Color Theory (Spring 2019)

SPRING 2019

COLOR THEORY IND 5325 Color Theory + Applications for the Built Environment

GRACY VANDERTAP

This course explored the use of color in the built environment. Through the modules, I learned how color can transform a space as it correlates with design principles and is applied into various typologies. Ultimately, my obtained knowledge on color principles will help me to better communicate my design intent in future projects.

Table of Contents M.1 COLOR + ME M.2 COLOR + CULTURE M.3 COLOR + THEORY M.4 COLOR + DESIGNERS M.5 COLOR + PERCEPTION + BEHAVIORAL RESPONSE M.6 COLOR + ENVIRONMENT M.7 COLOR + BALANCE M.8 COLOR + RETAIL M.9 COLOR + HOSPITALITY M.10 COLOR + WORKPLACE

HELLO

M.1

COLOR + ME “The only thing we have to fear is fear itself. And spiders.”

– Darynda Jones, Second Grave on the Left

Candidate for . . .

Masters of Interior Architecture Florida International University College of Architecture + The Arts Year of Study

2015 - 2020

G2 WORKPLACE Through the use of framing and angles, continuous circulation is promoted with a variety of views. An elegant and warm atmosphere is created through contrasting vibrant jewel-tones and sustainable materials.

Together, these elements create an immersive environment that evokes the feeling of a journey.

G1 RESTAURANT BorderLand embodies various cultures and territories of Africa.

The restaurant reflects the different cultures in a smaller scale, embracing the materials used in Africa and encouraging the patrons to traverse through the culture and experience its traditions.

G1 RETAIL La Boteco is a transformative space for wine, cheese and cigars that affords both retail and nightlife within Coral Gables as they connect with Brazilian culture. Brazil, a diverse country that celebrates a blend of cultures, encompasses a lifestyle from pacific to bold.

CAREER INITIALLY my career was directed toward Accounting, BUT I was affected by the impact that living and working spaces can have in a person’s life. So, I decided to pursue a career as an interior designer and create these spaces.

STRENGTH Logical Creative Listening Research

WEAKNESS Indecisive Public speaking Time management

GOAL While discovering the fundamentals of interior design, I am growing more passion for this path everyday. I look forward to the journey and hope to create a difference in myself while positively influencing the interior environment around me.

BACKGROUND WHERE are you from?

Born Dec. 22, 1996 Miami, Florida

WHAT Languages do you speak?

WHAT is your cultural background?

Haitian + Surinamese

WHERE have you lived?

WHO is your family … composition?

2 Bothers + 3 Sisters 16 Aunts + Uncles TOO MANY Cousins A FEW Nieces + Nephews

WHEN did you become focused on design?

Throughout high school I wanted a business career.

However, in my senior year I decided to focus on design because as I watched HGTV I was affected by the impact that living and working spaces can have in a person’s life.

WHAT are your circumstances?

WHAT factors have affected your path?

Currently living on campus and enjoying the time of my life, or as much of a life I can have.

I only speak English. I have tried to learn other languages since 3rd grade, but it hasn’t been working out so far.

I’ve lived in Miami, FL. since they day I was born, but I have moved around a LOT.

My father’s work in home remodeling and my mother’s tendency to want to move to a new home almost every few years exposed me to various living conditions led me to wanting a permanent home that would fulfill the expectations of my family.

HOBBIES Baking Ceramics Couponing Crotchet Drama Exercising Foreign languages Korean Music/TV Mahjong Movies People watching Reading Sleeping Sudoku Tennis Travel Walking Web surfing

COLOR + ME

My favorite color is But most of my personal belonging tend to be in shades

They easily compliment each other as well as with other colors. I tend to prefer a

MONOCHROMATIC color palette since I don’t have to worry about matching colors and it looks simple and pristine.

Through this portfolio, you’ll witness my understanding of

The use of color in the built environment.

Color’s affect on people and their perception of the environment.

Different applications of color and how color relates and changes under varying typologies of interior spaces.

My CULTURE and country is Haiti.

COLOR + CULTURE

Vibrant Religious Festive

I want to learn about South Korea’s culture and how they use color.

Traditional

Respectful Cosmopolitan

The module offered an opportunity to learn more about my culture and heritage through its use of color as well as South Korea, which is a country I would like to learn more about.

Table of Contents Haiti I was born in the United States, but my mother is from Haiti and my father is from Suriname. Since most of my friends and family were Haitian, I identified more with the Haitian culture.

South Korea Asia is a continent filled with wonder. Countries I’ve been fascinated with were Japan, South Korea, China, and Thailand.

I have been heavily invested in South Korea, especially when it comes to their music and drama shows.

HAITI

My Country COLOR PALETTE

HAITI

Symbolizes water and animals

CULTURE. The culture of Haiti is the fusion of the African, West Indian, and French cultures. Dance is an important part of the Haitian culture, there are different dances for different events: konpa which is done at parties, and congo which is performed at events such as parades.

Symbolizes African roots, nature, animals

COLORS. Haitians celebrate beauty in color, where such vivid colors conjure up feelings of vitality and spirit of the people. In the flag, the blue and red represents the ethnicities living in Haiti; the coat of arms represent independence and freedom, symbolized by the green palm tree at its center and the yellow weapons on the hill.

Symbolizes African roots, nature, animals

ARTS + ARCHITECTURE. Haitian art is characterized by brilliant colors, a naive painting style, and humor. The themes of the art reflect mainly everyday life, religion, and political life. In architecture, except for significant historic buildings, structures in Haiti are very minimalistic and functional.

Symbolizes lush vegetation

CUISINE. The cooking style used in Haiti is predominately Creole and includes heavy use of pepper in the majority of their dishes. A main staple in Haiti Is starch, and many of their dishes include potatoes, rice, corn, beans, and plantains. Food also has importance in religious and status-symbol type forms.

SOUTH KOREA

Soul Country

COLOR PALETTE

SOUTH KOREA

In traditional arts + textile patterns it symbolizes east, as an element, wood.

CULTURE. Filled with both ancient and modern history, Korea is greatly influenced by Confucianism as they follow the ethical code of conduct in social life and showing respect to the elders and family. In addition, throughout the year Koreans have celebrations and festivals related to harvest and family.

In traditional arts + textile patterns it symbolizes south, as an element, fire.

COLORS. The color palette is the traditional Korean color spectrum known as Obangsaek. The color scheme is made up of five colors: blue, red, yellow, white, and black. They can either represent the five cardinal directions: east, south, center, west, north, or the five elements: wood, fire, earth, metal, and water.

In traditional arts + textile patterns it symbolizes center, as an element, earth

ARTS + ARCHITECTURE. Korean arts include traditions in calligraphy, music, painting and pottery. In architecture, traditionally, dwellings with thatched roofs and houses with clay-tile roofs symbolized the rural upper-class. On the other hand, urban areas were dominated by condominium apartments.

In traditional arts + textile patterns it symbolizes west, as an element, metal.

CUISINE. Korean cuisine is largely based on rice, vegetables, and meats. A typical Korean meal consists of a bowl of rice, a bowl of soup or stew, and some side dishes as accompaniments. Kimchi which is spicy pickled cabbage, is almost always served at every meal.

In traditional arts + textile patterns it symbolizes north, as an element, water.

Conclusion. From this module, I learned that countries used color to express themselves; a visual representation of the country’s people, values, or history. This is especially seen in a country’s national flag which has a deep meaning for a country.

References blog.globalizationpartners.com en.wikipedia.org everyculture.com globalpropaganda.com haitianddominican5themes.blogspot.com pinterest.com travel.davidmbyrne.com

MODULE 3

Color + Theory From this module I learned . . .

Color has the ability to enhance our physical environment, influence our personal experience of space, and provide a greater sense of health and well-being .

Eighty percent of user’s sensory experience are visual.

Direct color results from viewing a color in a particular surface, while indirect color result from adjoining or opposite wall surfaces or objects reflecting their color.

The key factor that determines a color characteristic in the interior environments is the light source

Reed, R. (2017). Color + design: Transforming interior space. New York, N.Y: Fairchild Books.

CENTRE POMPIDOU M.4 “Revolutionized museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city�. ~ Pritzker Prize Jury

LOCATION Paris, France ARCHITECT R. Piano + R. Rogers

Table of Contents

INTERIOR G. Franchini SQ. FT.

1,200 SQF

YEAR 1977 CATEGORY Museum

Architects

Richard Rogers

Renzo Piano The Building

Floor Plan Exterior Interior Color

ARCHITECT

Richard Rogers Born July 23, 1933 Florence, Italy Graduated 1959 AA School of Arch.

1962 Yale School of Arch.

Established Team 4 1963, With S. Brumwell, W. Cheesman, N. Foster + R. Rogers Centre Pompidou 1970, Partnered with architects R. Piano and G. Franchini

ARCHITECT

Renzo Piano Born Sept. 14, 1937 Genoa, Italy Graduated 1964, Milan Polytechnic Uni. where he studied under F. Albini Worked in international firms L. Kahn in Philadelphia + Z.S. Makowski in London Centre Pompidou 1970, Partnered with architects R. Rogers and G. Franchini

THE BUILDING Concept The architects wanted to create “a truly flexible container in which all interior spaces could be rearranged at will and exterior elements could be clipped on and off over the life span of the building” (Rogers Stirk Harbour + Partners).

Design The design of the building broke away from architectural conventions by moving functional elements such as escalators, water pipes and air conditioning to the outside of the building, freeing the interior and creating a huge expanse of uninterrupted space.

Floor Plan The lower level of the building contains large public areas such as the theatre, shops, reception and street-level café. Above is a large open floor plans that house galleries, outdoor terraces and administrative areas.

Lastly, the top floor accommodates a restaurant, experimental cinema and temporary exhibitions, all of which could be “open late into the night, bringing life and activity to the square during the evening” (Rogers Stirk Harbour + Partners).

A building open to urban space Neighborhood Life The Pompidou Center contributed to the life of the district surrounding it. A few steps away from the building is Les Halles, the node of public transport of the city and the gateway to the capital that is open to all of France. The art and culture that occupies the museum inside of the Center have gradually perculated into the surrounding streets: “the Golden Pot of JeanPierre Reynaud stands on the piazza, the machine sculptures of Niki de Saint-Phalle and Jean Tinguely frolic in the Stravinsky fountain” (“Discover the Architecture of the Pompidou Center”).

The piazza The piazza that belongs to the Pompidou creates a link between the Center and the city. The piazza also has a direct connection to the forum: “no threshold, no porch or no step marks a break between the outside and the inside, and it is almost natural that we go from one to the other” (“Discover the Architecture of the Pompidou Center”). The forum is a covered square that was considered a piece of city in the building.

Transparencies and reflections The facades of the Pompidou Center is made up of large glass that creates a transparency. This allows the interior and exterior to form a connection. Visible on three sides, the glass also reflects the city and the sky.

LEVEL 2 BPI 1. General Fund 2. Self-training space 3. TVs of the world 4. Press room 5. Cafeteria of the Bpi

FLOOR PLAN

LEVEL 0 FORUM

LEVEL 1 MNAM, BPI, CINEMA

1. Welcome and information 2. Forum 3. N/A 4. N/A 5. Shop Rmn-Center Pompidou 6. Ticketing and Sale Pass 7. Cloakrooms 8. Multimedia guides rental 9. Flammarion Bookstore

1. Bpi (reference space, lodge for the visually impaired) 2. Cinema 1 3. Children’s Gallery 4. Coffee, “the Mezzanine” 5. Space 315 6. South Gallery

UNDERGROUND LEVEL FORUM -1 1. Studio 13/16 2. Home 3. Show ticketing 4. Cinema 2 5. Small room 6. Big room

LEVEL 6 MNAM / BCC 1. Gallery 1 2. Gallery 2 3. N/A 4. Restaurant, “The George” 5. Bookstore

LEVEL 4 MNAM / BCC 1. Museum, contemporary collection 2. New media and film space 3. Visitors Lounge 4. Museum Gallery 5. Graphic arts gallery 6. Shop 7. Bookstore

LEVEL 3 BPI 1. Sound-video space 2. General Fund 3. Kandinsky Library and Graphic Art Cabinet

FLOOR PLAN

LEVEL 5 MNAM / BCC 1. Museum, modern collection 2. North Terrace 3. West Terrace 4. South Terrace

EXTERIOR

INTERIOR

Stairs and elevators

Ventilation components

Elevator motor room Electrical system Electrical system Plumbing and fire control Smaller ventilation pieces

COLORS

On the west facade, the entanglement of pipes and colors that emerge at the end of a street in the Marais makes the building immediately identifiable. From the Place de l’Hotel de Ville a few hundred meters away, the colorful thickness of the facade, opposing the decor of old buildings, is immediately noticeable by the eyes of those who pass by. The function of the colors was to color code the building’s mechanical system: green for plumbing, blue and gray for climate control systems, yellow and orange for electrical systems, red for safety devices, and white for circulation elements

Conclusion. The Centre Pompidou is a complex building that was designed to reveal its structure on the exterior and the interior, with visual emphasis on the building’s functional structural system. This system is color coded so that is easily identifiable.

In addition, the thickness of the mechanical system combined with the color enlivens the facade of the building and makes it a striking presence.

References Discover the Architecture of the Pompidou Center. (n.d.).

Retrieved from http://mediation.centrepompidou.fr/education/ ressources/ENS-architecture-Centre-Pompidou/monument_ dans_ville/p1.htm Rogers Stirk Harbour + Partners. (n.d.). Centre Pompidou.

Retrieved from https://www.rsh-p.com/projects/centrepompidou/ Sisson, P. (2017, January 24). Paris’s iconic Centre Pompidou: 8 things you didn’t know. Retrieved from https://www.curbed. com/2017/1/23/14365014/centre-pompidou-paris-museumrenzo-piano-richard-rogers Scott, R. (2018, July 23). Spotlight: Richard Rogers. Retrieved from https://www.archdaily.com/405538/happy-birthdayrichard-rogers Scott, R. (2018, September 14). Spotlight: Renzo Piano.

Retrieved from https://www.archdaily.com/273403/happybirthday-renzo-piano

MODULE 5

Color + Perception + Behavioral Response RED Positive Effects

Red is associated with passion and power.

Red light has been known to treat depression.

Red is alluring and striking, drawing people into a positive selling environment.

YELLOW Negative Effects

Extended periods of visual exposure to pure red can cause fatigue.

Red can make people feel tense.

There is an ingrained perception that red means danger.

Positive Effects

Negative Effects

Yellow represents the heavens and Extended periods of visual the sun. exposure to pure yelloe can cause fatigue.

Natural light filtered through yellow glass can offset difficulty in The most common type of breathing. psychological change with the aging of the eye is the yellowing of Yellow is perceived as the brightest the lens. of all colors; it’s used in interiors with minimal exposure to sunlight.

GREEN Positive Effects

Green suggests nature.

Blue Negative Effects

Our perception of green is associated with nature, therefore Green is sometimes associated if products or serivces does with free-form, organic lines to not follow those value, using support the concept of restfulness. green could be associated with greenwashing instead.

Green light can be used to ease a sore throat.

Green can suggest sickness

Positive Effects

blue suggests cleanliness and/or quietness.

Negative Effects

Blue has a cultural meaning of sadness and depression.

Sunlight filtered through blue glass Blue can be associated with can treat migraine headaches. lonliness and isolation.

Bottled water manufacturers use clear or blue-tinted plastic to make the water appear more refreshing.

Reed, R. (2017). Color + design: Transforming interior space. New York, N.Y: Fairchild Books.

LIFE OF PI

M.6

The film depicts a boy named Pi trying to survive on a lifeboat with a Bengal tiger with nothing but his faiths: Hinduism, Christianity, Islam. On his 277 day journey, he learns to trust the tiger through many challenges and tragedies.

Table of Contents Color Association Orange Blue White Green Color Palette Green White Blue Orange

COLOR ASSOCIATION

ORANGE Positive Associations Warmth Brightness Strength (Christianity) Safety (Hinduism) Negative Associations Danger Brashness

COLOR ASSOCIATION

BLUE

Positive Associations Wetness Comfortable Reflective Strength (Hinduism) Hope (Christanity/Islam) Negative Associations Sadness Depression Isolation Lonliness

COLOR ASSOCIATION

WHITE Positive Associations Purity (Hinduism/Christianity/Islam) Birth (Christanity) Cleanliness (Islam) Innocence (Christanity) Empowerment Negative Associations Surrender Cowardice Emptiness Mourning

COLOR ASSOCIATION

GREEN Positive Associations Happiness (Hinduism) Hope Growth Life (Islam) Fertility (Christanity) Negative Associations Poison Envy Inexperience

COLOR PALETTE GREEN Growth. A young Pi met Christ in the mountains of Munnar. The scene of the Munnar tea fields illustrates the rocky mountaintops jutting up through a sea of clouds and mist. The luscious green fields gives a sense of hope and shows fertility, while the mist adds a bit of mystery to the mountains. It metaphorically depicts a young Pi who is full of wonder of the vital world around him.

Poison. After being stranded at sea for several days, Pi finds an island which gives him hope of survival.

The island gave Pi a place to rest and recoup.

However, at night, the island turns into an eerie green environment. Pi discovers that “all that the island gave him by day, it took away again by night� and he must continue his journey to avoid death that waits him if he stays on the island.

Life. Pi finally finds safety on a beach along the Mexican Coast. The tiger Richard Parker clumsily walks toward the Forrest where he stops for a moment and smells the jungle air. The green represents life and vitality. The trees exuding life gives hope to the tiger that he is finally reached a place where he can rest.

COLOR PALETTE WHITE Emptiness. The desolate color palette illustrates how the “world had lost some of its enchantment” to Pi. This occurs after his father gives him a lesson that the tigers cannot experience human emotions and therefore cannot be considered a friend.

Surrender. “God, thank you for giving me my life. I’m ready now”. This scene occurs after Pi losses the raft after the rainstorm. Losing everything, including his family, he is ready to surrender his life to God and reunite with his family again. The monochromatic color scheme adds to the desolation that Pi feels.

Birth. At the end of the film, we see the tiger enter the forest. The moment that the tiger is out of view, all the color drains out of Pi’s world; his view of the trees loses all dimension and fades to black and white.

COLOR PALETTE BLUE Wetness.Pi was named after a swimming pool in Paris, France called Piscine Molitor. In this scene you notice that the color hues of blue used are analogous to water.

Strength. In this scene, the blue signifies the blue skies or the life-giving air and endless ocean. The richness of the color signifies hope and influences strength.

Reflective. On the raft at night, the water shows a luminescent surface, with blues and greens interacting with each other and creating a turquoise color that seems almost otherworldly. The scene seems almost reflective spiritually for Pi, as he is seen looking at the reflection of the water and seeing the tiger as himself.

COLOR PALETTE ORANGE Brightness. After meeting Anandi in a dance studio, the world around Pi seems to be more colorful compared to the emptiness he experiences earlier in the film.

Safety. The film dramatically renders the distance between Pi and the tiger, the restricted space of the lifeboat, and the overwhelming endless horizons of the ocean all around them. In this scene, you are able to see all the objects that symbolize safety: the raft, lifebuoy, and life jackets.

Hope. Throughout the film, the tiger is a companion for Pi that gives him the strength to continue to live.

Through the challenges he faces, he has repeatedly experienced signs that he should not “lose hope�.

Conclusion. In the Life of Pi, color is used as symbols to communicate emotions and meanings beyond what is expressed.

This helps people who watch the film experience the emotions in full detail, such as the green that depicts a positive connotation, life, and negative connotation, poison.

Throughout the film Pi directly experiences strength and hope from various colors that he encounters in different occasions.

References Netter, G., Lee, A., Womark, D. (Producer), & Lee, A. (Director).

(2012). Life of Pi [Motion picture]. United States: 20th Century Fox. Reed, R. (2017). Color + design: Transforming interior space.

New York, N.Y: Fairchild Books.

MODULE 7

Color + Balance From this module I learned . . .

During a color selection process, determine which of the hues is likely to consume more of the visual space. Organize colors by weight, and assign their location to maximize the effect of increased or decreased volume.

Light colors need to be BALANCED with dark colors, highly saturated colors need to be BALANCED with dull colors, and the intensity of colors MUST relate to one another to create a harmonious palette.

There are 3 types of spatial balance: symmetry, asymmetry, and radial.

A general rule of thumb, rooms can contain as little as one color and should contain no more than five colors.

Reed, R. (2017). Color + design: Transforming interior space. New York, N.Y: Fairchild Books.

M.8

COLOR + EMPHASIS

Road to Awe

At the R+A boutique, a neon logo pops against the facade’s black painted cement plaster (© Brandon Shigeta)

LOCATION Melrose Ave. Los Angeles FIRM Dan Brunn Architecture SQ. FT.

1,200 SQF

Table of Contents Contrast of Hue

YEAR 2016

Contrast of Value

CATEGORY Retail

Contrast of a Design Feature Contrast of Texture Focal Point

1

Clothes are hung on custom hang bars that slide on ceiling tracks. (Š Brandon Shigeta)

Contrast of Hue Minimalistic in aesthetics, the interior space features "concrete floors, black mirrors, wood surfaces, and blackened steel beams" (Archdaily, 2017). The subdued hues emanating from these features, creates a clean look and inspires a sense of calm.

The natural light gray color of the concrete provides the needed unity to create a connection between the light filled area of merchandise display and dark paneled area of service.

Revolving displays for accessories are mirrored on one side. Š Brandon Shigeta

Contrast of Value

2

Tea-stained oak panels covers the waiting area. Š Brandon Shigeta

The light/dark contrast of white and dark ash emphasizes their quadrants. The black mirrors, wood surfaces, and blackened steel beams contrasts against the white walls and concrete floors, adding to the visual importance of the design features.

Contrasting from the light-filled area, the rear of the shop is covered in dark ash panels on the floor, ceiling, and walls to unify the area. The unified space is only broken by a strip of light, recesses in the wooden surfaces, "that runs up the wall and the ceiling to form a cross" (Gibson, 2017).

Contrast of a Design Feature At the center of the shop stands an olive tree that is highlighted by a circular skylight and encircled by river rocks. These elements exemplify contrast of both design feature in form and color. Offering a sense of wonderment to the interior of the store, customers can relax on the dark semi-circular shaped bench under the olive tree and look up through the skylight (Gibson, 2017).

3

An olive tree at the center of the store is highlighted with the circular skylight. Š Brandon Shigeta

Contrast of Texture The soft and sleek garments of monochromatic colors contrast against the achromatic interior with smooth, warm surfaces.

The two contrasting textures together adds visual weight to the space. The interior surfaces texture allows the customer's eye to draw more easily to the denim and leather merchandise on display.

4

Clothing are hung at different levels creating a layered display. Š Brandon Shigeta

Focal Point "The interior of the store is organized around the central garden" which create a focal point (Archdaily, 2017). The garden being highlighted by the skylight and encircled by rocks emphasizes its location visually. In addition, at the space’s midpoint, an imaginary line is created by the blackened steel bench in the waiting area, which lines up with the circular bench in the middle of the space and the ash wood sales desk. An alignment is created with the edges of the furniture that seems to slice through the space.

5

Beside the olive tree is a custom bench in tea-stained oak. Š Brandon Shigeta

Conclusion. A minimalist shopping experience free of mannequins and overstuffed racks, the store exemplifies contrast through design elements and color. Transition from darkness to a light and bright interior is emphasized through the use of smooth and warm materials, contrasting forms that defines a focal point, and an achromatic color scheme that uses colors that are opposite one another on the color wheel.

References Archdaily (2017). Road to Awe / Dan Brunn Architecture.

ArchDaily. Retrieved from https://www.archdaily.com/873012/ hide-out-dan-brunn-architecture/ Gibson, E. (2017). Dan Brunn plants olive tree in centre of RTA Melrose boutique in Los Angeles. Dezeen. Retrieved from https://www.dezeen.com/2017/06/18/rta-melrose-road-to-awedan-brunn-architecture-los-angeles-fashion-store-usa/ Cohen, E. (2017). Dan Brunn's Hip Debut Boutique for RtA in Los Angeles. Interior Design. Retrieved from https://www. interiordesign.net/projects/13198-dan-brunn-s-hip-debutboutique-for-rta-in-los-angeles/ Reed, R. (2017). Color + design: Transforming interior space.

New York, N.Y: Fairchild Books.

SLS Brickell

M 9

COLOR + VARIETY

LOCATION Brickell Miami FIRM Arquitectonica SQ. FT.

Table of Contents

1,050,000 SF

YEAR 2016 CATEGORY Hospitality Residential

Overview Color and Line Color and Shape Color and Form Color and Pattern Color and Texture

1 "VARIETY is the principle of design that is concerned with the combination of one or more color elements with shape, form, pattern, and texture to create diversity and contrast in an interior space" (Reed, 2017, p.154).

A sprawling ‘drippy’ mural by artist Markus Linnenbrink marks the entrance onto the public vista of Miami’s downtown area.

Overview The physical design of SLS Brickell is supported by color with a variety of elements that reflect Miami's colorful persona and lively street life. The first impression users experience is the facade of the building, a mural by Markus Linnenbrink's, which marks its entrance onto the public vista (Thorpe, 2016). The drastic burst of color adds interest to the building and allows it to stand out, and therefore adds draws attention and provide identity. Much of the interior is like the exterior to the street; there are visual breaks that allows spaces to stand out from one another. These spaces tend to also be an immersion of art forms.

Color and Line

2

Black and white strips line the walls of the hotel's corridor.

Within the interior of the hotel, users will experience striped black and white walls that lead guests through the corridors of the hotel. The same width throughout the length of the corridor, the vertical and horizontal lines connect to define the corridor.

The vertical lines provides "upward and downward movement, accentuating height" and makes the corridor seem larger (Reed, 2017, 159). The horizontal lines break the vertical lines to create a restful moment and create movement. The vertical and horizontal lines come together to create the perception of depth and continuity.

Color and Shape "The building is a prismatic glass wedge that resolves the geometry of the city’s grids that meet at the corner of two of Miami's most important streets: coral way and south Miami avenue" (Azzarello, 2017). The triangular plan dictated angular geometric references across the architecture, such as the triangular balconies lined diagonally along the white facade.

The triangle suggests stability and leads the eye upward toward the sky.

3

"The design was intended to connect Brickell’s lively street life with SLS Brickell" (Thorpe, 2016).

Color and Form

4

Blue light mark the corners of the balconies and illuminates the night sky.

The dynamic and geometric form of the building is inspired from the movement of the surrounding Brickell neighborhood.

Linear balconies project into space, streamlining the form of the building. Arquitectonica designed the building as a public jewel, illuminating it at night with blue pin lights stretching from sky to street, marking the corners of the facade (Thorpe, 2016). These blue lights cascade off the triangular balconies that do not align vertically, but diagonally to wraparound the glass prism of the building. This blurs the lines between indoor and outdoor space.

The hand-painted tiles depict an underwater scene and line the interior walls of the restaurant Bazaar Mar

Color and Pattern

5

The restaurant Fi’lia uses warmer tones

The pattern used on the interior walls of the restaurant Bazaar Mar adds variety and visual interest to the space. The distinctive white and navy color palette along with the tile work, creates a "picturesque coastal vignettes". The tile work, painted in a typical Dutch pottery Delft Blue pastiche from the 16th century, covers the entire walls and ceilings (Davis, 2017). There is a transition that is experienced as one enters Fi’lia, the restaurant’s cocktail bar. There is a departure from the lightness of the dining area, leading users to fall into a moody environment of black and gold tile.

Color and Texture "Texture is the characteristic visual and tactile quality of the surface of a material that results from the way in which the components are constructed or combined" (Reed, 2017, p.162). The rooms of SLS Brickell combine sophistication and playfulness, featuring a punchy palette of pink, black and white, with large mirrors and lights spread across the ceiling and walls.

The reflective and leathered materials create sophistication, while the patterned carpet and the arrangement of materials add a sense of playfulness to the suite.

6

Hotel room in SLS Hotel and Residence

Conclusion. The SLS hotel and residence reflects Miami's colorful persona and lively street life through it's use of a variety of color elements with shape, form, pattern, and texture.

This combination allowed diverse spaces that transitioned to different environments from nautical fantasy to a moody environment, or even sophisticated and playful.

References Azzarello, N. (2017). SLS Brickell: related group develops a luxury urban oasis in downtown Miami. Designboom. Retrieved from https://www.designboom.com/design/sls-brickell-miamirelated-group-arquitectonica-philippe-starck-02-16-2017/ Davis, A. (2017). Philippe Starck designs a surreal nautical interior for Miami’s Bazaar Mar. The Architects Newspaper.

Retrieved from https://archpaper.com/2017/08/miami-bazaarmar-restaurant/#gallery-0-slide-0 Reed, R. (2017). Color + design: Transforming interior space.

New York, N.Y: Fairchild Books.

Thorpe, H. (2016). Public jewel: the SLS Brickell reflects Miami’s colourful persona. Wallpaper. Retrieved from https://www. wallpaper.com/architecture/the-new-sls-brickell-a-place-makerfor-downtown-miami

Pandora Media Inc.

© Durston Saylor

LOCATION New York NY 10168 FIRM

ABA Studio

SQ. FT.

40,000 SF

YEAR 2014 CATEGORY Workplace

Table of Contents Overview Color and Line Color and Shape Color and Pattern Color and Texture

1 "VARIETY is the principle of design that is concerned with the combination of one or more color elements with shape, form, pattern, and texture to create diversity and contrast in an interior space" (Reed, 2017, p.154).

The office features murals that depict musicians of numerous genres and eras.

Overview Pandora Media Inc. New York Office utilizes a variety of colored elements with line, shape, pattern, and texture to create a sense of openness and grandiosity while maintaining a productivityenhancing environment with plenty of private spaces. Colors are used to identify open desk areas; while interspersed colored glass volumes provide private meeting spaces and small phone booths for relief from open space activity as well as multiple paths of movement (ArchDaily, 2019).

Color and Line Vertical lines used along the office walls create an important feature. The murals that adjoin the walls are made of narrow wooden slats that conceal a few offices, stairwells, elevator bays and more industrial structural elements. These murals are faces of everyone from "Jay Z and Dolly Parton to Michael Jackson and Gene Simmons" (McGauley, 2014).

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Murals featured along the walls are made out of narrow wooden slats Š Durston Saylor

Open desk areas are identified by a color. Š Durston Saylor

Color and Shape On the north and south sides of the office are open desk areas that are each identified by a color, such a yellow.

The rectangles applied provides an opportunity for spatial arrangement, creating a stable and secure area (Reed, 2017, p.161). The color applied to these surfaces adds visual interest. In addition, color-coded glass volumes are arranged to create multiple paths of movement around them, establishing a sequence of tight and loose spaces that are shaped to encourage casual interaction.

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Small phone booths to create privacy while one takes or makes calls. Š Durston Saylor

Color and Pattern

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A small area for repose adjacent to the grand stairs. Š Durston Saylor

The office is a double height space that is exaggerated by a widespread screen of suspended disks flicking in front of a large, translucent blue panel that obscures the street view (McGauley, 2014). The circles add rhythm and movement to the design that also offers a calming softness to the space (Reed, 2017, p.161). Using the color blue for contrast offers a more visual variety against the wooden vertical circulation. Color patterns are also produced with transmitted light through the translucent blue panels that cast a bit of colored shadow onto the interior surfaces.

Grand stairs that act as a central space, providing a physical connection between the two floors. Š Durston Saylor

Color and Texture The texture implemented in the office space provide a sensory and visual contrast that makes the space more interesting (Reed, 2017, p. 163). The office implements a natural material palette of exposed materiality in the beams, columns, and floors. This was done to reveal their natural state, expressing a richness of textures. In contrast, the glassed off offices are sleek and glossy with meticulous details. Throughout each floor, the heavily grained wood platform, stairs and several smaller wood elements add warmth and act as a visual bridge between smooth glass and raw concrete (ArchDaily, 2014).

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The glass has a "dot matrix graphic pattern" that helps to define the volume surface and also provides different levels of visual privacy (ArchDaily, 2017). Š Durston Saylor

Conclusion. The Pandora Office expresses a rich use of color and variety of elements such as line, shape, pattern, and texture to create a space that visually appealing.

Combined, they provided an opportunity to create an array of design principles: movement, continuity, establish programs, indicate circulation, add visual stimuli, and offer a variety of experiences for the user.

References ArchDaily (2019). Pandora Media Inc. New York Office / ABA Studio". ArchDaily. Retrieved from https://www.archdaily. com/530917/pandora-media-inc-new-york-office-aba-studio/ ArchiExpo (n.d.). Pandora Media Office by ABA Studio.

ArchiExpo. Retrieved from http://projects.archiexpo.com/ project-29985.html McGauley, J. (2014). Inside Pandora's New NYC Headquarters.

Thrillist. Retrieved from https://www.thrillist.com/home/ pandora-media-s-new-york-headquarters-designed-by-abastudio Reed, R. (2017). Color + design: Transforming interior space.

New York, N.Y: Fairchild Books.

The course was insightful and fun. I’ve learned so much and I will definetly use this knowledge in the future.

Thank you Darci!