Colour Theory Workshop

Of all the architectural communications courses I took, Atlas of Colour was easily the most demanding. From week one, we were consistently pushed to create interesting and personal artworks or exercises that demonstrated the colour theory we were learning in class. I believe it was this constant push to try new things, experimenting with different mediums, colour combinations and techniques, which resulted in an ultimately satisfying ‘Atlas of Colour’. Each week we were taught theory on colour (how different colours work together, how to create active and passive colour schemes). This was all completely new to me, and I found it fascinating. At the same time, we were taught new techniques to apply this knowledge (use of watercolours, inks, collage). I had never used watercolour paints before, but I found it to be a captivating medium to work with. For this reason, I chose to branch out and experiment as much as possible with watercolour, using it for a number of different exercises. Even in the short span of a few weeks, I think you can see an improvement in my paintings. This is a new skill I feel will be extremely useful over my architectural career, as I have already started to do watercolour paintings regularly in my own time, both as concept sketches in design studio, and for personal interest.




I found the practice of constructing a physical book to be fun, challenging and rewarding. I was very happy with my final Atlas, and the way it was navigated. I chose to split the book into two halves along either side of the accordion fold. One half housed the colour theory notes we learnt, whilst the other displayed the exercises we had done in class and at home. Because I felt there was such a strong link between the theory and the exercises, I decided to physically link the two sides. I cut circles in the pages, which allows the reader to glimpse the colour exercises through these holes, whilst reading the colour theory notes. In this way, both sides can be read simultaneously, and in comparison with one another, rather than the more boring approach of reading one side, then reading the other, without understanding a link between the two. Within the actual book construction, I kept to a simple colour scheme, using only a light cream paper with deep red lining, and a red ‘thread’ that starts on the title page and continues throughout the book, leaping through the holes, and leading the reader on a ‘journey’ through the colour atlas.





We were asked to make a ‘tunnel book’ on the end of our Atlas. I felt this was a way to demonstrate an understanding of what we had learnt in the preceding weeks (colour schemes, composition, physical construction). Again, I kept the colour scheme simple, using only different shades of red. As inspiration for the tunnel, we looked at an art installation that featured veils of glass stained with colour. Rather than literally trying to recreate the boxes of colour from this installation, I took the idea of layered colours, and developed it in my own way, to create a swirling tunnel of shaded reds.






Colour 'mountain' (colour wheel according to intensity of hue)

Photoshopped window inspired by 49 veils (the one in my book looks really different to this, but every time I upload it, it seems to reverse the colours. I actually don't mind the look of it like this though)

Watercolour Rendering of CCTV Tower - Rem Koolhaas

Watercolour map of Rem Koolhaas's face

Collaged plan of Seattle Public Library - Rem Koolhaas

Collaged Elevation of Seattle Public Library - Rem Koolhaas


watercolour rendering of 49 veils (personal interpretation)

quick sketch I did whilst at the 49 veils (I didn't have colour pens, or even a lead pencil, so I had to make do with black ink)

Study of Precedent Book - S,M,L,XL by Rem Koolhaas

Architecture in Motion Workshop

I found this workshop to be both a fun and interesting learning experience. Some may have discounted film as irrelevant to architectural practice, but I found it very useful in the way we were pushed to think of architectural experiences beyond the everyday. Through documenting a space, and morphing it via modelling and drawing, I tried to convey the notion that architectural spaces can hold significant emotional impact. My film featured a man entering a room, as the ceiling begins to drip liquid. He stumbles through looking for an escape, as the black liquid comes crashing down around him, quickly filling up the room. This substance begins to possess him, and he stumbles towards the wall, looking for a way out. This wall cracks apart, leaving him entirely alone in a great wasteland.

Within my film, I tried to reference the way different architectural spaces are related to one another, and can cause strong emotions and elicit powerful reactions. The film is clearly metaphorical, and a demonstration of the strong effect certain architectural spaces can have on people. I believe in this way, film as a documentation of architecture can be an extremely powerful tool. Finally, I believe that Architecture in Motion was a great course, as it allowed us to experiment beyond 'conventional' architectural modes of communication.

This is the final film:


Stills from the final film:




The techniques of assembling a stop-motion film, and drawing the various components with charcoal, provided a great learning experience. With this knowledge, I really would love to return to the medium at some stage and create another film of this sort. I have always been interested in film, and I think this is a great way to tie in this interest with my interest in architecture.

Concept Sketches/drafts:




Early Storyboarding/Ideas

Images of Final Environment

Steve Jobs' Office from the exterior


Interior of Donatella Versace's Office:
Versace's power is derived from fashion. This notion is mirrored in the form of her office, which represents swirling, beautifully coloured fabric. Some of these sections move into place as you walk through her office, demonstrating the constantly changing nature of fashion, and Versace's need to adapt depending on the current fashion climate.


Donatella Versace's elevator


Table for two clients in meeting place:
there is a gravitational pull between the two legs of the table, as they strain against each other. This is representational of the vastly different yet equal forms of power both clients have. One is derived from fashion, the other from technology-two very disparate fields, yet both clients have reached the top of their field, and so are equal in this power struggle, made manifest in the table.


Steve Jobs' elevator in top level of his office:
Jobs' elevator fits neatly into the centre of his room, where it simultaneously becomes his desk. Jobs' power is about technology and innovation, and I wanted this unique fusion of elements to represent that. Although Jobs' table/elevator is slightly raised from the ground, representing his climb to the top, he is still very much in touch with those around him, as one has to be in a field involving so many technicians, engineers and designers.

Images of Draft Environment