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The Colors of Japan n Bold New Library n Talking Color With Todd Oldham
s t i rSH ERW IN -W I L L I AMS® W h e r e C o l o r a n d C r e a t i v i t y C o n v e r g e Vo l u m e 1 • I s s u e 1 • 2 0 0 4
Editorial Advisor: Tresa MakowskiExecutive Editor: Bryan IwamotoEditor: Kim PalmerExecutive Art Director: Sandy RumreichSenior Designer: Cate HubbardSenior Editors: Jim Thorp, Lynn BronsonProduction Director: Kim OlsonTraffic: Amy GutknechtClient Services: Jane Rosenberger, Andrea Ahern
STIR is published by Hanley Wood, LLC, onbehalf of The Sherwin-Williams Company, for interior designers and architects. We welcome your questions and comments. Please direct correspondence to: Sherwin-Williams STIR MagazineHanley Wood, 430 1st Ave. N., Suite 550, Minneapolis, MN 55401. Phone: (612) 338-8300Fax: (612) 338-7044E-mail: [email protected] site: www.sherwinwilliams.com
For Sherwin-Williams color and productinformation, contact your Sherwin-WilliamsArchitectural Account Executive or call theArchitect and Designer Answerline at(800) 321-8194.
Printed in the United States, © 2004 Sherwin-Williams, Vol. 1. Issue 1, 2004
The trademarks and copyrights of Sherwin-Williams appearing in STIRare protected.
STIR Advisory BoardJoann EckstutThe RoomworksNew York, N.Y.
Janet Friedman, ASID Friedman & ShieldsGreenbrae, Calif.
Ruth Jansson Gensler Architecture, Design and Planning WorldwideWashington, D.C.
Marcello Luzi, ASID Weixler, Peterson & LuziPhiladelphia, Pa.
Jill Miller Mithun Seattle, Wash.
Jill Pilaroscia, IACC The Colour Studio San Francisco, Calif.
Paul Sarantes, ASID, IIDA Archicon Architects and InteriorsPhoenix, Ariz.
Mary Slater, NKBAAi Miami International University of Art and DesignMiami, Fla.
Linda Smith, FASID education-worksDallas, Texas
s t i rSH ERW I N -W I L L I AMS
ON THE COVER
A noisy world rediscovers Japan’squiet yet powerfulcolor traditions,along with the Eastern design philosophy of wabi-sabi.
8
PALETTE
Yellows energizeinteriors. Gray-tintedbasecoats make deepcolor visions a reality.Color tools that work.
2
SHHH! THE WALLS ARE SHOUTING
Color speaks volumes at the new Seattle CentralLibrary, a modernistshowcase that breaksthe mold of what alibrary can be.
4
SHADES GONE BY
Historic colorsrestore the originalbeauty of classichomes in oldBaltimore.
6
COLOR SPY
Designer ToddOldham makes the switch from fashion to furniturewithout losing his adventurous color sense.
12
SECRETS OF SELLING COLOR
Designers share their strategies foridentifying clients’deepest attitudesabout color andexpanding their comfort zones.
14
GOING GREEN
Low-VOC Harmonypaints have designersand clients breathingeasier. Plus otherenvironmentallyfriendly ideas.
15
COLOR TECH
An illuminating lookat how lighting canenhance or detractfrom your carefullyselected palettes.
16
LIVING IN COLOR
The blues have never looked betterthan this sampling of new building anddesign products.
18
INSPIRATION
Designers sharewhat’s on their desk,nightstand or laptop.
20
FINAL TOUCH
Discover the essenceof stained glass.
21
Vo l u m e 1 • I s s u e 1 • 2 0 0 4
C O N T E N T S
4 1418
12
S H E R W I N - W I L L I A M S S t i r 1
PaletteSOLAR POWERYellow always makes its
presence felt. On one hand, it’s
an in-your-face color, marking
hazards and evoking caution.
On the flip side, yellow is warm,
sunny and inviting. And according
to Becky Ralich Spak, senior designer
with Sherwin-Williams’ Color
Marketing department, this
energetic, “feel-good” side of
yellow makes it a popular hue
in new residential homes.
“Safety alerts come in a strong,
bold yellow hue — overly saturated
yellows can even cause agitation,”
Ralich Spak says. “But yellow
can also be considered a fun,
youthful color — think VW Beetles,
SpongeBob, cell phones and
cameras. The retro smiley face
has also made a comeback — it
gives us the energy and lightness
we are looking for in a hectic,
high-tech world.”
Yellows are seen frequently in New
England and the Pacific Northwest,
where they are used to balance an
abundance of blues and greens in
the natural environment. Yellow
suggests warmth and the illusion
of sunshine where few or no win-
dows exist, and a feeling of energy
and movement within a space.
Expect to see more saturated
forms of yellow in public rooms:
kitchens, sun porches, bathrooms
and great rooms, says Ralich Spak.
The softer, creamier shades are
showing up in more private
quarters, such as bedrooms. n
2 S H E R W I N - W I L L I A M S S t i r
C O L O R N E W S A N D S O L U T I O N S F R O M S H E R W I N - W I L L I A M S
is a child’s first color preference.
and cream signify modesty in Persian rugs.
is the color of D major, said composer Alexander Scriabin.
and red are marriage colors in Egypt and Russia.
is the color of light, life, truth and immortality to the Hindus.
signifies the direction north in Tibet.
is the Chinese color for royalty.
Source: “The Primary Colors” by Alexander Theroux
Yellow
S H E R W I N - W I L L I A M S S t i r 3
ARE YOU PRIMED?
Make your job easier with the best in
professional color selection tools from
Sherwin-Williams.
The Sherwin-Williams COLOR Specifier fan
deck is user-friendly and designed to put the
entire COLOR palette in the palm of your hand —
more than 1,000 hues, arranged by saturation
level inside an ergonomically designed
protective cover.
The Sherwin-Williams Professional Color File
arranges color from essential blacks and whites
to warm and cool neutrals to six color families,
followed by the Preservation Palette® (both
interior and exterior finishes), Wood Classics®
stains over pine, oak and birch, and finish
selectors showing Sherwin-Williams sheens in
light and deep hues. The Professional Color File
comes in a portable hard case that’s easily
carried from studio to project site.
Individual 41/4-by-35/8-inch and 81/2-by-11-inch
color samples are available upon request.
You can order Sherwin-Williams color tools
online at sherwin-williams.com, or call
(800) 382-6567, fax (216) 566-1660 or e-mail
[email protected]. Whatever your preference,
we’ve got your color. n
WHAT’S IN YOUR TOOLBOX?
Enhance color with the right basecoat.
Looking for deeper shades and lush finishesfor your client’s interiors? The gray-tintedbasecoat technology of the Sherwin-WilliamsColor Prime® System and the ColorAccents®Interior Latex Flat paint line help you makeyour vision a reality.
The Sherwin-Williams exclusive ColorPrime System is a continuum of gray shadesthat maximize the color of approximately 20 percent of the Sherwin-Williams COLORpalette. Sherwin-Williams gray-tintedbasecoats allow you to achieve the ideal balance of light absorption and reflection by working within the color space of the topcoat color. For certain deep, bright or transparent colors, a gray basecoat provides:
• An accurate color match in fewer coats.
• Better touch-up and superior coverage of surface imperfections.
• Uniform colors with less streaking.
“Our Color Prime gray basecoat technologyhelps designers achieve the look their clientswant without guesswork, because topcoatcolors are matched with the appropriate gray primer shade,” says Steve Revnew, director of residential marketing at Sherwin-Williams.“Topcoat colors appear more vivid and true withthe proper gray basecoat shade underneath —so the right basecoat is every bit as importantas the right topcoat.”
Determining when to use a gray basecoatshade (and which shade to use) is simple —either ask your Sherwin-Williams store or rep or look at the back of your topcoat color chip. If you see a code of P1 through P6, be sure to use a primer tinted to that specific shade of gray. It’s that easy.
For more information on these or otherSherwin-Williams products, go to sherwin-williams.com. n
Combine Color Prime basecoat technology
with Sherwin-Williams ColorAccents Interior
Latex Flat paints and see the difference —
rich, deep colors with a finish like velvet.
•
•
•
4 S H E R W I N - W I L L I A M S S t i r
There’s nothing hushed or whispered aboutthe color scheme for the Seattle CentralLibrary, which opened in May 2004 to greatfanfare. The exuberant, deconstructivistdesign, by 2000 Pritzker Prize winner Rem Koolhaas and his team at Office of
Metropolitan Architecture (OMA), defiantly challengesthe traditional library persona of an unobtrusive brick box. From the asymmetrical glass exterior to luminescent escalators, the design is as loud as a rambunctious schoolkid. But perhaps no other element is as vocal as the colors drenching almostevery surface.
Koolhaas’ Netherlands-based firm embraces color,which, while not uncommonin Europe, is more unusualin American architecturalfirms. According to JosuhaRamus, Koolhaas’ partner,color can punctuate design,buttress function and — inthe case of the library — transform materials as mundane as cementfloors and acoustic ceiling tiles into a sophisticated design scheme.
Colorful clustersThe library project was sectioned into five clusters, each designed independently with a unique palette inspired by function.
For example, the team wanted elevators and escalators to be obviousto visitors, Ramus says. Fluorescent chartreuse was selected for its sheerunavoidability. “It was the one color you would see from anywhere.”
To set the high-tech atmosphere of the Mixing Chamber, the information hub of the library, black columns coated with clear sealer containing microchip glitter and a sleek aluminum floor were installed. An orange polyurethane floor at the Teen Center adds warmth while reflecting the vibrancy of its adolescent visitors. The most whimsical color selection, according to Ramus, is the lush red that envelops the curvaceous Meeting Level. “This was the onlyplace that the color was really just for fun.”
The library board and advisors were generally supportive of the boldvision, but “there were certainly colors that were a hard sell,” Ramus says.
Mixed to matchMore of a concern was how to achieve the robust colors and match selected shades, especially in the many areas where the same color was used on adjacent but different construction materials. Restroomsurfaces had to blend seamlessly from polyurethane floors to latex wallsto enamel ceilings. At the escalators, matching the difficult-to-adheregloss illuminated panels and baked enamel panels took tremendouscoordination and perseverance, Ramus says. Sherwin-Williams’ Polane®two-component urethane ultimately got the job done with its bond-to-almost-anything capability.
The Sherwin-Williams blue chosen for the expansive structural areasthat tie the clusters together was selected for both form and function.“On an overcast day, the color is very warm,” Ramus says; on sunny days,“it’s almost luminous.” Exterior applications of the color were achievedwith Sherwin-Williams’ Corothane® 1, a moisture-cured polyurethanethat could be applied even on soggy days to keep the project on schedule.
Custom madeCraig Obert, store manager of one of the Sherwin-Williams stores in Seattle, oversaw the creation of 17 custom colors, mixed to matchmetal, paper and fabric swatches, that could adhere to everything. “It was a big challenge because most of the colors were very brightand vibrant, more like ink colors than paint,” Obert says. To ensure long-term gloss and color retention, the store supplied Hi-Gloss Polyurethanefor the deep reds of the Meeting Level.
Apparently Obert and his staff got it right. The OMA team was so committed to Sherwin-Williams’ paints and colors, and their high-performance reputation, that they were specified on all bid documents.
Color expert Jill Pilaroscia, of The Colour Studio in San Francisco,described the library’s saturation of color as “spectacularly fresh and surprising. Libraries are traditionally places where you don’t raise yourvoice, you walk softly and speak quietly,” Pilaroscia says. OMA’s design is “blowing the top off those experiential constraints.” n
B y A N D R E A G R A Z Z I N I W A L S T R O M
Shhh! The walls are shoutingColor speaks volumes at a new Seattle library.
PHO
TOG
RA
PHS
BY
BEN
JAM
IN B
ENSC
HN
EID
ER A
ND
CO
URT
ESY
OF
LMN
AR
CH
ITEC
TS
It was a big challenge because most of
the colors were very bright and vibrant,
more like ink colors than paint.”
“
S H E R W I N - W I L L I A M S S t i r 5
Far left: Seating area in library foyer
Center: Dramatic escalator
Near left: Exterior view of library
6 S H E R W I N - W I L L I A M S S t i r
altimore’s Guilford neighborhood is like an architectural history lesson come to life. With its tree-lined avenues, old-fashioned streetlights and stately turn-of-the centuryhomes, Guilford is defined by its Old World charm. Butuntil recently, one of Guilford’s most prominent homes,
a large 1916 Flemish Arts & Crafts villa, was more of an eyesore than a showplace. The dingy white stucco was in need of repair, the blackshutters discolored by acid rain. New homeowner Julie Blewis says she heard later that the neighbors had laughed at them for buying thehouse. But her husband, Gordon, says, “We could see beyond the factthat it needed a paint job; that it would look great again.”
While struggling with the task of selecting exterior colors at aSherwin-Williams paint store, Julie Blewis met Leslie Webb, a historic
preservation consultant who works with homeowners, architects andinterior designers (a growing number of whom are being called upon to select paint colors for exterior projects). Webb was familiar with the couple’s house and soon convinced Blewis that historically accuratecolors would best restore its beauty. “Historic colors really define andenhance historic buildings,” Webb says.
Blewis hired Webb, who began searching for evidence of originalhues. She was ecstatic to discover the home’s original trim color underseveral layers of paint on the carriage house door header. “It was thebiggest stretch of preserved historic colors I’ve seen in the 30 years I have been doing this,” she says.
Familiar hueWebb recognized the color as Sherwin-Williams’ Rookwood Shutter Green(SW 2809), a historic color that is still available, part of Sherwin-Williams’COLOR Preservation Palette® series. Webb used the green for the windowtrim and shutters, setting it off with Roycroft Copper Red (SW 2839 —also from a Preservation Palette) on the sashes of the home’s many mullioned windows. Sherwin-Williams was able to match the warm sandstone color selected for the stucco directly from the original colorunearthed during Webb’s research. To ensure maximum durability, thecouple chose Sherwin-Williams’ Duration® coating, which covers in one coat on repaints.
The new palette sets off the home’s terra cotta clay tile roof, exteriorbrickwork and walkways. It also integrates the colors of the home withthe colors of its unique setting (directly facing a large public garden),which reflects the Arts & Crafts period’s philosophy of celebratingnature by employing natural colors and materials, Webb says.
gonebyHistoric colors restore the original beauty of two classic Baltimore homes.
B y B E T T E S A C K
“Historic colors really define and enhance historic buildings.”
B
Shades
Inside warmth Webb’s work on the Blewis home attracted the attention of the ownersof a 1925 Colonial Revival home, also in Guilford. Architect JonathanFishman and his wife, Gail, who develops exhibitions for museums,definitely have the taste and color sensibilities to select hues for theirhome’s all-white interior spaces. “Yes, we do,” Jonathan Fishmanlaughs, “but we couldn’t agree.”
Using Sherwin-Williams SuperPaint® Interior Latex in a flat finish,Webb transformed the home’s interior, choosing both historic andmodern colors to showcase the Fishmans’ contemporary art and modern furnishings. Webb chose Versatile Gray (SW 6072) for the foyer,set off by Pure White (SW 7005) woodwork, which continues throughthe home. “Gray was an important color for the period of the house,which immediately linked the past to the present,” she says.
The living room was painted Empire Gold (SW 0012) to infuse thespace with warmth. Ruskin Room Green (SW 0042) was chosen for the dining room because it complemented the gold, as well as theFishmans’ artwork and antique oriental rugs.
Webb takes a flexible approach to historic color, sometimes combining colors from different periods. The green in the Fishmanhome, for example, is part of Sherwin-Williams’ Preservation Palettefrom the Arts & Crafts period, while the gold is part of the earlierVictorian palette, she notes.
But Webb is firm in her commitment to historic colors overall as an important part of preservation. “In America, we live in a throwawaysociety that has torn down much of its old architecture,” she says.“Historic buildings add a richness and depth to life, and historic colorshelp them stand out against the colors of today’s world.” n
y define and enhance historic buildings.”
WHEN A HOME HAS A PAST Preservation consultant Leslie Webb offers the following tips
when working on historic preservation projects:
1. Expose the original colors. Webb uses a variety of scalpels to
carve an angled “tree ring” into painted surfaces to reveal layers of
history. (She recommends the book “Paint in America: Colors of Historic
Buildings” by Roger W. Moss and published by the Preservation Trust,
which details this technique.) If the original paint color isn’t feasible,
consider using the second or third paint color, or adapting the original
color in a way that is sensitive to the past, such as reducing the
value by 20 percent.
2. Explore tax credits or other financial incentives for using
historically accurate colors. “Each historic district has its own rules,”
Webb says. A good place to start is the local historic preservation
office. A critical resource for preservation guidelines is the National
Park Service (www.cr.nps.gov).
3. Learn about the period in which the home was built and the
colors that were used at that time. “Historic paint color theory is
deep and complex — every period is unique,” Webb says. For quick
reference, consult Sherwin-Williams’ Preservation Palettes.
Leslie Webb is a historic preservation and color consultant based in Baltimore, Md.
Her e-mail address is [email protected].
Vers
atile
Gra
y (S
W 6
072)
Bird
sEye
Map
le (S
W 2
834)
Rusk
in R
oom
Gre
en (S
W 0
042)
Empi
re G
old
(SW
001
2)
S H E R W I N - W I L L I A M S S t i r 7
A palette of historic
and modern colors
showcase the Fishmans’
art collection.
PHO
TOG
RA
PHS
BY
ALA
IN J
AR
AM
ILLO
8 S H E R W I N - W I L L I A M S S t i r
Lost inTranslationA noisy world rediscovers Japan’s quiet, yet powerful, color traditions.
B y K I M PA L M E R
White makeup has been used
for centuries by the Japanese.
In traditional Japan, white
was considered the sacred
color of the gods, symbolizing
the absence of impurity.
That scene reflects the face of modern Japan to many Westerners, especiallythose who’ve experienced the culture only vicariously through movies or TV. But thatimage masks the culture’s aesthetic essence,just as a Kabuki actor’s white makeup disguises his features.
“Tokyo is so Western and high-tech, butthe intrinsic Japanese culture is healthy andserene; there’s a huge contrast between thecity and the rural areas,” says Robyn GriggsLawrence, editor in chief of Natural Homemagazine and author of a forthcoming bookon Japanese-inspired home design.
Japan’s true colors are not the harsh, artificial hues of a modern city but the
natural, monochromatic palettes of cypresstrees, tea leaves or pebbles along the shore.
“Color is very important in Japanesedesign, but it’s very subtle and comes fromnature,” says Rina Okawa, a Japanese-borninterior designer with Zen Associates inSudbury, Mass.
“We always try to bring the outside in,”says Shoko Aoki-Fine, an interior designer withOkohz Design Group in Redondo Beach, Calif.,which specializes in Japanese-inspired designfor residential and commercial clients.
Japanese color palettes include manygreens, earth tones, forest colors, and beach or ocean colors, depending on the natural surroundings of the building. Stronger colors
PURPLE
Nobility and privilege
are symbolized in this
royal color, which was
reserved for impor-
tant uses such as
priests’ robes, cloths
for wrapping valuable
objects or kimonos
for exalted people
to wear on special
occasions. The victor in
an important contest
would be awarded a
deep violet banner,
the equivalent of
the Western world’s
blue ribbon.
GREEN
Midori, symbolizing
fresh and youthful
new life, has long
been a dominant hue
in Japanese interior
décor. The soft sage
color of green tea
is an especially
favored shade.
Japanese color through the centuries
Colors have deep symbolic meanings in
Japan, and ancient traditions still influence
the use of color today. Those traditions and
the evolution of the uniquely Japanese
approach to color is beautifully illustrated
in “The Colors of Japan” (Kodansha
International Ltd., 2000) by Sadao Hibi
and Kunio Fukuda. The book explains the
history and meaning behind the culture’s
dominant hues:
Tokyo streetscape seen from a racing taxi —
a feverish blur of neon brights and urban grays — paints
a vivid cultural image in the film “Lost in Translation.”
A
S H E R W I N - W I L L I A M S S t i r 9
Kimono designed
with flowers and
grasses of the
four seasons.
Bonsai means “tray
planting.” Evergreens
are symbols of long life,
and their color is
respected as sacred.
may be used for accent, but in small dosesand muted shades.
“In the Japanese tradition, bright colorstire the eye,” Griggs Lawrence says. “Color definition is really restrained.”
This understated approach to color is onlyone facet of the less-is-more Japanese designphilosophy. “The American way is to try tomake every little space occupied,” Okawasays. When a design is spare, “you(Westerners) feel like something is missing.We feel it is beautiful. We appreciate thesilence, the empty space between the lines.”
The calm, soothing aesthetic of Japanesedesign and color is increasingly sought afterby Japanese and American clients alike.“There’s more interest in Japanese designbecause everyone is so busy,” says Aoki-Fine.“People’s brains are stuffed with too manythings; they want their homes to be peaceful,relaxed and simple.” n
BLUE
If there’s one color
that represents every-
day Japanese life, it’s
navy blue. Under
Japan’s early feudal
caste system, bright
colors such as red
and purple were
prohibited except for
specific uses. Indigo
was plentiful, and
blue made from
indigo dye became
the color of working
clothes and household
textiles. Today, navy
blue is still a common
color for Japanese
school uniforms and
other institutional
uses, and blue and
white is a favorite
color combination,
representing coolness
and freshness.
BROWN
In the Japanese
tradition, the simple
beauty of materials
in their natural color
is highly valued.
Unpainted wood and
clay have long been
popular for interiors,
along with bamboo,
hemp, straw and
stone.
“We appreciate the silence, the
empty space between the lines.”
10 S H E R W I N - W I L L I A M S S t i r
Woodblock, ca. 1793. During the
Edo period (1600–1867) tea leaves
and stems were used to dye
clothing. The brown color became
a symbol of the common people.
Enameled dish with radish leaves.
Blue and white Imari ricebowls are
part of everyday life in Japan. The
shades of indigo vary depending
on the composition of the cobalt
and the firing process.
RED
The symbol of blood
and fire, red was a
sacred color in ancient
Japan, used in shrines
and as the color for
expressing prayers.
Later, under Chinese
influence, it came to
symbolize wealth
as well.
COMPLEX HUES
Japanese preference
for complex, neutral
tints dates back to
medieval times. In
Europe, mixing colors
to create new dyes
was considered
wicked, a threat to
God’s natural order.
European artisans
were forced to work
within the color
palette created by
the natural materials
available. But in Japan,
there was no such
limitation, and color
mixing was done freely,
creating a rainbow of
complex hues and sub-
tle variations that are
still appreciated today.
Source: “The Colors of Japan”(Kodansha International Ltd.,2000), Sadao Hibi and KunioFukuda
THE WABI-SABI WAY
Its name resembles that of the fiery Japanesecondiment wasabi. But wabi-sabi, unlike wasabi,is calm, soothing and serene.
Wabi-sabi is an ancient Japanese aestheticphilosophy based on finding beauty in simple,humble, aged things. Now it’s having its 21st-century cultural moment, with somedesigners proclaiming that wabi-sabi is “thenext feng shui.”
Actually, “it’s the anti-feng shui,” says RobynGriggs Lawrence, author of “The Wabi-SabiHouse: The Japanese Art of Imperfect Beauty,”published by Clarkson Potter Publishers inNovember 2004.
“Feng shui is all about rules,” she says.“Wabi-sabi is all about intuition and lack ofrules. It’s about getting quiet and listening to yourself.”
The wabi-sabi look is simple and unclut-tered, with handcrafted items chosen not toimpress but because they speak to the owner.“It’s minimalist but warm — not cold, sleekwhite-on-white, but minimalist with a small‘m,’ ” she says .
Griggs Lawrence believes a house doesn’thave to be Japanese in style to be true to theprinciples of wabi-sabi. She first encounteredwabi-sabi in Maine a few years ago when shefell in love with the simple beauty of a rusticstone house that had been built by hand andfurnished with flea-market finds. The ownermentioned wabi-sabi as an influence and gaveGriggs Lawrence a book to read.
She believes that wabi-sabi “speaks to ourneeds as a society. We want to simplify, to cre-ate personal spaces, as opposed to somethingyou could order from a catalog. When peoplebecome familiar with wabi-sabi, their reactionis ‘Ah — yes.’ ” n
When Less Is More
USE INDIGENOUSMATERIALS.
Robyn Griggs Lawrence
is designing a teahouse
for a school in Colorado,
and while she plans to
use natural materials,
they won’t be bamboo
and tatami. “Wabi-sabi
doesn’t mean shipping
in things that don’t
make sense for your
climate.”
SIMPLIFY.
“Keep it muted,
quiet, serene and
uncluttered. Eliminate
until you’re down to
the bare minimum,”
she says.
KEEP IT PERSONAL.
“Make sure the space
reflects the personality
of the homeowners
and includes their
personal items, things
they’ve touched, felt
some connection
with,” Griggs Lawrence
says. “Mass-produced
furniture is fine, but
it’s not wabi-sabi,”
she says.
TRUST YOURINSTINCTS.
“A lot of designers
have innate wabi-
sabi,” Griggs Lawrence
says. “Wabi-sabi is
just good design.” n
S H E R W I N - W I L L I A M S S t i r 11
Comb of laquered wood
with clematis flowers
and plum blossoms.
Inro — a nest of small
boxes designed to hold
chops (seals), spices,
medicines, tobacco or
cosmetics suspended
from the obi (sash).
TIR covers the spectrum
with New York designer
Todd Oldham, who first
made his name in high
fashion, creating colorful
couture for celebrity clients
such as Julia Roberts and
Susan Sarandon. Now
he’s branching into home
furnishings and décor,
but without losing his
adventurous color sense
and his belief that interiors
should flatter their occu-
pants, just as an outfit
should flatter the wearer.
C O L O R S P Y
From Fashion To FurnitureB y K I M PA L M E R
12 S H E R W I N - W I L L I A M S S t i r
S
S H E R W I N - W I L L I A M S S t i r 13
STIR: You’re known for your use of color. Why is color so important to you?
TO: I’m fascinated by it — the science of it, the metaphysics. It’s interesting on every level, but none more so than combining colorsand breaking color rules.
STIR: Do you have a philosophy of color?
TO: I wouldn’t be so bold. But I do have someguidelines. Instead of choosing a color based on looking at a paint chip in your hand oragainst a wall, you should look in a mirror andhold it up to your face. You should use the same sensibility you use when choosing your clothes.
STIR: Why did you make the evolution fromfashion to furniture?
TO: After many years in fashion, I felt I hadsaid everything I needed to say. Switching to furniture was a shift in medium but nota major design shift. (Oldham’s collection is manufactured by La-Z-Boy.)
STIR: Do you approach color differently when designing a dress than when designing a chair?r?
TO: They’re related. I understand the temporariness of fashion and that you might not want that in furniture. But the idea that you have furniture for the rest ofyour life is confining. It’s nice to be able tofreshen things up.
STIR: What’s your process for creating a color palette?
TO: The biggest thing that gets in the way is thinking about color. You have to feel color. I lay out the paint chips. They tend to talk toyou. I also use a makeup library. I like staying in color genres, such as makeup colors; it’smore compelling than color families. Makeupcolors are designed to go with skin tones, and those shades have not been seen in home furnishings.
STIR: Where do you find color inspiration?
TO: Right now, I like the combination of colorsin desert places. Those soft palettes are prettyinspiring. I also like ethnic colors — their bravery and their natural dyes. I’m intrigued by Scandinavian palettes these days. And Indiahas one of the most remarkable color palettes.
STIR: How would you describe the color timeswe live in today?
TO: Definitely neutral-based. We live in a sea of toast, taupe, loam and beige. The furnitureindustry is blue-obsessed, especially the shadesbetween cobalt and royal. There’s a shift to greens, which is terrific; they look good on people.
STIR: What’s your favorite era in color?
TO: My favorite is the palette of the ’40s: mustard and paprika, slightly grayed. I also like the mid-century palette: crisp cherry reds and aquas. And I like the ’70s, which was a strange hybrid of those two — murkymixed with blinding brights. That duality is always intriguing.
STIR: Do you have a signature color?
TO: There is a shade I’m known for. It’s“Beetlewing” — sort of a phosphorus, antifreeze, lime extravaganza. It was created for a charity event featuring different designersand they put our faces on the paint cans. Ourswas the No. 1 color. It’s a wild, vivid green.
STIR: What color mistakes do people commonly make?
TO: Not being brave, wimping out, choosingsomething that’s a pale shadow of what theywant. Anytime we compromise what we wantbecause we’re afraid, that’s a mistake. Even if youchoose white, which is what is in most homes,there are many whites. Take the time to choosethe right one. Warmer whites look better. Blue whites are not flattering to most people.
STIR: What are you working on now?
TO: I just finished a book, “HandmadeModern,” a how-to primer. (The book is scheduled to be published by Regan Books in spring 2005.)
STIR: What colors do you choose to surround yourself with in your home?
TO: I like bold mixes. At home, I havelight blue and avocado, oranges andmustards, and also tans andcreams. It’s bold but peace-ful. I change colors when-ever I get the itch. I’mconstantly paintingsomething.
STIR: Is there any color you really dislike?
TO: The minute I’d tellyou, I’d start liking it.There are combin-ations I don’t like.I’m allergic to tealand mauve. It’sdepressing. The’80s are back in abig way, but somethings need notreturn. n
“The biggest thing
that gets in the
way is thinking
about color. You
have to feel color.”
The glass pear vase and Japanese-
inspired “Snap” furniture line
illustrate Oldham’s signature bold
color combinations. (All items
from the Todd Oldham by
La-Z-Boy collection.)
14 S H E R W I N - W I L L I A M S S t i r
“Color is all about emotions, and a palette can kill
a whole design.”
Designers combine inspiration, validation and artful persuasion.
n her former career as a stockbroker, Ruth Jansson learned thesecret of successful selling. It’s not about talking — it’s aboutlistening, “really listening,” says the Washington, D.C.-based senior designer and color specialist with Gensler Architecture, Design and Planning Worldwide. What clients say about color is crucial, but so are their nonverbal cues,
such as the colors they choose to wear, and their facial expressions andbody language when they’re reacting to color.
Idea 1: Eye Candy. “You have to read between the lines,” Jansson says.“People say one thing and may mean something different. Color is allabout emotions, and a palette can kill a whole design.”
To gauge clients’ emotional reaction to colors, Jansson assembles “concept palettes” — objects that illustrate colors but aren’t the “real”swatches that she’d actually recommend. Instead she might include a silk scarf, a piece of jewelry or a seashell. “Eye candy, I call it,” she says. As clients handle the objects, they often reveal reactions that they wouldn’t otherwise express.
Idea 2: Field Trip. For many residential clients, deciding to take the color plunge is “like bungee-jumping,” says Todd Craig, designerwith TR Craig Inc. of Minneapolis, Minn. They want to try somethingdifferent or daring, but they’re nervous.
“It’s not so much selling people on color but easing their fears about
color and helping them understand how they’ll feel when they committo it,” Craig says. Especially if the color value is deeper than what they’reused to, “they worry about how the room will feel — whether it will be too dark, too cave-like.” To help clients “feel” color, Craig encouragesthem to take field trips to commercial buildings painted in similar hues,where they can experience what it’s like to be surrounded by deepercolor. “Restaurants are always good examples.”
Idea 3: Supersize. Charlotte Hangorsky, designer with CH Design inPhiladelphia, Pa., often coaxes her residential clients to go a shade deeperthan the hue they first choose. “The white lines around the colors in thefan deck make them look darker and more saturated than they truly are,”she says. To help her clients visualize colors in their rooms, Hangorskyrequests 81/2-by-11-inch samples from Sherwin-Williams. “They ship in a day, and they’re much better than looking at a tiny chip.”
Idea 4: Art Works. Jansson sometimes uses visual aids from the artworld to help illustrate and sell a palette. While working on a hotel inSeoul, South Korea, a few years ago, she received only a few words ofdirection: outdoor, California and happy. That triggered thoughts ofCalifornia abstract-artist Richard Diebenkorn. Jansson created a palettebased on colors used by Diebenkorn and showed her client a series ofhis paintings to help close the deal. “Art helps clients visualize those colors together — and also validates them,” she says. n
I
Secrets of selling color
ILLU
STR
ATI
ON
BY
BR
IAN
STA
UFF
ER
S H E R W I N - W I L L I A M S S t i r 15
B y A N D R E A G R A Z Z I N I W A L S T R O M
G O I N G G R E E N
Environmental impact used to follow wellbehind form and function in architecturaldesign. But many green products today look and perform just as well as less environmentally friendly offerings.
Breathe easy When choosing paint, green-design expert Bernadette V. Upton ofEcoDecor in North Palm Beach, Fla., favors Sherwin-Williams’ silica-free,antimicrobial line of Harmony® Interior Latex. Unlike conventionalpaints, which produce some gases when applied, zero VOC (volatileorganic compounds) paints, such as Harmony, are virtually pollutant-and odor-free.
Harmony meets or exceeds the criteria set by Leadership in Energyand Environmental Design (LEED) standards as defined in Green Seals,GS-II, 2002, for low VOC, while maintaining high performance. “The consistency is great, and the line has beautiful colors,” says Upton, whoused Harmony in her own home. “We slept in the bedroom the night itwas painted.”
In fact, Upton specifies Harmony, which comes in a full line, includ-ing a primer and more than 1,000 colors, in all her projects. “I wouldn’tspecify anything for my clients that I don’t use in my own house,” shesays. When a contractor replaced Harmony with another paint in one ofher projects, Upton’s clients had to move out until the fumes dissipated— and Upton was reminded again why she relies on Harmony InteriorLatex. For more information, go to sherwin-williams.com. n
Think outside the barkWant to wow a client while saving a forest? Consider:
• Hickory or tropical angico wood for durable flooring.
• Birch or t’zalam for handsome, long-lasting furniture.
• Chechen and Bolivian rosewood for outdoor applications.
By selecting less-harvested woods, designerscan reduce pressure on common species, such as oak, mahogany and teak, that may be at risk for over-harvesting, says David Ford,president of the Certified Forest ProductsCouncil. Best of all, the lesser-known woodscome in endless colors, textures and grains; can be inexpensive; and are often as easy to work with as the old standbys. To ensure that your choice meets environmental standards, specify certified sustainably harvested woods. For more information, go towww.fscus.org or www.certifiedwood.org. n
The tao of greenLooking to go green? The best way to start becoming a more environmentally conscious design
firm is to know and apply the seven R’s: REDUCE, REMOVE, REUSE, RECYCLE, RECOVER, REPAIR and
RESPECT, according to “Turning Green: A Guide to Becoming a Green Design Firm.” The pamphlet,
by ASID and Associates III, a Denver-based design firm, outlines how to start thinking — and
being — green, from developing environmental principles to selecting sustainable products
to collaborating with clients and external partners. Download a copy at www.asid.org. Store it
on your computer to save a tree. n
S M A R T C H O I C E S
Designers don’t always know how to specify the lighting that bestenhances their work, says Kathy Presciano, staff instructor at the GE Lighting Institute in Cleveland, Ohio, and a professional member of the American Society of Interior Designers. “If designers don’tspecify lighting correctly, the electrician often will fill the socketwith the cheapest lamp they can.”
WHAT YOU NEED TO KNOW
There are two crucial factors when choosing lighting, Presciano says:
• The light source’s color temperature, or chromaticity, which refers to the perceived warmth or coolness. This is a scientific measurement of the wavelengths making up the light, called the degrees Kelvin. The higher the degrees Kelvin, the cooler the light.
• The color rendering index, or CRI, is a number between 1 and 100.The higher the CRI, the better the lamp will make colors appear.
For more information about lighting and its impact on color, go towww.gelighting.com. Note: Paint colors for the walls at right areSherwin-Williams Rapture Blue (SW 6773) and Osage Orange (SW 6890).
16 S H E R W I N - W I L L I A M S S t i r
SheddinglightA carefully chosen
palette can vanish
at the flick of a switch.
We lit a room four ways
so you could see the
difference lighting
can make.
PHO
TOG
RA
PHS
BY
SUSA
N G
ILM
OR
E
C O L O R T E C H
Incandescent
The household light bulb is the most familiar form of incandescent light,
but there are hundreds of alternatives, most offering excellent color
rendering. Incandescent light is produced by a tungsten wire inside a
glass bulb, which becomes white hot in response to electrical current,
infusing rooms with a warm wash of golden light. Halogen lamps, in
which the filament is enclosed within a tiny tube containing pressurized
halogen gas, also are part of the incandescent family; their light is
slightly cleaner and whiter. Lighting in this room: 3200 degrees Kelvin.
Cool fluorescent
Warm or cool fluorescent? Your decision may be influenced by several
factors. One is the color palette: Warm fluorescents can enhance reds
and yellows, while cool fluorescents can help make blues and greens
pop. Climate can be a factor; some designers specify cool lighting in
hot climates to help make rooms seem cooler. When choosing either warm
or cool fluorescent lighting, look for a CRI in the high 70s to low 80s.
Lighting in this room: 4100 degrees Kelvin, 80 CRI.
Natural daylight
Natural daylight offers exceptional color rendering. Daylight has a
CRI of 100, indicating no color shift when compared with a reference
source. Daylight’s chromaticity fluctuates, but in general, daylight is
slightly cool. When daylight harvesting (combining manmade and
natural light), select slightly cooler light sources to blend most effectively
with the cool natural light coming in through windows. Lighting in this
room: 5500 degrees Kelvin.
Warm fluorescent
Fluorescent lamps are practical because they use less energy, cost less to
operate and add less heat. They’re not popular because they’re known for
casting a harsh, greenish hue. The technology has improved dramatically
in recent years, and fluorescent lights now come in a variety of colors
from warm white to cool, depending on the composition of the phosphor
coating. Lighting in this room: 3000 degrees Kelvin, 70 CRI.
S H E R W I N - W I L L I A M S S t i r 17
18 S H E R W I N - W I L L I A M S S t i r
M O O D I N D I G OColor is one of the least expensive and easiest ways to add life to a boring interior,” says Nigel Maynard,senior editor for residential architect magazine. Most people are afraid of color until they try it —then they love it.”
L I V I N G I N C O L O R
1.
2.
3.
“
“
Brilliant
1. Zephyr Torino
High-powered kitchen
ventilation with
unmistakable Italian
flair. The sleek, martini-
glass-inspired shape
has a frosted-glass
canopy. Available in
four colors.
www.zephyronline.com
Powerful
2. Aga Companion
Four gas burners.
Two electric ovens.
14 colors. It all adds
up to a professional-
grade stove that home
chefs covet, in a size
that’s perfect when
space is limited. Like
all Agas, the smaller
Aga Companion is
crafted from cast
iron and enameled
by hand.
www.aga-ranges.com
Inspiring
Free your imagination
and create a three-
dimensional statement
in light and color.
Choose from a wide
selection of styles
and systems to fit
your vision.
www.brucklighting
systems.com
3. Bruck Lighting Systems
Formica and DecoMetalare registered trademarksof Formica Corporation.
4.
5.
6.
7.
Soothing
5. Ritual Tile From
Oceanside Glasstile
Rejuvenate the
senses with this new
line of handmade tile
crafted from recycled
glass. The spa-inspired
colors feature a
matte finish.
www.glasstile.com
Reflective
6. Vitraform
Glass Sink
Simple yet elegant,
beautiful yet strong.
The creators of the first
glass sink offer a wide
range of options that
are durable enough
for commercial and
hospitality use.
Available in
16 colors.
www.vitraform.com
Subtle
7. Formica®
DecoMetal®
Real metal laminated
to a solid core offers
the unique look of metal
without the hassle of
metal fabrication.
Choose from textures,
patterns and colors to
create an absolutely
singular fixture.
www.formica.com
Strong
4. Pyrolave Glazed
Lava Stone
Impact- and scratch-
resistant, Pyrolave
is enameled volcanic
lavastone suitable
for indoor, outdoor,
residential, commercial
and even laboratory
use. Every piece is
finished with an
intense shade of
custom-mixed color.
www.pyrolave.com
20 S H E R W I N - W I L L I A M S S t i r
Historic colors, then and nowThe World of Interiors magazine(isubscribe.co.uk)
“This magazine is kind of avant-garde. Itshows many historic houses, with older colorsthat you don’t often see now, but combined in new ways. It also shows contemporaryhomes, finding out-of-the-ordinary people with interesting taste, like an Americanwoman who took pine cones and created a pattern on her wall. You wouldn’t see theirhouses in Elle Décor.”
— MICHELLE BABYOK, MCCARTAN, NEW YORK CITY
Fresh, fanciful combinations“Think Color: Rooms to Live In” by Tricia Guild,
Elspeth Thompson and James Merrell
(CHRONICLE BOOKS, 2002)
“I read Tricia Guild for inspiration. She’s aninterior designer from Great Britain who usescolors in unusual ways. She’s very free with her mixes of colors; she’ll combine things that people in the U.S. might consider ‘clashy,’such as hot pink and orange. She has a line of textiles, and she was one of the first peopleto combine purple and lime green in one fabric. Her books include both photos ofrooms and palettes. I like to glance throughthem for ideas, especially for kids’ rooms.”
— LISA PECK, PISA DESIGN, MINNEAPOLIS
Note: To see an online photo gallery of Guild’s colorful London home, go tocgi.cnn.com/2000/STYLE/design/05/26/guild.house/
Integrating exterior colors“Color in Townscape: for Architects, Designersand Contractors, for City-Dwellers and OtherObservant People” by Martina Duttmann,Friedrich Schmuck and Johannes Uhl (W.H. Freeman, 1981)
“I collect books, and this is one of my favorites.‘Color in Townscape’ shows facades of buildingsfrom all over the world, both primitive and contemporary architecture, to show how colorand texture are used and integrated on exteriorsand in the context of the street. The bookincludes black-and-white outline diagrams of building facades that you can fill in withcolor. You can use them to play around and see what works.”
— JOANN ECKSTUT, THE ROOMWORKS, NEW YORK CITY
I N S P I R A T I O N
What’s currently on your nightstand, desk or laptop? We asked several interior designers
to share what they’re reading these days — and why — whether it’s a new resource they’ve
just discovered or an old favorite they find themselves returning to again and again.
F I N A L T O U C H
Color and Light
The essence of stained
glass is color — but it
doesn’t come from dyes
or pigments. It’s created
from metallic salts and
oxides. When added to
glass, these minerals
capture specific parts
of the spectrum of white
light, allowing our eyes
to see different colors.
Add silver and you get
yellows and golds. Gold
produces cranberry.
Copper makes greens
and brick red. Cobalt
creates blues.
Source: Art Glass Association
Louis Comfort Tiffany
leaded glass window with
magnolias and irises,
ca. 1908.
COU
RTES
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PRSTD STDUS Postage
PAIDCenveo
Sherwin-Williams400 1st Ave. N., Ste. 540Minneapolis, MN 55401
Now there’s a coating that meets your quality expectations without compromising environmental con-cerns. We call it Harmony. This high-hiding, low-odor, zero VOC, silica-free paint has anti-microbialproperties that protect the paint film, and is available in hundreds of colors. Plus it is washable anddurable, so you know your look will last. Keep performance and aesthetic requirements covered inperfect Harmony. To learn more, see your Sherwin-Williams Architectural Account Executive or callour Architect and Designer Answerline at 1-800-321-8194 for color and product information.
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