The Role of Environmental graphics in Urban spaces

2014

Addressing the problem of aesthetics in urban space nowadays implies dealing with new models of cities, in which sustainable development, regeneration, re-qualification and urban reuse become indispensable. The reuse of the city, in regions affected by a dramatic declining of population, might prove an opportunity for inventing new ways aimed at creating new urban public spaces and new shared meanings. In the prospect of a social construction of space, the urban models become achievable by resorting to an economic and social, as well as urban, landscape. The image of the urban space is at the same time the image of power, but also that of a public space in which new practices of art and architecture can generate renewed places. Due to the spread of new artistic practices, cities may achieve enhancements by the recovering of community spaces by promoting dialog, social cohesion and resilience. The understanding between artists and citizens can breed good practices and new models of c...

Colour is a tool of expression and communication which requires, on the part of designers, an updated knowledge of its scope of action. It is necessary, therefore, to understand the problems involved in the city of the end of the century, which will enable us to fully exploit its communicative and expressive potential. The research on the action of colour and its use as a tool of design of the urban image leads to the fact, today more than ever, that we have to admit that the science of colour is a science of information with a psychological and technical focus which has gained ground and has given back a referential function to colour in the contemporary city. Taking into account that daylight is the most important element that reveals colour appearance, this communication will emphasize the relationship between the changes of colour of daylight, the perceived colour of façades and the impact over the used paints. It will develop some provisional conclusions of the last researches of this team.

Manzar the scientific journal of landscape, 2016

| The present research with historical and epistemological dimensions, firstly studies the perception of urban landscape and its position in environmental interventions and also as a tool for analyzing the city during three temporal periods from 1960 till 1980; then by surveying the works in the fields of photography and cinema, studies the position of artistic visualization in urban landscape. This research is based on three groups of documents: The first group includes professional journals (architecture, urbanism, landscape) and several textbooks and dissertations; the second group is a collection of landscape design projects on which design cases have been identified; finally, two photographic collections and a selection of films made between 1957 and 1974. Photography and cinema are perfect indicants for the position of image in urban landscape via various ways such as landscape documentation and reading, developing creativity, playing a role as a tool for increasing people's participation and also making the city readable for the unprofessional population. The study of the connection between these artistic methods with professional fields in urbanism and landscape is an important step in the understanding of urban landscape history.

Today in literature of "Urban Art" in our country, the definition of it, is either based on the mission of art work to improve the quality of urban landscape or on a variety of art works in the city; however the interesting point here is that the Urban Art is not clearly determined in the previous studies. How can it affect the quality of urban landscape? And whether all works of art in the city are caused such qualities? With the distribution of artworks all over the cities and failure to reach their maximum determined targets, it seems that Urban Art has been backed away from its original essence and subdued by some styles attenuating its values as much as decorations and ornaments of city. Therefore, it has not only lost its meaningful presence in the city, but also [the present application of it] has led to some sort of confusion. To achieve the desired goals, this paper suggests considering "urban art" as a landscape phenomenon, because it depends on two components, "citizen" (human) as the "target audience" that urban art works are created for him, and "social space" as an environment to form perceptions and social interactions, not just a simple context of the works. Finally it concludes, in modern times, the most appropriate platform for urban art is not every urban space and public space, but it is a social space establishing the social connections as the highest goal of civic life to be able to invite the target audiences to understand art works and achieve urban qualities in this calling.

2012

ARTand PUBLICSPACEcan be symbolized as inseparable as melody and song.Missing either would lead to a mundane and unexciting experience to users.The dearth of art in public spaces maybe traced to the fear of art which pre-program in certain professional's mind. Thisaligned with Howett(1985) statement that the positioning of human ingenuity may endanger the earth unique equilibrium. Nowadays, through various studies and high awareness of art. the ideas of how to respond to the land and to fulfil the human needs has progressively developedthe idea of no fear in binding the art in the public spaces especially in parks and landscape areas. This article describes art in public spaces and their effects on the community they are located in.

2016

Today in terms of visual and general view, there are a lot of disturbances and disorders in cities. And with a little care, these disorders can be felt in all parts of the face of the city, So that the dominant urban centers has been colored or lighted without purpose and without coloring and lighting has been abandoned, In other words, the lighting and the coloring did not follow a specific design that causes confusion and Visual disturbances itself and missing a sense of calm, style and vitality in cities and caused to the rise of gray cities; so in present study by descriptive-comparative survey and using of the library studies and field observations, We tried up due to ability and general knowledge of Hamedan, to identify the needs of city's Chromatic and luminance and by considering the role of light and color in urban beautification and its impact on the perception of citizens and by qualifying of urban areas and visual perception and mental strengthening of citizens, desi...

The present article arises in the context of an urban rehabilitation process which took place in Bairro Alto, a neighbourhood in Lisbon. This process, which was set in movement in July of the year 2008, aimed, amongst other things, to re-establish a visual uniformity of the public surfaces that both integrate and delimitate this specific area. Indeed, for more than two decades, a variety of non-regulated and non-commissioned personal and visual expressions multiplied and were gradually rejected by the local actors. Having a durable rehabilitation as objective, the city council had the need to identify, preserve and promote the quality of some of these visual expressions whose authors are internationally recognised by credited contemporary art institutions such as the Tate Modern Museum, the Cartier Foundation, and so on. This being, the definition of the theme in analysis, that is, “Urban Art”, is clarified through a chronological summary of the terms' applications. Given the complexity of the term itself only the relevant aspects of its definition to this paper are here presented. The analysis methods adopted are those which are generally applied to analyse the characteristics of public spaces and here identified to be useful to analyse “Urban Art”

2012

Graphic design draws the form of the interaction among different entities. Citizens, administrators, institutions and local investors are specific categories of entities: all of them are users (sometimes also providers) of urban services. Graphic design is a useful tool to coordinate the often contrasting interests of city users and stakeholders towards the use of public services and facilities. The graphic design process includes:-focus on specific local needs (what has to be improved)-highlight on addressees of the design project (communication targets): i.e. inhabitants and/or foreign investors, tourists, etc.-design out put that, according to the previous steps, may include a range of products, from way finding system (integrating i.e. public transport, pedestrian walks, monuments' signage), to social and civic campaign encouraging some habits-like cultural integration (i.e through posters and flyers)-, to place branding campaign (touristic promotion abroad), etc. As result, graphic design can contribute to reinforce and rationalize the offer of local services. This affects the way people perceive opportunities and what use they make of public spaces. Best achievements are reached when the graphic design process is integrated to urban design and urban planning strategies. A selection of case studies and best practices will be shown. Some Western European cities like Bristol, Amsterdam and Berlin have recently adopted a combination of urban-and communication design strategies. Even if the cultural, economical and historical background of these cities is very different than that of Tirana, these case histories may offer interesting methodologies to the need of an increment of local services' offer and welfare. 2 INTRODUCTION Graphic design shapes the relationship among entities. Citizens, administrators, institutions and investors are specific categories of entities: they are players in the urban context. Graphic design (also called in a wider meaning visual design or communication design) can be a useful tool to coordinate the often contrasting interests of city users and stakeholders towards an increment of the use of public services and facilities. Public design and info-design are the two branches of graphic design whose task is to draw the form of communication among different types of players in a city or in a territory. On the one hand, the aim of public design is that of communicating which services are available and how to use them (i.e. when, where, etc.) to a large audience-possibly all city users. On the other one, info-design aims at giving the most suitable form to the content, according to the category of users (i.e. young or elderly people, natives or foreigners), their needs (how and when getting the information), etc. Both of them are basically two top-down communication actions: from those who decide polices and provide services to the users.

MATEC Web of Conferences, 2016

The authors discuss the challenges, which face the person in relation to the culture of creating a sustainable urban environment. Urban environment is seen as space of human existence, influencing his spiritual and physical health. All the specialists engaged in the urban environment, think about the culture of its formation, unfortunately, only from an institutional point of view. Differently organized human environment inevitably affects the behavior, psycho-emotional state of a person, his perception and understanding of space. The cultural heritage of society fits in the space of an artificial environment that man has created and determines human behavior. To solve the problems of the urban environment, it is necessary to apply a set of interrelated technical, social, environmental, aesthetic and other measures. In this capacity, landscape design can be seen as a set of methods to create a sustainable urban environment to ensure harmonious living. The given paper presents the results of studies of innovative materials in the field of the modern urban environment.

URBAN DESIGN International, 1997

This paper discusses the emerging use of public art in cities as a means of positively transforming the urban environment. It emphasizes the need for a symbiosis between an appropriate urban design and the natural transformation that occurs with the placement of sculptures in an urban context. It comments on several examples of planned artistic interventions and, in particular, analyses a recent major project of urban design in Concepcion, the third largest city in Chile. An environmental vision, that addresses itself to the contemporary city's development, has also to consider that urban spaces should provide adequate venues for leisure and civic entertainment for the inhabitant. Historically, the notion of art has been associated with the degree of culture of society and, indeed, it represents the expression and spirit of our urban communities. Hence, together with the macro-planning goals of development, there exists a chance to restore people's sense of belonging and pride of place, providing adequate spaces related to artistic manifestations that can contribute to the overall quality of life in neighbourhoods and inner city areas. The conclusions suggest that these types of artistic expression can be a key factor, but only by integration, that is a combination of an appropriate scale of intervention through urban design, rather than 'parachuting' the art into different places. 'Art is the only one way to get away, without leaving home' (Graffiti in Harvard Square, Boston 1992.