COLOR THEORY

COLOR + YOU

ALEJANDRA LEON

HEY, HOW ARE YOU?

Hello! I am Alejandra and I am 26 years old girl. I was born in Peru, where I studied architecture. From there, I discovered the passion I had for the design. As a human being, I highly value the contribution that we can o er as professionals to the world. Thus, guided by the dean of my faculty, I participated in a project for the city called Renovation of the Rimac River, a river a ected by environmental pollution and in a state of abandonment. I obtained a diploma in the eld of Urbanism and I am currently studying for a Master of Design and in parallel following the process of titling the architecture career.

MY PETS

DESIGN

COLOR + CULTURE M1 PERU

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PERU, MY HOME

RESEARCH AND ANALYZE

Peruvian culture is the synthesis of expressions, colors, and customs of di erent origins. Currently, Peru has 12 places inscribed on the World Heritage List, being Machu Picchu one of the 7 wonders of the world. Peru has three regions in its territory: The coast, jungle, and mountain regions.

Terracotta colors abound in the mountains, blue colors on the coast, and green colors with di erent shades in the jungle. The traditional clothing of Peru is a symbol of identity for the community, during the festive dates, events are held with colorful and original costumes from the area. In the mountains, men and women put on “ponchos” and dress in bright colors to start the festival. The architecture comprises a wide bed of built styles. Towards the periphery of the city, houses are located near the hills dyed with bright colors, while in the center of the city, the colors are atter.

COUNTRY FULL OF COLORS

MAGNIFICENT FOOD AND LANDSCAPES

RESEARCH AND ANALYZE

Tanzania is located in Africa, where live more than 120 ethnic groups, this distinguishes their culture and make it one of the richest and most varied culture. Some of its most important customs are the rain dance and the jump of the bull. In their clothes, the color red, gold and blue are the most important for their culture. Regarding architecture, the constructions are varied, we can nd straw, wooden sticks, mud, adobe, and earth.

African crafts are samples of their art. Paintings and objects are required to set the interiors and exteriors of the community houses. These objects are also used as utensils of daily life. In its furniture, geometric motifs, ora, and fauna predominate on doors.

THE DARKEST THING ABOUT AFRICA HAS ALWAYSBEEN OUR IGNORANCE OF IT

CONCLU S IO N

Geography plays an important role in the development of cities and in uences the customs of individuals. Likewise, geography provides us with di erent ora and fauna that often characterizes the clothing and traditions of the people. Each country has a di erent sense of identity due to the construction of its past. Towards the periphery of the city, houses are located near the hills dyed with bright colors, while in the center of the city, the colors are more neutral.

Colors play an important role in identifying each country. Countries can have warmer colors, while other countries have colder colors. Africa is a country that, due to its ora and fauna, has vibrant colors and a great variety of costumes. On the other hand, Peru is characterized by terracotta colors, as a symbol of the hills, and green, as a symbol of the jungle.

SOURCES

REFERENCES

Peru (Washington, D.C. : 1988). Washington, D.C: U.S. Dept. of Commerce, International Trade Administration, 1919. Print.

Peru (Washington, D.C. : 1988). Washington, D.C: U.S. Dept. of Commerce, International Trade Administration, 1919. Print.

McCarthy, Carolyn (Carolyn Marie) et al. Peru. 9th edition. Footscray, Victoria: Lonely Planet, 2016. Print.

McCarthy, Carolyn (Carolyn Marie) et al. Peru. 9th edition. Footscray, Victoria: Lonely Planet, 2016. Print.

Falola, Toyin, and Bukola Adeyemi Oyeniyi. Nigeria. Santa Barbara, California: ABC-CLIO, 2015. Print.

Falola, Toyin, and Bukola Adeyemi Oyeniyi. Nigeria. Santa Barbara, California: ABC-CLIO, 2015. Print.

“Nigeria.” Washington, D.C.?: Central Intelligence Agency 1993, Print.

“Nigeria.” Washington, D.C.?: Central Intelligence Agency 1993, Print.

Africa (London, England : 1971). London: Africa Journal Ltd.]., 1971. Print.

Africa (London, England : 1971). London: Africa Journal Ltd.]., 1971. Print.

Robins, Eric., Blaine. Littell, and Blaine Littell. Africa: Images and Realities. New York: Praeger Publishers, 1971. Print.

Robins, Eric., Blaine. Littell, and Blaine Littell. Africa: Images and Realities. New York: Praeger Publishers, 1971. Print.

Stepchenkova, Svetlana, and Fangzi Zhan. “Visual Destination Images of Peru: Comparative Content Analysis of DMO and User-Generated Photography.” Tourism management (1982) 36 (2013): 590–601. Web.

Stepchenkova, Svetlana, and Fangzi Zhan. “Visual Destination Images of Peru: Comparative Content Analysis of DMO and User-Generated Photography.” Tourism management (1982) 36 (2013): 590–601. Web.

COLOR + THEORY M2 ANALYSIS

COLOR + THEORY

Since color can elicit emotions, convey messages, and alter perceptions, it is an essential component of design. The basic tenets of color theory are covered in this chapter, along with examples of how they might be used in designs. This chapter o ers an in-depth tutorial on how to use color successfully in design, covering everything from the main and secondary colors to complementary and analogous color schemes. Designers can produce visually appealing and powerful designs that e ectively convey our message by understanding the e ects of color on human emotions and perceptions.

PRIMARY

Red, blue, and yellow are the three fundamental hues. All additional hues can be made with them.

SECUNDARY

By combining two basic colors, secondary colors can be made. Green, orange, and purple are the secondary hues.

COMPLEMENTARY TERTIARY

Colors that contrast one another on the color wheel include red and green, blue and orange, and other pairs. Complementary hues make a striking contrast when used together, which can be aesthetically pleasing.

A primary color and a secondary color are combined to produce tertiary colors. As an illustration, the tertiary hue red-orange is produced by combining red and orange.

COLOR + DESIGNERS M3

UNITE D’HABITATION

Charles Edouard Jeanneret was a French-Swiss painter, architect, and theorist. He was recognized as the most signi cant gure of Contemporary Architecture.

LE C ORBUSIER

His buildings were constructed throughout Europe, India, and the Americas during the course of a ve decade career. He de ned architecture as "the correct and magni cent play of volumes under the light".

IMAGE 1: LE CORBUSIER IMAGE 3: PASSAGE UNITE D' HABITATION

IMAGE 2: UNITE D' HABITATION

His most representative later works are the House of Switzerland in the university city of Paris (1931-1932), the Marseille Housing Unit (Unité d'Habitation, 1947-1952), where he put into practice his elaborate system of proportions published with the name of modulor, the pilgrimage church of Notre Dame du Haut in Ronchamp (France, 1950-1954)

THE COLORS OF THE COLLECTIVE

Le Corbusier was a born artist, despite not having studied architecture or design, he had the facility to combine colors and select a harmonious color scheme. Primary colors were his main color palette. Among the colors that stood out are: red, blue, and yellow. These colors were the most important in his works, and the urban environment directly in uenced its organization and design

IMAGE 4: COLORS OF THE FACADE UNITE D' HABITATION

IMAGE 5: ELEVATION WITH COLOR OF THE EAST FAÇADE

IMAGE 6: TERRACE UNITE D' HABITATION

IMAGE 7: TERRACE UNITE D' HABITATION COLOR THEORY

COLOR LANGUAGE POLYCHROMY

Le Corbusier reveals the personality of each wall with color. He considered that each wall should be animated by color because in this way he assigned dimensions and proportions within his nal works. He applied this concept from geometry, re ected in his plans, as well as in terms of its building structures.

Rationalism includes the architectural aesthetic of Le Corbusier. One of his theoretical pillars, functionalism, is shaped throughout all of his architectural work by the idea of retaining simplicity, eliminating all pointless adornment, and using prefabricated materials like reinforced concrete.

IMAGE 9: BALCONIES UNITE D' HABITATION

IMAGE 8: FLOOR PLAN UNITE D' HABITATION

CONCLU S IO N

In his designs for communal housing, Le Corbusier incorporated the spatial and psychological impacts of color. He added textures and a xed pieces to cramped spaces, opened up gloomy corners to natural light, and awoke both the senses of the individual and the community as a whole. He contributed value to the neighborhood. Le Corbusier also employed the color to great e ect within the Unité d'Habitation: di erent shades distinguish the apartment entrance doors, di erent color aspects de ne the tall cabinets and kitchens, and some of the kitchen cabinets look to be made of di erent types of wood. Both colors Le Corbusier most likely utilized six colors on the Unité's exterior and interior. Bright colors are frequently used as accents in Le Corbusier's post-war architecture. The raw concrete, or "Béton Brut," also contributes signi cantly to the color scheme. Le Corbusier produced one of his most signi cant and well-known structures in terms of color with the Unité d'Habitation.

REFERENCES

Building Design, 2011. INSPIRATION: UNITE D'HABITATION - Le Corbusier's machine for living in. [online] p.16. Available at:

<http://ezproxy.bcu.ac.uk:2073/docview/907140174?accountid=10749> [Accessed 22 April 2015].

building.co.uk, n.d. Section of Unite d'Habitation apartment. [image] Available at:

<http://www.building.co.uk/welcome-to-the-machine-le-corbusier%E2%80%99s-unit%C3%A 9-d%E2%80%99habitation/3123479.article> [Accessed 26 April 2015].

Emporis.com. n.d. Unité d`Habitation, Marseille | 110545 | EMPORIS. [online] Available at:

<http://www.emporis.com/buildings/110545/unite-d-habitation-marseille-france> [Accessed 22 April 2015].

Fondationlecorbusier.fr. n.d. Unité d'habitation, Marseille, France, 1945. [online] Available at:

<http://www.fondationlecorbusier.fr/corbuweb/morpheus.aspx?sy -

sId=13&IrisObjectId=5234&sysLanguage=en-en&itemPos=58&itemCount=78&sysParentId=6 4&sysParentName=home> [Accessed 22 April 2015].

COLOR + PERCEPTION M4

UNITE D’HABITATION

COLOR + PERCEPTION

Color perception is subjective: Our perception of color is in uenced by several factors, including lighting conditions, surrounding colors, and personal experiences. Therefore, what one person perceives as a certain color may not be the same as what another person perceives.

COLOR FORECASTING COLOR HARMONY

Provides forecasts that have an impact on numerous industries by making it possible to identify trends in consumer preferences.

COLOR CONTRAST

Contrasting colors can be used to highlight signi cant design components and generate visual appeal.

Color contrast can take many di erent forms, such as hue contrast, value contrast, and complementary contrast.

To produce a pleasurable visual experience, colors can also be combined harmoniously. Utilizing complementary colors or hues from the same color family are two methods for achieving color harmony.

COLOR BLINDNESS

Color blindness can be inherited or genetic, or it can be brought on by age. In order to support persons with this disease, it is crucial to manage the brightness or saturation of the built environment. Some people have a de cit in color perception.

COLOR + MOVIES

M5 AMELIE

SUMMARY

The lm

Amélie, a lm starring Audrey Tautou and directed by Jean-Pierre Jeunet, tells the tale of a little girl whose idyllic childhood was curtailed due to her father's false fears that she had a heart problem. Amélie hardly ever interacts with anyone in real life due to these worries.

Amélie turns to her own fanciful world and dreams of love and beauty as a result of this. Later, she relocates to work as a waitress in the heart of Paris. She resolves to give back a lost treasure to the previous resident of her at after discovering it.

The lmmaker

French director, producer, and screenwriter Jean-Pierre Jeunet works in the lm industry. In order to build idealized realities or to provide meaning to everyday circumstances, his lms blend science ction, realism, and fantasy.

For instance, in the still shown above, Audrey Tautou is highlighted with Digital Intermediate through color editing, which gives her a unique shine by making her colors a little cooler than the rest of the picture. She is also highlighted by the color green.

Amelie frequently uses the color green, largely because in many cultures, it represents optimism and nature, which frequently eases the viewer's eyes. The color green is utilized throughout the movie to give the scenes life and to contrast with the warmer, more saturated hues.

Red, which in nature is the color of re and sunsets and intensi es visuals on the screen, is another often utilized hue. Red is frequently chosen to depict Amélie's life and attitude since it may signify warmth, vitality, passion, and love.

For instance, Amelie's young imagination in the rst scene introduces us to the color red. Her red sh, raspberries, and cherries all stand for her enthusiasm and impressionable youth. As a result, this theme is carried out throughout the movie, and she consistently dons red clothing too, in a manner, symbolize her youth, a crucial period in the character's growth.

Yellow appears frequently in Amélie, along with the colors red and green. Yellow is typically associated with vibrant, exuberant expressions of pleasure, warmth, and comfort in Western societies. Several of the late afternoon shots are softly lit in yellow to symbolize the springtime sun and serve as a metaphor for Amélie's present tranquility.

Moreover, yellow gives the movie an unreal, almost surreal vibe that mostly represents Amélie's vision that is woven throughout the plot.

CONCLUSION

While Amelie has a great a nity for the color red due to her innate need to experience a ection from her family, scenes involving her father in particular have a brown color scheme. The tenderness and a ection Amelie has for her parents highlight the stark contrast between her and her family. Her parents did not display the same, or, devotion and love for their daughter or each other. They were depicted wearing much more neutral hues, such as brown and green.

REFERENCES

https://screenmusings.org/movie/blu-ray/Amelie/pages/Amelie-0325.htm

https://retourverslecinema.com/ lm/le-fabuleux-destin-damelie-poulain/

https://cinemautism.podbean.com/e/amelie-2001-dir-jean-pierre-jeunet/

https://www.universalis.fr/encyclopedie/le-fabuleux-destin-d-amelie-poulain/

UNITE D’HABITATION

COLOR + HEALTH

Di erent hues can evoke di erent feelings in us, such as calmness, vigor, or even anxiety. For instance, blue is frequently linked to feelings of serenity and relaxation, whereas red can arouse passion or rage.

COLOR AND WAYFINDINGS COLOR AND SLEEP

The physical awareness of one's location or orientation inside an environment is known as way nding. Information can be enhanced with color in places like airports, schools, o ces, and medical facilities.

Studies have shown that some hues, including yellow and blue, can help lessen the symptoms of despair and anxiety. hues like these can have an impact on our mental health.

Studies have shown that some hues, including yellow and blue, can help lessen the symptoms of despair and anxiety. hues like these can have an impact on our mental health.

Utilize e ective color contrast to aid in navigation and safety in their environment.

COLOR + BALANCE M7

UNITE D’HABITATION

COLOR + BALANCE

Balance is critical in creating e ective designs. Balance can be achieved through the distribution of color, shape, texture, and other design elements.

SINGLE COLOR

Single color overload is when a space has only one potential hue and there is not much variation of contrast between them.

Vertical and horizontal illusions in a space can be possible by creating a balance of color or contrasting with lines of colors in a vertical or horizontal plane.

Warm colors (such as red, orange, and yellow) tend to be visually heavier than cool colors (such as blue, green, and purple). Using warm colors in smaller areas can help with the balance in a larger area of cool colors.

Bright and intense colors have more visual weight than muted or pastel colors. Therefore, a smaller amount of bright.

Multiple color overload is when too many di erent colors are chosen and they have very little connection among the elements. It can make way nding more chaotic

COLOR

+ RETAIL M8

FENDI CAFE

FENDI STORE

Adele and Edoardo Fendi founded the FENDI fashion company in Rome in 1925. The rst FENDI boutique opened, and then a handbag store and a fur workshop did as well. FENDI quickly gained recognition across the world for its elegance, craftsmanship, creativity, and air.

The outside of the 5,400-square-foot Fendi building in the Miami Design District will take your breath away even from a distance. It is shown in the ideal blend of bright yellow, brilliant orange, and neutrals, supported by tall columns. Large windows are showing the Fendi collection between the columns.

The use of colors that are in opposition to one another on the color wheel is known as a hue contrast. Utilizing colors at their utmost intensity is a good way to get people interested in the focus point.

Despite the strong colors used in the design, such as yellow, orange, green, and brown, these hues are similar since they are situated adjacent to one another on the color wheel. Purple is yellow's complimentary hue, yet this store does not utilize it.

The simplest kind of contrast is value contrast. Without using chromatic colors, a light/dark contrast of black, gray, or white values can accentuate. It gives a feature more visual signi cance. Several shades of yellow and neutral hues are employed throughout the business, such as on the carpets and seats. Without the exhibit on the right, which contrasts the most, the room would be consistent and that display would lose its signi cance.

As the information is given in several ways, emphasis can be represented graphically as a hierarchy of information. This emphasizes the topic in several ways and overall rather than on certain parts.

The shapes and forms of the sunshade were transposed to the Fendi store as the link between the retail store and the co ee café. The permanent Fendi shop, which is situated across from the pop-location, up's is lined with green potted plants in contrast to the expanse of bright yellow canopy that welcomed visitors to the café.

REFERENCES

https://sfmn. u.edu/miami-design-district-perfect-photo-spots/

https://www.vendomtalents.com/en/news/fendi-announces-opening-of-fendi-ca e-in-collaboration-with-selfridges

https://www.quien.com/moda/2021/05/31/fendi-ca e-nuestra-nueva-obsesion

https://okdiario.com/coolthelifestyle/lifestyle/fendi-ca e-spot-mas-instagrameable-miami-94501

TRIADIC

The Campari Group, a Milan-based rm known for its right-red eponymous aperitif and one of the biggest spirits companies in the world, has a new two-story New York headquarters that stands apart from other o ces that provide wellness centers, cafés, and lounges.

A monochromatic color scheme emphasizes the energetic space made up of several shades of the color red. Nonetheless, people's conduct may be in uenced by the color red. In this situation, people could experience excitement or anxiety, which de es logic for a working environment.

Three equally spaced colors on the color wheel are referred to as triadic color harmonies. The triadic scheme establishes one of the hues as the dominant proportion when three colors oppose one another; in this example, that hue is the component red from Campari goods, which dominates over the blues, yellows, and brass hues.

LINES

An accent color (yellow) that appears to be prominent for the bar is present in this room's monochrome ambiance along with the prevailing colors of white and grey.

In contrast to the lighter yellow on the rear seats and the deeper re ected tone on the bar wall, which is visible in the yellow from the bar. Repetition of the lines gives the texture, which emphasizes and moves the bar, a more dynamic feel. When just solid colors are employed, the lines additionally break up the dull surroundings.

PATTERN

Its walls are coated in an antique taupe damask pattern, making it intimate and hermetic. This monochromatic transition zone is given some balance and interest by di erences in value, the use of light, and changes in the material's re ection index.

Nonetheless, the space makes sense with the focus point placed at the top of the stairs. The pattern, which is a 3D grid that is lighted, creates this focus point.

SHAPE

Focal points

The focal point of the composition is the C-shaped bar. On the rst and second levels, the same Campari typeface commands attention, but its color is subdued so that the immediate user may focus on the red beverages. In terms of the distance between users, it highlights the hierarchy.

A resin oor covers the bar on the left, which has a marble top. Top clients who are invited to sample the limited-edition whiskeys, rums, and liquors are the major target audience for the cocktail bars when they are visiting the headquarters.

Shape and user experiences

These organically shaped elements shape the user journey. For example, the shape of the bar and curved furniture are focal points that give continuity to the double height

CONCLUSION

One of the most important lessons is how color matters in project design. In the case of Campari, red tones work as the main color. To neutralize the space, orange has been used with green. This is the case of the o ces that play with complementary colors to the main one to have a range of colors within the space.

REFERENCES

https://interiordesign.net/projects/gensler-blends-corporate-space-and-cocktail-bars-at-campari-s-new -york-headquarters/

https://interiordesign.net/products/ https://interiordesign.net/projects/

http://interiordesignmag.hotims.com/r5/search.asp?action=search&return_by_category=y

COLOR + HOSPITALITY

SPACES

CONCEPT

The Miami Beach Edition hotel is a distinctive seaside building created for business, networking, and socializing. Everything has changed since the last hotel on Miami Beach debuted more than ten years ago. An international design company, Yabu Pushelberg, renovated it while preserving the existing structure's architectural characteristics, which were once part of the Sevilla Beach Hotel.

VARIETY

In order to create diversity and contrast in an interior space, variety is a design principle that focuses on the blending of one or more color elements with line, texture, form, and pattern. In addition to the rooms and suites, there are wonderful eating and entertainment options.

- Matador room

- Matador bar

- Market At Edition

- Tropicale

- Lobby Bar

ELEMENTS

COLOR + LINE

With the use of these vertical columns and plants, the linear aspect is added, giving the impression of a bigger space.

COLOR + SHAPE

The Edition maintains a comparable and balanced form composition throughout its rooms while maintaining modern furnishings with recognizable shapes.

COLOR SCHEME 1

ELEMENTS

COLOR + TEXTURE

The main building material of the hotel, marble can be found in its columns, ooring, and tables. Its lobby is elegant thanks to the gold ceramic and the smooth white fabric.

COLOR + PATTERN

The lobby is simply decorated in neutral tones, but the use of organic materials results in a pattern that is made more noticeable by lighting and the re ection of the shape of a palm tree on the ceiling, giving Miami its strong atmosphere.

COLOR SCHEME 2

CONCLUSION

It's crucial to be aware of the materials chosen for the hotel. According to the analysis, the design team carefully chose materials and colors that produce a calm and serene atmosphere as well as being durable and resistant.

Natural materials like wood, stone, and bamb have been used in the design and are seen as timeless. These materials have a calming e ect and convey a sense of peace and harmony with nature.

REFERENCES

https://www.editionhotels.com/es/miami-beach/

https://www.hrs.com/es/hotel/the-miami-beach-edition-38889.html

https://www.telegraph.co.uk/travel/destinations/north-america/united-states/ orida/miami/miami-beach/hotels/t he-miami-beach-edition-hotel/

https://www.oyster.com/miami/hotels/the-miami-beach-edition/