COLOR THEORY BOOK
By Sonia Jaramillo Florida International University Prof. Darci Pappano Summer – 2015 IND 5325
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TA B L E O F C O N T E N T S
1 2 3 4 5 6 7 8 9 10 11 JARAMILLO
ME
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COLOR
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RESEARCH
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THEORY
COLOR
DESIGNERS FILM
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COLORS
COLOR
BALANCE RHYTHM R E TA I L
COLOR
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+ COLOR + COLOR COLOR
P/S A ND U/H H O S P I TA L I T Y C U LT U R E
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COLOR COLOR
COLOR M.1.
ME + COLOR
Module 1 : I’m an architect, in mi 20’s, I was born and raised in Colombia, but now I enjoyed living in this beautiful and magical city, Miami. I love designing, bright, happy colors, fun patterns, and interesting textures, modern and elegant, with a touch of sophistication and simplicity. JARAMILLO
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RESEARCH + COLOR
Module 2 : The research of and article called “Spatial Color� by Shashi Cann , the information from the article was evaluated in order to develop my own view, opinion, and position. How did it made me feel like? What I thought about the information provided? JARAMILLO
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Spatial Color Painting by Miles Davis, “Spectral� According to the article, Special color refer to the spatial interaction of light, color, and form. For color theorists, architects, designers, and from my own opinion for publicist and advertisers too, the way to understanding the effects of color in our psyche, emotions, and behavior is the key to a successful product, design or propaganda. Colors influences our emotions, therefore some colors can make us angry, sad, or depressed while others can make us euphoric or at peace. Colors can even alter us physically and affect our biological needs, for example, makes us thirsty, hungry, hot or cold. All of this facts can change the way we think and act in different situations. In the need for a better understanding of how powerful color is in our life scientist performed an experiment to test human behavior in relationship to color hues. The experiment consisted in analyzing human behavior while performing a cocktail party in three different rooms all with the same dimensions and conditions, the only difference was the wall covering, the used the colors blue, red, and yellow respectively one in each room. The experiment concluded first of all, that more people entered and enjoyed the yellow and red rooms more in comparison to the blue room. On second hand, yellow demonstrated to influence people to be more active, playful, and energetic, entering more but staying less in the room. While the blue demonstrated to have calming abilities, was less useful for socialization but even with the lack of activity within the room, people stayed there for longer periods of time. In addition, the experiment also tested the heart rate on people concluding that this one was not affected by colors, only the emotion and behavior of the subjects were affected. At last, but not least, the experiment resulted in true date because it based the conclusions by observing the subjects, not by asking them through questionnaires. JARAMILLO
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RESEARCH + COLOR
I totally agree with the conclusion of the study, I also believed that more investigation is needed in this case to fully understand the magnitude on the influence of colors in our everyday life. Previously i have learn in physiology books that we are bombarded with the influence on color, from giant billboards in the street, to the cartoons little kids watch, to our cereal box. Many industries, not only in architecture and design, used this powerful tool to influence our behavior to our or their own benefit.
Works Cited: “Spatial color” By Shashi Caan, SOURCE: Contract 49 no12 D 2007 (C) Copyright (2001) VNU Business Publications, USA. All rights reserved.
First header Painting by Miles Davis, “Spectral” The principles of light and color: including among other things the harmonic laws of the universe, the etherio-atomic philosophy of force, chromo chemistry, chromo therapeutics, and the general philosophy of the fine forces, together with numerous discoveries and practical applications. Babbitt, Edwin D. (Edwin Dwight) 1828-1905
http://hdl.handle.net/2027/gri.ark:/13960/t6h146g1
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THEORY + COLOR
Module 3: Color theory is the study and practice of a set of principles used to understand the relationship among colors.
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THEORY + COLOR Key Points • •
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Color is the result of light entering the eye. Where cones and rods transmit nerve impulses to the brain. Additive color: the primary colors added together, red, yellow, blue. subtractive color: applies to paints, colorants, inks. Results in secondary colors as green, orange and violet. Color can change over different light conditions. This is called metamerism. Color systems are composed by primary hues, secondary hues, tertiary hues, these combinations results in complementary and analogous colors. Color systems: • Newton color wheel. • Munsell color system. • Itten color star. • Pantone color management system.
MUNSELL COLOR SYSTEM JARAMILLO
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DESIGNERS + COLOR
Module 4: A precedent study, from a project chosen by prof. Pappano, in where we study the relationship and inspiration of colors in architecture and interior spaces.
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DESIGNERS + COLOR CHAPEL OF ST. IGNATIUS by Steven Holl LOCATION: Seattle, WA, United States. DATE: 1994-1997 PROGRAM: Jesuit chapel for Seattle University CLIENT: Seattle University SIZE: 6,100 sqft STATUS: completed
“Seven bottles of light in a stone box; the metaphor of light is shaped in different volumes emerging from the roof whose irregularities aim at different qualities of light: East facing, South facing, West and North facing, all gathered together for one united ceremony.” -Holl JARAMILLO
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DESIGNERS + COLOR Steven Holl , born in December 9, 1947, is an American architect and watercolorist. Holl graduated from the University of Washington and pursued architecture studies in Rome, he attended graduate school at the Architectural Association School of Architecture in London and established his offices New York City. Holl is partner with architects Chris McVoy and Noah Yaffe. His interest were based in the writings of philosopher Maurice Merleau-Ponty and architect-theorist Juhani Pallasmaa. Holl's architecture give emphasis, to the typology and the phenomenological approach; that is, with a concern for man's existentialist, bodily engagement with his surroundings. [1]
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DESIGNERS + COLOR 'Steven Holl's dramatically simple Chapel of St. Ignatius at Seattle University is, in every sense, illuminating. This spare, striking chapel, the cornerstone of Seattle University, offers testimony to the power of architecture to awe and amaze. It was designed by Washington-born New Yorker Steven Holl, who believes that architecture need not be tied to singular meanings, one-dimensional explanations, or unilateral ideas. His is an architecture of accident, intricacy, complexity. Holl designs buildings to be read much like poetry, on many levels form, metaphor, symbol, structure'. -Beth Dunlop, House & Garden, 9/1/2004
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The concept of Different Lights is further developed in the dialectic combination of a pure colored lens and a field of reflected color within each light volume
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DESIGNERS + COLOR
Each of the baffles is back painted in a bright color; only the reflected color can be seen from within the chapel. This colored light pulses with life when a cloud passes over the sun.
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Each bottle combines the reflected color with a colored lens of the complementary color JARAMILLO
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The visual phenomena of complementary colors can be experienced by staring at a blue rectangle and then a white surface. One will see a yellow rectangle; this complimentarily contributes to the two-fold merging of concept and phenomena in the chapel. [2]
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DESIGNERS + COLOR
The chapel is sited to form a new campus quadrangle green space to the north, the west, and in the future, to the east. The elongated rectangular plan is especially suited to defining campus space as well as the processional and gathering space within. Directly to the south of the chapel is a reflecting pond. [3]
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DESIGNERS + COLOR The hue of the natural light entering trough out the different lenses changes during the day according to the sun position and cloud coverage at the moment.
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DESIGNERS + COLOR Conclusion The saint’s writings described spiritual life as a series of light and darkness and used the metaphor of a light that comes from above as a manifestation of the divine.
LIGHT
This concept of blending physical and spiritual spaces with colored lights is the program of the building.
CONCEPT SPACE
Most of the interior light sources are tinted either by colored lens or indirect reflection from painted surfaces, and arranged so that each is juxtaposed with its complementary color. The result is a mysteriously glowing interior whose visual mood changes throughout the day and the year.
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DESIGNERS + COLOR
Conclusion – credits and awards CREDITS architect – Steven Holl Architects Steven Holl (design architect) Tim Bade (project architect) Janet Cross, Jan Kinsbergen, Justin Korhammer, Audra Tuskes (project team) local architect – Olson Sundberg Architects structural engineer – Monte Clark Engineering – Datum Engineering
lighting consultant – L'Observatoire International acoustical consultant – Peter George and Associates general contractor – Baugh Construction
artist – Linda Beaumont Linda Beaumont, Dora Nikolova Bittau
electrical engineer – Abacus Engineered Systems
AWARDS
mechanical engineer – Abacus Engineered Systems
National AIA Design Award, USA, 1997 National AIA Religious Architecture Award, USA, 1997
liturgical consultant – Bill Brown, AIA P.C. Bill Brown, AIA P.C. JARAMILLO
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DESIGNERS + COLOR Work Cited [1] Bio from https://en.wikipedia.org/wiki/Steven_Holl Photographs from http://www.stevenholl.com/project-detail.php?id=40
[2], [3] Kelly Minner. "AD Classics: Chapel of St. Ignatius / Steven Holl Architects" 01 Mar 2011. ArchDaily. Accesed5 Jul 2015. http://www.archdaily.com/115855/ad-classics-chapel-of-stignatius-steven-holl-architects/
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FILM + COLOR
Module 5: The study of a film, and important scenes from which I analyze the used and purposed of the color palette. The relationship between color to mood, character development and symbolism, plus the importance of color in the field of consumerism. JARAMILLO
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FILM + COLOR THE HUNGER GAMES: MOCKINGJAY PART 1 Francis Lawrence, 2014
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FILM + COLOR COLOR PALETTE YELLOW Sun Vitality Hope Optimism Wisdom caution ORANGE Warmth Strength Endurance Rage Danger BLACK Power Sophistication Death Emptiness Sadness War
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ANALYSIS Plot After being rescued from the destroyed arena in the 75th Hunger Games, Katniss Everdeen, is taken to District 13, an independent district isolated from the rest of Panem that has been spearheading the rebellion, where she is reunited with her mother and sister. She is introduced to President Alma Coin, the rebel leader, and is told that her actions in the arena sparked riots and strikes against the Capitol. Coin asks her if she will become the "Mockingjay"—the symbol of the rebellion. Katniss flatly accepts the challenge after seeing that Peeta is being used by Capitol state television to quell the rebellion. Katniss visited different districts inspiring the people and forming a stronger rebel group in between a war of districts. Bombs, demolitions, deaths, and the remaining survivors scared and refuge in shelters. Katniss try to rescue Peeta and stop the attacks to district 12.
Observations The movie runs in a time of change, war, destruction and desperation from the people, the rebels want freedom, change, and peace. With all the emotions encounter in the film we observed a lot of saturated colors, strong hues in the foreground. Vibrant colors, lots of fire, and destruction/darkness contrasted with hope/light.
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FILM + COLOR ANALYSIS Color Usage
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The scenes in the movie run mostly with a neutral palette, showing specific vibrant colors only to focus the attention to a character in specific, or and object. Most of the background presents a neutral, pastel colors, whites, greys and creams. Foreground pieces or characters always presented a lot of saturation in the color palette, darker tones, to show power, rebellion. Lot of contrast, and saturation to bring out the destruction to a more present and loud plane in the movie. Important characters with power, like the president, presented hues with glossy and shiny finishes, expensive materials, and lots of textures in the fabrics. High Contrast between dark/shadows and bright/light during the day. The movie is not a happy movie, is mostly about desolation and war, therefore the natural light present poses a neutral luminosity, which doesn’t brighten the neutral colors. Earthy, sandy tones with intense contrast. In moments were characters need to represent hope the scene becomes brighter and the intense tonalities of the colors brighten up to represent a better outcome in the movie.
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BALANCE + COLOR
Module 6: Balance refers to the relationship of different hues to one another when each is perceived to be equal in perceived visual weight.
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BALANCE + COLOR Key Points • •
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Balance is used to described the perceptual state of equality or order of objects within a larger composition. Balance is describes by three types: • Symmetry • Asymmetry • Radial balance Visual weight is the perception of lightness or darkness of a color. In regards of color size, the larger the amount of color used, the lighter it will appears, the smaller the amount of color used, the darker it will appear. The amount of color used, the number of different color used, the visual weight of the colors, and the location of the colors, and the location of the colors within the space are the four key factors in establishing good color balance.
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RHYTHM + COLOR
Module 7: Rhythmic order is used in a interior space to give visual movement. Rhythm and color can be used to create five types of visual effects: repetition, alteration, progression, continuation, and radiation.
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RHYTHM + COLOR Key Points • • • • •
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Rhythm is a natural evolutionary trait in nature that can be transferred to interior spaces and can be emphasize with color. Nature is a source of inspiration for rhythmic patterns. There are five types of rhythm associated with colors: repetition, alternation, progression, continuation, and radiation. Color can be used with line to outline important architectural and interior elements on a space. Good continuity of space is when the user have and ongoing visual experience of the space. As a person moves thought a space, the used of color and rhythm should guide him or her along the path of intended sequence. As with musical compositions, color can be used to create rhythm and movement in a space.
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R E TA I L + COLOR
Module 8: A personal field trip, where I explored a retail store. The understanding of emphasis and the concepts of hue, value, textures and focal point were explored, experience and documented.
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R E TA I L + C O L O R
ALLSAINTS Women’s and men’s clothing, footwear & accessories 910 Lincoln Road, Miami Beach, FL.
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R E TA I L + C O L O R A B O U T Formerly known as AllSaints Spitalfields, is a British fashion retailer founded in 1994, headquartered in Spitalfields, London, UK. [2] The brand is known for creating fresh, innovative design, encompassing an ideology of reinventing the traditional standard. [1] Many describe their ideology as an “post apocalyptical look” with high-quality fashion yet attitudinal clothing. The brand’s metropolitan location remains a key influence, proving to be an ever-evolving, creatively inspiring hub. Their edgy, rebel yet super fashion label captures the creative attitude and independent spirit of East London street transcending the style from the clothing to the design of the store.
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R E TA I L + C O L O R C O N T R A S T H U E
O F
The store uses contrast in colors to showcase their clothing style, dark items are displayed on the white walls as background, while light items are displayed on dark surfaces, or black walls as background. Also the whole design of the store plays with the contrast in hue. With neutral white walls the intense and vibrant vintage accessories of dark colors turn into focal points.
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R E TA I L + C O L O R C O N T R A S T O F V A L U E The store unifies the clotting style with the store design, playing with the values of a monochromatic palette of different hues, most of the colors having earthy and neutral tones, such as greys, dark blues, creams, and browns. For example, the wall design with the sewing machines present a rhythm. It it’s the same item display in the same way, but the used of recycled and reused wood, metal pipes, and old sewing machines makes the wall so interesting that breaks the pattern to anything but boring. This occurred because the items present the same tonality but varies constant in value because of their vintage attitude.
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R E TA I L + C O L O R C O N T R A S T O F A D E S I G N F E A T U R E I think the major contrast in the fixtures is their unique feel to it. Each table, rack, shelve or display looks original and one of a kind. Many of the displays accessories used in the store are recycled from old rail roads, old construction sites, salvage stores or donated by the owners. The new details as the flooring, wall covering, and lighting fixtures are design with a old vintage finish to blend in with the style. On overall the vintage design of the store contrast with the clothing that has a modern edgy look.
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R E TA I L + C O L O R C O N T R A S T O F T E X T U R E The design of the store contrast not only between textures but also materials with different textures. Old vintage recycled wood tables for display in contrast with the tiled floor that presents a middle ages style with a lot of contrast in hues, brown, orange, yellow, green, white. Same floor contrast with the walls, which are a vintage white color. In the background the old white contrast with the decorative accessories and clotting that presents a lot of intense tonalities. Some parts of the store are wooden floors that in specific places have metal details.
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R E TA I L + C O L O R F O C A L
P O I N T
The focal point of the store would be the sewing machine wall, not only located in the display window of the store but also as a partition wall that divides the women’s clotting from the male. The hard rhythm, used of dark colors against a light background, and size makes it impossible to miss it. In addition ever single one of this old sewing machines is a original piece of art.
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R E TA I L + C O L O R
C O L O R E M P H A S I S The major emphasis in the design of the store if the style. They pay close attention to detail, to every single one of them. To the colors, a very restricted palette of neutrals with variation of hues for the clotting and overall design. They sell you their style, their street London, elegant, modern, edgy style. Therefore every display , rack or feature represents this ideology that transcend to the style.
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R E TA I L + C O L O R R E F E R E N C E S http://www.us.allsaints.com/ [1] https://www.meadowhall.co.uk/store_profile.aspx?retailername=AllSaints [2] https://foursquare.com/v/allsaints/4b3baca7f964a520887825e3/ http://stephenwitte.com/2013/03/allsaints-we-are-not-high-street-fashions/
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PROPORTION/SCALE AND U N I T Y/ H A R M O N Y + COLOR Module 8: Proportion of colors should be considered in the context of the scale and use of the space. Uniform distribution and used of color in a complex interior space can harmonize the overall design.
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P/S AND U/H + COLOR Key Points •
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Proportion is the size relationship between elements and the visual space Scale is the size of a shape in relationship to a given known. The world around us is made according to our scale. Colors are usually distributed proportionally with the used of grids. Where dominant colors occupied largest areas and strong dark colors are located in small areas. Color can be used to change our visual perception of a space’s actual size. Methods for establishing proportional relationships: • The golden section. • The Fibonacci sequence. • Le modular. • Nature’s proportions. Unity is the repetition of color to achieve a unified whole. Harmony is the perfect balance between individual color relationships. Monochromatic is the harmony of the palette of a single hue. The right used of color unifies the space with the design without overwhelming it.
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Six elements in color harmony: • Harmony of scale. • Harmony of hue. • Harmony of a dominant color. • Harmony of contrast of scale. • Harmony in contrast of hue. • Harmony in contrast of colors.
GOLDEN RATIO
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H O S P I TA L I T Y + COLOR
Module 10: The following hotel was selected, visited, explored, analyzed, and documented. The color palette used by the designer was study in contrast with the relationship of the space, shape, patterns, textures, and used.
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H O S P I TA L I T Y + C O L O R PROJECT: The W Hotel DESIGNERS: Architect Costas Kondylis in collaboration with NBWW & Associates, Anna Busta of Studio B Design, and landscape designer Paula Hayes. LOCATION: South Beach, FL. Hospitality Design Analysis
Architect Costas Kondylis created a new landmark that recalls Miami’s modern architectural legacy with its dynamic and whimsical façade. The stunning W hotel lobby, has been designed by Anna Busta and features dramatic artwork from noted collector Aby Rosen’s private collection. Strongly influenced by art deco elements. JARAMILLO
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H O S P I TA L I T Y + C O L O R Textures Color and Line In this long linear design, designer used the different in height to defined the most important space. The tall columns accentuated by the bronze details makes the vertical linear elements even taller, and the linear flooring in the direction of the longer space accentuate its longitudinal properties even more. Color and Shape Clean lines and simple shapes, a modern, sophisticated, elegant look with a touch of art deco to it. With a 120 foot long lobby and 20 foot height ceiling the contrast in shape and proportion plays a big game in this design. The big difference in the height of the columns and walls makes the furniture appear more in proportion with our scale and makes the small living areas around the lobby more comfortable to chat and mingle. Many of this pieces have a white or light color witch contras with the bigger shapes having dark and complex textures, some have bright tones as purple and gold, glossy, sparkly or yellow accent pieces, such as pillowcases, bases, or lamps.
Dark wood
Grey marble
Terrazzo
Quartzite stone
Zebra carpet
Purple leather
Bronze details
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H O S P I TA L I T Y + C O L O R Color and Texture The contrast of textures can be appreciated in different moments for example: The opaque warm feel of the dark wood floor along the lobby in contrast with a terrazzo border and a row of columns with a cold white quartzite finish and a bronze detail very ornamented up front. Other example, is the smooth flooring treatment with the warm carpeting between stages. Also the white quartzite stone treatment in each column in contrast with the light translucent treatment of the curtains in each window. Color and Pattern The lobby has a living room inspired design, designer Anna Busta, used the contrast between patterns and colors to separate different moments within this awkwardly long space. The contrast of the wood floor with a linear pattern is broken up in stages by the carpeting with a bold zebra design. This gesture combined with the column and wall treatment in a rhythmic way marks each living room in the open space for a sense of privacy. She used the metal in a bronze color with a cold feel as partition details with the soft warm light eggplant color of the fabric curtains to mark each space. JARAMILLO
Textures
Dark wood
Grey marble
Terrazzo
Quartzite stone
Zebra carpet
Purple leather
Bronze details
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C U LT U R E + COLOR
Module 11: Research and analysis was made between my culture and one I found interesting. In order to understand how colors influence who we are, and how who we are influences our used of color.
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C U LT U R E + C O L O R
COLOMBIA
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C U LT U R E + C O L O R
COLOMBIA Colombia is located in the northern part of South America. Surrounded by two oceans, Pacific and Caribbean, the amazon jungle and the Andes, bordering with Brazil, Venezuela, Ecuador, Peru, and Panama. Colombia is a extremely rich country in biodiversity. Bright colored flowers, exotic birds and fruits are abundant. Colombia is a cultural mix of Spanish and Europeans with indigenous or natives, and African. With a tropical climate, beautiful beaches, amazing mountain views, and kind happy people, Colombia is a colorful paradise represented in the heart and personality of their citizens. The more abundant colors in the Colombian palette are bight yellow, orange and red, with lots of blues from rivers, oceans and a beautiful skies year round, and green everywhere. The flag: represents all the gold found in the Colombian land represents the seas on Colombia's shores. represents the blood spilled for Colombia's independence.
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C U LT U R E + C O L O R
ITALY
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C U LT U R E + C O L O R
ITALY Italy European nation, Epicenter of the Roman Empire and birthplace of the Renaissance. Is located in the heart of the Mediterranean Sea, shares land borders with France, Switzerland, Austria, Slovenia, San Marino and Vatican City. The land of the perfect espresso, home of Prada, Gualtiero Marchesi and Renzo Piano. Colors representing beauty, elegance and style. Shades of creams in the architecture wash out by time and history, bright greens in the Tuscan landscapes, bright colored fruits, red for tomatoes and the best wine, blues for the Mediterranean sea, abundant rivers and beautiful skies. With a big geographic diversity From icy Alps and glacial lakes to the volcanic craters and turquoise grottoes, this is a place for doing as well as seeing. The colors of Italy represents its heart warming happy people, rich history, amazing temperate climate, and luxurious landscapes. The flag: represents hope. represents faith. represents charity.
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CONCLUSION + COLOR
Color is more than just light reflected and capture by our retina. The right use of color is the harmony between proportion and scale, special volume, and the perfect relationship of hue, texture, and pattern. Color influences ourselves, and we are influence by the power of color.
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THE END