Vanessa Martin - Color Theory Final

COLOR

THEORY

SPRING VANESSA MARTIN

2016

TABLE OF CONTENTS

M.1 ...c o l o r + m e M.2 ...c o l o r + t h e o r y M.3 ...c o l o r + d e s i g n e r s M.4 ...c o l o r + f i l m M.5 ...c o l o r + b a l a n c e M.6 ...c o l o r + p h o t o g r a p h y M.7 ...c o l o r + r h y t h m M.8 ...c o l o r + r e t a i l M.9 ...c o l o r + p r o p o r t i o n / s c a l e M.10 ...c o l o r + h o s p i t a l i t y M.11 ...c o l o r + r e n d e r i n g M.12 ...c o l o r + w o r k p l a c e M.13 ...c o l o r + c u l t u r e

M.1 ...C O L O R + M E

The beauty of Interior Design is that while it stands still, it has the potential to move. Not all creations are successful, certainly, but I believe that the pursuit of that ideal is worth the demanding journey. Having a profound value for beauty is what has propelled me to pursue higher education in design. My personal value and recognition for the beauty that is interior design and architecture, along with a desire to share this beauty with others is what I’m most passionate about.

A Miami native, born and raised in the heart of one of Miami’s Historic Cuban Neighborhoods, my Cuban roots were never far behind and accompanied by a Spanish-French heritage. I am currently enrolled in Florida International University’s – Interior Architecture – Accelerated Master’s Program with an

Associate in Arts Degree in Interior Design from Miami Dade College.

M.2 ...C O L O R + T H E O R Y Color theory is the study and practice of a set of principles used to understand the relationships among colors. Color theory has been studied for decades and new ideas and practices are continuously unraveled. The role color plays in art, design, and other allied professions is important to using color successfully. A certain amount of knowledge in the scientific aspects of color is necessary, however, from a design perspective; we are engaged in the human interface involving the way people respond to color. Whether in our homes, our offices, schools, or businesses, color transforms our surroundings.

A variety of color systems are available to designers. No single solution is used in the interior design industry; rather, each system offers its own contribution to learning about and working with color.

Hue, value, and chroma are the three dimensional colors. Additive color theory applies to combining the three primaries of light—red, blue, and green. Subtractive color theory applies to combining the three primaries of pigment—red, blue, and yellow.

M.3 ...C O L O R + D E S I G N E R S

NEW YORK, NY

STEPHEN CASSELL AIA LEED AP Undergraduate degree in Architecture from Princeton University Master of Architecture from the Harvard Graduate School of Design. Served as the Shure Professor at the University of Virginia and as the Friedman Professor at the University of California at Berkeley, and has also taught at Harvard, Princeton, MIT,, Syracuse and the Rhode Island School of Design.

+ ADAM YARINSKY FAIA LEED AP Undergraduate degree in Architecture from the University of Virginia Master of Architecture from Princeton University. Served as the Eliel Saarinen Professor and as the Sanders Teaching Fellow at the University of Michigan, and as the Shure Professor at the University of Virginia. He also taught at Harvard University, Princeton University, Yale University, Syracuse University, Parsons/The New School and Washington University in St. Louis.

Architecture Research Office

AOSHI KUDO ART DIRECTOR

Graduated from Tokyo University of Fine Arts and

Music, Art Department in 1988. Transferred to Shiseido International France in 1992.

Awarded Japan Packaging Competition Minister of International Trade and Industry Award in 1992, Display Design Award Grand Prix in 1994, and Japan Package Design Award Grand prix in 1995. Returned to Advertising Division of Shiseido Head Office in Tokyo in 1996.

Shiseido International

The word Qiora, which means “light

from within,” is the

name of the holistic skin care brand launched in 2001 by Japan’s ShiseidoNCosmetics.

Project Description

To overlap a spa’s need for privacy, ARO referenced Qiora’s own holistic approach to skin health. If the store and spa is outwardly luminous, the source of such light must be a sense of

inner calm.

Blue

organza

fabric

veils

suspended by a Velcro system from the twenty-foot ceilings set the visual and tactile boundaries required between retail, treatment areas, and the spa cabins.

Dyed milky white, aqua, and

darker blues, these layered veils dematerialize the solid surfaces of the round spa cabins.

The gauzy colors are carefully

calibrated by overlapping layers of

fabric

and

placement

of

illumination.

They draw the eye continually further into the space, where a

soothing, clean refreshes the visitors.

mood

Project Description

The word Qiora, which means “light

from within,” is the name

of the holistic skin care brand launched in 2001 by Japan’s

ShiseidoN-

Cosmetics.

Project Description

To overlap a spa’s need for privacy, ARO referenced Qiora’s own holistic approach to skin health. If the store and spa is outwardly luminous, the source of such light must be a sense of

inner calm.

The diffusion of light through organza is notable for its natural feel, as if a cloud were passing over the sun.

Project Description Project Description

It casts the visitor’s skin in a rare luster. Simply being present inside the space evokes the

refreshment made available products.

relaxation through Qiora

and

Hidden along perimeter walls, behind white flame retardant fabric, are Qiora’s central lighting fixtures, a staggered formation of vertical fluorescents.

Project Project Description Mornings

and afternoons, Qiora’s computer-controlled lighting is mutely white.

Intimate, bluer tones come out in the evening, making the store and spa a lantern on Madison Avenue.

Descrip-

SUMMARY

The

CONCLUSION

materials

selected for the

project clearly take into account the brand, which caters to

beauty. organza

skin

and its

With this in mind, the fabric

which

drapes

in

elegant curves allows for the paly of light in the space giving the users

Collectively, one sees that from the clear communication between the architects and the designers emerges a series of spaces which are driven by the concept of skin and all its

beauty.

skin full attention.

The

blue

colors selected, which the

color palette is centered around, provides a sense of

refreshment

relaxation

and

helping reinforce the

concept of the designers and of the spa spaces.

This is a great example of how the designers took the brand and worked together with it to create an amazing space that in every sense is true to the brand and products, but most importantly, it caters to the users well-being and beauty from interior to exterior.

REFERENCES



http:// ndagallery.cooperhewitt.org/ gallery/10778867/Qiora-Storeand-Spa



http://archinect.com/firms/ project/12183539/qiora-storespa/14868298



http://www.detail-online.com/ inspiration/two-shops-in-newyork-103816.html

M.4 ...C O L O R + F I L M United Press International journalist Will Bloom and his French freelance photojournalist wife, Josephine Bloom, who is pregnant with their first child, leave their Paris base to return to Will's hometown of Ashton, Alabama on the news that his father, Edward Bloom, stricken with cancer, will soon die and is being taken off chemotherapy treatment.

Although connected indirectly through Will's mother and Edward's wife, Sandra Bloom, Will has been estranged from his father for three years since his and Josephine's wedding. Will's issue with his father is the fanciful tales Edward has told of his life all his life, not only to Will but the whole world.

As a child when Edward was largely absent as a traveling salesman, Will believed those stories, but now realizes that he does not know his father, who, as he continues to tell these stories, he will never get to know unless Edward comes clean with the truth before he dies. On the brink of his own family life beginning, Will does not want to be the kind of father Edward has been to him. One of those stories from Edward's childhood, that he saw his own death in the glass eye of a witch, led to him embracing life since he would not have to fear death knowing when and how it would eventually come. In the end, Will tells the greatest story of them all when he bids farewell to his father and his stories and embraces them. When will becomes a father we see he continues to hold close his fathers memories through the story telling he has clearly began to tell his own son, thus making Edward’s memory immortal.

Monochromatic Blue The eerie scene of being into the woods, loneliness, unaware, and concerned.

Monochromatic Blue This scene shows loneliness and a gloomy sense of surrounding complimented by concern.

Primary Hues

One of the two scenes containing extreme emotions of joy and happiness.

Primary Hues

This scene was repeated several times and represented a time of whimsical exploration of the imagination and joy.

Contrast

This moment is usually is of analysis between the characters and how time seems to be at a neutral transitioning into concern balances by joy.

Pastel Colors

Moments of sympathy, like this one, have a neutral palette which gave peace to the scene and serenity.

Monochromatic Beige This moment is usually followed by a surprise. A pensive scene where the palette allowed for the thoughts to come through to the viewer.

Monochromatic Beige This moment had a tense, unknown to it allowing for monochromatic beige yet a pop of blue, symbolizing hope in a moment of unknown.

Complimentary and Contrast A scene that represents peace and tranquility but hope and joy at the same time.

Complimentary Symbolic of comfort, joy, and happiness yet temporary. It gives a sense of complete refreshment and serenity.

Monochromatic Grey and Dark Green This scene is repeated in the beginning and end of the film. It shows us the unknown, eerie and mysterious yet very serene.

Monochromatic Yellow Showing us a time of difficulty yet hope for the unknown, this scene is crucial to the rest of the films understanding.

SUMMARY In summary, true to Tim Burton’s films, he uses a magical combination of colors to add to the whimsy of his films.

From monochromatic to primary for excitement leaving us visually desiring more; to subdued hues that leave use wandering through eerie forests and the unknown.

The film tends to gravitate away from primary colors unless they’re are precisely used to bring something tour attention.

Neutral and monochromatic are the main focus of the films scenes.

M.5 ...C O L O R + B A L A N C E Balance refers to the relationship of different hues to one another when each is perceived to be equal in perceived visual weight.

Asymmetry results when elements on either side of an implied axis are equal in color weight but vary in shape and size.

Symmetry is the arrangement of elements on either side of an implied axis that are equally balanced and of the same shape and form.

Radial balance is achieved by the equal rotation of design elements around a central axis.

Contrast is opposition in order to show or emphasize differences between two objects.

Color interaction involves the contrast of light and dark values; when one value is placed next to or surrounded by the other, the visual weight of the smaller of the two color areas is intensified.

M.6 ...C O L O R + P H O T O G R A P H Y

M.7 ...C O L O R + R H Y T H M Rhythm is a natural evolutionary trait in nature that can be transferred to interior spaces and can be further emphasized with color.

Progression involves the repetition of similar elements with a continuous change (large to small, low to high, narrow to wide, light to dark).

Using bio-inspired color and design creates a personal connection, familiarity, and relevance to an object or space that may not have existed otherwise.

Repetition is the systematic orderly succession of identical design elements along a define path in space.

Alternation occurs when two design elements are repeated in sequence similar to repetition.

Color radiation uses a concentric color arrangement instead of objects to unify design elements and create visual movement versus the traditional sense where it is an arrangement of objects in a radical pattern.

M.8 ...C O L O R + R E T A I L COLOR + EMPHASIS

Since 1854, Louis Vuitton has brought unique designs to the world, combining innovation with style, always aiming for the finest quality.

Today, the Maison remains faithful to the spirit of its founder, Louis Vuitton, who invented a genuine “Art of travel” through luggage, bags and accessories which were as creative as they were elegant and practical. Since then, audacity has shaped the story of Louis Vuitton.

Faithful to its heritage, Louis Vuitton has opened its doors to architects, artists and designers across the years, all the while developing disciplines such as ready-to-wear, shoes, accessories, watches, jewelry and stationery.

These carefully created products are testament to Louis Vuitton’s commitment to fine craftsmanship.

TABLE OF CONTENTS

CONTRAST OF HUE

CONTRAST OF VALUE

CONTRAST OF A DESIGN FEATURE

CONTRAST OF TEXTURE

FOCAL POINT

CONTRAST OF A HUE

The contrast of neutral against precisely chosen design elements that are in black and again contrast against earthy hues adds layers of information to the space Louis Vuitton is inhabiting and ultimately transforming.

This photograph shows what a user would see at first glance when entering the flagship store. Clear layering of hues add to the visual information given to use along with the way they strategically want the products displayed.

CONTRAST OF A VALUE

Having used a mainly monochromatic palette for the store along with their branding, Louis Vuitton loves to emphasize their products with light which along with its color temperature allows the user to appreciate the contrast of value found in the space.

This image is specific to the menswear area. It shows the depending on the product, light add been added for emphasis and appropriate of the item (leather versus fabric for example).

Another example of contrast of value found here is where the millwork shows the backing to be white and sometimes an earthy neutral.

CONTRAST OF A DESIGN FEATURE

The contrast of the feature wall or accent wall is one found in numerous locations throughout the store. This makes the design all the more appealing and does not allow it to become monotonous. By adding a light box to display and bring attention to the products we see the contrast within the contrast of the wood veneer feature wall.

Found in the womenswear area, this feature wall is consistent with the color palette selected by the designer. We also see the designer play with hues in this space which makes it visually pleasing and appropriate to the users shopping here.

CONTRAST OF A TEXTUR E

Hidden in a special space such as the fitting room, we find that Louis Vuitton has brought their brand image to Miami allowing rich wooden linear elements to live in this space drawing our eyes upward to the ceiling. Along with this elements the wallcovering allows for a tactile experience as soon as you walk in. We see as we approach the location Louis Vuitton has given an excellent example of the use of texture by encompassing their location with a building skin that reflects their company logo. Although monochrome in choice, this adds to the brand experience with a unique visual component.

FOCAL POINT

The main visual attraction in this flagship store is the large blue acrylic feature wall that captures the eye no matter where you stand in the store.

This focal point serves its purpose as to draw the users attention to this special location where one has the opportunity to customize merchandise or have ones merchandise personalized with initials.

Along with this special attention, the main focal point allows us to curiously wander closer to vintage pieces to which Louis Vuitton allows us to see.

REFERENCES



http://www.miamidesigndistrict.net/listing/276/ louis-vuitton/



http://us.louisvuitton.com/eng-us/point-of-sale/ usa/louis-vuitton-miami-design-district



http://bocamag.com/blog/2012/10/02/louisvuitton-lands-in-miamis-design-district/

M.9 ...C O L O R + P R O P O R T I O N / S C A L E Proportion is defined as the size relationship between elements and the visual composition or space.

Scale refers to the size of a shape in relation to a given known, in most cases, the human body and its position within a space.

Proportion of color should be considered in the context of the scale of the space and amount of lighting available.

Using a grid system based on the golden section, Fibonacci, Le Modular, or natural forms can provide a more accurate method for establishing relative color proportions in the initial planning stages of your design projects.

Scale and proportion can enhance and alter the visual perception of our environment.

Natural color forms can be identified for establishing relative proportions and can then be translated into interior projects.

Using shape grammar with three-dimensional studies opens a window for exploring the color proportions in the built environment.

M.10 ...C O L O R + R E T A I L THE VICEROY HOTEL, MIAMI, FL DESIGNER:

KELLY WEARSTLER

COMMERCIAL DESIGN ANALYSIS

V A R I E T Y is a principle of design that is concerned with the combination of ne or more color elements that use line, shape, texture, and/or pattern to create diversity and contrast in an interior space.

MAIN LOBBY

COLOR + LINE: We see that this space has clear datum through the lines surrounding the interior space vertically and horizontally. These lines create a strong visual element.

COLOR + SHAPE: Designer Kelly Wearstler incorporated several shapes into the patterns she choose and at the same time manipulated materials into the shapes she wanted for the space.

COLOR + TEXTURE: Visually commanding our attention is a feature wall which is composed of a textured pattern of geometric shapes protruding from the wall itself.

Drawing us in visually and wanting us to feel the wall itself.

COLOR + PATTERN: Gracing the walls are luxurious drapes with a custom pattern made for this space specifically.

We see that the color palette remains the same throughout the floors on this level which is the main lobby for this tower at the VICEROY.

MAIN LOBBY

V I C E R O Y M I A M I blends timeless East Asian accents, international service standards and Miami’s own rich ambience to create an unparalleled resort destination in Brickell, downtown Miami’s Wall Street of the Americas.

FIFTY LOBBY

COLOR + LINE: Gentle lines designate wayfinding to the elevators to take guests up the 50 story experience to reach the famous FIFTY.

COLOR + SHAPE:

A focal point is the main luminaire that hangs in the lobby of this space which also acts as a waiting area during there busy days where guests would await the famous elevators to take them to their destination.

COLOR + TEXTURE: The space is adorned with layers of texture, all which add visual interest to the space and can be found within several of the exclusive furniture pieces made for the space.

COLOR + PATTERN: The main focal point would be the wallcovering adorning the back wall and encompassing the adjacent walls. Depicting fauna that still compliment the color palette that is continuous through out the main lobby and waiting area.

FIFTY LOBBY

Within I C O N B R I C K E L L, the hotel stands steps from the 28,000 square foot spa and fitness center, 300 foot infinity pool on Biscayne Bay, poolside bar and fireplace, and life-size chess set.

Perched atop the 50th floor of Viceroy Miami, FIFTY Ultra Lounge offers the city’s most exclusive lounge, while the private pool deck with bar offers dramatic skyline views unequalled in Miami.

HALLWAY

COLOR + LINE: The ceiling in this area creates a backdrop for amazing luminaires to visually grace the space without competing.

COLOR + SHAPE:

Luminaires in this space are bringing shapes within its own shape. Allowing light to filter threw those circular shapes only strengthens the shape of the luminaire itself.

COLOR + TEXTURE: The floor in this space shows texture through the amazing display of marble the designer chose. We see that there is a pattern within this textured element but the natural veining of the marble and the contrast allows texture to become part of the space and compliment other design features.

COLOR + PATTERN: Visually drawing attention are these patterned panels adorning the wall. This gives the wall their own personality which aids to the previously mentioned visual information. All together these layers of information add to the users interest in the space making it more of an experience.

M.11 ...C O L O R + R E N D E R I N G DESIGN GOALS

Inspired by the various colors found in succulents, this space has several visual layers of information to add interest.

Focusing on the color palette primarily and texture as a secondary component, together makes a design composition that pleases the eye.

COLOR SELECTION

The selected color palette is relaxing yet invigorating. This particular color palette focuses mainly of tones and tints rather than stronger hues or shades.

Although there are not neutrals used, one color acts as the dominant so that the other colors can all paly well together.

D O M I N A N T:

ACCENT 2

The dominant color acts as a canvas for the rest to dance amongst the space. Although not a true neutral, it is a tint allowing it this ability to compliment the rest of the palette.

SECONDARY:

ACCENT 1

The secondary color is another tint that adds a pop of color to where the eyes want to be drawn to.

TERTIARY:

DOMINANT

The tertiary color is a tone from the same family of the dominant color acting as a perfect compliment to this dominant color.

ACCENT 1:

SECONDARY

The first accent is a tint that compliments our secondary color and draws the eye to the items in this color.

ACCENT 2: The second accent is applied to the accent wall in conjunction with the secondary color to add a visually strong focal point in the room, amongst the other colors.

TERTIARY

M.12 ...C O L O R + R E N D E R I N G COLOR + ANALYSIS

Australian-based Global Investment Banking company Macquarie Group commissioned architect Clive Wilkinson to design its new office space in Sydney, Australia, just a block from Sydney Harbour.

The result is a feisty, revolutionary design that embraces the flexible Activity Based Working (ABW) platform. Each floor is divided into 5 neighborhoods of approximately 100 people with theme Plazas. Different working groups have meeting pods which were inspired by shipping containers in Sydney harbour. The different work groups can be identified by decor or by the numbered vinyl decals.

MACQUARIE GROUP REVOLUTIONARY WORKPLACE DESIGN

DETAILS

SHAPE: Collaboration spaces in this workplace have been cleverly designated by these square and rectangular shapes with rounded edges.

TEXTURE: Texture has been used though out the workplace by use of fabric and finishes which enhance the users experience.

PATTERN: This workplace has an amazing use of pattern in the conference room. It becomes a creature of its own and divides the space acting as a partition and as the ceiling.

LINE: Choosing to have these upholstered panels created linear lines to direct the users eye versus having one large upholstered panel adds interest to the collaboration area.

DISCUSSION + ANALYSIS

SHAPE: Collaboration spaces in this workplace have been cleverly designated by these square and rectangular shapes with rounded edges.

TEXTURE: Texture has been used though out the workplace by use of fabric and finishes which enhance the users experience.

PATTERN: This workplace has an amazing use of pattern in the conference room. It becomes a creature of its own and divides the space acting as a partition and as the ceiling.

LINE: Choosing to have these upholstered panels created linear lines to direct the users eye versus having one large upholstered panel adds interest to the collaboration area.

LINE

PATTERN S H A P E

CONCLUSION AND EXPERIENCE In conclusion, I find this to be one of the most interesting examples of workplace design.

Beginning with the use of space to designate the collaboration and conference rooms while giving the user layers of visually stimulating information.

The use of texture and pattern is also highly successful, for example, although all one color, two materials were applied adding more information for us to enjoy.

We can find lines in their natural form, straight, but also creating shapes and acting in other ways which allows us a greater appreciation for them. In all scales, we find these lines creating datum through the space and playing with the shapes while still being present in a smaller scale which acts as a pattern of its own.

M.13 ...C O L O R + R E N D E R I N G COLOR + CULTURE

CUBA

EGYPT

MY CULTURE HISTORY & CULTURE Havana’s colorful architecture is a product of its historical development. Havana of the sixteenth and seventeenth centuries was a highly colored urban space. Chronicles written

by Dutch, English, French and Spanish visitors provide an image of Havana as a city painted in blue and green. After all, this was the period in which the well-known “colonial blue” was born. These colors, of course, were highlighted by the highly elaborate roofs done in the Moorish style. All you have to do is gaze upon the old colonial house at the corner of Teniente Rey and Aguiar in the heart of Old Havana to see one of the best examples of Havana’s colonial architecture.

The city is a reflection of the nation. Much like with the mixing of so many races and cultures, the architecture has benefited from the mixing of so many traditions making the eclectic buildings, in the words of architect Nicolás Quintana, “sing within the symphony of the city.

CUBA COLOR PALETTE

MY INTERESTING CHOICE HISTORY & CULTURE In ancient Egypt, color was an integral part of the substance and being of everything in life.

The color of something was a clue to the substance or heart of the matter. When it was said that one could not know the color of the gods, it meant that they themselves were unknowable, and could never be completely understood. In art, colors were clues to the nature of the beings depicted in the work. For instance, when Amon was portrayed with blue skin, it alluded to his cosmic aspect. Osiris' green skin was a reference to his power over vegetation and to his own resurrection.

Of course, not every use of color in Egyptian art was symbolic. When overlapping objects, such as when portraying a row of oxen, the colors of each animal is alternated so as to differentiate each individual beast. Apart from these practical considerations though, it is safe to say that the Egyptian use of color in their art was largely symbolic.

EGYPT COLOR PALETTE

REFERENCES



http://www.egyptianmyths.net/ colors.htm



http://www.lahabana.com/Culture/ art_architecture.php?id=Besieged-byColor-in-Havana

DESIGNED BY