[雙語(yǔ)翻譯]城市規(guī)劃外文翻譯—城市環(huán)境色彩設(shè)計(jì)初探

1、字?jǐn)?shù)：英文 字?jǐn)?shù)：英文 3636 3636 單詞， 單詞，20879 20879 字符；中文 字符；中文 7078 7078 漢字 漢字出處： 出處：McLellan McLellan G, G, Guaralda Guaralda M. M. Exploring Exploring Environmental Environmental Colour Colour Design Design in in Urban Urban Con

2、texts[J]. Contexts[J]. The The Journal Journal of of Public Public Space, Space, 2018, 2018, 3(1): 3(1): 93-102. 93-102.外文文獻(xiàn) 外文文獻(xiàn) Exploring Environmental Colour Design in Urban ContextsAbstract The increasing complexity

3、 of urban colour and growing recognition of its psychological effects prompts rethinking of the current conceptual and methodological approaches to environmental colour design. Contemporary designers are challenged to un

4、derstand how evolving colour knowledge can be integrated with the fundamentals of colour design. This paper aims to elaborate on the concept of environmental colour composition (ECC) and outlines an alternative approach

5、to colour design in urban environments. A better understanding of the dynamic relationships between the tangible and perceptual elements of an ECC can bring new meaning to the consideration of colour as an integral compo

6、nent of city design. The proposed concepts of environmental colour events and scenarios provide a foundation for both further theoretical inquiry and practical application of synthesised colour knowledge in the design of

7、 urban environments.Keywords: environmental colour composition, environmental colour design, colour event, colour scenario‘What is the colour of your favourite public place?’ Surprisingly, this simple question often caus

8、es confusion among many interviewees. Indeed, the complexity and ambiguity of visual information presented to viewers in a contemporary urban space make it difficult to determine what the prevailing spatial colour is. Ho

9、wever, individuals. Whereas overstimulating environment features exposed saturated colours, strong contrasts and flickering illumination. An understimulating setting is usually monochromatic and lacks contrast and visual

10、 accents. While sensory overstimulation may increase anxiety and depression, understimulation causes deprivation or excessive emotional responses (Franz, 2006; Mahnke, 2004). According to Day (2004), the relationships be

11、tween urban forms, spaces and colour can be life sapping or life-filling.Over the last two decades, the use of innovative building materials and advanced lighting technologies has altered the complexity of colour pattern

12、s and visual experiences available to city dwellers. Porter and Mikellides (2009: 1) suggest that ‘facades can now change colour depending upon the perceptual point of view, they can thermochromatically colour-react to d

13、aytime and seasonal temperature shift, be chromatically animated by sensors, by light-projection systems or by plasma screens’.The increasing complexity of urban colour and the recognition of its psychological effects ha

14、s prompted rethinking of the conceptual and methodological approaches to environmental colour design. The challenge for contemporary designers is understanding how evolving colour knowledge can be integrated with the fun

15、damentals of colour design and how colour can be used to balance sensory stimulation and create desirable polychromatic experiences in urban contexts.Research in environmental colour psychology provides valuable informat

16、ion that can potentially guide design rationales but is not directly applicable to design methods (Anter & Billger, 2008). Sharpe (1981) stated that the extensive data on colour psychology must to be organised and ex

17、plained before a useful design methodology can be formulated. However, few scholars pursue systematic studies in this field from a designer’s perspective.Some leading architects search for their own methods to approach p