COLOR THEORY
I. DESPLAN FALL 2017
CONTENTS
M.1
Color + Culture M.2 M.3
M.4
Color + Theory
Color + Designer Color + Film M.5
M.6
4-5
Color + Healthcare
6-7 8-11
12-15 Color + Balance 18-19
16-17
M.7 M.8
Color + Retail M.9 M.10
M.11
Color + Rhythm
M.12
22-29
Color + Scale Color + Rendering
Color + Hospitality
20-21
30-31 32-33
34-39
Color + Workspace References
40-45 46
M.1 Color + Culture
‌call me Ishmael. If I don’t pick up call someone else
A long time ago, in a galaxy far, far away, an artist was born. He is the only person who can guide my soul. He is the only one who matters. Nothing else that I have experienced in life will ever be as important. MODULE OBJECTIVE Figure out who you are Develop a knowledge of the historical, cultural, and symbolic meanings of color. Understand that religious, political, and social values shape color symbolism and meaning. Understand that color planning should consider cross-cultural differences.
West Indies My primary motivation for traveling is
CONCLUSION
for the trees and rocks. As humans walk further into the urbanization of everything they touch, I prefer to spent my time with the quiet dancing leaves, the lonely hidden boulders and the shifting desert sands which are never forgotten by the ethereal winds.
This module explored the cultural aspects of color and made me think about the history of the family members who came before me. The personal struggles, sacrifices and achievements of a family are the most important message to be passed on to the future generations. Identifying the colors associated with my personal culture helped to reinforce that sentiment.
My childhood memories are from the dirt. Though I’ve never had a green thumb, the experience of working with my grandmother in her garden has always been my strongest connection to tradition. The simplicity of life as a farmer has been my only envy in life.
Venezuela Qatar
Grey skies and rainy days. The onset of dark clouds restarts the cycle of replenishment for the environment. Green is the color of life. Trees are the most important component to our ecosystem and support every part of life.
The time which I have spent traveling has taught me how to understand the complexity of human cultures. Understanding how an environment and climate shapes the lives of the people on another continent has been beneficial in understanding the history of a culture. As I strive to continue following my artistic soul, architecture is the foundation upon which my alter will stand.
Brown is the earth. The minerals which sustain growth and development all come from the dirt beneath our feet. Red is the color of blood. Every new generation is carried by the blood and sacrifice of the generation which came before.
M.2 Color + Theory
Color theory refers to the study and practice of essential elements that are used to understand the relationships among colors. These theories create a logical structure for color. Through his interest in the physics of color, Isaac Newton developed the first color wheel by studying light reflected through a prism. Color vision is the ability to distinguish objects based on the wavelengths of the light they reflect or transmit. The human eye perceives color by means of rods and cones in the eye whereby the brain responds to the stimuli that are produced when incoming light . The frequency of the light reflected off of the object, can help the eye distinguish the actual color. All together, the eye can see over 10 million different colors. Two of the most important color systems are the additive and subtractive systems. The additive system uses the projection of red, green and blue to produce a new color. the subtractive system uses the overlapping of cyan, magenta, yellow and black to create a new color. Any newly created hue can be modified by tinting, shading or toning. Tint is the method in which white color is added to any color to create a pastel color. Shade is any color with the addition of black and tone is developed whit the addition of grey.
MODULE OBJECTIVE Identify and use basic color vocabulary. Understand the basics of color schemes. Comprehend how the human eye perceives color. Describe the function of light in the perception of color. Recognize the diversity of color principles, theories, and systems.
The monochromatic color scheme uses variations in lightness and saturation of a single color. This scheme looks clean and elegant. Monochromatic colors go well together, producing a soothing effect. The monochromatic scheme is very easy on the eyes, especially with blue or green hues. The complementary color scheme consists of two colors that are opposite each other on the color wheel. This scheme looks best when you place a warm color against a cool color, for example, red versus green-blue. This scheme is intrinsically high-contrast. The triadic color scheme uses three colors equally spaced around the color wheel. This scheme is popular among artists because it offers strong visual contrast while retaining harmony and color richness. The triadic scheme is not as contrasting as the complementary scheme, but it looks more balanced and harmonious. The analogous color scheme uses colors that are adjacent to each other on the color wheel. One color is used as a dominant color while others are used to enrich the scheme. The analogous scheme is similar to the monochromatic, but offers more nuances. The split complementary scheme is a variation of the standard complementary scheme. It uses a color and the two colors adjacent to its complementary. This provides high contrast without the strong tension of the complementary scheme. The tetradic (double complementary) scheme is the most varied because it uses two complementary color pairs. This scheme is hard to harmonize; if all four hues are used in equal amounts, the scheme may look unbalanced, so you should choose a color to be dominant or subdue the colors.
CONCLUSION This module covered the basic concepts of color theory by outlining the history of color research and introducing the idea behind color schemes. These concepts are the foundation of learning how to properly utilize color in a design.
M.3 Color + Designer
THE ARCHITECT AND ARTIST Gerrit Thomas Rietveld was a Dutch architect , furniture designer and painter most known for his application of the de Still art movement of the early 1900’s. He was an apprentice in his father’s woodworking business from 1899 to 1906 and then employed as a draftsman until later studying architecture in Utrecht. Rietveld was a member of the group of artists known as Kunstliefde, with whom he also showed work from 1911 to 1912. He later joined other artists to found "De Stijl“ in 1919 and would become one of the most influential members of the notable movement. This artistic language was formulated to attain objectivity and autonomy in a work of art by being rigidly non-representational, focusing on radically reduced geometric arrangements of horizontals and verticals and a simple palette consisting of only primary colors in conjunction with tones of black and white. Rietveld was successful at applying these principles to both twodimensional and three-dimensional works. In 1919, he created his famous red-and-blue armchair, which exemplified the De Stijl principles with its emphasis on geometry and use of primary colors. In 1921, he began his architectural expression with the design a small jewelry shop in Amsterdam later culminating in his masterpiece, the Schroeder House in 1924. De Stijl until it was dissolved in 1931, he would continue to design mass-produced houses at Utrecht from 1931 to 1934, closely related in style. Afterwards, Rietveld devoted himself to furniture design, but continued to receive a number of important architectural commissions. MODULE OBJECTIVE Understand the relationship between design concept and the use of color. Design a presentation that explains information in an accessible way. Design a presentation that follows a concept and palette. Compile information gathered from different sources into a cohesive presentation. Clearly present an analysis of a designer and a project.
Gerrit Rietveld Schroder House Utrecht, Netherlands
The Schroder House is located in Utrecht, Netherlands. The combination of site and color scheme were great contributors to the success of the building. Prior to it being built, the location was fairly deserted and enclosed by the monotone aura of the neighboring buildings. In contrast, Gerrit Rietveld introduced a transformational quality of evenly matched spaces composed of independent planes and bold primary colors aligned with the De Stijl movement.
Mrs. Schroder commissioned Gerrit Rietveld to design a house with furnishings that would encourage her and her three children to live and think unconventionally. Each room was equipped with features intended to encourage family members to live more independently.
Likewise, the primary yellows, reds and blues segregated the different areas giving a separate identity to each plane and multiple objects, while sliding partitions shifted the interior spatial composition create either large open spaces or smaller enclosed ones.
CONCLUSION
COLOR PALETTE The trichromatic color scheme of the Schroder House was inspired by the De Stijl art movement, which articulated the concept of superlative geometric forms infused by utopian ideals of spiritual harmony. The large white and grey planes of the exterior of this building exemplify simplicity and purity while the black outline of the window and accents maintain the overall nonobjective form. The principle of primary colors on the exterior creates a simple unifying balance, but creates separation and individuality in the interior spaces.
The research aspect of this module was to explore the past works of previous designers and how they used color in their designs. I found this module interesting as it shows the evolution of the human concept of design. Though our styles may change, we still look back to the our predecessors for ideas to change our future.
FILM COLOR ANALYSIS
M.4 Color + Film
Scott Pilgrim vs The World uses color in a cartoonish way. The main characters typically wear brighter colors than the rest, as in the example of Ramona, who’s hair changed multiple times throughout the film. The background colors don’t fluctuate as much except for the settings of Scott’s daydreams and the fighting scenes. This allowed for the videogame themes to be fully colorized and stand out in the film. The successful use of color was primarily in these details which tied the movie in with concept of the comic.
MODULE OBJECTIVE Understand that each person responds to color differently, and start to identify how their personal experiences influence their response. Know the three key concepts of color perception. Understand that color should be integrated into every phase of the design process. Distinguish between the perceptual properties and associations of common colors.
FILM SUMMARY Somewhere in the far away land of Toronto, Canada, Scott Pilgrim is an average 22 year old guy who finds himself unwittingly juggling two girls while trying to manage his life with his band. After breaking up with Knives, the younger of the two girls, he is embroiled in a fight or flight situation for Ramona’s love against her seven deadly ex’s. The culmination of his battles, puts him head to head with Gideon, Ramona’s final ex, who also happens to be the music producer holding the band’s musical future in his hands.
SCENE ANALYSIS Ramona’s third evil ex is Todd, who happens to be dating Envy, the girl who broke Scott’s heart. In this fight scene Scott confronts Todd after he slapped the highlights out of Knives’ hair only to find out that Todd is vegan, which apparently gives him super powers.
COLOR PALETTE The grey background while Scott and Todd are fighting outside. Ramona’s blue hair makes her stand out from the other characters. The red background changes to red for the epic bass showdown between Scott and Todd. Todd and Envy’s white outfits represent their egotism and arrogance. Scott and Ramona are connected by their all black outfits.
CONCLUSION
SCENE ANALYSIS The final fight scene in Scott Pilgrim vs. The World takes place in the Chaos Theatre, a club own by Scott’s nemesis Gideon Graves. As Scott enters the club, he sees his former band mates on stage unhappily performing and his former girl trapped at Gideon’s side.
COLOR PALETTE Scott’s shirt and Ramona’s hair are the only green items connecting them as a couple. The blue lights in Scott’s introduction designate him as the force of good. As Gideon starts fighting the red lights become change to designate him as a force of evil. Gideon’s white jacket makes him stand out from the crowd, but also represents his overall cockiness. All of the characters aside from Scott and Gideon are wearing black.
Film analysis is very important when it comes to understanding the message being delivered by the actors. Though I have watched this movie many times, I never actually took the time to understand the small details that make this movie enjoyable. I walked away from this module with a much better appreciation for the work that goes into film making.
M.5 Color + Balance
Balance refers to the physical or perceptual state of equality of different hues and shapes to one another within a larger composition. The three types of balance are symmetrical, asymmetrical and radial balance. Symmetrical balance is the formal arrangement of elements on either side of and implied axis. Asymmetrical balance is the lack of equality or equivalence between parts or aspects of a composition. Radial balance is achieved by equal rotation of design elements around a central axis. The balance of color is achieved through contrast of light and dark, warm and cool or heavy and light colors.
MODULE OBJECTIVE Understand the different components of balance. Distinguish between symmetry, asymmetry, and radial balance. Be able to discuss how visual balance is a relationship between the observer and the observed. Know the types of color balance: value contrast [light and dark], hue balance [complimentary], and intensity contrast [bright and dull]. Understand the concepts of color within the 3D environment and identify the horizontal and vertical possibilities.
In color theory, saturation or purity is the intensity of a specific hue. It is based on the color's purity; a highly saturated hue has a vivid, intense color, while a less saturated hue appears more muted and grey. With no saturation at all, the hue becomes a shade of grey. The value or brightness of a color is based on the amount of light emanating from the color. The easiest way to remember this dimension of color is to visualize the "grayscale," which runs from black to white and contains all of the possible monochromatic grays. The location of colors within a physical environment make or break the balance of the space.
CONCLUSION This module explained the elements of balance and how it relates to creating a good composition. It covered the spatial context of color and its use within an interior design. The examples showed how valuable color contrast is to transforming a room for boring to pleasant. As a painter I found the notes and explanations in this chapter to be useful, but the parallels between a flat canvas and a three dimensional space are now quite evident.
M.6 Color + Healthcare
Color can affect people’s sense of temperature and their perceived comfort but only to a limited degree depending on the context of an overall design strategy therefore it should not be applied indiscriminately by designers as a means to temper a space. Color preference is a function of factors such as value and chroma, illumination, background, and surrounding conditions, possible color combinations, cultural factors, surface and textural effects, and many other variables.� Hence we need to be careful as designers to be sensitive to these variables first since colors that we select may well look very different in a built setting between different people.
MODULE OBJECTIVE Investigate some of the different aspects of color and the ways it is perceived by people Describe some theories and studies regarding effects of color on the psychological, emotional and physical health of people. Recognize the ways color can help with safety, orientation and navigation in a healthcare facility.
There are many myths applied to the use of color in healthcare facilities which are based on laboratory context and applied indiscriminately to various health-care environments. The use of color in a clinic or hospital setting should be based on function. Hospitals tend to be large spaces which, with the wrong use of color, can be confusing for patients to find their way around. The color temperature and overall use of contrast should be used to define an attractive environment to positively affect patients’ perceptions of the quality of care.
CONCLUSION Due to my last little accident I have a unique appreciation for the medical use of color. I have never been a fan of hospitals, but now that I find myself having to go to numerous medical appoints I find it ironic that spend more time looking at the design of the facility than thinking about my own physical state. This module helped me understand the levels of thought process that are required for designing a medical facility.
M.7 Color + Rhythm
Rhythm can be described as timed movement through space; an easy, connected path along which the eye follows a regular arrangement of motifs. The presence of rhythm creates predictability and order in a composition. Visual rhythm can be created in a number of ways. Linear rhythm refers to the characteristic flow of the individual line. Accomplished artists have a recognizable manner of putting down the lines of their drawings that is a direct result of the characteristic gesture used to make those lines, which, if observed, can be seen to have a rhythm of its own. Linear rhythm is not as dependent on pattern, but is more dependent on timed movement of the viewer's eye.
MODULE OBJECTIVE Discuss the concept of rhythm ... what it is, where it originates, and how it is used in design. Distinguish between repetition, alternation, progression, continuation, and radiation.
Repetition involves the use of patterning to achieve timed movement and a visual "beat". This repetition may be a clear repetition of elements in a composition, or it may be a more subtle kind of repetition that can be observed in the underlying structure of the image Alternation is a specific instance of patterning in which a sequence of repeating motifs are presented in turn; (short/long; fat/thin; round/square; dark/light). Progression is taking an element and increasing or decreasing one or more of its qualities. The most obvious implementation of this would be a gradation by size. Continuation is a technique that draws the viewer in until something special catches their eyes. Radiation refers to when design elements are balanced and repeated around a centerpiece.
CONCLUSION This module was pretty simple in emphasizing the necessity of rhythm throughout a composition. It explained the parallels of color and music and showed how the two relate in vocabulary. The basic elements of repetition, alternation, progression, radiation and continuation are needed to create a fluid harmony in a visual composition just as in music. The harmonic resonance of colors is essential to creating a comfortable space.
M.8 Color + Retail MODULE OBJECTIVE Understand how color and contrast can create focal points in a space. Distinguish emphasis from value, hue, textures, and shapes. Discuss the use of color as a wayfinding tool. Utilize the fact that people see color first and then the object.
PROJECT: Caudalie Spa and Boutique LOCATION: Brickell City Center, Miami
HISTORY Mathilde Thomas started her story in Bordeaux, France on her family’s vineyard. While carrying out groundwork on the estate with her husband, they discovered a hot spring 500 meters underground. Soon after, they began using the revitalizing and beneficial effects of this water, combining them with vine and grape extracts to create unique Spa treatments. As a result, they created the first VinothÊrapie spa in 1999. With the support of pharmacists who believed in them, Caudalie made an appearance in a few pharmacies in Bordeaux, with 2 face creams and nutritional supplements based on grape-seed Polyphenols. The following year, they set up their own team of pharmaceutical researchers and their brand set off to other innovative beauty products.
CONTRAST OF HUE The deep wine burgundy color which is the signature of Caudalie is balanced by green glass bottles and light wood finishes. The main accent wall is burgundy in contrast to grey floral patterns on the adjacent white walls. The white walls and soft lighting showcase the arrangement of beauty products and maximize their decorative sense.
CONTRAST OF VALUE In the boutique the contrast of value is simply applied by the merchandise arrangement on the shelves. Grouping the light, medium and dark product creates a simple but effective order to move the eyes along the different values.
CONTRAST OF TEXTURE In the store, the array of materials in use create a variety of complimentary texture combinations. The cool dark metal frames are contrasted by the warm light wood drawers and shelves. The glass sidings are contrasted by the thick marble counter tops. This assortment of contrasting textures emphasizes the natural approach of their beauty products.
DESIGN FEATURE A unique feature in the Caudalie boutique is the design of the shelving around store. Though the intent of the boutique is to be a spa like space the contrasting design of the shelves invokes the spirit of a winery . The overall shape and form of the shelves maintain a similarity to the wine racks in a cellar, while maintaining emphasis on the beauty products. This feature brings the essence of a timeworn vineyard and the rejuvenation of beauty through nature.
CONCLUSION
FOCAL POINT In every Caudalie Spa the focal point is an image of the founder’s Paris vineyard at Chateau Smith Haut Lafitte. The brand focuses on the natural beauty of the environment and the well being place where they could offer divine treatment using their products. The image draws the viewer into the space and creates a sense of depth in the boutique.
This module was an eye opening experience. First off I realized just how uncomfortable I am in a retail area since I never shop for clothing or anything of that sort. Secondly it was my very first time ever walking into a “spa”. I learned quite a bit about how much time is taken into product placement in retail. The young lady at the counter was very helpful in explaining why I should exfoliate, but I doubt that I will ever try.
M.9 Color + Scale
Scale refers to the size of an object (a whole) in relationship to another object (another whole). In art the size relationship between an object and the human body is significant. In experiencing the scale of an artwork we tend to compare its size to the size of our own bodies. Proportion refers to the relative size of parts of a whole (elements within an object). We often think of proportions in terms of size relationships within the human body.
MODULE OBJECTIVE Understand that using a proportion system can provide an accurate color proportions. Discuss the difference between scale and proportion. Accept that building models to study things is an effective strategy. Utilize the repetition of color to unify a design. Implement color gradation in a design to distinguish similar but different elements.
CONCLUSION
Unity is a measure of how well the elements on the page belong together. Through unity a viewer should first see the whole and then the sum of the parts making that whole. Unity holds the design together both visually and conceptually. It emphasizes a concept and theme and helps communicate a message to the viewer. Unity adds order to a design. Too much unity can be dull and lifeless, however. Variety adds interest and energy to a design. Too much variety makes your design chaotic and difficult to read. A balance between unity and variety must be sought.
This module covered the concepts of scale and unity in relation to how we design. Since everything is designed for the human body, the use of scale and proportion are essential to creating a space that is appealing to the senses. The placement of color can greatly influence how the scale of a room can be perceived. I found this chapter to be beneficial because of the application of mathematical concepts to color design instead of relying on pure intuition as I have done in the past.
M.10 Color + Rendering
THIS COLOR PALETTE IS DERIVED FROM AN OCEANIC SCENE. THE VARIETY OF TONES ARE PROVIDED BY THE WATER AND MIRRORED BY THE WOODEN BOATS AT THE DOCK. BLUE REPRESENTS BOTH THE SKY AND SEA, AND IS ASSOCIATED WITH OPEN SPACES, FREEDOM AND EXPANSIVENESS. IT ALSO INVOKES THE SPIRIT BY CONVEYING DEPTH, STABIILTY AND WISDOM.
THE COOL RANGE OF THE MONOCHROMATIC COLOR SCHEME SETS THE TONE FOR A CALM AND RELAXING ENVIRONMENT WHICH BREATHES TRANQUILITY INTO THE INTERIOR DESIGN. IN THIS COLOR SCHEME, THE DARKEST AND LIGHTEST SHADES ARE USED TO CREATE AN IMMEDIATE CONTRAST, BUT ALSO CREATE BALANCE AS THE DOMINANT COLORS. THE MIDTONE BLUES ARE SECONDARY AND WORK TO TRASITION THE RANGE FROM LIGHT TO DARK. THE VIBRANT TEALISH BLUE WORKS AS THE ACCENT TO BRING SPOTS OF INTEREST THROUGHOUT THE COMPOSITION OF THE ROOM.
MODULE OBJECTIVE Render an image of an interior space with a specific palette that you select.
CONCLUSION This module took quite a while to complete. I spent alot of time modifying and calculating the color percentages and by the end I had half a dozen different schemes to choose from. However after all the initial frustration due to my lack of photoshop skills, I found that using a quantified amount of color is much better than simply applying it as I feel. This assignment was very beneficial.
M.11 Color + Hospitality MODULE OBJECTIVE Understand that using color in conjunction with line, shape, texture, and pattern gives the designer the capacity to add visual stimuli and create a variety of experiences for the users of the built environment. Identify how color and variety are used in hospitality environments.
PROJECT: W Hotel DESIGNER: Costas Kondylis / NBWW & Associates LOCATION: 2201 Collins Avenue, Miami Beach
Discussion
Details
The W Hotel’s main lobby is a symbol of elegance and sophistication. The elongated space places comfortable seating areas within reach of every amenity of the first floor. Its colors are unpretentious, serving a touch of class to the space by utilizing a mixture of raw elements for the viewer to enjoy.
W Hotel - Entry Lobby
Line - The large seating area is branded with dark wood panel flooring in contrast to the white walls and ceilings. The area is encased with a double pinstripe of gold lines extending over its entirety. This use of lines helps to designate the boundaries of the lounging area from the walkways.
Line
Shape
Texture
Pattern
Shape - The majority of shapes in the lobby are rectangular with the exception of a few accent chairs. The white color and wooden frames tie in the contrast of the panel flooring and white stone walls. Texture - The use of materials is varied throughout the lobby area. The natural color and rough texture of the quarry cut greyish stone, which enclose the columns, works in contrast to smooth dark metal frames. The stone and wood textures are earthy and extend a sense of comfort in the entire space. Pattern - The walkways of the lobby are polished white concrete with an elliptical pattern running their entire distance. These round shapes serve as a break from the longitudinal feel of the hallway while still clearly identifying the pathways inside the lobby.
Discussion
Details
The W Hotel’s living room is a bar / lounge area set in the essence of comfort. This area emphasizes the black marble wall for a darker smoother feel than the lobby area. It still maintains the earthy feel of stone and wood flooring with special attention to large comfortable furniture.
W Hotel - Living Room
Line - The lounging area utilizes the same dark wooden panels as the lobby, but unlike other areas the golden pinstripe lines intersect each other to create a variety of informal shapes. This prevents the area from feeling boxy and controlled while continuing the feeling of elegance.
CONCLUSION
Line
Shape
Texture
Pattern
Shape - The gold from the floor is carried up to the varying forms of the light fixtures. These golden wire frames create circular and conical shapes which contrast the rectangular feel of the lobby. Texture - The textures of the furniture vary widely in this room from microfiber and leather to the fuzzy white lounge chairs adding to the feeling of warmth and relaxation. The space maximizes the presence of smooth dark marble walls in conjunction with the cool metal frames. Pattern - The dark metal wall frames, which were used to highlight the columns, are used more frequently in the living room. In this room, the curved inner wire pattern of these frames tie in to the eccentric workings of the dark marble instead of contrast to the columns. These patterns also accentuate the large floor to ceiling windows and subdue the light coming into the room.
This assignment was interesting because I would never step into this hotel otherwise. I walked in feeling out of place, but left with a sense of understanding the appeal of interior design. The hotel had a lot of detail features and it was very clear that they created an fascinating space. The colors and scheme tied in very well and though I’ll never be able to afford a night there, I appreciate its upscale nature.
M.12 Color + Workplace MODULE OBJECTIVE Understand that using color in conjunction with line, shape, texture, and pattern gives the designer the capacity to add visual stimuli and create a variety of experiences for the users of the built environment. Identify how color and variety are used in workplace environments.
M.12
PROJECT: Macquarie Group Bank DESIGNER: Clive Wilkinson LOCATION: Sydney, Australia
DISCUSSION | ANALYSIS LINE FROM THE EXTERIOR SIDING TO INTERNAL LOGOS, LINES ARE USED THROUGHOUT THE FACILITY TO EMPHASIZE MOVEMENT AND DIRECTION. THE EXPLICIT USE OF LINES MOVE THE VIEWER THROUGH DIFFERENT SPACES AND HIGHLIGHTS THE OVERALL SHAPE OF OBJECTS.
DISCUSSION | ANALYSIS SHAPE THE INTERIOR USE OF SHAPE CREATES A VARIETY OF SCULPTURAL LIKE FORMS WITHIN EACH AREA OF THE BUILDING. WITH VARYING ANGLES AND POSITIONS, THE PROTUDING SHAPES MORPH THE ELEVATION OF SPACES TO CREATE A COMPLEX AND INTERESTING INTERNAL VOLUME.
DISCUSSION | ANALYSIS PATTERN THE ACCENT PATTERNS ARE USED OVER VARIOUS SURFACES TO HIGHLIGHT THE VARIOUS MATERIALS USED ON THE INTERIOR. CERTAIN PATTERNS USE LOOSE COLOR REITERATION IN CONJUCTION WITH TRANSPARENCY WHILE STATIC CONFIGURATIONS EMPHASIZE THE METALLIC SENSATION OF TEXTURES.
DISCUSSION | ANALYSIS TEXTURE THE INTERIOR USAGE OF MATERIALS RANGES FROM WOOD, METAL, GLASS AND PLASTIC. A DISTINCT TEXTURAL FEATURE IS THE OVERLAYING LINE ETCHINGS USED ON ROOM MARKERS TO CREATE A THREE DIMENSIONAL EFFECT ON THOSE MATERIALS. THIS SIMPLE YET EFFECTIVE GESTURE ADDS DEPTH TO FLAT SURFACES AND INTEREST TO TYPICAL LABEL PRINTING.
CONCLUSION This module was cool and innovative. The modern workplaces which were shown almost made me want to work in an office setting. The almost modular construction to the banks interior space was well balanced by creative elements which I honestly would have never thought of. This building stood out from the others because of its main entry lobby and bold use of color. The designer’s audacious sense of space and color worked extremely well in creating an exiting work space.
References
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