COLOR THEORY RICARDO HENRIQUES
TABLE of
CONTENT
2.
M1
HOW AM I?
6.
M2
13.
M3
20.
GEORGE POMPIDOU COLOR ANALYSIS FILM ANALYSIS: “WHAT DREAMS MAY COME”
M7
RETAIL: COLOR ANALYSIS Lois Vuitton - Aventura Mall, FL
27.
M9
37.
M10
PHOTOGRAPHY
HOSPITALITY: COLOR ANALYSIS
Fountain Blue Hotel, Miami FL
40.
M11
43.
M11
COLOR + BALANCE
CULTURAL STUDIES: COLOR ANALYSIS
M1. COLOR + THEORY HOW AM I?
HELLO , I AM RICARDO HENRIQUES BORN: LANGUAGES:
Caracas, Venezuela English Spanish Portuguese Italian
FAMILY BACKGROUND: FAVORITE COLOR: HOBBIES:
Portuguese / Madeira - Oporto Venezuelan
BLUE Scuba Diving Skateboarding Paintball Hiking Soccer
loyalty balance
luxury
Watching Movies / TV Shows Camping Gym Traveling Photography
MAJOR: WHY ARCHITECTURE?
FAVORITE DESIGN TYPOLOGY: FAVORITE COURCES:
Master in Architecture @ FIU
I am pursuing architecture because it is an opportunity to explode my creativity while creating a better environment for people, not just aesthetically but, in terms of safety. accesibility and sustainability.
Residential Commercial / Public Spaces Graphic Design Structural Systems Materials and Methods of Construction Catalysts of the Urban Canvas
SKILLS: AutoCAD
Excel
Grasshopper
Illustrator
Maya
Photoshop
Revit
Rhinoceros
Sketchup
Word
HOBBIES
M2. COLOR + DESIGNERS RENZO PIANO
CULTURAL CENTER
GEORGEPOMPIDOU FLORIDA INTERNATIONAL UNIVERSITY
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COLOR THEORY
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IND5325
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RICARDO HENRIQUES
ARCHITECT
RENZO PIANO One of the best-known architects of the modern age, Renzo Piano (1937) has half a century of work all over the world in a variety of disciplines behind him. Piano graduated from Politecnico di Milano in 1964 and gained experience in Philadelphia and London, but the most important factor in his education was his Paris meeting with Jean Prouvé. His work embraces a variety of fields: from trade fair pavilions to restoration of historic buildings, from studies of materials and processes to boat and furniture design. Unanimously recognised as highly unusual, Piano’s architecture cannot be traced to any particular “school”, current or style: his concept of design “is not based on a theory, but on a way of relating to the project”, featuring “constant interaction between constructive aspects (technological, scientific, productive) and poetic content.”
BEST WORKS Kimbell Art Museum, Fort Worth, Texas (USA), 2013 | London Bridge Tower, London (Great Britain), 2012 | Shard skyscraper, London (Great Britain), 2012 Astrup Fearnley Museum of Modern Art Oslo (Norvegia), 2012 | California Academy of Sciences, San Francisco (USA), 2008 | City Tech Tower, Brooklyn, New York (USA), 2007 Paul Klee Zentrum, Berne (Switzerland), 2005 | Auditorium Parco della Musica, Rome, Italy | Cité Internationale, Lyons (1995) NEMO, Museum of Science and Technology, Amsterdam (the Netherlands), 1997 |
Beyler Foundation Museum, Riehen (Switzerland), 1997
Kansai airport, Osaka (Japan), 1994 | Renovation of the Lingotto factory, Turin (Italy), 1994 | Metro stations, Genoa (Italy), 1994 UNESCO Laboratory Project, Otranto (Italy), 1979 | Centre Georges Pompidou, Parigi (France), 1977 | Pavilions for the Triennale di Milano (Italy), 1966
CONCEPT “The Design of the Center turned the architecture world upside down.” quote NY Times The Center George Pompidou is classified as structural expressionism.
PROJECT INFO
Structural expressionism, also known as high-tech or late modernism, is mostly associated with structures designed by Richard Rogers, Renzo Piano, or Norman Foster. This style first emerged in the 1970’s and has remained popular to the present day. It was mainly influenced by brilliant technological breakthroughs. The Cultural Center George Pompidou is one of the most idealic examples of structural expressionism; many windows, fewer interior elements allowing for greater space, steel framed, and edging on industrial – yet too creative t be considered so. Opposing natural schools of thought regarding the structural
elements
of
a
building,
structural
expressionism displays its elements exuberantly. This style is delighted to show off the results of the latest
FIGURES
cutting-edge technology that made High-Tech
Land area: 2 hectares
Length: 166 m, width: 60 m
Reinforced concrete: 50 000 m³
Center Area: 103 305 m²
Infrastructure: 3 floors
Metal structure: 15 000 tonnes of steel
Superstructure: 7 levels
Excavation: 300 000 m³
Facades, glass surfaces: 11 000 m²
in their designs because it enables larger interior
Height:
Depth: 18 m
Opaque surfaces: 7 000 m²
spaces, and the use of skeleton pipe steel allows for
42 m (in the Rue Beaubourg)
length: 180 m
taller structures.
45.5 m (in the Piazza)
width: 110 m.
Architecture possible. Structural expressionism = function over form. Many skyscrapers today use structural expressionism
STRUCTURE The building was designed on the lines of an "evolving spatial diagram" in two parts: firstly, a 3-level infrastructure housing the technical facilities and service areas; secondly, a vast 7-level glass and steel superstructure, including a terrace and mezzanine floor, concentrating most of the centre's areas of activity. The building's metal framework has 14 porticos with 13 bays, each spanning 48 m and standing 12.8 m apart. On top of the posts, on each level, are moulded steel beam hangers, measuring 8 m in length and weighing 10 tonnes. 45 m long girders rest on the beam hangars, which spread stress through the posts and are balanced by tie-beams anchored on cross-bars. Each storey is 7 m high floor-to-floor. The glass and steel superstructure envelops the free open spaces.
PROGRAM The Centre Pompidou houses a museum of modern art, reference library, industrial design centre, temporary exhibition space, children’s library and art centre, audio-visual research centre (IRCAM) and restaurants.
It underwent renovation from 1996 to 1999 and reopened on January 1st 2000. In 2010 an extension to the Centre Pompidou designed by the Japanese architect Shigeru Ban opened as the Centre Pompidou Metz in the west of France.
MUSEUM/GALLERY LIBRARY/CINEMA SHOPS/RESTAURANT OTHERS TICKET BOOTH INFO RESTROOMS CIRCULATION
COLOR CONCEPT One of the distinctive features of the Centre Pompidou is the striking presence of colour. Four strong colours – blue, red, yellow and green – clothes the structure and enliven the façade, their use governed by a code laid down by the architects:
AIR
WATER
ELEVATORS
ELECTRICITY
CORRIDORS
BUILDING
“broken with architectural conventions by moving functional elements such as escalators, water pipes and air conditioning to the outside of the building, freeing interior space for the display of art works.”
SUMMARY
The organization, with the presence of colour and structure makes the Centre Pompidou unique. Architect Renzo Piano develops an interesting colour system and moves many functional elements to the exterior in order to free up the interior for beautiful and open exhibition spaces. The exterior colours were also designed to enliven the area around the building to previous social and economic depressions.
REFERENCES https://en.wikiarquitectura.com/building/cultural-center-george-pompidou/ http://architectuul.com/architecture/centre-pompidou-1 http://www.aviewoncities.com/paris/centrepompidou.htm https://www.centrepompidou.fr/en/The-Centre-Pompidou/The-Building
M3. COLOR + PSYCHOLOGY + PERCEPTION WHAT DREAMS MAY COME
WHAT DREAMS MAY COME COLOR ANALYSIS FLORIDA INTERNATIONAL UNIVERSITY
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RICARDO HENRIQUES
FILM SUMMARY Chris Nielsen dies in a car accident one night after going to a movie. He is unable to leave his wife, Ann. Her grief at his death is his pain and he wishes to be able to help her. After several attempts at reaching his family, Chris finally prays for help, and is immediately removed from Borderland. Summerland is where Chris finds himself then. He is greeted by his cousin, Albert, and his dog, Katie. Albert helps Chris to understand that he is dead, though he still has his body and his thoughts that are uniquely his. Albert also explains that the afterlife is a state of mind, and can be whatever an individual wishes it could be. Those who live in Summerland have occupations, but not for the purpose of making a living, but because of their passion for a particular type of work. Chris enjoys Summerland, but cannot get Ann out of his mind. Chris is greatly frustrated. He has just learned that Ann would have joined him in twenty-four years, and now she is consigned to a lower realm for that period of time. Chris cannot stand by and just wait for his love to endure twenty-four years of a realm of Hell. He convinces Albert to help him search the Lower Realms to find Ann so that he can help her. He is actually attacked by some of the inhabitants, and he believes that he will die, though he is already dead. He learns later that the attack was perpetrated through the minds of the inhabitants and his own mind. Albert and Chris do finally locate Ann in her house, which is a replica of their home, only this one is in very poor condition, the atmosphere depressing and dark. Ann does not recognize Chris, though he tries everything he can to convince her of his identity. Ann's mind has created her own version of Hell; her afterlife is a continuation of the state of mind she found herself in after Chris's death. The only thing Chris can now do is to choose to stay with Ann in her Hell because he simply cannot walk away from her. With this sacrifice, Chris sees that Ann finally understands who he is, but he then loses consciousness and wakes up in Summerland again. Ann has chosen rebirth as a way to redevelop her injured spirit. Chris determines, yet again, that he must join her and insists on learning about rebirth so that he can experience it immediately.
COLOR PALETTE USED IN THE MOVIE
LIGHT YELLOW
HAPPINESS
The color yellow gives warmth and brightness to the scene when Chris is becoming to be part of heaven.
BROWN
SUPPORTIVE This color gives the space a sense of protection where Chris feels safe from danger.
ORANGE
ADVENTURE Although this color is not seen much in “heaven” it represents some moments of optimism and cheer for Chris.
HEAVEN
BLUE
CALM
This color represents the feeling that Chris gets from the moment of imagining the paintings of his wife.
PURPLE
MAGIC
This color highlights the fantasy that Chris was living in the moment imagining living in the paintings of his wife. He felt at home.
GREEN
LIFE
This color represents Chris feeling alive in the moments where he supported his artist wife in his old life.
SUMMERLAND
DARK BLUE
REPRESSIVE
In this moment this color signifies trouble and uncertainty because Chris is not sure in finidng his wife.
RED
DRAMA
This color shows the aggressiveness, anger, and hate happening in heaven. Chris is not sure if he is going to be able to get out of there.
BLACK
DEATH
This color shows the absence of light and emphasizes the amount of destruction going on in the scene.
HELL
M7. COLOR + RETAIL LOIS VUITTON
M.7 color + emphasis
LOUIS VUITTON FLORIDA INTERNATIONAL UNIVERSITY
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COLOR THEORY
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at aventura mall, FL IND5325
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RICARDO HENRIQUES
CONTRAST of hue
Here, the contrast of hue is represented with the use of opposite colors, blue and orange, which creates a striking moment that helps the store highlight their products
CONTRAST of value In this section, the products are merchandised with the use of light and shadow, creating a visual contrast between the product displayed and the background
CONTRAST of texture
The texture of the displays create an emphasis on the products shown through the use of sleek shelves and cove lighting
CONTRAST
of
design feature
This image shows a layering of emphasis on the products on display through the use of contrast of hue, value, texture, and form, attracting the eye towards the center of the display
FOCAL POINT
The use of high intensity colors, in this case, yellow, creates moments throughout the store that brings attention to certain products. This display highlights the women’s clothing on the mannequins, perfectly situated under the rounded stairs so that the viewer’s eye is guided from the stairs to the display
M9. COLOR + MY CAMERA
STUDY ABROAD - GENOA 2016
M10. COLOR + HOSPITALITY
FOUNTAIN BLUE HOTEL
COLOR + HOSPITALITY
RICARDO HENRIQUES
FONTAINEBLEAU HOTEL 4441 Collins Ave Miami Beach, FL 33140 designed by Morris Lapidus
LINES
SHAPE
TEXTURE
COLOR
PATTERN
DETAILS
RICARDO HENRIQUES
ANALYSIS OF THE ELEMENTS AND COLORS OF MATERIALS IN THE LOBBY COLOR COMPOSITION The color palette of the entrance lobby is combined with a variety of textures, shapes, lines and patterns that creates a harmonious and engaging environment. Sixty percent of the space, including floors, walls, and ceiling, is composed of the color white. The colors black and purple from the furniture and cove lighting cover 30% of the space, creating a contrast with the gold columns and chandeliers from the bar area, which form the leftover 10%. COLOR AND LINE To accentuate the double height space of the lobby, the vertical lines on the columns, with the use of material and lighting, create a visual effect that elongate the columns and makes the spaces feel taller and larger than they really are. The lines from the dropped ceiling and AC diffusers also help direct the flow of circulation throughout the lobby. COLOR AND SHAPE Shape and color work together in the spaces to determine the perimeter of the different spaces that compose the lobby of the hotel. The shape of the purple carpet and the arrangement of the furniture creates a strong gesture that defines the lounge spaces. Furthermore, the contrast of the white and yellow furniture with the purple carpet creates a feeling of enclosure, welcoming visitors to the space and maintain them in a comforting environment. COLOR AND TEXTURE The color and textures of the materials used in the space create a visual effect of elegance and sophistication, also making the spaces look bigger with the reflectivity of the materials used. The characteristics of the mosaics on the rounded columns create an emphasis on the vertical elements that define the gathering space, due to the texture and reflectivity. COLOR AND PATTERN The pattern on the floors with the black and white marble tiles, articulates the space, guiding guests to the different points of interest, such as, reception, lounge spaces, and elevators
M11. COLOR THIS BLUE BLUE BLUE.
M11. COLOR + BALANCE NEUTRAL
BLUE
is the color of the sky ACCENT 1 and sea. It is often associated with depth and stability. It symbolizes trust, loyalty, wisdom, confidence, ACCENT 3 intelligence, faith, truth, and heaven. ACCENT 4
ACCENT 2
RICARDO HENRIQUES
M11
Blue is considered beneficial to the mind and body. It slows human metabolism and produces a calming effect.
COLOR + BALANCE
COLOR THEORY
M12. COLOR + CULTURE VENEZUELA + PORTUGAL
COLOR + CULTURE
My country is
VENEZUELA
I wanr to learn more about
PORTUGAL RICARDO HENRIQUES
VENEZUELA
YELLOW
BLUE
RED
GREEN
PURPLE
represents all the gold found in the Venezuelan land.
represents the seas on Venezuela's shores, the rivers that run through, and the sky above.
represents the blood spilled for Venezuela's independence.
represents the rich and spectauclar nature with which the country counts
represents Venezuelan’s passion and love for their country. It is also the color of the national flower: the orchid
RICARDO HENRIQUES
PORTUGAL
RED
GREEN
NAVY BLUE
Represents the blood of those who died serving the nation
Represents the hope of the Portuguese people
Represents the kidness, peace and compassion of portuguese people.
Also, it representes heaven and the purity found in the churches that support the Catholic religion.
BLUE Represents the sea that surrounds the coast of Portugal.
RICARDO HENRIQUES
COLOR + CULTURE References • • • • • •
•
h/p://thela7noauthor.com/countries/ culture/venezuelan-culture/ h/ps://venezuelanalysis.com/news/7529 h/p://www.best-country.com/ south_america/venezuela/tradi7ons h/p://www.algarvehousing.net/news/ 2016/05/12/culture-in-portugal/ h/ps://www.youtube.com/watch? v=PKXmcDyswts h/p://visitportoandnorth.travel/Blog/ Devo7on-and-Religious-Fes7vals-inNorthern-Portugal h/p://www.golisbon.com/culture/
RICARDO HENRIQUES