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I N T ER N ET V I L L A G ES

The Colors of

w @ ld en Preamble:

What follows is a 'whitepaper' / 'position piece' re 'the colors of w @ ld en '. It is intended to 'portray' the myriad of considerations (& very extensive research) that have gone into (& with respect to) the selection of 'the colors of w @ ld en '.

Introduction / Perspective: What are some of the paramount objectives that we should seek to accomplish via a color scheme / 'corporate identity' theme at w @ ld en : ¾

how should we 'best' 'communicate' what we 'are' / 'stand for' ???

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how should we best ('assist' via the color scheme to) create a differentiated sense of 'identity' re w @ ld en (external) & among w @ ld en ites (internal) ???

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how should we best express 'at a glance' that we: are different' / are 'bold' / are 'cutting edge' / don't 'follow tradition(s)' / are dedicated to 'pioneering the NEW' / subscribe to 'casting off the chains' / encourage each to 'do our own thing' (unabashedly & with abandon) / are a unique & unusual place to be / are 'experimental' / etc. ???

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...and, (collectively taken together) how should we best 'express' / 'portray' / 'market' the concept ??? – yes, indeed, MARKET !!! – for we all (MUST) market ourselves (& the concepts / entities with which we are involved in order to) to gain 'presence', 'exposure', 'succeed', 'survive' & grow...

W a l d e n o f W e st c h a se 2 8 2 8 Ro g e r d a le R d H o u st o n , T X 7 7 0 4 2 7 1 3 .7 8 3 .9 0 9 0 - t e l 7 1 3 .7 8 3 .4 3 5 3 - f a x i n f o @ w a l d e n w e b .c o m w w w .w a ld e n w e b .co m

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So far, we have lived with the w @ ld en concept for somewhat over three years – some of the principal recurring / constant 'problems' / 'issues' that we encountered in expressing the concept / 'lifestyle' are describing / portraying: ¾

what we 'are'...

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why it is a 'total living environment'...

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what is a 'total living environment'...

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why we are 'different'...

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what is the w @ ld en 'community'...

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why one should be interested in living at w @ ld en & becoming part of this 'community'...

While we have made (considerable, ongoing) progress in being able to 'answer' (whether succinctly, or verbosely) these questions / issues, in our opinion, we have a considerable way to go before we: ¾

become 'good' at it...

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have terse / succinct ways of answering these questions / persons...

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have enough general 'awareness' that we are not just trying to 'commun(icat)e' in a 'foreign language'...

Our (Principal) Strength(s) Are Our (Principal) Problem(s): (‘Improvise & Overcome' – U.S. Marines’ motto)

A substantial portion of the problems in expressing / communicating what w @ ld en is also is its greatest strength / advantage / attraction – i.e., it: ¾

has not been done before;

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is 'pioneering' (in the real sense of the term);

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has no 'context' / 'body of associations' that are so important in helping to (quickly / via 'shorthand') evoke the image concept of what it is (in 'full' context / imagery) & 'commun(icat)e' to & between other people...

In fact, we have found that (even among the 'technosavvy') the only way to 'express' / 'understand' it (so far) is to 'experience' / 'live' it. Otherwise, even among the 'best' / (potentially) most 'attuned', eyes (constantly) glaze over – & the reactions / views / 'interpretations' remind one (over & over) of the three blind men feeling (different parts of the proverbial) elephant – & people come away with but (small, highly disparate, 'distorted') fragments of the 'whole' (elephant). We too are 'blind' men – although, at this point, we can see fuzzily through the haze – & can begin to see a vague outline of the 'whole'... These are but a few of the challenging questions that we have confronted with respect to our consideration of – & choice of – a w @ ld en color palette & 'corporate identity' theme... i n f o @ w a l d e n w e b .c o m w w w .w a ld e n w e b .co m

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Central / 'Guiding' Principals: (Expect the Unexpected…)

So, with this all in mind, we have decided that (at the risk of 'turning off' some) that we: ¾

must BE different...

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can convey that we are different (best) by being different (in most every way they see, touch & feel us)...

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need to use those differences like 'smelling salts' – to 'awaken' / 'signal to' those 'not (or no longer) thinking' / caught up in the 'hum-drum' / 'anesthetized' / living the 'Dilbert life' / etc. that there is a way – there is an alternative – & (for those prepared / interested / willing) that way is / can be w @ ld en ...

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must foster / stimulate creativity / discussion / interaction on a relatively unfettered basis at all costs – and, so we not only 'permit it' – but we provide the public agora / nexus / market place / microphone / 'highway' & access into everyone's life & 'home' – for *anyone* to say what / as / as much / when they please – [parenthetically, of course, we feel that a 'code of conduct' imposed principally by 'peers' will make this a far better /

more productive / harmonious / 'useful' exercise]... ¾

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must foster & demonstrate (ourselves) 'innovative', 'creative', 'avant-garde', (even) 'controversial' actions & activities – translated: we must (demonstrably) live / do as we preach... must fear NOT the risk of trying / exploring the new / untried / etc...

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must do everything we can to foster / sponsor an active & creative community of people...

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must do everything we can to foster interaction among these people (our residents) between themselves & with others anywhere / everywhere...

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must do everything we can to involve 'buyers' of 'services' in our community – so that eventually you all will: (a) gain an imprimatur / reputation / strength for being at w @ ld en ; that will (b) make you more prepared; and (c) help / assist yourselves to 'earn more bread' & be more successful (i.e., gain better employment; find projects; find ideas; find people to work / socialize with; etc.)...

(Please note that in making the above points, color is not mentioned i n f o @ w a l d e n w e b .c o m w w w .w a ld e n w e b .co m

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once. In our opinion, the color issue / scheme is but a part / subset of the overall considerations / picture / issues / points)...

Selection of The Colors of w

@ ld en :

('sapere aude incipe' – 'dare to be wise, [then] begin' – paraphrase of 'Birney-family motto from its coat-of-arms)

Deriving from all of the preceding, the colors of w @ ld en have been chosen with the following objectives in mind w @ ld en : ¾

is a bold step forward...

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must 'look' like a bold step forward...

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must employ its (chosen) 'look' to help 'convey' the 'meaning' of 'being' a bold step forward...

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must employ its 'look' to convey / communicate / embody the essential tenets of its environment (as cited above), that it is / we: are ‘different' / are 'bold' / are 'cutting edge' / don't 'follow tradition(s)' / are dedicated to 'pioneering the NEW / subscribe to 'casting off the chains' / encourage each to 'do our own thing' (unabashedly & with abandon) / are a unique & unusual place to be / are 'experimental' / etc... ¾

must employ its 'look' (assist it) to convey / communicate / embody the meanings of: 'community'; 'commun(icat)e with the world'; 'total living environment'...

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must employ its 'look' to communicate that it is PURE (even uncompromising) in its pursuit of these objectives / ideals...

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derives its boldness from an archetypal 'source' / 'wellspring' that is 'ancient' / 'immortal' / 'enduring' / 'repeating' / 'reappearing' through the ages & with respect to many cultures of all ages & geographic spread...

By contrast / corollary, the colors of w @ ld en have been chosen to clearly convey / express / communicate that w @ ld en / 'we' are not: ¾

the typical (bland, apartment) project 'down the street'...

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'meek' or afraid to be different / bold / etc...

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populated by the 'average' / 'typical' person / 'corporate joe'...

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'muddied' in our 'image' / 'concept' of self / objectives / what we represent / etc...

Consequently, we have focused on / chosen colors that are attached to / derived from: ¾

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'primary' / 'fully-saturated' / 'deep' 'colorstates'...

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'archetypal' origins repeated (again & again) across many societies & cultures...

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the most 'primal' states of 'nature' / 'mankind' / 'civilization' / 'history' / 'worship' / etc...

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'cycles of life' / 'energy' / 'vibrancy' / 'life' / 'regeneration' / 'renewal' / 'strength' / 'religions' / 'art' / etc...

Communicating What We Are / Stand For: We must communicate what we stand for when you: ¾

are driving on the road – you see something 'different' / 'intriguing'...

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first come in the door – the colors / atmosphere 'speaks' (first & loudly) that this is different...

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first see w @ ld en – it makes you want to find out 'what's going on here' – because it obviously is 'different' / intriguing...

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are living here – you constantly are reminded that

w @ ld en is different... ¾

are living here – you constantly are stimulated to pursue / achieve the w @ ld en ideals / principals...

Derivation Of The w @ ld en Color Set – Resources / References: The colors of w @ ld en have been (meticulously) derived from cross-comparisons / 'distillation' of color sets principally from the: ¾

Maya / Aztec / Olmec...

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Moroccan / Andalusian / Islamic / Egyptian...

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Mexican / Hispanic / 'Mediterranean'...

Although, strong parallels / examples can be drawn (on a selective basis, individually or collectively) from *many* (even *most*) other cultures / societies also, including: ¾

Judaic (particularly early / ancient) / Christian (especially eastern orthodox & medieval)...

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Indian / Hindu / Buddhist / etc...

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Chinese / Japanese / Indonesian / Thai / Asian (etc., in general):

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Celts / Scots / Irish / English / Scandinavian / Russian / Slavic...

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African...

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American flag...

Strangely, one of the places which is the most bland – is America itself – this is particularly incongruous, as America has its origins in & is a melting pot of peoples from all over the world... More particularly, the colors of w @ ld en draw deeply from the following origins (please note: this is a very brief summary only): ¾

Maya / Aztec / Olmec... The Maya have a cycle of life around which they base their entire interpretation of the universe & religion. The colors of this are: (earth / Aztec) red (for blood, birth, beginnings, energy, power, etc.); (dark / intense) blue (for the sea / water); (emerald / blue); green (for growing plants, mother earth, fertility, etc.); (marigold) yellow (for the corn / maize, gold, sun, wealth, etc.); white for change; black of death (Maya Color pp: 14; 31) − the Aztec / Olmec use of these colors / ideas was related & (generally) similar...

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Moroccan / Andalusian / Islamic / Egyptian... Moroccan color sense & sense of integration of structure with nature (while retaining bold color definitions / 'accents') is one of the most developed in the world – the use of each of the colors chosen for 'the colors of w @ ld en ' bears numerous & extensive relationship to these – blue is widely used & represents water, sky & purity of thought – the blue we use, in particular, imo, is the 'best blue in there is' – it is derived from the extraordinary blue color of the buildings, walls & other structures of the Majorelle Gardens in Marrakech (created originally by a French major and artist − and now restored, owned & sponsored by Yves Saint Laurent) – such colors are used throughout the Islamic world – in fact Islamic zilege (tiles) have (only) eight basic colors – (dark / ruby) red, light (sand) red, dark (cobalt) blue, light blue (turquoise), yellow, green, black, & white – all the mosques & tile work of the Islamic world are done in combinations of these eight colored tiles – the same for the extraordinary tadlekts (stone polished, marbled, colored lime plasters) of morocco (used originally principally to water / steam proof the hamams [steambaths]) – the Andalusians derived much of their influence from the Islamic world, but added their own & Spanish flavor – the Egyptians used similar color sets (& 'meanings') throughout their religions, art & architecture...

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Mexican / Hispanic / 'Mediterranean'... Mexican architects / architecture (as differentiated from the ancient Mayan / Aztec / Olmec 'origins') constantly use bold colors & architectural forms to express themselves in truly creative structures / color-palettes – they have, however, 'advanced' to much broader color-palettes than the (strictly) archetypal / 'ancient' color palette used for 'the colors of w @ ld en ' – architects such as Barragan, Legorreta, de Yturbe & others have pioneered these 'modern' styles & forms – much other Spanish architecture (from Andalusian to Antoni Gaudi to that of modern-day Barcelona) have used very bright & intense colors in their work (go see America’s Restaurant here in Houston for a modern-day (re)interpretation of Gaudi's style of work & forms – very good food too) – 'Mediterranean’ architecture & colors 'tie-in' & 'relate' very closely to (all of) the above...

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Derivation Of Color Set – Resources / References: I will leave various books in the leasing office for inspection by anyone who is interested that will show extensive examples of all that is stated here – these will be provided for use in the office / nexus cafe area only – & are to be returned upon leaving – they are not available to be 'checked out' – I request that you treat these materials with care & 'respect' – as some of them are regarded by me as some of my best design resources... For others interested in (even) greater depth of information, I have a fairly extensive personal library re: design; architecture; plants; travel; nature photography; fractals; gold, gems & jewelry; construction; and various other things – and, amazon.com (& other domestic & foreign 'booksellers') can provide infinitely more than this... ...Between book & url resources, the information & examples are virtually endless...

Primary References: (See also ‘Additional References’*) Lovatt-Smith, Lisa, Moroccan Interiors, Tashen, 1995 ISBN 3-8228-8177-5 Ghaachem-Benkirane, Narjess & Saharoff, Philippe, Marrakech - Demeures et Jardins Secrets, ACR-Edition, 1992 OSBM 2-86770-343-4 Ypma, Herbert, Morocco Modern, Stewart Tabori & Chang, 1996 ISBN 155670-501-8 Becom, Jeffrey & Aberg, Sally Jean, Maya Color - The Painted Villages of Mesoamerica, Abbeville Press,1997 ISBN 0-7892-0215-8 Street-Porter, Casa Mexicana - The Architecture, Design, and Style of Mexico, Stewart, Tabori & Chang, 1989 ISBN 1-55670-367-8 Herbert Ypma, Mexican Contemporary, Steward, Tabori & Chang, 1997 ISBN 1-55670-557-3 * ‘Additional References’ may be found at the end of this ‘whitepaper’....

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References Re Choice Of Specific Colors: ('>> ' denotes reference to color(s) used / matched)

Aztec Blood Red: * in particular, note (through repeated examples) how the solid blood-red acts like a 'canvas' to unify the structure(s); and accentuate & enhance the architectural form & colors of landscaping & plants >> Casa Mexicana pp: 180-183 (San Cristobal complex / Luis Barragan);

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>> Maya Color p.157 Similar colors in: • Casa Mexicana pp: front leaf pages; 37; 51; 63-64; 78-79; 84; 103*; 104; 109; 198-199; • Maya Color pp: cover; 45; 47; 81; 114; 117 • Mexican contemporary pp: 16; 18-19; 21; 25; 31; 94; 96-97; • Moroccan Interiors pp: front leaf pages; pp: 91; 259; 261; 305; earth-red tones in same family throughout • Marrakech pp: 84-85; 94; 105; 166; 215; 274; earth-red tones in same family throughout • Morocco Modern pp: cover; front leaf pages; tadlekt reds throughout; 25; 29; 37; 48-49; 51; 59; 78; 80; 144-145;

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Marigold Yellow: * marigold is used throughout the Moroccan & Mexican color palettes >> Maya Color pp: cover; 47 Similar colors in: • Maya Color pp. front leaf pages; 13; 32; 39; 43; 69; 77; 78; 80; 81; 109; 117; 160; • Casa Mexicana pp: 104-105; • Mexican Contemporary pp: front leaf pages; 25; • Moroccan Interiors pp: pp: 126-127; 159; • Marrakech pp: 188-193 (Majorelle Gardens); • Morocco Modern pp: 19; 59; 106-107; 113;

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Emerald / Jade Green: * (emerald / jade) green is used throughout the Moroccan & Mexican color palettes >> Moroccan Interiors pp: 250-251 Similar colors in: • Moroccan Interiors pp: front leaf pages; pp: 91; 137; 140-141; 229; 306-307; • Marrakech pp: 48; 63; 65; 113; 188-193 (Majorelle Gardens); • Morocco Modern pp: cover; front leaf pages; 37; 42; 82-83; 113; 114; 118-119; 122; • Casa Mexicana pp: 37; • Maya Color pp: 32; 42; 43; 45; 47; 66; 82; 89; 126; 130; 163; 173

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Majorelle Blue: * in particular, note (through repeated examples) how the blue acts like a 'canvas' (like the red) to unify the structure(s); and accentuate & enhance the architectural form & colors of landscaping & plants; it also adds an incredible 'radiocity' to the surfaces on which & areas where it is used >> Morocco Modern p. 120 >> Marrakech pp: 188-193 (Majorelle gardens) Similar colors in: • Morocco Modern pp: sky colors throughout; 16; 19; 38-39; 41; 44-45; 80; 82-83; 104; • Marrakech pp: 105; 173-175; 224-225; • Moroccan Interiors pp: front leaf pages; sky colors throughout; pp: 60; 6869; 87-89; 128-129; 144; • Mexican Contemporary pp: front leaf pages; sky colors throughout; 26; 2829; 31; 58-59; 74-75; 96-97; 99-101; 108-109; 114; 124; • Casa Mexicana pp: sky colors throughout; 149; 153; 155; 198-199; • Maya Color pp: front leaf pages; sky colors throughout; 32; 40; 54; 66; 71; 89; 98; 121; 137; 141;

Stone Mountain Properties

James M. Birney

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Additional References: The following are (but a few of the) various book references & urls re these areas / styles / works / etc... General / Multi-Cultural / Color Theory / Design: ** Elliott, Inger McCabe, Exteriors, Clarkson-Potter, 1993 ISBN 0-517-57440-3 ** Guild, Tricia, On Color, Rizzoli, 1997 ISBN 0-8478-1877-2 ** Guild, Tricia, in town – Contemporary design for urban living, Rizzoli, 1996 ISBN 0-8478-1977-9 ** Guild, Tricia, Painted Country, Stoddart, 1994 ISBN 0-7737-2802-3 ** Kaufman, Donald & Taffy, Dahl, Color – Natural Palettes for Painted Rooms, Clarkson-Potter, 1992 ISBN 0517-57660-0 ** Kaufman, Donald & Dahl, Taffy, Color and Light – Luminous Atmospheres for Painted Rooms, Clarkson-Potter, 1999 ISBN 0-517-70401-3 ** Lancaster, Michael, Colourscape, Academy Editions, 1996 ISBN 1-85490-451-5 * Millet, Marietta S., Light Revealing Architecture, Van Nostrand Reinhold, 1996 ISBN 0-442-01887-8 ** Sloan, Annie & Gwynn, Kate, Color in Decoration, Little Brown, 1990 ISBN 0-316-79845-2 ** Sutcliffe, John, Paint – Decorating with water-based paints, Henry Holt, 1997 ISBN 0-8050-4739-5 Nature / Natural / Gardens: * Lloyd, Harvey, Sacred Lands of the Southwest, Monacelli, 1995 ISBN 1-885254-11-3 * Muench, David & Waters, Frank, Eternal Desert, An Arizona Highways Book, 1990 ISBN 0-916179-22-2 ** Lehrman, Fredric, The Sacred Landscape, CelestialArts, 1998 ISBN 0-89087-542-1 ** Messervy, Julie Moir & Abell, Sam, Contemplative Gardens, Howell Press ISBN 0-943231-26-4 ** Muench, David, Ancient America, Roberts Rinehart, 1997 ISBN 1-57098-126-4 ** The Nature of America – Images by North America’s Premier Nature Photographers, Amphoto Art, 1997 ISBN 0-8174-4994-9 There are plenty more out there – just haven’t compiled them for this ‘whitepaper’… Maya / Aztec / Olmec: ** Longehena, Maria, Ancient Mexico – The History and Culture of the Maya, Aztecs, and Other Pre-Columbian Peoples, Stewart Tabori & Chang, 1998 ISBN 1-55670-826-2 There are plenty more out there – just haven’t compiled them for this ‘whitepaper’… Moroccan / Andalusian / Islamic / Egyptian: * Aksit, Ilhan, Ancient Civilizations and Treasures of Turkey, Aksit

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** Dennis, Lisl and Landt, Morocco – Design from Casablanca to Marrakesh, Clarkson-Potter, 1992 ISBN 0-51757420-9 * Michaud, Roland and Sabrina & Barry, Michael, Design and Color in Islamic Architecture, Vendome, 1996 ISBN 0-86565-975-3 * Yerasimos, Stephane, Turkish Style, Vendome, 1992 ISBN 0-86565-137-X There are plenty more out there – just haven’t compiled them for this ‘whitepaper’… Mexican / Hispanic / 'Mediterranean': ** Becom, Jeffrey, Mediterranean Color, Abbeville ISBN 0-7892-0215-8 ** Buendia Julbe, Jose & Polomar, Juan, The Life and Work of Luis Barragan, Rizzoli, 1996 ISBN 08478-2057-2 ** De Ytrube, arquitectos, Dwelling versus Building, Arcaedizioni, 1996 ISBN 88-7838-019-9 * Holmes, Amanda & Poniatowka, Elena, Mexican Color, Stewart Tabori & Chang, 1998 ISBN 1-55670-835-1 * Mexico: Houses of the Pacific – Contemporary coastal architecture and its vernacular roots, ALTI, 1994 ISBN 1-883051-02-9 * Moldoveanu, Mihail, Barcelona, Arquitecturas de la Exuberancia, Lunwerg, 1996 ISBN 84-7782-409-6 ** Mutlow, John V. (ed.), Ricardo Legorreta Architects, Rizzoli, 1997 ISBN 0-8478-2023-8 * Permanyer, Liuis & Levick, Melba, Gaudi of Bacelona, Rizzoli, 1996 ISBN 8478-2062-9 ** Risp, Raul (ed.), Barragan – The Complete Works, Princeton Architectural Press, 1996 ISBN 1-56898-085-X * Witynski, Karen & Carr, Joe P., Mexican Country Style, Peregrine Smith, 1997 ISBN 0-87905-814-5 * Aerbst, Rainer, Antoni Gaudi, Taschen, 1993 ISBN 3-8228-0074-0 Judaic (particularly early / ancient) / Christian (especially eastern orthodox & medieval): There are plenty out there – just haven’t compiled a list for this ‘whitepaper’… Indian / Hindu / Buddhist / etc.: There are plenty out there – just haven’t compiled a list for this ‘whitepaper’… Chinese / Japanese / Indonesian / Thai / Tibetan / Asian (etc., in general): * Ancient Temples in Beijing, China Esperanto Press, 1993 ISBN 7-5052-0118-2 * Chongnian, Yan, Beijing – The Treasures of an Ancient Capital, Morning Glory Press, 1987 ISBN 7-50540092-4 * Helmi, Rio & Walker, Barbara, Bali Style, Vendome, 1997 ISBN 0-86565-983-4 * The Wonders of Tibet, China Pictorial Publishing House, 1994 ISBN 7-80024-134-3 There are plenty more out there – just haven’t compiled them for this ‘whitepaper’…

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Celts / Scots / Irish / English / Scandinavian / Russian / Slavic: * Bentley, James & Palmer, Hugh, The Most Beautiful Villages of England, Thames and Hudson, 1999 ISBN 0500-01905-3 ** Gaynor, Elizabeth, Finland – Living Design, Rizzoli, 1995 ISBN 0-8478-1885-3 * Highsmith, Carol M., and Landphair, Ted, Ireland – A Photographic Tour, Crescent, 1998 ISBN 0-517-18757-4 ** Living in Norway, Flammarion ISBN 2-08013-545-7 ** Ruthven, Ianthe, The Irish Home – Eclectic and Unique Interiors, Rizzoli, 1998 ISBN 0-8478-2119-6 * Turpin, Richard & Hunt, Roger, Villages of England, Rizzoli, 1999 ISBN 0-8478-2173-0 * Ypma, Herbert, Irish Georgian, Stewart Tabori & Chang, 1998 ISBN 1-55670-707-A African: There are plenty out there – just haven’t compiled a list for this ‘whitepaper’… American / American flag: ** Crosbie, Michael J., Color & Context – The Architecture of Perry Dean Rogers & Partners, AIA Press, 1995 ISBN 1-55835-136-1 * LeBlanc, Sydney & Mann, Charles, Secret Gardens of Santa Fe, Rizzoli, 1997 ISBN 0-8478-2034-3 −−−−−−−−−−−−−−−−−** Extensive to multiple examples of colors & color use re the ‘colors of w @ ld en ‘ * Selected examples of colors & color use re the ‘colors of w @ ld en ‘

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Microsoft Word - WIV - The Colors of Walden