Color theory

THEORY

APPLICATION OF THE BUILT ENVIRONMENT

IND 5325.COLOR THEORY.SPRING 2023

PROFESSOR BRIANA CROWDER

MINERVA LOUKA

COLOR + CONTENTS

M0

COLOR + YOU

GET TO KNOW ME MINERVA LOUKA

NOT THE ONE FROM HARRY POTTER !

AN FIU STUDENT MAJORING IN INTERIOR ARCHITECTURE.

WAS BORN IN EGYPT AND MOVED TO THE UNITED STATES WHEN I WAS 12 YEARS OLD.

EGYPTIAN

NO WE DON’T LIVE IN PYRAMIDS! .

EGYPT IS A COUNTRY IN THE MIDDLE EAST THAT IS FAMOUS FOR ITS ANCIENT CIVILIZATION AND MAJESTIC PHARAOHS.

COLOR + CULTURE

COLORS ACROSS CULTURES

EGYPT AND INDIA

EGYPT

BLUE WAS ASSOCIATED WITH THE SKY AND THE RIVER NILE, AND THUS CAME TO REPRESENT THE UNIVERSE, CREATION AND FERTILITY.

YELLOW IS THE COLOR OF THE SUN. AS A RESULT, IT REPRESENTS THE SUN ITSELF AND ETERNITY.

EGYPTIAN PEOPLE PAINTED THEIR GODS IN GOLD. ALSO MOST OF THE EGYPTIAN TEMPLES ARE BUILT WITH YELLOW STONE.

ANCIENT EGYPTIAN SCULPTURES SHOW THE SKIN OF MEN IN DEEP RED COLOR. THIS ILLUSTRATES HOW EGYPTIAN MEN UPHELD THE BELIEFS OF BRAVERY/FEARLESSNESS.

ORANGE IS ASOCIATED WITH MOURNING.

PURPLE WAS THE FAVORED COLOR OF CLEOPATRA, USED PURPURA SNAILS FOR DYE. IT ALSO REPRESENTS FAITH.

GREEN IS THEIR NATIONAL COLOR. COMMONLY USED ON MOSQUE AND PLACES OF WORSHIP, SYMBOLIZES FERTILITY/ STRENGHT.

WHITE WAS THE COLOR OF EGYPTIAN CLOTHING, SYMBOLIZING PURITY, SACREDNESS, CLEANLINESS, AND CLARITY.

COLOR + THEORY

1. COLOR- IS AN INTANGIBLE POWERFUL SENSATION. HAS THE ABILITY TO:

ENHANCE PHYSICAL ENVIRONMENT

ENHANCE PERSONAL EXPERIENCE OF SPACE

PROVIDE SENSE OF HEALTH AND WEEL-BEING.

2. THEORY- NOT PROVEN. EXPLAINS CONCEPT AND IDEAS.

COLOR + THEORY

3.THE VISIBLE SPECTRUM:

COLOR IS SEEN IN DIFFERENT WAVELENGTH. VARIES IN LENGTH AND STRENGTH.

4.PROPERTIES OF LIGHT:

REFLECTION- WHEN LIGHT STRIKES AN OBJECT.

DIFFRACTION- WHEN LIGHT IS OBSTRUCTED BY AN OBJECT.

REFRACTION- ONE OR MORE LIGHT RAYS MOVES THROUGH A LIGHT MEDIUM. REFLECTION REFRACTION

M3

COLOR + DESIGNERS

LA MURALLA ROJA RICARDO BOFILL

RICARDO BOFILL

RICARDO BOFILL IS A SPANISH ARCHITECT KNOWN FOR INTRODUCING MODERN BUILDING TECHNOLOGY AND INVOKING IN HIS DESIGNS THE CLASSICAL TOUCH OF ARCHITECTURE.

IN 1960, BOFILL ESTABLISHED THE TALLER DE ARQUITECTURA (ARCHITECTURE WORKSHOP)

IN BARCELONA

IN 1978, BOFILL PUBLISHED “L’ARCHITECTURE D’UN HOMME”, WHICH STATED THAT THE INTENTIONS OF HIS FIRM WERE TO CREATE “DYNAMIC” AND “MAGIC”SPACES USING

IMPRESSIVE STYLES TO CONSTRUCT

SPANISH FOR ‘THE RED WALL,’ IS A HOUSING PROJECT LOCATED WITHIN THE LA MANZANERA

DEVELOPMENT IN SPAIN’S CALPE.

THE BUILDING MAKES CLEAR REFERENCES TO THE POPULAR ARCHITECTURE OF THE ARAB MEDITERRANEAN AREA, A RESULT OF BOFILL’S INSPI-

RATION BY THE MEDITERRANEAN

TRADITION OF THE KASBAH.

M4 COLOR + RERCEPTION

1. COLOR SUSTAINS OUR SOUL.

2. KILMER AND KILMER DESIGN PROCESS.

• COMMIT TO DESIGN PROBLEMS.

• STATING PROBLEM TO BE SOLVED.

• COLLECTING DATA

• ANALYZING DATA.

• CREATING IDEAS OF POTENTIAL DESIGN SOLUTION.

• CHOOSING FINAL SOLUTION

• IMPLEMENTING THE DESIGN

• EVALUATING THE FINAL RESULTS.

3.USE ACCENTS COLORS WITH PLACES WITH MOST INTERACTIONS.

COLOR + PERCEPTION

CHAPTER TAKEAWAYS

4.PREPARE 2 OR 3 COLOR PALETTES FOR CLIENT TO CHOOSE. NOT TOO MUCH OR THEY WILL GET CONFUSED.

5.COLOR PERCEPTIONS:

• STRONGEST AT AFFECTING OUR EMOTIONS

• USAGE VARIES FROM CULTURE TO CULTURE.

6.COLOR RESPONSES - OCCUR AS A RESULT OF THE COMBINATION OF COLORS, COLOR CONTEXT, SURROUNDINGS, LIGHT, TEXTURE, AND SHAPE.

7.HISTORICALLY PINK WAS FAVORED BY BOYS AND BLUE BY GIRLS.

8.MEN PREFER COOL COLORS. WOMEN PREFER WARM.

M5 COLOR + MOVIES

AM É LIE FILM ANALYSIS

SUMMARY

ROMANTIC COMEDY FILM BY JEAN-PIERRE JEUNET. AMÉLIE WAS RAISED BY PARENTS WHO INCORRECTLY BELIEVED THAT SHE HAS A HEART DEFECT. THEY DECIDED TO HOME SCHOOL HER. AMÉLIE DEVELOPS AN ACTIVE IMAGINATION AND A MISCHIEVOUS PERSONALITY. WHEN AMÉLIE IS SIX, HER MOTHER IS KILLED WHEN A SUICIDAL CANADIAN TOURIST JUMPS FROM A ROOF AND LANDS ON HER. AMÉLIE LEAVES HOME AT THE AGE OF 18 AND BECOMES A WAITRESS AT CAFÉ. ON 30 AUGUST 1997, STARTLED BY THE NEWS OF THE DEATH OF PRINCESS DIANA, AMÉLIE DROPS A PLASTIC PERFUME WHICH DISLODGES A WALL TILE AND REVEALS AN OLD METAL BOX OF CHILDHOOD HIDDEN BY A BOY WHO LIVED IN HER APARTMENT DECADES EARLIER. AMÉLIE RESOLVES TO TRACK DOWN THE BOY AND RETURN THE BOX TO HIM. SHE DEVOTES HER LIFE TO BRINGING HAPPINESS TO OTHERS. AMELIE ENCOUNTERS NICO, A YOUNG MAN WHOSE HOBBY IS RECONSTRUCTING TORN-UP PICTURES FOUND UNDERNEATH PHOTO BOOTHS NICO HIMSELF HAD AN ISOLATING CHILDHOOD, MUCH LIKE AMELIE, AND THE TWO GREW UP FEW MILES APART, LONGING FOR FRIENDS BUT NEVER MET. AMELIE FINDS A PERSONAL VIDEOTAPE FROM MR. DUFAYEL, AMÉLIE’S NEIGHBOR, THAT GAVE HER THE COURAGE TO PURSUE NICO, RESULTING IN A ROMANTIC NIGHT TOGETHER AND AMÉLIE FINALLY FINDS HAPPINESS FOR HERSELF.

AMÉLIE IS A 2001 FRENCH-GERMAN

RED IS A SIGN OF AMELIE’S LOVING TEMPERA-

MENT AND A VERY WARM APPROACH WHEN IT COMES TO HER PERSONALITY. HER APARTMENT IS ALSO DECORATED WITH RED TONES AND OFTEN HIGHLIGHTS HER OUTFITS AS WELL.

IN THE OPENING SCENE WE’RE INTRODUCED TO THE COLOR RED THROUGH AMELIE’S CHILDHOOD IMAGINATION. RED RASPBERRIES SYMBOLIZE HER PASSION AND VITAL YOUNG MIND.

GREEN

THE GREEN COLORS SERVE AS CONTRAST TO A LOT OF REDS IN THE SCREENS. AMELIE WEARS TONS OF GREENS AS HER OUTFITS, SOMETIMES A MIXTURE OF RED AND GREEN ONES. GREEN

IS USED COMMONLY THROUGHOUT THE FILM AS IT SYMBOLIZES

HOPE AND NATURE IN MANY CULTURES WHICH OFTEN BRINGS COMFORT TO THE VIEWER’S EYES. THE COMBINATION OF RED AND GREEN CAN BE SEEN WHEN YOUNG AMÉLIE AS SHE IS SETTING THE RED FISH FREE IN THE RIVER WITH HER MOTHER. THE SURROUNDING GREEN CREATES A SENSE OF GRACE AND VITALITY REPRESENTING NATURE NEXT TO THE STRONG CONTRASTING RED WHICH SYMBOLIZES AMÉLIE’S CHILDHOOD OF WHICH SHE’S FORCED TO TAKE A STEP BACK FROM.

YELLOW

MANY OF THE SCENES SHOT IN THE LATE AFTERNOON ARE LIT WITH SOFT YELLOW TO REPRESENT THE SUNLIGHT OF SPRING AND ACTS AS A METAPHOR FOR AMELIE’S CURRENT

PEACEFUL STATE OF MIND. THIS IS DEPICTED AT THE BEGINNING OF AMELIE AND NICO’S RELATIONSHIP WHICH ILLUSTRATES AMÉLIE’S STATE OF MIND IN FINALLY FINDING

HAPPINESS FOR HERSELF.

M6 COLOR + HEALTH

1. ADHD- ATTENTION DEFICIT HYPERACTIVITY DISORDER.

2. ASD- AUTISM SPECTRUM DISORDER.

3. HEALTH- CONDITION OF BEING SOUND IN BODY, MIND AND SPIRIT.

4. WELL BEING- STATE OF BEING HAPPY AND HEALTHY

5.AVOID ACHROMATIC COLORS, COMPLEX PATTERNS AND BOLD COLORS IN CLINICS.

6.ANXIETY- INCORPORATE ACCENT COLOR OR MONOCHROMATIC.

7.MANCLESTER COLOR WHEEL: IDENTIFY PERSON’S LEVEL OF ANXIETY.

8.POSTIVE ASSOCIATION WERE GIVEN TO BLUE AND YELLOW.

COLOR + HEALTH CHAPTER TAKEAWAYS

9.GRAY: FOR ANXIOUS AND DEPRESSED.

10.BLUE: CALMING AND RELAXING, REDUCE ANXIETY.

11.GREEN: PREFERRED BY PTSD.

12.USE OF COLOR FOR ADHD:

• HIGH CONTRAST OF COLOR CAN OVERWHELM THEM.

• USE ACCENT COLORS AND EMPHASIZE ARCHITECTURAL ELEMENTS TO KEEP THEM FOCUSED.

• USE COLOR AND VALUE TO REDUCE VASTNESS IN SPACE.

• AVOID VIBRANCY, BUSY COLORS.

• AVOID LARGE SURFACE AREAS OF COLOR.

M7 COLOR + BALANCE

1. WE USE BALANCE TO MAKE SENSE OF THE WORLD AROUND US.

2. WHEN COLOR IS USED WITH BALANCE WITH BALANCE UNITY WITHIN SPACE OCUR.

3. BALANCE:THE RELATIONSHIP OF DIFFERENT HUES TO ONE ANOTHER WHEN EACH

PERCEIVED TO BE EQUAL IN PERCEIVED VISUAL WEIGHT.

4.SYMMETRY- FORMAL BALANCE, EQUALY.

5.ASYMMETRY- INFORMAL BALANCE.

6.RADIAL- RADIATING FROM A CENTRAL AXIS.

7.BALANCE OUT OF CHAOS CREATES ORDER; ORDER CREATES PURPOSE AND MEANING.

COLOR + BALANCE

CHAPTER TAKEAWAYS

8.INTENSITY CONTRAST (BRIGHT/DULL):

• ADDING GRAY TO A PURE COLOR LOWERS THE INTENSITY.

• LIGHT COLOR WILL APPEAR CLOSER TO THE VIEWER.

• DARK- WILL TEND TO RECODE.

9.SIZE OF COLOR AREA (LARGE/SMALL):

• THE LARGER THE AMOUNT OF COLOR IS USED THE LIGHTER IT

APPEARS

10.COLOR INTERACTIONS- CONTRAST OF LIGHT AND DARK VALUES.

11.DON’T MAKE YOUR COLORS APPEAR EQUALLY BALANCED LIGHT/ DARK OR BRIGHT/DULL.

M8

COLOR + RETAIL

LOUIS VUITTON TOWNHOUSE

RETAIL ANALYSIS

LOUIS VUITTON TOWNHOUSE - FOCAL POINT - CONTRAST OF HUE - CONTRAST OF VALUE - CONTRAST OF DESIGN FEATURES - CONTRAST OF TEXTURE

CONTENTS

THE LOUIS VUITTON AT SELFRIDGES, LONDON IS A 10,000-SQUARE-FOOT,

THREE-STORY SHOP-KNOWN AS THE TOWNHOUSE THAT FEATURES A REVOLVING GLASS ELEVATOR INSIDE A DOUBLE HELIX, AND AN INTERACTIVE “DIGITAL ATELIER.”

CREATED BY THE FRENCH ARCHITECT

GWENAËL NICOLAS.

LOUIS VUITTON TOWNHOUSE

FOCAL POINT

THE FOCAL POINT IS A SINGLE DESIGN ELEMENT THAT RECEIVES THE GREATEST VISUAL EMPHASIS IN A ROOM.

THE GLASS DOUBLE HELIX ELEVATOR ACTS AS THE FOCAL POINT IN THIS SPACE. IT IS THE HERO FEATURE THAT REVOLVES LIKE A CORKSCREW INSIDE A DOUBLE-HELIX-SHAPED STRUCTURE WITH A STREAM OF FLOATING HANDBAGS INSIDE IT. IT PIERCES THROUGH ALL THREE FLOORS OF THE BOUTIQUE, EMPHASIZING THE HISTORICAL BUILDING OF SELFRIDGES, CREATING A CONSTANT DIALOGUE BETWEEN MODERNITY AND TRADITION.

THE CONTRAST OF HUE IS THE DIFFERENCE BETWEEN TWO BASIC COLORS. THE MORE THE INTENSITY BETWEEN COLORS THE MORE INTERESTING IT GETS. IN THE FIRST FLOOR THE BROWN GRADIANT BACKGROUND CONTRAST THE BLUE HANDBAGS AS THEY ARE OPPOSITES ON THE COLOR WHEEL. THE BROWN GRADIANT BACKGROUND HELPS THE BLUE

CONTRAST OF HUE

CONTRAST OF VALUE

THE CONTRAST OF VALUE IS THE RELATIONSHIP BETWEEN A LIGHT AREA AND A DARK AREA.

DARK BROWN AND LIGHT BEIGE FLOORINGS HELPS DIFFERNTIATE BETWEEN SEATING AREAS AND WALKING AREAS. ALSO DARKER BACKGROUNDS ARE USED BEHIND SPECIFIC ITEMS TO GRAB THE PEOPLE’S EYE TO IT.

THE DESIGN PRINCIPLE CONTRAST REFERS TO THE USE OF VISUALLY DIFFERENT ELEMENTS THAT CAPTURES ATTENTION TO FOCAL POINT AND OTHER OBJECTS. THE ACCENT LIGHTS AND THE SMOOTH TWIST AROUND HELIX ELEVATOR ATTRACTS THE VIEWER’S EYE. ALSO THE TWO PILLARS ON THE SIDES CENTERS THE HELIX ELEVATOR WHICH HELPS LEAD THE EYE THERE.

CONTRAST OF DESIGN FEATURES

M9 COLOR + WORKPLACE

M.9

AUTODESK OFFICE

SAN FRANCISCO, CALIFORNIA

IND 5325.COLOR THEORY.SPRING 2023

PROFESSOR BRIANA CROWDER

MINERVA LOUKA

USED IN OPEN AREAS WHICH PROMOTES A PEACFUL ENVIRONMENT.

COLOR PALETTE

USED IN HALLWAYS AND IN THE GAME ROOM TO EVOKE ENERGY IN THE SPACE

USED TO BRIGHTEN ENCLOSED SPACES. ALSO EVOKES A HAPPY FEELING.

LINE LINE

LINE ACTS AS THE CONNECTION BETWEEN TWO POINTS IN SPACE. THE DIAGONAL LINE IN THE HALLWAY IS EMPAHSIZED

THROUGH THE USE OF A SINFLE HUE

THAT DIFFERENTIATE IT FROM THE OTHER LINES. THIS LINE INSPIRE INTEREST WHILE SUGGESTING QUICK ACTION AND RADICAL MOVEMENT TO THE VIEWER. IT ALSO SERVES AS A GUIDE DOWN THE HALLWAY.

TEXTURE IS USED IN THE SPACE PERCEP -

TUALY TO DIFFERENTIATE BETWEEN

WALKWAYS AND SEATING AREAS. THIS IS REINFORCED USING COLOR AND VALUE.

WALKWAYS ARE EMPHASIZED BY A PLAIN

TEXTURED GRAY CARPET. ON THE OTHER HAND, THE SEATING AREA IS EMPHASIZED

ADDING GRADIANT OF LIGHT AND DARK

GRAY. THIS ADDS RICHNESS AND DEPTH TO THE SPACE AND ADDS A VISUAL CONNEC -

TION TO OUR SPATIAL EXPERIRNCE.

TEXTURE

SHAPE/PATTERN

PATTERN RELATES TO THE REPETITION OF A GRAPHIC MOTIF ON A MATERIAL. THIS CAN BE SEEN IN THE REPETITIVE WOOD -

EN PANELS. THEY SERVE AS A DIVIDER BETWEEN OPEN SPACES AND PRIVATE SPACES.

ALSO, ITS SYSTEMATIC HORIZONTAL SEQUENCE MAKES THE SPACE LOOK BIGGER AND ADDS A VIBRANT MOVE THROUGH THE HALLWAYS.

M10

COLOR + HOSPITALITY

THE EDITION HOTEL

COMMERCIAL DESIGN ANALYSIS

LOBBY

IAN SCHRAGER PARTNERED WITH MARRIOTT INTERNATIONAL TO CREATE THE MIAMI BEACH EDITION – A STAGGERING URBAN RESORT THAT REFERENCES MIAMI’S RICH HISTORY.

DETAILS

COLOR + LINE:

CURVED LINES ARE SEEN THROUGHOUT THE SPACE. ON CELINGS, WALLS AND FURNITURE. THEY DEPICT THE NATURAL FLOW OF THE PALM TREES. THEY ALSO MAKE THE SPACE WELL BALANCED AND VISUALLY PLEASING.

COLOR + TEXTURE:

THE SPACE IS SURROUNDED BY NATURAL TEXTURES. THIS CONNECTS THE

PEOPLE TO MIAMI’S NATURE WHICH IS DEPICTED THROUGH THE USE OF NATURAL RATTAN IN FURNITURE. NATURAL COLORS ARE ALSO USED.

COLOR + SHAPE:

CURVED/CIRCULAR SHAPES ARE CONSITANT THROUGHOUT THE SPACE.

CURVED FURNITURE EVOKES SENSE OF HIGH END LUXURY.

COLOR + PATTERN: THE PATTERN OF NATURAL PALM TREES ARE REFLECTED ON THE CEILING WHICH CONNECTS THE BUILDING WITH NATURE (BIOPHILIA).

BEDROOM

THE EDITION NOT ONLY PRESERVES MUCH OF THE HISTORIC FABRIC, BUT EVOKES IN ITS INTERIORS THE SPIRIT OF TROPICAL ELEGANCE THAT DEFINES MIAMI AT ITS HEIGHT.

COLOR + LINE:

THE ROOM IS PARED DOWN THROUGH THE USE OF HORIZONTAL LINES ON FLOORS AND WALLS. THEY EVOKE A SENSE OF PEACE AND SECURITY. HORIZONTAL WALLS EMPHASIZES THE LENGTH OF SPACE AND LEADS THE EYE TO THE VIEW.

COLOR + SHAPE

THE SPACE IS CONSISTENT WITH THE USE OF RECTANGULAR FURNITURE. THIS EVOKES A SENSE OF SAFETY AND SECURITY. THERE IS ALSO CONSISTENCY OF COLOR WITHIN THE SHAPES WHICH ENABLES THE EYE TO TRAVEL AROUND FREELY.

COLOR + TEXTURE

THE ROOM IS SURROUNDED BY SOFT TEXTURES WITHIN NATURAL FIBERS AND WOOD WHICH SPEAK OF THE SANDY BEACHES BELOW.

DETAILS

“FACTS ABOUT ANCIENT EGYPTIANS.” HISTORY OF ANCIENT EGYPT FOR KIDS IN SIMPLE LANGUAGE, HTTPS://ANCIENTEGYPTIANFACTS.COM/ANCIENT-EGYPT-COLOURS-MEANING.HTML#:~:TEX -

T=LATER%2C%20AS%20THE%20CIVILIZATION%20PROGRESSED%2C%20THE%20COLOR%20RED,MEN%20UPHELD%20THE%20BELIEFS%20OF%20BRAVERY%20AND%20FEARLESSNESS.

• MARK, JOSHUA J. “COLOR IN ANCIENT EGYPT.” WORLD HISTORY ENCYCLOPEDIA, HTTPS://WWW.WORLDHISTORY.ORG#ORGANIZATION, 19 JAN. 2023, HTTPS://WWW.WORLDHISTORY.ORG/ARTI -

CLE/999/COLOR-IN-ANCIENT-EGYPT/#:~:TEXT=WHITE%20%28HEDJ%20AND%20SHESEP%29%20-%20MADE%20FROM%20CHALK,SYMBOLIZE%20THE%20TRANSCENDENT%20NATURE%20OF%20 LIFE%20AS%20WELL.

• AUTHORNEGAR, ET AL. “THE HISTORY BEHIND EGYPTIAN COLORS!: INSIDE COLORS.” INSIDE COLORS | STEP INSIDE COLORS WORLD, 1 SEPT. 2021, HTTPS://COLORS.DOPELY.TOP/IN -

SIDE-COLORS/THE-HISTORY-BEHIND-EGYPTIAN-COLORS/#:~:TEXT=EGYPTIAN%20COLORS%3A%20YELLOW%20YELLOW%20IS%20THE%20COLOR%20OF,ETERNITY.%20EGYPTIAN%20PEOPLE%20 PAINTED%20THEIR%20GODS%20IN%20GOLD.

• “FINALLY, COLOR EXPLAINED BY AN EXPERT IN A WAY THAT EVERYONE CAN UNDERSTAND.” SENSATIONAL COLOR, HTTPS://WWW.SENSATIONALCOLOR.COM/SYMBOLIC-COLORS-INDIA/#:~: -

TEXT=BLACK%20IS%20USED%20AS%20A%20REPRESENTATION%20OF%20EVIL,THE%20EAR%20TO%20WARD%20OFF%20THE%20EVIL%20EYE

• COLOURS ACROSS CULTURES - GLOBAL PROPAGANDA. HTTPS://GLOBALPROPAGANDA.COM/ARTICLES/TRANSLATINGCOLOURS.PDF..

• “RICARDO BOFILL ARCHITECT: BIOGRAPHY, BUILDINGS, PROJECTS AND FACTS.”

• FAMOUS ARCHITECTS, 17 DEC. 2015, HTTPS://WWW.FAMOUS-ARCHITECTS.ORG/RICARDO-BOFILL/.

• NAJA, RAMZI. “AD CLASSICS: LA MURALLA ROJA / RICARDO BOFILL.” ARCHDAILY, ARCHDAILY, 20 FEB. 2013, HTTPS://WWW.ARCHDAILY.COM/332438/AD-CLASSICS-LA-MURALLA-ROJA-RICARDO-BOFILL.

• “RICARDO BOFILL’S LA MURALLA ROJA – A CINEMATOGRAPHIC DREAM HOUSE IN COASTAL SPAIN:  DESIGN STORIES.” FINNISH DESIGN SHOP COM, 20 AUG. 2020, HTTPS://WWW. FINNISHDESIGNSHOP.COM/DESIGN-STORIES/ARCHITECTURE/LA-MURALLA-ROJA-A-CINEMATOGRAPHIC-DREAM-HOUSE-IN-SOUTHERN-SPAIN.

• BYXSM. “THE STRIKING AND DREAMY COLORS OF THE FRENCH FILM ‘AMELIE’.” XSM, 25 APR. 2022, HTTPS://XSMULTIMEDIA.COM/2022/04/25/THE-STRIKING-AND-DREAMYCOLORS-OF-THE-FRENCH-FILM-AMELIE/.

• “AMÉLIE.” MOVIEPEDIA, HTTPS://MOVIES.FANDOM.COM/WIKI/AM%C3%A9LIE.

• “UNDERSTANDING COLOR IN THE WORLD OF AMÉLIE POULAIN.” DECOR TIPS, 25 DEC. 2019, HTTPS://DECORTIPS.COM/HOMES/UNDERSTANDING-COLOR-IN-THE-WORLD-OFAMELIE-POULAIN/.

• MIGUELC. “EDITION HOTEL MIAMI BEACH.” HOTEL INTERIOR DESIGNS, HTTPS://HOTELINTERIORDESIGNS.EU/EDITION-HOTEL-MIAMI-BEACH/.

• “THE MIAMI BEACH EDITION, FLORIDA.” HOSPITALITY INTERIORS MAGAZINE, 31 MAR. 2023, HTTPS://WWW.HOSPITALITY-INTERIORS.NET/PROJECTS/ARTICLES/2015/06/1655537260-MI -

AMI-BEACH-EDITION-FLORIDA.