About Color by clentijo

COLOR THEORY SUMMER 2015 Carolina Lentijo

ABOUT COLOR

COLOR THEORY SUMMER 2015 Carolina Lentijo

SMALL TEA CO.

WHO ARE YOU RESEARCH + COLOR THEORY + COLOR DESIGNERS + COLOR FILM + COLOR AMBIENT + COLOR BALANCE + COLOR RHYTHM + COLOR RETAIL + COLOR P/S AND U/H + COLOR HOSPITALITY + COLOR CULTURE + COLOR FINAL THOUGHTS

TABLE OF CONTENTS

M1 M2 M3 M4 M5 EXTRA CREDIT M6 M7 M8 M9 M10 M11

COLOR THEORY SUMMER 201 Carolina Lentijo

Background

I was born in Cali, Colombia a.k.a. la Sucursal del Cielo, which roughly translates to “heaven’s place on Earth.” The second most fertile valley in the world, or so I was told, I grew up with a mother who loves Salsa and a father who couldn’t keep the rhythm. I ended up falling halfway between the two, I love Salsa, but I am not planning to enter any world competitions any time soon. When I was a child I wanted to be Zorro, as in THE Zorro. He had a sword and a black horse, and that was a better deal than any princess story. Obviously being Zorro did not work out, so senior year I debated between Architecture and Art School. Mom wanted me to be a doctor, but I faint at the site of blood and the thought of opening someone up makes me want to throw up. Most of my friends thought lawyer was gonna be the winning ticket, but I can’t keep a straight face when lying….and that’s not good for business.

So….I started architecture school and immediately fell in love with it…5.5 years later and a LOT of sleepless nights I graduated. I speak Spanish and English and once in a blue moon I used to speak french. Last thing(s) about me: I love my dog, his name is Tango and he is supposed to be a Jack Russell Terrier but I am positive his grandmother had a thing for a Galgo…his legs are way too long. I love cooking, everyone in my family does, and I am always trying new pinterest recipes. I make a mean banana bread. I love wine…. I lived 6 months in Montpellier and became infatuated with french roses and Sancerre. Then I did a semester abroad in Buenos Aires and after 4 trips to Mendoza and counting, I am pretty sure Malbec in marrying material. Lastly, I LOVE to travel. My mom laughs at me every time I start dreaming about a new destination. I guess I want to get to a point in life where I can take a month off each year and TRAVEL somewhere.

“Traveling – it leaves you speechless, then turns you into a storyteller.” – Ibn Battuta

“Twenty years from now you will be more disappointed by the things you didn’t do than by the ones you did do.” – Mark Twain

“We travel not to escape life, but for life not to escape us.” – Anonymous

“I travel a lot; I hate having my life disrupted by routine.” – Caskie Stinnett

“Two roads diverged in a wood and I – I took the one less traveled by.” – Robert Frost

“I haven’t been everywhere, but it’s on my list.” – Susan Sontag

Module 2: Text “It Ain’t Just (Black and) White” It Ain’t Just (Black and) White, Thoughts on Colour in Architecture” is an article written by Aron Betsky, that attempts to explain some of the history of color in Architecture. Betsky recounts the strong movement for white in Architecture. After all, beauty canons portrayed the Roman and Greek buildings in black and white photographs. Maybe it was this, or the actual visits to the washed out Parthenon that created a whole movement of white enthusiasts in architecture. However, according to Betsky, this has changed into a movement of shades. Nobody, except for galleries, want true whites. Homeowners have discovered the power of greige and offices have attempted to forgo pure white in attempt to make warmer offices. A movement for black in architecture has never really been non-existent. However, as black portrays the absence of light, and thus color, black has always been present. Betsky makes a great point about theaters, and how when the light disappears, black takes center stage. With light, architecture disappears. Here we must remember Le Corbusier’s words Architecture is the learned game, correct and magnificent, of forms assembled in the light.” Without light there is no space, and without space, architecture disappears. I do believe there is more space for black that what Betsky articulates, however I think this opening for black regards more interiors than exteriors. Pure black is a difficult color, plus, as soon as light touches black and new palette of shades appear. In his last paragraphs Betsky writes about color in architecture, and the way it is somehow related, at least in the public’s mind, to the exotism of foreign cultures. Bersky mentions central and south America, but I would like to add Asia and Africa. In Luang Prabang, the monks wear beautiful orange robes that somehow make me feel robbed for growing up in a culture where priests only wear black. In architecture, perhaps the master of color is Luis Barragan. Bersky briefly mentions him, which is a shame as if we are going to talk color in architecture. To study Barragan is to study light, and to

study light is to see color. The way light enters and reflects in Barragan’s architecture are perhaps equivalent of Renoir’s masterly of color. In Bogota, Colombia the buildings that date to colonial times are painted in all shades of the rainbow. However, this is all a lie. During the colonial times all buildings were white. As Betsky mentions in his article, white was easy to create and difficult to maintain and so it portrayed wealth. I don’t really know who decided to paint the walls in different colors in the old part of Bogota, maybe it was to make it more “traditional” or maybe it’s just an attempt to make it more tourist friendly. The fact is, in Bogota we painted the houses in vibrant colors and the Parthenon is all white in an attempt to maintain tradition. Furthermore, a majority of western women still wear white on their wedding day, even when they are not getting married in a civil ceremony or actually fulfill the requirements of “purity” set up by the church. All are a lie and somehow they work, and we would not want them any other way. To portray life in white and black is a fool’s errand. By the end of his article, Bersky sadly falls into a depiction of a post apocalyptic society where life is made up of shades of grey. This is where we defer completely. I believe color will continue to forge our lives through the buildings we inhabit, the clothes we wear, and even the gadgets we use everyday. Proof of that is the fact that the Chinese market has influenced Apple’s development of golden iPhones, and that as soon as we buy a new phone most of us stick it in a colored case. The bottom line is that we live a life in color, and because of this color always has meaning. When Pope Francis was elected, he decline to use the purple stole that has for centuries identify his position in the Catholic Church. This simple action was portrayed as a new era in the office of Pope. The message was carried out through color, forgoing what one color meant for the absence of it. We can conclude, even when color disappears, it still caries meaning.

[VISIBLE SPECTRUM]: Part of the electromagnetic spectrum seen by the human eye. Eye uses CONES (daylight/color receptors) and RODS (dim light/value receptors) to SEE. [REFLECTION]: Light strikes object and light reflected back results in color we see.

[REFRACTION]: Light rays move throught a light medium to a denser medium like air of water/prism and causes light to bend...RAINBOWS. [DIRECT COLOR]: Viewing a color on a particular surface. [INDIRECT COLOR]: Results from adjoining or opposite objects/waves reflecting their color.

M3 COLOR THEORY SUMMER 2015 Carolina Lentijo

COLOR + THEORY

[DIFFRACTION]: Occurs when light is partially obstructed by object. Waves bend and spread outward.

RESEARCH + COLOR M.4 COLOR THEORY SUMMER 2015 Carolina Lentijo

Luis Barragรกn was born in Guadalajara, Mexico in 1902. During his childhood he spends a lot of time in his family's ranch, later one of his influences. By 1923 he graduates with a diploma in Civil Engineering. From 1925 to 1927 he travels extensively in France, Spain and the north of Africa, and is impressed by the architecture of Frederic Kiesler, Ferdinand Bac and Le Corbusier. During the late 1920s he is part of the Escuela de Tapatia, which develops an architectural theory around the adherence to regional traditions. The movement embraces simple and few materials and gives great importance to color. Although for a time he will embrace the International Style of Le Corbusier, it's his "Emotional" architecture that will ultimately define him.

Images property of Barragan Foundation

LUIS BARRAGAN HOUSE AND STUDIO

Exterior The house is located Mexico City, in the old neighborhood of Tacubaya. In contrast with the projects he designed for wealthy clients, Barragan chooses a lot in traditional part of Mexico city. The exterior is painted grey, and gives little away. The small windows exemplify Barragan's disacordance with glass houses.

Exterior. Image property of Casa Luis Barragan (Organization).

Entrance

A grey exterior gives way to an explosion of color. The walls are tinted by a yellow glass that brings light in. It works as a place to decompress from the city. The yellow light and pink door work as complimentary colors, contrasting with the grey volcanic stone.

Image property of Fundacion Casa Luis Barragan

Hallway In the hallway light influences each color used. The pink wall and door reflect into the white walls tinting them of a light pink. The golden art piece reflects light as well. The grey of the volcanic stone continues the material flow. The colors here are monochromatic in the sense that everything starts with the pink wall that tints the rest of the walls. If you think of it as a secuence, the pink here complements the yellow of the Entrance. Images property of Fundacion Casa Luis Barragan.

Living Room Color here is analogous and its developed through the use of glass, light, wood floors and the garden outside.

Image property of Fundacion Casa Luis Barragan

Living Room The living room is completly monochromatic. The floor is a natural wood color, as well as most of the furniture. The sofa and rug are made of a neutral palette.

Images property of Fundacion Casa Luis Barragan

Studio The Studio has a monochromatic palette, except for the yellow ceiling. A yellow chimeney contrasts the white walls and the wood floors.

Patio The Patio is an important place in all of Barragan's architecture. The pink is still present, now in contras with the white walls, the vegetation and the clay pots. The pink again is complementary with the green.

Dining Room One of the most monocromatic rooms in the house, the living room is made in white, woods and yellow lights.

Master and White Room Both rooms are designed specifically for the Architect's use. The palette is completly monocramatic and the colors and mainly produced by light. Be it the morning light coming through the windows or the artificial warm light in the table lamp.

Terrace The terrace works as a chromatic lab for Barragan. Instead of looking to the outside, the Terrace works as a Patio, a place where the sky is a protagonist. The walls, painted pink, grey and white contrast with the brick floor, the vegetation and the blue sky. The relations of this color is a Tetrad, to which we add white and grey.

Terrace The other side of the terrace uses complimentary color hues, an indian red and the blue sky. To this relationship we add the redbrown of the brick floor and the grey used in one of the walls.

Reference 1. Fundacion Casa Luis Barragan http://www.casaluisbarragan.org 2. Barragan Foundation http://www.barragan-foundation.org 3. Pritzker Prize http://www.pritzkerprize.com/1980/bio 4. UNESCO http://whc.unesco.org/en/list/1136 5. The New York Times http://www.nytimes.com/2014/06/15/travel/ finding-mexico-city-and-luis-barragan-again. html?_r=0

M.5 COLOR THEORY SUMMER 2015 Carolina Lentijo

BIG FISH (Tim Burton, 2003)

“In telling the story of my father's life, it's impossible to separate fact from fiction, the man from the myth. The best I can do is to tell it the way he told me. It doesn't always make sense and most of it never happened... but that's what kind of story this is.” –Andrew Bloom [Big Fish]. Big Fish is a movie about tales, about the importance of stories. Edward Bloom is a man known for his fantastical stories, and his son is a man of reality. The movie is about coming to terms with your own story and embracing fantasy in everyday life. Color, sets the pace and becomes one more character within the movie. On the one hand it differentiates the present “real world” with the world found in the stories of Edward. In the present, colors are muted and tinted blue. But, when Edward tells a story the world seems to be injected with vibrant yellows, crisp blues, beating reds and breathable greens. This is Burton’s way of telling us fantasy is so much better than reality. “Most men, they'll tell you a story straight through. It won't be complicated, but it won't be interesting either.” In Edward’s stories contrast plays an important part. He stands in a blue suit in a field of yellow flowers outside his love’s window. He makes big gestures, and with those gestures comes color.The field of yellow, a cheerful, happy color, makes you feel hopeful of their love. In contrast, the scene where Edward is in the hospital, the light is blue symbolizing sadness, depression, loneliness and even gloominess.

“They say when you meet the love of your life, time stops, and that's true. What they don't tell you is that when it starts again, it moves extra fast to catch up.” In this scene Edward, the main character, has just seen the woman he calls the love of his life. The sequence is of the richest, color wise, scenes in the entire movie. The characters are inside a circus tent enveloped by rich reds, illuminated by fire and the stage lights. Everyone wears dark muted colors except for Sandra, who in a blue dress is a stark contrast to those around her. Light blue: Gentle, reflective. Associated with water. Will slow your heart-beat, decrease your temperature, and relax muscles. Terracotta: Courage, excitement, love, passion, festivity. Brown – Relates to the comforts, of home, wood. Yellow Yellow – Cheerful, sun, gold, happiness, hope, optimism.

“Well you shouldn't have started with a question, because most people want to answer questions. You should've started with "the thing about icebergs is.".” – Edward Bloom In this scene Edward, the main character, has been transferred to the hospital after complications with cancer. The color palette emphasizes the depressive situation of having a loved one in their deathbed. The scene if colored in a blue palette that on one side can symbolize the sadness of the situation, and on the other it reminds you of water. The Big Fish is a metaphor for the character of Edward, he himself is the big fish. Dark Blue Strength, authority. Blue Introversion, sadness, depression, cold, isolation, loneliness. Light blue Gentle, reflective. Associated with water. Will slow your heart-beat, decrease your temperature, and relax muscles.

â&#x20AC;&#x153;Sandra Bloom: You don't even know me. Young Ed Bloom: I have the rest of my life to find out..â&#x20AC;? One of the most beautiful scenes in the movie. After finding out Sandra loves daffodils, he plants an entire garden outside her house. The yellow flowers fill the screen in a joyful and even hopeful tone. You hope Sandra will love him back.

Yellow Cheerful, sun, gold, happiness, hope, optimism Green Renewal, freshness, tranquility, relaxed. Green is the warmest of cool colors. Dark Blue Strength, loyalty.

EXTRA CREDIT COLOR THEORY SUMMER 2015 Carolina Lentijo

[BALANCE]: Relationship of different HUES to one another, when each is perceived to be equal in visual weight. (Perceptual Balance): involves the object itself (size/scale) and the visual weight of the color (appears heavy/light) Amount of color, # of different colors, visual weight of colors, and locations of colors within the space are KEY factor in good color BALANCE.

[RADIAL BALANCE]: Achieved by the equal rotation of design elements around a central axis. [VALUE CONTRAST]: Light/Dark. Opposition in order to show/emphasize difference between 2 objects. FUN FACT: Dark colors on a light backgroung will appear much darker than they really are. VS Light colors on a dark background will appear lighter than what they really are.

M6 COLOR THEORY SUMMER 2015 Carolina Lentijo

COLOR + BALANCE

[SYMMETRY]: Arrangement of elements on either side of an implied AXIS that are equally balanced in shape + form.

[RHYTHM]: Movement: Natural evolutunary trait. In INTERIOR DESIGN can be achieved by alternating hues, progressive vaues or contrast of saturation. [WAYFINDING]: Physical awareness in a place or orientation. Hierarchy of architectural elements can communicate: wayfinding and adds priority/focus.

[BIO-INSPIRED COLOR]: Design creates a personal connection, familiarity and relevance to a space that may have not existed otherwise. FUN FACT: Goethe: certain color is equal to the musical timbre in a certain instrument. M7 COLOR THEORY SUMMER 2015 Carolina Lentijo

COLOR + RHYTHM

The rhythm of COLOR guides us through a space and can create a holistic experience.

M.8 COLOR THEORY SUMMER 2015 Carolina Lentijo

SMALL TEA CO.

Table of Contents 1. About Small Tea Co. 2. Contrast of Hue 3. Contrast of Value 4. Contrast of a Design Feature 5. Contrast of Texture

COLOR THEORY SUMMER 2015 Carolina Lentijo

6. Focal Point

Andee Hess, and his Oregon-Based Osmose designed this small shop for The Small Tea Company. Located in Coral Gables, the shop is the first for the brand. With a well thought out Manifesto, the brand is clear in what they are, and the designer delivered.

Picture cortesy of Small Tea CO.

"Well, we beg to differ. In fact, the truth is: we think coffee could really use a cup of tea right about now. And so could you. Along with an elegant, humble place to sit and simply enjoy said tea. A place defined by small, humanizing gestures. A place where one’s mind can wander rather than march. A place where one can let life steep a little and find some distance from the rattle and hum. A place where one can press the reset button on what’s left of one’s over-amped physiology and partake in that comforting and original act of Connecting With Another Human Be- ing. To hear and be heard. To feel. To smile. And yes, to… leave... pauses." -Small Tea Co. Manifesto-

Contrast of Hue In a space dominated by browns and soft caramels, the different greens of the succulents give a beautiful contrast. Although not exactly a constrast of hue, it does offer a constrast between the green tints and the brown shades. Personally, I am attracted to spaces like this, that work with tints, tones and shades rather than hues. I think that using a hue in a space that is meant to be relaxing would be like swimming against the current. Succulent garden and sugar/honey station.

Contrast of Value The contrast of value is achieved in a diferentiation between light and darkness. The light is warm and only touches a few selected places. The elements in the back shelves are washed with an almost orange tint. The contrast between light and darkness makes the whole place feel like a coccoon. It envelopes you and even makes you feel safe. The world outside may be high on expressos, but in here time moves slowly...and that's a good thing.

Service bar

Contrast of a Design Feature Walking into the small shop, the first thing you see is an almost eliptical structure that holds every tea they offer. The object is basically an interactive scupture as you can take any one of the containers. As tea is very much an olfatory experience as well as a tasting one, it offers a chance to narrow down your choices. From the glass containers, their cork tops and copper plate markings to the backdrop made of the bags used to transport the tea, the object is a Design feature that attracts the eye and the nose.

Canisters in Tea sculpture

Contrast of Texture The floor is made of smooth concrete, and the rest of the surfaces are polished wood. They all contrast the rough texture of the ceiling, covered in the textile used in the bags they use to transport the tea. The textile appears to be hand woven, extremely roughs and it's a beautiful contrast to the rest of the polished surfaces. Although completly unrefined, the material is elevated and it's rich texture is welcomed change. Celiling view (Detail).

Main chandelier

Focal Point One of the focal points in the shop is this chandelier tucked into one of the corners. The isolated placement of the light fixture draws all eyes to it. It's an inviting corner in the shop, and the use of contrast of value and of contrast of texture makes the space unique.

Main chandelier (Detail)

Reference 1. http://www.smallteaco.com/about.php 2. http://www.thecoolhunter.net/article/ detail/2322/small-tea-boutique--miami 3.http://www.teadrinksmiami.com/ aboutmenu/ 4. http://www.miaminewtimes.com/ restaurants/small-tea-steampunk-infusionsand-84-options-6594316

[SCALE]: Refers to the size of a shape in relation to a given known, in most cases the human body and it's position in space. NOT the same as PROPORTION, but similar. Color PALETTES contain from 1 to 5 colors. Limiting the number of colors is crucial for achieving balance and a unified composition. Color can be used to change our visual perception of a space, light colors advance and dark colors recede. Cool/Dull colors will appear to stretch a space. Dark/Strong colors will make walls seem to advance and make a room feel smaller. Fun Fact: A LONG corridor will seem shorter if the end wall is painted a warm color, vs painted white.

M9 COLOR THEORY SUMMER 2015 Carolina Lentijo

COLOR + PROPORTION + SCALE

[PROPORTION]: The size relationship between elements and the visual composition of the space. (Part vs. Whole).

VARIETY is a principle of design that is concerned with the combination of one or more color elements that use line, shape, texture, and/or pattern

PROJECT: The Setai DESIGNER: Jaya Ibrahim LOCATION: 2001 Collins Ave, Miami Beach, FL 33139

M.10 COLOR THEORY SUMMER 2015 Carolina Lentijo

THE SETAI

to create diversity and contrast in an interior space.

LOBBY

The Setai is located in the middle of South Beach, yet once you cross the front entrance you are transported into a completely different place. I think few places are able to achieve this so thoroughly. The lobby is filled with rich colors in a palette of chocolate browns and graphite greys. The ambience is warm and luxurious, it envelops you. Color and line: Color and line gives variety to the walls. Square columns made of wood are reinforced with light. The combination draws the eye upward and creates variety among the walls. Color and Shape: The most striking contrast in the lobby is vase filled with red roses in the shape of a perfect semi sphere. Color and Texture: The bricks, displayed in a herringbone pattern, were recycled from old Shanghai buildings. They are rough and even uneven, dripping with texture. Color and pattern: Beautiful mashrabiyas are distributed along the space. Finished in a similar color as the columns, these mashrabiyas bring visual interest to the walls.

Details Through different materials, Ibrahim accomplishes variety while keeping a very balance and tranquil palette.

Although a quiet palette, the space is never boring. Through the use of texture the space is brought to life. The space is a completely tactile experience. From the rough bricks below your feet, the smooth mother of pearl in the bar surface, to the intricate mashrabiyas you feel the need to reach out and touch. Color and line: The horizontal line of the bar surface is accentuated by a change of material. Made of mother of pearl small squares, the horizontal surfaces reflects light and commands attention. Color and shape: Keeping with palette of dark browns and greys, the bar stools are upholstered in grey leather. However, they stand out by their beautiful shape an complement the delicate mother of pearl bar surface. Texture and pattern The beautiful mashrabiyas continue into the bar area. This time they offer a backdrop the bar and fill the negative space between the shelves of liquor bottles. Keeping with the palette of chocolate browns, they bring variety via intricate patterns that keep the eye moving through out the space. .

Details Through different materials, Ibrahim accomplishes variety while keeping a very balance and tranquil palette.

M11 COLOR THEORY SUMMER 2015 Carolina Lentijo

JAPAN

COLOMBIA

"It always amuses me that the biggest praise for my work comes for the imagination, while the truth is that there's not a single line in all my work that does not have a basis in reality. The problem is that Caribbean reality resembles the wildest imagination." - Gabriel Garcia Marquez (Colombian Nobel Prize)-

COLOMBIA

Colombia is the land of "Magical Realism." It's a place where reality is sometimes stranger than fiction. Nestled between two oceans, Colombia is a land of natural wealth. Covering only .08% of the world's surface, it is home to 10% of it's biodiversity [1). Colombia is a land of color, of in your face, heart beating, dripping color. Yellow is in our flag, representing the richness of our land, and it's a nod to the legend of el Dorado. Not for nothing our soccer jersey is a vivid yellow, as well as the butterflies that remings us of Gabriel Garcia Marquez.

COLOMBIA

Blue is in our flag, honoring our two oceans. The Pacific, dark and moody and the Atlantic, of calmed and clear waters. Finally, the red symbolizes the blood shed by our forefathers during our independece. Still, Colombia is more that yellow, blue and red, which we share with Ecuador and Venezuela. Colombia is the result of it's history. A colony that never met his king, a land where Spaniards mixed with slaves and indigenous people, and gave birth to what we are. To ask what Colombia is about, is a difficult question to answer. Colombia is vivid color, and contrast. From the color of our skins, to the fruits we eat, the mochilas we use, our coffee beans and how we decided to paint our old houses in colorful fashions; Colombia is Magical Realism.

JAPAN

"The significance of the cherry blossom tree in Japanese culture goes back hundreds of years. In their country, the cherry blossom represents the fragility and the beauty of life. It's a reminder that life is almost overwhelmingly beautiful but that it is also tragically short." - Homaro CantuThe land of the Rising Sun, is a small island located in the Pacific Ocean. Home to 126 million people [2], it's rich and long history has been accompanied by pure colors and gracefulness. Japan's most present color is red. Red is the color of the sun, if you ask most Japanese [3]. It is normally used on shrines and religious buildings [3]. Combined with white, it's meant for auspicious occasions [2]. White is meant to simbolize purity, it is the color of snow and the color brides use in their wedding day to simbolize the [death] departure from their family [7].

JAPAN

Blue is seen in traditional pottery in honor of the ocean that surrounds the Island. Just like in Colombia, the color of water is a great influence in the culture. Light pinks are used in spring kimonos and are an ode to the importance of the cherry blossoms [8]. The trees only blossom for about a week, and their flowers are extremely delicate [8]. As red is reserved for religious purposes, the colors in the homes are very earthy and monochromatic[8]. The interiors rarely see color other than a few well placed pieces and the shrines to the elders. [7] Japan is a land of hues, color is commonly used in it's purest form. Perhaps, because of this, color is used very precisely. It is a stark contrast to the use of color in Colombia, but none the less a powerful and gracefull use of color.

Reference 1. http://www.huffingtonpost.com/2013/01/17/reasonscolombia-happiest-country_n_2490813.html 2. https://www.cia.gov/library/publications/the-world-factbook/ geos/ja.html 3. http://www.yamakawadojo.com/Japanese%20 Traditional%20Colors.pdf 4. http://journals.worldnomads.com/travel-tips/story/53146/ Japan/Tea-is-for-Japan 5. http://www.yamakawadojo.com/Japanese%20 Traditional%20Colors.pdf 6. http://www.bbc.com/news/world-asia-pacific-14918801 7. Reed, Ron. Color + Design, Transforming Interior Space. Fairchild Books, New York, 2010. 8. Rodriguez Takaeushi, Sara Yukie. Personal friend of Japanese ascendency. 9. http://www.color-wheel-artist.com/meanings-of-blue.html

FINAL THOUGHTS

COLOR THEORY SUMMER 2015 Carolina Lentijo

SMALL TEA CO.

Color is one of those tricky subjects. How to discuss something which we habitate every day, something so intrensic to our every day lives that sometimes we forgot it's even there. We live in color, we dream in color, we speak in color. So much of our language is dictated by color, expressions like a black eye which in spanish is a purple eye or prince charming that turns into a blue prince when we translate it. Color shape us, and we cannot evade it. Just like architecture, color is something we think we know so much about because we live it every day, but push comes to shove, we know next to nothing about color, and that is what makes it so interesting. It's like discovering you really don't know what is in the back of your hand.