Color Theory and Applications for the Built Environment

IND 5325

Color applications Theory+for the built environment M2 LUDMILLA BELLE CANTO

table of contents module

1 who are you 2 color + theory + designers 3 + balance 4 + environment 5 + your camera 6 + rhythm 7 + emphasis 8 + scale 9 + hospitality 10 + rendering 11 + workplace 12 + culture 13 conclusion + experience

1 2 3 12 13 20 22 23 30 31 38 42 48 52

M1 who are learning objectives launch a personal website that embodies your design style, aesthetic, and quickly portrays to the reader who you are

you

WHO ARE YOU

1

color + theory

M2

learning objectives recognize the diversity of color principles, theories, and systems

2

COLOR + THEORY

comprehend how the human eye perceives color

learning objectives 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 clearly presents an analysis of a designer, their project, and the palette

M3 color +

designers

3

COLOR + DESIGNERS

LUIS BARRAGÁN

BARRAGÁN HOUSE & STUDIO LUDMILLA CANTO

4

COLOR + DESIGNERS

BARRAGÁN HOUSE

THE DESIGNER

THE HOUSE PLANS AND SECTIONS

THE COLOR PALETTE

6

7

9

CONCLUSION

REFERENCES

10

COLOR + DESIGNERS

11

5

THE DESIGNER

“I have always strived to achieve serenity...”

LUIS BARRAGÁN

6

THE DESIGNER

Barragán was born in Guadalajara, Mexico in 1902.

As an engineering student in his native city, he became fascinated by architecture. It was only after a foreign trip in the early 1930s - when he befriended the exiled Mexican muralist, José Clemente Orozco, in New York met Le Corbusier and the landscape architect, Ferdinand Bac, in Paris - that Barragán settled in Mexico City and developed his own take on modernism.

Barragán transformed the International Style into a vibrant, sensuous Mexican aesthetic by adding vivid colours and textural contrasts and accentuating his buildings’ natural surroundings. So much so, he oftencalled himself a landscape architect.

A devout Catholic, his works are sanctuaries of tranquility, serenity, and quiet reflection. The Barragán House and Studio holds many of his religious, hand-made relics.

THE HOUSE PLANS

“A house is never finished; it is an organism in constant evolution.”

FIRST FLOOR

SECOND FLOOR

THIRD FLOOR

LUIS BARRAGÁN

HOUSE PLANS

7

THE HOUSE SECTIONS

“A house is never finished; it is an organism in constant evolution.”

LUIS BARRAGÁN

8 HOUSE SECTIONS

THE COLOR PALETTE

This was “emotional architecture,” rendered in a fearless color palette incorporating, in his own words, “magic, serenity, sorcery and mystery.”

IN ORDER OF PROCESSION: EXTERIOR ENTRANCE, LA PORTERIA, EL VESTIBULO, LA ESTANCIA LOOKING OUT TO EL PATIO DE LAS OLLAS, LA BIBLIOTECA, EL TALLER, LA TERRAZA

COLOR PALETTE

9

CONCLUSION

“Only in intimate communion with solitude may man find himself.”

LUIS BARRAGÁN

10

CONCLUSION

The Barragán House and Studio works as a reflection of the designer’s experiences and upbringing in Mexico. A place where color is a natural occurence and tells an extremely rich story.

Designed for solitarity and tranquility, away from the urban surroundings and hidden from the troubles of the material world, the iconic color palette is the essence of Mexico.

A vivacious grouping of pinks, oranges and yellows. The gray-blue of the Mexican sky.

The garden is a spectrum of green where jasmine and bush lilies thrive. Reflective surfaces around the home intensify colors and shadows.

A sense of hide-and-reveal between intimate and social spaces, and eclectic décor that included everything from works by Joseph Beuys to crucifixes and folkloric totems encourages spiritual reflection.

“Solitude is good company and my architecture is not for those who fear or shun it.”

REFERENCES

http://www.archdaily.com/102599/ad-classics-casa-barragan-luis-barragan http://www.casaluisbarragan.org http://whc.unesco.org/en/list/1136

http://www.nytimes.com/2014/06/15/travel/finding-mexico-city-and-luis-barragan-again.html?_r=0

http://design.designmuseum.org/design/luis-barragan http://bassamfellows.com/entry.html?id=67

REFERENCES

11

learning objectives

understand that each person responds to color differently, and start to identify how their personal experiences influence their response demonstrate an understanding of how color relates and changes under varying conditions in interior spaces understand that color should be integrated into every phase of the design process distinguish between the perceptual properties and associations of common colors

M5 12

be familiar with Color Marketing Group and their importance in the field of consumerism

color + balance

COLOR + BALANCE

What Dreams May Come (1998)

color + environment_FilmAnalysis_Ludmilla Canto

COLOR + FILM

13

Plot Summary and Analysis

‘What Dreams May Come’ stars Robin Williams as father and pediatrician, Chris Nielsen. At the start of the movie, Chris falls in love with his proclaimed soul mate, Annie (Annabella Sciorria), a painter who finds solace in vibrant and mystical landscapes. Four years after the death of their children, Chris and Annie are estranged yet still in love with each other. In an unfortunate turn of events, Chris also dies in a car accident.

Heaven for Chris exists in one of Annie’s colorful landscape paintings. As he splashes through clumps of paint and explores his Heaven with the help of Albert (Cuba Gooding Jr.), Annie commits suicide and her earthly body descends to Hell.

Onhis quest to save her soul, Chris embarks on a colorful journey where his imagination is his palette. Director, Vincent Ward, uses color for its expression of emotion and thematic impression.

COLOR + FILM

14

Struggle and Loss

Maroon Sacrifice, agression, and violence At the children’s funeral, the red robes of the choir encourage an aggressive environment. All of the damned in Hell wear ripped and burned dark red clothing.

Black Fear, mystery and death Chris’s journey to the Afterlife and his descent to save Annie in Hell are shrouded in darkness.

COLOR + FILM

15

Love and Remembrance

Purple Independence, magic, and gloom Annie mourns the death of Chris while purple-blue flower petals fall around her. In this same scene, Chris finally detaches his soul from Annie’s earthly realm in order to cease her pain.

Blue Calmness, understanding, and faith Chris sees his children for the last time. Without the knowledge of their untimely death, Chris and Annie must come to terms with their inability to save their children.

16

COLOR + FILM

Heaven

Orange Happiness, prosperity, and strength Chris reaches the golden city in Heaven; it bustles with activity. Some individuals flying towards the city wear wispy orange cloths that billow in the breeze identifying it as a symbol of positivity and hope.

Yellow Intellect, cheer, and awareness As Albert guides Chris in Heaven, and teaches Chris about his new home, he becomes more comfortable with his existence. The bright glow creates an inviting and nurturing environment.

COLOR + FILM

17

Character Contrast Red Liveliness, vivacity, and passion Annie is first introduced in the film steering a red boat and wearing a red sarong.

Navy Blue Power, stability, and depth Chris is first seen in the film laying down in a navy blue boat.

When Annie and Chris first meet, they personify two colors: red and blue. The complementary colors are opposite each other on the color wheel which foreshadows many of the events that occur later on in the film. One of them being their individual reactions to their children’s deaths. Annie spirals into a crippling depression while Chris remains her unmoving rock.

At the end of the film, they are together in Heaven wearing clothing in their associated colors further establishing Chris and Annie’s complementary co-existence.

18

COLOR + FILM

color + balance

learning objectives know the difference between symmetry, assymetry, and radial balance

M5

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

COLOR + BALANCE

19

20

COLOR + YOUR CAMERA

color + your camera

M6

learning objectives acknowledge the prevalence of color in daily life and architecture through photography study intensity and pairing of color in the natural and built environment

color + rhythm

M7

learning objectives 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.

22

COLOR + RHYTHM

learning objectives

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

M8 color +

emphasis COLOR + EMPHASIS

23

A.8

color +

24

COLOR + EMPHASIS

emphasis

place

entry TASCHEN books, a publisher known for its visually stunning books on art, anthropology and aphrodisiac, channels this vivacity into their Miami store on Lincoln Road, designed by Philippe Starck

designer

COLOR + EMPHASIS

25

wallpaper

Hue is a color void of any white, gray or black and is at its highest intensity or brightness. Along the walls, highly saturated reds, blues, and greens flow and meander in horizontal white bands directing customers inwards. Loud and gradiated red-orange orbs pulsate over the hues which help to sharpen the contrast

red +blue 26

COLOR + EMPHASIS

green +orange

contrast +hue

display

front

contrast +texture

Texture within the store is emphasized by the contrast between the undulating surface of the main book displays, designed by Philippe Starck, and the smooth wallpaper. The reflective gold material and the form’s verticality constrasts the horizontality and saturation of the wallpaper

surface COLOR + EMPHASIS

27

isolation +location

display Where the wall delineation moves a customer inward, the book displays signal stops along the path into the store.

TASCHEN isolates their best-selling and larger format books on these pedestals. Breaking the organic gold ridges are orthogonal shelves bathed in solid hues of pink, orange, yellow, and blue

shelving 28

COLOR + EMPHASIS

lighting sequence

The program and bands along the wall move the eye towards the back of the store. There, customers encounter a piece created by the artist Tolby Zigler, an abstract but human illustration of two bodies. The lighting design also changes from white industrial pieces to colorful falling pendants once a customer reaches the focal destination.

focal point

+ design feature

focal piece COLOR + EMPHASIS

29

color + scale

learning objectives

understand that using a proportion system can provide accurate color proportions in order to implement color gradiation in a design 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 30

COLOR + SCALE

M9

color + hospitality learning objectives

M10

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.

COLOR + HOSPITALITY

31

exterior facade

project/ 1 Hotel & Homes designer/ Meyer Davis Studio location/ South Beach, Florida

32

COLOR + HOSPITALITY

the Sandbox Bar & Lounge

2

S PA C E S variety is a principle of design that is concerned with the combination of one or more color elements that use line, texture, shape, and/or pattern to create diversity and contrast in an interior space

lobby

COLOR + HOSPITALITY

33

3

ELEMENTS

Lines, or the connections between two points in space, on the horizontal surface work to heighten the sense of perception and procession in the large space. The emphasized grain, or natural line, of the dark material encourages a restful and calm environment 34

COLOR + HOSPITALITY

Texture, the visual and tactile quality of a surface, and the juxtaposition of smooth and rough wood in the space works to seperate the bar area and the lounge area in the narrow space

In a space where the design is predominantly orthogonal, circular and organic shapes add fluity to the procession. The voids in the cieling condition filter light and cast organic shapes. The contrast of white cylindrical lighting gives the dark bar area a lighter weight

4

ELEMENTS

Shape and color combine in the lobby to give the hotel’s concept of sustainable urban living a language.

The sharp green fronds in the otherwise achromatic space provide intense contrast and depth

By applying green moss to the lobby’s visual terminus in a unique diagonal pattern, the repetitive arrangement of shapes and colors in a systematic sequence, the lobby establishes a focal point. The wall also marks the entrance to the hotel’s very own Plant the Future store

COLOR + HOSPITALITY

35

Horizontal and vertical lines work in contrast to delineate the procession of space. Horizontal bands in the middle of the space widen the narrow lobby by encouraging the eye to move side to side.

On the far wall and directly underneath the cieling, thin vertical bands accentuate the lobby’s height

36

COLOR + HOSPITALITY

The texture of these pieces break the smooth and flat structural materials of the lobby.

Their movement and natural form visually interrupt the strict orthogonal design

5

IMAGES http://www.oyster.com/miami/hotels/1-hotel-south-beach/photos/sandbox-bar--v7211307/ http://images.oyster.com/photos/sandbox-bar--v7211519-sq-68.jpg http://www.oyster.com/miami/hotels/1-hotel-south-beach/photos/sandbox-bar--v7211949/ https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcTKDd7rcYBd3riKHXwTmlnatD55N5-wgsctRzitIs1S0wL4NuIGlA https://www.google.com/imgres?imgurl=http%3A%2F%2Fcdn.justluxe.com%2Farticles%2Fimages%2Fnews%2F1hotelsouthbeach1960803d.jpg&imgrefurl=http%3A%2F%2Fwww.justluxe. com%2Ftravel%2Fmiami-news__1960803.php&docid=FdhYP1YdonK4iM&tbnid=gt3dM0gOOSgvyM%3A&w=1280&h=685&hl=en&ei=DtvtVoGxN8fbe8SKrcAC https://lh3.googleusercontent.com/VlwL_HNAGUNfsPrVAwdWuX36PZnWJrXhozYrzct0qE4uPPOxUhRZgTlUKs1lobGmnWb51hU=s116 https://lh3.googleusercontent.com/3FWJ1Tv1JBcN9w73JABAGps-SMvapFhJwIKRwzaGfmXRoT_hyInhHAlIlVGzzWa2iTxR4A=s114

COLOR + HOSPITALITY

37

learning objectives

studying color and its definitions in accordance to the color wheel

M11 38

COLOR + RENDERING

understand the fundamentals of choosing and applying a color palette in the built environment

color + rendering

M11

color + balance rendering ACCENT 1 ACCENT 2

10

30

A green hue emulates nature, peace, and grounds a space.

Yellow is a lively, warm, and fresh hue.

ACCENT 3 SECONDARY 1 SECONDARY 2 DOMINANT

is a cool, neutral, and sophisticated tint. As such, it 60 Grey is a dominant color that works well with many accents.

COLOR + RENDERING

39

tints

hues tones shades

The color palette combines an analogous and a monochromatic system. The accents, yellow and green, exist next to each other on the color wheel and are analogous. The first accent is a tint, white added to primary yellow. The second accent is a tertiary shaded hue, black added to primary yellow. Yellow, as a primary hue, when mixed with green creates the third tertiary tinted accent. The dominant colors gradiate in shades of gray.

When working with the 60-30-10 rule, tints, hues mixed with white, are selected as dominant colors. The lightest gray of the palette is the dominant color for the space.

Tones, hues mixed with white and black, work best as secondary dominant colors occupying only 30% of the space. Hues, pure colors, work as accents in only 10% of the space.

40

COLOR + RENDERING

COLOR + RENDERING

41

color + workplace

M12

42

COLOR + WORKPLACE

learning objectives

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 and work place environment

M

12

project Macquarie Group designer Clive Wilkinson location Sydney, Australia

COLOR + WORKPLACE

43

floor plan color configuration

section perspectiive

fourth floor axo

first floor axo 44

COLOR + WORKPLACE

LINE

At the Macquarie Group headquarters, the use of line pushes the eye through the large and naturally lit main corridor.

This is applied through the natural line, or grain, of the wood flooring and the striated industrial wall treatment. As the eye moves along these lines it encounters contained color, orthogonal design, and contrasting white structural elements.

COLOR + WORKPLACE

45

SHAPE

Contrast in shape marks the different services of rooms in the workplace. Along the interior elevation, the conference rooms stand out amongst the orthogonal design. The colorful ‘pods’ begin to take on a curvelinear edge. Their faces also extend past the railing emphasizing their shape even more.

46

COLOR + WORKPLACE

TEXTURE

On many of the pods, a numbering system that dictates department can be found on the glass facades. Through a patterned circular texture, the numbering system becomes an architectural gesture in itself by giving the flat facade depth and emphasizing the pod’s seemingly floating characteristic. Materiality within the pods supports the text’s depth and texture.

COLOR + WORKPLACE

47

color + culture

learning objectives

develop knowledge of the historical, cultural, and symbolic meanings of color understand the religious, political, and social values shape color symbolism and meaning understand that color planning should consider cross-cultural differences 48

COLOR + CULTURE

M13

M13

color + culture

ludmilla canto

COLOR + CULTURE

49

Dominican Republic my country

As the Caribbean’s first European settlement, the Dominican Republic’s rich history and culture permeates daily life. The colors of the landscape, food, colonial architecture, and art are symbolic of the loyalty and attachment us Dominicans have for our ‘patria’, or homeland.

Green floods the island. Its in the mountains, in the jungles, and its the color of the ‘platano’, or plantain, which can be found in many traditional dishes.

Blues surround the island. Its in the ocean, the waterfalls, and ever present blue sky. Our flag uses navy blue to evoke a sense of liberty and independence.

Purple reminds us of our ancestry and our spirituality. In the capitol, Santo Domingo, the ruins of the first cathedral, castle, and monastery in all of the Americas still stands to this day.

50

COLOR + CULTURE

Papua New Guinea

Home to 852 languages and hundreds of indigenous communities, the colors of Papua New Guinea speak of the diversity and complexity of the people and the landscape.

I was immediately attracted to the festival headdresses of the Hagen and Goroka people.

Handmade using Papuan bird feathers and carcasses, the men and women use the colorful birds as a display of power, strength, and status.

Yellow symbolizes rebirth. It is the color of the Raggiana Bird of Paradise on the country’s flag.

Red runs through the veins of the Papuan people. With an ancestry that’s nearly 10,000 years old, the people and their unique cultures are deeply rooted. The Papuan soil is also a deep red.

Green overflows in the rainforests, the rugged New Guinea Highlands, and the river wetlands along the coast. As a strong agricultural economy, it is their deepest connection with nature.

Blue is in the landscape; in the Bird of Paradise, and the deep indigo of the surrounding ocean.

COLOR + CULTURE

51

conclusion + experience course learning objective

to develop an understanding, appreciation, and skill for the application of color in all aspects of design through the study of existing interior projects, film, and photography

conclusion

while trends encourage minimal use of color and monochrome palettes, the use of color in design is absolutely crucial and inherent

experience

assignments were eye-opening, informative, and fun

52

COLOR + CULTURE