Color in Urban Space

Introduction. People in the world around us mostly deal with colour combinations instead of single
colours, therefore the professional art education programmes worldwide prioritise the study of the colour
harmony rules and colour combination principles. The purpose of the article is to test whether professional
art education has an impact on the choice of strategy for constructing harmonious colour combinations,
and to establish the parameters of identified differences.
Materials and methods. The research was carried out as an experiment involving 100 participants aged
18 to 60 (average age 25.0 years; SD = 7.2; 23 males, 77 females). All of them were born and raised
in Russia. Half of the participants had art education, the other half – did not. The colour charts of the
Reference Book of Colour by Mikhail Matyushin were used as a basis for the development of experimental
stimuli. The participants were asked to choose a colour for the uncoloured stripe in the middle of the chart
and subsequently to compare the resulting colour combination with the original – the corresponding chart
from the Reference Book of Colour.
Results. The analysis of 467 colour choices and 929 valid comparisons, suggested by the participants,
showed that the non-professionals most often matched the chosen colours with the given colour context
in terms of hue. The colours suggested by the participants without art education were lighter in all charts
than those chosen by the professionals. The participants whith art education reflected on the choice of
colour longer than the non-professionals, but finally were more satisfied with their selection.
Discussion. The revealed differences can be explained by fundamentally different colour selection
strategies by art-educated and non-professional participants. The non-professionals, as a rule, chose
colours under the principle of similarity with the given colour context. The professionals used the principle
of contrast, complementary colours and contrasting warm shades with cold ones.
Conclusion. The identified differences can be used for improvement of professional training programmes
for designers, architects and computer graphics specialists. It seems to be expedient to continue the
research in terms of cross-cultural differences.

Roma, 6-8 novembre 2024.

Istituto Centrale per il Restauro - Museo di Roma, Palazzo Braschi - Sapienza Università di Roma.

A cura di Chiara Piva.
Comitato Scientifico: Tiziana Caianiello, Federica Giacomini, Chiara Mannoni, Ilaria Miarelli Mariani, Chiara Piva, Claudia Valeri.

This chapter approaches the color application to urban furniture as an ergonomic factor, bearing in mind that a pertinent color application to urban furniture can ameliorate its use. For this purpose a new methodology is presented, which aims to create color plans for urban environments, allowing urban furniture to stand out from its background, contributing for their better legibility, and transforming them in identification elements that will improve the orientation within the cities. The development and implementation of the new methodology will allow the determination, with a higher scientific approach and rigor, of the color planning to be applied to urban furniture in each district or urban area, of a city. This methodology will be developed through an active research, focused in case studies, including three Portuguese cities with different specifications. For each city will be defined samples areas which will encompass the most representative city zones and, there, the new m...

Color is considered as an integral element of our environment, not only represented in the living organisms of the natural environment but also in the man-made various environments, Color always played an important role in the human evolutionary processes from the simple human shelters to the huge mega cities The environment and its colors are perceived, and the brain processes and judges what it perceives on an objective and subjective basis. Psychological influence, communication, information, and effects on the psyche are aspects of our perceptual judgment processes. Hence, the goals of color design in an architectural space are not relegated to decoration alone (Mahnke, 2015). This paper aims to study the color as a human nature that has been related to the built-in Environment, and how color as a human activity, is important to the level of being a need, not only to achieve some decorative or aesthetical values, but also to fulfill some needs of the human being that they cannot live without, starting from studying color in natural environment till color as an important component of Man-made environment represented in architectural and urban contexts, this paper also questions the importance of color in humans life, and how it is related and important to many vital activities of the human being, not only as a fashion or an architects Design for a specific building or an urban planner setup.

Awareness of the science of the appearance can help the designer create and construct a more effective space – whether that consists of packaging, interiors, cityscapes or a plate of food. This paper examines the current status of appearance science having direct application to the work of the practical designer using a vocabulary common to both disciplines. The way has been paved by the work of Shigenobu Kobayashi (a designer) and Paul Green-Armytage (a design teacher) and studies on food products and food consumption environments. The paper consists of, first, a brief account of the application of bipolar scales to quantify both the physical properties of the scene as well as our expectations of the scene and, second, the quantification and understanding of scene impact. These techniques detail how individual elements of a designed space, such as materials, design and illumination, contribute to specific desired aspects of the space.

The color stability in architectural concretes was studied. Color was characterized using the CIELAB color space. Results from CIEDE1976 and CIEDE2000 color-difference formulas were compared. The weathering effect on the concretes color was analyzed. Concretes with iron oxides lost the color but retained the hue.

Моделью данных в информационных системах, построенных на базе многомерного подхода, является многомерный куб данных. В системах с многоаспектным описанием предметной области кубы данных характеризуются большой разреженностью, что затрудняет организацию хранения данных и порождает сложности в процессе анализа информации. Значимые ячейки куба могут быть представлены как допустимые сочетания значений измерений. Анализируя семантически связанные значения разных измерений можно выявить кластеры ячеек-наборы ячеек, которые обладают сходными свойствами. При этом для измерений, которые являются размерностями многомерного куба, выявляются группы их значений, которые семантически связаны с группами значений других измерений. Для построения кластеров ячеек могут быть использованы логические методы интеллектуального анализа. В рамках логического подхода сочетание значений измерений представляется в виде конъюнкции пар «Измерение»-«Значение измерения». К сочетаниям значений измерений может быть применено преобразование, сходное с преобразованием приведения к совершенной дизъюнктивной нормальной форме. Оно позволяет выявить группы значений измерений и кластеры сочетаний значений измерений. Эти кластеры могут быть использованы как элементы модели данных информационной системы. Ключевые слова Многомерная модель данных; разреженный куб; множество допустимых сочетаний; кластер сочетаний значений измерений, интеллектуальный анализ данных, индуктивный вывод.

The book presents the abstracts of the Third Russian Congress on Colour dedicated to the discussion of a wide range of issues related to colour theory and its practical use in various socio-cultural contexts. The relevant psychological, sociological, linguistic, philosophical, pedagogical, art historical, technical and scientific aspects are considered.

A sign is said to be transparent when we pay direct attention to its meaning, while the sign itself, as a medium to the meaning, passes unnoticed. It is the ordinary function of words of language. What is important in this context is the meaning of the word, more than the ...

This study explores the relationship between chromatic atmospheres and territorial identity in three neighborhoods in Isla Teja, Valdivia. In spite of their shared island nature, they have different features, including unique ways to practice space. Such differences are expressed in the color patterns of the facades. The practices are explored based on the perceptions of the dwellers, revealing the deep differences in the ways they understand their neighborhood. The research establishes a dialogue among architecture, design and anthropology, developing a case study that combines ethnographic background information and chromatic comrevealing chromatic patterns that-from an apparently technical view-constitute a much less visible dimension in discourses, strongly remitting to elements that are typical of the construction of a neighborhood identity. We hope to contribute to the further analysis of topics of interest for color and urban space researchers.

This work presents an historical journey of Valdivia's architecture and its colors, since before its foundation in 1552 to the present. The methodology is based on a bibliographic review of the city's history and architecture, and direct observation of new architecture. The research results focus on architectural landmarks, from the period of the indigenous population, through the Spanish conquest, the arrival of German immigrants, modernity, and the present. The new creations by architects and professors of the School of Architecture include interesting color proposals in which the author has been actively engaged. From the history of Valdivia, we can conclude that the color of its architecture has been linked to the materials available in the region and to the culture of the human groups that have inhabited it. Color in the form of paint and new materials has also been used as a sign of economic status, as a sign of belonging and identity, and in response to different architectural styles. From the projects carried out by the architects of the School of Architecture, the question remains as to how color will continue to develop in the future of the city.

Throughout history, watercolor has been used by artists with different purposes. First year students of the Design program at Universidad Austral de Chile used watercolors as a color observation method. The study site was the island of Mancera, at the crossing of Cruces river with the Pacific Ocean. The journey and the observations made were the input to find the adequate concept to design a book. Once the course was over, the professors in change made an analysis of the results, both of the watercolor and of their use in the final product, with the purpose of assessing the use of watercolor as a tool to study color. The findings and the discussion are presented, concluding that the use of this technique at pre-graduate level in design programs could become a powerful research tool to understand and apply spatial chromatic relationships.

German colonization of the 19 th century in Valdivia entailed a major economic boost for the city. An example of this driving force is the Kunstmann factory, in the Collico neighbourhood. Along with industrial development, the colonizers also brought their culture, which was especially evident in architecture and colours. This work draws a parallel between the development of the mill industry owned by the Kunstmann family and the architectural evolution regarding colour of the set of facilities surrounding the industrial complex.

The article describes a technique for performing the preparatory stage of working with color in a digital environment, which will help to avoid common mistakes that occur when performing artistic tasks on a computer for students in the system of additional education. In addition, the article discusses such basic concepts as color characteristics, types of color harmony, types of color contrast in relation to the digital drawing environment.
В статье описана методика выполнения подготовительного этапа работы с цветом в цифровой среде, которая поможет избежать распространённые ошибки, возникающие при выполнении художественных заданий на компьютере у учащихся в системе дополнительного образования. Помимо этого, в статье рассматриваются такие базовые понятия как характеристики цвета, виды цветовой гармонии, типы цветового контраста применительно цифровой среды рисования.

The purpose of this paper is to present the partial results of a research still in progress as part of the Architecture Course of the University of São Paulo, focusing on the use of color in the development of architectural design. At its present stage, the researchers are reviewing the production of a number of architects and designers whose work, under the point of view of design methodology, has been somehow distinctive in the use of color, with focus on color insertion processes, perception theories, and color harmony. The review is based on comparative studies of the results so far obtained. João Artacho Jurado was born in São Paulo in 1903 to parents who were Spanish immigrants. He lived with his family in an anarchist community without attending school—a circumstance that made of him a self­taught person. He began his professional career dealing with signs and lettering, and later on, from the 40s though the 60s, he gradually became one of the most productive builders in São ...

When should we consider the colour of a building as a sustainable feature? In contemporary architecture, old and new materials, technologies and products are complying with the new rules of sustainability by providing the architectural project the means to adapt to the new challenges of contemporary innovation. Of course, colour seems to play a strategic role in this scenario, adapting to the choices of the different points of view – sometimes ideological – of contemporary architecture. The paper describes the results of a recent research conducted in the “Eterotopie” Research Centre by the authors, with the valuable contributions of V. Brustolon, A. Dehò, C. Gregoris, A. Martini, and P. Zennaro [1]. The researchers, dealing with various specialisms, studied chromatic use in the architectural design of 12 families of materials, technologies and products with the aim of assessing their real impact on the environment and possible solutions based on a scientific and rational approach.

The cover of this book shows a glass vase on a table with a bouquet forming a natural colour palette including bright yellow forsythia, purplish wisteria, branches of an orange-red flowering Japanese ornamental apple tree and of a white blooming cherry tree, and black-brown shoots with green leaves. On the right, a watercolour depicts the colour harmony of the natural floral arrangement. At the top, the word ‘art’ repeated on a skyblue background is perceptible as well as the photograph of a young person whose eyes enigmatically peer in between the leaves. In the centre, a rather dominant white square pierces this picture like a window which – according to ancient Feng Shui beliefs – clears the path for the dragon, symbol of positive energy and good luck. Four threads or lines cross in the opening to represent the intersection of different spiritual forces: red stands for design, blue for research, green for teaching, and yellow for art. These are Jean-Philippe Lenclos’ four fields ...

El propósito de este texto es documentar el ejercicio de territorialización de la memoria adelantado como un proceso de enseñanza-aprendizaje con los estudiantes de dos carreras de la Universidad Austral de Chile en la ciudad de Valdivia. Esta estrategia pedagógica facilita la aplicación de un cuerpo teórico que destaca un conocimiento situado y pertinente, al mismo tiempo que valoriza la voz de los ciudadanos, actores significativos en el proceso de construcción de la memoria.

General purpose computation on graphics processing unit (GPU) is prominent in the high performance computing era of this time. Porting or accelerating the data parallel applications onto GPU gives the default performance improvement because of the increased computational units. Better performances can be seen if application specific fine tuning is done with respect to the architecture under consideration. One such very widely used computation intensive kernel is sparse matrix vector multiplication (SPMV) in sparse matrix based applications. Most of the existing data format representations of sparse matrix are developed with respect to the central processing unit (CPU) or multi cores. This paper gives a new format for sparse matrix representation with respect to graphics processor architecture that can give 2x to 5x performance improvement compared to CSR (compressed row format), 2x to 54x performance improvement with respect to COO (coordinate format) and 3x to 10 x improvement compared to CSR vector format for the class of application that fit for the proposed new format. It also gives 10% to 133% improvements in memory transfer (of only access information of sparse matrix) between CPU and GPU. This paper gives the details of the new format and its requirement with complete experimentation details and results of comparison.

La ciudad, entendida como un espacio urbano en red, se compone de nodos cuya identidad espacial y/o social, se relaciona entre otros, con cierta gama de colores. A través del análisis de dos casos de estudio en la ciudad de Valdivia, Chile, se establece la relación entre color, arquitectura, contexto urbano e identidad de sus habitantes. La metodología con que se realizó el diseño de color en ambos proyectos, es parte importante de este trabajo. Como resultado, el color se revela como un elemento que, utilizado con la metodología adecuada, puede llegar a establecerse como conector entre estos nodos urbanos, conformando mejores ciudades.

Cities are complex entities where multi-functional and multi-layered data intersect each other and integrate into the urban landscape. The emotional and practical purposes of everyday life takes place within that physical network, ie the city, and should be seen as something that ...

This paper presents a review of the urban requalification and the impact of facade colour in Tirana, Albania through analyses and comparisons. Generally speaking, colour is considered as appearance; therefore it may identify an object or a city. Based on an in-depth literature review of the colour impact on urban patterns and social changes, Tirana is one of the most impressive examples. Tirana is known as the city of colour since 2000, when its mayor Edi Rama decided to "...revive the hope that had been lost in the city" by painting the facades in different intensive colours. For thirteen years till know Tirana citizens has experienced the feeling of living in a city full of colours. The approach consists of the followings steps: i) data collection ii) an in-depth literature and media review concerning the colour impact in urban requalification iii) a questionnaire of 150 participants including different ages, gender, professional categories as well as Tirana residents an...

This paper describes a series of studies designed to investigate the possible limits to the number of different colours that can be used in a colour code and the relative merits of colours and shapes for communicating information. The studies took their particular form in response to an observation by Rudolf Arnheim that an alphabet of 26 colours would be unusable. It was found that a text, with letters represented by coloured rectangles, can be read, first with the help of a key and then without. The colour alphabet, tested in competition with other alphabets made up of unfamiliar shapes and faces, was read more quickly than the others. Speed of reading was only matched with an alphabet made up of shapes that were familiar and nameable. Colours are most helpful for quick identification and for clarifying complex information, but where more than 26 distinctions must be made colours must be supplemented by shapes, typically in the form of letters and numbers.

The aim of this paper is to present a user-oriented protocol which can be used to characterize chromatic attributes of an urban fragment. A growing need for objective assessment of colour has been observed in recent years in the field of urban design. The challenge is to provide quantitative answers to these two questions: how is colour organized, how does it develop a structure in the city? The main purpose of the research is hence to investigate stable colour typologies within the city; each urban area (historic center, suburban housing district, commercial zone, etc.) being characterized by a specific colour palette. Our characterization protocol was initially tested through an application to Hors-Château street, one of the oldest roads of the city of Liege (Belgium).

In the realisation of a colour design, or of a colour plan, every designer should have the availability of a set of basic tools to prevent him or her from performing prejudicial operations in the territory, in the landscape, in the city, in the neighbourhood, and in the individual building. The same designer should then know some rules in the colour choice that will enhance the built environment. The approach to colour selection depends on many factors, for example the building size and function, the combination of spaces, the urban form, the dimensions of streets, alleys, plazas, squares and so on, but especially the specificity of the place. By this we mean the history, traditions, culture, geographical location, the qualities and weaknesses, the range of possible design/conservation options and all those characteristics that distinguish one place from another. So it should be clear to the designer who faces a chromatic project, that he or she primarily needs a dedicated strategy,...

Colour is disregarded in the analysis of the grammar of a building facade. Contemporary architecture, as well as traditional historical architecture, is built on a relation between colours. Colour schemes of vernacular architecture is a part of the local regional heritage.A re-established exterior colour scheme in rural areas would strengthen the local identity. In Sweden the dominating part of vernacular architecture dates to the 19th century. The identity of many rural areas is expressed in these buildings: social prestige, local building constructions, materials and colours. This paper presents a PhD-project aiming at verifying the existence of local colour schemes. Regional and local authorities supply information about local, traditional building material and constructions, but it is difficult to find relevant information about strictly local traditional colour schemes and the changes of these colour schemes in time. Colour schemes can be reconstructed through the analysis of l...

As a phenomenon, colour shapes how people experience the environment visually, while as a medium, it conveys meaning, emotional moods and functional information. As luminous colour it appears atmospheric and diffuse to the viewer, while as non-luminous colour, shape and form materialise from it. The antithesis of coloured light is darkness, which shows its influence on the aesthetics and function of the phenomenal world in the spatial play of shadows. The complex sensations of colour result from the interaction of light with the entire organism. Colour and light form two sides of the same phenomenon, since colour illuminates and light colours. Colours shape the appearance of the natural environment, which varies in terms of climate and topography. They make it possible for diverse forms of life to orient themselves and to communicate in ways specific to their species. Colour creates identity. These biological functions do not only shape the natural environment – they also determine ...

This Special Issue consists of eight articles on the theme of Environmental Colour Design (ECD), which arose out of the conference Progress in Colour Studies (PICS), held at University College London (UCL) in September 2016. Although the primary focus of the conference was on colour in language and linguistics, a strong body of work was submitted in the field of ECD, which justified a dedicated session. My sincere thanks to all the authors and peer reviewers who have worked hard over the past 12 months to develop the conference presentations into first-rate journal articles.

Cities are complex entities where multi-functional and multi-layered data intersect each other and integrate into the urban landscape. The emotional and practical purposes of everyday life takes place within that physical network, i.e. the city, and should be seen as something that interacts with the citizens in a meaningful aesthetic, social and cultural relationship. Our senses are continuously alert, providing us with relevant perceptual facts about our environment, allowing us to make numerous conscious and unconscious choices and connecting all the sensations of each moment to others in our previous experiences. Throughout this process, the tactile and colourful presence of glazed tiles are of enormous importance, being capable of transforming urban surface texture to something memorable, recognisable, perceptual rich, historically-rooted and with great value on sustainable grounds. These aspects should give urban designers new insights into the use of glazed tiles as an import...

In the realisation of a colour design, or of a colour plan, every designer should have the availability of a set of basic tools to prevent him or her from performing prejudicial operations in the territory, in the landscape, in the city, in the neighbourhood, and in the individual building. The same designer should then know some rules in the colour choice that will enhance the built environment. The approach to colour selection depends on many factors, for example the building size and function, the combination of spaces, the urban form, the dimensions of streets, alleys, plazas, squares and so on, but especially the specificity of the place. By this we mean the history, traditions, culture, geographical location, the qualities and weaknesses, the range of possible design/conservation options and all those characteristics that distinguish one place from another. So it should be clear to the designer who faces a chromatic project, that he or she primarily needs a dedicated strategy,...

Early detection of lung cancer is a challenging problem, the world faces today. Prior to classify glandular cells as malignant or benign a reliable segmentation technique is required. In this paper we present a novel lung glandular cell segmentation technique. The technique uses a combination of multiple color spaces and various clustering algorithms to automatically find the best possible segmentation result. Unsupervised clustering methods of K-means and Fuzzy C-means were used on multiple color spaces such as HSV, LAB, LUV, xyY. Experimental results of segmentation using various color spaces are provided to show the performance of the proposed system.

This paper describes the third (and final) part of an analysis of the results of an ongoing research project concerning the French period of environmental colour design. In May 2019, a qualitative oral history approach was used to conduct a series of semi-structured interviews in French with six colour consultants presently living in Paris: Michel Albert-Vanel, Yves Charnay, Victor Chérubin Grillo, Bernard Lassus, André Lemonnier, and Jean-Philippe Lenclos. Applying an inductive approach and implementing a thematic analysis for the interpretation and representation of the interview data revealed answers to the question "Comment voyez-vous l'évolution de la couleur dans l'environnement?" or, in English, "How do you see the evolution of colour in the environment?" The answers of the six colour designers carefully analyzed in the French context since the 1950s contribute to a better understanding of key aspects of the evolution of environmental colour design.

lugar existen limitaciones de tipo metodológico y procedimental: limitaciones técnicas del instrumental empleado (Zenna O'connor), criterios de selección de las gamas de colores dominantes en el paisaje (J.P. Lenclos), gestión de la información, terminología del color (Giovanni Brino), etc. Se evidencia, por tanto, un cierto retraso en la valoración de las circunstancias cromáticas de los proyectos respecto de otras variables arquitectónicas que tradicionalmente sí se tienen muy en cuenta, como las líneas del territorio o su lógica formal, lo que se debe también a una escasa tradición moderna de puesta en valor del color en la arquitectura 1. 1 / En este sentido, ha sido muy importante la publicación en 1997 del paradigmático texto de Le Corbusier "Policromía Arquitectónica: Un estudio hecho por un arquitecto (también involucrado en la aventura de la pintura contemporánea) para arquitectos, 1931" (Le Corbusier & Rüegg, 1997).

This paper focuses on single-family houses made by architect Clorindo Testa in cooperation with Juan Fontana, Eduardo Bompadre, Elena Acquarone, Juan Genoud and Ezequiel Rivarola. These cases stand out due to their condition of free perimeter houses, built in suburban areas or immersed in natural landscapes. In this research, we plot differences between inherent and perceived color. By unfolding the exterior envelope of the building we can recognize the relation between color, external
configuration and morphology. Chromatic diversities are produced due to the incidence of light and the self shadows, even when we are dealing with painted houses with a dominant inherent color (reason why the houses are called “Green house”, “White house”, etc.). The analysis makes special emphasis on the landscape and reflects on how color works as an organizer, not only of the elements in the house but also of the architecture and its context. The functions of color can be defined as
abstract-generic and perceptual-contingent. It can be perceived how the colors of the houses and landscapes constitute integral palettes which selectively manage contrasts and mergers. The research is based on architectural drawings and photographs from a period of Testa’s work dominated by the use of outside and inside painted surfaces. We have developed a system that offers a global synchronic perception of chromatic relations, in order to simultaneously show what would otherwise require a tour around the building in a temporal-spatial sequence. This method gives the possibility to compare the cases under study and to identify systematic operations of color in relation to
morphology, allowing us to recognize some operative consistencies.

This paper focuses on single-family houses made by architect Clorindo Testa in cooperation with Juan Fontana, Eduardo Bompadre, Elena Acquarone, Juan Genoud and Ezequiel Rivarola. These cases stand out due to their condition of free perimeter houses, built in suburban areas or immersed in natural landscapes. In this research, we plot differences between inherent and perceived color. By unfolding the exterior envelope of the building we can recognize the relation between color, external configuration and morphology. Chromatic diversities are produced due to the incidence of light and the self shadows, even when we are dealing with painted houses with a dominant inherent color (reason why the houses are called "Green house", "White house", etc.). The analysis makes special emphasis on the landscape and reflects on how color works as an organizer, not only of the elements in the house but also of the architecture and its context. The functions of color can be defined as abstract-generic and perceptual-contingent. It can be perceived how the colors of the houses and landscapes constitute integral palettes which selectively manage contrasts and mergers. The research is based on architectural drawings and photographs from a period of Testa's work dominated by the use of outside and inside painted surfaces. We have developed a system that offers a global synchronic perception of chromatic relations, in order to simultaneously show what would otherwise require a tour around the building in a temporal-spatial sequence. This method gives the possibility to compare the cases under study and to identify systematic operations of color in relation to morphology, allowing us to recognize some operative consistencies.

https://www.ijert.org/survey-of-citizens-interest-to-native-architecture-case-study-sari-city

https://www.ijert.org/research/survey-of-citizens-interest-to-native-architecture-case-study-sari-city-IJERTV9IS060772.pdf

Today, the architectural process based on the era of modernity and economic trends is moving towards the modern era of Western architectural constructions. Most of the new buildings were created without any connection to their native culture. The use of symbols and principles of indigenous architecture, which is consistent with the audience's mental schemas, makes it easier for them to understand space and thus to communicate better with it. This research seeks to determine whether people are actually interested in native architecture in reality. The research method is descriptive-analytical. Surveys based on local questionnaires were conducted in Sari city. As a result, it seems that people are inclined towards it if they know correctly and are aware of the quantitative and qualitative values of the native architecture.

In this paper, we expose some of the most significant color design experiences and results conducted in the Master Program in Color Design & Technology, organized by Politecnico di Milano in cooperation with Associazione Italiana Colore and Università Degli Studi di Milano. This Master aims to provide advanced multidisciplinary training to professionals, so as to enable them to understand
and manage the technical and design issues, often across many disciplinary areas, typical of all the professional and research sectors in which the use and management of color are essential. This one-year post-graduate master program consists of three main phases: the first phase is composed of lectures on color fundamentals by different academics and professionals; the second phase, which we expose here, is composed of five specialized extended workshops about Color in Communication, Fashion, Interior, Product, and Urban Design. In the last phase, the students go through an Internship period, to establish contacts between academia and companies who work with color in the field of design, architecture, textiles, and paints, among others.

This paper aims to determine the dimensions of colour in the Historic Urban Landscape and the extent to which these dimensions contribute to define new colour proposals for the public place. To achieve those goals, we claim that chromatic proposals are a multi-conceptual and evolutionary reading of the facade, city block facade and urban landscape. In order to support these chromatic proposals, three guidelines were taken into consideration and they are, as follows: colour morphology, colour typology and colour volumetry. That analysis provides information to characterise the colour of the urban landscape in its different dimensions allowing to conceive chromatic palettes' standards to be applied. Those standards support colour functionality within urban place identity encouraging a qualified user's experience.

The publication includes a collection of twelve papers that discuss topics related to the overall theme of environmental colour design. It is aimed at persons interested in colour and in particular at those in the creative fields of art, design, architecture, and landscape architecture as well as urban and environmental design. Twelve papers glean answers to the question as to what role is to be attributed to theoretical approaches in environmental colour design and how theory relates to colour practices. The themes range from the relevant aspects of bio-physiological principles to the artistic ways in which colour is studied, analysed, and applied within urban space, architecture, and the natural environment. Conducted on an international level, the exchange shows that how colour is perceived, defined, and used not only depends on geographical and climatic factors, but foremost on cultural, social, economic, and political aspects and meanings.

В сборнике размещены статьи, в которых рассматриваются различные аспекты теории цветового проектирования городского пространства. В формате исторического, теоретического и эмпирического анализа фиксируются философские, социологические, аксиологические, культурологические, педагогические и экономические стороны процесса.

The essay intends to draw attention to the question of the color of the historic buildings. Through the illustration of some significant examples we want to stimulate some reflections in this regard, to bring attention to the problems related to urban colors; This question is often linked to 'misunderstood' valuations now conditioned by a rampant cultural and operational leveling.
Some recent proposals, in fact, which have aroused dissatisfaction among the insiders, have brought interest to this issue, however, already widely discussed and investigated since the seventies of the twentieth century. These are mostly interventions that, although performed on individual architectural episodes, inevitably alter, with their presence, that chromatic relationship that is established over time, between building and context, introducing elements of "dissonance" that soon become examples to be emulated. These are repeated and arbitrary renewals, often based on manual indications and far from the disciplinary field of conservation and restoration, which tend to remove the "wrinkles" of time, which aim to completely rebuild the built, canceling out any trace of the past. To this we can also associate the many restorations supported only by the pedestrian repetition of presumed original colors, or likewise those colorings that seem to ignore the lexicon of architectural orders. These complex experiences should be supported by a prior recognition of the values that define the work (historical, aesthetic, material, environmental, etc.); values can be identified only through a methodological and cognitive process - based on the deepening of stratigraphic successions, urban transformations and direct and indirect investigations - able to direct and guide the chromatic intervention in its fundamental articulations. Values sometimes completely ignored in the name of a 'cherished' exploitation guided solely by economic and material needs. In essence, the failure to recognize these peculiarities puts into practice an attitude that is harmful to architecture; in these cases, we can no longer speak of optimization of values, but only of the production of dis-values which inevitably lead to the aesthetic, historical and material mortification of the architecture of our cities.