Starbucks’ expressive space: Reading the visual tectonic of architecture driven by colour system

Resza Riskiyanto; Gustav Anandhita

doi:10.7454/arsnet.v2i1.51

Articles

Vol. 2 No. 1 (2022)

Starbucks’ expressive space: Reading the visual tectonic of architecture driven by colour system

Resza Riskiyanto⁺⁻
Gustav Anandhita⁺⁻

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DOI: https://doi.org/10.7454/arsnet.v2i1.51
Published: 2022-04-30
Article downloads: 553
Submitted: 2022-04-09
Accepted: 2022-04-22

Abstract

This paper argues that colour can be seen as a tectonic instrument to visualise spatial order and generate the surface configuration towards the overall form. Colour plays an important role within a space formation system, more than just a decorative element. Colour demonstrates performance that blurs the surface, presents spatial continuity, or emphasises the presence of space through a well-arranged achromatic-polychromatic colour composition. This paper explores various forms of colour combinations in Starbucks’ interior settings to reveal the performance of colour as part of the functional and expressive space formation system. The study utilises Hue, Saturation, and Lightness (HSL) analysis towards multiple case studies of Starbucks to find out to what extent the formation of a colour system that is specifically made for the identity of a product can be implemented on an architectural scale. The findings introduce another logic of colour systems combination that can be used strategically as a basis for designing architectural spaces.

References

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[1] Alexander, C. (2002). Notes on the synthesis of form. Harvard University Press.

[2] Atmodiwirjo, P., & Yatmo, Y. A. (2015, Nov. 18). Architecture as machine; Towards an architectural system for human well-being. Le Corbusier, 50 Years Later Congress, Polytechnic University of Valencia, Valencia, Spain. https://doi.org/10.4995/LC2015.2015.679

[3] Caivano, J. L. (2006). Research on color in architecture and environmental design: Brief history, current developments, and possible future. Color Research & Application, 31(4), 350–363. https://doi.org/10.1002/col.20224

[4] de Heer, J. (2009). The architectonic colour: Polychromy in the purist architecture of Le Corbusier. 010 Publishers.

[5] Dernie, D. J. (2020). Notes on the spatiality of colour. In L. Crespi (Ed.), Cultural, Theoretical, and Innovative Approaches to Contemporary Interior Design (pp. 85–103). IGI Global.

[6] Frampton, K., & Cava, J. (1995). Studies in tectonic culture: The poetics of construction in nineteenth and twentieth century architecture. MIT Press.

[7] Gage, J. (1982). Colour at The Bauhaus. AA Files, 2, 50–54. http://www.jstor.org/stable/29543325

[8] Gage, J. (1993). Color and culture: Practice and meaning from antiquity to abstraction. University of California Press.

[9] Harahap, M. M. Y. (2021). Articulating tectonic: From iteration to nexus. ARSNET, 1(1), 40–55. https://doi.org/10.7454/arsnet.v1i1.5

[10] Kane, C. L. (2015). Broken colour in a modern world: Chromatic failures in purist art and architecture. Journal of the International Colour Association, 14, 1–13.

[11] Katoh, M. (2000). On Le Corbusier's architectural polychromy. Journal of Architecture and Planning (Transactions of AIJ), 65(536), 275–279. https://doi.org/10.3130/aija.65.275_3

[12] Klinkhammer, B. (1999). The spatial use of color in early modernism. In G. Forbes & M. Malecha (Eds.), Proceedings of the 87th ACSA annual meeting: Legacy + aspirations (pp. 222–225). Association of Collegiate Schools of Architecture. https://www.acsa-arch.org/proceedings/Annual%20Meeting%20Proceedings/ACSA.AM.87/ACSA.AM.87.49.pdf

[13] Le Corbusier. (1986). Towards a new architecture. Dover Publications.

[14] Linton, H. (1999). Color in architecture: Design methods for buildings, interiors, and urban spaces. McGraw-Hill.

[15] Long, J. (2014). What is visual ergonomics? Work, 47(3), 287–289. https://doi.org/10.3233/WOR-141823

[16] Merleau-Ponty, M. (2010). Phenomenology of perception (C. Smith, Trans.). Routledge. (Original work published 1945)

[17] Murata, J. (2004). The multi-dimensionality of colors. http://www.cuhk.edu.hk/rih/phs/events/200405_PEACE/papers/JunichiMURATA.pdf

[18] Ozenfant, A., & le Corbusier. (1918). Après le cubisme. Éditions des Commentaires.

[19] Pedrosa, I. (2009). Da cor à cor inexistente. Senac.

[20] Pridmore, R. W. (2011). Complementary colors theory of color vision: Physiology, color mixture, color constancy and color perception. Color Research & Application, 36(6), 394–412. https://doi.org/10.1002/col.20611

[21] Rüegg, A. (Ed.). (2015). Polychromie architecturale: Le Corbusiers farbenklaviaturen von 1931 und 1959 (3rd ed.). Birkhäuser.

[22] Rüegg, A. (2021). Le Corbusier and color. (Museum für Gestaltung Zürich, Ed.). Museum für Gestaltung Zürich.

[23] Serra, J., Llopis, J., Torres, A., & Giménez, M. (2016). Color combination criteria in Le Corbusier's Purist architecture based on Salubra claviers from 1931. Color Research & Application, 41(1), 85–100. https://doi.org/10.1002/col.21940

[24] Simmons, J. (2012). The Starbucks Story: How the brand changed the world. Marshall Cavendish Business.

[25] Starbucks Coffee Company. (2022). Starbucks Creative Expression. https://creative.starbucks.com/

[26] Warakanyaka, A. A. A. S., Zhara, L. G., & Atmodiwirjo, P. (2017). Feeling at home in Starbucks: Revealing transient urban interior. UIA 2017 Seoul Architects Congress, Seoul, South Korea.