STIR 1.1 2004

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


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The Sherwin-Williams Professional Color File

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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.

•

•

•


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.”

“


Far left: Seating area in library foyer

Center: Dramatic escalator

Near left: Exterior view of library


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)


A palette of historic

and modern colors

showcase the Fishmans’

art collection.

PHO

TOG

RA

PHS

BY

ALA

IN J

AR

AM

ILLO


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


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.”


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


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


S


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.)


“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

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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).


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.

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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.



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


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.

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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.

H a r m o n y®. Th e p e r f e c t b l e n d o f p e r f o r m a n c e a n d e c o l o g y.

T h e Co l o r s . T h e Pa i n t . T h e Po s s i b i l i t i e s .™©2003 The Sherwin-Wi l l i ams Company www.sherwin-wi l l i ams .com

STIR 1.1 2004

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