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    • The integration of landscape connectivity findings

    2018-10-29

    The integration of landscape connectivity findings into the LEED-NDW+ should be the next step for this research. Greenspaces in cities should be connected to allow species to move across the urban matrix because urbanization has caused habitat fragmentation that threatens order candesartan cilexetil (Andersson and Bodin, 2008). The LEED-ND must reflect this effect of neighborhood design on the environment, and future revisions should consider prerequisites for connected greenspace (e.g., greenways), which can also promote walkability.
    Introduction Most developing countries encounter environmental observation obstacles caused by hazy weather. Low visibility in hazy weather seriously affects the daily lives of city residents, who face increased air pollution on a global scale; this increased air pollution results in increased respiratory illnesses and even death (Wei et al., 2016; Lawin et al., 2016; Cakmak et al., 2016). Environmental pollution in China is a typical example; various traffic accidents have occurred in major cities because of hazy weather conditions (Tu et al., 2014; Li and Zhang, 2014; Yin et al., 2016; Wang et al., 2014; Long et al., 2016). In urban spaces, colorscape is the main factor that affects environmental recognition (Zheng, 2006). Similar to urban green space, colorscape supports the ecosystem services of urban areas and protects public psychological health (Wolch et al., 2014). It is also a specific environmental factor related to the physical activities of urban populations, particularly older adults (Wang, 2014). Colorscapes can mitigate the moods of people and alleviate visual pressure. Considering that building color occupies the largest part of the urban environmental colorscape, it is a decisive factor that affects colorscape (Yin, 2004). Building color is man-made, similar to the many components of the urban environment; this urban environment is the main target of sustainability and regeneration strategies of cities (Chiesura, 2004). However, most of the building colors in an urban environment do not exist separately. Instead, they are generally presented as combinations of two or more colors; tonal relationships are thus established. Building colors can generally be regarded as a type of form or space that consists of various colors, including main, secondary, and dotted (Ural and Yilmazer, 2010; Tian et al., 2011). This combination is based on the three color–appearance attributes and forms the abundant color tone of a building through value, chroma, and hue contrast among the different areas of the building׳s colors. In their semantic evaluation of architectural color design, Ural and Yilmazer (2010) found that color tone plays a remarkable role in the cognition of the color and urban space of architecture. Therefore, improving the colorscape tone of urban areas to overcome environmental visual identification obstacles in foggy and hazy weather is a critical issue that city planners and architects must address. Research on color tone has focused on two main aspects. The first is the study of color preferences with regard to different color combinations. This area includes analyses and predictions of different preference values of color tone and emotions resulting from different color tones, such as warm–cool, light–heavy, modern–classical, and active–passive, as well as psychological assessment studies (Guilford, 1931; Ou et al., 2004). For example, Hogg (1969) investigated 12 color emotions to study the combinations of color tones. He identified four underlying factors, namely, active potency, evaluative, emotional tone, and usual/obvious. Sivik (1989) identified the factors that influence color emotion by examining 100 color emotional scales. Yang et al. (2013) used color and its luminous conditions in visual performance assessments, and Lam and Cheng (1998) explored color through environmental assessment, particularly in pollution conditions. The latter research addressed the degree of color harmony. Ostwald (1969) and Munsell (1969) proposed the principle of color order and area balance; this principle harmonizes colors based on their solid characteristics. Itten (1961) found that the color harmony model depends on the position of different colors in the hue circle.