Color Theory + The Application for the Built Environment

IND 5325

ENVIRONMENT

THE A PPLICATION FOR THE BUILT

C0 L 0 R THEOR Y + Marthylda Francois

Table of Contents

M.1 M.2 M.3 M.4 M.5 M.6 M.7 M.8 M.9

M.10 FINAL WORDS

COLOR +

YOU

COLOR +

CULTURE

COLOR +

THEORY - REFLECTION

COLOR +

DESIGNERS

COLOR +

PERCEPTION - REFLECTION

COLOR +

ENVIRONMENT

COLOR +

RHYTHM/BALANCE - REFLECTION

COLOR +

EMPHASIS

COLOR +

SCALE/UNITY - REFLECTION

COLOR +

VARIETY - HOSPITALITY

36- 40

COLOR +

VARIETY - WORKPLACE

41 - 45

COLOR +

COURSE EXPERIENCE

3-9 10 - 15 16 17 - 21 22 23 - 27 28 29 - 34 35

46

HELLO

My name is Marthylda Francois

M.1

MA J R

I am aspiring to be an architect.

The beginning of this new year, 2020, will begin my fourth year in pursuit of my master’s degree.

PROFESSIONAL AFFILIATION National Society of Leadership and Success (NSLS) American Institute of Architecture Students (AIAS)

WHY DESIGN?

As a child, I became fascinated by architecture. At the age of 6, my mother, as a way to keep me busy, asked that I construct a blueprint for her future clinic. Although it was a child’s drawing, my mom was delighted to see my naïve design. Thus began my interest in architecture that led me to apply to a magnet school, getting involved in an art class, and applying to the 5yr master’s track at FIU. I want to create more of those joyful moments for my clients as they are satisfied with their home or office designs. I hope to create designs that represents the people who resides or works in them.

4

BACKGR UND Where

I was born and raised in Haiti. I moved to the United States once I turned 10 years old with my mother and my little sister. I have lived in Florida ever since.

Who

In Haiti, I had a big support group being the only child for the first ten years of my life, that consist of my grandma and my mothers’ brothers and sister, as they took the roles of being my mothers and fathers. Afterwards, my two best friends

What

When

As a child I never really knew my parents as they where very distant at the time. That changed when my father called for my mother, my little sister and me to live with him in the US. Never really had a place to call home, but in my heart home was always with them, my three best friends and their family, and the woman who raised me, my grandma.

My journey with designing started when I was a little girl. I started focusing on architecture during my high school years as an art student.

5

Culture

I am a true zoe, meaning that I am a true, to the bone, Haitian gal. Both of my parents are Haitians. And we are also US Citizens.

Languages

I speak three languages: French, Creole, and English.

Factors

Because of my mother’s reaction to my design as a young child, my interest in architecture piked. And that led me to me applying to an art magnet high school. Throughout my educational years, I throughly enjoyed everything that had to do with mathematics. And all these factors affected my path to designing.

Traveling became part

of my routine mostly because of my family. After the earthquake, my mother’s side of the family moved to Canada.

Grand Turk Bahamas Dominican Republic

I visited these islands, as a tourist, when I went on my first cruise. During my time on each island, I have made many discoveries. I enjoyed the beach settings they had to offer with its clear waters, reminding me of my home country.

6

Canada

Montreal, Quebec is my vacation site. It is where I spend my semester breaks. I have learned to love the culture there and have enjoyed every moments exploring it with my family.

Washington DC

Traveling to DC was part of a school trip as a Close-Up student. Being part of that experience helped me explored the core of the US.

H B BIES

I have fell in love with ceramics and

film photography in high school. As an architectural student, most of my time is spent designing, so I have less time to enjoy my hobbies. With the little time that I have left I read books varying from horror to romance, whether online or paperback.

Reading

Ceramics

Art

Photography

7

COLOR

The color red

is an intense color associated with passion, strength, and energy. I mostly used it in my diagrammatic drawings and renderings as a way to represent what’s important.

The color blue

is my favorite color. It symbolizes faith, stability, and heaven. I love all of its different types of shades. Dark-night sky blue or indigo is just as beautiful as light-sky blue. I use this color to express my emotions, and it is seen in almost everything I own from my pillow cases to my phone case. Even-though blue is my favorite color, I tend to wear the color red often.

8

There

“ is no real ending.

It’s just the place where you stop the story.”

- Frank Herbert 9

COLOR +

M.2

Birth country of

CULTURE

Marthylda Francois

My culture and country is Haiti. On February, we celebrate Mardi Gras (carnival/Shrove Tuesday), where people dress in vivid colors and masks/facepaints, with the famous musicians/models, on floats, singing while we dance throughout the streets for days/nights. Each year, my family woul dress up in those wonderful colors as we roam the streets dancing.

I have chosen South Korea to learn more about their culture and how they use color. I have always been interested in their culture because one of my favorite bands (BTS) originated from there. It is also a place that I would like to visit someday.

HAITI

11

HAITI

The use of color in Haiti are in relations to it being the first nation to

gain its Independence, in 1804. One superstition is that the colors are also in relation to one of the main religions of the land, Voodoo.

The revolutionary Jean-Jacques Dessalines took a French flag, removed the white strip and then sewed the red and blue together to make the first Haitian flag. Blue represented Haiti’s African residents while the red represented those of mixed European and African descent. With a white background, the weapons (yellow) and palm tree (green) are represented as signs of freedom. At one point throughout history, the flag colors were black and red, but later was switch back. These colors are celebrated through their expressive paintings, the celebratory clothings, and the architecture.

Symbolism: Power, Energy, Love, Health, Passion.

It’s represented as second color of the Haitian Flag

Symbolism: Love, The color of Marie Laveau (Voodoo queen of New Orleans). Also It’s represented as the 1st color of the Haitian Flag.

Symbolism: Success, Understanding, Attractiveness, Confidence.

Symbolism: Transfiguration, Removal of bad habits, Grief, Strife, Poverty, Confusion, Bad luck.

Symbolism: Lush vegetation.

Symbolism: Peace, Security, Cleanliness, Health, Honesty, Sincerity, Protection from rumors.

12

SOUTH KOREA

13

SOUTH KOREA

The five main colors (Obangsaek) used in South Korea represent the five elements, which are fire, water, tree, metal or gold, and earth, that makes-up the universe. They symbolize the five positions which are south, north, east, west, and the center. South Korea’s flag is composed of colors of obangsaek.

Ogansaek is another set of five colors that are made from the combination of each of the colors of obangsaek by mixing two colors together.

Obangsaek and ogansaek are used on hanbok, a traditional Korean outfit, on food, and architecture. These colors are also used to make saekdong, which are little charm bags that are believed to drive away bad luck and bring good fortune. The mystical, colorful patterns are meant to express the dignity and the authority of important structures. Event though these colors are hard to find in comptemporary materials, they are still explored in SK’s artworks and symbols.

Obangsaek

Symbolism: Authority, Exorcism, Pursuits of Happiness, Anti-communism, Cohesion, Solidarity.

Symbolism: Power and Authority, High Class and Luxury.

Can prevent misfortunes.

It is the color of the Korean soccer team.

Symbolism: Spring, Youth, Hope, Utopia.

Symbolism: Gold ropes are used to mark holy sites and places that need protection, such as the house where a mother just gave birth to a child.

Symbolism: Holiness, Wealth, Authority, Fertility, Warning.

Also relates to the sun, energy, and rich harvesting of the fall.

Symbolism: Life, Youth, Prosperity

Symbolism: Purity, Innocence, Rectitude, Temperance.

Koreans (white-clad folk) liked to wear white clothes.

Symbolism: Spring, Youth, Hope, Utopia.

Symbolism: Darkness, Death, Formality, Dignity, Rules.

The black officials’ hat and attire represent ‘formality’ and ‘dignity.’

Symbolism: Wealth, Inner Peace.

14

Ogansaek

REFERENCES http://woymagazine.com/2015/02/12/ chaloska-etc-staples-haitis-carnival-traditions/ https://www.slideshare.net/BobbiBillard/ haiti-keynote https://restavekfreedom. org/2019/04/04/the-history-of-the-haitian-flag/ https://artsandculture.google.com/ exhibit/the-colors-in-korean-life-andculture-national-folk-museum-of-korea/ tALCoDKJVZn0LA?hl=en https://www.hanyang.ac.kr/web/ eng/general?p_p_id=newsView_ WAR_newsportlet&p_p_lifecycle=0&p_p_col_id=column-1&p_p_ col_count=1&_newsView_WAR_ newsportlet_action=view_message&_ newsView_WAR_newsportlet_messageId=32143

“Understanding languages and other cultures builds bridges.�

- Suzy Kassem 15

Isaac Newton had an interest in

the physics of color, and he developed his theory of colors through his discovery of refracted colors. That led to the creation of what we know as color wheel. Many more came along after him. Albert H Munsell created the a color system known as the color tree.

Faber Birren was first to recognize the biological and psychological human responses to color.

Natural Lighting

Isaac Newton - Discovery of Refracted colors

T

LIG

THERE ’S N

H T...

O

COLOR!

M.3

WITHO U

COLOR + THEORY

REFLECTION

The most important factor to color is light. That is something I never really though about, how much light affects the way we see our environment through color. Color can have many faces depending on the light source we use. With natural lighting we experience true colors, while with artificial lighting alters the colors. Surface textures also affects the way we see colors, as it can either weaken or strengthen the apparent color. We experience very little of the electromagnetic spectrum, as the eye can only see from 390 nm to 780 nm (Visible Light).

16

Color Wheel

Artificial Lighting

DESIGNERS

0L 0 R +

M.4

This project was looked at as a case study of a designer, and analysis of their design that involved significant color influence. While analyzing the project, I learned of the relationship between the use of color and the design concept. I understood a bit more of how they go hand-in-hand, and how it was influenced.

QUIORA STORE & SPA by ARO - Architecture Research Office

ARO - Architecture Research Office is New York City firm,

founded in 1993, that is led by Stephen Cassell, Kim Yao, and Adam Yarinsky.

ARO has a reputation of designing original, innovative, and imaginative architecture with earnest exploration and engagement. The firm has developed diverse projects which unite the conceptual and pragmatic with collaborative process and technical precision. They achieve this by using few natural and financial resources while maintaining the greatest aesthetic impacts.

Stephen Cassell has always been interested in science until he begin his

first week of college where he realized architecture had the same components he was searching for in science. He went to Harvard School of Design where he received his MARC. He is an Adjunct Associate Professor at Columbia University. He has given lectures throughout the United States and abroad.

Stephen Cassell, FAIA

INTRO

Kim Yao wanted to become an architect as a sophomore in college.

She received her MARC at Princeton University. She is an Adjunct Associate Professor at Columbia University’s Graduate School of Architecture, Planning and Preservation. She has given lectures throughout the United States and abroad. She is the 2020 President of AIA New York.

Kim Yao, AIA

Adam Yarinsky wanted to be an architect at 6 years old. He received

his MARC at Princeton University. He taught as the Eliel Saarinen Professor at the University of Michigan, the Thomas Jefferson Professor at the University of Virginia, and the Eero Saarinen Visiting Professor at Yale University. He is a member of the University of Virginia School of Architecture Board. His writing are seen in A+U, 306090, Dimensions, and Places Journal.

Adam Yarinsky, FAIA LEED AP

18

Concept Drawing

ANALYSIS

Interior Space

Store Front

Qiora means “light from within.” That word is the name of the skin care

Quiora Store & Spa Floor Plan

brand created by Japan’s Shiseido Cosmetics. ARO successfully used the brands’ actual colors to explore the spa’s need of privacy with the theater required for an efficient retail. By using blue organza fabric veils, the visual and tactile boundaries needed between treatment areas, retail, and spa are clearly manifested. The different shades of blue combined with the white light source creates a sense of inner calm. The moods produced as the users walk through the spaces are of soothingness and cleanliness, as the eyes are drawn further into the spaces. The warm, white lighting are arranged to gradually shift over time, stimulating “the sensation of a cloud passing over the sun.” By diffusing the lighting through the organza, a natural feel is expressed as well.

19

Symbolism: Purity, and Truth Means starting on a blank page, going back to roots and to scorn or treat someone coldly

Symbolism: Purity and Cleanliness.

Represents calmness and stability Interior Space

Product Arrangemet/Placement within Store

CONCLUSION

ARO lived up to its reputation for “earnest exploration and engagement that yields architecture that is original, innovative and imaginative,� as they explore the use of color, lighting, and shape in the design of Quiora Store & Spa. The colors, blue and white, utilized in the design symbolizes purity and cleanliness, which are fitting for both the Quiora brand and the interior space scheme. With the use of blue fabric veils and warm, dim, and white lighting, the interior spaces are visually pleasing and creates a soothing mood and a sense of calmness.

Color Contrast

20

REFERENCES https://www.aro.net/about-aro/ https://archinect.com/firms/ project/12183539/qiora-storespa/14868298 https://www.architectmagazine.com/ firms/architecture-research-office-aro https://vimeo.com/71335979 https://www.architectmagazine.com/ videos/stephen-cassell-architecture-research-office https://www.architectmagazine.com/ person/adam-yarinsky https://www.color-meanings.com/color-meanings-japan/

“We create architecture that beauty and form with strategy and intelligence.�

unites - ARO

21

Red Color Psychology

COLOR

Color becomes a part of history as it changes as time passes. That is something that I never really payed attention to. For example, the 1960s were a radical time in American history and culture, emphasized with muscles cars, the Beatles, and space exploration. So colors such Burnt Sienna, and Mellow Yellow were explored. Similarly, 2010s, an era of nostalgia and minimalism, gave birth to colors such as Millennial Pink and Quarts.

1960s ERA: Mod Madness

M.5

RESPONSE IS...

COLOR + PERCEPTION

REFLECTION

HIGHLY PERSONAL!

O

L

22

2010s ERA: Exuberant Minimalism

Everyone experiences color differently, as color affects our emotions, biological systems and our brainwaves. Color is affected by cultures, design trends, politics, society and so much more. For example, in Western culture, the color blue is the first choice, and socially, blue is the color infant boys must wear, while girls wear pink. Blue light is know to treat nervousness and irritability, while red light treats depression. A tricky thing I didn’t know about color is the fact that every color that the human eye can see, is every other color but that color, as certain or all colored light is absorbed into the object. Therefore, objects have no color of EVERY OT HE UT ... their own.

B R , C D E O ’T R B UT RED AN APPLE ISN

R

Green Color Psychology

Yellow Color Psychology

M.6

ENVIRONMENT

0L 0 R +

This movie tells us of the way color is used to affect the feel, mood, and theme of the scenes.

While analyzing the movie, I understood the relationship between certain colors and the mood the film director was trying to portray to appeal to the audience’s emotions.

Pan’s Labyrinth’s movie plot started with the climax of Ofelia on the

FILM INTRO

verge of her death, making us wonder how she got to that point. The narrator tells us a tail of an underworld kingdom, where a young princess of that realm escaped to follow her curiosity of the world above. But she lost her memories and begin to adapt to her new environment, while her father, the King, anxiously and hopeful, awaits for his daughter to return to her kingdom someday. This takes us to Spain, in 1944, where small groups of rebels continues to fight against the new fascist dictatorship of its government. It is where we meet Ofelia, a shy, little girl who loves fairy tales, and her pregnant mother, Carmen, on their way to meet Carmen’s new husband and father of her newborn, Captain Vidal. Capt. Vidal, a brutal man, is stationed at an old mill, in the middle of what seems to be nowhere, with his men.

Ofelia’s on Her Second Quest

From there, Ofelia meets the Faun at an ancient labyrinth, who informs her that she is the princess of the underworld kingdom they have been waiting for, all theses years. But before she returns to the underworld she must pass three difficult tasks before the full moon. In the meantime, Ofelia becomes friends with Mercedes, the sister of one of the rebels. Close to her third tasks, Ofelia’s mother becomes ill because of her pregnancy and dies from giving birth to her newborn son, leaving Ofelia in a world of sorrow, as she fights her way trying to survive her final task, in a dark, violent and harsh world. Ofelia’s death, although gruesome, saved her and her baby brother, as it was her final task to ascend to the underworld to be reunited with her father, the king. This movie makes you wonder if it was all an illusion part of the imagination of a little girl trying to escape the harsh realities of her world.

The Pale Man - Second Quest

24

The Faun

Selected Film Scene 1- The Faun Speaking to Ofelia

Selected Film Scene 2 - Ofelia’s Spirit in the Underworld

In the first selected film scene (top left), a heavy blue

tint is used as an atmospheric color.

Its purpose is to represent the seriousness of that scene as the Faun

COLOR PALETTES

Symbolism of the Color Blue: Depression, Gloominess, Sadness Light Blue: Gentle, Reflective Dark Blue: Strength, Authority

Ofelia’s Mother Clothing Color Scheme at the Beginning of the Movie

25

speaks to Ofelia of the importance of her tasks and of how she careful she should be with her second task given. The golden light, in the second selected film (top right). illuminates the scene showing the golden realm of the fairy tale as Ofelia has ascended, wearing a red coat over her golden flowery clothing. Her clothing colors makes Ofelia stand out. In the final two selected scenes (top of next page) Variation of the color green and brown are used as a natural element for the scenes’ background of the forest that the characters are in. Brown is also used as the clothing color of the rebels , as a way for them to blend in the natural habitat they are in.

Throughout the movie, variations of the color green is used as Ofelia’s main clothing color.

Symbolism of the Color Red : Courage, Excitement, Passion, Rage, Aggressive

Symbolism of the Color Gold: Honor, Loyal, Wealth, Physical

Selected Film Scene 3 - Pedro and the Rebels

Selected Film Scene 4 - Ofelia in Search of her First Quest

COLOR PALETTE ANALYSIS

Symbolism of the Color Brown: Comfort, Security, Boredom, Self-Centeredness Relates to Wood, Home, and Farming

Director and writer of Pan’s Labyrinth, Guillermo del Toro’s

film’s color palette was well thought out and very expressive, from the atmospheric colors to the clothings’ color usage. Throughout most scenes in the movie, a heavy blue tint is used as a representation of the dark side of Ofelia’s reality, while the warm, golden colors represents the joyous side of her fairy tale. That same blue tint is seen in the clothing wore by Capt. Vidal expressed the dullness of war as well as the authority that him and his men embodies for Spain’s government. This color contrast the brown uniform worn by the rebels as a way to signify the rebels search of freedom, and shows them as being one with nature.

Ofelia with her Ill, Pregnant Mother, Seeking Help

As the main character, Ofelia’s clothing color, green, remained constant throughout the movie, representing her youth, and her eternal life as a

Symbolism of the Color Green: Growth, Relaxed, Eternal Life, Immaturity, Inexperience, Guilt

embodiment of the princess of the underworld. The color red became a big part of the final scenes of Pan’s Labyrinth as it stand for Ofelia’s blood being spilled as her final task to join her father in the golden realm of the underworld, as well as her mother’s blood as she died giving birth to Ofelia’s little brother. Ofelia’s mother character development is expressed by the color palette of her clothing. At the beginning of the film, she wore white as she is pure-hearted and at the birth stage of her pregnancy, then, towards the end, she wore blue which foreshadowed her faith, death.

The Captain

26

REFERENCES https://www.netflix.com/ watch/70050507?trackId=13752289&tctx=0%2C0%2Cd9106a8b-d9a9-44a5-9f9f-99ec2cb4edb2-16269754%2C%2C https://www.youtube.com/watch?v=aXgFcNUWqX0&feature=youtu.be

isn’t

“...You’ll see that life like your fairy tales. The world is a place. And you’ll learn that, even if it hurts.”

cruel

- Carmen in Pan’s Labyrinth

27

Color Balance

Balance is what makes us sane. We use it to make sense of our world, as well as to create order. Color combined with balance creates connections,

M.7

harmony, and peace withing a living space. This makes sense to me because if there’s too much or too little of something, things becomes a bit chaotic, and unbalanced which makes it uninteresting to us, unless you are person who is into that kind of thing. To determine how color can be used in a space, one must consider the design and the architecture of the building. There are four types of balance: value contrast, intensity contrast, hue balance, and lastly the size of the color area. Each, in their own way help create a relationship between the user and their environment. One thing to keep in mind while using color in a space is that a certain level of contrast must be present for that space to be visually pleasing to the eye. In the sense that using the right amount of chroma will create the necessary amount of dark needed for the eye to rest.

COLOR + RHY THM/BALANCE

REFLECTION

ONE L CO O

R

CO M

BIN

ED WI TH

MANY

CREA TES

HA

RM O

NY Color Balance

!

Color Rhythm in a Space

Vincent van Gogh “Starry Night”- Color Rhythm and Balance

28

Color Rhythm in a Space

Color balance and rhythm is in everything we see and enjoy, from the most famous paintings to the designs of our own personal spaces.

Rhythm needs order when applied to forms, and structures. Using colors with similar intensity, hue, and value,rhythm can be achieved.

So, with color mixture of color contrast of high and low saturations, the user can have a spatially profound, and dynamic experience with the space.

M.8

EMPHASIS

0L 0 R +

For this analysis, we were to evaluate a signature boutique retail store, and correlate it with the concept of “emphasis.� I learned how color is used to create emphasis using its five methods, such as focal point. This project deepen my knowledge of color usage in a retail environment.

AU PONT ROUGE designed by Vladimir Lipskii and Konstantin de Rochefort

The image on the bottom left

Color Value Used in Space

CONTRAST OF HUE/VALUE

Au Pont Rouge’s Interior Space

30

shows the interior space of the retail store, Au Pont Rouge, located in Saint Petersburg Russia, at the art nouveau Esders and Scheefhals building. There’s a contrast between the elements withing the space. For example, the orange-red slender, metal rodes contrasting with the blue-green custom fixtures exhibiting the clothings. The metal rods are displayed in orange, blue-green, and blue colors, while the custom fixtures are displayed with blue-green and light gray colors which creates a contrast of hue as these two colors are opposites from each other in the color wheel.

Contrast of value is created in the ceiling and walls with the use of light. the lighting effect creates a gradient of the blue-green aluminum fin in the ceiling, as that continues to contrast with the light gray walls and the elements present within the space.

Contrast of Hue

Au Pont Rouge’s Interior Display Space

Contrast of Design Shape & Form

CONTRAST OF DESIGN FEATURE

As the contrast between the elements using orange, blue,

blue-green, and gray colors continues within the spaces, they are used as components to create hierarchy. The color gray emphasize the walls that encloses the space, while the color blue-green highlights the custom fixtures, and lastly, orange emphasis the metal rods. As the visitor travels within the store, because of the walls’ shape, their attention will be guided to that open, but enclosed, space. As they are within that space they will attend to clothings displayed on the colored custom fixtures or metal rods. A new color black, is added to the mesh exhibition stand, and the mesh like-wall, as to create a focal point within that circular space. The symmetrical balance of the space draws the buyers to the center of the display space.

31

Au Pont Rouge’s Interior Display Space

Texture & Color Contrast Sample

CONTRAST OF TEXTURE

The circular and cylindrical polished stainless steel elements

produce a rough texture finish to the ceiling, in contrast to the linear glass elements, and the smooth curved walls and built-in seating. These elements adds an engaging contrast between the vertical and horizontal planes of the space, as the horizontal plane is meet with curved, and circular elements of the ceiling and seating area and the vertical with smooth linear elements of “wall” enclosing the space. These elements also create emphasis on the shoe display space. More emphasis is added to that space as a contrasting color, blue and texture is added to the ground. A dramatic effect is generated on the ceiling, while a relaxing effect is expressed in the display space. The smooth concrete contrasting with the linear glass makes the space seem enclosed.

32

FOCAL POINT In the left image, the white

Au Pont Rouge’s Interior Display Space

33

Focal Point Sample

accessory bags and mannequin are the focal point of the space. They are dominating that space because of the color usage. As it was intended, the accessory bags are what the buyers’ eyes will rest on as they are drawn to the items. There is a hierarchy formed with the use of color, as a dark color, green, is used against a light color, blue-green, to a lighter color, white. Green is used to create the walls of the display space, while blue-green is used for the custom fixture which exhibits the store’s items. The square custom fixture against the curved wall also produce emphasis to the space. Contrast of texture is observed as it help breaks the continuity of the wall connecting to the ceiling, by utilizing a transparent mesh layer against the green glass which express a solid wall.

REFERENCES https://www.contractdesign.com/projects/retail/au-pont-rouge/ https://www.contractdesign.com/galleries/projects-retail/au-pont-rouge/?articletitle=Au%20Pont%20Rouge&articleurl=https://www.contractdesign. com/projects/retail/au-pont-rouge/#3

“Design creates culture.

Culture shapes values. Values determine the future.�

34

- Robert L. Peters, designer & author

Color Proportion & Scale - Interior Space

I agree with the fact that we do use our bodies to make comparisons between many things, such as physical activities and certain elements. Everything is accommodated to our bodies, size and shape alike. If we remove our bodies out of the equation, the proportions, aesthetic, and function of the designed space would be off. Proportional elements, such as Golden Section, Fibonacci Sequence, and Le Modular, are not only seen in nature, and in architectural elements, but they can also be used in combination with color to create balance, harmony, and variety the spaces need. Color can be used to change the scale of a space. With variety and contrast, one could reduce the apparent of visual scale of a space.

Mathematicians and designers, such as Leonardo Pisano, and Le Corbusier, have helped advance the making of design for future generations to use and create the diverse spaces we enjoy.

E!

REFLECTION

N

=A

E ST

H E T I C VA L U

Color Proportion & Scale - Interior Space

O

“Light color advance, and dark color recedes� is a favorite line that I will think of when doing a design. There are six elements of color harmony, such as the harmony of a dominant colored light, where the hues and values are seemed to be influenced by a dominant tinted light.

There are seven color harmonies, such as the achromatic color harmonies, which focuses more around schemes such as ivory, tan, khaki, beige, ect...

COLOR + SCALE/UNIT Y

TI

Color Harmony - Complementary

M.9

35

C O LO R +

PR

O OP

R

Diving into this project, we were to visit and evaluate a commercial “hospitality” space while coordinating it with the concept of “variety” and its elements, such as shape & texture. I got to go on an adventure and explore a new place, while learning and understanding what it means to design with or without control, and how variety affects a space.

M.9

VARIET Y - H ospitality

C0 L0 R +

SLS HOTEL designed by Arquitectonica

The Lobbies of the SLS Reception Lobby

PALETTE & VISUAL WEIGHT

Hotel in Brickell left a sense of superiority as I was left in awe, once I first walked into the spaces.

The designs are not what I expected, which was to see the typical lobby-style. The reception lobby seems down-to-earth while the residential lobby made me want to explore, as I was curious of that space. The natural and artificial lighting in combination with the colors made the spaces feel light and open.

The visual weight lies

with the staircase. The green carpet leads you, first to the reception desk and then drawn your eyes to the beautiful, curved stairway. Meanwhile, the black carpet of the residential lobby draw your eyes to the rectangular dark hall, but then you are drawn to the two intimate spaces facing the enormous paintings on both side.

Residential Lobby

37

Simple, yet sophisticated, is how I would describe the residential lobby, as it gave a fancy feel. The lobby led to a dark colored, tunnel-like hall with glossy walls on both sides, then leads you to the another light and open space similar to the adjacent lobby. The residential space uses achromatic color contrasts, in combination with the texture and pattern of the walls and ceiling, adding variety to the space. The residential lobby felt unnatural for a hotel, gave a feeling of being at an art gallery. I feel like the focal points were the two enormous paintings and the logs on both side of the space. These spaces mesmerize you as you are drawn to them as soon as you exist the hall.

The lobby space was linear, vertically, and abstract, horizontally, in terms of the logs, and walls’ texture. There was a variation of shapes, textures, scale and patterns, but all together with the achromatic color made the space feel elegant.

Residential Lobby

Hall of theResidential Lobby

38

Space Looking Towards Painting #1 of the Residential Lobby

VARIETY

Space Looking Towards Painting #2 of the Residential Lobby

Waiting area of Reception Lobby

SHAPE & TEXTURE

The Only Window Drapes of the Reception Lobby

The residential lobby

showed absence of complexity. All the shapes were linear. But, the reception lobby was free-formed, with its curved staircase, golden drapes, and waiting area’s seatings surrounding the columns. It has variety, making you feel welcomed. Rhythm and fluidity was expressed in the design. The golden drapes and the natural lighting added emphasis on the circular staircase, while the artificial lighting and circular column emphasized the free-formed seating area. Your eyes could wander freely in this space, while feeling a sense of calming softness.

Texture was more seen in the

Staircase and Sculpture of the Reception Lobby

39

residential lobby. It added contrast to the space instead of plain, white-looking surfaces. The walls and ceiling had a glossy, but rough feel to them, with a reflective property. It helped the room feel big and light. All of which added another layer of interest and curiosity.

Carpet Pattern of the Reception Lobby

REFERENCE Color + Design - Transforming Interior Space by Ron Reed, 2nd Edition

“ The details are not the details, they make the

design.”

- Charles Eames 40

This project is meant to evaluate a workplace environment while analyzing the concept of “variety� and its elements, such as shape & texture. I learned how color mixed with variety was used to create a comfortable and relaxing environment for its users while creating experiences for them as well.

M.10

VARIET Y - W orkplace

C0 L0 R +

Pandora Media Inc. NY Office designed by ABA Studio

Contrast Between the Phone booths & Public Space

PALETTE & VISUAL WEIGHT Ground Floor Plan of Pandora Media Inc.

Each space at Pandora Media are colorfully unique. The colors are

used to differentiate public versus private spaces. There are four spaces, two on each floor. They are color coded, from blue, red, yellow, and green. In the image above, red analogous color scheme is used, for the conference rooms, making them focal points representing private spaces, giving the users a break from the activities of the public areas. Analogous or monochromatic color schemes are explored for all conference/phone booth rooms on each floor. As well as, complementary colors that contrast in the halls between the rooms and walls. Visually, the spaces are nice, spacious, and casual, and psychologically, seem to be a comfortable and relaxing environment to be in. The spaces are well light creating a nice level for human comfort.

42

VARIETY Diversity and contrast is

developed as line, texture, and form are combined in the interior space of the Pandora Media, all of which creates variety. Line is utilized as an art element that conceals the core of the building. The line-work pattern creates images of famous artists from different time periods, adding to the abstractness of the Pandora Media building. The blue colored dot-matrix pattern prompts visual privacy of the spaces, while the white dots on the glass walls, that makes the private conference rooms, creates the name of the room they enclose.

The wooden pattern finish is explored in the space where the main stair connecting both floors and amphitheater is located, creating an area of intimacy. As the walls and floors give the spaces diversity, the ceilings and columns remain a neutral color, white, to give them room to stand out.

On the Second Floor by the Stairs Looking Out

Looking Onto the Stairs/Amphitheater

On the First Floor by the Stairs Looking Down

43

Circular Pattern, Wood Texture, and Circular Chair Shape

Circular Pattern Explored in Various Ways

SHAPE & TEXTURE

The design intention is to create a transparent, casual environment

where the users are motivated to work, while providing the public and private spaces a working environment requires. In plan view, the private spaces generate tight and loose spaces around them that makes open and informal interaction. They are shaped like “crystals,� which gives the workers multiple paths to move around them. The shape of a circle is repeated in many scales throughout the spaces, creating a rhythmic pattern that represents privacy and creates a calming environment. The circles are in a light neutral color, white, while the crystals and circular seatings are using primary colors, such as blue, red, yellow and green. The millwork used formed texture as it utilized light and dark to make the art of images of the famous musical artists.

Wood is used as an element of texture, that embraces the stairs that represents the threshold between the two floors and between the people.

44

Millwork Texture

REFERENCE Color + Design - Transforming Interior Space by Ron Reed, 2nd Edition https://www.archdaily.com/530917/ pandora-media-inc-new-york-officeaba-studio

“Don’t design your lifestyle for

comfort, design it for passion.

Don’t design it for functionality, design it for sensuality.”

- Lebo Grand 45

COURSE EXPERIENCE

Color is all around us! It is what helps us shape our environments, styles, and feelings. With color, we stay in touch with our emotions and surroundings as we go on our day-to-day lives. That is what this course taught me.

Coming into this course, I had no idea what I was in for. I saw the world through the eyes of an ignorant person, and not of a designer, as far as color theory is concerned. Module, after module, my eyes begin to widen as I analyze the world around me and start to understand why designers, or film directors use color the way they do as a way to appeal to us. With this course, I learned new color terminologies, techniques, and schemes, and how simple but dynamic the use of color can be.

I will carry this knowledge into my designs, in hope of it making me a better architect in the future. I truly enjoyed this course, as it changed my perspective on color.

FINAL WORDS

C0L0 R +

46