Color theory

CT

COLOR THEORY

APPLICATION OF THE BUILT ENVIRONMENT

IND 5325.COLOR THEORY.SPRING 2023 PROFESSOR BRIANA CROWDER MINERVA LOUKA

COLOR + CONTENTS

M0 COLOR+YOU

3

M1 COLOR+CULTURE

9

M2 COLOR+THEORY

15

CONTENTS M6 COLOR+HEALTH

33

M7 COLOR+BALANCE

35

M3 COLOR+DESIGNER 17

M8 COLOR+RETAIL

37

M4 COLOR+PERCEPTION23

M9 COLOR+WORKPLACE47

M5 COLOR+MOVIES

M10 COLOR+HOSPITALITY53

25

M0

COLOR + YOU

GET TO KNOW ME MINERVA LOUKA

MINERVA

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 .

2700K

M1

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.

ORANGE IS ASOCIATED WITH MOURNING .

EGYPT

YELLOW IS THE COLOR OF THE SUN . AS A RESULT, IT REPRESENTS THE SUN ITSELF AND ETERNITY. EGYPTIAN PEOPLE PAINTED THEIR ANCIENT EGYPTIAN SCULPTURES SHOW THE GODS IN GOLD. ALSO MOST OF SKIN OF MEN IN DEEP RED COLOR. THIS THE EGYPTIAN TEMPLES ARE BUILT ILLUSTRATES HOW EGYPTIAN MEN UPHELD WITH YELLOW STONE. THE BELIEFS OF BRAVERY/FEARLESSNESS .

PURPLE WAS THE FAVORED GREEN IS THEIR NATIONAL COLOR. COMMONLY USED ON COLOR OF CLEOPATRA, USED PURPURA SNAILS FOR MOSQUE AND PLACES OF WORDYE. IT ALSO REPRESENTS SHIP, SYMBOLIZES FERTILITY/ STRENGHT. FAITH.

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

ADDITIVE COLOR MIXING

2700K

M2

COLOR + THEORY

3000K

WARM WHITE

3500K

SUBTRACTIVE COLOR MIXING

4100K

COOL WHITE

5000K

6500K

DAYLIGHT

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.THEORY2.

THEORY- NOT PROVEN . EXPLAINS CONCEPT AND IDEAS .

COLOR + THEORY NM

C HAPT ER TAKEAWAYS

400 500 600 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.

700

REFLECTION

REFRACTION

M3

COLOR + DESIGNERS

LA MURALLA ROJA 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

RICARDO BOFILL

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 INSPIRATION BY THE MEDITERRANEAN TRADITION OF THE KASBAH.

1 9 6 8 , S PA I N

LA MURALLA ROJA

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

AMÉLIE AM LIE

FILM ANALYSIS

SUMMARY

AMÉLIE IS A 2001 FRENCH-GERMAN 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.

RED IS A SIGN OF AMELIE’S LOVING TEMPER AMENT AND A VERY WARM APPROACH WHEN IT COMES TO HER PERSONALIT Y. HER APARTMENT IS ALSO DECOR ATED 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 R ASPBERRIES SYMBOLIZE HER PASSION AND VITAL YOUNG MIND.

RED

GREEN THE GREEN COLORS SERVE AS CONTR AST 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 C AN BE SEEN WHEN YOUNG AMÉLIE AS SHE IS SET TING THE RED FISH FREE IN THE RIVER WITH HER MOTHER . THE SURROUNDING GREEN CREATES A SENSE OF GR ACE AND VITALIT Y REPRESENTING NATURE NEXT TO THE STRONG CONTR ASTING 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 L ATE 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 REL ATIONSHIP WHICH ILLUSTR ATES 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

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

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

AUTODESK OFFICE SAN FRANC I S C O, CALIF OR N IA

M.9 IND 5325.COLOR THEORY.SPRING 2023 PROFESSOR BRIANA CROWDER MINERVA LOUKA

COLOR PALETTE

USED IN OPEN AREAS WHICH PROMOTES A PEACFUL ENVIRONMENT.

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 PERCEPTUALY 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 CONNECTION 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 WOODEN 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

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

LOBBY

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).

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.

BEDROOM

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#:~:TEXT=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/ARTICLE/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/INSIDE-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 .

• BY XSM. “TH E S TR I K I N G A N D D R E A M Y C O L O RS OF THE FRENC H FI LM ‘AM ELI E’.” XSM , 25 APR. 2022, H T T PS: //XSMUL T IMED IA. CO M/2022/04/25/T H E-ST RIKIN G -AN D -D REAMYCOLOR S - O F - TH E- FR E N C H -FI L M -A M E L I E / .

• “AM ÉLIE.” MOVIEP E D I A , H T T P S : / / M OV I E S . FANDOM .C OM /WI KI /AM %C 3%A9LI E. • “U ND ER S TAN D IN G C O L O R I N T H E WORL D OF AM ÉLI E POULAI N .” DEC OR TI PS , 25 DEC . 2019, H T T PS: //D ECO RT IPS . CO M/H O MES/UN D ERSTAN D IN G -CO L O R-IN -T H E-WO RL D -O F AM E L IE- P O U LAIN /.

• 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-MIAMI-BEACH-EDITION-FLORIDA.