colore, 2011 , 2011, p. 568-571Conference paper (Refereed)
    Download full text (pdf)
    PERCIFAL method in use/AIC Zurich 2011
1 - 13 of 13
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf