Color Theory
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Who are you? Research + Color Theory + Color Designer + Color Film + Color Balance + Color Rhythm + Color Retail + Color P/S & U/H + Color Hospitality + Color Culture + Color 3
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My name is Antuhan Gonzalez and I am Masters of Architecture Candidate at Florida International University. I live in Downtown Miami and I work at Bermello Ajamil and Partners. I chose Architecture because it has the ability to create and identify cultures and people. I grew up between La Habana, Cuba, and Valencia, Espaùa, where I was in constant interaction with different styles of architecture from the colonial villas to the contemporary designs of Calatrava. My favorite colors are navy blue and orange. I prefer to wear neutral colors such as black and white. Usually I wear blue jeans with a white t-shirt because it’s a comfortable and simple look. My car, laptop, and phone are black. In general, I dislike purple, cyan, and magenta. I consider myself a simple person, my hobbies include soccer, photography, and on-site sketching. I have traveled to many different countries and cities including Berlin, London, Madrid, New York, and Lima. My latest trip I visited Machu Picchu, Peru, and I was able to immerse into a whole new cultural identity and ancient architectural style.
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M.2 Article: It ain’t just (Black and) White Article’s Author: Aaron Betsky Summary What we understand as humans in terms of a colour array is narrow, and the colours out of which we make architecture are even more limited. The most apparent example of this is the adoption of white by a large group of modernist designers. White represented, above all else, absence. Still, white remains a modernist ideal. It is the emblem of what is new, what humans have made, and yet that goes beyond the human into a realm of purity. Against this reduced field of white stands the even more potent absence that is the domain of black. Postmodernism also rediscovered colours that had emerged on the margins of modernism. The one place where this assertion of colour as being national or local still perseveres is in Latin and South American architecture. The use of colour as a discordant element marks an architecture that is forceful and difficult, though sometimes also playful. We live in a reality in which the very few colours architecture has at its disposal stand, full of import and implied judgment, against nature whose variety we will never fully comprehend. Key Components • All the Colours of Nature • White • Black • Virtually Colourless • Modernism • Postmodernism • Latin American Architecture
Main Conclusions • We live in a reality in which the very few colours architecture has at its disposal stand, full of import and implied judgment, against nature whose variety we will never fully comprehend. • If architecture is to have a more colourful future than its largely colourless past, and is to escape from the default of white and the too easing coding of other artificial colours, while not dissolving into feigning disappearance, it will have to learn to gather together and reassemble the cloak of many colours nature spreads out over us. Statement In my opinion, the use of colour in architecture is selective, rather than limited. As we find a wide range of colours surrounding us in nature, we build to create an artificial environment that will provide us with certain comforts that usually go beyond any natural setting. At the same time, I agree that postmodern architects such as Rem Koolhaas, MVRDV, and Bjarke Ingels are innovating with the use of colour in architecture. The exploration of deconstructive design through the combination of space and colour becomes an interesting concept for me. By the same token, growing up in La Habana, Cuba, I was surrounded by colorful tropical colonial architecture with beautiful stained glass designs, precious wood doors, and marble staircases. Definitely colours can transform the feel of spaces creating atmospheres associated with the ideas of home, work, and leisure spaces.
Examples of deconstructivist architecture with colours by MVRDV
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By: Rem Koolhaas
Rem Koolhaas Remment Lucas "Rem" Koolhaas is a Dutch architect, architectural Urban Design at the Graduate School of Design at Harvard Univertogether with Elia and Zoe Zenghelis and Madelon Vriesendorp. He
OMA in "a novel about architecture". He heads the work of both able energy and fashion. Koolhaas is a professor at Harvard University where he conducts the Project on the City. In 2014, he was the Venice Biennale, Fundamentals.
Projects:
China Central Television Headquarters
Embassy of the Netherlands
McCormick Tribune Campus Center
Casa Da Musica
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old—are presented equally and legibly. Flexibility in contemmeans that bookcases define generous (though nondescript) relentless expansion, inevitably come to encroach on the public space ambiguous flexibility proach by organizing itself into , each ibility remains possible within each compartment, but with-
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that is architecturally defined and equipped for maximum, dedicated performance. Because each platform is designed for a unique purpose, their size, flexibility vary. The spaces
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late, where the interface between the different work, interacand play.
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HERO (ZHANG YIMOU, 2002)
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GONZALEZ
Color + Environment _ FILM ANALYSIS_M.5
HERO Summary In this visually arres;ng mar;al arts epic set in ancient China, an unnamed fighter (Jet Li) is being honored for defea;ng three of the king's most dangerous enemies. The film scenes in ''Hero'’ are divided into five sec;ons, each dominated by a single color: red, blue, green and white. Add to this a frame tale dominated by shades of black, and a series of flashbacks infused with vibrant greens, and you have a film that func;ons like a prism.
DELETE this image and insert another meaningful image from the film.
''Part of the beauty of the film is that it is one story colored by different percep;ons, I think that's the point. Every story is colored by personal percep;on,’’ Mr. Doyle says.
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HERO (ZHANG YIMOU, 2002) RED
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Color + Environment _ FILM ANALYSIS_M.5
SCENE ANALYSIS RED
Intensity Energy Passion Blood Danger
Punctu story b played boVom Cheung chose, immed directo conscio the Mo costs. I 'No red Asia.'' T that wo costum the film ''The re saturat
SALMON PINK
Femininity Youth Innocence
LIGHT ORANGE Warmth Determina;on Success Dynamism
COLOR PALETTE
Red dominates the first version of the story by Nameless in which he describes the calligraphy school, the aVack by the Qin army, the stabbing of Broken Sword and the subsequent fight between Flying Snow and Moon.
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HERO (ZHANG YIMOU, 2002) BLUE
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GONZALEZ
Color + Environment _ FILM ANALYSIS_M.5
SCENE ANALYSIS BLUE
Stability Wisdom Depth Power
TURQUOISE
Trust Loyalty Calmness Relaxa;on
SKY BLUE Pa;ence Tranquility Health Vastness
COLOR PALETTE
Blue becomes the colour for the second version of the story. The resul;ng lack of contrast between characters and sedng was inten;onal. ''The thing about color is that it's like light,'' Mr. Doyle says. ''In order to see darkness on film, you need a bright spot in some part of the frame. In other words, you need a contrast. In this film you're totally surrounded by one color, and that's very rare.''
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HERO (ZHANG YIMOU, 2002) GREEN
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Color + Environment _ FILM ANALYSIS_M.5
SCENE ANALYSIS LIGHT GREEN
Woven th ''Hero'' a Leung en curtains. achieved unusual w be color-‐ shade th Australia impa;en one offer Storaro: knowled was the c choice. A flashback all the ot blue, we basically. or pink.''
Life Playfulness Renewal Peace Growth
GREEN
Nature Calmness Comfort Wealth Energy
DARK GREEN Nature Prosperity Longevity
COLOR PALETTE
Green is the colour for the story that Nameless doesn’t necessarily know since it covers the first mee;ng of Broken Sword and Flying Snow and also the failed assassina;on aVempt.
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HERO (ZHANG YIMOU, 2002)
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Color + Environment _ FILM ANALYSIS_M.5
SCENE ANALYSIS WHITE
Purity Truth Modernity Peace Order Efficiency
ORANGE
Warmth Determina;on Success Dynamism
In th rushe ''Her that, apart third Kaza dese Whe the c unen to sh white Doyle
EARTH BROWN Reliability Organic Hearth Earthiness Stability Nature
COLOR PALETTE
White is the final colour, domina;ng the deaths of Flying Snow and Broken Sword and alterna;ng with the black sequences back in the palace.
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Dominant Color Grey
Secondary Color Lime - Green
Accent Color Black
The color palette follows the 60-30-10 rule using a neutral grey tint as a dominant color which creates a balance to the lime-green and black colors. The lime-green tone was used as a secondary color to relate it with the comforts of home. The accent pieces are in a black hue to create a comfortable, relaxing living room. The Grey tint is the main color which covers oors, walls and ceilings in a neutral way. The Lime-Green represent the happiness and vitality of the living room. The Black hue occupies 10 percent of the space and makes emphasis on the furniture.
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M.8 NESPRESSO LINCOLN ROAD, MIAMI
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Color + Emphasis | Retail Analysis
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Nespresso is the brand name of NestlĂŠ Nespresso S.A., an operating unit of the NestlĂŠ Group, based in Lausanne, Switzerland. Nespresso machines brew espresso from
coffee
capsules, a type of pre-apportioned single-use container of ground coffee and flavorings.
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Color + Emphasis | Retail Analysis
• Contrast of Color
• Contrast of Value
• Contrast of Texture
• Focal Point
CONTENTS Gonzalez
Color + Emphasis | Retail Analysis
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Contrast of COLOR 34
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Color + Emphasis | Retail Analysis
The contrast of color is used to highlight the social spaces within the store as well as to attract customers towards the walls where the machines and capsules are displayed.
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Color + Emphasis | Retail Analysis
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The contrast of value is present in the merchandise itself, to achieve a sophisticated look the espresso machines go from metallic blues to gray and silver.
Contrast of VALUE 36
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Color + Emphasis | Retail Analysis
The contrast of texture occurs on the floor and walls where the change of surface indicates where the circulation space, the seating/lounging area, and the sales area are defined.
Contrast of TEXTURE Gonzalez
Color + Emphasis | Retail Analysis
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COLOR + CULTURE
CUBA & SPAIN
I have chosen Cuba and Spain because the mixture of these two cultures composes my cultural background. Having lived my childhood in Cuba and my adolescence in Spain, I have experienced both cultures and each of their peculiarities. Despite of the significant differences between these countries in terms of economies, politics, and social matters, the vibrancy of their colors and textures stand out in all aspects of their architecture, interiors, dances, traditional celebrations, and food. Tropical colors such as whites, blues, yellows, greens, and oranges are predominant throughout the Cuban scene, highlighting the vast beauty of its landscape and beaches, the values and religious beliefs of the people, and the intoxicating energy of their dances and celebrations. High intensity colors such as reds, dark blues, oranges and yellows characterize the Spanish scene, highlighting the traditions of flamenco dancing, soccer, colonial architecture, and bullfighting.
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Color + Culture: Cuba and Spain
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CUBA 46 Gonzalez
Color + Culture: Cuba and Spain
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SPAIN
Color + Culture: Cuba and Spain
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COLOR + CULTURE
CUBA
The color palette of Cuban culture is bathed in whites, blues, greens, yellows, and a hint of red. It is influenced by a mix of Spanish, African, French and Asian roots. The urbanscape of Cuban cities consists of a collision between the Spanish colonial architecture with a strong presence of the art deco movement. As a result, the city becomes a carnival of colorful continuous facades that show the variety and versatility of their culture. This combined with the double height colonial interiors that also portray bright pastels like green, aqua, and coral; create an ambiance of positive energy that fits right on with the Cuban people. White is also a big part of the culture. Related to the Yoruba religion that many Cubans practice, white has become a fashion statement for freedom and good fortune. The sun, the palm trees, the sky, and the sea add a new layer of colors to the Cuban scene, where you are always in contact with nature.
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Color + Culture: Cuba and Spain
COLOR + CULTURE
SPAIN
Starting with the Spanish flag, we see the intense red and yellow. These colors have a historic significance as they refer to the ancient kingdoms that came together to create the nation. Especially the color red carries out throughout many Spanish traditions. Traditional events such as bullfighting, the tomatoes festival, and flamenco dancing are characterized by intense red tones. Although red holds a different meaning on every one of these activities, it is clear that it becomes an important color for the culture of the country. Red is definitely a symbol of Spanish culture, for example, many Spanish soccer teams have red on their uniforms, and most of the traditional flamenco fashion is either red or contains red accents. Of course, that doesn’t mean red is the only color present, the Spanish culture is rich and it envelops a wide variety of other colors and textures. In architecture it is common to see the beige tones of the stones of antique and colonial palaces and buildings, mixed with golds, silvers, and colorful accents of fabrics (carpets, curtains, furniture) and gemstones.
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Color + Culture: Cuba and Spain
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