Fly in color. A chromatic “model” for the cabin of a commercial aircraft

The European research CASTLE (Cabin System Design Towards Passenger Wellbeing) puts the passenger's perception of well-being at the center of a prototype commercial aeronautics project. From this point of view, the evaluation of ergonomics and the travel experience become the objectives of an analysis of the space/context in which color, integrated with the functional components, of the shape and materials, becomes a tool for the concept design of the cabin space. The methodological approach developed therefore entrusts color to a primary role in defining the state of well-being and identity of the cabin space, through a "color model" that can be scaled in relation to the colors that each company will choose for its own color image

Пројектантски принципи за постизање просторности у ентеријеру

Achieving spatiality is one of the essential topics in designing the ambience in which a certain visual effect can be carried out or a higher level of spatial comfort obtained. The methods relied on to achieve this are various: from shaping the physical boundaries of space by use of open plan, flexibility, enfilade or circular connection, partial, directed or complete opening of space towards its surroundings, up to application of some of the optical illusions that redefine the experience of space boundaries. Depending on the method used, spatial contours can be clearly defined or more or less obvious, or a space can be formed, which does not reveal all its qualities through static observation, inviting the viewers to pass through it in order to fully perceive it. If there is a lack of physical possibilities, and also as an addition to previous methods, it is also possible to change the perceptive image of the space through virtual build-up with the help of some of the optical illusions. The aim of this paper is systematization and critical examination of basic designers’ principles which, in the domain of organization, shaping or materialization of the interior, achieve a higher level of spatiality.Постизање просторности је једна од есенцијалних тема када је у питању пројектовање амбијента у коме се жели постићи одређени визуелни ефекат, или остварити виши ниво просторног комфора. Методе којима се то постиже могу бити различите: од уобличавања физичких граница простора применом отвореног плана, флексибилности, анфиладе или кружне везе, делимичног, усмереног или потпуног отварања простора према окружењу, па све до примене неке од оптичких илузија којима се редефинише доживљај граница простора. У зависности од примењеног метода, просторне контуре могу бити јасно одређене и мање или више очигледне, или се може формирати простор који не открива све квалитете приликом статичног посматрања, већ је неопходно проћи кроз њега да би се сагледао. У одсуству физичких могућности, али и као допуну претходних приступа, могуће је изменити перцептивну слику простора виртуелном доградњом помоћу неке од оптичких илузија. Постоје различити приступи којима се може утицати на визуелну перцепцију посматрача и формирање представе о границама простора. Циљ рада је да се размотре и систематизују основни пројектантски принципи којима се у ентеријеру може постићи виши ниво просторности. У анализи су размотрени карактеристични примери, код којих је примењен бар један од пројектантских принципа (отворени план, флексибилност простора, анфилада или кружна веза) којима се у физичком смислу конфигуришу границе простора, као и различити приступи којима се може утицати на перцепцију посматрача и формирање виртуелне представе о границама простора, као што су примена боје, светла или огледала у ентеријеру

Design principles for achieving spatiality in living space

Постизање просторности је једна од есенцијалних тема када је у питању пројектовање стамбеног простора у коме се жели остварити виши ниво просторног комфора. Методе којима се то постиже могу бити различите: од неутралисања физичких баријера у ентеријеру, чиме се простор отвара изнутра; повременог (флексибилног) проширења неке од граница простора; делимичног, усмереног или потпуног отварања простора према окружењу; формирања система циркуларних комуникација; па све до примене неке од оптичких илузија којима се редефинише доживљај ограничености простора. У зависности од примењеног метода, границе простора могу бити јасно одређене и мање или више очигледне, или се може формирати простор који не открива све квалитете приликом статичног посматрања, већ је неопходно проћи кроз њега да би се сагледао. У одсуству физичких могућности, али и као допуну претходних приступа, могуће је изменити перцептивну слику простора виртуелном доградњом помоћу неке од оптичких илузија. Циљ рада је да се размотре и систематизују основни пројектантски принципи којима се у организацији, обликовању или материјализацији стамбеног простора може постићи виши ниво просторностиAchieving spatiality is one of the essential topics in designing living space meant to offer a higher level of space comfort. There are various methods to reach this objective: from neutralising physical barriers in the interior, which would open the space from within; occasional (flexible) extension of certain space boundaries; partial, directed or total opening of the space towards the environment: forming systems of circular communications, and even application of some optical illusions that redefine the perception of space boundaries. Depending on the applied methods, space boundaries can be clearly marked or more or less obviously marked, or the space can be formed without revealing all its qualities to static observation, so the viewer has to go through it to obtain full perception of it. If there is a lack of physical possibilities or if improvement of previously mentioned approaches is required, it is possible to change the perceptive image of the space by virtual improvement through optical illusions. The aim of this paper is to consider and systematise basic design principles that can help organisation, shaping or materialisation of living space to achieve a higher level of spatiality

Parameters of spatial comfort in architecture

Перцепција реалности се доживљава путем чула, од којих свако у извесној мери доприноси формирању представе о осећају комфора. Када је у питању доживљај простора и просторности, најдоминантнији су визуелни и тактилни утицаји, чије информације надјачавају остала чула. У науци је опште прихваћено мишљење да постоји неколико основних категорија комфора – визуелни, термички, аудиторни (звучни), олфакторни (мирисни) и хигијенски комфор. За разлику од претходно поменутих термина, просторни комфор није јасно дефинисан, иако је један од кључних термина када се говори о људским потребама и функционалности простора у архитектури. Поред широке примене у пракси и чињенице да још увек не постоји јасно одређење овог термина у науци, његова примена се подразумева као еквивалент угодности простора. У истраживању су анализирани и систематизовани најзначајнији параметри чија примена пружа могућност за постизање просторног комфора, што не значи да ће просторни комфор бити постигнут јер у великој мери зависи од индивидуалне перцепције корисника простора. У циљу појашњења термина просторни комфор и формулисања његове прецизне дефиниције, основни допринос рада је анализа параметара путем којих се може постићи просторни комфор, као и преиспитивање тезе да просторни комфор чини осећај пријатности и задовољства који проистиче из физичких, визуелних и тактилних квалитета простора.The perception of reality is experienced through the senses, where each sense contributes to the way we form our picture of the feeling of comfort. When it comes to the perception of space and spatiality, the most dominant are visual and tactile influences, providing the information that outbalance other senses. A widely accepted opinion in science is that there are several main categories of comfort – visual, thermic, auditory, olfactory and hygienic. In contrast to previously mentioned terms, spatial comfort has not been clearly defined, even though it is one of the key terms when discussing human needs and functionality of space in architecture. Along with being widely used in practice and the fact that a clear scientific determination of this term is still lacking, its use is understood as the equivalent of comfort of a certain space. Our paper analyzed and systematized most significant parameters that can be applied to enable achievement of spatial comfort, which does not necessarily mean that such a spatial comfort will in fact be achieved, as this depends largely on individual perception of a space user. Aiming to clarify the term spatial comfort and determine its precise definition, the main contribution of this paper is the analysis of parameters that can contribute to spatial comfort, as well as reexamination of the thesis that spatial comfort includes the feeling of coziness and content resulting from physical, visual and tactile qualities of a certain space

“Mother and wife — genius — governess:” Anna Freud and the Analytic Environment

This thesis considers Anna Freud’s (1895-1982) early analytic environment (the combined space of her waiting room, bedroom and consulting room), at Berggasse 19 in Vienna, Austria. It explores the interrelation of space, psychoanalysis and biography, within a framework where interiority and interiors are considered agential tools. Built upon primary documents such as familial correspondence, photographs and relevant psychoanalytic theories, the following is, by necessity, a reconstruction of the child psychoanalyst’s analytic environment. The text progresses spatially through the rooms and examines what Anna considered as societal expectations directed towards her: “Mother and wife — genius — governess”. Beginning with the waiting room which Anna shared with her illustrious father and psychoanalyst, Sigmund Freud (1856-1939), the physical decorative manifestations of the highly gendered term ‘genius’ are explored. The bedroom, the next room in the analytic environment, opens with a discussion of Anna’s relation to the roles of mother and wife, making way for a discussion of asceticism and altruism, two factors which inform the arrangement of the bedroom’s furnishing. The consulting room marks a professional space as we observe Anna’s move from governess to child psychoanalyst. Likewise, the consulting room’s décor leads to a discussion of interiors at the threshold of fin-de-siècle and modern rapport to belongings. Ultimately, this thesis will argue that Anna’s negotiation of gendered social expectations offered an opportunity to redefine not only psychoanalytic techniques and models, but the very environment in which it belonged

Using binaural audio for inducing intersensory illusions to create illusory tactile feedback in virtual reality

Virtual reality has the potential to simulate a variety of real-world scenarios for training- and entertainment-purposes, as it has the ability to induce a sense of “presence”: the illusion that the user is physically transported to another location and is really “there”. VR and VR-technologies have seen a recent market resurgence due to the arrival of affordable, mass-market VR-display systems, such as the Oculus Rift, HTC Vive, PlayStation VR, Samsung GearVR, and Google Cardboard. However, the use of tactile feedback to convey information about the virtual environment is often lacking in VR applications. This study addresses this lack by proposing the use of binaural audio in VR to induce illusory tactile feedback. This is done by examining the literature on intersensory illusions as well as the relationship between audio and tactile feedback to inform the design of a software prototype that is able to induce the desired feedback. This prototype is used to test the viability of such an approach to induce illusory tactile feedback and to investigate the nature of this feedback. The software prototype is used to collect data from users regarding their experiences of this type of feedback and its underlying causes. Data collection is done through observation, questionnaires, interviews, and focus groups and the results indicate that the use of binaural audio in VR can be used to effectively induce an illusory sense of tactile feedback in the absence of real-world feedback. This study contributes insights regarding the nature of illusory sensations in VR, focusing on touch-sensations. This study also provides consolidated definitions of immersion and presence as well as a consolidated list of aspects of immersion, both of which are used to detail the relationship between immersion, presence, and illusory tactile feedback. Findings provide insight into the relationship between the design of audio in VR and its ability to alter perception in the tactile modality. Findings also provide insight into aspects of VR, such as presence and believability, and their relationship to perception across various sensory modalities.Dissertation (MIS)--University of Pretoria 2018.Information ScienceMISUnrestricte

Geometric proportional model of the church of the Ljubostinja monastery

The use of proportions is one of the oldest theoretical issues in architecture. However, sometimes geometry, with its specific shapes and constraints between them, can fully describe the logic of architectural design. This paper presents geometric proportional schemas of the Serbian medieval church of the monastery Ljubostinja (built around 1387), the representative of so-called Morava architectural style. The research is partly based on Ivo Štambuk’s proportional canon, which he applied on several churches, in wider Mediterranean region during prolonged period of time (4th to 15th c.). Štambuk’s proportional canon is based on two circles and one equilateral triangle constrained to each other and set relative to characteristic points of the church plan and cross-section, above all the location of the altar and the center of the church dome. By adding principles of triangulation and dynamic rectangles, this paper demonstrates more precise proportional model of the church plan and the cross-section through the dome. Results show that the proportions of the Ljubostinja’s church can be interpreted by dynamic rectangles (their diagonals are square roots of full numbers) with ratios 1:√2, 1:√3, 1:√5 and, in addition, by specific scheme of equilateral triangles which are constrained to the characteristic points of the church space: center point of the apse and the dome