Color has a large impact on our psychological and physiological responses. This study examines the value of color as a component in a healing environment for pediatric patient rooms by measuring color preferences among healthy children, pediatric patients, and design professionals. Environmental satisfaction is a significant mediator between the physical environment and children’s health. Previous color preference studies have typically been done with small color chips or papers, which are very different from seeing a color applied on wall surfaces. A simulation method allowed for investigating the value of color in real contexts and controlling confounding variables. The findings of this study demonstrated that blue and green are the most preferred, and white the least preferred color, by both children and design professionals. Children’s gender differences were found in that boys prefer red and purple less than girls. Pediatric patients reported lower preference scores for yellow than did healthy children. These findings lead to color application guidelines for designers to understand color more and eventually to create better environments for children and their families.

Color has a large impact on our psychological and physiological responses. This study examines the value of color as a component in a healing environment for pediatric patient rooms by measuring color preferences among healthy children, pediatric patients, and design professionals. Environmental satisfaction is a significant mediator between the physical environment and children’s health. Previous color preference studies have typically been done with small color chips or papers, which are very different from seeing a color applied on wall surfaces. A simulation method allowed for investigating the value of color in real contexts and controlling confounding variables. The findings of this study demonstrated that blue and green are the most preferred, and white the least preferred color, by both children and design professionals. Children’s gender differences were found in that boys prefer red and purple less than girls. Pediatric patients reported lower preference scores for yellow than did healthy children. These findings lead to color application guidelines for designers to understand color more and eventually to create better environments for children and their families.

This work is based on the assumption that in order to understand and apprehend the architectural space it is necessary to exam in detail each part that constitutes the totality of architecture. Therefore, the aim of this work is to understand the incremental process of interrelationships between the architectural elements existent in the so-called masses and nonexistent masses. Among these elements, windows and doors can be highlighted, being generally known as entrance ways. Data were gathered from a literature review that allowed a better understanding on the use of entrance ways in the composition of architectural spaces, over time. Following that, it was analyzed the use of composition of selected, residential buildings in Maceió. Data analyses suggest that windows and doors are considered, in large scale, architectural elements that control the flow of individuals, air and natural light, being highlighted from others constructive elements, given its spread use all over the buildings, which in turn considerably affects space in relation to its dimensions, functioning and other sensitive and compositive aspects. In general terms, entrance ways appear not to have evolved significanlty over time considering them as an architectural element, but have substantially evolved as a compositive element. One should consider each part of the building in relation to composition as letters of the alphabet to form both the spoken or written languages. / Este trabalho parte do pressuposto de que para compreender e interpretar os espaços arquitetônicos é necessário conhecer com profundidade cada parte constituinte da totalidade arquitetônica. Sendo assim, neste trabalho busca-se uma maior compreensão do processo evolutivo das inter-relações entre os elementos componentes do binômio cheios e vazios. Dentre outros elementos construtivos, destacam-se as portas e janelas, conhecidas de modo genérico como esquadrias. Os dados foram obtidos a partir da literatura que foi revisada de forma a permitir a compreensão sobre a utilização das esquadrias na composição do espaço arquitetônico através da linha do tempo. Em seguida, foram feitas análises compositivas e espaciais das esquadrias na arquitetura, utilizando edificações residenciais em Maceió. As análises deste estudo sugerem que as esquadrias são consideradas, em larga escala, elementos arquitetônicos controladores de fluxos de pessoas, ar e luz naturais, sendo destacadas dos demais elementos construtivos, dada a sua multiplicação por todo o edifício, fato este que afeta consideravelmente o espaço quanto ao seu dimensionamento, funcionamento e aos seus aspectos plástico e sensitivo. Ao longo do tempo, as esquadrias parecem ter evoluído muito pouco em relação às alterações de funções enquanto elemento arquitetônico, variando, porém, de forma substancial enquanto elemento compositivo. Cada parte do edifício está para a linguagem arquitetônica como as letras estão para a linguagem escrita ou falada.

The research investigates the dynamic relations between sound, space and the audience perception as related to an artist’s intention. What is the relation between sound and space in the sonic arts, and to what kind of merger does it lead? What relationship exists between the intention of the composer and the perception of the audience regarding architectural and environmental spaces? Is there a common thread of perception of architectural and environmental spaces among participants? Is embodiment a key for the perception of the dynamic relations of sound and space? The framework for the investigation is based on a map of three defined spaces (Real, Virtual, and Hyperbiological) included in a portfolio of six works (three electroacoustic compositions, two sound installations, and one performance), which lead to the analysis of the perception of space, namely, the perception of architectural and environmental spaces as required by the portfolio. The original knowledge resides in the exploration of a potential common representation (space and sound perception being, of course, a personal representation) of internal perceptual spaces and mental imageries generated by the works. The act of listening plays a major role in the development of the portfolio presented and includes Pauline Oliveros’ concept of deep listening (Oliveros 2005). Sound and space are intimately related in the portfolio. One particular element emerging from this relationship is the plastic quality of sound, meaning that sound is considered and observed as a material that is shaped by space. From this perspective the research investigates the ‘sculptural’ and morphological quality of the relationship between sound and space. The results include the specific language and signature of the artworks that delineate the intersection of music and fine arts. The portfolio pays a large tribute to several iconic artists present in the outposts of sound blurred by space. Composers and artists are therefore presented in the theoretical section in order to highlight how their pioneering works have influenced and informed the present research portfolio. The analysis of the perception of the artworks relates to a methodology based on an empirical survey inspired by phenomenology.

The following pages serve as a record of the tracing of wonder in the development of a project for a temple of light and shadow. They recount a search formed through the wading of a chaos that cherishes in its heart a luminous array of color and form; it is a documentation of discovery pulsing forth from intoxicating possibility. Within these wilds of new beginnings, from the countless paths left unventured, there comes to light an order. An arrangement of form brought forth and traced through points, lines then tone, dedicated to light and shadow, its existence and staging of moments within it serving to call forth from concealment, a manifestation of wonder. / Master of Architecture / The following pages serve as a record of the tracing of wonder in the development of a project for a temple of light and shadow. They recount a search formed through the wading of a chaos that cherishes in its heart a luminous array of color and form; it is a documentation of discovery pulsing forth from intoxicating possibility. Within these wilds of new beginnings, from the countless paths left unventured, there comes to light an order. An arrangement of form brought forth and traced through points, lines then tone, dedicated to light and shadow, its existence and staging of moments within it serving to call forth from concealment, a manifestation of wonder.

The aim of this dissertation is to explore the possibilities of architecture as a sensory phenomenon and to explore how we can experience architectural space through all our senses, and how architecture can influence how we experience our senses in space. The project is located within the cultural node identified within the Nelson Mandela Development Corridor (MDC) and the proposed building is one of a cultural centre for the visual and performing arts. The centre is aimed at creating a heightened awareness and insight into the creative processes of artists and performers for the general public, community, users and occupants of the centre and passers-by. This will be achieved through the creation of visual connections and physical interactions between the users, artists and performers and passers by as well has creating a heightened experience of space and place on a human scale for visitors, performers, artists and general public. The centre also incorporates retail, commercial and residential components in order to energise the square and centre throughout the day and night, creating an active 24hour environment, which is often lacking in a development of this nature. The activities of the centre, along with those of the existing Oeverzicht houses and old M.O.T.H. club, that have been incorporated into the development spill out onto a central urban activity square, where impromptu and planned performances are to be staged. The aim of the development is ultimately to develop a synthesis between arts, culture, economy and urban vitality by creating a platform for the arts. The aim of this dissertation is to explore the ability of spaces inside this building typology to assist in inspiring each of its occupants through the creation of memorable spatial experiences. / Dissertation (MArch(Prof))--University of Pretoria, 2010. / Architecture / unrestricted

Orientador: Roxane Helena Rodrigues Rojo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T18:17:16Z (GMT). No. of bitstreams: 1 Marsaro_FabianaPanhosi_M.pdf: 9593735 bytes, checksum: 0e7880010dace5dd3a3e4c95bc7054cc (MD5) Previous issue date: 2013 / Resumo: Esta dissertação de Mestrado, situada no campo da Linguística Aplicada, teve como objetivo analisar, sob uma perspectiva enunciativo-discursiva, o projeto gráfico-editorial de duas coleções de livros didáticos de Língua Portuguesa, recomendadas pelo Programa Nacional do Livro Didático, na edição de 2011, a saber, "Diálogo - Edição Renovada", da editora FTD, e "Tudo é Linguagem", da editora Ática. Na análise, procuramos entender de que forma o projeto gráfico-editorial e o projeto pedagógico do livro didático de língua portuguesa se inter-relacionam. Embasadas pela Teoria Bakhtiniana, defendemos a perspectiva que considera o livro didático de Língua Portuguesa como um enunciado em um gênero do discurso. Coerentes com essa Teoria, em nossa análise, respeitando os procedimentos metodológicos formulados por Bakhtin, partimos das situações concretas de enunciação para compreender de que modo se organizam, no gênero livro didático de Língua Portuguesa, seus temas, estilo e forma composicional. O projeto gráfico-editorial, nesse sentido, foi considerado parte fundamental da estruturação do discurso didático materializado nesse gênero. Para chegar a esse entendimento, baseamo-nos, principalmente, no conceito de forma arquitetônica, formulado pelo Círculo. Na análise, em comparação à coleção "Tudo é Linguagem", o projeto pedagógico de "Diálogo - Edição Renovada" nos pareceu mais propício ao desenvolvimento de um projeto gráfico-editorial consistente, integrado à concepção da coleção. As duas coleções, porém, cumprem igualmente os critérios do Programa Nacional do Livro Didático quanto ao projeto gráfico-editorial, ou seja, são legíveis, estabelecem hierarquia entre as informações e trazem ilustrações de qualidade. Acreditamos que o Programa Nacional do Livro Didático poderia oferecer critérios mais consistentes quanto ao projeto gráfico-editorial, para além dos requisitos mínimos para elaboração de um livro legível. Concluímos que o projeto gráfico-editorial é adequado na medida em que se relaciona produtivamente ao projeto pedagógico do livro didático, priorizando estratégias que valorizem e ampliem a proposta de ensino aprendizagem dos autores e não apenas soluções estéticas / Abstract: This Master's thesis, situated within the area of Applied Linguistics, has aimed at analyzing, from an enunciative-discursive perspective, the editorial-graphic project of two textbook collections for the teaching of Brazilian Portuguese language, recommended by the 2011 National Program for the Textbook, named "Diálogo - Edição Renovada", (FTD eds.), and "Tudo é Linguagem", (Ática eds.). Throughout the analysis, we have tried to understand how both the editorial-graphic and the pedagogical projects relate in the Brazilian Portuguese language textbook. Grounded on the Bakhtinian Theory, the theoretical perspective which considers the Brazilian Portuguese language textbook as a speech genre enunciation is taken. In accordance with that theory, in our analysis, and respecting the methodological procedures stated by Bakhtin, we departed from concrete enunciative situations to understand how themes, style and the composing structure are organized in the Brazilian Portuguese language textbook genre. According to this perspective, the editorial-graphic project has been considered as a key element for basis of the didactic discourse materialized in this genre. We came to grips with such an understanding of the matter by basing our analysis mostly in the architectural concept of form as conceived by the Circle. In the analysis, by comparing to the "Tudo é Linguagem" book collection, the pedagogical project of "Diálogo - Edição Renovada" proved us to be better suitable to the development of a consistent editorial-graphic project, integrating the concept established in the collection. Nevertheless, both didactic collections meet the criteria established by the National Program for the Textbook in terms of editorial-graphic project, i.e., they prove to be legible; there is a established hierarchy amongst information and they both present quality illustrations. We strongly believe that the National Program for the Textbook could have offered better consistent criteria regarding the editorial graphic project, beyond the minimum required items for the elaboration of a readable book. All in all, we come to terms to the adequacy of the editorial-graphic project as it not only focus on aesthetic solutions but also interacts productively with the pedagogical project of the textbook, prioritizing strategies that enhance and value the teaching-learning approach offered by the authors / Mestrado / Lingua Materna / Mestra em Linguística Aplicada

This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.