Veronica Di Babbo Color Theory

THEORY

COLOR

BY VERONICA DI BABBO IND5325

TA B L E O F CONTENT Hello

M.1 WHO ARE YOU? ................................ 3

Venezuela and Spain

M . 2 C O LO R + C U LT U R E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 0

I I T M c C o r m i c k Tr i b u n e C a m p u s Center

M.4 COLOR + DESIGNERS ............................... 15

The Grand Budapest Hotel M .6 C OLOR + ENV IRONMEN T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Dolce & Gabbana

M.8 COLOR + EMPHASIS

.............................29

60-30-10

M.9 COLOR + RENDERING ..................................35

Camperi Group

M . 1 0 C O LO R + W O R K S PAC E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 9

East Hotel

M . 11 C OLOR + HOS PI TALI T Y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

HELLO M.1 WHO ARE YOU?

WHO AM I? Hello my name is Veronica Di Babbo, I am 22 years old. I am in my third year of Architecture and seeking a Master’s Degree. I was born and raised in Maracay, Venezuela, and migrated to the United States when I was eleven years old.

My family comes from Spain and Italy which gave me the possibility of being fluent in three languages (Spanish, English and Italian) and hoping to learn many more.

4

T R AV E L + C U LT U R E Throughout my life, unfortunately I haven’t been able to travel to many countries. I’ve had the opportunity to travel to some cities in the United States, such as New York, Philadelphia, and I took a road trip with my family from Miami to Washington D.C. I’ve been lucky to have had an opportunity to travel to Galicia, Spain to visit some family. On that trip I had the pleasure of doing “El Camino de Santiago”, which is a hiking tour that has many starting places but there is only one final destination, which is Santiago de Compostela. That hiking experience was incredible ( I highly recommend it!).

I hope one day I’ll get the pleasure to travel to many places, and make memories on each of them.

5

WHY DESIGN? Since I was younger, I’ve always been interested in design. From designing clothes or painting to finding a career that makes me show off those talents.

My first choice when I started College was to enroll in Interior Design, and my dad who is an engineer, and my counselor, convinced me to choose Architecture. And to this day I am grateful for that decision.

Now, I only have two more years until I complete my Master’s Degree and I can finally go into the real world and hopefully one day I can start my own firm.

6

COLOR Color has always been a very important part of my life. It affects or it can change my mood. With the career I have and in my work, I am surrounded by many colors. When I get home it is actually the opposite. My bedroom is white with some aspects of color to help me feel relaxed and in peace.

I connect with mostly every color, but the one that never fails to grab my attention is orange and yellow. Warm colors speak to me the most. Whenever I see a combination of colors that I love, I rush to take a picture to capture the moment.

7

HOBBIES Since I was a child, my main hobbies consisted of painting and playing sports. I mostly enjoy drawing in pencil to create highlights and shadows, but playing with paint has helped me to connect with colors in a different way.

I’ve played tennis since I was six years old, and I played in tournaments until I began to pursue my architecture career. Now, I play tennis as a way of keeping a healthy lifestyle and exercise.

In my family we have amazing bakers, one of them being my mom.

She had taught me all her recipes and I’ve learned that I genuinely enjoy baking in my spare time.

8

SOURCES Image of Cathedral of Santiago de Compostela: https://www. theguardian.com/culture/2020/nov/01/a-selfie-set-in-stone-hiddenportrait-by-cheeky-mason-found-in-spain-900-years-on Image of tennis racket: https://www.behance.net/gallery/70056595/ Tennis

9

VENEZUEL A M . 2 C O LO R + C U LT U R E

S PA I N 10

VENEZUELA Like most Latin America, Venezuela is a country full of color. From its architecture to its natural landscapes.

The country’s flag has the primary color: yellow, blue, and red. Each of those colors have a meaning. The yellow represents the riches of the country, the wealth of Venezuelan soil, gold, sovereignty, harmony, justice and agriculture, as well as the Sun, the source of Light. The blue represents the Sea of the Caribbean that surrounds the country, as well as the Venezuelan beaches. The red represents the spilled blood in the battle. Other colors such as green and white represent the landscapes the country offers.

11

12

SPAIN The flag of Spain is made up of colors red and yellow.

There are several legends about the colors, the main legends come from the Spanish bullfights. Red represents the blood spilled by the bulls whereas the yellow represents the sand in the bullfighting arena. A second legend claims that the yellow represents the sun, whereas the red represents the bloodshed by the Spanish people.

13

14

IITMcCORMICK TRIBUNE CAMPUS CENTER

REM KOOLHA AS, OMA M.4 COLOR + DESIGNERS

15

R E M KO O L H AS S

Remment Lucas Koolhaas was born in Rotterdam, Netherlands, on November 17, 1944.

He is known for his innovative, cerebral designs. He has been called a modernist, a deconstructivist, and a structuralist, yet many critics claim he leans toward humanism; his work searches for a link between technology and humanity.

He spent four years of his youth in Indonesia, where his father, a novelist, served as cultural director. Following in the footsteps of his father, the young Koolhaas began his career as a writer. He was a In 1975, Koolhaas founded the Office for Metropolitan Architecture journalist for the Haase Post in The Hague and later tried his hand at (OMA) in London with Madelon Vriesendorm and Elia and Zoe writing movie scripts.

Zenghelis. Architect Zaha Hadid was one of their first interns.

Focusing on contemporary design, the company won a competition for Koolhaas’s writings on architecture won him fame in the field before he an addition to the Parliament in The Hague and a major commission had even completed a single building. After graduating in 1972 from to develop a master plan for a housing quarter in Amsterdam. the Architecture Association School in London, Koolhaas accepted a Koolhaas teaches at the Graduate School of Design at Harvard research fellowship in the United States.

University.

16

IIT McCormick Tr i b u n e C a m p u s Center In an attempt to rejuvenate the school and join the two parts of the campus, an international competition was held in 1998 to build a campus center on the plot of land below the L. The winning entry by OMA opened in 2003 and is a hub for student life on campus. It is the first U.S. building designed by Koolhaas.

The large single-story Campus Center provides a focal point for the previously sundered halves of the campus, and features a noise absorbing steel tube wrapping the elevated metro that runs directly over the building and, inside, a dense mosaic of programs including a bookstore, food court, café, auditorium, computer centre, and meeting spaces.

17

The L, Chicago’s elevated train line, divides the campus both physically and psychologically by separating the residential area from the academic buildings.

The icon system is integrated into a wide range of surfaces throughout the project: digital murals, fritted glass walls, textured and lenticular wallpapers. Also, created were unique architectural details such as LED digital clocks, fluorescent tube chandeliers, woodgrain walls, a sixty-foot long light box, and a series of iconographic wallpaper portraits, including one of Mies van der Rohe, which is now part of the permanent collection at The Museum of Modern Art. Portraits were created using icons as pixels.

18

COLOR Orange: The result of the combination of yellow and red, orange projects an idea of intensity, creativity, euphoria, and enthusiasm. It is often used in creative environments, such as offices, studios, and schools.

Yellow: Portrays optimism, curiosity, joviality and a bright atmosphere.

It is frequently used in commercial spaces or restaurants to gain the attention of pedestrians.

Red: This color shows energy, excitement, impulse. Therefore, it is regularly used in commercial spaces, such as stores or fast food outlets, as it portrays a certain compulsivity and consumer desire.

Green: Evokes calm, tranquility, serenity and well-being.

19

CONCLUSION The goal to rejuvenate the campus was achieved. The number of students enrolled increased as the campus gained popularity. Many students have commented on how well the environment is and how the color helps them enjoy the building.

The color palette for the campus was well-thought. Not only it energizes them, but it also helps them keep their calm in the more serene spaces.

20

SOURCES https://www.thoughtco.com/rem-koolhaas-modern-dutch-architect-177412#:~:text=Rem%20Koolhaas%20(born%20November%20 17,link%20between%20technology%20and%20humanity. https://en.wikiarquitectura.com/building/mccormick-tribune-campus-center/ https://www.architecture.org/learn/resources/buildings-of-chicago/ building/mccormick-tribune-campus-center/ https://www.architonic.com/en/project/oma-the-mccormick-tribune-campus-center/5100219 https://2x4.org/work/iit-mccormick-tribune-campus-center/ https://oma.eu/projects/iit-mccormick-tribune-campus-center

21

THE GRAND BUDAPEST HOTEL

BY WES ANDERSON M.6 COLOR + ENVIRONMENT Film Analysis 22

1930s

The Grand Budapest Hotel, led by concierge Monsieur Gustave H., was a prominent European ski resort in the 1930s. Gustave makes Zero, a junior lobby boy, his friend and protégé. Gustave takes pride in delivering firstclass service to the hotel’s visitors, which includes meeting the sexual requirements of the hotel’s many elderly female guests. When one of Gustave’s lovers mysteriously dies, he inherits a valuable painting and becomes the prime suspect in her murder.

The movie is shown in two different time periods. Two in which Wes Anderson portrayed them in two different color schemes. The scenes from the 1930s have a color scheme of pastel colors, most prominent is the color pink, which is the color of the Budapest Hotel. The 1960s have a color scheme of warm colors, most prominent is the color orange. The two color schemes help the viewer to easily see the change of the two time periods.

1960s

SUMMARY

23

RED and PURPLE The red is introduced at the beginning of part 1. The colors red and purple are introduced in the film when Gustave H. and Zero appear, therefore these colors have been prominent in these two characters.

Anderson saturated the colors throughout the film making them more vibrant. The red is used in the lobby, and specially the elevator. The purple is seen as the concierge and lobby boy’s uniform.

24

OR ANGE

The warm colors are seen mostly throughout the 1960s time frames. The renovated Grand Budapest’s lobby is now orange, making it the predominant color in the scenes.

The concierge is still using the purple uniform, creating an amazing contrast with the orange background.

Darker colors are introduced in the funeral and in the prison.

25

BLUE and GRAY From warm colors, Anderson switches to cool tones. Blue and gray are introduced when Zero is visiting Gustav in jail. These colors are also used especially in the snow, to create a cooler scene.

These colors are used to emphasize the colors from the military.

26

The film’s preliminary color is pink. From the Grand Budapest to the Mendl’s boxes. The movie’s pink accents are soft to the viewer’s eye, which makes the movie easily enjoyable.

Anderson used pastel blue to contrast the pink throughout the film.

The blue in these scenes are used in Mendl’s workers uniforms and the box ribbon.

PINK

27

SOURCES https://www.studiobinder.com/blog/wes-anderson-color-palette/ https://movietime.guru/the-grand-budapest-hotel-a-dissection-ofcolour-style-60203b3eab13 http://theblakesociety.weebly.com/blog/wes-anderson-and-a-lot-of-pink https://abbiericeyfilm.wordpress.com/2018/05/23/the-grandbudapest-hotel-colour-analysis/

28

D O LC E & G A B B A N A “ B E H I N D T H E C U R TA I N ” M.8 COLOR + EMPHASIS Retail Analysis

29

FOCAL POINT The first thing that you notice when entering the store, is that it is nothing seen before.

Domenico Dolce and Stephano Gabbana are very big fans of the opera, especially the Teatro alla Scala in Milano. Therefore, they decided to make the concept of the store inspired in the travertine style opera house.

The main focal points in the store are the tall baroque mirrors, and stone busts and statues resembling a play.

30

HUE The materiality used is what gives the color to the store. The softness of the color of the travertine contrasts with the walnut color of the wood used in the exhibition stands.

The use of these neutral colors make the clothes pop up.

31

VALUE

On the first floor, the store feels like a dramatic play, with the softness of the color of the travertine and the stone sculptures. The light feel of the store makes it easier for the clothes to contrast.

On the second floor, we see a different scenario, the black industrial feeling of the ceiling emphasizes the backstage feeling with all mechanisms visible.

32

TEXTURE To portray the opera house’s sense, the architect used a mixture of textures, polished and raw travertine and veselve marble with a stucco ceiling on the ground floor.

Visitors can imagine the room as a real play stage thanks to a variety of components. The first is the wavy glass facade that spans both floors of the structure and resembles the curtains of a play stage, with luminous reflections and undulating movements.

33

SOURCES https://bocadolobo.com/en/inspiration-and-ideas/dolce-gabbanamiami-store-recreates-grandeur-teatro-alla-scala/ https://www.elledecor.com/shopping/best-stores/a19852809/dolceand-gabbana-miami-store/ https://www.wescover.com/p/interior-design-by-curiosity-atdolceandgabbana--PH1Qh7l_zI http://curiosity.jp/cn/48/en.html

34

60 - 30 - 10 M.9 COLOR + RENDERING

35

ORGANIC

COMFORTING FLUIDITY

NATURAL

- Designing and building structures and spaces that are balanced with their natural surroundings and tailored to the function they serve for their inhabitants

- Creation of spaces of physical and mental wellbeing.

- To ambient qualities like noise level and temperature (and other factors that are most abstract, like sense of security).

- An architectural tool that ties a home to the landscape, grounding the home to the property.

- Movement that breaks horizontal barriers.

- Movement that leads to interaction and sense of community.

- Movement through a diversity of spatial volumes that stimulates and invigorates design impetus.

36

60 %

30 %

10 %

FOURTH COLOR

COLOR SCHEME Dominant = Taupe + Brown Secondary = Orange Accent = Olive Green Complementary = Blue + Light Blue

37

SOURCES https://www.archdaily.com/915587/january-trends-report-comfort-inarchitecture https://www.acsa-arch.org/proceedings/Annual%20Meeting%20 Proceedings/ACSA.AM.102/ACSA.AM.102.5.pdf https://www.dsdamerica.com/natural-modern-the-definition

38

CAMPARI GROUP M . 1 0 C O LO R + W O R K S PAC E 39

SHAPE

Shape is a flat, enclosed area of an artwork created through lines, textures, colors or an area enclosed by other shapes such as triangles, circles, and squares.

Circles are mostly seen in space. The ceiling lamps, the bars, and the furniture all create harmony in the space. To help them contrast even more are the straight lines.

48

LINE A line is an extension of a point, elongated mark, connection between two points, the effect of the edge of an object.

In the design of the workspace, there are not many visible straight lines. Apart from the horizontal lines of the stairs and ceilings, the bars are designed with curved lines, and it can be seen throughout the workspace.

41

TEXTURE

Texture is the property, sensation and feel of the objects received through sense of touch and vision.

Texture can be seen throughout the workspace. Wood ascents are seen on the bar tables, bringing the mid-century modern look.

From the modern look we switch to a more industrial one. The bar has exposed metal ceilings, and a dark color palette.

42

PAT T ER N

Pattern is a repeated decorative design. Used in this workspace, is in the bathroom and in one of the bars. The pattern in the bathroom is modern with diagonal lines and vintage colors. In one of the bars, the wallpaper has a Victorian era pattern. To help bring the antique feel, the designer used Victorian chandeliers. In one of the conference rooms, the windows have a pattern of bar tools, and cocktail glasses.

43

COLOR SCHEME 44

A N A LY S I S The color palette of the workspace consists mostly of red.

The color was chosen because it is the color of the liquor. The space had some blue accents just like the color of the logo in the bottle. The red is the visual weight as it helps to grab the attention of the viewer, it is a bright color that is toned down with the blue and gold. There is a variety of architectural details, such as textured ceilings, mixture of patterns, lights, etc. Even if red is a bright color, it is used in the right amount and balanced with the right colors just enough so that it is not tiring in the viewer’s eye. With the goal of attracting top talent and nurturing creativity among existing employees, the design features a 100% open work plan and a variety of huddle lounges, quiet spaces, phone rooms, and meeting spaces.

45

SOURCES https://www.interiordesign.net/projects/16445-gensler-blendscorporate-space-and-cocktail-bars-at-campari-s-new-yorkheadquarters/ https://beveragedynamics.com/2019/03/13/campari-americaunveils-nyc-headquarters/ https://www.camparigroup.com/en/news/2019-03-11/camparigroup-unveils-north-american-headquarters-new-york-city-genslerdesign https://www.gensler.com/projects/campari-group-north-americanheadquarters https://thedrinknation.com/articles/read/17151-Inside-LookCamparis-Stylish-North-American-Headquarters-in-New-York#

46

E AST AT B R IC K ELL C I T Y C EN T ER M . 11 C O LO R + HO SPI TA LI T Y

47

T H E LOB BY East Miami Hotel, was designed by Clodagh Design. Feng Shui, Bio geometry, Radiesthesia and crystal healing methods were used throughout the hotel to balance and harmonize the flow of energy. The vision behind the design was to create different ambients and experiences throughout the hotel.

The lobby consists of many spaces. Its main purpose is the lobby lounge. Next to it is Domain, which is the cafe where guests can get a coffee or cocktail of their choice.

48

LINE A line is an extension of a point, elongated mark, connection between two points, the effect of the edge of an object.

In the design of the lobby we can appreciate vertical and horizontal lines. The horizontal lines in the lobby are used to make the space feel wider, and the vertical lines are used to elongate, which makes the ceiling look taller.

TEXTURE Texture is the property, sensation and feel of the objects received through sense of touch and vision. The designer let the materials give the palette for the space. Many textures are seen throughout the lobby, especially the rock tiles on the front wall in the entrance. The roughness of the rock and wood give a beautiful contrast to the polished floor in the lobby.

49

SHAPE Shape is a flat, enclosed area of an artwork created through lines, textures, colors or an area enclosed by other shapes such as triangles, circles, and squares.

Used in the cafe, several shapes can be seen, such as the curved chairs, the circle table, the square bar stools, and rectangular doors above the bar.

50

LOBBY COLOR PALE T TE The color palette was given by the materiality used. The designer used several materials throughout the whole space. Wood, steel, rocks, fabrics, etc. To make these materials contrast, the designer chose the color orange. This color is used very elegantly in the space.

51

QUINTO L A HUELLA Next to the pool, is the Uruguayan wood-fired restaurant called Quinto La Huella. Quinto La Huella brings a dash of Latin American flair to Miami, with an authentic open-fire parrilla and wood-fire oven. The restaurant was designed by Studio Collective. The restaurant has a rustic chic feel.

52

TEXTURE Texture is the property, sensation and feel of the objects received through sense of touch and vision. The designer used many textures to make this rustic restaurant come to life. Wood piles were used in the bar wall. The bar stools are made out of rustic leather. The bar top is made out of wood with a polished finish.

What helps bring contrast to these materials, is the fine and delicate glassware.

53

LINE A line is an extension of a point, elongated mark, connection between two points, the effect of the edge of an object.

In the design of the workspace, there are not many visible straight lines. The restaurant’s roof have horizontal lines along the space.

Vertical and horizontal lines are used for the beams, used for the rustic environment. Thin vertical lines are used as the ceiling lines.

SHAPE Shape is a flat, enclosed area of an artwork created through lines, textures, colors or an area enclosed by other shapes such as triangles, circles, and squares.

Used in the restaurant, is specially noticeable in the wood piles arranged as the bar. Also, the designer incorporated some square lounge tables.

54

QUINTO L A HUELL A COLOR PALE T TE The color palette was given by the materiality used. The designer used several materials throughout the whole space. Wood, steel, rocks, fabrics, etc. To make these materials contrast, the clear delicate glassware was used.

55

56

SOURCES https://www.interiordesign. net/projects/13510-clodaghs-meditative-east-miami-hotelchannels-asian-tradition/ https://clodagh.com/projects/ east-hotel-miami/ https://studio-collective.com/ portfolio/quinto/

57

CONCLUSION Interior design is an important factor in an architect’s career.

Some of us struggle on a daily basis with color, textures and patterns. Color Theory has been one of the most eye-opening classes I’ve ever taken. It has enriched my knowledge on every topic, so in the future it can make the design process more efficient.

From all the classes I’ve ever taken in my career, Color Theory has been by far one of my favorites. As an architect, we are always making portfolios to show our work. This class has taught me the use of space, and that less can mean more. It has also taught me that color can affect people’s feelings and thoughts,

58