Thesis Research by Russell Fleming

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THESIS RESEARCH BY RUSSELL FLEMING

PHOTO CREDIT MI5 ARCHITECTS

THESIS ABSTRACT Color in accordance with light as a positive influence in the educational process has been an ever-growing concept the last ten to twenty years. However, the next step has not yet been fully taken into the special needs educational process. With the implementation of color presented through the medium of an architectural language, the educational process will become significantly more successful. This is primarily due to the influence color has on the human mind, and once combined with architecture, it is able to generate improved learning environments catered to specific needs. Through the study of the effects of color on the human mind, architecture, and education, combined with the study of the hearing impaired educational process, this thesis will generate a conclusion of why color is not only able to positively influence a hearing impaired student, but that it is absolutely required in their educational process.

PHOTO CREDIT AMARAS_DE

BIBLIOGRAPHIC ESSAY Color in accordance with light as a positive influence in the educational process has been an ever-growing concept the last ten to twenty years. However, the next step has not yet been fully taken into the special needs educational process. With the implementation of color presented through the medium of architecture, the educational process will become significantly more successful. This is primarily due to the influence color has on the human mind, and once combined with architecture, it is able to generate improved learning environments catered to specific needs. Through the study of the effects of color on the human mind, architecture, and education, combined with the study of the hearing impaired educational process, this thesis will generate a conclusion of why color is not only able to positively influence a hearing impaired student, but that it is absolutely required in their educational process. The human mind receives around eighty percent of its information from the environment it perceives. Color makes up and belongs to every environment that is used for this informational gathering; therefore color is necessary for the mind to generate and understand information.1 However, the gathering of information through color can only be accomplished in the human mind through surrounding factors in the perceived environment. Color must be shaped by light in order for it to generate a human response displaying the informational characteristics of the environment.2 Because light must be established in order to form color, color is actually defined to be a form of energy. Energy systems, such as light, are widely accepted to have the ability to generate influential moments on the human body and its cognitive functions. However, introducing a second layer of an energy system, like a color to compliment light, is able to generate countless influential moments and properties towards the human mind. Simply put, light without color is only able to generate a limited response in the human mind, while color, a continuation of light, is able to produce additional responses giving more options toward specific use and influence on humans. These specific uses of color on humans have been studied and discussed proving the impact on emotional and aesthetic associations; color influences us both psychologically and physiologically.3 Kurt Goldstein, a German neurologist and psychiatrist, produced a series of tests on the emotional relationships to color. Goldstein used cognitive and vital function machines as well as verbal emotional description to record results as he surrounded individuals with a single color. The results were fairly simple, but compelling nonetheless. They concluded that there was a specific emotional connection tied to specific colors. Red light generated a heightened pulse with an increased unpleasant feeling, yellow light made the individual feel comfortable 4 and confident, blue was calming and pleasant, while green was able to create a compelled and pleasant feeling. 1. Mahnke, Frank H. Color, Environment, and Human Response: an Interdisciplinary Understanding of Color and Its Use as a Beneficial Element in the Design of the Architectural Environment (New York: Van Nostrand Reinhold, 1996) 10. 2. Swirnoff, Lois The Color of Cities: an International Perspective (New York: McGraw-Hill, 2000) 1. 3. Mahnke 18. 4. Mahnke 18.

More recently, Harry Wohlfarth, a university professor and color scientist created a study directly linking the effects of color on students in an educational setting. Four schools were evaluated over a year testing period. One school was treated with new color and lighting techniques, one with only color, one with only lighting, and one school remained unchanged. The school using new light and color methods showed the most significant gain in every category. There was reduced aggression of students, increased overall educational performance noted by teachers, increased IQ scores, and even lower blood pressure related to stress. The school using only new color methods scored second overall, light only scored third, and the control scored the lowest in every category.5 Hearing impaired students, however, have specific needs in their educational process. The hearing impaired can many times suffer from more complex learning and social needs due to their impairment. Because of this these children need particular lighting, acoustic, and navigational elements. Lighting levels to eliminate glare wile promoting strong visual connection is thoroughly stressed and discussed by sources like Bradford Perkins in Elementary and Secondary Schools, and the in the journal Designing for Disabled Children and Children with Special Educational Needs: Guidance for Mainstream and Special Schools. This is because hearing impaired students rely thoroughly on vision for lip reading and signing techniques.6 Furthermore, wayfinding is a serious issue in hearing impaired educational facilities. Students must have adequate features that can provide landmarks or orientation in their journey around the school.7 This is all on top of the traditional needs an educational facility must address. Some hearing impaired educational experts even speculate as to how the use of color in architecture can significantly help these students. Some suggestions include the use of architectural materials that will provoke the remaining sensory elements of the impaired student. Using visually provoking colors in the architecture or materials that covey a physical feeling toward touch will provide the needed contrast to become an informational tool for students.8 Furthermore, color on architectural features should be considered for sensory and emotional stimulation, signaling change in activity, and identification of space, similar to an organizational language. However, the use of color in large areas should be carefully considered, it is easily able to confuse or over stimulate some impaired students.9 Architects like Norman Foster, Rem Koolhaas, Alessandro Mendini, and Richard Rogers all have developed and become famous for the use of color to create language through organizational systems in their buildings. Fosters Commerzbank Headquarters in Hamburg, Germany use three primary colors to define and support everyday traffic and orientation in the building. He has used color coding in circulate cores, signage, and other navigational items, making the experience of navigating the building simple and pleasurable for its user.10 Or projects like Roger’s Barajas Airport, where each architectural element is color- coded to give the user a clear understanding of each function of the building for ease of use and a clear mind. 5. Mahnke 183. 6. Perkins, L. Bradford Elementary and Secondary Schools (New York: Wiley, 2001) 78. 7. Designing for Disabled Children and Children with Special Educational Needs: Guidance for Mainstream and Special Schools (Norwich: TSO, 2008) 149. 8. Gelfand, Lisa, and Eric Corey Sustainable School Architecture: Design for Primary and Secondary Schools (Hoboken, NJ: John Wiley & Sons, 2010) 211. 9. Mahnke 149. 10. Arnoldi, Per, and James Manley “Colour Is Communication”: Selected Projects for Foster Partners (Basel: Birkhäuser, 2007) 7.

The use of color for wayfinding and circulatory organization has been successful in special education projects as well. It is here where architecture can convey a secondary language for hearing impaired students. Projects like the Bangkok School for the Blind or the Illinois Regional Library for the Blind and Physically Handicapped make use of organization through color to create this secondary language. The Illinois Regional Library uses color to provide a structural diagram for its users giving orientation cues and guiding elements, while the Bangkok School for the Blind uses color to help the partially sighted mark industrial hazards. Both creating a language in the building through color specifically tailored towards the needs of the impaired.11 Projects like the Children’s institute in Los Angeles or the ASPIRE National Training Center in North London are able expand past the use of color as an organizational language and conquer the emotional influences of color on humans. The Children’s institute in Los Angeles, a project for homeless children, implemented color for the “realization of a warm and cheerful atmosphere for young children.”12 While Aspire, by Norman Foster, a center children with spinal injuries, used color to generate a feeling of liveliness and to convey a sense of hope. Workers have noticed a substantial improvement in mood and progress since the new building by Foster has began its use.13 In conclusion, providing a solid education is more than teachers and facts, it requires a positive social environment within the school, an environment that creates a sense of caring, guidance, and coherence. Research shows that color is the link that often becomes overlooked in this educational process. However, color for the sake of color is not the solution to these student’s educational issues, just as minimal, bleak environments are the same. Color must be rational and mathematical in its approach in order to accomplish anything constructive.14 Alessandro Mendini, an innovator of the use of color in architecture stated in an interview something that I believe summarizes the proper use of color through architecture for these students. He said that “color is repeatedly said to correspond to tones, sounds” and that “the idea of color as a 15 language, as an alphabet, comes back as a system of signs in itself.” The use of color through architecture will be able to generate an unspoken language, a language that is purely beneficial towards the education of the hearing impaired.

11. Porter, Tom Architectural Color (New York: Watson-guptill,1985) 70. 12. Linton, Harold Color in Architecture: Design Methods for Buildings, Interiors and Urban Spaces (New York MacGraw-Hill, 1999) 64. 13. Arnoldi 38. 14. Mahnke 183. 15, Koolhaas, Rem Colours (Basel: Birkhäuser, 2001) 239.

PHOTO CREDIT BP ARCHITECTS

PHOTO CREDIT SAUERBRUCH HUTTON ARCHITECTS

PHOTO CREDIT KOZ ARCHITECTS

PHOTO CREDIT FOSTER + PARTNERS

PHOTO CREDIT t

THINGS I CAN’T LIVE WITHOUT My first exploration, primarily for brainstorming and generating a formwork to follow further into the semester, was discovering some things I feel that I cannot live without. Aside from the simple, obvious answers of family, friends, life, and so forth, I stepped further into my assessment and began to think of things that were much more specific that had some form of spatial quality, things that could possibly be abstracted into architectural form. As my assessment developed, I became aware of a strong correlation with sensory perception, especially my visual perception of color. Below are some of my findings pertaining to the images of things I can’t live without following in the next few pages.

1. My camera, a material possession, however, looking deeper into its capabilities and why I cannot live without it I found a priceless meaning. I am able to capture moments in time, full environments of emotion. These environments are told stories full of life and color.

2. Cape Cod, more specifically my old Cape house. I love the simplicity of Cape Cod and the simplicity of life surround-

ing it. It is always represented or remembered by simple earth tones and warm sun colors. Whether it be the natural sand dunes with a deep blue backdrop of the ocean, or grey, weathered wooden shingles next to a bright white seashell driveway.

3. Fall in New England.

This is something indescribable to any person who has never experienced it first hand. The bright blending colors of leaves hanging off of large, canopied, branches overlapping each other create natural spaces full of a vibrant atmosphere. The spatial qualities these blankets of color create are purely staggering, almost as much as the color.

4. Fenway Park, the Bostonian Cathedral. It is more about an atmosphere for me, the vivid green grass contrasting the white dots

that are apparently the players from the nosebleed section. All of this surrounded by vibrant layers, first a sea of boisterous fans covered in red, white, and blue. Second, wall of bright white light and commercial advertising. Finally, a faded backdrop of the Boston skyline.

5. There is a pond right outside of my Grandfather’s old home in Dorset, Vermont. This involves more sentimen-

tal value than anything else, but to this day I can vividly remember my times there over the years envisioning the natural colors of the surroundings. More specifically, I remember the reflection coming off of the pond to only enhance these surroundings.

6. Travel is one of my highest regarded things that I cannot live without, no matter how cliché it may be. There is one place I visited some-

what recently in Venice, Italy that I will never forget. On this roof deck I experienced a sea of roofs seemingly stacked on top of each other with warm orange tones against bright vernacular building materials. It was the perfect contrast to a deep blue sky at dusk A full list of my exploration of the things I can’t live without can be found on my semester blog at tumblr.flemingr.com

TICLW: CAMERA

TICLW: CAPE

TICLW: FALL

TICLW: FENWAY

TICLW: DORSET

TICLW: VENICE

PHOTO CREDIT THOMAS REICHART

COLOR ABSTRACTION: COLLAGE Pushing further into my concept of color from the initial approach, I explored the meaning of color. I still shied away from true architectural meaning and looked into typically unexploited ideas about color and its use. These assessments were developed through a series of collages, combining only necessary elements, displaying my theories and concepts thus far. My first iterations consisted of exploring the associated meaning color can convey. This was more an exploration of the power color has on humans, especially on the human mind and its subconscious. I began by tearing apart well-known corporation branding, branding that most people would recognize instantly. I cropped these logos to only show small portions of their shape and color. They were then organized on a strict grid system giving further anonymity. In doing this, I was still able to generate a high percentage of instantaneous knowledge of each logo. This displayed the true power of color connection to the human mind. I continued exploring the meaning of color through collage by combining emotions or things associated with each color and grouping them together. Each ended up forming its own color group, yellow was bright and warm with images of things like the sun and flowers, while blue was more calmed, cold, or even depressive with images of water or saddened faces. I took my findings and developed a series of second iterations focused on bringing out color systems that may not be evident in typical urban settings. Focused in Allston, MA, a city filled with traditional brick row housing, I took photographs of the same scene over the period of a day. I then strung the scenes together creating a collage showing the effect of lighting on the color of materials and the color of its natural backdrop. Stepping once further, I applied the same idea, however, in the final iteration I enhanced colors I found interesting or vibrant and added a human scale. In doing this I was able to envision how color at an urban scale was able to effect an individual. Saturating certain colors at this scale showed the possibilities a typical urban setting has for development. This began to solidify my theories of the importance of color in relation to the individual. A full exploration of my collages, focused on color or not, can be found on my semester blog at tumblr.flemingr.com

COLLAGE: ASSOCIATED MEANING

COLLAGE: URBAN COLOR

PHOTO CREDIT YURIY CHULKOV

TOPIC MAPPING / VISUAL ABSTRACT After thoroughly exploring color through collage, I moved forward into expressing my developed ideas through a visual abstraction. This was an exercise to begin organizing my main thoughts thus far. I also took this opportunity to expand on my ideas and see what other paths may interest me personally to begin narrowing my thesis. I began by going over my extensive notes on my interests thus far. Color was my main concern, however, I wanted to generate architectural theory about color. I created a few general terms about outside interests related to color, and expanded on what defined these terms architecturally. The idea was to narrow my concept with each level of text until it resulted in an idea about what was discovered in relation to color. My main focus here was color and its urban characteristics. Naturally my beginning words were density, vernacular, and landscape; all terms that assist in shaping the definition of architectural color, and all terms I had significant interest in. This developed further with the beginnings of using precedent studies. I compiled images that represented color and the things that influence color architecturally. They were then organized in association with the terms I had already developed. The terms were adapted to fit my ideas about color as I added images to further relate. At this step I worked with the concepts of urban development in relation to color. I explored this through a hierarchy in organization of terms and images all in different order, resulting in a general concept about urban development and color. Finally, I took what information I had gathered with these two topic mapping exercises and created a true visual abstraction. I used the same approach by using organization to display my thought process at this point of my research. Here I developed concepts about different urban scenarios and how it affected color in each. It went from conceptual artists approaches of color, to minimal implementation of color, to final execution of influential colored architecture. I took the opportunity of the visual abstract to adopt some concepts by other architects and innovators of color I had been studying. One topic that was thoroughly discussed in relation to color, was weather or not white in architecture was considered a form of color expression. I took multiple images using white in traditional urban context to show the impact it was able to make. This resulted in a final image showcasing the ability white has to contrast its surroundings. Although this exercise was explored on a larger scale it still manages to show how influential white can be on visual perception of an individual. A full exploration of my topic mapping and visual abstraction can be found on my semester blog at tumblr.flemingr.com

TOPIC MAPPING

VISUAL ABSTRACT

PHOTO CREDIT MI5 ARCHITECTS

PROGRAM DIAGRAMMING From all of the informational and diagrammatic work I had done, I started to develop a conceptual program. Referencing the research I had done to accompany my previous work I realized how strong an impact color has on the human mind so I knew in order for my program to be successful it would have to incorporate the mindâ&#x20AC;&#x2122;s development. I started with the simple solution, an educational facility. I began by creating an adjacency diagram. It started as a central text describing simple needs of an educational facility. From there it branched out into adjacent, but more specific needs of the facility or its users. I chose one option from each branched adjacency; I used an orange line and box to connect the choices, implying the use of color as an organizational tactic. When I came upon a fairly specific topic I then used images to show possible solutions of how to approach the topic. It shows different building materials and colors for possible use, all spawning from my central programmatic idea. Furthermore, the voids that were developed were filled with color to differentiate the spaces as well as suggest interior or exterior use depending on the space. I ended with four voids of four different sizes; so four additional colors were used to compliment the adjacencies. I took this idea and developed a linear program through color. Taking colors that are well known for human mental and emotional reaction, I arranged them in priority of a conceptual approach sequence with a set size. This was then brought into a three-dimensional sequence exploring how these programmatic spaces might fall on each other in this sequence and scale. I adjusted the sizes to make room for a void connecting the entire program, which I adopted from my adjacency study. I decided this would serve as a form of lighting due to color needing sufficient light to affect the mind properly. After creating the connection in the program through the use of this void, I explored it further in relation to circulation. Taking a look at the linear sequence I had originally made for my conceptual program, I decided to create a circulation path using the void to link the programmatic spaces in a spiraling form picking up each space as desired in the linear path originally created. I saw this as a conceptual story of program though circulation, a path that brings you through each stage of program rather than a point A to B approach. I colored the circulation path all in orange, just as I had started with in my original adjacency diagram. I then combined my findings of program and circulation into a much simpler and sleeker conceptual path. This was then expanded on showing how color could be used to color code circulation spaces, visual connections, or spatial connections. Again, there is a reference to a linear diagram to show the concept of programmatic path in 2D and 3D configurations. Finally, I explored how programmatic spaces are influenced by the sensory elements that are associated with color. I created three scenarios for each, showing the possible options each space could take depending on how it developed in the future. I showed the warm sun as a bright yellow color flooding the space, while also showing how to create partial deflection or full closure depending on how the space may want to be influenced by outside color. I then did this for green space, weather which is associated with blue, and excess noise, which is associated with red. A full exploration of my programatic diagramming can be found on my semester blog at tumblr.flemingr.com

ADJACENCY DIAGRAM

PROGRAM DIAGRAM

CIRCULATION DIAGRAM

COLOR ASSOCIATION / COLOR CONNECIVITY / CIRCULATION

PROGRAM DIAGRAMMING

PHOTO CREDIT OMA

SITE DOCUMENTATION / SELECTION / ANALYSIS Upon evaluating my programmatic ideas, the development of a site was needed. Due to my earlier exploration of color in Allston, as well as my available access to resources in the Boston area, I decided to focus on Allston for finding a site. I began by creating a figure ground of the entirety of Boston; this included its attached neighborhoods such as Allston. In doing this I was able to evaluate beginning focuses that influence Allstonâ&#x20AC;&#x2122;s connection to Boston Proper and its other urban surroundings. Zooming in, I generated a figure ground of the Allston neighborhood, still leaving its sole connection into the Fenway and Kenmore area visible. This revealed the connective axis of Allston, something that is strongly associated with the functions of the neighborhood. The beginnings of white space start to hint at the major axis of Commonwealth Avenue, as well as secondary axis in Cambridge Street and Brighton Avenue. I expanded on my initial Allston figure ground evaluation by highlighting the main axis created. These are the main access point to Boston proper and beyond the Allston neighborhood. Here the streets are lined primarily with city functions rather than residences. The residences become densely tucked just beyond these roads. Allston seemingly revolves around these connective roadways. Finding the relation of these axis to my thesis work was the next relevant step. I began by highlighting all of the educational facilities located in Allston. After doing this there was immediately a visual connection of these facilities to major axis. The smaller schools that are K-12 are focused around the secondary axis of Brighton Ave and Cambridge Street, which are more central to the functions of the city. An interesting notion is the approach of major universities into the Allston neighborhood. Currently Harvard, which is located in the Northern portion of Allston, is planning on a serious expansion further into Allston, as well as Boston University slowly expanding up major axis of Commonwealth Avenue. With the academic presence of Cambridge and Boston spreading into Allston, the current surrounding school systems must respond. A full exploration of my site selections and development can be found on my semester blog at tumblr.flemingr.com

BOSTON FIGURE GROUND

ALLSTON FIGURE GROUND

ALLSTON AXIS

ALLSTON EDUCATIONAL FACILITIES

- Anonymous Allston Parent

- Education.com Review

SITE SELECTION Taking the information I gathered analyzing Allston and the beginnings of its educational systems, I decided to explore the possible weaknesses. Upon finding weaknesses I could then choose a site where color could be implemented to rectify the current problems. To do this I rifled through reviews of the public and private schools located in the Boston area, with primary interest in the Allston neighborhood. The schools located in Allston are primarily private institutions that generate seemingly great user and state reviews. However, the public school system of the Allston neighborhood is most definitely lacking. Most bad reviews, both from users and state, were focused around the elementary school of Jackson Mann and its connected deaf institute of Horace Mann. Both schools scored a one out of ten by state educational reviewers. It was here that I would create my site. This information resulted in the development of my current thesis stated at the beginning of this book. I chose the specific site of the Horrace Mann School for the Blind, which is in conjunction with the Jackson Mann elementary school. This site is surrounded by sub par elements for a proper school environment, as well as sub par institutional spaces. Color through the medium of architecture will be able to remedy the current problematic issues revolving around the site and its interior spaces. This will create better educational reviews and generate a proper reaction to these large-scale universities developing in Allston. To express this I explored different representations of site analysis in relation to color and locaiton. First I laid out a standard view of my site in its close context, showing the relationship of the school for the deaf, the smaller space, in relation to the larger sister elementary school. From there I developed a diagram representing the groundcover in the near context of the site. Although the elementary school is connected to ample green space, the rest of the surrounding site was purely concrete or asphalt with only a small group of trees giving visible color to the school for the deaf. I then continued with my color study of the site, analyzing the surrounding prominent building materials. As per usual in the Boston area, the site was mainly surrounded by brick buildings, following with some residential wooden construction with typical siding, and then the surrounding industrial buildings showing mostly concrete. It makes for a fairly monotonous landscape surrounding the site. Brick is represented by the color red, wood by yellow, and concrete by blue. Abstracing the ideas of approach to my site I combined a diagram showing overall building mass with approach to the street, main axis, and typical public transportation travel to and from my site. This was able to give me a general idea of the acitivity surrounding my site and the areas for possible connection without interruption. Finally, I expanded on traffic and activity flow and developed a diagram combining pedestrian, vehicular, and edge situations surrounding the site. This would be able to give me a better understanding of how to connect the site as well as possible view opportunities depending on further construction or development. A full exploration of my site representation diagramming can be found on my semester blog at tumblr.flemingr.com

SITE SELECTION

GROUNDCOVER ANALYSIS

BUILDING MATERIAL ANALYSIS

APPROACH ANALYSIS

ACTIVITY ANALYSIS

SITE PHOTOS

PHOTO CREDIT DAVID GARDNER

SITE SELECTION Now with extensive research, a chosen site, and significant knowledge analytical information, it came time to develop a more substantial program to work from in the future. Looking through architectural work that was concentrated towards my programmatic ideas I began to develop a foundation of programmatic spaces based off of what has been used in the past. I took typical spaces and used them as my starting point; from there I adapted my layout according to my specific needs towards volume for color and extra square footages for special needs students. I then planned for extra circulation and utility spaces, and reflected that in my gross square footage. I planned the overall square footage for my program failry genrously as of right now I only plan on devleoping the school for the blind, so it will need its own large feature functions such as a gymnasium and cafeteria, even if the overall student count is fairly low. From there, I checked into my selected site to make sure everything would be possible for my future plans. After it checked out, I began to generate quick renderings of my site placing precedent studies in the proposed area. I used three influential buildings, each with their own approach to the site. One using a taller vertical space with a proposed green space attached, one using larger volumetric spaces for ample view and light through color, and one simple approach with a similar scale of the surrounding buildings. Finally I proposed a working methodology for my next semesterâ&#x20AC;&#x2122;s work. Here I focused on creating a general guideline to keep myself focused on the task approaching, while also developing it in a realistic manner. Overall, I feel it should be a successful approach to my thesis development.

PROGRAM / SQUARE FOOTAGE

CLASSROOMS AUDITORIUM LIBRARY MEDICAL CAFETERIA GYMNASIUM (EXTERIOR) FACULTY LOUNGE ADMINISTRATION TECHNOLOGY CENTER SPECIAL INTEREST CLASSROOMS TOTAL: GROSS WITH CIRCULATION:

SQ/FT

TOTAL

10 1 1 1 1 1 1 1 1 2

800 4,000 2,000 1,000 2,000 3,000 1,500 1,500 1,000 1,000

8,000 4,000 2,000 1,000 2,000 3,000* 1,500 1,500 1,000 2,000 23,000* 29,900

METHODOLOGY Based on the research I have compiled in multiple aspects of this architectural problem, I plan on continuing my work through a more specific spectrum. I believe the necessary steps to continue this into an actual design concept or structural model would have to continue first through more research. Assessing matters like what specifically has worked or more importantly failed in the past for this educational scenario and why should enlighten me as to what I should build on for my concepts and design in color use. Furthermore, this assessment should give me ideas of how to step outside of what has been previously accomplished and try to find new innovative solutions to color use in educational practices. In turn giving me a thorough process of trial and error to reinforce my architectural decisions toward my final iteration. Speaking with professionals of hearing impaired education will be another beneficial method of exploration. This will generate sincere observations of the architectural spaces used, and grant me the base for creating conceptual responses toward solutions. Presenting my responses through my progression to the professionals spoken to will give me the opportunity to assess their opinion and react architecturally. Because I am concentrated on the properties of color in relation to architecture, I would like to elaborate and endorse the use of color studies previously successful. Many well known architects such as Rem Koolhaas, Norman Foster, and Richard Rogers have produced substantial diagrams and studies showing the spatial, emotional, and organizational influences of color through architecture. Because color is a very spatial concept in relation to architecture, the development of spatial diagrams showing how shape, light, and volume influence color would be beneficial toward design method. Color has endless possibilities of exploration, so using some of the color explorations outside of architecture and modifying them into useable explorations toward architecture will be influential toward design. New approaches will always generate new outcomes, and the more outcomes I can generate and assess, the stronger my final proposal will become.

Sports and Leisure Center in Saint-Cloud / KOZ Architectes Saint-Cloud, France 24,000 SQ/FT

SITE RENDERING De Oostvaarders / Drost + van Veen architecten Alemere, The Netherlands 18,000 SQ/FT

Epinay Nursery School / BP Architectures Epinay-sous-Senart, France 19,000 SQ/FT (SINGLE FLOOR)