2002
DOI: 10.1080/00038628.2002.9697511
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The Effect Of Personality Traits On Architectural Aesthetics' Evaluation: Familiar And Non-Familiar Environments As Evaluated By Architectural And Non-Architectural Students

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Cited by 13 publications
(16 citation statements)
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“…Variations appeared among the various respondent groups in due to their occupation and background as well as gender. According to Ibrahim et al (2002), architects develop different perceptions and evaluation responses of the architectural form than others. Liu and Chuang (2014) indicated that the professional training and experience of architects appeared to have the main effect on their judgment of buildings.…”
Section: Discussionmentioning
confidence: 99%
See 1 more Smart Citation
“…Variations appeared among the various respondent groups in due to their occupation and background as well as gender. According to Ibrahim et al (2002), architects develop different perceptions and evaluation responses of the architectural form than others. Liu and Chuang (2014) indicated that the professional training and experience of architects appeared to have the main effect on their judgment of buildings.…”
Section: Discussionmentioning
confidence: 99%
“…While the interpretative dimension includes the meaning or associations that have derived from the environment, the evaluative one involves values, preferences and the determination of "good" or "bad." Aesthetic perception is highly subjective and influenced by several variables such as gender, age, education and cultural background (S anchez-Pantoja et al, 2018;Liu and Chuang, 2014;Ibrahim et al, 2002).…”
Section: Introductionmentioning
confidence: 99%
“…Endopathy encompasses an aesthetic that turns the object into a symbol by projecting a feeling onto such an object [25,26], so that the use made of a constructed space allows the users to orient, identify, and recognize themselves within it [27][28][29][30]. In addition, the feeling also emanates from the object itself, which provokes positive or negative affective or empathic responses [31], giving rise to a certain level of mental well-being [32][33][34]. These affective reactions are due to the establishment of aesthetic rules based primarily on shapes (e.g., horizontal line: rationality; straight line: strength; curved line: flexibility; square: certainty, integrity; circle: balance, control) [30,[35][36][37].…”
Section: The Salutogenic or Psychosocially Supportive Designmentioning
confidence: 99%
“…The findings of this group of research are not focused (Nadal, 2007), some researchers have obtained significant results (e.g., Jankowski, Francuz, Oleś, & Chmielnicka-Kuter, 2018;Swami & Furnham, 2012;Chamorro-Premuzic, Burke, Hsu, & Swami, 2010;Chamorro-Premuzic, Reimers, Hsu, & Ahmetoglu, 2009;Feist & Brady, 2004;Rawlings, 2003;Furnham & Walker, 2001a, 2001bFurnham & Avison, 1997;Furnham & Bunyan, 1988); whereas some others have not been able to get any meaningful results (e.g., Pietras & Czernecka, 2018;Palmer & Griscom, 2013;McManus, Cook, & Hunt, 2010;Griscom & Palmer, 2010;Furnham & Chamorro-Premuzic, 2004;Zuckerman, Ulrich, & McLaughlin, 1993). This lack of focus could be seen in visual preferences in most of the architecture studies as well (e.g., Cleridou & Furnham, 2014;Dębek & Janda-Dębek, 2012;Cook & Furnham, 2012;Ibrahim, Abu-Obeid, & Al-Simadi, 2002;Stamps & Nasar, 1997) as an art with a multisensory nature.…”
Section: Psychological Researchmentioning
confidence: 99%
“…Nasar & Devlin, 2006;Feist & Brady, 2004;Imamoglu, 2000;Nasar & Kang, 1999;Nasar, 1984;etc. Expert / Non-expert Background and training in art / architecture, artistic experience, aesthetic activities, and etc. Pietras & Czernecka, 2018;Miu, Pițur, & Szentágotai-Tătar, 2016;Cela-Conde et al, 2002;Ibrahim et al, 2002;Locher, Smith , & Smith, 2001;Devlin & Nasar,1989; etc.…”
Section: Sociocultural Factorsmentioning
confidence: 99%