THE ROLE OF COLOR IN SENSE OF PLACE

Tajrish and Hassan Abad Squares - Tehran

POLITECNICO DI MILANO
MASTER THESIS Student: Romina Khalili
URBAN PLANNING AND POLICY DESIGN
FACULTY OF ARCHITECTURE AND URBAN PLANNING Thesis Adviser: Professor Rossella Salerno
 POLITECNICO DI MILANO

FACULTY OF ARCHITECTURE AND URBAN PLANNING

MASTER THESIS

URBAN PLANNING AND POLICY DESIGN

The Role of Color in Sense of Place

Case Study: Hassan Abad and Tajrish Squares - Tehran

THESIS ADVISER: PROFESSOR ROSSELLA SALERNO

STUDENT: ROMINA KHALILI

SPRING 2019
ACKNOWLEDGEMENTS

I would like to first thank Almighty God for all his blessings, especially for being able to complete
this work which I hope will contribute to the welfare of people.
I would like at this juncture to express my deepest appreciation and gratitude to my supervisor
Professor Rossella Salerno for her support, assistance and advice throughout my thesis at
Politecnico di Milano.
Finally I would like to dedicate this work to my parents. I always tried my best to make them proud
of me. They have always been there to support me. They always give me encouragement,
enthusiasm and invaluable assistance. Without all this, I might not be able to complete this subject
properly. No words can ever express what they mean to me and how grateful I am to have them.

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ABSTRACT

Cityscape is an objective reality that every person achieves and experiences in the process of
interacting with the city and evaluate in his mind that leads to perception of perspective. Colors are
one of the elements which can influence people in different ways and can reflect culture, beliefs and
even emotions of the people.
Different colors can stimulate different emotions in people and they are one of the important
elements in creating spaces. Therefore, in order to optimize the use of color and create responsive
urban environments, it seems that it is important to know the features of the colors. Unconscious
and disregarded use of color and carelessness about effects of colors on people can cause to create
spaces which are not responsive to people’s need but utilization of colors in a correct way in urban
spaces create a sensation full of vivacity and calmness on citizens and improve the sense of place.

Ancient cities were harmonic and homogenic. When we walk through these cities, we can
experience authentic and memorable places which each of them has their own unique characters
because of unique climatic and cultural aspects. But in today’s modern world everything is
changing; colors and spatial effects seems less important and cities are losing their local colors
which are rooted in the geography, culture and tradition; and turning to the global cities with no
identities.
When the colors exist without aim and coordination, cities face with deterioration of quality and
that is the subject which today’s world encounter with it. Therefore, it is important to increase the
sense of place by using proper colors based on the parameters of beautification, identity, bahvior
and function.

Take a look at big cities like Tehran, always face dusty cities with a multitude of colors and shade
of gray. Improper use of colors in this kind of cities cause lack of special color identity and sense of
place and belonging for the citizens. Also, there are different places which are colored without aim
or left without color that it causes people not to have any special memory about being in these
places.

Thus, the purpose of the paper is to achieve a desired colorscape in the city and improve the identity
of the city by promoting sense of place and belonging for the users. Therefore, some special
guidelines and policies have been suggested for the city of Tehran.

Key words: Color, Colorscape, Sense of place, Identity, Urban Colorscape Planning

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ABSTRACT

Area urbana è una realtà oggettiva che ogni persona realizza e sperimenta nel processo di
interazione con la città e valuta nella sua mente che conduce alla percezione della prospettiva. I
colori sono uno degli elementi che possono influenzare le persone in modi diversi e possono
riflettere la cultura, le credenze e persino le emozioni delle persone.
Colori diversi possono stimolare emozioni diverse nelle persone e sono uno degli elementi
importanti nella creazione di spazi. Pertanto, per arrivare all’ottimo uso del colore e creare una
risposta ambienti urbani, sembra che sia importante conoscere le caratteristiche dei colori. L'uso
inconscio e disattenzionato del colore e della noncuranza sugli effetti dei colori sulle persone può
causare la creazione di spazi che non rispondono alle esigenze delle persone ma l'utilizzo dei colori
in modo corretto negli spazi urbani crea una sensazione piena di vivacità e calma nei cittadini e
migliora la senso del appartenenza al luogo.

Le città antiche erano armoniche e omogenee. Quando camminiamo attraverso queste città,
possiamo sperimentare luoghi autentici e memorabili che ognuno di loro ha i propri personaggi
unici a causa di aspetti climatici e culturali. Ma nel mondo moderno di oggi tutto sta cambiando; i
colori e gli effetti spaziali sembrano meno importanti e le città stanno perdendo i loro colori locali
che sono radicati nella geografia, nella cultura e nella tradizione; e diventeranno alle città globali
senza identità.
Quando i colori esistono senza scopo e coordinamento, le città affrontano il deterioramento della
qualità e questo è il tema che il mondo di oggi incontra con esso. Pertanto, è importante aumentare
il senso del appatenenza al luogo usando colori appropriati basati sui parametri di abbellimento,
identità, comportamento e funzione.

Dando un'occhiata alle grandi città come Teheran, affronta sempre le città cupe e polverose con una
moltitudine di colori e sfumature di grigio. L'uso improprio dei colori in questo tipo di città causa
la mancanza di un'identità cromatica speciale e il senso del luogo e dell'appartenenza dei cittadini.
Inoltre, ci sono diversi luoghi che sono colorati senza scopo o lasciati senza colore che inducono le
persone a non avere nessun ricordo speciale dell'essere in questi luoghi.

Pertanto, lo scopo di qusto progetto è quello di ottenere un desiderato paesaggio ai colori in città e
migliorare l'identità della città promuovendo il senso del luogo e dell'appartenenza per gli utenti.
Pertanto, alcune linee guida e politiche speciali sono state suggerite per la città di Teheran.

Le Parole Chiavi: Colore, Pesaggio ai Colori, Identita, Pianificazione del paesaggio ai colori urbano

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CONTENTS

Introduction.....................................................................................................................................1
Practical Studies............................................................................................................................6
1. Practical Background.................................................................................................................6
1.1. Acquaintance with Color Concepts.....................................................................................7
1.2. Color and Urban Landscape................................................................................................25
1.3. Color and Sense of Place...................................................................................................38
2. Experimental Background.........................................................................................................44
2.1. Global Experiences............................................................................................................45
2.2. Piano Del Colore (The Color Plan).....................................................................................51
3. Conceptual Framework............................................................................................................58
3.1. Relation of Color and Sense of Place................................................................................59
3.1.1. Color and Beautification
3.1.2. Color and Identity
3.1.3. Color and Function
3.1.4. Color and Behavior
3.2. Colorscape Planning and Management General Goals.......................................................62
3.3. Colorscape Planning and Management General Principles...............................................62
Experimental Studies....................................................................................................................66
4. Evaluating the Colorscape of Tehran......................................................................................67
4.1. Tehran and The Role of Squares.........................................................................................69
4.1.1. Hassan Abad Square..................................................................................................70
4.1.2. Tajrish Square............................................................................................................80
- Facade
- Pavement
- Extensions
- Urban Furniture
- Natural Environment
- Activities
- Lighting
5. Designing Guidlines.................................................................................................................94
5.1. Composition of Vision.......................................................................................................95
5.2. Designing Guidelines.......................................................................................................97
5.2.1. Substantial Designing Policies....................................................................................97
5.4.2. Procedural Designing Policies.................................................................................112
5.3. Conclusion.......................................................................................................................114
References....................................................................................................................................117

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LIST OF FIGURES

Figure 1: Function of colors..............................................................................................................1

Figure 2: Color as a way of expressing by ancient man..................................................................7
Figure 3: Light and colors.................................................................................................................8
Figure 4: Newton’s prism................................................................................................................8
Figure 5: The lighting condition......................................................................................................9
Figure 6: The spectral properties of color......................................................................................10
Figure 7: Seeing Colors.................................................................................................................10
Figure 8: Wilhelm Ostwald color system........................................................................................11
Figure 9: Double pyramid chart of A. Höfler..................................................................................12
Figure 10: Hue, tint, tone and shade..............................................................................................12
Figure 11: Parameters for description of color................................................................................12
Figure 12: The Munsell system of color notation..........................................................................14
Figure 13: Natural Color System (NCS).........................................................................................15
Figure 14: How NCS color system is calculated...........................................................................15
Figure 15: Color wheel..................................................................................................................16
Figure 16: Warm colors...................................................................................................................17
Figure 17: Cold colors.....................................................................................................................17
Figure 18: Warm and Cold colors..................................................................................................18
Figure 19: Light colors....................................................................................................................18
Figure 20: Dark colors...................................................................................................................19
Figure 21: Vivid colors..................................................................................................................19
Figure 22: Dull colors....................................................................................................................19
Figure 23: Color categories.............................................................................................................20
Figure 24: Color Harmony.............................................................................................................21
Figure 25: Perception of color by all five senses............................................................................22
Figure 26: Red.................................................................................................................................23
Figure 27: Yellow...........................................................................................................................23
Figure 28: Green............................................................................................................................23
Figure 29: Blue..............................................................................................................................23
Figure 30: Purple...........................................................................................................................24
Figure 31: Brown............................................................................................................................24
Figure 32: White.............................................................................................................................24
Figure 33: Black............................................................................................................................24
Figure 34: Important colors in different religious.........................................................................25
Figure 35: Mono-Chrome and Multi-Chrome spaces.....................................................................27
Figure 36: Temporary and permanent urban element.....................................................................28
Figure 37: Building Facade...........................................................................................................29
Figure 38: Yellow post box...........................................................................................................30
Figure 39: British telephone booth..............................................................................................30
Figure 40: Children’s playground.............................................................................................30
Figure 41: Traffic sign...................................................................................................................31
Figure 42: Traffic light....................................................................................................................31

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Figure 43: Advertising billboard....................................................................................................31
Figure 44: Graffiti drawing.............................................................................................................32
Figure 45: Wall art on the stairs......................................................................................................32
Figure 46: Citizens in Iran with dark clothes................................................................................32
Figure 47: Citizens in Italy with coloful clothes...........................................................................32
Figure 48: Private cars....................................................................................................................33
Figure 49: Red buses in Tehran.....................................................................................................33
Figure 50: Taxi station in Tehran....................................................................................................33
Figure 51: Human, color and environment relationship.................................................................34
Figure 52: Objective and Subjective factors.................................................................................35
Figure 53: Conceptual design process to create high quality environment..................................36
Figure 54: Well-being factors.........................................................................................................39
Figure 55: Components of urban design quality...........................................................................40
Figure 56: Definition of sense of place.........................................................................................41
Figure 57: Colorful buildings of Oslo............................................................................................45
Figure 58: Collecting color samples from buildings of Oslo.........................................................45
Figure 59: Providing color maps....................................................................................................46
Figure 60: Color palette of Oslo.....................................................................................................46
Figure 61: Anchorage viewed from the Coastal Trail in summer (1) and winter (2).....................47
Figure 62: Downtown Anchorage viewed from Midtown in summer (1) and winter (2)..............48
Figure 63: Coastal Trail summer color swatches (1) and winter color swatches (2).....................48
Figure 64: Downtown summer color swatches (1) and winter color swatches (2)........................48
Figure 65: Longyearbyen...............................................................................................................49
Figure 66: Burano..........................................................................................................................50
Figure 67: Cultural, environmental and historical recovery of The Color Plan...........................52
Figure 68: The Color Plan phases..................................................................................................53
Figure 69: The color palette of an Italian city (Alessandria) based on archival documents..........54
Figure 70: The color palette of an Italian city (Alessandria) based on on-site samples...............54
Figure 71: The color map of an Italian city (Saluzzo)..................................................................55
Figure 72: Coloring scheme of the facade.....................................................................................55
Figure 73: Color parameters for creating sense of place..............................................................60
Figure 74: The relation of color parameters.................................................................................61
Figure 75: Role of squares in traditional and modern cities .........................................................68
Figure 76: Hassan Abad Square ‘s Location in Tehran................................................................71
Figure 77: Internation bank of Hassan Abad Square in 1950’s....................................................71
Figure 78: Internation Bank of Hassan Abad Square Today.........................................................72
Figure 79: Hassan Abad Square in1950’s......................................................................................72
Figure 80: Hassan Abad Square in1960’s......................................................................................72
Figure 81: Hassan Abad Square in1970’s......................................................................................72
Figure 82: Hassan Abad Square Today..........................................................................................72
Figure 83: Hassan Abad Square underpass....................................................................................73
Figure 84: Hassan Abad Square pavement.....................................................................................73

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Figure 85: Hassan Abad Square metro station...............................................................................73
Figure 86: Hassan Abad Square as a concentration of hardware and knitting wool....................73
Figure 87: Color harmony of historical buildings of Hassan Abad Square..........................,........74
Figure 88: Hassan Abad Square building facade...........................................................................74
Figure 89: Disproportion of the buildings of the leading streets to the square...............................75
Figure 90: Facade of the underpass...............................................................................................75
Figure 91: Hassan Abad Square pavement....................................................................................76
Figure 92: Extensions in harmony with the surroundings.............................................................76
Figure 93: Extensions in no harmony with the surroundings........................................................76
Figure 94: Lack of Harmony between the telephone box and the surrounding..............................77
Figure 95: Using neutral colors for the urban facility kiosks........................................................77
Figure 96: Disarranged trash cans according to the historical atmosphere of the area.................77
Figure 97: The statue of the old man in front of the historical buildings......................................77
Figure 98: The statue of the firefighters in front of the fire station...............................................77
Figure 99: Existence of few trees in the square in compare to the potential location...................78
Figure 100: Activities located in Hassan Abad Square...................................................................78
Figure 101: Retail sellers as a part of colorscape of Hassan Abad Square.....................................79
Figure 102: Hassan Abad Square at night.......................................................................................79
Figure 103: Tajrish Square ‘s Location in Tehran...........................................................................81
Figure 104: Tajrish Square in1920’s...............................................................................................81
Figure 105: Tajrish Square in1930’s..............................................................................................81
Figure 106: Tajrish Square Today..................................................................................................81
Figure 107: Tajrish Bazaar.............................................................................................................82
Figure 108: Tomb of Imamzadeh Saleh and Great Mosque..........................................................82
Figure 109: Ghaem shopping center..............................................................................................82
Figure 110: Tandis shopping center...............................................................................................82
Figure 111: Arg shopping center....................................................................................................82
Figure 112: Tajrish metro station...................................................................................................83
Figure 113: Facade of Tajrish Bazaar..............................................................................................83
Figure 114: Facade of tomb of Imamzadeh Saleh.........................................................................83
Figure 115: Facade of Arg shopping center...................................................................................83
Figure 116: Facade of Tandis shopping center...............................................................................83
Figure 117: Sloping roofs of Tajrish Square buildings..................................................................84
Figure 118: Depressing vision of dirty buildings............................................................................84
Figure 119: Tomb of Imamzadeh Saleh building facade...............................................................84
Figure 120: Tajrish Bazaar building facade...................................................................................85
Figure 121: The asphalt of the Tajrish Square...............................................................................85
Figure 122: Tiles in a good condition around Tajrish Square........................................................85
Figure 123: Tiles in a good condition in a leading street to Tajrish Square....................................85
Figure 124: Tiles in a bad conditions in a leading street to Tajrish Square...................................85
Figure 125: Large billboard in Tajrish Square...............................................................................86
Figure 126: Billboards of the shops in Tajrish Square....................................................................86

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Figure 127: Neutral color fences in Tajrish Square.......................................................................87
Figure 128: Taxi Station in northern part of Tajrish Square..........................................................87
Figure 129: Bus Station in southern part of the Tajrish Square......................................................87
Figure 130: Strategic view to the mountains from Tajrish Square................................................87
Figure 131: Darband river passing through Tajrish Square............................................................87
Figure 132: Darband and Golab Darreh River’s Location............................................................88
Figure 133: Sport Facilities along Darband River..........................................................................88
Figure 134: Valiasr Street with tall trees.......................................................................................88
Figure 135: Prayers in Tomb of Imamzadeh Saleh.......................................................................88
Figure 136: Tiles of the name of the shops in Tajrish Bazaar.........................................................89
Figure 137: Fruits and vegetables in Tajrish Bazaar.......................................................................89
Figure 138: Cashmere handcrafts in Tajrish Bazaar......................................................................89
Figure 139: Copper dishes in Tajrish Bazaar.................................................................................89
Figure 140: Arg Shopping Center during the night.......................................................................90
Figure 141: Tomb of Imamzadeh Saleh during the night..............................................................90
Figure 142: Composition of vision................................................................................................91
Figure 143: How can we reach?....................................................................................................96
Figure 144: Various landuses..........................................................................................................97
Figure 145: Harmony in the form and color..................................................................................97
Figure 146: Building with specific function...................................................................................98
Figure 147: Commercial areas with attractive colors.....................................................................98
Figure 148: Light and warm colors in residential areas...................................................................98
Figure 149: Offices zone with neutral and cold colors...................................................................99
Figure 150: Children’s colorful playground..................................................................................99
Figure 151: Vivid colors and green areas......................................................................................99
Figure 152: Traffic signs in high speed roads...............................................................................100
Figure 153: Attractive details in pedestrian paths.........................................................................100
Figure 154: Distarcting vivid colors............................................................................................100
Figure 155: Warning colors for lowering the speed.....................................................................101
Figure 156: Visual richness in pedestrian paths...........................................................................101
Figure 157: Restoration and construction in harmony with the historical area...........................101
Figure 158: Color regulation to create harmony..........................................................................102
Figure 159: Preservation and restoration of historical buildings.................................................102
Figure 160: Colorful events.........................................................................................................102
Figure 161: Specific spaces for graffiti drawings........................................................................103
Figure 162: Balloon festival..........................................................................................................103
Figure 163: Temporary markets...................................................................................................103
Figure 164: Presence of poeple in public spaces...........................................................................104
Figure 165: Mismatching urban elements.....................................................................................104
Figure 166: Designing the edge of the river with colorful elements...........................................104
Figure 167: Designing the surrounding of the fountains with colorful elements........................105
Figure 168: Colorful lights in places without attraction..............................................................105

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Figure 169: Resistant materials...................................................................................................105
Figure 170: Different materials in the intersections....................................................................106
Figure 171: Colors as an elements for guiding.............................................................................106
Figure 172: Reving the area by advertisement............................................................................106
Figure 173: Colorful lights for indicating the important building................................................107
Figure 174: Street art according to the character of the area........................................................107
Figure 175: Revivng the area by decorating the disturbing buildings..........................................107
Figure 176: Colorful tiles for beautifying the city........................................................................108
Figure 177: Colorful canopies......................................................................................................108
Figure 178: Warm and vivid colors in cold and colorless seasons...............................................108
Figure 179: Big dimension advertisements.................................................................................109
Figure 180: Elements with high saturation close to the historical buildings................................109
Figure 181: Vivid colors in crowded places increase the confusion..............................................109
Figure 182: Lighting of shopping centers for increasing the quality of the area...........................110
Figure 183: Fountains with colorful lighting.................................................................................110
Figure 184: Combination of light and shadow...............................................................................110
Figure 185: Using renewable energies to keep the native color of environment..........................111
Figure 186: Prevent and control the destruction of ecosystem.......................................................111
Figure 187: Using recyclable materials..........................................................................................111
Figure 188: Tehran........................................................................................................................115

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LIST OF TABLES

Table 1: Research Structure...............................................................................................................4

Table 2: Principles of colorscape planning and management........................................................64
Table 3: Hassan Abad Square building facade color analysing.....................................................74
Table 4: Hassan Abad Square pavement color analysing..............................................................76
Table 5: Hassan Abad Square SWOT analysis..............................................................................80
Table 6: Tomb of Imamzadeh Saleh building facade color analysing...........................................84
Table 7: Tajrish Bazaar building facade color analysing...............................................................85
Table 8: Large billboard in Tajrish Square color analysing...........................................................86
Table 9: Billboards of the shops in Tajrish Square color analysing................................................86
Table 10: Tajrish Square SWOT analysis........................................................................................91

LIST OF CHARTS

Chart1: Environmental Colors........................................................................................................26

Chart 2: Relationship between color, environment features and human perception.....................36
Chart 3: The process of landuse recreation in urban spaces...........................................................37
Chart 4: Effective factors of sense of place...................................................................................41
Chart 5: Effctive components of sense of place...............................................................................59

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INTRODUCTION

Color and Significance of Our Study

Human senses are fundamental to the human species. Our sense of smell, taste, touch, hearing, and
sight play a crucial role in human’s life. Among senses, sight has been considered the most
influential. The visual information and specially colors are important to understand the surrounding
world.
Color is one of the characteristics beside form, dimension, material and texture which indicates the
volume of the objects. In the most cases, the first thing that viewers recognize about the shapes is the
color.
It’s important to know that, color is much more than aesthetic statement: it is part of life-giving and
life-preserving process. We are all influenced by colors and have a lively relationship with them.
Colors affect us and our emotional world, even when we do not consciously perceive them.
(Meerwein, 1998: p.16-17) Colors can affect people psychologically and have influence on their
moods and emotions. Dark and Heterogeneous spaces can cause depression and unconditional
mental pressures; while bright and colorful spaces can reduce the tiredness and create livable and
various spaces. In the other word, we can say that colors, apart from visual function, have emotional
and biological function.

VISUAL
FUNCTION
Effects aesthetic aspects
of the space

BIOLOGICAL EMOTIONAL
FUNCTION FUNCTION
Stimulates and motivates Defines moods and
human biological emotions
rhythm

Figure 1: Function of color (Self Elaboration)

1
Color is one of the important elements in urban life and it’s impossible to imagine the world without
colors. In nature we see color in the light of the sky, when looking at water and landscapes. We see
it in trees, stones, plants, fruits, and flowers. We encounter color in diverse combinations in the
animal kingdom: on animal’s skin, shells, markings, features and fur. People’s skin, eyes, hair and
clothing also contain color. The human-designed environment is all in color: streets and shops,
buildings and spaces. We see it, in all its variety, in different objects and cultural products
(Meerwein, 1998: p.16); which all of them play an important role in determining the colorful aspects
of the city.
Color is a tool of expression and communication and space is the framework for social relationships
and human activities. A fundamental aspect of the function of color as a communication factor is
thus linked to its interactive characteristics. Color exists in itself, it connects things with each other
and connects things with people. (Meerwein, 1998: p.17)
Color is integral to the character of cities. A color identity defines and distinguishes urbanity and
influences the way in which residents, future residents and visitors will experience the city. (Synnes,
2000: p.1) But today’s modern cities are facing with color confusion; where not only colors are not
complementing each other but also, they are not following certain rules.

Research Purpose

As urban colorscape is a new field in urban planning, in many cities and countries is not considered
as a crucial point. Although there are some successful cases in western developed countries, the
scope on this field is not so wide and many cities don’t have their own independent color palette.
Therefore, it is crucial to focus on this element as an important part of the environment; not only to
beautify the city, but also create pleasant and comfortable spaces for the citizens and increase the
sense of place and belonging.
In urban planning, there are a lot of aspects to be developed and colorscape is one of these aspects.
City of Tehran don't have its own urban colorscape program. We hope that we could develop a
colorscape program for Tehran through our research to create an identity spaces in order to increase
the sense of place.
In order to solve the management problem of colorscape of Tehran, one of the main aims of this
research is to present a process or methodology to prepare a color palette and the other one is to
provide some designing suggestions and policies as a guideline. In the direction of provision of this
guideline following aims have to be considered:

- Preserve and strengthen the identity landscape and improve the sense of place
- Improve the quality of colorscape of the city
- Improve the social health and sustainability
- Create an identity landscape adopted to the modern lifestyle
In general, the aim of this research is by improving the colorscape of the city, increase the sense of
place and belonging for the citizens and also provide required qualities for the sustainability. On the
other hand, to indicate the attractive and beautiful features of the city for the economic
development.

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Research Questions

The main questions of this research based on mentioned problem and aims are:
- What is the relationship between level of color’s impact on people and environmental quality?
- How color’s capacity can be used to improve the quality of spaces?
- How it is possible to increase the sense of place by using the proper colors?
- How it is possible to plan and manage colorscape of the city to give a specified identity to the
space?

Research Methodology

The aim to research the relationship of urban colorscape is to study urban color history and the
current ones. Comparing the characteristics of the old elements and the new ones and their relation
is crucial. Therefore, descriptive - analytical methodology is used for this research. Descriptive
research includes surveys and fact-finding enquiries of different kinds. The major purpose of
descriptive research is description of the state of affairs as it exists at present. In analytical research,
facts or information already available are used to analyze and make a critical evaluation of the
material. (Kothari, 2004: p. 2-3)
This research is an applied (action) research, which aims at finding a solution for an immediate
problem facing a society. (Kothari, 2004: p.3) In this case, the problem is the decreasing sense of
place which based on fundamental and basic information about color, we are trying to give some
solutions.
The quality of the environment is our main concern in this research. Qualitative methodology is used
to observe the behavior of the people in the environment. Through such research we can analyze the
various factors which motivate people to behave in a particular manner or which make people like
or dislike a particular thing. (Kothari, 2004: p.3)
Urban experience is a crucial point for researching the relationships of urban colorscape. The
experience leads us to analyze and evaluate the current situation to solve the existing problems.
Empirical research is data-based research, coming up with conclusions which are capable of being
verified by observation or experiment. We can also call it as experimental type of research. (Kothari,
2004: p.3) Thus, based on existing facts and data, we are trying to prove or disprove that colors have
a considerable impact on people’s behavior.

Research Structure

This research is based on two practical and experimental sections which each section includes
different parts. The first section is divided to three chapters of practical background, experimental
background and conceptual framework. In the second section the studies have been done based on
the chosen case study of Tehran and in order to achieve a desirable colorscape, it is provided a
planning methodology and color management and finally the suggestions and policies of the project
are represented as an urban designing guideline in two aspects of substantial and procedural aspects.
The research table of the project is summarized in following table:

3
 First Section: Practical Studies

First Chapter: Practical Background Second Chapter: Experimental Background

QUESTIONS: QUESTIONS:
- Is color effective on sense of place? - Which methods and strategies have been used in
- How it is possible to increase the sense of place by global experiences in order to improve the sense of
using proper colors? place by using colors?
- How it is possible by using colorscape planning and - What is The Color Plan and which methodologies
management, give a specified identity to the city or have been used in order to improve the quality of
area? historical spaces?
Urban Sense of
Color Learning From Global Experiences
Landscape Place

ANSWER: By cognition of color, it’s effect on cities, Piano Del Colore (The Color Plan)
sense of place and the effective factors, cognition the
role of color and sense of place in cities and knowing ANSWER: Using NCS method for finding native
the features and role of colorscape in increasing the colorscape of the city, preserving native color palette
sense of place have been studied. of the city, encouraging people for participating

Third Chapter: Conceptual Framework

QUESTIONS:
- What are the issues, concepts, macro and micro goals in managing the colorscape of
the city in order to increase the sense of place?

Main Issues and Concepts General Goals General Principles

ANSWER: The main aim of studying mentioned factors is finding the existing
relationship between the color, colorscape and the sense of place.

Second Section: Experimental Studies

Fourth Chapter: Evaluating the Colorscape of Tehran Fifth Chapter: Designing Guidelines
QUESTION: QUESTION:
- In studies about colorscape of Tehran which - which are the policies and strategies which urban
methodology is possible to use? design use in order to manage the colorscape of the city
to increase the sense of place?
Tajrish Hassan Abad
Composition of Vision
Designing Substantial Aspects
ANSWER: In order to evaluate the colorscape of city Macro and Micro Goals Guidelines Procedural Aspects
of Teharn the NCS methodology have been used in
order to find out the main and other constitutive colors ANSWER: Some colorscape strategies and guidelines
of the city to manage and design the coloscape of the have been suggested in order to improve the quality of
city and increase the sense of place the urban lanscape.

Table 1: Research Structure (Self Elaboration)

4
First Section: Practical Studies First Chapter: Practical Background

First Section: Practical Studies

First Chapter: Second Chapter:

Practical Background Experimental Background

Third Chapter: Conceptual Framework

Second Section: Experimental Studies

Fourth Chapter: Evaluating Fifth Chapter:

the Colorscape of Tehran Designing Guidelines

6
First Section: Practical Studies First Chapter: Practical Background

1. Practical Background

1.1. Acquaintance with Color Concepts

1.1.1. Color Definition

Color is the single most important design element. No other formal design component has its unique
power. Color stimulates the eye and brain and creates an immediate unconscious response from the
viewer. (Bleicher, 2012: p.viii)
In general, all manifestations of color are created when electromagnetic radiation at wavelengths in
visible spectrum interact with physical matter. (Meerwein, 1998: p.18)

1.1.2. The History of Color

A story of color is almost the story of civilization itself. Man’s love of color is as old as his time on
earth, and it is apparent in his early pottery and art. All nature was colored; and ancient man tried to
emulate it, copy it and symbolize it. Unlike his modern descendant, early man was little concerned
with aesthetic. He used color to express the ideal and mysterious rather than merely to add charm to
his environment. The body of man is red, his mind is yellow and his spirit is blue. With such a
statement, ancient man made clear that color was an inherent part of his life. (Birren, 1963: p.11-12)

BODY MIND SPIRIT

Figure 2: Color as a way of expressing by ancient man (Self Elaboration)

1.1.3. Light and Color

Light is a form of energy, travels in straight lines and flows in a three-dimensional way to reveal
structure and form. (Bright, 2010: p.46) Color is a property of a surface or substance resulting from
absorption of certain of the incident light rays, and reflection of others. (Mayer, 2014: p.5) If
everything in the surrounding world, even shadows, had the same hue and nuance, we would not be
able to discriminate on thing from another. There would be no visual reactions, no significant visual
form. Color contrasts help us to distinguish borders and edges. (DeLong, 2012: p.4-5)
Color is life; for a world without colors appears to us as dead. Colors are the children of light and
light is their mother. Light, the first phenomenon of the world, reveals to us the spirit and living soul
of the world through colors. (Itten, 1970: p.8)

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First Section: Practical Studies First Chapter: Practical Background

Red absorbs all the colors but red. Black absorbs all the colors. White reflects all the colors.

Figure 3 : Light and colors (Self Elaboration)

Philosophers have said that the world is colorless and that our perceptions of hues are nothing more
than illusions. This is like the old question: if a tree falls in the woods and no one is around to hear
it, does it still make a sound? You could also ask a similar question about color. If you close your
eyes, does the world retain in color or it is only in the eye of beholder? (Bleicher, 2012: p.2)

Sir Isaac Newton proved that, by setting up a prism near his window, it projected a spectrum of
colors. The diagram shows that violet is bent more than yellow and red, so the colors separate. He
concluded that white light is made up of seven different colored rays. Newton by using a prism
indicates that light is made of colors and used two prism to convert the rays to original light (Mayer,
2014: p.3)

White White
Light Light

Prism

Figure 4: Newton’s prism: (Mayer, 2014: p.3)

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First Section: Practical Studies First Chapter: Practical Background

1.1.4. Seeing Color

The colors we see do not exist on the surface; they are manufactured in the mind’s eye. Our
experience of color is a subjective sensation conveyed through the medium of wavelengths, i.e.
energy in the form of light radiations within the visible spectrum. Without an observer, light rays do
not, in themselves, constitute color. In them there is nothing else than a certain power and
disposition to stir up a sensation of this or that color. The eye and brain of the observer interpret the
meaning of these sensory message. (Porter, 1982: p.77-79)

Seeing is a process of mental interpretation of looking at the world of color and reducing it to its
simplest elements. The eye and the mind always struggle to make order out of chaos and to see as
few colors as possible. (Birren, 1963: p.151)

Seeing color is a sensory experience that depends on the following conditions: (Meerwein, 1998:
p.18)

1. The lighting condition

Despite visual adaption (the automatic adjustment of the eyes to prevailing levels and color of
illumination) artificial light sources may sometimes cause perceptible alterations of object colors as
compared with their appearance in natural daylight.

Direct Daylight Indirect Daylight Artificial Light

Figure 5: The lighting condition (Self Elaboration)

2. The spectral properties of the object

The second factor of color vision depends on the spectral characteristics of the objects; the ability of
its substance to absorb, reflect or transmit light. In working with a gamut of materials, the architect
controls space using surfaces and finishes with varying abilities to absorb, reflect and transmit light.

9
First Section: Practical Studies First Chapter: Practical Background

Incident
Reflected

Absorbed

Transmitted

Figure 6: The spectral properties of the object (Self Elaboration)

3. The sensation of color

The third factor in our perception of color is the chromatic sensitivity of our personal technicolor
processing laboratory; the eye and brain. (Porter, 1982: p.77-79)

When we look an apple and observe its bright red color, what we are seeing are the reflected light
waves. There are two parts that make up a reflection or the bouncing of light waves from a given
surface:

1. The incident beam comes from the light source hitting the object.
2. The reflected beam bounces off the object and allows us to see its particular hue. (Bleicher, 2012:
p.5)

Illumination Reflection Sensation Perception

Figure 7: Seeing color (Self Elaboration)

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First Section: Practical Studies First Chapter: Practical Background

1.1.5. Color Theories

1.1.5.1. Wilhelm Ostwald

Wilhelm Ostwald was one of the few renowned scientists ever to devote a considerable portion of
time to the problems of color theory and harmony. He concluded that color as sensation properly
belonged in the realm of sensation and that a true solution of color’s mysteries lay in analysis of the
physiological and psychological processes of seeing. Ostwald standardized a chromatic circle using
red, yellow, green and blue as his primary keys, spaced at equal intervals around a circle. He then
added intermediates to make a total of twenty-four pure hues. Ostwald then arranged his colors
within equilateral triangles. Pure hue was placed at one angle, white at the second and black at the
third. Every color seen by eye was made up as pure hue, white, black, any or all, and the qualities
were always measurable. (Birren, 1963: p.150-151)

Luminance Purity

Figure 8: Wilhelm Ostwald color theory (Birren, 1963: p.150)

1.1.5.2. A. Höfler

A widely recognized chart or graph is that of A. Höfler. It consists of a double pyramid. At the top
apex is the color white; at the bottom, black, between the scale of neutral grays. On the four corners
of the central connecting base are red, yellow, green and blue; the four primaries universally
accepted in the field of vision. All the colors seen by the eye lie within the outer boundaries of Höfler
pyramid.

Pure colors which run about the circumference of a color solid, are termed hues. The colors that
progress from lightness to darkness are known as values. The colors that run from neutral gray
toward pure hues are characterized by chroma or saturation. A simple color triangle plots color
variations with respect to pure hue, white and black; and tint, tone, shade and gray. All these
variations fit within the Höfler pyramid and most color solids. (Birren, 1988: p. 99)

11
First Section: Practical Studies First Chapter: Practical Background

WHITE

YELLOW
GREEN
GRAY

RED
BLUE

Hue (Pure Color)

Tint (Hue + White)
BLACK Tone (Hue + Gray)
Shade (Hue + Black)

Figure 9: Double pyramid chart of A. Höfler Figure 10: Hue, tint, tone and shade
(Birren, 1988: p.98) (Self Elaboration)

1.1.5.3. The Munsell System of Color Notation

A large part of the world of color recognizes the principle of color identification set by Albert H.
Munsell as early as 1898. Today the Munsell system is the most widely used method of color
notation in existence. (Birren, 1988: p. 99) His method of notation arranges the three attributes of
color into calibrated scales of equal visual steps. These scales are used as dimensions or parameters
for the accurate analysis or description of color under standard viewing conditions which every
color can be dfined by these parameters: (Porter, 1982: p.80-81)

HUE SATURATION VALUE

Figure 11: Parameters for description of color (Self Elaboration)

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First Section: Practical Studies First Chapter: Practical Background

1.1.5.3.1. Hue

Hue is generally defined as a source color, one of the twelve basic colors on the color wheel.
(Mayer, 2014: p.3-4) It is the attribute of color discernible by its redness, blueness, greenness,
etc. In the Munsell system 100 hues are arranged in spectral sequence around perimeter of its
color circle. This number results from a decimal subdivision of its ten (five principals and 5
intermediate) hues: Red, Yellow-Red, Yellow, Green-Yellow, Green, Blue-Green, Blue,
Purple-Blue, Purple and Red-Purple. White, gray and black are perceived as being colorless,
not reddish, yellowish, greenish or bluish. They are therefore termed achromatic. (Meerwein,
1998: p.33) Hue is the quality or characteristic by which one color is distinguished from
another. All colors are judged to be similar to one hue or a proportion of two of the spectral
hues. Physically, hue is determined in wavelength. (Porter, 1982: p.80-81)

1.1.5.3.2. Saturation

Saturation is the second attribute by which a color is distinguished. Also referred to as

strength, intensity or chroma, it designates the purity of a given color, the quality that
distinguishes it from a grayed-down color (chromatic or intense). Two colors may be the same
in hue and one lighter or darker than the other, yet still appear different in color strength.
(Meerwein, 1998: p.33) Chroma scales radiate in equal decimal steps from the neutral axis
outward to the periphery of the color model. (Porter, 1982: p.80-81)

1.1.5.3.3. Value

Lightness or value is the third dimension in the description of color, differentiating dark
colors from light ones. The lightness of a pigment is the measure of how much light is
reflected from its surface. (Meerwein, 1998: p.33) This occurs as an achromatic scale which
descends in ten equal steps from absolute black (value 0) at its base to absolute white (value
10) at the top. The center of this scale, located at the core of the color solid, is occupied by a
mid-grey with a notation od 5/. (Porter, 1982: p.80-81)

The system follows the general shape of a sphere, somewhat bulbous in parts. Because pure
colors do not have equal value, hues such as yellow are placed near the white apex, and hues
such as blue near the black apex. Again, colors with strong chroma or saturation, such as vivid
red, extend farther from neutral-gray axis than do weak colors such as blue-green. There are
10 major hues: red, yellow-red (orange), yellow, green-yellow, green, blue-green, blue,
purple-blue, purple and red-purple. They are further divided into 100 subhues. There are 9
value stages (vertical) from ideal white to black. Chroma or saturation stages (horizontal)
vary according to the purity of the key hue. (Birren, 1988: p. 99)

13
First Section: Practical Studies First Chapter: Practical Background

WHITE

VALUE
5
100 10
95 P 5R 10R 15
10R 2.5R 7.5R
9/
P 2 5Y
5 RP 7.5
R . 5Y
R R
R 5PB
90

8/ 5P
P

7.

20
YR

10
5R

5Y
RP
P

5RP
YR 2.5Y
10

2.

R
7/
P

E
5B
7.5
85

HU
25
5Y
5P

6/ 5R
P

7.5Y

5/6 5/8 5/10 5/12 5/14

2.5P

5/8 5/6 5/4 5/2 5/2 5/4

5RP
10PB

10Y
80

N 30 5BG
2.5GY
7.5PB

4/
PB

GY

CHROMA
5GY
5PB

5G 5YR
35
GY 5GY
2.5

5Y
75

5GY 3/
P

7.
B

7. B G
10

5G

5B 2/
10
B

2.

40

BG
70

5B 2.5 G
B 7.5 5G
7.5BG 2.5BG 1/
65 10B
G 5BG 10G 45
60 50 BLACK
55

Munsell Color Hue Circuit Munsell Color Space

Figure 12 : The Munsell system of color notation (Porter, 1982: p.81) (Birren, 1988: p. 98)

1.1.5.4. NCS (Natural Color System)

NCS is built on decades of scientific research and development, carried out by architects, designers,
psychologists and physicists. It is based on the use of color in our environment and on how we see
color, and it has been produced by the Scandinavian Color Institute AB. The aim of the NCS study
material is to increase understanding of the role and importance of color. Architects and designers,
in fields such as interiors, product and graphic design, all need to understand color. NCS is an aid to
learning, although it's not the answer to every question about color. NCS describes color as we see
it and is a tool for communicating color - a language which makes it easier to understand and learn
more about color.
Traditionally, knowledge of color has been related to color mixing and pigments. From the primary
colors, the secondary and tertiary colors can be mixed. A lot of knowledge and many theories about
the harmony of colors are based on this type of mixing of pigments. The new digital world uses three
other primary colors: red, green and blue (RGB) to produce the different colors on the monitor
screen, and another set of four: cyan, magenta, yellow and black (CMYK) is used in four-color
process to produce full-color printing. What separates NCS from other systems is the deal with
pigment mixing or light energy mixing.
The NCS study material offers a unique opportunity to work with precise color samples. The six
pure colors: White, Black, Yellow, Red, Blue and Green, correspond with the perception of color in
our brain. NCS notations describe how we see a color in relation to these six elementary colors.
Within this 3-dimensional model all surface colors can be plotted and given an NCS notation.
(Färginstitutet, 2006: p.1-8)

14
First Section: Practical Studies First Chapter: Practical Background

W S Y R B G

0Y

Y5
G5

0R
10

20
30
40
50
R G
60

70
80
80 70
60
90 50
40
30
20
10 0B

B5
R5

0G
B

Figure 13: Natural Color System (NCS) (Färginstitutet, 2006: p.8)

In this NCS notation 1050 describes the nuance, i.e. the degree of resemblance we see to black
(10%) and to the maximum chromaticness (50%). The hue Y90R describes the degree of
resemblance we see between Yellow and Red. (Färginstitutet, 2006: p.8)
PURE
WHITE

10
20
S 1050-Y90R
30
40
50
MAXIMUM
60 CHROMATICNESS
70
80
80 70
60
90 50
40
30
20
10
PURE
BLACE

Figure 14: How NCS color system is calculated (Färginstitutet, 2006: p.8)

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First Section: Practical Studies First Chapter: Practical Background

1.1.6. Color Wheel

In accordance of Johannes Itten proposition, the color wheel, which represents relations between
hues, is divided in twelve sections. (Ivanova, 2009: p. 182) 12-hues color circle is developed from
primary colors; yellow, red and blue.
The primary colors must be defined with greatest possible accuracy. We placed them in an
equilateral triangle and circumscribe a circle, in which we inscribe adjacent sides of hexagon. In the
isosceles triangles between adjacent sides of the hexagon, we placed three mixed colors, each
composed of three primaries. Thus we obtain the secondary colors:
- Yellow + Red = Orange
- Yellow + Blue = Green
- Red + Blue = Violet
Now, at a convenient radius outside the first circle, let us draw another circle, and divide the ring
between them into twelve equal sectors. In this ring, we repeat the primaries and secondaries at their
appropriate locations, leaving a blank sector between every two colors. In these blank sectors, we
then paint the tertiary colors, each of which results from mixing a primary with secondary. As
follows:
- Yellow + Orange = Yellow-Orange
- Red + Orange = Red-Orange
- Red + Violet = Red-Violet
- Blue + Violet = Blue-Violet
- Blue + Green = Blue-Green
- Yellow + Green = Yellow-Green (Itten, 1970: p.30)

Primary
ia ry Te
T ert rtia
ry
ry
da

Se
on

con
c
Se

ry
ry

Prima
da
Se
da

ry
con
c on

da
Se
Tertiary

ry

Tertiary

ry ry
Prima Prima
Pri

ary
ma

im
ry

Secondary
Pr

Te
rtia ry
ry rtia
Te
Secondary

Figure 15: Color Wheel (Itten, 1970: p.31)

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First Section: Practical Studies First Chapter: Practical Background

1.1.7. Color Categories

Colors are divided into six broad categories:

- Warm and cool refer to the hue, the actual color.
- Light and dark refer to the shade, the amount of a white or black mixed with the color.
- Vivid and dull refer to the vividness and intensity of the color. (Chijiiwa, 1987: p.11)

1.1.7.1. Warm Colors

The hues from red to yellow, including orange, pink,

brown and burgundy are called warm colors. In fact, the
wavelength of red light is very close to that of infrared
radiation, which transmit heat. Warm colors are bright,
splashy and aggressive like the molten lava flowing
from crater. (Chijiiwa, 1987: p.20) Warm colors are
defined as being bold and energetic, and they have the
tendency to advance in space. This characteristic has
both positive and negative effects because while using
them can make something stand out, too much of them
can be overwhelming in a sense that it drowns out the
other colors. (Rahmatabadi, 2011: p. 215-216)
Figure 16: Warm colors (Chijiiwa, 1987: p.20)
More than any other colors, they attract the eye and
excite our emotions. In the workplace, warm colors can heighten motivation and make us work
faster; and on books, magazines and posters, they almost always grab our attention. Warm colors
make a color scheme look brash, cheerful and exuberant. (Chijiiwa, 1987: p.20)
The warm colors cause an increase in heart rate, respiration, and blood pressure because it has a
stimulating effect on the nervous system. Due to the size of its wavelength, Red is the warmest color
and has the strongest effects on the human mind. (Rahmatabadi, 2011: p. 215-216)

1.1.7.2. Cold Colors

The hues from green to violet, including blue and all the
shades of gray, are known as cool colors; perhaps
because they remind us of snow and ice. Cool colors
have exactly the opposite effect as warm colors: they
slow down the body’s metabolism and are even used in
hospitals to calm manic patients. At times, they can
seem unbearably gloomy and oppressive. However,
cool colors can sometimes make a nice change: cool
shades of blue and green look clean and inviting.
(Chijiiwa, 1987: p.21) They are good to use with things
that are meant to be located in the background and they Figure 17: Cold colors (Chijiiwa, 1987: p.21)

17
First Section: Practical Studies First Chapter: Practical Background

can make the space that they are used in seem bigger than it really is.

Red Red
Orange
Orange

Yellow Warm
Orange
Colors
Red
Violet
Yellow

Violet
Yellow
Green
Cold
Colors Blue
Violet

Blue
Blue
Green
Green

Figure 18: Warm and Cold colors (Rahmatabadi, 2011: p. 216)

1.1.7.3. Light Colors

Light shades of any color, look soft and ethereal, like

cotton candy or fleecy clouds floating in the summer
sky. The hue is relatively unimportant: even light
shades of orange and purple have a gossamer, fairytale
quality. Light colors are overwhelmingly preferred in
interior design and are popular in women’s fashions as
well, but lack the eye-grabbing quality that most
graphic designers seek. Nevertheless, a color scheme
that uses only light colors, can be effective in its own
quiet way and may actually stand out from the brash,
overconfident color scheme that surround it. (Chijiiwa,
1987: p.22) Figure 19: Light colors (Chijiiwa, 1987: p.22)

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First Section: Practical Studies First Chapter: Practical Background

1.1.7.4. Dark Colors

Black and other dark shades, feel heavy, like rain clouds
dense with moisture. Black, in particular seems strong
and solid. Dark red, dark purple, dark green and dark
blue are the colors most often associated with royalty
and have an aura of almost ponderous dignity. Dark
colors are also the colors found in men’s suit and formal
wear, and give furniture and household furnishing an
expensive, hand-crafted look. The dark colors are used
mostly for type and accent in graphic design, and are
usually paired with lighter, more conventional colors.
(Chijiiwa, 1987: p.23) Figure 20: Dark colors (Chijiiwa, 1987: p.23)

1.1.7.5. Vivid Colors

All the vivid colors have powerful personalities. Red

stands out, but blue and yellow are also vivid, and
paradoxically, so are black and white. However, when
you combine two or more vivid colors, the result is
cacophony; to many voices shouting at once. For some
reasons, this is fine: bright contrasting colors are often
used in fast-food restaurants and in children’s toys and
clothing. But perhaps, because the eye tires of them so
quickly, vivid color scheme tend to look a little tacky.
(Chijiiwa, 1987: p.24) Figure 21: Vivid colors (Chijiiwa, 1987: p.24)

1.1.7.6. Dull Colors

When gray is added to a color, the personality of the

color is softened: if you add enough gray, the result is
muddy shade like the dull colors. Our eye instinctively
prefers bright, vivid colors; dull colors are annoyingly
vague and diffuse and create a blurry expression.
However, dull colors, help to reduce tension and can
give color schemes a meditative, dreamlike mood. Dull
colors run the risk of looking insipid, so use at least one
vivid color as an accent in your color scheme.
(Chijiiwa, 1987: p.25) Figure 22: Dull colors (Chijiiwa, 1987: p.25)

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First Section: Practical Studies First Chapter: Practical Background

LIGHT

LIGHT LIGHT
& &
DULL VIVID

DULL VIVID

DARK DARK
& &
DULL VIVID

DARK

Figure 23: Color categories (Itten, 1970: p.31)

1.1.8. Color Harmony and Disharmony

In color as well as music, harmony means an aesthetic arrangement of parts to form a pleasing
whole. Choosing colors is fun, but there’s more to choosing an effective color scheme than simply
picking the colors that appeal to you. The colors that you like best might not go well together, or they
might not convey the effect that you’re after. Color harmony is as much of a science as an art and
follows very specific rules about hue, brightness and contrast.
If the science of color harmony is knowing which colors to use, the art is knowing what order to put
the colors in and what proportions of each. (Chijiiwa, 1987: p.6) When people speak of color
harmony, they are evaluating the joint effect of two or more colors.
The color combinations called harmonious in common speech usually are composed of closely
similar chromas, or else of different colors in the same shades. They are combinations of colors that
meet without sharp contrast. (Itten, 1970: p.19)
Three sorts of unambiguous color harmony have been proposed: identity, similarity and contrast.
Identity refers to colors of the same or nearly the same hue, as with monochromatic harmony.
Similarity in color harmony refers to colors linked by having a shared hue. Contrast refers to colors
of distinctly different hue, i.e. drawn from a wide segment of hues on the other side of the hue circle
from the reference hue. (Porter, 1982: p.85-86)

20
First Section: Practical Studies First Chapter: Practical Background

Reference
Hue

40 1 2
39 3
38 4
37 5
36 Identity
Si 6
rity mi
35
m ila lar 7
Si ity
34 5YR 10YR
7.5R 8
5Y
33 9
7.5RP 2.5GY
32 10
Cont

31

ast
11
7.5P

Contr
rast

30 5G 12
10PB
29 13
5PB
7.5BG 14
28 7.5B

27 15

26 16
25 17
24 18
23 19
22 21 20

Figure 24: Color harmony (Porter, 1982: p.84)

1.1.9. Perception of Color

Colors are fundamental elements of our visual perception. We encounter and are surrounded by
color whenever we open our eyes. (Meerwein, 1998: p.16)
We perceive color mainly as a characteristic of the objects that surround us. Color is one of the
characteristics that enable us to determine, judge and evaluate an object. (Meerwein, 1998: p.19)
Although color is perceived with the eyes, all five of our senses react to it, so it is a means of
expression by which an architect can illustrate the spirit of what he or she wants to convey.
(Bahamon, 2010: p.9)

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First Section: Practical Studies First Chapter: Practical Background

SIGHT TOUCH

SMELL

HEARING

TASTE

Figure 25: Perception of color by all five senses (Self Elaboration)

1.1.10. Color and Functions of Body

Light and color undoubtedly affect body functions, just as they exert influence over so-called mind
and emotion. By what is known as the unity of the senses, individual experiences are seldom
confined to one organ or sense of the organism. All parts of the nervous system are connected
together and no part of it is probably ever capable of reaction without affecting and being affected
by other parts.
Color affects muscular tension, brain waves, heart rate, respiration and other functions of the body
and also arouses definite emotional and aesthetical reactions. (Birren, 1963: p.177)

1.1.11. Psychological Aspect

Psychology is the science of people’s conscious and unconscious mental processes and behavior,
including their thoughts, feelings and dreams. Color is a significant element of psychology, because
its effect is based on conscious and unconscious processes. Color is also an experience that
influences behavior. (Meerwein, 1998: p.25) Colors are forces, radiant energies that affect us
positively or negatively, whether we are aware of it or not. (Itten, 1970: p.12) Each color has
following effects on our behavior:

22
First Section: Practical Studies First Chapter: Practical Background

1.1.11.1. Red

Red is passionate, the color of hearts and flames: it attracts our

attention, and actually speeds up the body’s metabolism. Red is
popular among the young, and pink in particular is associated with
romance. Deep red, on the other hand, looks aristocratic. (Chijiiwa,
1987: p.12)

Figure 26: Red (Chijiiwa, 1987: p.12)

1.1.11.2. Yellow

Yellow is lively and happy, the color of sunshine and daffodils.

Because it is so relentlessly cheerful, we tend to tire of it quickly. An
apartment painted in bright yellow would be oppressive, but pale
yellow would make it breezy and springlike. (Chijiiwa, 1987: p.13)

Figure 27: Yellow (Chijiiwa, 1987: p.13)

1.1.11.3. Green

Green is tranquil and pastoral, the color of trees and grass. Bright
green reminds us of spring and fertility, but it’s also the color of
mildew, poison and jealousy. Dark green is and eloquent color and
brings to mind the deep quiet of a pine forest. (Chijiiwa, 1987: p.14)

Figure 28: Green (Chijiiwa, 1987: p.14)

1.1.11.4. Blue

Blue is the color of the sky and the sea. Like green, it has a claiming
effect, but it’s also quite powerful; the strongest of the familiar colors
after red. Light blue looks young and sporty, but royal and navy blue
has a dignified, wealthy air. (Chijiiwa, 1987: p.15)

Figure 29: Blue (Chijiiwa, 1987: p.15)

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First Section: Practical Studies First Chapter: Practical Background

1.1.11.5. Purple

Purple is a sophisticated color, long associated with royalty. We don’t

often see it in nature, we think of it as an artificial color and find it a
bit hard to take. The lighter shades of purple have dominated
women’s fashions in recent years. (Chijiiwa, 1987: p.16)

Figure 30: Purple(Chijiiwa, 1987: p.16)

1.1.11.6. Brown

Brown is rich and fertile, like soil; it is also sad and wistful, like the
leaves in autumn or an October moon. Light brown, tan and beige
give fabrics and housewares a rustic, nature look, while dark brown
suggests opulent hardwoods and leather. (Chijiiwa, 1987: p.17)

Figure 31: Brown (Chijiiwa, 1987: p.17)

1.1.11.7. White

White is the color of purity, virginity, innocence and peace. But it is

also associated with hospitals, sterility and winter. This dichotomy is
also seen in white household objects: they either look expensive or
disposable. (Chijiiwa, 1987: p.18)

Figure 32: White (Chijiiwa, 1987: p.18)

1.1.11.8. Black

Black is the color of night and death, and is often linked with evil. Its
unorthodox appearance has made it popular with artist, but it’s also
associated with wealth and elegance. (Chijiiwa, 1987: p.19)

Figure 33: Black (Chijiiwa, 1987: p.19)

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First Section: Practical Studies First Chapter: Practical Background

1.1.13. Color and Symbolism

A symbol is a picture that stands for something. It represents and signifies something. It is a medium
for communicating messages. Many things can be symbolic; a word, a gesture, a color. For centuries,
people from all over the world have used color to symbolize particular beliefs or events. (Dilloway,
2006: p.2)
We can assume that the symbolism of color has developed out of the original human color
experience. Color symbolism grew out of the generalization of color’s effects on the emotions and
tradition of color’s meanings associated with color. Symbolic and psychological effects of color are
thus closely linked. (Meerwein, 1998: p.28-29)
Early man, superstitious at heart, found color could be used to symbolize virtually everything
concerning life and death. (Birren, 1963: p.105)
To understand the symbolic effect and expression of a color, we should also consider whether it is
alone or its effects is in relation to something else. (Meerwein, 1998: p.28-29)
Colors have different meanings in different cultures and religious. The meaning of a color can be
seen not only to vary , but times to times assume a completely opposite meaning altogether.

CHRISTIANITY JUDAISM ISLAM HINDUISM BUDDHISM

Figure 34: Important colors in different religious (Self Elaboration)

1.2. Color and Urban Landscape

The dimensions of color are many. For the painter color is the primary sensory marker, direct,
immediately expressive and resonant with meaning. It shapes urban environment as well. Color affects
environments, forming and transforming them. In towns and cities, it confers magic to everyday life and
experience. (Swirnoff, 2000: p.IX) They are part of everything, from nature and rainbows to man-made
creations. (Mayer, 2014: p.1)
In general, the core elements which have profound effect on appearance and perception of environmental
color can be classified as: nature, the built elements, and people’s actions. (McLellan, 2014: p.3)
A vital urban environment is one in which the visual elements, light, color, and architectonic form, signify
and express civic functions. Color is universal expression, woven into the pattern of the urban fabric by
people themselves. (Swirnoff, 2000: p.IX)
There is a relationship between man, the environment and color; the human society would look
uninteresting and formless if the physical environment and everything in it was colorless. Our built
environment should not be experienced as a lifeless achromatic environment. Instead, it should be
transformed and enhanced by color and light, with various degrees of shadows. In this way people feel
better for being in this environment.

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First Section: Practical Studies First Chapter: Practical Background

Colors are fundamental part of a city skin and they alert moods and perceptions. They have their own
intrinsic properties, over and above being a layer on a surface. During the last three decades of the twentieth
century, color took on a leading role instead of being a complement. (Bahamon, 2010: p.8-9) None of the
visual elements gives us so much pleasure as color. Different colors enhance different achievement
motivations, which can then affect the performance on different types of cognitive tasks. (Olsen, 2010: p.3)

Seasons Decoration

Climate Construction

Native NATURE ENVIRONMENTAL PEOPLE Design

Vegetation COLORS

Landscape Personalization

Natural BUILT Branding

Lights ELEMENTS
People
Presence
Materials Pigments

Built Forms Urban Art

Artificial
Light

Chart 1: Environmental Colors (Galyna, 2014: p.3)

Color is applied to houses, to the facades of streets, on shops, in marketplaces and squares; wherever
people dwell, carry out their transactions, interact with one another. (Swirnoff, 2000: p.2) Colors can
help us to read a place. (Cugley, 1987: p.2) Many everyday objects have been designed to convey a
message through color. (Olsen, 2010: p.3) Color tends to highlight parts of a building; it can
emphasize them, make them invisible or transparent, or conceal them. Once color is separated from
customary role, it becomes the guiding element of a design. (Bahamon, 2010: p.8) The secret is in
knowing how to use color, light and contrast effectively to achieve a good visual experience. (Bright,
2010: p.1)
A good color scheme will meet two equally important criteria. First, the colors selected will create
an attractive color scheme and produce an environment in which people feel comfortable. Second, it
will also enhance the user’s ability to participate in the activities taking place within the space by
helping them to move around safely and with confidence. (Bright, 2010: p.113-114)

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First Section: Practical Studies First Chapter: Practical Background

1.2.1. Mono-Chrome and Multi-Chrome Spaces

In the study of old cities, harmonious image of the city is recognizable. In these cities, feeling of
being in a spaces with strong identity is experienced. The memorable and original spaces which are
adapted to the climate and culture of the people because of using the natural and native colors and
materials. Therefore, each city had its own color identity and was distinguished from other cities.
Today’s modern world, due to the rapid changes in the image of the cities, use of the color, has
become an unsolvable problem. In fact, changing the aesthetic taste of the people after getting away
from nature and using the artificial materials in the cities, led to the formation of a new colorful
identity in the modern cities. This change often does not correspond to the nature and willing of the
people and causes chaos in the spirit of the city and the citizens. Problems of using the color in an
irregular way, classified into two categories:

1. The first category is due to mono-chrome, which cause the formation of gray cities. This is the title
that many years after the modernization of cities and the introduction of asphalt and concrete
technology raised.

2. The second category is contaminated urban landscapes which is caused by unconventional use of
color in today’s cities. This contaminated landscapes introduced with the title of multi-chrome
spaces.

This kind of spaces There is no harmony

are very monotonous in the space and we
and boring... can see a chaos...

Figure 35: Mono-Chrome and Multi-Chrome spaces (Self Elaboration)

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First Section: Practical Studies First Chapter: Practical Background

The reason for the formation of gray cities can be seen in the absence of vibrant colors and also the
increasing expansion of streets, highways, concrete walls and cemented facades. On the other hand,
the issue of pollution has a huge effect on this kind of cities. Heavy traffic of vehicles, soot and
pollutants from factories, covers the city's surface and effect the gray image of the city. Even the
green leaves of the trees become invisible because of strong effect of grayness. In this situation,
cities especially metropolises turn in to mono-chrome spaces.
In the big cities like Tehran we always face gray and dusty covered spaces which it is seen not only
in building facades, street asphalts and pavements, but also, in the way of dress up of the citizens and
also some vehicles. In compare to old towns of Iran, it seems that the color palette of the city doesn’t
have enough quality to improve urban attractions.
On the other hand, inappropriate and unplanned use of colors in many cities and public spaces can
cause a kind of color anarchy in urban landscape; exorbitance use of colors which are not
complementary colors and are not following any order or regulation are the reason for color
pollution. Besides the unaesthetic consequences, visual pollution leads to the overstimulation of the
senses and increasing the load of information to be processed by viewers; this can lead the viewer’s
attention to the irrelevant information from the city.
Growing commercial competition, in the cities like Tehran, can make the colors one of the reasons
for anarchy and disorder in the public space. When people walk in the streets, they feel a kind of
confusion from dazzling colors and huge advertisements which is an annoy vision.

1.2.2. Cities and Urban Elements

City is a complex existing which is made of different components. What have to be considered in
color management is that city landscape is not only made of buildings, pavements and other fixed
elements, but also color of any advertisement, city panels, traffic signs, clothing of the citizens, color
of cars, season changing according the position of the city, have an impact on the image of the city
and are considered as unsteady elements. In general, city components can be divided to two
classifications: temporary and permanent elements.
TELEPHONE

Building Street Park Furniture and Traffic Advertising Street Arts and
Facades Furniture Children’s Playground Signs Billboards Graffiti Drawings

Permanent Elements
Urban Furniture

Citizens Private cars Taxis Buses Metro Tram

Temporary Elements Public Transportation

Figure 36: Temporary and permanent urban elements (Self Elaboration)

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First Section: Practical Studies First Chapter: Practical Background

Permanent elements are buildings, urban furniture and street arts and graffiti drawings. Temporary
elements which effect the urban landscapes are citizens, public transportation and private cars.
Urban elements, as one of the main components of the city, have an important role in emotional
connection of people with the city and enhancing the vitality.
Apart from being permanent and temporary, in addition to the specific function, each of these
elements have social and cultural usage which creates sense of inviting people and they have an
important role in creating a sense of identity, belonging and unity in the city. In terms of the specific
color that these elements have, they become a part of the city and for this reason their color
composition effects the information that the viewer get from the space.

1.2.2.1. Permanent Elements

1.2.2.1.1. Building Facades

Color harmony between the component of the city is one of the crucial criterion in creating attractive
spaces with strong identity. Buildings are the main part of a city, so is the color of the buildings. For
this reason, building facades of streets, squares and other public spaces which creates a major sight
of the viewer, should have a proper color according to the environment. Building facades as a
fraction of the total, in terms of color composition, have an important impact on the quality of urban
spaces.
During the history, with the development of thoughts, demands and
technology, building façade’s appearance was always changing.
Creation of new methodologies in architecture, not only the shape
and the form of the buildings has been changed, but also new
innovations in colors and materials has been seen.
Cities has been made gradually, based on native materials. But with
the development of science and technology, different methods of
construction have been used. Most of the today’s cities broke the
rules of the construction based on the social, cultural and climate
aspects. Modern evolution and constant development of the science
and technology, bring some problems which can be seen also in
Tehran. These problems are based on unplanned use of colors which
turn it to a disharmonic city. Figure 37: Building facade
In the other word we can say that the problem of facade starts when (Self Elaboration)
there is no common language between the buildings. In the city we
face facades which they have no common culture, no similar materials and no similar styles. Each
building just show economic condition of the owner and thoughts and attitudes of the builder and the
designer without considering any rules. The building facades is just used as tool for constructing
different and being a landmark or symbol in the area.
Therefore, it is a crucial point to design the building facades in a way that they have harmony with
each other and the environment.

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First Section: Practical Studies First Chapter: Practical Background

1.2.2.1.2. Urban Furniture

In the spaces between buildings, there are some complementary elements to regulate and arranging
the urban life. An equipment like home furniture which facilitate our lives in enclosed spaces
between stones, concretes and glasses. These components, set up flow, movements and stationary
and give life to the city. Urban furniture is the main communicative element between citizens and the
city.
Colors as an element for vitality, have a crucial role in identity and legibility of the spaces. Using
appropriate design and color palette for the urban furniture according to the space, helps to improve
the quality of the area.
In general, we can divide urban furniture to four
classifications:

- Street furniture
- Park furniture and children’s playground
- Traffic signs
- Advertising billboards

1.2.2.1.2.1. Street Furniture

Figure 38: Yellow post box
(Self Elaboration)
For coloring the street furniture, like other elements, wide
number of factors should be considered. Some elements, like
trash cans, post boxes and telephone boxes are colored the
same all over the city. But it should be considered that these
elements according to the culture and climate of the city can
be different.
About this kind of elements, we have to consider that some of
them have to be invisible and some have to be highlighted.
This is the trick that have to be used according to the color and
the place that we are using it. Figure 39: British telephone
booth (Self Elaboration)
1.2.2.1.2.2. Park Furniture and Children’s Playground

Color is the most important factor in the attractiveness of

urban parks and green spaces and awareness of using
appropriate colors will achieve the purpose. (Talebi, 2016:
p.39) Coloring the park furniture like other urban furniture
depends on cultural and social aspects. The other important
factor is the users. As children’s playgrounds are the spaces
which are used by the children, they have to be happy and
vital spaces. For this reason, attractive and vivid colors have Figure 40: Children’s playground
to be used for this furniture. (Self Elaboration)

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First Section: Practical Studies First Chapter: Practical Background

1.2.2.1.2.3. Traffic Signs

Color’s role in the city is more than aesthetic and artistic

aspect. They are one of the important part of people’s
everyday lives. Colors as an international language are used
for warning and informing people. In these cases, they can
transfer a caution, danger or safety meanings. Therefore,
colors have an important role in traffic signs and regulations.
These regulations in a long-term help us to recognize that sign Figure 41: Traffic sign
with that color. For example, when the red sign of stop is (Self Elaboration)
recognized, help us to speed up the reaction.
Also the traffic lights are a kind of signs which are the crucial
elements in the city to guide the people. By the help of the
colors (Green, Yellow and Red) of traffic signs, people know
when they have to stop and when they have to move.
This kind of signs should be in the places that attract the
driver’s and pedestrian’s attention to be efficient.

1.2.2.1.2.4. Advertising Billboards Figure 42: Traffic light

(Self Elaboration)
Nowadays with growing competition of big trading
companies, people get used to see advertisement everywhere.
Advertisement billboards become an inseparable part of the
city. Today, in big cities, it is hard to find public spaces
without advertising. Citizen’s urban vision is dominated by
the advertisement. Therefore, since one of the important role
of color is advertising aspect, owner of the goods and
investors, for communicating with the consumers, use the
colors to attract them. Using improper colors, would be
inefficient in sending message to the viewer. For this reason, Figure 43: Advertising billboard
using colors like red and yellow, become common colors in (Self Elaboration)
advertisement.
We have to consider that advertisement is not only billboards and panels, but also shop windows and
restaurant decorations are part of the advertisement and their color can attract the viewer’s attention.
The owners have to use designing skills by locating proper colors to highlight their goods.

1.2.2.1.3. Street Arts and Graffiti Drawings

Wall painting has since flourished intentionally as an activity involving individual artist, muralist
groups and members of local neighborhoods. The initial experiments concentrated on improving the
visual lot of slum and ghetto dwellers but soon proliferated into as many forms as there are regional,
social and ethnic differences. There is no single movement directing this activity and the functions

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First Section: Practical Studies First Chapter: Practical Background

of murals are diverse as their settings. Some are painted in

anger to protest against social and environmental
deprivations, while others lovingly celebrate local history or
heroes or simply bring art to the public view. (Porter, 1982:
p.25) Wall art has become an intrinsic part of urban
experience. (Porter, 1982: p.28)
Figure 44: Graffiti drawing
Graffiti are drawings or writings which indicates shapes,
(Self Elaboration)
forms, symbols, patterns, alphabets or words, on the walls or
any other public places. This kind of arts can be in the shape
of tilling, scratching or painting. They improve the quality of
life and public spaces. Bring an identity to the area and reduce
the psychological damages caused by visual contamination.
In the cities like Tehran, it is necessary to use this kind of art
works, because most part of this city is mono-chrome and
actually there is not too much green spaces and on the other
hand the climate of Iran is warm and dry and possible to see
plants and flowers in a short-term period. Public art works can
compensate the colorless atmosphere of the city which is
enclosed between tall buildings.
Street drawings, like other elements have to be implemented Figure 45: Wall art on the strairs
with a large investigation; not only in terms of color that is (Self Elaboration)
used and the resistance of the material to the climate change,
but also the harmony of the colors and forms that are used
with the space and other elements.

1.2.2.2. Temporary Elements

1.2.2.2.1. Citizens
Figure 46: Citizens in Iran with dark
Citizens are the effective and unstable elements of the color clothes (Self Elaboration)
landscape. The way of clothing in a society is effected by
political, religious, social, cultural and also climatic aspects.
Therefore, as the life of the city depends on the presence of the
people in public spaces, this presence of citizens effects the
color palette of the space.
In a cold season, clothing color palette of people is mostly in
a dark spectrum but in a warm season like spring and summer,
colorful and bright colors are used more.
As it mentioned before, part of the reason of choosing colors
for clothing depends on the religious and political aspects and Figure 47: Citizens in Italy with coloful
clothes (Self Elaboration)
have a two-sided effect on each other. For example, in

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First Section: Practical Studies First Chapter: Practical Background

European cities it is possible to see the presence of people with colorful clothing but in islamic cities
like Tehran, because of mentioned aspects, suitable way of dressing is mostly dark colors like black,
gray, brown or navy blue and it is hard to find people with colorful clothes.

1.2.2.2.2. Private Cars

Cars are the other moving and unstable elements in the city which effects the color landscape of the
city. In fact, colors are one of the most important factors of the appearance and have the first and the
direct effect on people’s sight. From the movement of the cars, constantly, different kind of
color compositions and spectrums is created which depends
on the color choice of the society. Each private car, is a private
property and it is the owner’s choice to choose the color and
the model of the car depends on his own interest and need.
Color spectrum of the cars which are released today in global
market are varied. Plurality of choices on specific colors in
society and city, is one of the key aspects in color palette of
today’s cities. In Tehran, in spite this varied color spectrum,
preferred colors for their private cars, are white, black, gray Figure 48: Private cars
and beige. For this reason, even the private cars don’t make (Self Elaboration)
the city more colorful.

1.2.2.2.3. Public Transportation

Increasingly growth of the populations in cities and specially

metropolises like Tehran, the need of the citizens for
commuting around the city, heavy traffics and pollutions
caused by private cars, highlighted the role of public
transportation. For this reason, public transportation become Figure 49: Red buses in Tehran
one of the effective elements in the color palette of the city. (Self Elaboration)
Sometimes they can become a part of the identity of the city.
For example, black taxis and red buses in London, become an
identity of the city in a way that they become a recognizing
elements for London. Also in Iran it is possible to see the red
buses and yellow taxis around the city which they become a
part of the identity of the city. These elements as moving
elements have an important role in the colorscape of the city.
Nowadays, advertising techniques are used also on the public
transportations to be seen by large number of people.
Therefore, large number of color spectrum with the business Figure 50: Taxi station in Tehran
target beautify the colorscape of the city. (Self Elaboration)

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First Section: Practical Studies First Chapter: Practical Background

1.2.3. Color and Psychological Functioning

Man is the core of any study and his needs,

inspirations, and contributions are the main
motive for scientists and researchers. Man’s daily COLOR
life is directly affected by the surrounding
environment, as the daily contact with nature is
essential for his psychological health. (Shawkat,
2016: p.1) For this reason, it is possible to say that
physical place is important in shaping people’s
behavior and color as an element of physical
space has a crucial role. Color clearly has
aesthetic value, but it can also carry specific MAN ENVIRONMENT
meaning and convey specific information. (Elliot,
2007: p.155)
Color as an integral element of city design Figure 51: Human, color and
environment relationship
significantly influences perceptions of the urban (Self Elaboration)
environments. Color design in a city delivers
unique quality that cannot be obtained through any other means. Satisfaction with the
visual qualities of the urban places has positive impact on the psychological well-being of people
who use or visit these places. (McLellan, 2014: p.1) Urban landscape with simple and harmonious
color is a perfect environment which gives people the sense of pleasure and comfort.
Color, lighting and contrast influence the way in which we live our everyday lives. They can be used
to communicate information, to stimulate our senses, to influence our emotions, to enable
independence and participation, and to instil feelings of wellbeing, comfort or danger. Well-selected
and properly maintained color and lighting schemes can enhance considerably our experiences of
the world in which we live. Poor ones can seriously hinder how usable a space is and the
effectiveness which we can access both the space itself and the activities taking place within it.
(Bright, 2010: p.1) Color effects feelings, physical status, psychological moods and even daily
conversations i.e. color of space users of environment make them think about warm feelings and
vice versa cold and depression and impatient feeling. (Babakhani, 2017: p.5)
Color carries different meanings in different contexts. (Elliot, 2007: p.156) The colors of the
environment can change the behavior of the people in a positive and negative way. It is important to
where to use them and how to use them. They can create happiness only when color is used correctly
with a due regard to the role or function for that particular environment. To some extend people are
able to feel when a place is psychologically healthy and when it is not. Vibrations of color are
powerful enough to generate inspiration, increase motivation and deliver positive emotions.
Therefore, environmental color design has potential to restore energetic fields in cities and enhance
wellbeing of city’s inhabitants. (McLellan, 2014: p.7) Color as a component of the living
environment not only have to have a relationship with each other as unique components but also
they have to have a relationship with the people which are living in this environment. In the other
word, people as an important elements of the environment have to feel themselves as a part of the space.

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First Section: Practical Studies First Chapter: Practical Background

1.2.4. Objective and Subjective Factors

Urban landscape consists of subjective and objective factors. Objective factors can be artificial like
building forms and façades and also natural like greenery and mountains. Subjective factors include
cultural and historical events, memories, human interactions, and individual experiences.
OBJECTIVE
FACTORS

URBAN
LANSCAPE

SUBJECTIVE
FACTORS

Figure 52: Objective and Subjective factors (Self Elaboration)

There is a reciprocal relationship between environment features and human perception, recognition,
evaluation and behavior in the environment:
1. In the first step, people by their five senses percept the features of the environment like visual
features.
2. In the second step, people recognize the environment based on previous memories and
environmental data.
3. In the third step, people base on the recognition of the environment evaluate the area in a positive
or negative way.
4. Finally, in the last step, people based on the evaluation decide how to behave in the area.

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First Section: Practical Studies First Chapter: Practical Background

Urban
COLORS Landscape

PERCEPTION RECOGNITION EVALUATION BEHAVIOR

Cityscape City Image City Evaluation - Image

Chart 2: Relationship between color, environment features and human perception (Self Elaboration)

For the recreation of urban environments, it is crucial to study the current situation of these areas
based on objective and subjective factors. It is obvious that these are the objective factors which
creates subjective factors. These are people’s which will experience the area and how they feel in
the space effect their behavior and social interactions. For this reason, it is important to focus on the
physical elements. This will lead us not only to have a space which is optimized on aesthetic
features but also on social features and people feel happy to be in this spaces.
1) Artificial and natural components as a subjective factors are creating the physical part of the
urban square.
2) As a resualt of suitable subjective factores, the area would have a suitable personal components.
3) In the environment which subjective and objective factors are provided, people feel happy for
being in this area.

HIGH QUALITY
PERSONAL ENVIRONEMNT
COMPONENTS

ARTIFICIAL NATURAL
COMPONENTS COMPONENTS
(1) (2) (3)

Figure 53: Conceptual design process to create high quality environment (Self Elaboration)

Different subjective and objective factors such as perception, readability, visual aspects and
functional capabilities of public spaces are effective for creation of strong memory and mental
landscape which plays an important role in the quality of urban spaces.

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First Section: Practical Studies First Chapter: Practical Background

The Process of Landuse

Recreation in Urban Spaces

Sense of Place
Knowing the current situation
of the urban Spaces
People’s Behavior

Natural Components Artificial Components Personal Components Social Interactions

Quality of Green Spaces

Type and Quality of Water Physical Facade Structural Pattern

Natural Elements Activity Valuable Elements

Conflicting Landuses Landmark Elements Setting Behavioral and

Social Strategies
Selective Activities Quality of Urban Furniture

Compulsory Activities

Setting Netural
Landscape Strategies

Setting Physical
Strategies

Setting Artificial
Strategies

SETTING A COMPREHENSIVE STRATEGIES FOR

THE RECREATION OF URBAN SPACES

Chart 3: The process of landuse recreation in urban spaces (Self Elaboration)

Color is a crucial element for the creation of urban landscape. They are effective not only on the
objective components but also on the subjective ones. The color harmony of artificial components
as a manmade feature and natural components as a background has an important role on people’s
behavior. Color research is a beginning to pay more attention to how people have different
physiological reaction to different colors and scientifically use color for the urban dwellers to create
a pleasing, lively and comfortable environment.

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First Section: Practical Studies First Chapter: Practical Background

1.3. Color and Sense of Place

1.3.1. Color, Identity and Culture

The term ‘Identity’ is replacing the term ‘Culture’ nowadays. (Shawkat, 2016: p.1) The color of a
city is an aspect of history. Therefore, color expresses urban historical tradition, characteristics and
local culture. Many cities in history, were designed with a sense of the significance of order and
clarity, and sensitively to perceptual patterning, in which color played a part. Until the early
nineteenth century, European town and cities developed by a slow process of organic growth,
generally employing materials indigenous to their regions. Architectural styles evolved within the
limitation of available materials and the disciplined the form of the buildings, which were related to
human scale. The constant use of local materials produced urban settings with visual harmony
despite a diversity of forms. In turn, this process created architectural color maps in which certain
colors became identified with particular regions. (Porter, 1982: p.37) Italian cities, those of Venice,
Rome, Firenze, Bologna and hill towns of Tuscany and Umbria are uniquely formed and
distinctively colored. In Mexico and the Caribbean, color plays a role in shaping the urban
environment, while vividly expressing the character and culture of its people. (Swirnoff, 2000: p.1)
Color is also a memory. Local features of the chromatic urbanscape are generated by the location
and by the culture and dynamics of the urbanscape. In terms of the role of color in the urbanscape,
this is the means to store and transmit the historical and cultural memory, namely the chromatic
identity. (Zybaczynski, 2014: p.91) The memory of the cities we visit is often associated with
specific colors: Paris is gray, New York blue, Tokyo Red, Lisbon white. If the color of well-known
shape is changed, our perception of it also changes and it is no longer so easy to recognize.
(Bahamon, 2010: p.8-9)
Not only religion, ethic and scientific paradigms, but also collective memory and lifestyle are
important aspects of a culture. Every culture makes the difference between social system and
environment. In the city of collective memory, we are interested particularly in the creation of
meaningful and imaginative public spaces. (Boyer, 1994: 7) The role of history and memory and the
concept of space and time in our contemporary arts of city building need to be reconsidered when
they rely to explicitly on constructs and models formulated in earlier periods. (Boyer, 1994: 2) In the
other word, it is important to keep the identity elements in order to save the collective memory.
The sensations produced by color in architecture depend upon its setting, history, atmosphere and
light. (Bahamon, 2010: p.8) The lack of aesthetic dimensions produces the monotonous achromatic
environments familiar to many modern city dwellers. (Swirnoff, 2000: p.1)
Color is almost everybody’s business but it has rarely been treated in a unified way. (Gage, 1993:
p.7) Today, architects and designers all over the world are showing a renewed interest in the role of
color in all aspects of design, but particularly in the creation of built environment. (Porter, 1982: p.9)
Designing products, environments and spaces to meet the needs of the population who will use them
has become an important issue across the whole spectrum of social and economic activity. (Bright,
2010: p.4) Today, they can select colors for external use from an assortment of similarly priced and
reasonably stable paint colors. In order to protect color traditional certain cities, exercise legislative
control. The chromatic identity of certain structures is immutable. (Porter, 1982: p.38)

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First Section: Practical Studies First Chapter: Practical Background

1.3.2. Sustainable Development

The term sustainability has been widely used in the

context of ecological, economic and social studies.
(Moldavanova, 2013: p.1) Some recent scholarship
suggests that the traditional dimensions of SOCIAL CULTURAL
sustainability do not fully reflect the complexity of
contemporary societies, and a fourth cultural
dimension of sustainability should be added to ensure
a more holistic understanding of this concept. Well-Being
(Moldavanova, 2013: p.3) Community sustainability
continues to be most commonly seen as a way to
improve a community’s “well-being” in social,
economic, and environmental terms, with culture
ECONOMIC ENVIRONMENTAL
gradually forming a part of this vision. (Duxbury,
2007:1) Overall well-being, which it places at the
center, is enhanced when all four areas are given
equal weight, are interdependent, and are able to Figure 54: Well-being factors
move efficiently around the center. (Duxbury, (Duxbury, 2007:2)
2007:2)
Color should be included in the consideration of sustainable development of buildings as an
important factor. The built environment, in any community has a crucial role in how people feel
about their health and wellbeing.
When adding culture to the dimensions of sustainability, one should be aware that culture itself is a
very complex term, and there is a multitude of definitions associated with it. Culture is often viewed
as a complex mix of tangible and intangible resources. (Moldavanova, 2013: 5) Our culture
embodies the sense we make of our lives; it is built on the values we share and the ways we come to
terms with our differences; it deals with what matters to people and communities: relationships,
memories, experiences, identities, backgrounds, hopes and dreams in all their diversity. And most
of all, our culture expresses our visions of the future: what it is we want to pass on to future
generations. (Duxbury, 2007:1)
Community’s vitality and quality of life is closely related to the vitality and quality of its cultural
engagement, expression, dialogue, and celebration. The contribution of culture to building lively
cities and communities where people want to live, work, and visit plays a major role in supporting
social and economic health. (Duxbury, 2007:2)

Sustainability discussions frequently focus on how culture contributes to a sense of place in

communities and cities. Initiatives to enhance sense of place commonly recognize the importance of
heritage and symbols, and acknowledge the role of the arts in raising community awareness and
interest in sustainability. (Duxbury, 2007:7) Art as a part of culture, seen as both development and
communicative tool in communities. Therefore, using appropriate colors in the city can help to
improve cultural aspect of the city in a way to reach the sustainable environment.

39
First Section: Practical Studies First Chapter: Practical Background

The concept of sustainable competitiveness, referring to the city, requires the analysis of the
characteristic elements that confer identity to the city. The color control in urban areas can be a
means of preserving local identity and a potential element of sustainable urban competitiveness.
(Zybaczynski, 2014: p.87)

1.3.3. Color and Components of Quality

Quality is one of the central concepts of knowledge

and profession and urban design. The quality of
urban design consists of three components:
"aesthetical quality", "functional quality" and
"environmental quality". (Golkar, 2000: p.2) These
three components are interconnected and they are Aesthetical
Quality
the necessity for creating sustainable spaces; the
places which people have satisfaction because of
quality of their lives.
Colors as an important element of quality is not only Sustainable
improving the aesthetical aspect but also other two Spaces
elements. Functional quality is based on activities Functional
Environmental
and uses and they can be meaningful with Quality Quality
appropriate colors, otherwise not only they cannot
improve the quality but also lead the city to disorder.
On the other hand, environmental qualities are
possible to achieve when suitable materials
according to the climate change have been chosen,
otherwise climate changes could damage the
material. Figure 55: Components of urban design
quality (Self Elaboration)

1.3.4. Sense of Place

Place is a where dimension formed by people’s relationship with physical settings, individual and
group activities, and meanings. Sense of Place is a concept that could describe the quality of
people’s relationships with a place. Sense of Place usually is defined as an overarching impression
encompassing the general ways in which people feel about places, sense it, and assign concepts and
values to it. (Najafi, 2011: p.1100) The sense of place creates such a link between the individual and
the place that one considers himself as a part of the place and based on his experiences of signs,
meanings and functions, he regards a function for the place. (Pakzad, 2009: p.319) It is not preset
from before and it is formed by the daily interaction of person with the space. Therefore, the place
change into a set of preconceptions. (Falahat, 2006: p.64)

40
First Section: Practical Studies First Chapter: Practical Background

People’s experience of the urban environment directly influences their emotional attachment to a
location and ultimately satisfaction with the living conditions. (McLellan, 2014: p.1)
Sense of place is people’s subjective perception of their environments and their more or less
conscious feelings about those places. Therefore, sense of place is both interpretive and emotional
aspects of environmental experience. It means the concept of sense of place is psychological or
interactional and physical. Sense of place not only is a sense of affection with a place, but also it has
a cognitive structure where an individual attach himself to concepts and meanings of a place.
(Najafi, 2011: p.1100) This function is unique and different for him from other. (Pakzad, 2009:
p.319) This concept on one hand depends on experiences like memories, culture, history and society
and on the other hand depends on urban features like form, color, smell and sound. (Falahat, 2006:
p.63)

Urban Features Experiences

Form
Color
Smell
Sound
+ Memory
Culture
History
Society
= SENSE OF
PLACE

... ...

Figure 56: Definition of sense of place (Self Elaboration)

Effective factors on the sense of place can be divided into two groups: activities and meanings.
These two factors effects sense and behavior of the people. (Falahat, 2006: p.64)

Activities Physical Features

Social Interactions Form & Size
Satisfaction Texture and Decoration
Sense of Communication Connection & Arrangement
Sense of
PLace

Meanings Individual Features

Identity Relations
Beauty Expectations
Symbols Attachments

Chart 4: Effective factors of sense of place (Falahat, 2006: p.64)

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First Section: Practical Studies First Chapter: Practical Background

1.3.5. Sense of Place and Today’s Cities

Place attachment is a contractual concept between people and place and it is reflected in their
identity. But today due to inappropriate development of architectural and urban spaces, sense of
place and place attachment is broken. Because meaning and attachment are place characteristics, so
lack of meaning in environment results in weakness of sense of place and place identity. (Yazdanfar,
2013: p.855)
Today’s world with some kind of complexity is created special condition which leads people to
uncertainty and confusion. In today’s urban life, people by being in different places feels like there
is no place for him. In this situation he is facing with new issues like “Where is my place in this
spaces?” and “Which place do I belong to?”. In today’s cities and especially in metropolises like
Tehran, by unfounded developments, we are experiencing cities without identity which got away the
citizens from their original culture and lead them to modern life.
Due to poor development, weakening of the sense of place and attachment has changed the feelings
and imagination of the people from the place. Since the meaning and attachment are the properties
of the place, lack of it, weakens the sense of place and identity.
In today’s modern cities, most of the citizens don’t have enough satisfaction from the place that they
live because they cannot communicate with their surroundings. In fact, there is not any element as
a reminder of their memories and attachment like native and climatic color and form. For this
reason, they cannot satisfy from their urban life and as result they don’t feel themselves responsible
to the city. They just see this spaces as physical places that are not associated with common memory
and aesthetical experience. People feels alienated in this cities and they are like strangers which are
apathetic about their surroundings.

42
First Section: Practical Studies Second Chapter: Experimental Background

First Section: Practical Studies

First Chapter: Second Chapter:

Practical Background Experimental Background

Third Chapter: Conceptual Framework

Second Section: Experimental Studies

Fourth Chapter: Evaluating Fifth Chapter:

the Colorscape of Tehran Designing Guidelines

44
First Section: Practical Studies Second Chapter: Experimental Background

2. Experimental Background

Based on the practical backgrounds which are discussed in first chapter on the color and sense of
place, it is time to find some case studies which used color as an element for increasing the sense of
place. In each case study the important aspects which are crucial to learn from their experiences and
the way that they use to improve the sense of place have been highlighted.

2.1. Global Experiences

2.1.1. Color Palette of Oslo - Norway

In the city of Oslo, like most of the other European cities,

until the early nineteenth century, generally native
materials have been used. Therefore, in spite of various
forms of construction and architecture, there is a general
harmonic vision which with the current developments and
breaking the limits of using materials, colors and the
architecture of this city is in danger. So, in order to
improve the sense of space, deep studies and planning is
needed. Figure 57: Colorful buildings of Oslo
(Porter, 1973 p.49)
Project Implementation Process:
Tom Porter, the responsible of this project, used three phases method of Jean-Philippe Lenclos in order
to study the color palette of the city and implementation of possible modifications. He used different
professions from architects, designers and planners in order to implement three phased method:

1) First phase involves collecting color samples and sketching the colors of chosen district in order
to classify the color image of the districts into 4 categories of traditional, modern, industrial and
transitional cities.

Figure 58: Collecting color samples from buildings of Oslo (Porter, 1973 p.50)

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First Section: Practical Studies Second Chapter: Experimental Background

2) Second phase involves classification of collected colors and paper recording in order to provide
primary color maps of the different part of the city.

Figure 59: Providing color maps (Porter, 1973 p.51)

3) In the third phase, in order to identify the colors, primary and

secondary hues are used for naming them.

Based on this process, in the studying of the color palette of

Oslo, 5 different districts involving: residential, industrial,
historical and cultural center have been identified. Finally, in
order to attract people’s participation, the project’s results have
been published on television and publications. (Porter, 1973:
p.48-54)
Figure 60: Color palette of Oslo
(Porter, 1973 p.51)

1 2 3 4
Investigating Notifying people
Using different Dividing the
the color of about color
professions with color image of the
all the existing management in
different city in to different
details in order to attract
backgrounds city districts
the city image their participation

46
First Section: Practical Studies Second Chapter: Experimental Background

In the Project of Oslo, different kind of professions and also people have been involved in order
to participate in the project to feel themselves as a part of the city. Every detail in the city is
important to create the general image of the city and have been considered. Based on the
functional district that they have been located the color of the elements have been chosen.

2.1.2. Color Palette of Anchorage - Alaska

Anchorage is a frontier city surrounded by stunning natural beauty. The outstanding setting,
however, contrasts vividly with its built form. Its architecture and urban form reflect the history of
a young city that has experienced dramatic economic flux, a transient population, and an urbanity
designed around the automobile. Anchorage’s physical attributes, combined with its dramatically
changing northern light, comprise a challenging and inviting framework in which to study urban
color.
During the planning process that led to Anchorage’s comprehensive plan, Anchorage 2020,
residents articulated a number of urban design goals and objectives. They included: to improve the
aesthetics of Anchorage, to design in harmony with the natural environment, to link the city’s
character to its northern context, to express the distinct character of the city and its neighborhoods
and to enforce design standards and guidelines to enhance the economic viability of the city.

Project Implementation Process:

There are a number of urban design strategies that could and should be used to achieve the
community’s future vision. Color is one possibility. The color study of Anchorage has been carried
out in three phases:
1) First phase; Environmental color analysis: This is done by taking pictures of the same areas in
different seasons of summer and winter in order to examine the deep difference between the summer
and winter light and the necessity of paying attention to the elements of the season in urban design
of cities like Anchorage.

Figure 61: Anchorage viewed from the Coastal Trail in summer (1) and winter (2) (J. Synnes, 2004, p. 9)

47
First Section: Practical Studies Second Chapter: Experimental Background

Figure 62: Downtown Anchorage viewed from Midtown in summer (1) and winter (2) (J. Synnes, 2004, p.11)

2) Second phase; Identify the city color features: By using the photos and NSC method, the colors
are grouped into two categories of perceptual colors and local colors on different urban scales.

2
1
Figure 63: Coastal Trail summer color swatches (1) and winter color swatches (2) (J. Synnes, 2004, p. 10-11)

2
1
Figure
1 64: Downtown summer color swatches (1) and winter color swatches(2) (J. Synnes, 2004, p.12-13)

3) Third phase; Analyzing surveys: Analyzing the studies based on seasonal, scale and navigation
parameters. (J. Synnes, 2004, p.8-17)

48
First Section: Practical Studies Second Chapter: Experimental Background

1 2 3 4
Identifying the Grouping the Considering the
color palette of the Using NCS colors in to condition of receiving
city based on color system in two categories of the color as an
seasonal, scale order to define the perceptual colors influential element
navigation color palette and local colors in perceived
parameters color results

The most essential factor which makes the Anchorage project especial is considering the lighting
condition and also climatic changes of the seasons as effective elements which change the
colorscape of the city. This factor cause to have different images in different times of the year.
Therefore, the design of the colorscape should be in way that is suitable for each season.
On the other hand, using the NCS color system for defing the colorscape of the area could be a
great experienced sample for other citiees.

2.1.3. Color palette of Longyearbyen - Norway

Longyearbyen is a privately owned mining town. The company’s board of directors commissioned
Grete Smedal to create a color plan for the various buildings and installations. The project took into
consideration the ever-changing light, the extreme climate, the coloring of the landscape, and the
great influence the building environments have on the life and well-being of the inhabitants.
Project Implementation Process:
Grete Smedal in order to get the proper color
palette for the city, first analyzed and
investigated the natural colors and all the
influential factors on the color planning of the
city like: changing lighting angle, changing
weather and color combination of natural
environment and in order to find out the
specified color palette she used the NCS in her
analysis and application. Her approach was to
give each part of town its own unique identity
that reflects its function. Figure 65: Longyearbyen (J. Synnes, 2004, p.7)
In some instances, building colors were chosen to contrast with the environment while others were
blended into the environment. What distinguishes Smedal’s work in Longyearbyen is the advantage
of a single owner and the latitude to change the color of all buildings. This enabled her to create a
comprehensive color plan and implement it relatively quickly. When the first buildings were
painted, many inhabitants were skeptical. The overall vision was quickly evident, however, so that
the focus on individual buildings and their color was secondary to the total impact of the color plan
on the town. (J. Synnes, 2004, p.7)

49
First Section: Practical Studies Second Chapter: Experimental Background

1 2 3
Improving the
sense of place based Effect of type of the
ownership on the Considering all the
on providing specifc
realization and speed natural influential
identity for each part
of implementation factors on planning
of the city according
to the function of the project

The important aspect which is considered in the project of the Longyearbyen is arranging the
colorscape of the area based on the function of each building in a way that some colors are chosen
in order to create contrast and some to blend into the environment. This characteristic of the area
leads people to have clear image of the city in their mind according to the function of each space.

2.1.4. Color Palette of Burano - Italy

Burano is one of the touristic cities in Italy, located in Venice Lagoon. This city is tourist’s heaven;
not only historic background, but also because of the special beauty and characteristic. There are
colorful buildings which seems like an old painting.

Project Implementation Process:

On the island of Burano, the houses can be any color. In this regard, the efforts of city authorities
have been first to identify and preserve the colors of the old houses. In the next step, the color palette
of the new houses is chosen in way that the city image still looks historic. Therefore, in order to keep
the harmony of the city, from the city authorities, specific regulations have been set up for the
building details. Unity is preserved by the tradition of painting door and window surrounds white
and window shutters green. (Cugley, 1987: p.8)

Figure 66: Burano (Cugley, 1987 p.8)

50
First Section: Practical Studies Second Chapter: Experimental Background

1 2 3 4
Considering the
Paying attention to historical color and Defning specifc
the historical color color regulations Providing no
texture of the city in limits in choosing the
background of the choosing the for unifying the
city and preserving color of the details color of the facade
facade color of the
the old colors new buildings in buildings

Burano is a city full of colors which is known by this feature. The most important aspect which
improve the sense of place and make order out of chaos is defining the color regulations for the
details of the old and new buildings.

2.1.5. Learning from Global Experiences

Practical examples lead us to learn about the identity and color palette of the cities which have been
managed by different plans according to their features. Generally, based on strength of each projects,
it is possible to define some influential points for the success of the color management of the city:
- Considering different parameters for identifying the color palette of city: seasonal, scale and
navigation parameters.
- Importance of natural landscape and environmental color in color palette and bautifying of the city.
- Importance of historical and social texture in formation of native color palette.
- Importance of preserving the historical, traditional and native colors of the city in order to preserve
the identity and sense of place
- Importance of the harmony between function and color palette
- Possibility of participating of the people in urban projects and city planning
- Flexibility and considering the opinion of people and different professions in designing the color
palette of the city.

2.2. Piano Del Colore (The Color Plan)

Italy is one of the successful countries in preserving the native colors of the historical centers by
using The Color Plan. The Color Plan of the buildings is an urban instrument that can be adopted by
a local administration in Italy with the aim of improving, safeguarding or protecting the dominant
features of a country or a city as regards the chromatic tones. The purpose of The Color Plan of
buildings is to ensure a certain visual continuity, a certain homogeneity and a certain coherence to
the appearance of a city, so that the decision of an individual cannot compromise, damage or ruin its
image. (Zunno, 2006: P. 4) Therefore, The Color Plan is a cultural, environmental and historical
recovery of the city. (Bianchetti, 1993: p. 16)

51
First Section: Practical Studies Second Chapter: Experimental Background

THE COLOR
CULTURAL ENVIRONMENTAL HISTORICAL PLAN

Figure 70: Cultural, Environmental and Historical Recovery of The Color Plan (Self Elaboration)

Color Plan is a way to achieve a better quality of our built environment, both through the structural
recovery of buildings, and through the enhancement of its architectural and cultural features. The
Color Plan will allow to realize a chromatic of the city, through the rereading of the urban fabric as
it has been forming and modifying over time, both with respect to its construction techniques and to
the materials and typical colors used in the local tradition. Color Plan collects a systematic and
functional subject, to deliver a knowledge not only to the insiders, but also all the citizens which as
a cultural contribution have a considerable value. (Bianchetti, 1993: p. 11)
Preserving architecture means going beyond the single punctual intervention and reaching the
conservation of the space that surrounds it. The building is not unique but presupposes a coexistence
with the space in which it was built, or that has grown around it, a relationship that cannot be
separated from the context. (Zunno, 2006: P. 5)

2.2.1. Why a Color Plan?

The problem that the architectural culture is facing today is no longer the expansive phase of the
building but the management of the existing building heritage; its redevelopment in terms of
recovery and rehabilitation. The historical environment of italian cities has acquired ever greater
importance in everyday life as well as in urban culture. Next to the structural recovery of the
buildings, the city's chromatic project as a tool for understanding and enhancing the architectural
and typological characteristics of houses.
Today, the randomness in the use of color has caused serious degradation phenomenon of
environment quality. To the original colors have gradually added a number of heterogeneous
chemical colors. The danger is represented by the series of wild interventions of color that are now
visible everywhere. Here is the usefulness of color plan. The recovery that aims at a process of
enhancement of the building heritage. (Bianchetti, 1993: p. 13)
The maintenance of the facades of our buildings, if started in complete indifference, are able to
irreparably compromise the delicate aesthetic balance of the city. (Bianchetti, 1993: p. 16)

2.2.2. The Aims of the Color Plan

The Color Plan is therefore a project aimed at the redevelopment of the image of the city that regulates
the correct performance of the operations of coloring, cleaning and restoration of the facades, or parts
of them, and of urban furnishings in the municipal area. The Color Plan’s main objectives are:
(Assessorato allo Sviluppo Urbano, 2015: p. 2)

52
First Section: Practical Studies Second Chapter: Experimental Background

1. Development of the physical view of the city.

2. Conservation and protection of the building heritage.

3. Aesthetic evolution in the society based on the colors.

4. Legibility of the different urban fabrics.

2.2.3. The Color Plan Realization

The realization of a Color Plan goes through four phases:

1. Preliminary analysis: Analyzing the territory and retrieval of material

2. Surveys: Collecting all the information and data from general to particular
3. Project: Defining the color palette
4. Implementation (and verification): The result is a palette of colors with the definition of the
rules of application (Zunno, 2006: P. 9)

IMPLIMENTATION
PRILIMINARY
SURVEYS PROJECT AND
ANALYSIS VERIFICATION

Figure 68: The Color Plan phases (Self Elaboration)

The Color Plan is a particular urban instrument with cultural and technological aspects. On one
hand, stick the city to the historical richness based on colors at a set of time, on the other hand, it
makes it possible to use the data collected on site through graphic, photographic and chromatic
surveys. (Brino, 2001: p. 12)

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First Section: Practical Studies Second Chapter: Experimental Background

The Color Plan of a municipality because of different urban instrument that intervenes, is different
from that of another municipality. Inside, in any case, are always contained the requirements and
indications that must be followed in the construction, restoration, renovation or maintenance of the
common parts or the external parts of a building. (Zunno, 2006: P. 4)

Although The Color Plan of each city is different, the methodology that have been used for
creating the color plan of the Italian cities is more or less the same which is followed as:

1) In the first step the color palette of the area has been organized according the historical colors
which is defined based on archival documents and on-site samples. Each of the color samples are
identified by a code that specifies the composition and are provided by the Munsell system, NCS
or similar.

Figure 69: The color palette of an Italian city (Alessandria)

based on archival documents (Brino, 2001: p.16)

Figure 70: The color palette of an Italian city (Alessandria)

based on on-site samples (Brino, 2001: p.16)

2) The color map of each city as a visual presentation has been drawn as a summary of the colors
of the façades represented by the streets and squares, in the form of parallel strips on the street.
Perhaps the most useful aspect of these maps is its overview of the relationship between color and
whole area. It is possible to see how various color themes are followed along streets and through
whole districts.

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First Section: Practical Studies Second Chapter: Experimental Background

Figure 71: The color map of an Italian city (Saluzzo) (Brino, 1985: p.22-23)

3) The next step is to prepare façade drawings, showing the color scheme of each façade. The
chromatic finds of the facades have been archived from every streets and squares. These drawings
enabled the architects to make a systematic analysis of the different chromatic typologies.

Figure 72: Coloring scheme of the facade (Brino,2001: p.20)

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First Section: Practical Studies Second Chapter: Experimental Background

1 2 3 4
Create visual
continuity, Realize a chromatic Going beyond the Structural recovery
homogeneity color of the city single punctual as well as cultural
and coherence based on construction intervention and and historical
to the appearance techniques, materials reaching the recovery of buildings
of the city and typical colors conservation of space and environment

Italian cities are the centers of culture and history. Therefore, it is important to preserve the
historical centers and the colorscape of these areas in order to on one hand, keep them beautiful
and on the other hand, keep the identity of the cities which is based on the history. This feature
will help us to increase the legibility of the area.

2.2.4. Concluding from The Color Plan

It is always difficult in a complex work such as Color Plan to draw conclusions because each city
has their own characteristics and considering color as an important factor of city is quite new
issue. But on the basis of experiences at least it is possible to conclude following statements:

- The Color Plan has an important role in preserving and improving the identity of historical
centers by using the native colors.
- The Color Plan have to be considered as an element which enhance the environmental features
not only in aesthetical aspects but also cultural and historical aspects.
- The Color Plan must be conceived as an open instrument; Archival research and on-Site survey
can never be considered finished and indeed must be continued by exploring new sources.
- The experiences acquired through the preparation and practical implementation of the plan serve
to construct a color plan that must work well from a practical point of view; able to convince users
to collaborate actively with the bodies, feel responsible for city’s color control and not to passively
pass it as an abstract urban instrument.

56
First Section: Practical Studies Third Chapter: Conceptual Framework

First Section: Practical Studies

First Chapter: Second Chapter:

Practical Background Experimental Background

Third Chapter: Conceptual Framework

Second Section: Experimental Studies

Fourth Chapter: Evaluating Fifth Chapter:

the Colorscape of Tehran Designing Guidelines

58
First Section: Practical Studies Third Chapter: Conceptual Framework

3. Conceptual Framework

As the current project is based on the answering the main question of: “If the color and color
management is effective to increase the sense of place”, in the first chapter, constructive concepts
based on color, sense of place and landscape have been analyzed. Therefore, to complete the
previous topics and define the relation between these topics, in this chapter some concepts and goals
have been presented in order to create a framework by inspiring from the global experiences. This
framework will help us to define some policies and guidelines in the following chapters.

3.1. Relation of Color and Sense of Place

In order to measure the concept of sense of place in urban spaces, four components have been
introduced: physical component, perceptual component, social component and functional
component. The subcategories of these components can interact with each other and influence each
other.
- Form and size
- Texture and decoration
- Layout and relationships
- Proportions
EFFECTIVE COMPONENTS OF SENSE OF PLACE

PHYSICAL COMPONENTS - Urban Enclosure

- Color

- Smell and Sound

- Symbols and Landmarks
PERCEPTUAL COMPONENTS - Beauty and perceptual dimensions
- Identity
- Memmories
- Values

- Functional activities
FUNCTIONAL COMPONENTS
- Landuses
- Attractive activities
- Facilities and equipments

- Sense of community
SOCIAL COMPONENTS
- Social interactions
- Behavioral diversity
- Functions and behaviors

Chart 5: Effctive components of sense of place (Self Elaboration)

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First Section: Practical Studies Third Chapter: Conceptual Framework

Color can affect all other components in different ways:

- Color and physical components: Color as a physical component has an important role in the
beatification of the cities.
- Color and perceptual components: Colors as basic elements of beautification, give an identity to
the area and they can make the space memorable.
- Color and Functional components: Color, functions and landuses are integrated to each other.
- Color and social components: Colors have an impact on people’s behavior and social interactions.

BEAUTIFICATION IDENTITY FUNCTION BEHAVIOR

Figure 73: Color parameters for creating sense of place (Self Elaboration)

3.1.1. Color and Beautification

The satisfaction of citizens and visitors strongly influenced by image of the city. So, the city must be
beautiful to bring citizens joy and happiness. Mankind likes beautiful spaces and these spaces
become memorable for them. Colors as one of the main physical elements of the cities, have an
important role in beautifying the spaces. Color gives perfection to form and gives it life.
All the urban elements, temporary or permanent, in addition to particular function which they have
in the city, their specific coloring is the part of urban landscape of the city. But the crucial point is
how to arrange these elements to create a beautiful scene. Beautifulness is created when there is a
harmony between the elements. So, the elements have to be beautiful as a whole and not part by part.
Harmony and beauty is valuable when they create pleasure for the citizens and become memorable
for them. No one would forget the spaces which are beautiful and they felt happy for being there.
Natural elements are the important factor of the city to improve the quality of the spaces and create
beautiful areas. It is crucial to preserve them in order to create pleasant areas in the city.

3.1.2. Color and Identity

Colors can give an identity to the area and make them memorable for the people. Based on what is
descussed in the first chapter [1.2.5. Color, Identity and Culture] with the component of color each culture
can get a meaning which is reflected in the identity and history of each city. Therefore, native colors of
each city are based on tradition, culture and history of the society. It is important to preserve and expand
the native color of the cities to create a unique vision of the cities in citizen’s and visitor’s mind.
The identity of a city depends on the identity of its citizens, and vice versa. So, the identity of the
color is not just seen in the urban furniture, but also in the way which the citizens are clothing.

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First Section: Practical Studies Third Chapter: Conceptual Framework

3.1.3. Color and Function

Color also is effected by the functions and landuses of each spaces. In the other word, each spaces
should have appropriate color and form to be meaningful.
Dependency of color palette and as result the urban landscape, on the functions and the general
vision of the city, increase the legibility of the city and by indicating the character and identity of the
city, make it easier to communicate, know and percept the area. Therefore, increasing the sense of
belonging which depends on the function is crucial. For example, in the zones that offices are
located using cold colors in order to prevent the interruption of employee’s attention and creating
calm atmosphere is recommended . On the other hand, in the places which recreational activities are
located it is important to use vivid and attractive colors.

3.1.4. Color and Behavior

Base on the first chapter [1.1.11. Psychological Aspect] colors can change people’s behavior and
social interactions. It can change the path and speed of moving in the area especially when there are
more alternatives to move. For example, it is possible to define roads, pedestrian paths and cycle
paths by coloring the surface of the roads in order to prevent the interruption by each other.
Colors also influence the places that people make pauses. For example, attractive and colorful
windows of the shops can stop the costumers or the parks with colorful plants can attract the people
to relax in these spaces.
On the other hand, they can change people’s emotions which can affect the way of interacting with
other people. Even daily conversations can be effected with colors by the space users. It can make
them think about warm feelings and vice versa cold, depression and impatient feeling.
Lighting as an important factor of influencing the color, make people feel safe in the area. This factor
can change people’s behavior. It can create relaxation or stress. No one likes to be in place which
they don’t feel safe.
So, it is possible to conclude that colors give a
meaning to the city and effect the way of
experiencing the area by current and future BEAUTIFICATION IDENTITY
inhabitants and visitors.
Colors make the city beautiful, give an identity to
the area, define the function of each spaces and
effect the people’s behavior. These parameters COLOR
are connected to each other and with the specific
and distinct native color palette can increase the
sense of place and belonging for the society in
order to create sustainable spaces.
BEHAVIOR FUNCTION
Therefore, beauty, identity and function of the
area should be in a way that effect the people’s
behavior in a positive way and make them happy
from being in this area. Figure 74: The relation of color parameters (Self Elaboration)

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First Section: Practical Studies Third Chapter: Conceptual Framework

3.2. Colorscape Planning and Management General Goals

Based on previous parts mentioned parameters, the following general goals have been suggested in
order to increase the sense of place:

1) Sustainable development to increase sense of place and identity

- Developing specific characteristic and identity based on native roots of the city
- Arranging the urban landscape with emphasis on the country’s identity
- Integrating the culture, nature and society in developing the urban landscape

2) Developing sustainable society in order to improve the quality of life

- Improving the psychological health of the citizens
- Stimulating the sense of place and participation

3) Sustainable development based on economic growth and proper functions

- Incresing the economic growth based on the function and identity of the city
- Improving the job opportunities based on the participation of citizens
- Attracting some investigators in order to improve the quality of urban landscape
- Developing a tourism industry based on attractive landscapes

3.3. Colorscape Planning and Management General Principles

The following principles have to be considered based on concepts and goals which mentioned before
in order to increase the sense of place for the citizens:

3.3.1. Natural Aesthetics Principles

All of the colors in the city should be based on the dominant natural colors. Natural colors include
non-asphalt roads, rocks, grasses, trees, rivers, mountains, beaches, sky and etc. These natural colors
can be dynamic or static. Dynamic colors are like sunset and seasonal factors which effects the color
of the space. Static colors are like rocks and plants which their color is stable.
These Natural colors indicates the differences between desert cities and forest ones. Therefor, it is
important to preserve them as a background color of our cities because not only they beautify the
city, but also they give an identity to the area and they become an elements which the cities are
known by them. [1.2.4. Objective and Subjective Factors]

3.3.2. Historical Color of The City Principles

According to the natural and social status, each city in the growing process, use specific colors
related to the native materials or the culture of the society. These cities are known by these color
palettes and these historical colors become an identity of them. Preserving these cultural and
historical colors is a crucial point for the livability of the cities. [1.2.5. Color, Identity and Culture]

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First Section: Practical Studies Third Chapter: Conceptual Framework

3.3.3. City Function Principles

Color palette of the urban landscape have to follow the function and the vision of the city; in a way that
the colors used for a historical city with the vision of tourism have to be different form the color palette
of a commercial, administrative and cultural cities. The reason is each city has some goals and visions
and the urban landscape indicates the image which the city is following based on its own goals.

3.3.4. Harmonic Color Composition Principles

The aim of harmony in the city is creating unity in the image of the city increase the legibility of the
city. This color composition includes all the colorful factors of the city like natural, artificial,
permanent, temporary, stable and changeable colors.
In a designing a harmonic space we have to consider that the colors are impressing by each other and
environment and are effecting each other. [1.1.8. Color Harmony and Disharmony] Therefore, any
colorful spot in the space have a crucial role in designing.

3.3.5. Sustainable Development Principles

Based on the first chapte [1.2.6. Sustainable Development] for preserving the natural environment,
color landscape of the city should follow the sustainable development principles. For this reason,
climate changes, geographical location, pollution, recycling and resumption and other factors should
be considered as a crucial aspect of designing the color landscape of the city. Used materials are the
important elements for planning a sustainable development. Sustainable materials are those
materials that provide environmental, social and economic benefits for the city. Sustainable
construction is construction that is based on sustainable materials and satisfies the demands of
sustainable development. Therefore, it is important to use sustainable materials for the constructing
the colorful landscape of the city because it would be easier to recycle these kind of materials for
restoration and beautification of the city.

3.3.6. Respecting Cultural and Religious Principles

Color do not mean the same thing in every culture and religion. Even it has different meaning in
same culture and religious in different time period or even in same country and different states.
Considering cultural and religious identity of the city in designing the color landscape of the city is
an important aspect because it is a traditional character of the city and people get same information
from the colored element. [1.1.13. Color and Symbolism]

3.3.7. People-oriented Principles

People-oriented means considering people as an important part of the city. Planners and designers
have to consider that at the end people have to live in the city and the design of the space should be
in a way that provide their needs and increase their sense of belonging to the space. In this sense,

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First Section: Practical Studies Third Chapter: Conceptual Framework

public spaces are strategic areas to design in a way that people like to pass their time there. Colors
are the important elements in designing the public spaces. [2.1.1. Color Palette of Oslo-Norway]
On the other hand, it is important to give the citizens an opportunity to personalize their living
environment in order to improve their sense of belonging.
In order to determine the executive position of the mentioned principles, they are divided into
substantial and procedural principles:
Principles of colorscape planning and
System
management by emphasising on sense of place
- Variety: Variety in landuses and functions is followed by presence of
people and variety of colors.
Landuse - Structure and Function: Any changes in echological structure of lanscape
System can change the functions.
- Flexibility: Reviving or changing the functions can preserve the livability
and presence of people.

- Movement Perception: Pay attention to the amount of perception of details

Accessibility
and colors when moving.
and
- Global Srandards: Pay attention to the standards of color concept in
Movement System
transportation.
Physical Form - Protect and Strengthen the Natural and Native forms: Protecting the
System native urban texture which give an identity to the city landscape.
- Consistency and Relationships: Designing the public spaces from coarse
SUBSTANTIAL

to fine in a harmonic way.

ASPECTS

Public Spaces - Integrated Structure: Spatial integration between existing public and
System green spaces in order to develop the urban colorscape and give an identity
to the area.
- Readability and Identity: Emphasis on the elements which give an identity
Urban Landscape to the area.
System - Visual Discipline: Create a rich visual experience through creation of
attractive and memorable spaces.
- Protect and Strengthen the Natural and Ecological Features: Protecting
the natural features which make the area specific and it is a part of native
Ecological
identity.
System
- Persistence and Recycling: Using materials with high quality which it is
possible to recycle.
- Aducating and informing the citizens about the coloscape of the city.
- Using urban design specialists and landscape designers for the decisions
PROCEDURAL
ASPECTS

about coloscape of the city.

Partnership - Creating strong relationship
94 between designers, city authorities and
and citizens
Realization - Using all the financial and legal instruments in order to improve the
coloscape of the city and the sense of place.
- Get a financial support from the ones who get the most benefits from
developing the coloscape of the area.
Table 2: Principles of colorscape planning and management (Self Elaboration)

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First Section: Practical Studies Third Chapter: Conceptual Framework

3.4. Role of Planners and Designers

Planning and design has always been about creating and maintaining the quality of the built
environment and making it meaningful to its users. Today most of the people in the world are living
in the cities; therefore, cities are the places which effect a lot of people and their lifestyle. For this
reason, quality of the cities has a huge importance in people’s life and their behavior.
The issue of sense of place and giving an identity to the urban spaces, is an issue which is not
considered enough by executive bodies and for this reason today the urban spaces are experiencing
spaces without identity.

Color is the most important part of urban beauty and can be seen as an element for improving the
sense of place. It is one of the important factors in quality of resident’s life. Planners and designers
have to use color consistently for beautifying the city and also giving a meaning to the areas. Colors
can deepen the space and also create spaces. They can make the building perceptible and legible and
also show the function of the building. For designing the color of the building, connection between
the building with surrounding, should be considered. Colors can help the designers to create
feelings of unity, identity, continuity and regularity. The colors can be used to indicate important
buildings and city landmarks. Routs, squares and important streets can be legible with color codes.
On the other hand, by using specific color palette, unified pattern for the whole city can be defined.

What it has to be regarded is using colors in the urban spaces is completely different from the use
of color in drawing. Quality of color, from city to city, season to season and from morning to night
is changing. Therefore, for each city it has to be considered specific regulation. The regulation for
one city cannot be applied in others.

Each physical part of the city has a form and create harmony and unity in the city. Therefore, each
component of the city can be designed. Although form and construction of traditional cities were
gradually and without designing and planning, but they were growing based on specific patterns. In
today’s cities also the design should be unique in a way that creates permanent imagination in
people’s mind. But the reality is completely different.
The context of the today’s cities is one of the reason for psychological problems and color has an
important role in formation of this context. Designers have to know that each color has a meaning
and using colors properly, creates meaningful places. On the contrary, improper use of color make
the cities annoying and boring. Proper color palette, has to be considered not only for the single
building, but also for the whole community, harmony is a crucial point. It has a strong and deep
effect on the space. For this reason, designers have to pay attention to the colors used in the context
of the city; not only as an aesthetic element but also as a psychological element.

65
Second Section: Experimental Studies Fifth Chapter: Designing Guidelines

First Section: Practical Studies

First Chapter: Second Chapter:

Practical Background Experimental Background

Third Chapter: Conceptual Framework

Second Section: Experimental Studies

Fourth Chapter: Evaluating Fifth Chapter:

the Colorscape of Tehran Designing Guidelines

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

4. Evaluating the Colorscape of Tehran

Based on the Conceptual framework which is presented in previous chapters, it is time to examine
the previous information. Therefore, the city of Tehran has been chosen in order to study.
First of all, some brief information about Tehran and the role of squares in the cities of Iran have
been described and after introducing the main squares which are the focus of this project, the
process of achieving the color palette have been done in four phases:

- First Phase: Collecting the primary color palette based on photographing the area and identifying
all the elements and factors which influence the color palette
- Second Phase: Pathology of colors in the urban landscape and defing the SWOT analysis
- Third Phase: Coding the defined colors by using the NCS color system [2. Experimental Background]
- Forth Phase: Suggesting some policies in order to reach to the desirable color palette (Fifth Chapter)

4.1. Tehran and The Role of Squares

To many people, Tehran is a city which is lost in the smoke and in the first sight may not seem
interesting to visit. Tehran reminds everyone traffic and crowd and perhaps most of the people never
put it on the list of places they should visit. But this crowded and always awakened capital has many
sights and places for its residents and guests to spend their sweet moments.
Tehran as a capital of Iran, always has been the symbol of modern city and also today is exposed to
increasingly accelerated changes. The alienation of Tehran from its traditional character, has led
this city to the sort of confusion and lack of readability. Although there are many modern elements
in Tehran which lead the city to eliminate traditional elements, however traditional elements and
their components still exists and continue their life in conflict and interaction with the modern ones.
Passing through tradition to modernity, in Tehran, the components transformed to the current form.
Urban squares as a joint and an important social connection element, has undergone a
transformation following these changes. In traditional city of Tehran, they were located at the
intersection of roads and in addition to their body and function they had meanings. These spaces
were one of the most prominent areas of manifestation of urban identity and culture. They were the
place of gathering and social interactions. However contemporary squares in Tehran, changed in to
a type of traffic roundabout which is formed by crossing streets and usually has some greeneries,
water fountains, etc. in the middle. These squares have lost their functional identity and significance
as urban spaces. They only belong to vehicles and give a few attentions to pedestrian and their
attendance in these spaces. The gradual domination of vehicles on the pedestrian movements reduce
the vitality and social interactions which followed by reduction in sense of place.
In Iran even today, squares are one the most effective urban spaces in citizen’s mind; in a way that
the residents recognize the different urban spaces based on the squares. Squares are the easiest way
to give an address to a person which never have been in the space.
Square with a variety of semantic, functional and physical aspects can play an important role in
improving the quality of the spaces of today's cities. Considering the factors affecting people's
attachment to urban squares can play an important role in the identity and desirability of them.

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

...
... ...
...

TRADITIONAL SQUARES MODERN SQUARES

Figure 75: Role of squares in traditional and modern cities (Self Elaboration)

Mostly, activities and functions which are located around the squares, give an opportunity to people
for gathering and pausing in the space. This factor makes the people to stay more in the area which
lead them to communicate better with surrounding area. Therefore, squares have an important role
in the sense of the place. For this reason two squares have been chosen as case studies with two
different characteristics. In these squares some historical elements are located which today they lost
their importance for different reasons. Therefore, these historical elements can be used in order to
improve the sense of place in these spaces. [2.2. Piano Del Colore (The Color Plan)]
In following parts, the color palette of these squares have been studied in order to investigate the
physical and psychological problems of the city about issue of color.

4.1.1. Hassan Abad Square

The reason of choosing this square:

1. Historical records of the square as part of Tehran's urban identity.

2. Valuable architecture as a part of historical color palette of old Tehran.

3. Being as a limited number of squares which is restored.

4.1.1.1. History

Hassan Abad Square is one the of designed urban spaces in old Tehran. It is located in the
intersection of two main streets of Hafez and Sepah in between district 11 and 12 in city of Tehran.

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

3
4
22 5 2

6 7 8

21 13

9 10 HASSAN ABAD SQUARE

11 14
12
18 17

16 15
19

20

0 2 4 Kilometer

Figure 76: Hassan Abad Square ‘s Location in Tehran (Self Elaboration)

Hassan Abad Square’s design is

unique but it is a copy from the
concepts of Palladio, the famous
Italian architecture of Renaissance. It
has no original form of Persian
architecture. Structurally, Hassan
Abad Square was built in the 1930s on
an intersection along one of the
passageways of the main structure of
Tehran. Hassan Abad Square is one of
the five famous Squares in the central
part of old Tehran. (Tavassoli, 2016:
p.189)
Its four corners ware originally
occupied by identical buildings, but in
1963 the southeast segment was Figure 77: Internation bank of Hassan Abad Square in 1950’s
demolished to make way for a bank. (www.karnaval.ir)

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

(Mehan, 2016: p.491) In 1990s the

Municipality of Tehran decided to
change the feature of the modern
building and harmonize it with other
buildings. In 1995, a design was
accepted and carried out. The basis of it
was to repeat the old forms in front of
the modern building and change the
remaining upper part to glass
architecture. (Tavassoli, 2016: p.189)
Despite of all these changes today, one
of the most important features of this
square is its symmetry and this square
is famous for having this feature.
Figure 78: Internation Bank of Hassan Abad Square Today
(Self Elaboration)
On the other hand, there were some elements in the middle of the square which it is possible to see
in the old photos of the area and have been eliminated with no sign from the past. In 1950’s there
was a statue in the middle of the square, 1960’s there was just greenery and 1970’s combination of
greenery and water; which today there is not any sign from these elements.

Figure 79: Hassan Abad Square in1950’s (www.karnaval.ir) Figure 80: Hassan Abad Square in1960’s (www.karnaval.ir)

Figure 81: Hassan Abad Square in1970’s (www.karnaval.ir) Figure 82: Hassan Abad Square Today (Self Elaboration)

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

Few years ago by designing an underpass large number of car flows have been controlled and also
pedestrian paths with suitable and different pavement have been created.

Figure 83: Hassan Abad Square underpass Figure 84: Hassan Abad Square pavement
(Self Elaboration) (Self Elaboration)

The presence of the metro station inside the square is one of the positive features of this area. This
feature gives an opportunity to the citizens to access to the area easily.
Today most of the functions of this square are commercial. Economically, this area is the most
concentrated center of hardware store and knitting wool. (Tavassoli, 2016: p.189)

Figure 85: Hassan Abad Square metro station Figure 86: Hassan Abad Square as a concentration
(Self Elaboration) of hardware store and knitting wool (Self Elaboration)

Unfortunately, there are not many activities about preservation and restoration of historical texture
in Iran. But restoring of Hassan Abad Square is one of the limited numbers of restoration of an urban
space in Iran. In the restoration of this square, authorities tried to pay attention to the presence of
pedestrian movements as well as vehicular movements.

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

4.1.1.2. Color Investigating

Hassan Abad Square is one of the historical squares in Tehran and as it has been restored just few
years ago, in general, fundamental essentials of color harmony have been considered and it seem
that there is a good color status in this area.

4.1.1.2.1. Facade

Historical buildings and also exhibitive building which have constructed in 1990s have a great color
harmony. Beauty and identity is in the core of these buildings. As it is possible to see in the table of NCS
color system, there is a spectrum of warm colors of cream, dark and bright brick dust color and wooden
color of the window frames and there is a great harmony between them. Although the building of the
International Bank at the back of exhibitive building have destroyed the sky line of the square, but the
material of building which is chnaged in to a glass is the best choice to make the building invisible.

Figure 87: Color harmony of historical buildings of Hassan Abad Square (Self Elaboration)

NCS COLOR SYSTEM THE COLOR

NCS S 0603-Y60R

NCS S 2005-Y30R

NCS S 2005-Y20R

NCS S 4010-Y90R

Figure 88: Hassan Abad Square building Table 3: Hassan Abad Square building
facade (Self Elaboration) facade color analysing (Self Elaboration)

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

Apart from the square which have been restored, the streets leading to the square have modern
texture with no identity. These streets don’t have any harmony with the historical character of the
square. There is not any order between them while these buildings have to prepare the visitor’s eye
and mind for entering to a historical and valuable area. The transfer from modern to traditional
texture should be softly. Some of these elements could be beautiful as a single elements but as whole
they destroy the historical identity of the area.

Figure 89: Disproportion of the buildings of the leading streets to the square (Self Elaboration)

Although there is not possible to see the

façade of the underpass from the square, it is
possible to see the façade of the leading street
to the underpass which is in a great harmony
with the historical character of the area as
form and color. The beautiful images which
are created by tiles are in the shape of
traditional Persian designs and their color
don’t effect the coloscape of the area in a
negative way. The facade of this underpass
give the people the sense of being in a
historical place.

4.1.1.2.2. Pavement Figure 90: Facade of the underpass (Self Elaboration)

The material of the pavements and the roads is cobblestone which have a great harmony with the
historical buildings. The form and material of the pavement is in a way that extend the identity of
the area.
Although the pedestrian pathway is in a good condition, most of people which are in this square have
to do compulsory activities because people don’t have any other reason to be in this square to spend
their time there or enjoy the area.

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

NCS COLOR SYSTEM THE COLOR

NCS S 1502-Y

NCS S 0540-Y80R

Figure 91: Hassan Abad Square Table 4: Hassan Abad Square pavement
pavement (Self Elaboration) color analysing (Self Elaboration)

4.1.1.2.3. Extensions

Apart from the extensions on the historical

buildings of the square which is in harmony with
the historical buildings, one of the few problems
which Hassan Abad Square has is the extensions. Figure 92: Extensions in harmony
Not only, as a quality are not as better as some parts with the surroundings (Self Elaboration)
of the city, but also as an appearance they don’t
have any harmony with the historical texture of this
area because too much vivid colors have been used
in the design of them. As a single elements some of
them are beautiful but their existence in the
historical area, disturb the character of the space.
Figure 93: Extensions in no harmony
with the surroundings (Self Elaboration)
4.1.1.2.4. Urban Furniture

The Existing urban furniture of this area are telephone booth, trash cans, urban facility kiosks like
phone and electricity and also some urban elements. The color of the most of these furniture are
vivid colors which is not harmonic with the historical texture of the area. These elements have been
designed in a way that they are the first thing that attract the viewer’s attention. The design of them
are the same as modern part of the city and it is essential to change them with the elements that have
harmony with this area as a shape and color. In the other word, the color and the shape of the urban
furniture in this area should be in a way that to be in in harmony with the historical atmosphere and
also not too attractive for the viewer as a first thing. They don’t have to be in competition with the
historical buildings.
Some of the elements like urban facility kiosks are colored in gray which makes them invisible in
the atmosphere of the area. These elements have to be in this way because they are not considered
as an important elements to be seen.

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

Figure 94: Lack of Harmony Figure 95: Using neutral colors Figure 96: Disarranged trash cans
between the telephone box for the urban facility kiosks according to the historical atmosphere
and the surrounding (Self Elaboration) (Self Elaboration) of the area(Self Elaboration)

On the other hand, there are some statues which give a meaning to the space. There is a statue of a
sitting old man which is in harmony with the historical atmosphere as a material and colors. Also,
there is a statue in the northern part of the square, in front of a fire station and it is in harmony with
an existence of the fire station and gives meaning to it.

Figure 97: The statue of the old man in front of Figure 98: The statue of the firefighters in front
the historical buildings (Self Elaboration) of the fire station (Self Elaboration)

4.1.1.2.5. Natural Environment

Although there is a city park close to the square, except few trees around sidewalks there are not any
other natural elements which can soften the colorscape of the area.
The park is covered by different kind of plants which even in the cold weather they don’t lose their
color. Therefore, it would be nice to continue these green spaces to the square in order create
pleasant space in harmony with the historical atmosphere.

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

HASSAN ABAD SQUARE

CITY PARK

Figure 99: Existence of few trees in the square in compare to the potential location (Self Elaboration)

4.1.1.2.6. Activities

Around the square and under the

domes, there are different shops.
Residents do not know the history
of the formation of them, but each
side of the square has become the Bank Fire Station Ironware Ironware
center of activities for different
businesses. For example, the
south-west side of the street is the
place of wool and yarn. The colorful
wools in the window of the shops
attract the people who are interested
in weaving.
On the other hand, in the south-east
and north-west side of the square
there are banks which because of
neutral color are not that much Wool Shop Wool Shop Bank Ironware
effective on the colorscape of the area.
In the north-east part there are
different shops of hardware and
ironware which from different part
of the city attract people to buy
required things.
Also there is a fire station in the
northern part of the square which it
is the first fire station of Tehran. Figure 100: Activities located in Hassan Abad Square (Self Elaboration)

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

Also in the different parts of the area, there are different retail sellers which their existence and their
colorful goods are effective in the colorscape of the area.

Figure 101: Retail sellers as a part of colorscape of Hassan Abad Square (Self Elaboration)

4.1.1.2.7. Lighting

Since this area attract the authority’s attention in last years as a

historical and valuable square, in order to stimulate the sense of
place and to be memorable for the visitors, desirable place have
been created also dark at night. The experience of being in this
area is different at night. The combination of light and shadow
with the historical buildings creates visually appealing visions.
The ideal lighting is one of the most vital factors in the night
activities of this space. This feature has an important role in
attracting people. People have enough vision which makes them
feel more safe for being in this space. Figure 102: Hassan Abad Square
at night (Self Elaboration)

4.1.1.3. SWOT Analysis

Based on the foresaid information about the history and coloscape of the area, it is possible to
arrange a SWOT analysis for Hassan Abad Square in order to improve the quality of the colorscape
and increase a harmony between the elements which are located in the area.
SWOT analysis will help us to follow strategic plan in order to reach to the area which the historical
elements and the new ones exist aligned to each other and there is not any conflict betweeen them.

The SWOT analysis of the Hassan Abad Square is arranged in following table:

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

S
STRENGTHS
W
WEAKNESSES
O
OPORTUNITIES
T
THREATS

1, Restoration of 1. Lack of adequate 1. Existence of proper 1. Fire station and

historical parts as an green spaces accessibility by the stock tool market as a
identity of the area located metro station conflicting landuse for
2. Absence of suitable in the square the historical square
2. Vast padestrian urban furniture
paths with defined 2. Being located in .2. Decreased sense
pavement 3. Removed historical hostorical passway of of place to this
element of the square Tehran historical square
3. Controlling the car without any signs from
flow and elminiating its past 3. Being close to City 3. Lack of integrated,
the large number of Park which is one of efficient and powerful
cars by constructing the beautiful parks in management
an underpass Tehran

Table 5: Hassan Abad Square SWOT analysis (Self Elaboration)

4.1.2. Tajrish Square

The reason of choosing this square:

1. Existence of commercial centers.

2. Importance of the area because of tomb of Imamzadeh Saleh and Bazaar.

3. Existence of the rivers.

4. Strategic view to the mountains.

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

4.1.2.1. History

Tajrish Square was an important place from old times to now. It is located in district 1 in city of
Tehran. This square is one of the important historical centers in the district, which historically and
functionally is valuable. This site has been always known as a place which held high standards of
life including natural significance.

1
TAJRISH SQUARE

3
4
22 5 2

6 7 8

21 13

9 10
11 14
12
18 17

16 15
19

20

0 2 4 Kilometer
Figure 103: Tajrish Square ‘s Location in Tehran (Self Elaboration)
From past to today, this district experienced too many changes. There was too many gardens and
green space in the area which changed into tall buildings and commercial centers. Recreational
activities changed in to commercial activities and today this area is known by the commercial
centers the most.

Figure 104: Tajrish Square in1920’s Figure 105: Tajrish Square in1930’s Figure 106: Tajrish Square Today
(www.bartarinha.ir) (www.bartarinha.ir) (Self Elaboration)

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

Today Tajrish Square is an important trade affair

center in the northern part of Tehran. It holds the
important and old Tajrish traditional bazaar, which
has been the core of the area from the past and
probably one of the main factor of forming Tajrish
district. Tajrish traditional bazaar in addition of
different economical and service functions, play an
important role in promotion of socio-cultural values.
So, this element has a commercial, historical and
religious role in the area. For this reason, it attracts
too many citizens from different part of the city and
in a way it is an identity of the area. Figure 107: Tajrish Bazaar (Self Elaboration)

In Iranian ideology, specialized attention devoted to

holy places. Tradition of existence of religious places
and mosques close to the bazaar was always in the
culture of Iran. The tomb of Imamzadeh Saleh is
located in western extreme of old bazaar and it is one
of the elements which gives an identity to the area.
This religious space has visitors from whole city of
Tehran and also adjacent cities to Tehran during the
day especially on special religious occasions. For this
reason, it is one of the spaces which people have
collective memories. Figure 108: Tomb of Imamzadeh Saleh
and Great Mosque (Self Elaboration)

Traditional bazaar sits near three modern shopping centers known as the most stylish and modern
shopping centers in Tehran which are called: Ghaem, Tandis and Arg shopping centers.
In this zone the two different modern and traditional atmospheres stand aside with a notable
coexistence. Ghaem shopping center and Tajrish traditional Bazaar are located together, in the same
place which indicate the combination of tradition and modernity.

Figure 109: Ghaem shopping center Figure 110: Tandis shopping center Figure 111: Arg shopping center
(Self Elaboration) (Self Elaboration) (Self Elaboration)

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

The existence of different kind of activities, make this area

as one of the most crowded parts of the city. For this reason,
it is impossible to go to this area by car in peak times of the
day. Therefore, the construction of metro station in 2012,
make it easier to reach to this area without the car.

4.1.2.2. Color Investigating

Tajrish is the area with contradiction of historical and

modern elements. In general, it seems that there is a chaos in
Figure 112: Tajrish metro station
the colorscape of the area; the identity of the area is lost in (Self Elaboration)
this chaos.

4.1.2.2.1. Facade

The first point about the Façade is the contradiction of colors, materials, forms and height of the
buildings. The form and the color of the historical buildings don’t have any connection to each other.
For this reason, this area is turned into space which are beautiful as a single elemnt. They have no
harmony with each other. This feature disturbs the identity of the area.

Figure 113: Facade of Tajrish Figure 114: Facade of tomb of

Bazaar (Self Elaboration) Imamzadeh Saleh (Self Elaboration)

Figure 115: Facade of Arg Figure 116: Facade of Tandis

shopping center (Self Elaboration) shopping center (Self Elaboration)
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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

In the architecture of the old buildings of this square, red sloping roofs have been used. This kind of
buildings which still some of them exist is one of the identity elements of the square. But the form
of new buildings has no harmony with the old texture of the area and eliminate the sloping roofs
from the square. The colors of this buildings of the area are gray spectrum which creates a
depressing vision. On the other hand, the dust on the façade of the buildings and lack of the
maintenance, exacerbate the sense of the depression of the area.
The new buildings like the shopping centers, are not in harmony with the historcial charachter of the
area. Existence of this kind of buildings create a conflict between traditional and modern elements.

Figure 117: Sloping roofs of Tajrish Square Figure 118: Depressing vision of
buildings (Self Elaboration) dirty buildings (Self Elaboration)

However, it is possible to see some effective elements as an identity of the area. The azure color tiles of
the minarets of Imamzadeh Saleh is adding color to the space. On the other hand, azure color has an
important role in holy spaces in Islam. These minarets as a childhood memory for the people and as a
religious value for the prayers, improve the poor sense of the place of the area.

NCS COLOR SYSTEM THE COLOR

NCS S 1050-R90B

NCS S 4550-R70B

Figure 119: Tomb of Imamzadeh Table 6: Tomb of Imamzadeh Saleh building

Saleh building facade(Self Elaboration) facade color analysing (Self Elaboration)

On the other hand, the existence of Tajrish Bazaar and the façade made of bricks remind us the old
architecture of Iran. This building has an important role in keeping the historical character of the
area.

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

NCS COLOR SYSTEM THE COLOR

NCS S 1010-Y10R

NCS S 3010-Y40R

NCS S 4020-Y60R

Figure 120: Tajrish Bazaar Table 7: Tajrish Bazaar building

building facade (Self Elaboration) facade color analysing (Self Elaboration)

4.1.2.2.2. Pavement

The pavements of the pedestrian paths of the square is mostly

tile and the street flooring is asphalt. The asphalt of the area is
in a good condition but the pedestrian paths in some parts are
not suitable for everyone to pass and also distrupt the general
view of the area. The existence of attracting landuses such as
commercial activities, traditional bazaar, services,
administrative, educational and religious uses make this area
to face vast presence of pedestrians. It is possible to say that
this area is multi-functional and it is open to all social groups
all day long. For this reason, Tajrish Square is one of the most
Figure 121: The asphalt of the
crowded part of the city also due to the suitable transportation Tajrish Square (Self Elaboration)
access. Thus improving and developing the pedestrian
environments to facilitate the passage and attendance of pedestrians is crucial.
On the other hand, because of existence of the modern and traditional elements it is important to use
the suitable color and materials according to the existing activity but also in harmony with
eachother.
Currently, in the coloring of the pavements the neutral colors have been used which don’t disturb the
general colorscape of the area.

Figure 122: Tiles in a good condition Figure 123: Tiles in a good condition Figure 124: Tiles in a bad condition
around Tajrish Square in a leading street to Tajrish in a leading street to Tajrish
(Self Elaboration) Square (Self Elaboration) Square (Self Elaboration)

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

4.1.2.2.3. Extensions

Apart from religious activities in the square, this area is one of the centers of recreational and
commercial activities. Therefore, because of increasing number of the shops which are in
competition with each other for attracting the costumer’s attention, we are facing with visional
confusion because of the billboards with vivid colors; as it is possible to see in the tables of NCS
color system. In fact, the reason of this confusion is not only because of the color variation of the
billboards with high saturation, but also its because of no general rules for the size, form, font of
writing and location of these billboards. These billboards are large, vivid and eye catching in a way
that make people forget the actual character and identity of the area.

NCS COLOR SYSTEM THE COLOR

NCS S 4050-R80B
NCS S 0560-Y70R
NCS S 1050-B10G
NCS S 1060-R30B

Figure 125: Large billboard in Table 8: Large billboard in Tajrish Square

Tajrish Square (Self Elaboration) color analysing (Self Elaboration)

NCS COLOR SYSTEM THE COLOR

NCS S 4050-R80B
NCS S 0560-Y70R
NCS S 1050-B10G
NCS S 1060-R30B

Figure 126: Billboards of the shops in Table 9: Billboards of the shops in Tajrish Square
Tajrish Square (Self Elaboration) color analysing (Self Elaboration)

4.1.2.2.4. Urban Furniture

Most of the urban furniture of the Tajrish Square are like other parts of the city and they are not
specified for the area. On the other hand, in this square there is a color confusion because of the
varied and vivid colors of the elements. Therefore, it is important to use neutral colors for the
elements which are not important to be eye catching. For example, for the coloring of the fences a
neutral color has been used which helps not to increase the confusion of the area.

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

It is also important to consider the role of the taxi and bus stations as effective elements on the
colorscape of the area. Yellow and green taxis on one hand and red, blue and green buses on the
other hand, can be seen in different times of the day which have been parked in the station or are
moving as colorful spots.

Figure 127: Neutral color fences Figure 128: Taxi Station in northern Figure 129: Bus Station in southern
in Tajrish Square part of Tajrish Square part of Tajrish Square
(Self Elaboration) (Self Elaboration) (Self Elaboration)

4.1.2.2.5. Natural Environment

The other effective elements on the colorscape of the area are

natural and ecological elements. Extensive view of the
northern mountains has an important role in skyline of the
area. This element as a native color of the area, attracts the
visitor’s attention. Therefore, using colors in harmony with
the background color of the natural environment and also
preventing to block the visual corridors of this element not
only increase the sense of place but also enrich the color
palette of the area.

Tehran has always been in challenge with lack of sufficient Figure 130: Strategic view to the mountains
from Tajrish Square (Self Elaboration)
water, therefore a place like Tajrish which had many rivers
and underground water sources was very pleasant for Tehran
citizens all the time.
Other ecological element of the area is the river which it was
visible before from the square but it has been eliminated from
the surface of the area.
Bring back the element of water to the area for reflecting light
and color and also softening the space is effective. It can
soften not only the vision of the area, but also the sound of
water can soften the sound pollution made by the traffic.
Water can increase the sense of place and improve the
colorscape of the area. It can create a pleasant spaces when it Figure 131: Darband river passing through
is combined with geen spaces and colors. Tajrish Square (Self Elaboration)

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

Although in some parts of the northern and southern parts of

the square the river is visible but it is not well-maintained and
Darband River
not in the good condition. Golab Darreh River and Darband
Rivers are the opportunity for designing the surrounding for Golab Darreh River

the recreational activities.

Especially, Darband River which is surrounded by green
spaces, with a view of monuntains is a good opportunity for TAJRISH SQUARE

the area to be designed. Already, some sport facilities with

vivid color, are located along the river. This area could be a
great space for the people for doing sport; because there are
sound of the water and green spaces.
Tajrish square is in the beginning of the Valiasr Street with
Figure 132: Darband and Golab Darreh
beautiful tall trees along the street which are effective in River’s Location (Self Elaboration)
colorscape of the area. In different seasons these trees have
different colors and they are one of the important elements in the sense of place of the area.

Figure 133: Sport Facilities along Figure 134: Valiasr Street with tall
Darband River (Self Elaboration) trees (Self Elaboration)

4.1.2.2.6. Activities

The primary activity of the area is the Imamzadeh Saleh

which mostly the women with black hijab from different part
of the city are coming to this area are effective in the
colorscape of the area.
In different occasions, different religious events are held in
this area which are effective in increasing the sense of place.
Also as it is mentioned before the azure color of the
Imamzadeh Saleh building which can be seen from different Figure 135: Prayers in Tomb of
parts of the square, creates beautiful scene in the area. Imamzadeh Saleh (Self Elaboration)

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

The other effective activity of the area is the bazaar. Different

kind of goods and their way of arranging them in the bazaar
especially fruits and vegetables creates colorful sight for the
people which are passing through it.
In Tajrish bazaar many shops are located and the interesting
thing is that the name of the shop is carved with tile over it.
These tiles have given a special beauty to the market and it is
in harmony with historical character of the area.
In the bazaar, you will find a variety of handicrafts such as
cashmere and Yazd copper dishes and Lalejin pottery, as well
Figure136: Tiles of the name of the shops
as nuts, sweets, saffron, spices, pickles, fruits and vegetables. in Tajrish Bazaar (Self Elaboration)

Every day, a large number of people and native and foreign tourists visit this market.
Food, home appliances and all the products needed by the residents of Tajrish are found inside this
market. This marketplace is always crowded and despite being old, is competing with shopping
centers around Tajrish Square.

Figure 137: Fruits and vegetables Figure 138: Cashmere handcrafts Figure 139: Copper dishes
in Tajrish Bazaar (Self Elaboration) in Tajrish Bazaar (Self Elaboration) in Tajrish Bazaar (Self Elaboration)
On the other hand, the existence of the shopping centers is the other reason to be in this area. This
shopping centers are known by presence of famous brands. This is the criterion which turns them to
one of the special ones in the city.
Also there are varied restaurants and coffee shops in the area which different people go there to
spend their time.
These activities are the main reason of the crowd in this area. There are different people which come
to this area for different reasons, by car or on foot. Therefore, it is important to improve the quality
of the area especially for the pedestrians because they are mostly the people which are coming for
selective activities and they spend more time in the area.

4.1.2.2.7. Lighting

When the sun sets and the sky gets darker, most of the shops in the city bring down the shutters and
close early but the life in Tajrish Square continues and most of the shops and restaurants are open until
late at night. Existence of colorful lights of shops and restaurants are very effective for attracting people.

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

The Facade of Arg Shopping Center which during the day is

just simplifying and creating a smooth and neautral surface to
counteract the chaos of the neghborhood, is made of glass and
reflects old trees of the surrounding and highlighting the
mountains located in the north; but during the night, when the
sky is dark, colorful images have been represented by indirect
lighting. This atmosphere is created to have joyful space by
the controlled lights which are played as an images which are
designed before. These dancing colorful lights are also
smooth to have harmony with the façade. It is possible to see Figure 140: Arg Shopping Center
these colorful lights by standing in any parts of the square. during the night (Self Elaboration)
On the other hand, it is possible to see the green lights of the
Imamzadeh Saleh during the night. As it is mentioned before
green is an important color in Islam and it is possible to see
this color in most of the holy places. This green light creates
a beautiful scene which give an identity to the area and
indicates the imposrtant function of the Tomb.
In general, it is possible to say that the lighting of the square
like most of the other parts of the city, has no planning. We
are facing with disordered lighting mostly for commercial
competitions for attracting costumer’s attention which disturb Figure 141: Tomb of Imamzadeh Saleh
the identity of the area. during the night (Self Elaboration)

4.1.2.3. SWOT Analysis

Based on the foresaid information there is a conflict between traditional and modern elements in
Tajrish Square. Creating harmony between modern and traditional atmosphere of the square is the
most important aspect which colors can help us.
As it mentioned before the main activities of the square are changing, Therefore, it is important to
use the color in a way that previous and current activities of the square exist align to eachother.
Creating a great color harmony between these elements is crucial.
Foresaid information about the history and colorscape of Tajrish Square, lead us to arrange a SWOT
analysis. Following the strategic plan of the SWOT analysis will help us to reduce the conflicts
between the existing elements of the square; The conflicts between modern and traditional and
between current and previous activities. If the current conflicts are resolved, it is possible to create
an area with unique identity.
It is intended to specify the objectives that identified by the internal and external factors which are
favorable and unfavorable to achieve those objectives.
SWOT analysis give us a framework for arranging a policies for the colorscape of the area and
similar areas in order to creat harmony between the elements.

The SWOT analysis of the Tajrish Square is arranged in following table:

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Second Section: Experimental Studies Fourth Chapter: Evaluating The Colorscape pf Tehran

S
STRENGTHS
W
WEAKNESSES
O
OPORTUNITIES
T
THREATS

1, Creating livable 1. Perceptual confusion 1. There are several 1. Frequent crowds in

spaces by alocating of inapproporiate forms kind of recreational the access paths to
different kind of and disharmonious and sporting areas this area
landuses scales close to this area
2. The disappearance
2. Desirability of the 2. Lack of harmony 2. Existance of historical, of old gardens,
space because of the and visual connection natural and cultural destroyed the sense of
presence of adequate between old and new buildings, gardens and place
green spaces buildings urban fabric close to
this area 3. The disappearance
3. Existance of natural 3. Lack of presence of of the old landmarks
elements like rivers the historical areas as 3. Effective use of and disability to create
and also mountains as a highlighted elements high-rise towers as new landmarks
a background in citizen’s mind urban signs for
facilitating navigation 4. Disability of historical
4. Presence of important 4. Lack of attention to elements to attract
historical elements like the maintenance and 4. Existance of metro people
bazaar and tomb of protection of natural station for a better
Imamzadeh Saleh elements accessibility

Table 10: Tajrish Square SWOT analysis (Self Elaboration)

4.3. Comparing Hassan Abad and Tajrish Square

Hassan Abad and Tajrish Squares are two squares with historical backgrounds. One day they were
places with strong sense of place which by replacement of the modernity they lost their identity in
different ways. Hassan Abad Square is still known as a historical square but it lost its identity and
importance through the time and it is lost in modern surrounding of the area. But Tajrish Square is
completely changed and it is known as a recreational and commercial area. The historic background
of the area become invisible in the density of the recreational and commercial activities.
The role of color in bringing back the sense of place in these areas is very crucial. In Hassan Abad
Square there are no elements which can attract people to be there for selective activities. Therefore,
it is possible to manage the color harmony in the area by changing the conflicting colors of the space
and adding some elements in harmony with the historical background of the city in order to improve
the identity and sense of place. In Tajrish Square there is a chaos in the issue of the color. There is
no regulation for managing the colorscape of the area and decreasing the traditional and modern
conflicts. Therefore, it is important to manage the colorscape of the area in order to make the
historical parts more visible to bring back identity and sense of place.

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Second Section: Experimental Studies Fifth Chapter: Designing Guidelines

First Section: Practical Studies

First Chapter: Second Chapter:

Practical Background Experimental Background

Third Chapter: Conceptual Framework

Second Section: Experimental Studies

Fourth Chapter: Evaluating Fifth Chapter:

the Colorscape of Tehran Designing Guidelines

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Second Section: Experimental Studies Fifth Chapter: Designing Guidelines

5. Designing Guidelines

In the following part, based on the studies in previous chapters, it is possible to represent the
composition of vision and in order to reach to this vision some macro and micro goals have been
developed based on the parameters of beautification, identity, function and behavior. Finally, some
substantial and procedural guidelines and policies are suggested in order to achieve the goals.

5.1. Composition of Vision

WHERE WE WHERE WE WHERE WE HOW CAN

ARE? ARE GOING? WANT TO GO? WE REACH?

Figure 142: Composition of vision (Self Elaboration)

- Where We Are?

Today’s landscape of the city of Tehran because of environmental pollution, no regulation for
coloring urban elements, unconventional construction and competition of commercial companies,
change it to a saturated city from varied colors and forms. In general, Tehran is changed in to a
monochrome city with the spectrum of gray. This situation makes Tehran a depressed and soulless
city. On the other hand, in some parts of the city, it is possible to see colors but mostly in a disordered
way; instead of beautifying the city, it is more confusing and disturb the identity of the city.

- Where We Are Going?

If the situation continues like this and no strategy and plan thought for improving the urban
landscape and also the quality of life in Tehran, the city will become gray and soulless with no
quality of life and identity. The city which doesn’t have any indication from past and urban furniture
and colors are not familiar and memorable for the citizens. People don’t have sense of belonging to
the city; for this reason, they don’t feel any responsibility for preserving and improving the urban
landscape.

- Where We Want to Go?

Based on represented vison for city of Tehran, this city not only will preserve all cultural, social and
religious values, but also will have all the international standards of living and people feel
themselves as a part of the city. On the other hand, based on harmonic color palette following with
attractive urban landscape, can compete with big and touristic cities for attracting tourists and
improving sense of place for the citizens.

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Second Section: Experimental Studies Fifth Chapter: Designing Guidelines

- How Can We Reach?

For reaching to a city with mentioned features, after evaluating the current urban landscape and sense
of place, some urban methodologies have been defined in order to increase the quality of life:

IMPROVE
ECONOMIC IMPROVE
GROWTH LEGIBILITY

PRESERVE
AND STERGTHEN
AREAS WITH IMPROVE
IDENTITY SOCIAL
HEALTH

IMPROVE IMPROVE
PUBLIC VISUALIZATION
SPACES AND URBAN
QUALITY

Figure 143: How can we reach? (Self Elaboration)

1) Improving the legibility of urban landscape

- Using colors as an indication of route
- Specifying color identity of each district different from other districts
- Appropriate coloring of urban furniture and facades
- Ability to recognizing the function of the space based on the used color spectrum
2) Improving social health
- Improving the psychological health of the citizens
- Improving the sense of belonging and responsibility to the city
- Promoting the contribution of people to improve the colorful landscape of the city
3) Improving the visualization and the quality of urban landscape
- Merging natural elements with urban elements
- Improving the quality and coloring harmony of facades and pavements of the urban spaces
- Creating harmonic coloring landscape in a whole city
4) Improving the quality of public spaces
- Flexibility and vitality of public open spaces
- Increase the citizen’s presence
5) Preserving and strengthening the areas with identity
- Preserving the elements and colors of historical areas
- Improving memorability, sense of place and vitality of the open spaces
6) Improving the economic growth
- Creating spaces with identity and vitality to attract tourists
- Creating job opportunities

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Second Section: Experimental Studies Fifth Chapter: Designing Guidelines

5.2. Designing Guidelines

What is presented as a designing guideline for the colorscape management of city of Tehran, is
based on mentioned theoretical studies and macro and micro goals which tries to improve the
colorscape of the city and sense of place. In fact, these substantial and procedural designing
guidelines, aim to encourage designers, planners and also citizens to care about the colorscape of the
city to upgrade the quality of life and sense of place.

5.2.1. Substantial Designing Policies

5.2.1.1. Landuse System

• Establishment of various landuses in urban spaces to create color variation is recommended but in
a way that they are related to each other.

CAFE
RESTAURANT
SCHOOL

Different Land Uses!

Different Colors!

Figure 144: Various landuses (Self Elaboration)

• Encourage to design buildings and urban spaces based on surroundings to create harmony; not
only in form, but also in color.

There is a harmony
in the form and color
of this area!

Figure 145: Harmony in the form and color (Self Elaboration)

• Using colors which is different from background for the buildings with specific function to create
legibility in way that not disturbing the urban landscape.

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Second Section: Experimental Studies Fifth Chapter: Designing Guidelines

Here Is the
Mosque!

Figure 146: Building with specific function (Self Elaboration)

• In commercial areas according to the functional essence, using attractive, bright and various
colors, in a way that not creating visual confusion is suggested.

I Like shopping
in this huge shopping mall!

Figure 147: Commercial areas with attractive colors (Self Elaboration)

• In residential areas in order to create calm and friendly spaces, using light and warm colors with
low saturation is recommended.

The atmosphere
of this residential area
is warm and friendly!

Figure 148: Light and warm colors in residential areas (Self Elaboration)

• In spaces which offices are established, it is better to use neutral and cold colors which is not
disturbing functionality of the area.

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Second Section: Experimental Studies Fifth Chapter: Designing Guidelines

OFFICE OFFICE
OFFICE OFFICE OFFICE OFFICE

This area is
suitable for working!

Figure 149: Offices zone with neutral and cold colors (Self Elaboration)

• For the places which are used by children it is better to use vivid and attractive colors which
children spend nice hours in the area.

We Like playing
in this area!

Figure 150: Children’s colorful playground (Self Elaboration)

• Use colorful palette in the parks because the harmony between green of the plants and vivid colors
creates pleasant spaces for the citizens.

We like spending our

leisure time with our family
in this space!

Figure 151: Vivid colors and green areas (Self Elaboration)

5.2.1.2. Accessibility and Movement System

• It is recommended to use colors in the form of big spots for guiding drivers in highways and

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Second Section: Experimental Studies Fifth Chapter: Designing Guidelines

primary roads which the speed of movement is high. These colors should be in a way that not to
distract the driver’s attention

WD
AF
RE
WYR
sfca
efet
eryu

24
2rw
ad
csaf
2e
wra
sd
cx
sd
a
The traffic signs are

wdd
ee
clear in this highway to guide

few
sd

fe
fdry
er
dfef
me to my destination!

Figure 152: Traffic signs in high speed roads (Self Elaboration)

• Consider details and various colors in pedestrian and low-speed streets to create attractive areas.

The colors of this

space make it
attractive!

Figure 153: Attractive details in pedestrian paths (Self Elaboration)

• Not to use colors like yellow with high saturation in high-speed streets because it can cause
distraction for the driver.

This advertising billboard

distract my attention!

Figure 154: Distarcting vivid colors (Self Elaboration)

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Second Section: Experimental Studies Fifth Chapter: Designing Guidelines

• Use warning colors like red to indicate spaces which drivers and pedestrians should have caution,
like schools and shopping centers that in some hours of the day are crowded.

SCHOOL

There is a school
further!
I have to lower my I feel safe in
speed! this area!

Figure 155: Warning colors for lowering the speed (Self Elaboration)

5.2.1.3. Physical Form System

• Designing physical details, especially on the way of the pedestrians to create visual richness
according to the visibility to the viewer.

BOUTIQUE BOUTIQUE BOUTIQUE BOUTIQUE

Boutique Boutique
Boutique

Visual colorful details

make this area
attractive!

Figure 156: Visual richness in pedestrian paths (Self Elaboration)

• In the historical areas restoration or construction should be allowed just in the case that have
harmony with the character and color palette of the area.

Being in this place

is like travelling in the time!

Figure 157: Restoration and construction in harmony with the historical area (Self Elaboration)

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Second Section: Experimental Studies Fifth Chapter: Designing Guidelines

• Approving some regulations for using specified color codes for building facades to create uniform
and harmonic space.

Color regulation
makes the space
harmonic!

Figure 158: Color regulation to create harmony (Self Elaboration)

• Preservation and restoration of historical buildings which have the sense of native and olden colors
of the area.

I am painting the
historical building
to preserve the olden
color of the area!

Figure 159: Preservation and restoration of historical buildings (Self Elaboration)

5.2.1.4. Public Spaces System

• Considering some parts of the public spaces to show public arts which creates opportunity for the
artists and also gather people to create lively and colorful spaces.

This space is an
opportunity for us to show This colorful
our talent! area is a nice space for
gathering!

Figure 160: Colorful events (Self Elaboration)

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Second Section: Experimental Studies Fifth Chapter: Designing Guidelines

• Considering some parts of city facades for graffiti drawings to create colorful atmosphere in the
area.

It is an opportunity
for me to draw a graffiti in
the public space!

Figure 161: Specific spaces for graffiti drawings (Self Elaboration)

• Holding some colorful activities and festivals like kite, balloons and color throwing festival to
gather people in a colorful atmosphere.

I like the coloful

atmosphere of
this event!

Figure 162: Balloon festival (Self Elaboration)

• Allocating temporary, domestic and homemade markets in public spaces. Although these spaces
are temporary, but they can create colorful and pleasant spaces for gathering in public spaces.

FRUIT MARKET VEGETABLE

CANDY
POPCORN cotton

Daily street markets

change the atmosphere
of the area!

Figure 163: Temporary markets (Self Elaboration)

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• Providing necessary facilities for longer presence of more people in the public spaces to involve
colors in the area and by improving the quality of the area, increase the sense of belonging in the
citizens.

Colorful clothes of
the citizens effects
the atmosphere of the city!

Figure 164: Presence of poeple in public spaces (Self Elaboration)

• Form and the color of the urban elements should match the general urban landscape of the area.

Modern and contemporary

statues of this area, mismatch
the historical atmosphere
of the area!

Figure 165: Mismatching urban elements(Self Elaboration)

• Designing the edge of the river with colorful elements and colorful drawings to improve the
quality of the space and indicate the presence of the water in the area.

Combination of colors
and the river is nice!

Figure 166: Designing the edge of the river with colorful elements (Self Elaboration)

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• Designing the surrounding of the waterfalls and fountains with colorful elements to create
peaceful spaces.

Water and color

combination creates
a peacful space!

Figure 167: Designing the surrounding of the fountains with colorful elements (Self Elaboration)

• Using colorful lights with same saturation in the places which doesn’t have enough attraction to
create sense of security is recommended. But these colors don’t have to disturb the character of the
space.

Colorful street lights

make me feel secure
in this area!

Figure 168: Colorful lights in places without attraction (Self Elaboration)

5.4.1.5. Urban Landscape System

• Using long-lasting materials, suitable for the climate changes for the color of urban elements in the
city.

The material of the

facades is resistant
against climate
changes!

Figure 169: Resistant materials (Self Elaboration)

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• Using different kind of materials for the flooring of the intersections and open spaces for
improving the quality of sense of the place and perception of the people from the space.

Here is the
intersection!!
The pavement is
different!!

Figure 170: Different materials in the intersections (Self Elaboration)

• Using colors and form on the flooring of the places which guide us to the specific places to create
the sense of movement.

CENTER
Colorful footprints
guide me to the center!

Figure 171: Colors as an elements for guiding (Self Elaboration)

• Colorful advertisements are suitable elements for reviving the dead and depressed spaces but they
have to be based on some regulations in order to not to disturb the character of the area.

Advertising has
an important role
in the vitality of
thie area!

Figure 172: Reving the area by advertisement (Self Elaboration)

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• Colorful lights can be used as important elements for indicating important buildings or elements
as a landmark.

There should be
an important building!

Figure 173: Colorful lights for indicating the important building (Self Elaboration)

• Using street arts and graffiti drawing according to the character of the area.

The flower drawings

on the wall complement
the natural atmosphere
of the area!

Figure 174: Street art according to the character of the area (Self Elaboration)

• Street arts and graffiti drawings can be used to decorate building facades which are disturbing the
urban landscape of the area.

Colorful drawing on
this building change
the atmosphere of the
area!

Figure 175: Revivng the area by decorating the disturbing buildings (Self Elaboration)

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• Designed colorful tiles is a method to beautifying the city and also they are lasting more than
drawings.

These colorful tiles

change the atmophere
of the area!

Figure 176: Colorful tiles for beautifying the city (Self Elaboration)

• Color and form of canopies and shutters for the shops should be in a harmony with the character
and color palette of the area.

This area without

colorful canopies would be
depressing!

Figure 177: Colorful canopies (Self Elaboration)

• It is recommended to use warm and vivid colors for advertisement billboards in cold and colorless
seasons to bring color to the area.

POTATO
CHIPS

The warm colors in this

billboards make the area
feels warmer!

Figure 178: Warm and vivid colors in cold and colorless seasons (Self Elaboration)

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• Using exaggerated colors in advertisements with big dimensions, can be the reason of confusion
and chaos in way that everything else in the area become invisible for the viewer.

This Billboards are too

big! everything in the area
lost their importance!

Figure 179: Big dimension advertisements (Self Elaboration)

• In a places which there is a historic element or important building, using vivid colors with high
saturation is not suggested, because the element or building will lose its importance.

The color of the

billboards is too instense!
I didn’t see this historical
building before!

Figure 180: Elements with high saturation close to the historical buildings (Self Elaboration)

• Using vivid colors in crowded places which they are busy and too many people are commuting at
the same time, using vivid colors with high saturation in designing the area will increase the
confusion.

This area makes me

feel confused!

Figure 181: Vivid colors in crowded places increase the confusion (Self Elaboration)

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• Intensity and color of the lighting of the big shopping centers, should increase the quality of the
area.

The colorful lights

of this shoping mall
creates a pleasant area!

Figure 182: Lighting of shopping centers for increasing the quality of the area (Self Elaboration)

• Using fountains with colorful lighting create attractive open spaces for spending time.

Combination of
water and colorful
lights create attractive
spaces!

Figure 183: Fountains with colorful lighting (Self Elaboration)

• Lighting have an important role in the darkness of night and they can be an important element to
create pleasant spaces by using integration of light and shadow.

Combination of
light and shadow
create beautiful scene!

Figure 184: Combination of light and shadow (Self Elaboration)

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5.4.1.6. Ecological System

Ensuring for the sustainable and equitable use of resources, without damaging the environment or
endangering health and safety in order to keep the native color of the environment is recommended.

It is important
to use renewable
energies to save
the native colors
of environment!

Figure 185: Using renewable energies to keep the native color of environment (Self Elaboration)

• It is imperative to prevent and control the destruction of ecosystem in order to keep the natural
color of the area.

What a colorful
Environment!

Figure 186: Prevent and control the destruction of ecosystem (Self Elaboration)

• Using long lasting and recyclable materials is recommended in order to reduce the ecological
pollution.

High quality
and recyclable
materials!

Figure 187: Using recyclable materials (Self Elaboration)

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5.4.2. Procedural Designing Policies

It is imperative to develop a colorscape planning of the city in conjunction with

comprehensive urban plan.

Presenting encouraging policies from the government in order to persuade the

citizens to buy colorful cars is recommended.

It is recommended to provide encouraging policies for using colorful uniforms for

the students and employees.

Holding meetings and conferences by designers and city authorities in order to

raise the knowledge of the citizens about the features of a good city which lead
them to take part in urban affairs and increase their sense of place is recommended.

Collaborating with urban designers for the decisions and issues about landscape
designing is crucial.

It is critical to provide some rules for the native colors of the city to increase the
sense of place.

It is recommended to approve certain regulations for the issuance of a

manufacturing license in the field of matching the color of the new building facade
with the color palette of the whole area.

Washing and maintaining the façade of the buildings in order to clean the dust from
the original color of the buildings is recommended.

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Specific programming for the washing and maintaining the urban furniture by the
municipality is necessary.

Specifying each zone of the city with particular main colorscape is recommended.

It is recommended to encourage the people to plant colorful flowers in front of

their houses in order to contribute in beautifying the city.

It is essential to formulate terms and conditions for the commercial companies

which are in competition with each other to use appropriate colors for their
advertising.

It is imperative to formulate some rules and guidelines for the size, location and
the allowable colors for the commercial billboards by the municipality.

It is crucial to investigate all the natural and artificial colorscape of the city in the
planning of the urban landscape.

Holding some meetings and inviting the citizens to encourage them how to get
involved in the designing the colorscape of the city, is recommended.

Presenting some guidelines for the decorating the buildings based on the color
harmony of the area is recommended.

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5.3. Conclusion

The constitutive colors of urban spaces are much extended and encompass a wide range of
materials, buildings, green spaces and generally all urban equipment from lighting and bus station
to trash cans in a city. Achieving a suitable coloring urban landscape not only guarantee
psychological health of the society, but also because of improving the urban quality of life, helps to
economic growth of the city. Therefore, quality of the city depends on color types, the way of using
colors, history of colors and psychological effect of colors on people. Colors make the area
memorable, creates the feeling of familiarity and unity with the space and sense of belonging and
responsibility for the citizens. Appreciation of aesthetic role of color and its effect on quality of
environment is growing consequently. Materials, light and good color design is an essential factor
in the communication of people and the environment.
But unfortunately, it seems that today’s modern cities have a poorer sense of place in comparison to
the traditional ones. Cities like Tehran are growing haphazardly without regarding to the
components that makes them human places. They turn in to places just for living in a shelter. Quick
and cheap places turn into standard of living. There is a minimum regarding to the aesthetic aspects.
Based on the survey that have been done, it is possible to conclude that there are several reasons for
undesirability of urban landscape of Tehran which followed by weakening sense of place:

- Lack of planning for the color palette of urban furniture

- Lack of regulation for the color spectrum of the building facades and flooring
- Lack of attention to the type and functionality of the spaces in choosing a color spectrum
- Lack of visuality to the ecological elements of the city like mountains, rivers and green spaces as
a result of no control on the construction of buildings and air pollution
-Lack of regulation for the placement, form, dimension, quality and color spectrum of the
advertising billboards according to the character of the area
- Lack of contribution of people in activities about beautification and improving the quality of life
- Lack of planning for the cleaning, washing and maintaining the facades, urban furniture and other
elements

In general, lack of harmony between the building forms, materials and urban elements with the
historical context of the city. The identity of the city become invisible. Therefore, sense of
belonging is reduced and the city landscape become undesirable.
Regarding to the performed investigation, current state color of the city of Tehran is based on
various types of achromatic spectrum. If grays used in such extension, vivacity will be highly
reduced in the city. On the other hand, unconscious use of colors breaks the harmony of the city and
increase disorderliness and confusion of the space. For these reasons, today’s image of the city is
suffering from uniformity and anarchy.
A sustainable and developed city, during growth and development of urban spaces, should logically
try to establish a link between the new and old spaces which today they are completely segregated.
They are existing in the same place but in conflict with each other. Colors can be used as an element
which can connect segregated parts to each other.

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Therefore, it is important to redesign the color palette of the cities like Tehran based on developed
policies and guidelines in order to bring back the culture and history to city and create memorable
places for the citizens.
Colors instead of being a weakening element for the city can be an opportunity to create unity. They
can beautify the city, create identity landscape and dynamic economic. In general, they can create
sustainable places with strong sense of place.
Hope for the day that we could bring back color to the cities, especially Tehran which became
invisible in dust and achromatic colors in order to bring back sense of place and belonging.

Figure 188: Tehran (Self Elaboration)

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 Master Thesis
Spring 2019
The Role of Color in Sense of Place
Politecnico di Milano