El Color en Arquitectura (Arquinube)

Machine Translated by Google
COLOR THE
ARCHITECTURE:
THEORY AND APPLICATION
Alfonso Alfonso Gonzalez
Cochabamba - Bolivia
MORE RESOURCES AT:
Material shared for educational purposes

The book belongs to their respective authors.
To Joaquín Rallo, the teacher,

to Elmer López, for his interrupted work,
to my parents, already elderly.
MORE RESOURCES AT:
Material shared for educational purposes

The book belongs to their respective authors.
INDEX
Introduction
CHAPTER I: THE COLORS
The dimensions and attributes of color

Primary colors
Additive and subtractive mixtures
Control of color attributes
value control
hue control
Intensity or saturation control
ordering of colors
Magnitudes of the chromatic attributes

Value
Colors
Intensity
interaction phenomena
The spatial effect of colors
CHAPTER II. COLOR SELECTION

color harmony
Chromatic harmony in spaces

Other criteria for color design
CHAPTER III: LUMINANCE OF COLORS

Color and lighting
The qualitative approach to lighting

Quantitative lighting requirements with respect to color
CHAPTER IV: ASSOCIATIONS AND SYMBOLS

color associations
color temperature and excitability
The weight of colors
Meaning and symbolism of colors. Its various applications
The shape of the color
The psychological associations of color

Creative color design and associated conventions
The understandable use of color

The suitability to the material
suitability for use
illustration color
Color and thermal perception in interiors
The subjective effect of color temperature
Light color and indoor climate
Color in architectural exteriors
Forms of application
The color of the natural environment in architecture
Color and heat transmission
Tradition and fashion in the use of color
CHAPTER V: PROCEDURES AND CONCLUSIONS
The process for designing colors in architecture.

Procedure for chromatic design in architectural spaces
Bibliography
Chapter II: COLOR SELECTION
COLOR HARMONY
It is a term that is understood from different angles. Harmony means balance, symmetry of forces.
For Itten it has a physiological basis, which corresponds to a psycho-physical state of equilibrium given by the
mix of a color with its complementary For Ewal Hering the state of perfect balance is created with
the complete set of neutral gray. As in Itten, two or more colors are harmonious when they give a
neutral gray mix Those who do not give gray are expressive in nature, but not harmonious.
For Oswald however, it has an expressive basis, assuming that the chromatic harmonies are
those combinations that are perceived as "pleasant", according to a subjective appreciation.
Many authors agree that it is very difficult to give harmonization rules and that there are no formulas
for it, emphasizing that only systematic education and direct experimentation serve
to achieve a good harmony. Preferred color matches within a color group
students are different for each of them. Preferences, according to Itten, vary according to the character,
temperament, education, and even, affirms the author himself, according to his bodily characteristics. But if
Although it is not possible to offer safe and universal rules for chromatic harmonization, there are certain
general principles of composition that are considered an aid to that end, which are based on
the relations of interaction between one and the other by contrasts and analogies.
In this sense, analogous colors are those that are located close to each other in the
Chromatic Circle in one or more of the scales. The most analogous are those that are close in the
three scales in unison, that is, with respect to hue, value, and chromaticity.
Opposite or contrasting Colors are far away on one or more of the scales. From the
point of view of tint are generally located opposite each other on the Color Wheel, but the most
Contrasting will be those that are more distant in the three scales at the same time.
Also, in relation to the additive and subtractive mixtures, they call them complementary, those
colors that psychologically the eye perceives as balance, compensation, or opposite color. For example
if a red dot is observed and then the eye is closed, a green dot is perceived for a short time. In it
Chromatic Circle are the complementary tints located exactly in front of each other.
For Johannes Itten, harmonious colors are those linked by an equilateral triangle or
isosceles or by a square or rectangle inside the Chromatic Circle, that is, when
complement each other giving a gray mix. His concept of harmony is based on mixes
subtractive, and it is argued in the tendency that people have to mentally compensate the
observation of a color with the response to the image of the complementary color to the observed one. For him
the concordance consists of the assemblage of a certain number of colors based on the laws
of their harmonic relationships and that can serve as the basis for a colored composition.
Color matches can be made up of two, three, four or more tints. then it is spoken
of concordance to two tones, to three tones to four tones, etc.
Harmonious two-tone matching (fig. 16) is formed by complementary colors, diametrically
Opposites on the Color Wheel. Eg red-green, orange-blue, purple-yellow, etc. intervenes the
clarity, for example, if a red whose degree is pale is used, it is necessary to use in counterpart a
green darkened to the same degree.
The harmonious concordance to three tones (fig. 17) is formed by the shades of the
• About equality of hue and saturation: Shapes that have equal hue and saturation are
perceived as formal units.
•
Relative to the interval between colors: When the color intervals are small the shapes
They tend to form groups.
An important or main concept in the harmonious design of spaces is the concept of interval,
consisting of the "distance" or "difference" between two or more colors. When two colors are placed
next to each other an interval is created. If three colors are combined, two intervals are created. If said
intervals were equal, it is said that the same interval is repeated. These are classified according to their
attributes, in three types:
• of dye
• of clarity
• saturation.
When referring to a large interval of hue, it is meant that the difference in hue
between the two is significant, and the contrast is high. Similarly, the same is true of clarity and clarity.
saturation.
The color intervals are the cause of the chromatic contrasts. According to Heuser, such contrasts
are due to:
• The general composition of color in relation to the environment
• The combination of light and dark colors
• The combination of warm and cold colors
• Complementary colors

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Machine Translated by Google

Machine Translated by Google

THEORY AND APPLICATION

Alfonso Alfonso Gonzalez

MORE RESOURCES AT:

Material shared for educational purposes

To Joaquín Rallo, the teacher,

MORE RESOURCES AT:

Material shared for educational purposes

CHAPTER I: THE COLORS

The dimensions and attributes of color

Magnitudes of the chromatic attributes

The spatial effect of colors

CHAPTER II. COLOR SELECTION

Chromatic harmony in spaces

CHAPTER III: LUMINANCE OF COLORS

The qualitative approach to lighting

Quantitative lighting requirements with respect to color

CHAPTER IV: ASSOCIATIONS AND SYMBOLS

The shape of the color

The psychological associations of color

The understandable use of color

suitability for use

CHAPTER V: PROCEDURES AND CONCLUSIONS

The process for designing colors in architecture.

Chapter II: COLOR SELECTION

those combinations that are perceived as "pleasant", according to a subjective appreciation.

to achieve a good harmony. Preferred color matches within a color group

of concordance to two tones, to three tones to four tones, etc.

Harmonious two-tone matching (fig. 16) is formed by complementary colors, diametrically

green darkened to the same degree.

perceived as formal units.

They tend to form groups.

attributes, in three types:

are due to:

• The general composition of color in relation to the environment

• The combination of light and dark colors

• The combination of warm and cold colors

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