Anasofia Guardia Color Theory Final Book by Anasofia Guardia

COLOR THEORY

CONTENT

01- - - - - - - COLOR + MYSELF 02- - - - - - - COLOR + DESIGNER 03- - - - - - - COLOR + RETAIL 04- - - - - - - COLOR +WORKPLACE 05- - - - - - - COLOR + HOSPITALITY 06- - - - - - - REFERENCES

COLOR + MYSELF ANASOFIA GUARDIA

ABOUT ME

ALL YOU NEED TO KNOW IS THAT I'M A SAGITTARIUS MULTI-FACETED. ART LOVER. KNOWLEDGE-SEEKER. EXTRAVERT GOOD AT SWIMMING GOOD AT MAKING GLUTEN-FREE COOKIES. HOLD MY FRIENDS AND FAMILY CLOSE TO MY HEART LOVE DESIGN WITH EVERY FRAGMENT OF MY BEING

ANASOFIA GUARDIA

WHY DESIGN?

I STARTED MAKING FLOORPLANS WHEN I WAS 7 YEARS OLD WHEN I WOULD REARRANGE MY BEDROOM FURNITURE AT 3 AM. EVER SINCE A YOUNG AGE, DESIGNING ALWAYS HELPED ME MAKE SENSE OF EVERYTHING AROUND ME. MY FAMILY ARE ALL CREATIVE, GUESS ITS JUST IN MY BLOOD.

SOME PICS OF ME

BEING STYLISH AT A POOL BAR AT AN ART MUSEUM EXHIBITION

EDUCATION BACKGROUND

2019 2019-2022

PRESENT

The top 25 of my class did some ballet, cheerleading, track and field, and tennis. discovered my love of art here.

began my classes for an A a in interior design found my passion for design. made some incredible friends here. graduated in 2022 with my a a in interior design

this is my first semester at fiu really excited to continue my studies and meet more people and see new things.

HIGH SCHOOL MIAMI DADE COLLEGE FLORIDA INTERNATIONAL UNIVERSITY

HOBBIES

DANCING HANGING OUT KNITTING PHOTOGRAPHY MODELING DESIGNING MAKING ART. HOSTING PARTIES. VISITING ART GALLERIES. VISITING SCIENCE MUSEUMS. PAINTING.

ME WORKING IN A ART MUSEUM

A FILM PHOTO I TOOK

COLOR + DESIGNER PARC DE LA VILLETTE

Bernard Tschumi

CONTENT

- - - - - - - - - - -

05- - - - - - - - - - - -

01-

THE ARCHITECT 02-

THE BUILDING 03-

THE COLOR 04-

THE PSYCHOLOGY

THE REFERENCES

BERNARD TSCHUMI ARCHITECT

Bernard Tschumi is widely recognized as one of today’s foremost architects. First known as a theorist, he drew attention to his innovative architectural practice in 1983 when he won the prestigious competition for the Parc de La Villette, a 125-acre cultural park based on activities as much as nature.

Tschumi studied architecture at the Swiss Federal Institute of Technology in Zürich, Switzerland. He founded his firm Bernard Tschumi Architects in 1983 with the commission he received from Parc de La Vilette. Another notable building he designed is our very own FIU School of Architecure complex.

The intertwining concepts of “event” and “movement” in architecture are supported by Tschumi’s belief that architecture is the most important innovation of our time. Tschumi often references other disciplines in his work, such as literature and film, proving that architecture must participate in culture’s polemics and question its foundations.

"Our relationship with space has changed completely because our perception of space has altered.

BUILDING PARC DE LA VILLETTE

Location: 211 avenue Jean Jaurès - 75019 Paris, France

Built: 1987 Type: Deconstructivist

Architect: Bernard Tschumi

According to DEZEEN, a world-famous architecture and design magazine, Parc de la Villette is the "largest deconstructed building in the world".The Parc represents a new model for the 21st-century city park in which program, form, and ideology come together. There are two vital elements on the site of history. First, it was the former site of a slaughterhouse that employed more than 3,000 people Second, two canals run through the site The Ourcq canal supplied water to the city of Paris and the St Denis canal was used to transport cargo and freight The Parc de la Villette includes one of the large slaughterhouse buildings and both canals

COLOR IN THE WORKS

The primary materials of the Parc are lacquered steel in a bright red color and concrete. Tschumi wanted the park to represent culture more than nature. The steel pavilions are inspired by Russian Constructivist art, and all are painted red.

Red is a powerful color juxtaposed against the Parisian urban landscape and the trees in the park Red is the color at the long wavelength end of the visible light spectrum, next to orange and opposite violet

COLOR THE PSYCHOLOGY OF RED

According to Sensational Color, the color red speeds up our heart rate, blood flow, and body temperature. Red stimulates our senses of smell and taste, making us more sensitive to our environments. Red also stimulates the adrenal gland, making us more prone to take action and giving us more energy. Red is a physical stimulant. This color was chosen by bernard tschumi for a park was a good decision.

LOVE ANGER POWER PASSION

REFERENCES

https://www.frameweb.com/article/work/our-relationship-with-space-has-changed-completely-because-ourperception-of-space-has-altered

https://planningtank.com/blog/parc-de-la-villette-landscaping https://www.archdaily.com/92321/ad-classics-parc-de-la-villette-bernard-tschumi?ad medium=gallery http://www.tschumi.com/projects/3/

https://characterlab.org/tips-of-the-week/decoding-emotions/

https://www.verywellmind.com/the-color-psychology-of-red-2795821 https://www.dezeen.com/2022/05/05/parc-de-la-villette-deconstructivism-bernard-tschumi/ https://architecturesstyle.com/parc-de-la-villette/

+ EMPHAIS RETAIL ANALYSIS Céline Flagship Store Design District

COLOR

CONTENT 01- - - - - - - - - - - - THE HUE 02- - - - - - - - - - - - THE VALUE 03- - - - - - - - - - - - THE FEATURES 04- - - - - - - - - - - - THE TEXTURE 05- - - - - - - - - - - - THE FOCAL POINT

THE HUE

THE MAJORITY OF THE SPACE UTILIZED A PINTA VERDE MARBLE. THIS MARBLE IS CHARACTERIZED BY THE VARIED BLUE-GREEN HUE IN EACH SLAB WITH SPOTS OF WHITE THAT MAKE THE STONE RESEMBLE THE SKY

THE MOSTLY MONOTONOUS SPACE IS BROKEN UP BY THE USE OF GREY RUGS

THE USE OF COOL-TONED LIGHTING IS ONE OF THE WAYS THE DESIGN IS BALANCED. OTHERWISE, THE CONTINUOUS USE OF THE MARBLE WOULD BE TOO MONOTONOUS AND UNINTERESTING

THE VALUE

THE NATURAL VARIATION OF VALUE WITHIN THE PINTA VERDE MARBLE IS PRESENT THROUGHOUT THE SPACE

ALTHOUGH MOSTLY MONOCHROMATIC, THE EDGES OF THE DISPLAYS AND THE SHADOWS CAST BY THE LIGHTING BREAK UP THE VIEW.

THE VARIETIES OF GREYS WITHIN THE CONCRETE COLUMNS KEEP THE MONOLITHS INTERESTING TO LOOK AT AND PROVIDE A CONTRAST TO THE SMOOTH STONE.

THE FEATURES

THE COLUMNS ARE BUILT OF CONCRETE AND PROVIDE THE SPACE AN OPPORTUNITY FOR MONUMENTAL MONOLITHS FOR FOCAL POINTS

THE HARDWARE THROUGHOUT THE DESIGN IS A WORN-BRASS. THE COLOR GIVES A BIT OF WARMTH TO THE OVER-ALL NATURAL COOL TONED MARBLE AND CONCRETE.

THE NATURAL APPEARANCE OF THE PINTA VERDE MARBLE GIVES THE STORE AN ALMOST "HEAVENLY SKY" FEELING THIS IS FELT THROUGHOUT THE SPACE BUT ESPECIALLY IN THE DIAGONAL APPLICATIONS ON THE CEILINGS AND ABOVE THE STAIRS

THE TEXTURE IN THE WORKS

THE STORES FAÇADES, FLOORS, WALLS, AND CEILINGS ARE ENTIRELY MADE OF MARBLE PINTA VERDE MARBLE LENDS THE SURFACES A CALMING BLUE-GREEN COLORATION

THE COLUMNS ARE BUILT OF CONCRETE WITH A ROUGH TO TOUCH TEXTURE

THE FITTING ROOMS ARE DECORATED WITH FUNCTIONAL FLOOR-TO-CELING DRAPES IN A SOFT COTTON BLEND TEXTILE

THE FOCAL POINT

STAIRS MONOLITHS

‘THE VIRTUAL WORLD EXISTS IN PARALLEL WITH THE PHYSICAL’ -DESIGNER VALERIO OLGIATI

THE REFERENCES

https://www.archdaily.com/901267/celine-flagship-store-valerio-olgiati https://www.miamidesigndistrict.net/listing/282 https://www.designboom.com/architecture/valerio-olgiati-celine-flagship-store-miami-08-02-2018/ http://www.mikaelolsson.se/index.php?id=334

COLOR + VARIETY WORKPLACE ANALYSIS

Campari’s New York Headquarters

CONTENT

THE

01- - - - - - - - - - - - THE LINE 02- - - - - - - - - - - - THE SHAPE 03- - - - - - - - - - - - THE TEXTURE 04- - - - - - - - - - - -

PATTERN

THE LINE

THE COLOR OF THE STAIRCASE AREAS IS THE ONLY AREA IN THE ENTIRE HEADQUARTERS THAT IS MONOCHROME. THE BRIGHT RED COLOR IS AN HOMAGE TO THE COLOR OF THE ORIGINAL CAMPARI

LINES OF THE HANDRAILS LEAD US UP THE STAIRS THE VIEW OF THE HORIZONTAL LINES AND VERTICAL LINES LEADS US UP TO A GRID SHELVING THAT USES BOTH VERTICAL AND HORIZONTAL LINES.

THE SHAPE

THROUGHOUT THE HEADQUARTERS WE SEE A VARIETY OF SHAPES IN AREAS THAT ARE BARS, FOR SERVING DRINKS, ARE ALL IN A SEMI-CIRCLE. THE FURNITURE IN THE BAR AREAS ALSO FOLLOW THE SAME SHEME, EITHER IN CIRCLES OR IN CURVED SOFAS

THE SHAPE

IN OTHER AREAS OF THE HEADQUARTERS THAT ARENT BAR AREAS, THEY FOLLOW A STRAIGHT LINE SCHEME, WITH THE OCCASIONAL CIRCULAR ELEMENT, USUALLY IN THE FORM OF LIGHTNING FIXTURES.

THE TEXTURE

THE COLOR SCHEME IN THIS ELEVATOR FOYER IS THAT OF THE LOGO OF CAMPARI. THE NAVY AND GOLD PAIR WELL BECAUSE THEY ARE COMPLEMENTARY COLORS, OR ON OPPOSITE SIDES OF THE COLOR WHEEL

THE TEXTURE OF THE WALLPAPER ON THE WALLS IS NOT COMPLETELY FLAT. FROM PHOTOS IT LOOKS AS THOUGH THE APPLICATION WAS DONE USING A SPONGE AND PAINT, STIPITLING THE PAINT IN RANDOM AREAS.

THE CEILING IS IN A HIGH-GLOSS PAINT OR LACQUER, REFLECTING EVERYTHING IN THE ROOM, INCLUDING THE TEXTURE OF THE WALLS

THE PATTERN

THE COLOR OF THE CAMPARI IS STRIKING NEXT TO THE WHITE BACKGROUND BECAUSE OF THE CONTRAST THIS COLOR CAN BE SEEN IN A VARIETY OF AREAS THROUGHOUT THE HEADQUARTERS IN DIFFERENT WAYS THEY USE IT IN THE STARS, IN THE CONFERENCE ROOM AS AN ACCENT WALL, AND IN FURNITURE IN LOUNGE AREAS.

THE PATTERN MOSTLY SEEN THROUGHOUT THE SPACE IS THE REPETITION OF UTILIZING THE ACTUAL BOTTLES FULL OF CAMPARI AS DECOR IN THE CONFERENCE ROOM THEY USE IT

THE REFERENCES

HTTPS://INTERIORDESIGN.NET/PROJECTS/GENSLER-BLENDSCORPORATE-SPACE-AND-COCKTAIL-BARS-AT-CAMPARI-S-NEW-YORKHEADQUARTERS/

HTTPS://THEDRINKNATION.COM/ARTICLES/READ/17151-INSIDE-LOOKCAMPARIS-STYLISH-NORTH-AMERICAN-HEADQUARTERS-IN-NEW-YORK#

HTTPS://WWW.CAMPARIGROUP.COM/EN/NEWS/2019-03-11/CAMPARIGROUP-UNVEILS-NORTH-AMERICAN-HEADQUARTERS-NEW-YORK-CITYGENSLER-DESIGN

COLOR + VARIETY HOSPITALITY ANALYSIS

The Edition Hotel

CONTENT 01- - - - - - - - - - - - THE LOBBY 02- - - - - - - - - - - - THE RESTURANT 03- - - - - - - - - - - - THE SPA 04- - - - - - - - - - - - THE SITE VIST 05- - - - - - - - - - - - THE REFERENCES

THE LOBBY

THE LOBBY

COLOR

THE USE OF REAL GREEN FOLIAGE IN COMBINATION WITH THE GOLD DETAILING AND WARM ORANGE WOODS ON THE FURNITURE IS VERY HARMONIOUS BECAUSE THESE COLORS ARE ANALOGOUS MEANING THEY ARE NEXT TO EACH OTHER ON THE COLOR WHEEL

LINE

THE CIRCULAR DETAILING ON THE CEILING BY THE COLUMNS ACCENTUATE THE LARGE COLUMNS INSTEAD OF TRYING TO HIDE THEM

PATTERN TEXTURE

THE ONLY PATTERN IN THE LOBBY IS FOUND IN THE FLOOR APPLICATION IT S A WHITE MARBLE TILE THAT IS MET IN THE CORNERS WITH A SMALL BLACK MARBLE TILE THIS IS FOUND IN THE ENTIRE LOBBY REPEATEDLY

THE USE OF SOFT CREME COTTON BLEND UPHOLSTERY IS USED IN THE LOBBY FURNITURE AS WELL AS A WHITE AND GREY FAUX LEATHER THEY ALSO USE NATURAL WOOD GRAIN IN THE BOOTH SEATINGS

THE SPA

THE SPA

COLOR

THE USE OF NEUTRAL COLORS IS FOUND THROUGHOUT THE EDITON IN THE SPA THE USE OF WARM LIGHTING AND AMBER ELEMENTS CREATES A WARM AND COZY FEELING

THE HORIZONTAL WALL APPLICATION PROVIDES PRIVACY AND SEPARATION IN THE SPACE WHILE ALSO MAKING IT FEEL LARGER THAN IT IS

THEY USE MORROCAN RUGS THROUGHOUT THE SPA THE PATTERN DIFFERS FROM EACH RUG BUT IS ALL ORNATE

LINE PATTERN TEXTURE

WOVEN WOODEN BASKETS ARE USED AS SIDE TABLES THERE IS A LOT OF NATURAL WOOD AND NATURAL FIBERS BEING USED THE TEXTURE OF THE CARPET IS HIGH-PILE AND GIVES THE SPACE A HOMEY FEEL

THE RESTURANT

THE RESTURANT

THE COLOR USED INSIDE OF THE RESTAURANT IS VERY CONCEPT BASED DECISION BY THE FOOD, SERVED WITHIN THE RESTAURANT AND THE NAME OF THE RESTAURANT, MATADOR THE RED AND GOLD FEATURES TELL A STORY OF THE LATIN/SPANISH CUISINE SERVED

THE LINES WITHIN THE RESTAURANT DICTATE THE MOVEMENT WITHIN THE SPACE A RESTAURANT REQUIRES TABLES AND CHAIRS TO BE IN SPECIFIC SPOTS FOR THE SERVERS EASE THE CENTER OPEN CIRCLE SERVES A MORE PRIVATE AMBIANCE EVEN THOUGH IT'S IN THE CENTER OF THE ROOM

THE DRAPERY ACROSS THE WHILE PROVIDES A BREAK FROM THE PAINTED GYPSUM SEEN IN EVERY OTHER PART OF THE HOTEL PROVIDES THE ILLUSION THAT THERE'S MORE SPACE BEHIND IT; MYSTERIOUS. THE UPHOLSTERED WALLS ALSO PROVIDE A SMOOTH VELVETY TEXTURE THAT MAKES THE SPACE FEEL WELCOMING.