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Colour and Light: Spatial Experience [Mīkstie vāki]

Edited by (Architect, Sweden), Edited by (Researcher, writer, lecturer, Sweden)
  • Formāts: Paperback / softback, 240 pages, height x width: 220x240 mm, weight: 771 g, 1 Tables, black and white; 83 Line drawings, color; 149 Halftones, color
  • Izdošanas datums: 12-May-2017
  • Izdevniecība: Routledge
  • ISBN-10: 1472482794
  • ISBN-13: 9781472482792
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  • Mīkstie vāki
  • Cena: 106,72 €
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  • Formāts: Paperback / softback, 240 pages, height x width: 220x240 mm, weight: 771 g, 1 Tables, black and white; 83 Line drawings, color; 149 Halftones, color
  • Izdošanas datums: 12-May-2017
  • Izdevniecība: Routledge
  • ISBN-10: 1472482794
  • ISBN-13: 9781472482792
Citas grāmatas par šo tēmu:
Light and colour together form our visual image of the surrounding world. Despite this, colour and light are too often treated as two distinct fields of knowledge. Colour specialists often lack knowledge about light and light specialists often do not know enough about colour. Knowledge of both colour and light are separated between different professional and academic areas, each with its own set of theories, concepts and methods. Those who want to find their own understanding, and be able to apply it in their work, could easily get lost in all of this - with the result that only a small proportion of existing knowledge will be used in practice. There is also a strong need to formulate and bring in new knowledge. In Europe, the requirement for saving energy has led to a rapid conversion to new energy-saving light sources, including LEDS (light-emitting diodes), and thus old experience-based knowledge of light and colour has partially become obsolete.This book describes the coherent interaction of light and colour in the spatial context. It explains the nature of light to colour specialists, and the nature of colour to light specialists, simultaneously conveying an understanding that light and colour must be thought of together. In addition, it brings out the apparent contradictions between the practically based knowledge of craftsmen, engineers and designers, and the theoretically based knowledge of academics in various disciplines. The book provides a basic understanding of light and colour, and their significance for humans in the spatial context. It provides background context, facts and possible approaches; it is neither a manual of how to use colour and light practical or aesthetically, nor it is a traditional presentation of given aesthetic principles or doctrines.

Recenzijas

Understanding architectural space from the perspective of light and colour is an enriching experience. There have been no other books that describe colour and light dynamics in a spatial context. Colour and Light: Spatial Experience should be required reading for both designers and academics alike. - Galen Minah, Associate Professor, Department of Architecture, College of Built Environments, University of Washington, Seattle WA, USA.

This is going straight onto my list of books that I recommend to students of design. Separate chapters deal with light sources, paint, the specification of colour and the visual characteristics of materials, but it all comes together at the end. Rather as Einstein introduced the new concept of space/time to physics, here we have the synthesis of space/light/colour. - Dr Paul Green-Armytage, Associate of Curtin University, Past President of the Colour Society of Australia.

Colour and Light: Spatial Experience establishes a milestone in the knowledge that cannot be missed in the library of anyone involved in colour and light. - Prof. Arch. Pietro Zennaro, Iuav University of Venice, Italy.

Preface ix
Introduction 1(6)
Karin Fridell Anter
Ulf Klaren
A Coherent Field Of Knowledge
2(1)
The perceived and the measurable
3(1)
About the book
3(4)
HUMAN -- COLOUR -- LIGHT -- ENVIRONMENT
7(56)
1 Physical measurement and human standards
11(20)
Ulf Klaren
Seeing and measuring
11(1)
In the beginning there was space: coherence and overall comprehension
12(2)
In the beginning there was time: dynamics and stability
14(2)
Relativity of lightness
16(1)
Relativity of hue
17(1)
Coloured shadows
18(1)
Perceptual attention
18(3)
Words for sensory experiences
21(1)
Levels of experience
22(1)
Categorical perception
22(1)
Direct experience
22(2)
Indirect experience
24(1)
The aesthetic dimension
24(2)
Everything in relation to everything
26(5)
2 The effect of colour and light: behaviours and reactions
31(16)
Thorbjorn Laike
The nonvisual effects of light
33(4)
The effect of colours on humans
37(3)
Research results and design
40(2)
Summary from a research perspective
42(5)
3 From burning flames to the light-emitting diodes of the 2010s: light and lighting from a cultural-historical perspective
47(16)
Jan Garnert
By the firelight
49(2)
Bees' wax, the best lighting
51(2)
The last decades of a lone light source
53(1)
Daylight and Nordic light
54(2)
The century of enlightenment
56(2)
The land of fluorescent lighting
58(2)
Into the future
60(3)
TO DESCRIBE COLOUR AND LIGHT
63(46)
4 To conceive the concepts
67(16)
Karin Fridell Anter
What do we mean when we talk about light and colour?
67(1)
Light and colour as sensory experiences
68(4)
Light and colour according to physical theory
72(3)
Using physics to describe experience
75(3)
What do we mean by light and colour?
78(1)
Some ambiguous words
79(4)
5 Lighting technology: concepts and measurement methods
83(12)
Leif Berggren
Karin Fridell Anter
Electromagnetic radiation
83(1)
The foundations of photometry
84(1)
Photometric units
85(1)
The practical application of photometry
86(1)
Colour temperature
86(1)
Correlated colour temperature
87(2)
Colour rendering capacity
89(4)
Efficiency and luminous efficacy
93(2)
6 Visual spatial analysis
95(6)
Ulf Klaren
PERCIFAL: visual light and colour concepts
96(5)
7 NCS and other colour systems
101(8)
Karin Fridell Anter
Different colour systems for different purposes
101(2)
NCS starting points, concepts, and models of description
103(1)
NCS colour atlas and collections of colour samples
104(2)
Some examples of application
106(3)
LIGHT SOURCES AND COLOUR MATERIALS
109(74)
8 Daylight, windows, and window glass
113(22)
Barbara Szybinska Matusiak
Daylight: a dynamic resource
113(5)
The window as a frame for a view
118(2)
The window as a light source
120(4)
Bringing in daylight without windows
124(5)
Window glass as a filter for daylight
129(6)
9 Artificial light sources and their use
135(10)
Leif Berggren
Light sources, luminaires, and lighting installations
135(2)
Different types of light sources
137(4)
The direction and distribution of light
141(1)
To plan lighting
142(3)
10 Paint and its use
145(22)
Par Duwe
The paint industry and its raw materials
147(4)
Pigments and tinting systems
151(2)
The interplay of light and the painted surface
153(4)
Choosing and prescribing paint and painting
157(10)
11 Radiation, surface reflection, and colour
167(10)
Johanna Enger
Karin Fridell Anter
12 The surfaces and colours of different materials
177(6)
Ulf Klaren
LIGHT AND COLOUR IN BUILT ROOMS
183(38)
13 Light and colour as support or obstruction
187(14)
Helle Wijk
Cecilia Haggstrom
One size doesn't fit all!
187(1)
Adapting the environment to an aging population
187(1)
When we grow old
188(2)
Age-related changes to seeing
190(2)
Feeling at home and having control over your situation
192(1)
Light as support or obstruction
193(1)
Colour as support or obstruction
194(2)
Distinct shapes and a distinct room
196(1)
Accessibility in public environments
197(4)
14 Colour, light, and spatial dynamics
201(20)
Monica Billger
Karin Fridell Anter
Cecilia Haggstrom
Colour without space?
201(1)
The shape and colour of things
202(3)
Colours in rooms
205(4)
The elasticity of colour
209(1)
The light in the room
210(4)
The perceived size, dimensions, and atmosphere of the room
214(3)
Working with spatial design
217(4)
About the authors 221(2)
Thanks 223(2)
References 225(10)
Index 235
Karin Fridell Anter is an architect SAR/MSA, PhD and reader in architecture, specialised in colour. She has written and edited several books and numerous scientific and popular articles dealing with colour and architecture. In 2010-2011 she headed the research project SYN-TES which lay the foundations for this book. She is active as a researcher, lecturer, writer, and colour consultant in the consulting company Explicator AB, www.explicator.se. Ulf Klarén is a researcher, writer and lecturer on perception, colour and light. Until his retirement in 2011 he was senior lecturer and head of The Perception Studio at Konstfack University College of Arts, Crafts and Design in Stockholm. Ulf Klaréns publications include a textbook on colour and several scientific reports and contributions to anthologies. He has been a guest teacher at Aalto University - School of Arts, Design, and Architecture in Helsinki and an invited lecturer in several Scandinavian universities and collegesIn 2010 - 2011 he was assistant project leader of the research project SYN-TES which lay the foundations for this book. Ulf Klarén is furthermore a practicing illustrator.