HELLO, my name is Marycarmen Haro
Myself
and I have been an artist my whole life. Since I could pick up a crayon I have been drawing. Since I had my first cell phone and camera I have been photographing. Since I finally decided in 2013 that architecture could be another form of art I could express myself with, I have been studying hard to become one. My family consists of my dad, sister, brother and two boxer dogs. My mom passed away in 1996 from unkown illnesses. I speak 4 languages which include Spanish, English, French and some Italian.
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I was born and raised in Peru.
The majority of my family is also peruvian raised. The most powerful memory of color tradition in Peru was the introduction of meaning for the colors in the peruvian flag. The most present color in the flag is the red which represents the blood shed of wat for independence. The white on the flag stands for peace and purity. The gold that is found on the curnocopia stands for the prosperity of the people. The green vegetation stands for the rich flora of the country’s lands. Finally, the blue represents the location of the Pacific Ocean off the coast of Peru.
“There’s a big difference between simply being a tourist and being a true world traveler,” Michael Kasum
Travel
I try to travel to two new places a year usually one out of the country and one withing the USA because I enjoy seeing new cultures and knowing that the immidiate world around me isn’t the only one that exists. I want to continue broadening my horizons and be able to experience all the beautiful sights this Earth has to offer. The craving to travel definitely revolves around pleasure because it is increadibly satisfying to set foot in a new location as it marks the beginning of a new journey. I mainly travel with my oldest sister. We both have the same goal of seeing as much as we can when we arrive to any one place to the point that it almost feels like a job sometimes but it is always absolutely worth it. Another reason I love to travel is a personal curiosity to see all the different colors that make up each different place.
olor
Personal color preferences: I am extremely attracted to colorful objects, scenery, animals, etc but my favorite color include all shades of purple. Overall, my clothing style varies from day to day but I do own very few plain black or white clothing garments. My car is a dark shade of aqua and my phone is rose gold. I don’t have a prefence for colors to be extremely bright or very light in intensity overall because every day I crave to see something differnt and it will often change with my mood or even the weather. I am although, very appreciative and aware of the strength of the colors black and white, more specifically with regards to photography. This is the reason why most of my architectural photography is typically in black and white. These colors render a more powerful image in my opinion.
Additive System This RGB system adds brightness to colors. By overlapping two primary colored lights, one can produce a new color. Ultimately by mixing all three primary colored lights evenly, one can produce white light.
Subtractive System This CMYK system subtracts brightness to colors. By overlapping two primary colors, one can produce a new color. Ultimately by mixing all three primary colors evenly, one can produce black.
HUE can be altered in three ways: Tinting, Shading, and Toning.
Tinting results when one adds white to a color. Shading results when one adds black to a color. Toning results when one adds grey to a color.
ARO (Architecture Research Office) Art Director: Aoshi Kudo
QIORA Storage and Spa New York, NY
Aoshi Kudo Born in Tokyo in 1964 and graduated from Tokyo National University of fine arts and music in 1988. He joined Shiseido Advertising and Design Departement the same year and is currently the President of Communication Design Laboratory.
Stephen Cassell AIA, LEED, AP Principal and Co-Founder of Architecture Research Office that practices modern architecture and visionary urbanism. Has an undergraduate degree in architecture from Princeton University and a Masters in Architecture from Harvard University. His office has completed over 75 projects nationwide to clients such as Goldman Sachs, Prada, and the U.S. Army Corps of Engineers
Adam Yarinsky FAIA, LEED, AP Registered American Architect. Received Bachelor of Science in Architecture from the University of Virginia and his Master’s in Architecture from Princeton University. He is a founding partner of ARO. He is also the 2017 Distinguished Alumni Award recipient which recognizes graduates of the school of architecture who have demosntrated creativity, innovation, leadership, and vision through their work.
Design Beginnings Color
Qiora means “light from within,” it is the skin care brand launched in 2001 by Shiseido Cosmetics. ARO was commisioned to design the day spa that would also become the brand’s official store. The color palette chosen for this project are those that were used for the product itself. The perception of blue can invoke relaxation, coolness, cleanliness, and health. The light blues demonstrate gentleness whereas the darker blues strength. Overall, blues do well in rooms such as bathrooms which remble a spa.
Design Beginnings Architecture
The main idea for the project was to create veils to separate program within the spa. The veils were suspended from 20 foot ceilings and defined retail, treatement, and spa cabin areas.
Exterior Store front windows offer transparency views into the space meanwhile the veils provide a subtle enclosure from within
Interior
Milky white, aqua and darker blues used on the fabric and walls play together with the illumination of the room drawing the eye further into the space.
Lighting Qiora contains computer controlled lighting which provides warm lighting that transition to cooler tones in the evening making it appear like a lantern from outside the storefront windows.
Conclusion
The color palette and materiality of the tall veils have created a cool and relaxing space for the spa and store to flourish. It is obvious that the work of the the product designer, Aoshi Kudo, and ARO intertwined gracefully to create a well balanced space for the public to inhabit.
In Canada, a writer visits the Indian storyteller Pi Patel and asks him to tell his life story. Pi tells the story of his childhood in Pondicherry, India, and the origin of his nickname. One day, his father, a zoo owner, explains that the municipality is no longer supporting the zoo and he has hence decided to move to Canada, where the animals the family owns would also be sold. They board on a Japanese cargo ship with the animals and out of the blue, there is a storm, followed by a shipwrecking. Pi survives in a lifeboat with a zebra, an orangutan, a hyena and a male Bengal tiger nicknamed Richard Parker. They are adrift in the Pacific Ocean, with aggressive hyena and Richard Parker getting hungry. Pi needs to find a way to survive
COLOR PALLETTE In this scene of the movie, Pi finds himself in a difficult postion in which he is stranded on nothing more than a few pieces of wood while the tiger is occupying the safest place near him, the boat. He is alone in the middle of the ocean and cant easily fight the tiger to remain safe and rest. BLUES in this scene are associated with depression, sadness, isolation, loneliness, and gloominess. This moment in the scene is meant to slow your heart rate and decrease your temperature because this moment in the movie is very dark. The chosen blues are very dull and dim for it is suppose to make you feel like there is no hope for Pi.
COLOR PALLETTE In this scene of the movie, Pi is joined by a whale in a very magical moment in which the water around him lights up through the bioluminescence of the microorganisms in the surrounding water. BLUES in this scene are associated with cool, calm, comfortable, relaxing, and security. The blues are displayed with more intensity and brightness making the scene happy in comparison to the last scene where the blues were meant to produce sadness. Pi has a moment of clarity that there is still hope and he isnt completly hopeless. The pallette in this scene is meant to stimulate the viewer by balancing light and dark values.
COLOR PALLETTE
In this scene of the movie, Pi is living in a moment where it appears that heaven touches Earth or in this case the ocean in which he resides. Its almost like a moment of clarity for him which arrises hope within the viewer that he might make it out alive or at least make it to heaven. YELLOWS in this scene are associated with cheerful, sun, gold, happiness, vitality, hope optism, self-esteem, purity, innocense, and empowerment. The pallete in this scene is bright and occurs from adding white light depicting a moment in relation to God.
Complementary colors are those that when placed next to one another intensify the other hue, making each other appear brighter. These colors are directly opposite each other on the color wheel. Asymmetrical balance results when elements on either side of an implied axis are equal in color weight but vary in shape and size.
The larger the amount of color used, the lighter it will appear; the smaller the amount of color used, the darker it appear. Color interaction involves the contrast of light and dark values; when one value is placed next to or surrounded by the other, the visual weight of the smaller of the two color area is intensified.
Modern kitchen space with yellow accents.
Goals of Healing Environments 1. Strive to heal the patient 2. Support the staff 3. Engage the family
12 Aspects of a Healing Environment 1. Single patient rooms 2. Ergonomics 3. Furniture arrangements 4. Air quality 5. Windows 6. Wayfinding 7. Building layouts and zoning 8. Acess to nature 9. Light - partircularly daylight 10. Floor materials 11. Noise control 12. Positive distraction through the use of aesthetics
Color may be an important emotional trigger even though there is no actual scientifical evidence that suggests that color can effect a specific health care outcome. Designing for unique human beings would require the design of unique built environments.
Rhythm A natural evolutionary trait in nature that can be transferred to interior spaces and can be further emphasized with color. “The shape and qualities of architectural spaces greatly influence human experience and behavior, for we inhabit the spaces of our built environment and not the solid walls, roof, and columns that shape it. � -Matthew Frederick
Types of Rhythm Repetition The Guggenheim Museum in New York City by Frank Lloyd Wright uses undulating, curvilinear forms for the sculptural ramp that leads the eye upward and around the interior space
Alternation Occurs when two design elements are repeated in sequence similar to repetition; however, the difference is that the pattern includes two distinctly different elements as opposed to one element repeating.
Progression Involves the repetition of similar elements with a continous change (large to small, low to high, narrow to wide, light to dark).
Focal Point A single design element that receives the greatest visual emphasis in a room. The focal points within the apple store are highlighted with darker shades of
Color Continuation The placement of one or more colors thorughout an interior to create a continous movement of the eye through the space. The top image shows shows subtle accents of bright colors like pink and cyan to guide the eye through the space.
Radiation A centric color arrangement instead of objects to unify design elements and create visual movement versus the traditional sense where it is an arrangement of objects in a radial pattern. The lower image shows a pattern supported by complementary colors orange and blue.
Apple’s riverside ‘tech temple’ was designed by Foster & Partners.This structure has changed the face of Michihan Ave. and as expected, altered regular patterns of shopping traffic.
Hue
Contrast of color by selecting colors opposite on the color wheel can be a very striking method for forming interesting focal points. In this instance, neutral earthy tones are used to maintain a calm feel to the space in order to relax the sight from the colorful appearance of most apple products as well as their screens. The idea is to maintain the integrity of the products in an enjoyable and well balanced environment that will not distract. Inside the interior space the levels of colors remain calm and neutral hints of orange are used which seem to neutralize with the exterior ambient blues as they are opposite hues in the color wheel. Hue contrast of color by selecting colors opposite on the color wheel can be a very striking method for forming interesting focal points. In this instance, neutral earthy tones are used to maintain a calm feel to the space to relax the sight from the colorful appearance of most apple products as well as the screen usage. The idea is to maintain the integrity of the product in an enjoyable and well balanced environment that will not distract. Inside the interior space the levels of colors remain calm and neutral. Hints of orance are used which seem to neutralize with the exterior ambient blues as they are opposite hues in the color wheel.
Value
The contrast from light to dark using black, gray, or white can emphasize without the use of chromatic hues. This space represents its lighter colors with the brillance the glass faรงades provide and the darker tones through the use of darker woods. The play in value once again provides a relaxing balance perfect for presentations while maintaining focus on the speaker, as well as a perfect moment for people to gather. The structure remains very light in order to ultimately maintain the focus on product.
Value The Contrast from light to dark using black, gray, or white can emphasize without the use chromatic hues. This space represents its lighter colors with the brillance the glass faรงades provide and the darker tones through the use of darker woods. The play in value once again provides with a relaxing balance perfect for presentations while maintaining focus on the speaker, as well as a perfect moment for people to gather. The structure remains very light in order to ultimately maintain the focus on the product.
texture By adding texture contrast from smooth vs rough, emphasis to the space can texture to the smoothness of the spaces within which are mostly smooth gl rough concrete work in a harmony in the outdoor courtyard.
Design
The most iconic design feature of the apple store is itsDesign apparent floating roof. From a bird’s eye view the roof’s presence The most iconic design feature of the apple store is its apparent floating roof. from a birds eye view the roof’s presence is quite noticible but from is quite noticeable but from ground level ground level it appears light due to the contrast with the tall glass façade. this design has the right balance of design contrast because the over it appears light due toisthe contrast with the design soothing to inhabit. tall glass façade. The design has the right balance of design contrast because the overall design is soothing to inhabit.
added. Adding planters indoors can provide a subtle touch of raw rough and wooden fixtures. smooth wood accents blending with the typically
Texture
A space can be emphasized by adding smooth versus rough texture contrast. Adding planters indoors can provide a subtle touch of raw rough texture to the smoothness of the spaces within, which are mostly smooth glass and wooden fixtures smooth accents blending with the typically rough concrete work in a harmony in the outdoor courtyard.
Focal Point
A single design element that receives the greatest visual emphasis in a room. The focal points within the apple store are highlited with darker shades of brown typically displayed in shades of wood. When you enter the apple store it is noticeable that the floors are a shade of veige but soon after one begins to take notice of all the wood work and furniture because of its darker shades. This is a typical tactic to invite the clientel further within the store.
to take notice of all the wood work and furniture because of its darker shades. this is a typical tactic to invite the clientel further within the store.
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VARIETY is a principle of design that is concerned with VARIETY is a principle that elements is concerned the combination of one of or design more color thatwith use the combination of one or more color elements that use line, shape, texture, and/or pattern line, shape, texture, and/or pattern to create diversity and contrast in an interior space. to create diversity and contrast in an interior space.
PROJECT: Mondrian Hotel PROJECT: Mondrian Hotel DESIGNER: Marcel Wanders DESIGNER: Marcel Wanders LOCATION: 1100 West Ave, Miami Beach, FL 33139 LOCATION: 1100 West Ave, Miami Beach, FL 33139
COLOR + VARIETY
Commercial Design Design Analysis Analysis Commercial
Proportion is defined as the size relationships between elements and the visual composition or space. Scale refers to the size of a shape in relation to a given known, in most cases, the human body and its postion within a space. The University of California, San Francisco Mission Bay Community Center, designed by architects Legorreta + Legorreta uses saturated blue and accentuated with geometric shapes, forming a sculpturally inviting space. The single blue hue, is balanced with the luminance of the openings.
Apple Flagship store, chicago Due totheory. the extensive use of white in fall 2017. Color Marycarmen Haro.
Santiago Calatrava’s, Milwaukee Art Museum, the proportions are exaggerated in order to give the visitors the sensation of endlessness as the interior frames and reflects the lake waters beyond.
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CYAN Cyan is a very cool color and gives the viewer an analytical calculating feeling, direct and to the point. It’s a pretty sad isolating color as well. Other words to describe cyan: calm, relaxed, winter, depressed, ancient.
Description Through the use of this color palette, the inhabitant of the space can find themselves in a moment of relaxation and calmness. The secondary color, cyan, is accented evenly with the primary light grey colors and darker greys or blacks. The 60-30-10 combination accompanied by accents of modern art decor and finally beige furniture produce a well rounded compliment all around the room.
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Modrian Hotel designed by Marcel Wanders 1100 West Ave, Miami Beach, Fl 33139
1 HARO 1 HARO
2 HARO
HOSPITA HOSPITA
TY TY
HOSPITALITY
This specific space within the Mondrian has been designed to play with color and its elements such as line, shape, texture, and pattern.
This space in the Mondrian hotel displays a modern yet delicate and relaxed decor. The 60-30-10 rule used within this space consists of 60% white, 30% black, and 10% gold. The lower left image in the previous collage portrays the space somwhat static with inactivity until you turn the corner and begin to catch thosw gold accents from the oversized bell chandeliers. Color and Line This combination is a little hard to find in this space setting more specifically because 60% of the room is white and has no specific lines or arrows immidiately connecting the spaces. One could imagine that the change in white texture from opaque to glossy could be a transitioning elemet. The most prevalent line is the black railing of the stair trabeling from the lower level all the way up to the next. Color and Shape This combination is one of the more interactive happenings in the space because the undulation of the design travels from varying areas of the space from the curviness of columns, to the spherical sculptures, and ultimately to the round seating furniture design. Color and Texture This combination is realized through the texture that is found on the staircase railing all the way to the lighting fixture found withing the bells. Another connector of texture would be the instance of the white gloss found throughout the space. Color and Pattern This combination travels throughout the space by appearing as a wall painting and then again on the railing. These patterns speak to each other in transition.
Color and Line
Color and Shape
Color and Texture
Color and Pattern
4 HARO
HOSPITALITY The use of the color red as visual connector and the elements help maintain the liveliness of the spaces as you travel throughout.
This space in the Mondrian hotel displays a more upbeat, sexy, and exciting decor. The 60-30-10 rule used within this space consists of 60% white, 30% red, and 10% gold. The areas in which the designer planned for people to gather are the most highlighted with red specially seating placements. Color and Line This combination is a little hard to find in this space setting just like the prior space but it is safe to assume that the connection between all spaces is the change in whites from matte to glossy as well sd from floor to furniture. In this specific outdoor space, quadrilateral shapes are used through with the main color white. Color and Shape This combination is also found in this space through the use of undulating patterns mainly found on the columns and also following the same rhythm on the design of the arm rests and frames of chairs.
Color and Line
Color and Shape
Color and Texture
Color and Pattern
Color and Texture This combination is realized through the texture that is found on the carpets as well as pillows which is portrayed in a similar language through out the indoor and outdoor spaces in order to connect them. Color and Pattern This combination travels throughout the space as the brightest and most noticeable thing about these spaces, the color red. the designer wanted to not only welcome guests in but rather pull them in because of the excitement red produces in its inhabitants. Another pattern that connects the spaces is the white pattern found on the carpet and pillows as mentioned in the texture section.
ADOBE 410 Townsend
Valerio Dewalt Train Associates San Francisco, California
ANALYSIS & DETAILS
color palette
LINE
TEXTURE SHAPE
PATTERN
ANALYSIS & DETAILS
DISCUSSION
LINE is the connection between two points in space and can take any form. In this space the hue of purple used is what ties in the rooms together. It seems to be well over the 10% of the 60-30-10 rule is taken into consideration but this doesnt damage the feel of the space. The purpose of this space is leaned towards the satisfaction of recreational needs while perhaps enjoying a meal with others. The TVs arent the only contendors giving off the “hang-out” vibes but also this shade of purple invokes a feeling of indulgence. SHAPE is the result of one or more lines connecting to form a two-dimensional image. This space is defined by a series of quadrilateral figures outlined and suggested by the white furnishings and finishes. The bend of the table from the booth area in the shape of an upside down “L” plus the seating portion of the bench create a full square in section. The entire space suggests moments like this as the white neutralizes the electrifying use of the purple. TEXTURE is the characteristic visual and tactile quality of the surface of a material. This space demonstrates texture and diminishes the monotony of the purple by adding textured LINE surfaces to the back rest coverings of the booth benches. PATTERN is the repetitive arangement of shape and colors in SHAPE a multitude of varying sequences. The use of accents of orange through varying types of wood such as those on the floor and visible structural elements, as well as brick within these spaces PATTERN produce a harmony within the colors.
CONCLUSION This specific space within ADOBE 410 Townsend sets out to fulfill the summoning of a place where the people that work there indulge, release, and can become distracted from work perhaps while on a break. This space provides entertainement through the use of TEXTURE TVs and a place to eat and hang out with others if desired. The use of the purple accent is bright and electric but coexists in harmony with primary use of colors such as white and natural shades of orange found on wood floors and structural elements as well as nude brick walls.
ANALYSIS & DETAILS
color palette
SHAPE TEXTURE
PATTERN
LINE
DISCUSSION
LINE is the connection between two points in space and can take any form. In this space the hue of blue is what ties the room together. It seems to be just a little over the 10% of the 60-30-10 rule. The colors accent seating arrangements as well as spaces. Blue can be associated with cool, calm, and comfort therefor this space is purposed to have a more relaxing feel as those who work here choose to gather with one another or simply exist. SHAPE is the result of one or more lines connecting to form a two-dimensional image. This space is defined by a series of quadrilateral figures outlined and suggested by varying hues of grey furnishings and finishes. In this space the rectangular shape of the lighting fixture frame is noticibly repeating on the frame of the bar counter frame as well as the frame for the booth to the left.
2 HARO
SHAPE TEXTURE
PATTERN
TEXTURE is the characteristic visual and tactile quality of the surface of a material. This space demonstrates texture changes from the grey elements in areas such as on the backsplash of the bar area, the back rests of the benches within the booth and even the lighting fixture itself. PATTERN is the repetitive arangement of shape and colors in a multitude of varying sequences. Different hues of blue can be noticed throughout in order to reduce the possibilty of boredom or the depressive effect blues can produce in humans.
CONCLUSION This specific space within ADOBE 410 Townsend sets out to fulfill the summoning of a place where the people that work there may relax as they coexist with one another perhaps while enjoying a cup of coffee from the bar. This space can be expected to be more quiet than the previous purple accented spaces because of the psychologically soothing effect blues produce while slowing ones heart rate.
LINE
HOSPITALITY