Relationship Between Humans And Colour In Architectural Spaces

Relationship Between Humans And Colour In Architectural Spaces Colour can clarify and define space, form and structure, yet in many architectural practices is often considered only at the final stages of the design process. This tendency to subordinate colour reflects an attitude held by many design professionals since the Renaissance. The premise that colour is secondary to form, the disegno colore theory, was established by Aristotle in his Poetics during the Renaissance. Further reinforcing this belief, the architect Le Corbusier influenced the role of colour in architectural design still upheld by many today. He considered whiteness to convey order, purity, truth and architecture. His views were further supported by contemporaries such as Adolf Loos who considered white to be the colour of heaven, while Theo van Doesburg believed it the spiritual colour of the period (Minah 2008). White became the epitome of modern architecture. While Le Corbusier latterly modified his attitude toward the relationship of colour in architecture, the colour rules established in his work Purism, co-written with Amà ©dà ©Ãƒ © Ozenfant, were never as influential as his earlier beliefs (Batchelor 2000). The following paper examines the importance of colour within architectural space and its ability to influence mental well-being through its sensory and physiological properties. Experiencing Colour What is fundamental in understanding the use of colour and light in interior space? Why do some spaces bring joy, while other do not? Many would judge it simply a matter of taste, while others an expression of artistic skill, use of precise colour theory or scientific research. It is a complex combination of many factors, both human and scientific. Colour is perceived by the eye through different wavelengths of light carried to us by our surroundings and interpreted by the brain (Nassau 1998). Without light there would be no colour. Light reflects off surfaces, triggering an electromagnetic response in the eye, which in turn translates into colour within the brain (Miller 1997). Our perception of colour is dictated by its hue (actual colour), its intensity or depth of tone (saturation) and its brightness, creating shade and shadow (Miller 1997). An academic interest in the psychological meaning of colour has been prevalent for centuries. Philosophers from ancient Greece dating back to Aristotles time, artists post da Vinci, the early 19th century poet Goethe and subsequent latter day psychologists, anthropologists, biologists, etc, have theorised and investigated the complexity of human response to, and use of colour (Birren 1978; Sharpe 1980). Shown in Table 1. are the six categories believed by Graham, to be key to the human responses to colour within the built environment (Pierman 1978). The scope of the subject is so huge that for the purpose of this paper my main focus will be physiological, mood and associative response to colour and its implications on our experience of interior space. Biological Reactions of a Colour Stimulus There is a reoccurring theme in published literature on human response to colour, namely, the association of hues at the long or warm end of the visible spectrum (red, orange and pink) with arousal and excitation, and those at the short or cool end (green, blue violet) with calmness and relaxation (Goldstein 1942; Gerard 1958; Wilson 1966; Jacobs and Hustmyer 1974) which crosses multi-cultural boundaries (Oyama, Tanaka et al. 1962; Adams and Osgood 1973). Although not all results have shown identical outcomes in respect of systolic blood pressure, skin conductance, respiration, heart rate, eye-blink frequency and electrical brain activity, the emotional responses have been similar. Further studies have used word associations with colour, such as blue being associated with tender, soothing, secure and comfortable and orange with disturbing, distressed, upset (Wexner 1954). A more recent study attempted to replicate the findings of Gerrard, with a focus on the effect on cardiovascular function (Yglesias, Stewart et al. 1993). Whilst the effect on the heart could not be replicated the individuals mental expectations of the consequence of the colours was in accord with previous literature. Jacobs and Seuss similarly found the effects of 4 primary colours projected onto a large screen produced high anxiety levels for red and yellow, consistent with earlier studies (Jacobs and Hustmyer 1974) Schauss claimed that pink colours acted as a natural tranquilizer and had successfully subdued prison inmates (Schauss 1979), but this has not been substantiated in further studies (Pellegrini, Schauss et al. 1981). The earlier findings may have been more to do with the Hawthorne effect, particularly as such a result would contradict the prevalent red/blue spectrum theory. Whilst all of the above research with its consequent design implications was carried out using coloured light, slides, patches, or words, KÃ…Â ±ller et al experimented using full scale decorated rooms. Those decorated with colours from the long visible spectrum created greater arousal than those from the short spectrum. Additionally, introverts or those in a negative mood became more affected than others, impacting their performance (KÃ…Â ±ller, Mikellides et al. 2009). Similarly, Kwallek found that an individuals ability to screen colours for irrelevant stimuli had an impact on the effect of colour. High screeners were more productive in a red working environment, while low screeners performed better in a blue-green office (Kwallek, Soon et al. 2006) (Kwallek, Soon et al. 2007) (Kwallek, Woodson et al. 1997). In addition, Kwallek et al found saturation of colour was a significant predictor of differences in mood between males and females. Ainsworth contrarily found no difference in performance between red and blue offices (Ainsworth, Simpson et al. 1993). However, In a study of almost 1000 workspaces in four countries, interior colour was recognised as an important influencing element of mood and performance (KÃ…Â ±ller, Ballal et al. 2006). A key article by Kaiser reviews the varied literature on non-visual physiological responses by humans to colour, (Kaiser 1984a), concluding that there are reliable physiological responses to colour recorded, but that some of the results may have been effected by cognitive response to colour (Kaiser 1984a). The preceding review shows that, despite considerable interest and research, studies have yet to provide a thorough and empirically proven set of rules for the relationship between colour and emotions (Valdez and Mehrabian 1994). Cognitive Response to Colour The way we respond to colour can also be a result of conscious symbolism or associated actions. Yglesias et al showed that we have expectations in respect of our response to certain colours (Yglesias, Stewart et al. 1993), regardless of involuntary physiological responses. These may be learned through culture or tradition, memory, preferences or fashion. Colour associated with actions can be seen in the red, amber and green of traffic lights conveying stop, yield and go, respectively. When these colours are used in isolation from their connection with traffic, they can still influence their association (Hutchings 2004). Red is commonly used to signify danger, or to command attention and is the most pervasive colour signal in nature (Humphrey 1976). It can, however, have a somewhat ambiguous meaning as it is the colour of edible berries, signifies love, lust, anger and blood; a combination of both positive and negative symbolism. Culture and tradition can connect specific emotions with certain colours. Typically, white is worn by Western brides for its connection with purity, whereas in India the preferred colour is red (Hutchings 2004) and in other countries black, which is in stark contrast to its commonly accepted association with mourning (Kaya and Crosby 2006). White continues its connection with purity through its use in kitchens and bathrooms, translating into cleanliness and hygiene. It can also be seen in its association with hospitals and specifically the doctors coat, further reinforcing its sterile status (Blumhagen 1979). In China white is associated with righteousness. Black is associated with dullness and stupidity in Indian culture, while red implies ambition and desire (Kreitler and Kreitler 1972). Colours can also be steeped with religious meaning through association. For instance, green is the sacred colour of Islam (Kaya and Crosby 2006), and was also considered sacred by the Celts up until the Christian church introduced white (Singh 2006). In addition to white, purple is the symbolic colour used in Christian churches throughout Lent for drapes and altar frontals, while orange is considered the most sacred colour in Hindu religion. Red and white is a combination used for ritual decorations in Melanesia and for representing the Sacred Heart of the Catholic Church in Mexico (Singh 2006). Colours with religious connotations and subsequent emotional connection can have a profound effect on an interior if inappropriately used and could cause offence, or negative feelings. Colour associations also appear to rely on an individuals previous knowledge and experience, combined with personal emotional connections. Kaya and Crosby found colour schemes were remembered in alliance with known interiors, such as restaurants, schools or their homes and, subsequently deemed appropriate colours for specific building types or rooms. For example, some related the colour blue with feelings of relaxation, calmness, comfort and peace, with an associated link to hotels and residences (Kaya and Crosby 2006). Red, a colour frequently aligned with stimulation and arousal, was often coupled with places of entertainment, such as restaurants (Kaya and Crosby 2006). Conclusion A complex collection of factors combine to dictate an individuals perception of colour within the built environment. Despite decades of research into our physiological response to colour and its implications, scientific results have been contradictory and sometimes inconclusive, albeit with a general consensus on reaction to colours within the short and long visible spectrum. For example, as highlighted earlier, red wavelengths can influence biological rhythms, with green wavelengths being weaker. These results are a direct physiological response. A human does not have to have any knowledge of the colour red for a biological response. However the result may be compounded by an indirect physiological response to the colour based on cognition. For instance, an individual may have a strong mental association of red with blood, violence, fire or hatred. We all have our own personal knowledge of colour, based around culture, tradition and memory, which serve to guide our choice and experi ence of colour and light. In addition, response to colour can also be influenced by our immediate environment, such as whether we are alone or in a group, or how we are feeling at the time and its effect on our ability to screen colours. A person in a depressed mental state may not respond in the same way as someone in a more positive mood. Colour is a powerful force which can be used in different way to motivate and stimulate, to control our actions, to create an environment of joy or misery. In making colour choices for interior space, it is crucial to understand the nature and culture of the users, in conjunction with scientific research. It is important to discern whether the chosen colour has a direct physiological impact on a particular biological function, or if the colour effect depends on cognitive learning or emotional associations. Selection should also consider the implications of hue and saturation of colour, which play a strong part in eliciting positive feelings and a sense of well-being when appropriately chosen. Interiors should not be devised purely for reasons of fashion or aesthetics, if the aim is to elicit a positive emotional response from the user; a more considered approach should be undertaken. 1876

Leaves of Grass

Walt Whitman was born in 1819 and died in 1892. He has been proclaimed as one of the greatest American poets to ever live. His work has been considered both enlightened and controversial. His work has been well received all over the world and translated into over twenty-five languages. He wrote of American life, including the very dark period of American history, the Civil War or also referred to as the War Between the States. His book of poems, Leaves of Grass, which he self published has become a classic especially in reference to the Civil War. â€Å"Aroused and angry, I thought to beat the alarum, and urge relentless war; But soon my fingers fail’d me, my face droop’d, and I resign’d myself, To sit by the wounded and soothe them, or silently watch the dead.† (Whitman 110) The above quote is the first lines of the poem, Drum Taps by Walt Whitman. It is but many of the poems of Leaves of Grass that Whitman wrote as he agonized over the war as it was written during the beginning of the war. It is hard to always look upon Civil War literature as only that which follows the years after the war ceased. Whitman was an essayist and a journalist as well as a poet. He wrote of the things he saw not only in his hometown but also in what he observed as he followed the war through travels and reading. A conflict of great sadness, the deepest tragedy of the Civil War was the country been torn in two by the differing of opinions of both sides but the war was among Americans, Americans fighting Americans. â€Å"Central to this task is his revaluation of the print medium, which he previously viewed as a barrier between himself and his readers, but which he now figures, in â€Å"As I Ebb'd with the Ocean of Life,† as deconstructing his culture's boundary-oriented notion of embodiment. Whitman does not unequivocally embrace this new model of fluidity, however. Instead, he balances fluidity and difference to illustrate for the reader both â€Å"[t]he desire to lose and the fear of losing the boundary lines in force around . . . sexual definition† (156). The 1867 Leaves of Grass, which incorporates the Civil War volume Drum-Taps ( 1865), extends Whitman's critique of the oedipal system to its patriarchal foundation.† (Maslan 131) It had been suggested that Whitman had fallen into decline after 1865 as if the views of the war and the internal strife of his country seemed to cripple him as a poet. Through all the horror and sadness that he had seen and experienced as if he could not rally himself to write with the same fervor that he did before the war and during it, but it had been such a dramatic experience for anyone at first hand that it is no wonder that his poetic inspiration would have dimmed and waned. â€Å"TO thee, old Cause! Thou peerless, passionate, good cause! Thou stern, remorseless, sweet Idea! Deathless throughout the ages, races, lands! After a strange, sad war—great war for thee, (I think all war through time was really fought, and ever will be really fought, for thee;) These chants for thee—the eternal march of thee.†(Whitman 93) The Leaves of Grass incorporates such a magnitude of emotion and observation that to read each separate poem will leave the reader with the feeling of viewing it themselves but critics have retained that Whitman wrote more to himself, as if in a separate conversation with himself that he seems to be almost uncaring of the way it expresses itself to anyone else. â€Å"'70 in paper 5 in cloth . . .' appears to be a reference to copies of the first edition of Leaves of Grass which was issued in various forms. See Charles E. Feinberg, â€Å"‘Notes on Whitman Collections and Collectors,'† Walt Whitman: A Catalog. The Library of Congress ( Washington, D.C., 1955), pp. xi-xii. Whitman probably noted the sailors' monument in the Brooklyn Cemetery of the Evergreens at the interment of his father who had died 11 July 1855. ‘I see the highlands of Abyssinia' appears in line 14, section 7 of ‘Salut au Monde,' inc. ed., p. 119†. (Whitman 41) A poetic journal; observations in poetic dialogue, as he observes those around him and what the impact of the war has had upon them so that the Leaves of Grass is filled with views of Manhattan and how that part of New York dealt with the northern activity in the war against the south. Whitman was not the only American writer to be disturbed by the post Civil War period as many of them wrote of a country so vastly changed and so still almost in shock of what had happened to it. Whitman was a Northerner but the Southern writers such as Samuel Clemens (aka Mark Twain). â€Å"This deeply pessimistic, critical view of post-Civil War America was, of course, shared by Mark Twain ( The Gilded Age) and Henry Adams ( Democracy). The moralizing fervor of the passage above seems to echo Thomas Nast's scathing Tweed Ring cartoons, which were appearing in Harper's Weekly at the very time that Whitman was composing Democratic Vistas.† (Abrams 8) Walt Whitman’s Leaves of Grass has seen many different publishing editions since its first conception in 1867. It has been analyzed and critiqued and praised as one of the great volumes of American poetry. It brings to vivid life for the readers one of the saddest periods of American history, the Civil War and the struggling years that followed that war as a country healed and its people recovered. Works Cited Abrams, Sam, ed. The Neglected Walt Whitman: Vital Texts. 1st ed. New York: Four Walls Eight Windows, 1993 Maslan, Mark. â€Å"Whitman and his Doubles: Division and Union in Leaves of Grass and Its Critics.† American Literary History 6.1 (1994): 119-139 Thomson, James, and Bertram Dobell. Walt Whitman, the Man and the Poet. London: The Editor, 1910. Whitman, Walt. An 1855-56 Notebook toward the Second Edition of Leaves of Grass. Carbondale, IL: Southern Illinois University Press, 1959 Whitman, Walt. Leaves of Grass. New York: Modern Library, 1921      

The Sports And Public Relations Essay - 1857 Words

Public relations and public relations practitioners focus heavily on maintaining mutually beneficially relationships. Through these relationships, public relations allow companies and products to gain exposure and public acknowledgement, without the need to pay for advertising. This paper will focus on the sports industry in Australia, specifically focusing on the illegal drug use in the Essendon Football Club that came to the medias attention in late 2011. Due to the severity of the doping occurring within the club, sponsorships were lost and most recently, players and staff were banned from the game they love. The media follows the Australian Football League (AFL) with great priority during the playing season. Without public relations, clubs would not be able to relay information such as player injury updates, team statistics and club news to the public. Through discussing the drug scandal within the Essendon Football Club, the way in which public relations deals with crisisâ€℠¢ within professional sport will also be reviewed. In doing this, theories; framing and relationship management will also be demonstrated and appropriately discussed in relation to how the above case study was handled by the public relations team. Sport is one of the greatest mediums followed by the media, especially in Australia. The Australian press covers all sports ranging from cycling to tennis to football and all of these are covered through a variety of channels. These channels includeShow MoreRelatedEssay on Public Relations in Professional Sports1508 Words   |  7 PagesPublic Relations in Professional Sports If industry is to be successful in dealing with public opinion . . . it must learn the language of the people, it must consider the study of public opinion as important as any phase of its operations. 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The Tell Tale Heart By Edgar Allan Poe - 918 Words

â€Å"The Tell-Tale Heart† by Edgar Allan Poe is a short story told by an unnamed narrator, who attempts to convince the reader that he is sane, while describing the events leading up to murdering an old man. Through the use of symbolism, imagery and irony, Poe reveals the thoughts of the narrator while he is recalling the events of the old man. The story starts off with the remarks of â€Å"TRUE! --nervous --very, very dreadfully nervous I had been and am† by the narrator. This remark can be inferred as an answer to a question just asked. Although the reader is given no information on what is going on around the narrator, it can be surmised that the narrator is about to confess his story to a judge, or therapist. The word â€Å"TRUE!† already acts a confession to the murder. He is not propelled to prove his innocence, but moved to prove his sanity. â€Å"why will you say that I am mad?...I heard all things in the heaven and in the earth.† Those two assert ions alone begin to reveal his paranoia and will lead to â€Å"hearing† the dead old man’s heart beating. He follows these statements with detailed evidence of what happened before and after the murder. â€Å"You should have seen how wisely I proceeded --with what caution --with what foresight --with what dissimulation I went to work! I was never kinder to the old man than during the whole week before I killed him.† While he attempts to provide rational explanations of his irrational thinking, he is ultimately admitting to murder. The story neverShow MoreRelatedThe Tell Tale Heart By Edgar Allan Poe1161 Words   |  5 PagesOut of a vast quantity of these English historians, one stood out to me, his name is Edgar Allan Poe. Poe’s writing had its own unique gothic and horror style. The story, The Tell-Tale Heart is one of his very popular pieces of literature, it not only tells a story, but uses Poe’s unique style of writing to silently incorporat e different genres, themes, and symbolism to create a sub-story within the text itself. Poe was born in Boston Massachusetts on January 19, 1809. At the young age of just 2 yearsRead MoreThe Tell Tale Heart By Edgar Allan Poe1569 Words   |  7 PagesIn the short story â€Å"The Tell-Tale Heart,† author Edgar Allan Poe employs several literary devices such as symbolism, allegory, and imagery. These devices enable us to see and better comprehend the story’s events through the eyes of the narrator. The narrator explains that he is extremely nervous but clarifies that he is not insane; he even goes so far as to share an event from his past to prove that he is not crazy. He believes that he loves the old man and has nothing against him except his horribleRead MoreThe Tell Tale Heart By Edgar Allan Poe Essay1477 Words   |  6 Pagesyourself and others that you weren’t in the wrong for doing something bad? Well, the narrator in the story The Tell-Tale Heart does. Edgar Allan Poe is known to write stories that are of Dark Romanticism. Dark romanticism is a literary genre that showcases gothic stories that portray torture, insanity, murder, and revenge. The story â€Å"The Tell-Tale Heart† is no different. Edgar Allan Poe does a great job with making the readers wonder throughout this short story. This allegory makes reader’s questionsRead MoreThe Tell Tale Heart By Edgar Allan Poe986 Words   |  4 Pagesbade the gentlemen welcome. The shriek, I said, was my own in a dream.† The Tell Tale Heart is one of Edger Allan Poe’s most famous and creepiest stories. The premise of this gothic short story is that a man’s own insanity gives him away as a murderer. By usi ng the narrators own thoughts as the story Poe displays the mental instability and the unique way of creating a gothic fiction. While other stories written by Poe reflect this same gothic structure and questionable sanity, this story has aRead MoreThe Tell Tale Heart By Edgar Allan Poe1502 Words   |  7 PagesThe author Edgar Allan Poe created a beautiful writing piece called â€Å"Tell Tale Heart†, which included literal elements such as mood, tone, and point of view. The story included a tremulous mood for the reader to be able to feel the excitement of the story. According to the text â€Å"Tell Tale Heart†, it states â€Å"And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror.† This illustrates that the details of the storyRead MoreThe Tell Tale Heart By Edgar Allan Poe1030 Words   |  5 PagesA Guilty- Mad Heart â€Å"Burduck then goes on to ponder how Poe used cultural anxieties and psychological panic to advantage.† (Grim Phantasms, G.A. Cevasco). In The Tell-Tale Heart by Edgar Allan Poe, a nameless man narrates the story of how he murdered an elderly man because of his eyes. In his short story The Tell-Tale Heart, Poe shows the themes of guilt and the descent into madness through the narrator, in this gothic horror story. Edgar Allan Poe wrote many gothic tales throughout his lifeRead MoreThe Tell Tale Heart By Edgar Allan Poe1133 Words   |  5 Pages Written in 1843, The Tell-Tale Heart by Edgar Allan Poe incorporates nearly all of the gothic elements. While this piece of art may not contain all of the gothic elements, it is the epitome of a gothic short story. In The Tell-Tale Heart, the setting seems to be inside an old house, which strengthens the atmosphere of mystery and suspense. The madness and overall insanity of the narrator illustrates the sense of high, overwrought emotion. The presence of creaking hinges and the darkness representRead MoreThe Tell Tale Heart By Edgar Allan Poe1644 Words   |  7 Pages Edgar Allan Poe was a prominent American writer whose writing reflected his tragic life. He began to sell short stories for profit after being forced to leave United States Military Academy for lack of financial support. Over the next decade, Poe published some of his best-known works, including The Fall of the House of Usher (1839), The Raven (1845), and The Cask of Amontillado (1846). It is in these stories that Po e established his unique dark writing style that often have the recurring themeRead MoreThe Tell Tale Heart By Edgar Allan Poe879 Words   |  4 PagesIn between guilt, paranoia and obsession The Tell-Tale Heart by Edgar Allan Poe uses several literary elements to support the themes of the story. The story is based on a gruesome murder of an old man. The author uses madness, obsession and guilt as themes to prove how the narrator is truly twisted and insane. Madness is the first theme of the story; in the beginning the narrator tries to convince the audience he is not mad (insane). â€Å"TRUE!... nervous very, very nervous I had been and am; but whyRead MoreA Tell Tale Heart By Edgar Allan Poe1156 Words   |  5 Pagescontain some level of madness. For example in the short stories â€Å"The Yellow Wallpaper† by Charlotte Perkins Gilman â€Å"The Tell-Tale Heart† by Edgar Allan Poe, both of the main character in these stories believe that they are perfectly wise, but their out of control behaviors proves that they’re mentally ill or to be more specific insane. In the short story â€Å"A tell-tale heart† the unknown narrator is telling us a story about his neighbor who is an old man but his of a vulture: blue pale eye is what