Preference for accent and background colors in interior architecture in terms of similarity/contrast of natural color system attributes

[EN] Color combination criteria are said to entail an affective response in interior design. We investigated the color combination criteria that orient the preference of current observers, after Le Corbusier's 1931 Salubra keyboards. We explored the similarity/contrast in Natural Color System (NCS) hue, blackness, and chromaticness in 312 combinations with four colors, two backgrounds and two accent colors, coming from 43 individual colors, on the walls of a simulated interior of a bedroom from the Swiss Pavilion (Le Corbusier, 1930-1931). Participants were 644 students of architecture and interior design in Western Europe and Near East, who evaluated with a Likert scale their preference for virtual images via an online survey. Results indicate that the most preferred color combinations are those with hues closer in the color wheel, being the similarity between hues in the backgrounds more important than in the accent colors, and with NCS B30G to G as the most preferred hues. Observers preferred color compositions with blackness under 10% and similar blackness between the two background colors, together with a certain blackness contrast between these background colors and the two color accents. Similarly, observers liked color compositions with low chromaticness and low chromaticness difference among the four colors of the composition.Serra, J.; Gouiach, Y.; Manav, B. (2022). Preference for accent and background colors in interior architecture in terms of similarity/contrast of natural color system attributes. Color Research & Application. 47(1):135-151. https://doi.org/10.1002/col.2269813515147

Theory of Colour Harmony and Its Application

The colour represents an essential element of visual and graphic communications. It plays an important role in the perception of visual design and it is significant for all participants in the process of planning, developing and promoting graphic products. Designers are interested in a psychological and presentational aspect of colours, while to the technologists the colour represents one of the most important quality attributes. The process of choosing colours that are harmonious, usable and efficient is complex. In addition, many designers have inadequate background knowledge of colour theory, which could help them with the selection of colours. As a result, designers usually spend a great deal of time and expend significant effort in choosing appropriate colour combinations. In this article, the importance of colour harmony and its application when extracting colours, rating and generating colour schemes is presented

Computer mediated colour fidelity and communication

Developments in technology have meant that computercontrolled imaging devices are becoming more powerful and more affordable. Despite their increasing prevalence, computer-aided design and desktop publishing software has failed to keep pace, leading to disappointing colour reproduction across different devices. Although there has been a recent drive to incorporate colour management functionality into modern computer systems, in general this is limited in scope and fails to properly consider the way in which colours are perceived. Furthermore, differences in viewing conditions or representation severely impede the communication of colour between groups of users. The approach proposed here is to provide WYSIWYG colour across a range of imaging devices through a combination of existing device characterisation and colour appearance modeling techniques. In addition, to further facilitate colour communication, various common colour notation systems are defined by a series of mathematical mappings. This enables both the implementation of computer-based colour atlases (which have a number of practical advantages over physical specifiers) and also the interrelation of colour represented in hitherto incompatible notations. Together with the proposed solution, details are given of a computer system which has been implemented. The system was used by textile designers for a real task. Prior to undertaking this work, designers were interviewed in order to ascertain where colour played an important role in their work and where it was found to be a problem. A summary of the findings of these interviews together with a survey of existing approaches to the problems of colour fidelity and communication in colour computer systems are also given. As background to this work, the topics of colour science and colour imaging are introduced

Generative design for agile robot based additive manufacturing for sustainable aesthetic furniture products

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University LondonThe Furniture manufacturing industry has been slow to adopt the latest manufacturing technologies, relying heavily upon specialised conventional machinery. This approach not only requires high levels of specialist knowledge, training and capital investment, but also suffers from significant traditional subtractive manufacturing waste and high logistics costs due to centralised manufacturing, with high levels of furniture product not re-cycled or re-used at the end of its life cycle. This doctoral research aims to address these problems by establishing a suitable digital manufacturing technology framework concept to create step changes in the furniture design to manufacturing pathway. The design stage has the potential to contribute massively to the environmental impact of products. In this research, a Robot Base Additive Manufacturing Concept cell for future furniture manufacturing is reported. Generative design illustrates its potential contribution to waste reduction, increased manufacturing efficiency, optimised product performance and reduced environmental impact constituting a truly lean and progressive future for Furniture Manufacturing Design. Through case studies the research will show the potential for exploiting Single Minute Exchange of Die (SMED) concepts through the rule-based AI generative design post-processing of geometry for robot manufacturing, examination of different methodologies for printing and thus the resultant potential for ‘Mass Customised’ Furniture. Aesthetics, structures and the use of Smart Materials not previously economic to manufacture will be considered to demonstrate the potential to flatten the traditional Bill of Materials (BOM) and reduce logistical issues. The Furniture Industry has developed from an artisan driven craft industry, whose pioneers saw themselves reflected in their crafts and cherished the sense of pride in the originality of their designs, now largely re-configured to an anonymous collective mass output. Digital technologies and smart materials enhancement allow innovative structural fabrication, presenting a plethora of potential for networked artisan craft industries to create extraordinary aesthetics and customisable product designs. Integrating these developments with the computing power of generative design provides the tools for practitioners to create concepts which are well beyond the insight of even the most consummate traditional designers. This framework is becoming an active area of research for application in many different industries. The step changes are empowering artisans to revolutionise the design to manufacture workflow, giving momentum to the concept of conceiving a pre-industrial model of manufacturing with bespoke sustainable design at its heart. The elements of the framework will be described and illustrated using case study models highlighting the potential for creating unique aesthetics for sustainable furniture products. The research presents the methodology to create and compare iterations employing different rule sets through a commercial generative design application and how these outputs can be further customised using parametric strategies in NURBS modellers, with the ultimate goal of creating aesthetic ‘Lean’ and sustainable innovative furniture of the future, thus illustrating how the creative use of digital networks in linking individual practitioners in the making of aesthetic customised products, manufactured local to their markets, could be achieved using this framework. This research shows a robust ‘green revolution’ is evidently necessary to satisfy the needs of an ever-growing population, allowing the world to thrive within the means of this planet. New approaches to the use of technologies can achieve these changes in Furniture Manufacturing and establish a truly enhanced Circular Economy. Governments around the World are encouraging these initiatives and these approaches are identified and rationalised alongside the drivers for change which will have major impacts on this manufacturing sector. This research critically examines the Furniture Design and Manufacturing technologies presented through a TRIZ framework against the desired outcomes. Using this approach together with the physical development of a robotic test cell, combined with case study data significant contributions to knowledge in the focused area of Furniture Manufacturing are identified, detailed and enhance Furniture Design, Manufacturing and Environmental Impact for the future. The focused approach also serves to highlight areas requiring further research

Fast photorealistic techniques to simulate global illumination in videogames and virtual environments

Per al càlcul de la il·luminació global per a la síntesi d'imatges d'escenaris virtuals s'usen mètodes físicament acurats com a radiositat o el ray-tracing. Aquests mètodes són molt potents i capaços de generar imatges de gran realisme, però són molt costosos. A aquesta tesi presenta algunes tècniques per simular i/o accelerar el càlcul de la il·luminació global. La tècnica de les obscurances es basa en la suposició que com més amagat és un punt a l'escena, més fosc s'ha de veure. Es calcula analitzant l'entorn geomètric del punt i ens dóna un valor per a la seva il·luminació indirecta, que no és físicament acurat, però sí aparentment realista.Aquesta tècnica es millora per a entorns en temps real com els videojocs. S'aplica també a entorns de ray-tracing per a la generació d'imatges realistes. En aquest context, el càlcul de seqüències de frames per a l'animació de llums i càmeres s'accelera enormement reusant informació entre frames.Les obscurances serveixen per a simular la il·luminació indirecta d'una escena. La llum directa es calcula apart i de manera independent. El desacoblament de la llum directa i la indirecta és una gran avantatge, i en treurem profit. Podem afegir fàcilment l'efecte de coloració entre objectes sense afegir temps de càlcul. Una altra avantatge és que per calcular les obscurances només hem d'analitzar un entorn limitat al voltant del punt.Per escenes virtuals difuses, la radiositat es pot precalcular i l'escena es pot navegar amb apariència realista, però si un objecte de l'escena es mou en un entorn dinàmic en temps real, com un videojoc, el recàlcul de la il·luminació global de l'escena és prohibitiu. Com les obscurances es calculen en un entorn limitat, es poden recalcular en temps real per a l'entorn de l'objecte que es mou a cada frame i encara aconseguir temps real.A més, podem fer servir les obscurances per a calcular imatges de gran qualitat, o per seqüències d'imatges per una animació, com en el ray-tracing. Això ens permet tractar materials no difusos i investigar l'ús de tècniques normalment difuses com les obscurances en entorns generals. Quan la càmera està estàtica, l'ús d'animació de llum només afecta la il·luminació directa, i si usem obscurances per a la llum indirecta, gràcies al seu desacoblament, el càlcul de sèries de frames per a una animació és molt ràpid. El següent pas és afegir animació de càmera, reusant els valors de les obscurances entre frames. Aquesta última tècnica de reús d'informació de la il·luminació del punt d'impacte entre frames la podem usar per a tècniques acurades d'il·luminació global com el path-tracing, i nosaltres estudiem com reusar aquesta informació de manera no esbiaixada. A més, estudiem diferents tècniques de mostreig per a la semi-esfera, i les obscurances es calculen amb una nova tècnica, aplicant depth peeling amb GPU.To compute global illumination solutions for rendering virtual scenes, physically accurate methods based on radiosity or ray-tracing are usually employed. These methods, though powerful and capable of generating images with high realism, are very costly. In this thesis, some techniques to simulate and/or accelerate the computation of global illumination are studied. The obscurances technique is based on the supposition that the more occluded is a point in the scene, the darker it will appear. It is computed by analyzing the geometric environment of the point and gives a value for the indirect illumination for the point that is, though not physically accurate, visually realistic. This technique is enhanced and improved in real-time environments as videogames. It is also applied to ray-tracing frameworks to generate realistic images. In this last context, sequences of frames for animation of lights and cameras are dramatically accelerated by reusing information between frames.The obscurances are computed to simulate the indirect illumination of a scene. The direct lighting is computed apart and in an independent way. The decoupling of direct and indirect lighting is a big advantage, and we will take profit from this. We can easily add color bleeding effects without adding computation time. Another advantage is that to compute the obscurances we only need to analyze a limited environment around the point. For diffuse virtual scenes, the radiosity can be precomputed and we can navigate the scene with a realistic appearance. But when a small object moves in a dynamic real-time virtual environment, as a videogame, the recomputation of the global illumination of the scene is prohibitive. Thanks to the limited reach of the obscurance computation, we can recompute the obscurances only for the limited environment of the moving object for every frame and still have real-time frame rates. Obscurances can also be used to compute high quality images, or sequences of images for an animation, in a ray-tracing-like. This allows us to deal with non-diffuse materials and to research the use of a commonly diffuse technique as obscurances in general environments. For static cameras, using light animation only affects to direct lighting, and if we use obscurances for the indirect lighting, thanks to the decoupling of direct and indirect illumination, the computation of a series of frames for the animation is very fast. The next step is to add camera animation, reusing the obscurances results between frames. Using this last technique of reusing the illumination of the hit points between frames for a true global illumination technique as path tracing, we study how we can reuse this information in an unbiased way. Besides, a study of different sampling techniques for the hemisphere is made, obscurances are computed with the depth-peeling technique and using GPU

Computational Color Harmony based on Coloroid System

email