Ten colour emotional scales, namely, "Warm Cool", "Active-Passive", "Like-Dislike", "Clean-Dirty", "Fresh-Stale", "Modern-Classical", "Heavy-Light", "Hard-Soft", "Tense-Relaxed", and "Masculine-Feminine"are investigated for single-colour stimuli in CIELAB colour space within a psychophysical experiment by forty observers. The relationships between Iranian colour emotional responses and CIELAB colour coordinates are examined. Based on the results, colours with higher values of L*are associated to the emotional words, such as clean, light and soft. Colour with higher C* values are also associated to warm, modern, and masculine emotional words. Iranian colour emotional responses are also assayed in three existed colour emotional models, Li Chen Ou' s, Sato's and Xin-Cheng's models, for four colour emotional dimensions, "Warm-Cool", "Heavy-Light", "Active-Passive", and "Hard-Soft" scales. Results show that the Ou's model is a fairly good predictor for "Warm-Cool" scale, while the Xin-Cheng's model is a good predictor for "Heavy-Light" and "Hard-Soft" scales. In "Active-Passive" scale, none of the existed models are found to be a good predictor for Iranian colour emotional dimension.

Background and objectives: There is a body of historical evidence indicating the conscious use of colour in human lived spaces. However, today’s prevailing attitude is against colours, leaving spaces neutral and. The quest to understand the motivations behind usingcolours in the history of architectural thought has never brought definitive laws into light, as colours themselves have not held stable, cross-cultural meanings. Sparcehistorical studies on the presence of colour in architecture revolve around two approaches: understanding colour within a specific timeframe and tracking the presence of colour in the works of a particular architect. Ultimately, this has not led to a comprehensive knowledge regarding the historical role of colourin architecture. Given the substantial evidence of a correlation between colour and human emotions, developing knowledge in the field of colour is essential for empowering architects to manage visual forces and the emotional dimensions of architectural spaces. The present article serves as an introduction to establishing the knowledge about colourin architecture, and aimed at understanding the prevailing approaches in architectural thought and practice up to the modern era. Methods: The research can be categorised as interpretive-historical, as it reviews history while interpreting and analysing narratives and architectural works to present patterns governing the presence of colour throughout architectural history. The methodology is based on library studies, involving an in-depth examination of texts, images, and available films of buildings from various historical periods..Results and conclusion: Available sources do not encompass all dimensions of colour-related thought throughout history, with the passage of time having distorted colours, and colour photography not always available. In this context, referring to statements and examining architectural works that reflect the presence of colourinpre-modern interiors, as well as in contemporary exteriors, indicates two general currents. The first is termed Chromophilia, itself comprising of three approaches: colour as symbolism, colour as ornamentation, and colour as a structural aspect of architecture. The second current is chromophobia, which results from a tendency towards whiteness and eliminating colour pigments from the architectural space, resulting in the emergence of white and grey spaces as neutral backgrounds for human life. While the history of colour in architecture thoroughly refutes the claim that colour can be reduced to general laws, managing the presence of colour in architecture requires principles that transform it from merely an ornamental perspective into an integral aspect of architectural form. At the conclusion of this research, a new perspective on architectural colour emerges, viewing it as a structural element of architecture. A history review partially clarifies the initial necessities of this viewpoint, and further development of this knowledge necessitates broader field studies, which could be the subject of future research.

In this research we described the effective Hamiltonian theory and applied this theory to the calculation of current-current (Q1,2) and QCD penguin (Q3,…,6) c quark decay rates. We calculated the decay rates of semileptonic and hadronic of charm quark in the effective Hamiltonian theory. We investigated the decay rates of D meson decays according to Spectator Quark Model (SQM) for the calculation of D meson decays. We obtained the total decay rates of semileptonic and hadronic of charm quark in the effective Hamiltonian according to colour Favoured (C-F) and colour Suppressed (C-S). We combined them and to added amplitude of processes colour Favoured and colour Suppressed (F+S) and obtained the decay rates of them.

The synthesis of six new symmetrical disazo direct dyes containing 4,4’-diaminostilbene-2,2’-disulphonic acid as middle component and N-(2-chlorophenyl)-2-hydroxybenzamide, N-(3-chlorophenyl)-2-hydroxybenzamide, N-(4-chlorophenyl)-2-hydroxybenzamide, N-(2-bromophenyl)-2-hydroxybenzamide, N-(3-bromophenyl)-2-hydroxybenzamide, N-(4-bromophenyl)-2-hydroxybenzamide as coupling components is presented. The synthesized dyes were analyzed by thin layer chromatography, electronic spectra and HPLC technique. Their structures were elucidated by FT/IR and 13C-NMR spectroscopy. The CIELAB (1976) colour space was used in all the colour measurements for the six disazo stilbene dyes under the CIE recommended illuminants: D65 (natural day light), A (tungsten light), F2 (fluorescent light) and the standard 10° observer, respectively. The colour differences: DEab* and DECMC were calculated against one standard. The results reveal a good colouring power of the new azo-stilbene dyes.