S H E R W I N - W I L L I A M S® 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 2 • I s s u e 1 • 2 0 0 5
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2005 Color Forecast
Editorial Advisor: Tresa Makowski Executive Editor: Bryan Iwamoto Editor: Kim Palmer Managing Editor: Laura Pigott Executive Art Director: Sandy Rumreich Senior Designer: Cate Hubbard Senior Editors: Jim Thorp, Lynn Bronson Production Director: Kim Olson Traffic: Amy Gutknecht Client Services: Amy Kromminga, Andrea Vogel
STIR Advisory Board Joann Eckstut The Roomworks New York, N.Y.
STIR™ magazine is published by Hanley Wood, LLC, on behalf of The SherwinWilliams Company, for interior designers and architects. We welcome your questions and comments. Please direct correspondence to: Sherwin-Williams STIR Magazine Hanley Wood, 430 1st Ave. N., Suite 550, Minneapolis, MN 55401. Phone: (612) 338-8300 Fax: (612) 338-7044 E-mail: firstname.lastname@example.org Web site: www.sherwin-williams.com
Jill Pilaroscia, IACC The Colour Studio San Francisco, Calif.
For Sherwin-Williams color and product information, contact your Sherwin-Williams Architectural Account Executive or call the Architect and Designer Answerline at (800) 321-8194. Printed in the United States, © 2005 Sherwin-Williams, Vol. 2. Issue 1, 2005
Janet Friedman, ASID Friedman & Shields Greenbrae, Calif. Ruth Jansson, IIDA, LEED, AP Gensler Architecture, Design and Planning Worldwide Washington, D.C. Marcello Luzi, ASID Weixler, Peterson & Luzi Philadelphia, Pa. Jill Miller Mithun Seattle, Wash.
Paul Sarantes, ASID, IIDA Archicon Architects and Interiors Phoenix, Ariz. Mary Slater, NKBA
Ai Miami International University of Art and Design Miami, Fla.
Linda Smith, FASID education-works Dallas, Texas
magine a transit system wall map that could double as a post-modern painting. This is one of the many color revelations I experienced while I was in Paris this past September for the Color Marketing Group’s European Conference, which will influence the preferred shades of everything from fashion to furniture in the coming year. I was astonished by the daring use of color on display everywhere. At the home accent textile show, for example, floor coverings, furnishings and accessories were drenched in unapologetic color. What struck me most, though, was what I encountered outside the exhibit halls, in the streets and metro stations of everyday Paris. I don’t speak French (not well enough for Parisians, anyway), but you don’t have to know French if you speak color. In France, and in most of Europe for that matter, color doesn’t decorate, it communicates. In the train stations, stops are not just named, they’re stamped in color. Your destination may be hot pink, ocean blue, pumpkin orange or lime green. You come to associate the aura of a place with the color that evokes it. Bear that in mind as you peruse the 2005 Color Forecast from Sherwin-Williams in this issue. The palettes you choose for the spaces you transform may say more about their character than any other design decision you make. Sincerely,
Sheri Thompson Director, Color Marketing and Design Group The Sherwin-Williams Company P.S. Be sure to stop by our exhibits at the national AIA, ASID, CSI, K/BIS, NeoCon and Hospitality Design shows to pick up a fan deck of the 2005 Color Forecast from Sherwin-Williams. Contact your Sherwin-Williams Architectural Account Executive or call our Architect and Designer Answerline at (800) 321-8194 for more information. The trademarks and copyrights of Sherwin-Williams appearing in STIR are protected.
C O N T E N T S
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ON THE COVER
The 2005 Color Forecast from Sherwin-Williams introduces the color combinations designers will be seeing everywhere in 2005.
New technology from SherwinWilliams provides foolproof color matching.
Textile designer Gary Glant seeks color inspiration in the evocative shades of the outdoors.
Designers share what influences their color choices.
A note about the horticultural Holy Grail, a blue rose.
13 PALETTE The colorful interiors of the old South come alive. The latest interior coating innovation. Why quality paint matters.
MAJOR-LEAGUE METAPHOR Subtlety shouts at the new San Diego Padres stadium, where natural tones mirror the spectrum of a Western landscape.
5 DESERT BRAVURA Riotous color with a Mexican influence wakes up a formerly ghostly Arizona interior.
Recycled materials come back as sustainable surfaces and floors. Plus, the scoop on the new, stricter clean-air limits.
21 LIVING IN COLOR From industrial to sensual, steel is the new white in this sampling of building and design products.
Palette COLOR N EWS AND SOLUTIONS FROM SHERWIN-WILLIAMS
Color by region In the South, color p re ferences va ry from region to re g i o n , says Sarah Jern i gan of Southern Living. Colors tend to be from the traditional English or Fre n c h co u nt ryside pal e t t e : re d s, greens and ye ll ows. “We have such gre at light here t h at we like to use bold, b ri g ht colors — it’s not u n u s u al to see red dining rooms in the South,” J e rn i gan says. “In the upper South, the more formal Georgian arc h i t e ct u re calls for a
S O UTHE RN SHADES The South is renowned for its colorful warmth and charm. These qualities are on display in the Southern Living ® Idea House near Athens, Ga., which combines classic Southern architecture, modern amenities and SherwinWilliams colors. Southern Living’s design team, Anne Michelle Langlois and Elizabeth Hutcheson of Hall Design Group, partnered with project architects to create a house designed to appeal to generations of
more traditional pal e t t e. In the
homeowners. The master bedroom is airy and serene — soft blue accented with silver. The lush greens of the sitting room carry through from the room’s trim and walls to its fabrics and upholstery. A boy’s bathroom is boldly striped in bright blue, green and white — the colored tiles of the tub surround matched to perfection with hues from the SherwinWilliams palette. Even so-called neutrals are tinted to bring out the best in color. ■
S o u t hwest and in Florida, w h e reyou find more - n at u ral e l e m e nts like stone or wood used in construction, you see that co nt rasted with a rich Tuscan pal e t t e. We just l ove color!” For more info rm ation on Southern Living’s Idea Houses, t ake an online tour at www.southernliving.com — search term: “2004 Idea House.”
“Drawing is of the spirit;
color is of the senses.” — HE NRI MATI S S E
SH ERWI N-WI LLIAMS
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LOO KS TH AT LAST Want walls that stay beautiful without timeconsuming maintenance or frequent repaints? Sherwin-Williams’ new Duration HomeTM Interior Latex Coating delivers a beautiful finish with better washability than any other paint or ceramic coat i n g, and superior burnish-resistance (i.e. won’t leave a shiny spot when washed or brushed against). What sets Duration Home apart?
• Patented technology that keeps stains
from penetrating so they can be wiped away with water or mild soap, no harsh chemicals needed.
• Beauty that lasts, thanks to outstanding burnish-resistance.
A washable coating that has ultra-smooth,
easy application with ve ry good hide and touchup capability.
• Low-VOC, lower odor, and antimicrobial properties to resist mildew.
“Duration Home is the ultimate interior coating,” says Steve Revnew, director of residential marketing at Sherwin-Williams. “It is ideal for residential repaints or as an upgrade option in new homes or for highend commercial work.” Duration Home is available in matte and satin finishes in more than 900 SherwinWilliams colors. For more information about Duration Home, contact your nearest Sherwin-Williams store or Architectural Account Executive, or call the Architect and Designer Answerline at (800) 321-8194. ■
Q u ality paint p o i nt e r s S u p e rior hide and touchup, burnish resistance and durability matter — to your customers and your business. High-perfo rmance paints and coatings may co s t m o re initiall y, but pay for themselves with enhanced perfo rmance over t i m e. The nex t time you spec paint, let your cu s tomers know why quality matters as much as color. Using high-performance paint ensures:
Fewer coats, translating i nto faster pro j e ct completion and lower labor costs.
Long-term durability, so paint looks good New Duration Home Interior Latex Coating is stain- and burnish-resistant.
longer and you don’t have to repaint as often.
Maximum color retention, so the color you want is the color you keep.
Lower costs in the long run. High-quality paint requires lessfrequent repainting, ensuring a lower per-year cost over the lifetime of the project. The planet also benefits because you’ll use fewer coats of paint and repaint less often, which reduces waste and emissions.
SH ERWI N-WI LLIA MS
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It’s a match Innovative technology takes the guesswork out of coordinating color.
Need the exact aubergine wall color to match the fabric of the Art Deco couch your client loves? Trying to re-touch a room, but don’t know the formulation for the original custom paint? A new computerized color-matching and tint-dispensing system now available in Sherwin-Williams stores can produce true color matches in minutes — across product lines and sheen levels. A high-tech eye for color
Speed and accuracy, now and later
The Sherwin-Williams Sher-Color Advanced Computer Color Technology system uses a spectrophotometer, or “color eye,” to match a color sample quickly and precisely. While most color systems produce formulas to achieve a close match, Sher-Color generates specific formulas for each product, taking into account the characteristics of the base and sheen to ensure a better match. It works like this: You bring in a color chip or any sample material with a consistent color and finish (not porous, mirrored or high-gloss) large enough to cover the eye — an area roughly the size of a dime. The Sher-Color eye “analyzes” the sample and provides:
When a Sherwin-Williams color is specified, the exclusive Sher-Color technology ensures it will be as close as possible to the paint chip no matter what product or sheen is used. Want the same color using a different sheen? Need a quart instead of a gallon? A few keystrokes, and the Sher-Color system recalculates the formula and sends it to the tint-dispensing system, which automatically adds just the right colorant for the volume and type of base specified. Plus, Sher-Color connects the color eye and tint dispenser with the store’s sales terminal and label printer, so all information is transferred, recorded and stored accurately. Orders are archived for up to six years, so color formulas can be retrieved and replicated easily. This improved computerized technology is especially useful in tracking colors on large, complex commercial and new residential projects. The result? Better matches, faster service — and a custom palette without limits. ■
• A custom formula for a truer color match using Sherwin-Williams paint.
• The closest Sherwin-Williams colors available. “This system will definitely add value for our customers,” said Sher-Color project manager Lou Grannetino. “They will see better colors and faster service … We’ve reduced the typical custom matching time dramatically.”
Major-League metaphor The subtle shades of San Diego’s new ballpark reflect Southern California’s landscape and lifestyle.
B y JA M E S WA L S H
PETCO PARK PHOTOGRAPHS BY TIM HERSLEY
feeling, a mood, a sense of history … a dramatic work of art. Architects and designers take their inspiration from many sources when dreaming and conceiving the lines, shapes and colors of a project. But how often does the inspiration come from the personality, the vibe and the palette of a city itself? Welcome to San Diego’s Petco Park, the new home of baseball’s San Diego Padres. While Petco Park is part of the ongoing push by major-league sports for newer, better, higher-revenue-producing venues for their teams, it is not part of the decade-long wave of retro ballparks and throwback-looking stadiums. Open and airy, with “gardens” and “canyons” open to views of city, sea and sky, Petco Park is a reflection of the laid-back Southern California lifestyle and the San Diego landscape. “It’s a metaphor for the city. People live on hills or the cliffs or by the ocean,” says Mike Wekesser, a senior designer with HOK Sport, the Kansas City, Mo.-based executive architect of the $450 million project. And the choice and use of color — subtle shades of white, beige, gray — were critical to making the metaphor ring true.
Natural hues “We wanted to use natural colors that derive from the area — the stone, the subtlety,” says Antoine Predock, the New Mexico-based design architect. “The whole environment is not really monochromatic, but it is subtle.” Predock, who is also a painter, says he embraces color. “But it’s important to do it in ways that are not ‘in your face,’ that are retreating and not advancing.” Especially for this project, he adds. Muted hues simply fit this ballpark, this town, better, says Kris Swords, a senior interior designer for HOK. “On buildings this big, color is very powerful because you cover huge expanses with this palette. We used a very West Coast palette — organic, earthy and natural.” The project had a 60-color palette, although many of those colors were subtle variations on soft neutrals. And that meant getting just the right color was critical, Swords says, which is why the designers turned to Sherwin-Williams paints. “Paint can be a challenge to get right,” she says. “You have to understand how it goes on a wall, how it reacts to light. This is a very sophisticated palette, and we are dealing with a very sophisticated city.”
Petco Park by the Numbers Site: 18 acres Seats: 46,000 Luxury suites: 58 Lounges/restaurants: 7 Paint colors: 60 colors, some custom-mixed
Gallons used: 7,433, including SherwinWilliams Preprite Block Filler, Preprite High Build Interior Latex Primer/Surfacer, Industrial Enamel, Metalastic DTM, Macropoxy HS and Duraplate 235.
Total project cost: $449.4 million ($294.1 million to construct the ballpark, plus $151.3 million for land and infrastructure).
“We wanted to use natural colors that derive from the area — the stone, the subtlety.”
The first impression of Petco Park is that this truly is an outdoor ballpark. Unlike other stadiums around the country, the bowl of the park — the seats surrounding the playing field — isn’t in the middle of a big building or behind an imposing facade. Many of the team offices, as well as concession stands and other stadium ancillaries, are separate from the bowl, connected by walkways and sky bridges. This has created open “canyons” that let light and views into the ballpark from all around. Make no mistake: This is an urban ballpark. Bordering San Diego’s famous Gas Lamp District, the stadium was built to incorporate a historic structure, the Western Metal Supply building. Fans face the downtown skyline. But, just as San Diego’s identity is shaped by its surroundings of desert, mountains and ocean, so is Petco Park’s. The structural steel is painted crisp white. Surrounding garden buildings are made of beige stone. A seven-acre center field picnic area doubles as a city park when games are not being played. Fans can sit and stroll on grass-covered, amphitheater-style terraces. Seating areas are divided into distinct “neighborhoods.”
Predock’s goal, he says, was to capture the essence of San Diego, while avoiding “a too-easy, stylistic take on San Diego. We were trying to make it San Diegan without falling back to the Mission style. We wanted it to reflect the way people live there, having a ballpark that orients them to things other than the game — toward the water, the harbor, downtown.”
Bolder, but still organic Inside the ballpark’s clubs, suites and restaurants, the colors were a bit bolder, including natural woods, polished metals, blues and greens. But the idea was the same: natural, earthy and organic, Swords says. Sherwin-Williams paints were used throughout the project. Durability was a key factor in the selection of coatings, according to Terry Rusnak Sr., co-owner of RBE, the painting contractor. “You really have to paint this right,” he says. “The last thing in the world we wanted was to have one of the announcers go down to get a hot dog and see paint peeling after six months.” San Diegans seem to be happy with the results. Wekesser says Petco Park has won fans and spurred other development in the area. ■
Desert Bravura Bright, bold colors transform an all-white home into a Mexico-inspired marvel. By LAU RA WEXLER
Architectural focus Beyond the sheer boldness of the palette, what stands out is the way Hoskins uses color to detail architecture. “After I have the palette, I like to sit alone with the building and see how it’s put together,” says Hoskins, who is an architectural illustrator as well as an interior designer. “I have a big wad of colors that I know my clients like, so it frees me to look at planes and columns.” Throughout the home, Hoskins uses color to highlight existing columns, beams and windows — even stair risers — in a technique
CO LO R M ATC H M A K I N G T I P S Conduct a “color interview.”
we knew those were the colors
It’s the first thing Brenda Hoskins
we wanted in our home.”
does when working with a set of new clients. Interview family members separately so each person reveals his or her own color preferences and isn’t influenced or overshadowed by other family members.
Create a palette built on shared preferences. “Her way of getting us to identify the colors we liked individually really helped,” says homeowner John Burciaga. “Once we saw what we had in common,
Bring out the boldness in your clients. Hoskins used her SherwinWilliams color box to help family members see color possibilities. “That makes it easier to encourage clients to take big color risks.”
Use a gray-tinted basecoat under some bold colors. The SherwinWilliams Color Prime® System provides a continuum of gray shades that maximize color and coverage for certain deep, bright or transparent paint topcoats.
“The red of the bar that slices through the blue wall is meant to symbolize the red rocks of Sedona.” borrowed from renowned Mexican architect Luis Barragan. But then she goes further, using color to create new architectural shapes that salute both the owner’s Mexican heritage and the landscape. “In the main living room, the tangerine shape is symbolic of a Native-American pueblo,” Hoskins says. “The red of the bar that slices through the blue wall is meant to symbolize the red rocks of Sedona. And the blue on the ceiling takes the mountains up to the sky. As you’re sitting in the living room, you should have the feeling that you’re completely surrounded by Arizona.” Throughout the project, one of Hoskins’ biggest challenges was getting the darkest colors in the palette, particularly the Rave Red and Kimono Violet, to appear as rich on the home’s surfaces as they appeared on the sample card. “Sherwin-Williams paint, to me, has the richest palette,” Hoskins says. “But we needed several coats of Rave Red on the master bedroom ceiling to get it how we wanted it.” The room’s popcorn ceiling was the major reason. “Popcorn ceilings always soak in wetness,” says Terry Cox, assistant manager at the Sherwin-Williams store on Cave Creek Road in Phoenix, and the person who mixed the paints for the Burciaga home. “That’s why they take numerous coats, regardless of the color.”
A range of finishes Hoskins used Sherwin-Williams’ SuperPaint® Interior on surfaces throughout and, depending on the natural light and aesthetic expectations in a given room, chose flat, Eg-Shel or gloss finish. Color’s capacity to change with the light, although challenging for a designer, is also one of its most exciting features, Hoskins says. “An all-white house doesn’t change much in the course of a day. But with color, it changes all day long. The shadows and the light are constantly moving. Then, at night, when lamps are next to the walls, you get these very rich pools of color. It’s wonderful.” ■
PHOTOGRAPHS BY TIM FULLER
hen Brenda Hoskins was studying interior design, the joke among her peers was that her idea of a monochromatic color scheme was using just one color wheel. She found a like-minded client in John Burciaga, who recently hired Hoskins to transform his Phoenix house into a welcoming home for his new wife, Linda Lu. Before Hoskins, owner of the Scottsdale, Ariz., design firm Fine Library Resource, came on the scene, Burciaga’s 1,900-square-foot home was painted entirely in Navajo White. Now its walls are covered with 11 different colors, with nary a white among them. After conducting separate “color interviews” with the newlyweds, Hoskins combined their favorite shades to create an eye-popping palette that ranges from rich red to vivid violet to tangy tangerine.
Anatomy of a Palette Rave Red (SW 6608) Rookwood Blue Green (SW 2811) Cape Verde (SW 6482) Aloe (SW 6464) Moss Rose (SW 6291) Kimono Violet (SW 6839) Belvedere Cream (SW 0067) Daffodil (SW 6901) Valiant Violet (SW 6818) Tangerine (SW 6640) Chaise Mauve (SW 6016)
C O L O R
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Gary Glant travels the globe seeking color inspiration — and usually finds it outdoors. B y K I M PA L M E R
If Gary Glant, founder and CEO of Seattle-based Glant Textiles, has a muse, it’s Mother Nature. The colors and textures of the natural world influence many of his upholstery and drapery fabric creations — including a piece inspired by lava that found its way into New York’s Museum of Modern Art. His approach resonates with designers, who named Glant one of their favorite brands in House & Garden magazine’s 2004 poll “The Best on the Best.”
When I was young, my sister and I used to see people as colors. I also saw numbers and words as colors. I still do. My wife is a clinical psychologist, and she showed me an issue of Scientific American that talked about that phenomenon — it’s the way certain people’s brains work.
How about an example — what color is your wife? Featured mills and fabrics: (top to bottom) Bon Bon Linen, Coral; Cannes, La Mer; Embarcadero, Spinnaker Yellow; Quinnault, Moss. All from Glant’s Classic Colors collection. Opposite page: Chaine, Tomato.
She’s a very rich golden color, with an almost luminescent pink aura around that. There’s also a drop of a very rich sable-espresso that has emerged.
How has your approach to color evolved? In the early days, I was not very colorful. My first collection was based on texture. It was beautiful, but so boring! The whole spectrum was balsa to chocolate, and I thought that was a very colorful offering. Then, after I went to China, I did a collection that was my interpretation of Chinese screens. Interior Design magazine wrote about it, and said, “Keep your eyes on Glant Textiles in Seattle.” That gave me the confidence I needed to go for it.
Where do you find color inspiration today? I am turned on to color wherever I see it. In Bali, I was amazed by the green of nature, the spectacular red of dragonflies, the gorgeous violets. Living in Seattle, I am incredibly inspired by the colors I find in walks by the ocean. I’m amazed by a day when everything looks gray, and then, suddenly, a thousand colors emerge. I’m drawn to colors I see in fashion, and on a plate in a restaurant, and the nuance of color in a glass of wine.
How does a color idea become a fabric? Give us an example. I once got a call from a designer in England, Mary Fox Linton. She says, “Darling, I’m looking for the perfect tom-ah-to.” I was in Italy at our textile mill, and my son Adam was 11 at the time. We went to the green grocer, where they sell 14 different kinds of tomatoes. I got one of each and cut them in half to expose the skin side and the meat side. I said, “Adam, show me the perfect tomato color.” I kept steering him to the perfect tomato red — 60 percent red with a yellow undertone. When he got there, I said, “Great job, I agree.” Then we dashed over to the dyer and asked him to
PHOTOGRAPH OF GARY GLANT BY ABRAMS/LACAGNINA
What are your earliest color memories?
“I once got a call from a designer in England, Mary Fox Linton. She says, ‘Darling, I’m looking for the perfect tom-ah-to.’ ” SHERWIN-WILLIAMS
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“I’m starting to see more mixing of cool and warm neutrals …” match it, which he did. After we sent (Linton) the prototypes, I get a phone call with just two words: “Spot on.” Then she hung up.
What impact has the introduction of microfibers had on color? A great impact. Microfibers can give you such luminescence. They take colors forward and open them up. You can add finishes that approximate other surfaces, like glass. We have Glant Iridescent Leather, a jersey that gets coat after coat of polyurethane until it’s almost like Japanese lacquer. It’s incredible in platinum — it looks like stainless steel or a mirror.
What colors or combinations are we going to start seeing a lot more of in interiors? Neutrals are always a gorgeous mainstay, but I’m starting to see more mixing and matching of cool and warm neutrals — like in nature, in a pile of rocks. I’m very glad to see gorgeous grays returning. They’ve been missing for a long time; they’re a beautiful foil for other colors. I just came up with a new color I’m very fond of: Antique Pearl. It’s taupe and pink, reduced to practically nothing.
You talk about color like it has a mind of its own. Yes! I think it does: “I’m a medium-value green — what do I want to be next to? What do I want to be a little farther away from? Can I work with you in the next room? Can we
be friends? Are you going to like me in the summer as much as you do in the winter?”
What colors do you surround yourself with at home? We collect contemporary art, so the color is mostly in the artwork. In the public areas, the house is medium-toned warm neutral — quiet but not boring. The color goes warmer in the private areas — camels and caramels and deep persimmons.
How would you describe the color era we live in today? I love it because it’s not narrowly defined. In this country, color is a smorgasbord — like our restaurant scene. You get to sample everything.
What color mistakes do people commonly make? The same mistakes chefs make. Trying to put too many things together, trying to be too different — like putting raspberry-anchovy sauce on vanilla ice cream. Although that’s actually a very nice color combination! ■ For more information about Glant Textiles, visit www.glant.com
The 2005 Color Forecast from Sherwin-Williams predicts palettes most likely to influence design this year.
B y A N D R EA G RA Z Z I N I WA LST R O M
orecasters have always looked to fashion, the economy, world events, entertainment and lifestyle trends to anoint the “in” colors. The sassy ‘60’s gave us gold and orange. Avocado and brown were the “it” hues of the sardonic ‘70’s. The sedate ‘80’s brought us gray and mauve, and the sensational ‘90’s ushered in chartreuse and cerulean.* This year, too, there are cultural clues. The economy is down, and the world feels unstable; so subdued, neutral tones feel safe. Technological advances in lighting and design materials are maximizing color and dimension. Fashion still loves the orange that re-emerged a few years back — albeit toned down a bit. Ditto brown and chartreuse.
Multiple themes, many colors But if there is a prevailing color theme for 2005, it is that there is no single theme, says Sheri Thompson, director of Sherwin-Williams’ Color Marketing and Design Group, which created the forecast. “What we are seeing is as divergent a palette as we have seen in years,” agrees Lee Eiseman, color expert and executive director of the Pantone Color Institute. Blame it on increasingly savvy consumers and, believe it or not, reality TV. Endless home-makeover segments showcase widely diverse interiors — all custom-tailored for equally diverse homeowners, she says.
Greater exposure to design Then there’s the Michael Graves-Target phenomenon. As more designers bring style to the masses, design becomes more accessible. Consumers gain confidence as they develop — and assert — their aesthetic sensibilities. After extensive analysis of these and other cultural indicators, Sherwin-Williams’ color experts consulted their expansive COLOR System®, a kaleidoscope of 1,000-plus hues that was six years in the making. “It’s our inspiration; it has a blend of essential colors and great neutrals, plus all the vivid brights,” Thompson says. She and her team then selected the shades and palettes that best illustrate today’s design influences.
Color morsels The 2005 Color Forecast is less menu and more buffet. No single color makes a stand. Instead, varied themes offer plenty to choose from. Images whet the appetite, and hues are morsels to be sampled. “We don’t tell designers: ‘Here is the color, and this is where to use it,’” Thompson says. “We just like to show them what the inspiration is, to spark their creativity.” *Historical color trends from Pantone Color Institute.
To receive your 2005 Color Forecast fan deck, contact your Sherwin-Williams Architectural Account Executive or call the Architect and Designer Answerline at (800) 321-8194 to have an account executive contact you.
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Call this look “tradition meets the 21st century.” “You’re taking a classic image, and you’re tweaking it by bringing it into this era,” says Paul Sarantes, vice president of Archicon Architects and Interiors in Phoenix. The effect is more rejuvenation than renovation: waking up a traditional style with distinctly modern touches. Origins
Classic design is timeless, but until now, no one dared pair it with a contemporary aesthetic. Now the Alessi vase can sit on the antique console. Very timely.
The grays have it: Intellectual is welcoming, while a suggestion of lavender makes Quest complex. Terra Cotta pulls it all together with copper-toned warmth.
Warm pastels provide a nonthreatening foundation when old meets new. The key is balance: Too much of either the stately or the state-of-the-art can result in confusion.
Philippe Starck’s Louis XVI armchair in translucent polycarbonate says it all. Copper is old and new all at once, and how about an ornate chandelier over a glass tabletop?
Signature Shades Sociable Peach is fashion-forward, while Saffron Thread revives traditional gold-metal tones. Sequin is an elegant gold with hints of green. And the watery aqua of Drizzle adds levity.
SOCIABLE SW 6359
SAFFRON THREAD SW 6663
Q U E S T G R AY SW 7080
DRIZZLE SW 6479
SEQUIN SW 6394
R O O KWO O D TE R RA C O T TA SW 2803
I N T E L L E C T U A L G R AY SW 7045
REFUGE SW 6228
BERRY BUSH SW 6292
E S C A PA D E G O L D SW 6403
G R AY M AT T E R S SW 7066
UNIVERSAL KHAKI SW 6150
RUGGED BROWN SW 6062
H AUTE CO UTU R E Fresh off the catwalk comes luxury with a whiff of cultural diversity, a touch of attitude. It’s the “downtown funky look,” says pop culture expert Karal Ann Marling. Au courant, but accessible, this fashion statement is not for the timid. Origins
We all want a little luxury in our lives. And we all want style. Not everyone can wear runway apparel, Marling notes. Interiors, however, aren’t self-conscious.
Rugged Brown is a warm and natural contrast to serene Refuge — the blue of water and sky. Universal Khaki is a strong neutral canvas for this stylish palette.
Themes Edgy, streamlined color combinations with depth and dimension. Earthy colors are inspired by complex, dynamic materials, such as copper patina and natural slate. High-quality materials and craftsmanship are essential ingredients.
Signature Shades Escapade Gold is rich and tangy — very sophisticated. Only a high-fashion interior can pull off mauve-ish Berry Bush; while Gray Matters affirms the return of gray.
Elements Think Roche-Bobois — contemporary, continental, sleek and chic. The drama is in the details, like a basket-weave wall or floor covering, a serious houndstooth print, or a tactile reptilian textile. Also look for fine stripes and clear but understated lines — a controlled mix of patterns.
BLON DE SW 6128
F A V O R I T E TA N SW 6157
ADAPTIVE SHADE SW 7053
R E J U V E N AT E SW 6620
SABLE SW 6083
MESMERIZE SW 6544
A RT I SA N This look is as subjective as the artful pieces at its foundation and is always eclectic. Starring, perhaps, a travel collection or an unusual grouping with historical significance, it’s about creativity and the essence of finer elements — an expressive sophistication that engages the senses. Origins
This style satisfies even the most independent aesthetic. It’s a look for those with the confidence, even the need, for an authentic style. Brand names need not apply.
Favorite Tan steps back to let other colors shine. A touch of brown warms up Blonde. On its own, brown is the new neutral: Sable is deep and strong.
Themes Texture, dimension, depth, density and warmth join forces against a backdrop of flesh-tone neutrals. It is “not just about high art,” says Lee Eiseman, executive director of the Pantone Color Institute, but about “a very personal aesthetic.”
Elements Anything one-of-a-kind takes center stage, including unique art, pottery, textiles, sculpture and furniture. Cool chameleon textiles play off light and perspective, adding iridescence with depth. Look for the unexpected, like a synthetic weave with metallic accents.
Signature Shades Mesmerize — a smoky, slightly grayed purple — embodies the nature of this nonconformist palette. Lively Rejuvenate is an extroverted orange, while Adaptive Shade, neither brown nor green, lets light establish its hue.
S t i r 17
The swinging ‘50’s and ‘60’s are back, baby! It’s “the Dean Martin cocktail-bar look,” says Paul Sarantes, vice president of Archicon Architects and Interiors — with a touch of flower power thrown in. It’s smooth and suave, yes, but whimsical too. Origins
The jury’s out on whether the baby boomers brought this back for nostalgia’s sake — or if Gen X-ers stumbled upon a historical gem.
Cyberspace is a deep charcoal tone with a hint of blue to temper the spicier colors in this palette. Smooth Mink communicates well between the other colors.
Themes Look for clean lines and geometric patterns. The colors of this revival are quieter and more mature than they were the first time around.
Signature Shades Red-based Jalapeño is a rich, sophisticated orange. Melange Green has range: Shrek wears it, and so does Chanel. Solitude is a cool and confident blue.
Elements Think stainless steel for furniture and large appliances, enamel for small appliances. Recall Alexander Girard’s vivacious designs for Herman Miller. Textiles are tightly woven in either solids or patterns.
MELANGE GREEN SW 6710
SOLITUDE SW 6535
JALAPEÑO SW 6629
MINK SW 6004
R E TRO S P E C TI V E
C Y B E R S PA C E SW 7076
FIREWOOD SW 6328
FR ENC H ROAST SW 6069
FRAMBOISE SW 6566
NASTU RTI UM SW 6899
ENTICING RED SW 6600
TH ISTLE SW 6283
F LY W AY SW 6794
ROSY OUTLOOK SW 6316
G LO BA L F U S I O N Choose the best elements from a few exotic locales, blend them together tastefully, and Voila! Global harmony. This multicultural look mixes, say, African with Indian, or maybe Tibetan or Chinese with Moroccan to evoke the essence of Asia, tribal Africa and the Far East. Origins
In a world made smaller by the Internet and easier trade, people are looking to faraway lands for a fresh, interesting aesthetic, says Paul Sarantes, vice president, Archicon Architects and Interiors.
French Roast is a fully saturated brown, dark and rich. Relief from all the bold colors is supplied by Rosy Outlook, a gentle pink.
Just about anything ethnic: from hand-dyed Tibetan wool to bamboo or cork floors, rattan furniture, grass cloth wall coverings and Eastern-inspired textiles like batik prints and silks. Animal patterns and intricately carved wooden pieces add to the exotic global vibe. â–
Vibrant, spicy colors conjure up an open-air marketplace. Even the neutrals in this palette are complex, with shades that reflect rustic landscapes and global skin tones.
Signature Shades The universal blue of Flyway is a natural for this worldly outlook. Enticing Red and Nasturtium, a rich yellow-orange, make an Asian statement.
G O I N G
G R E E N
Return Engagement Recycled materials get a second chance.
INDUSTRY NEWS Coatings that comply with new clean-air limits New England, Washington, D.C., and parts of Virginia have imposed stricter environmental limits on construction coatings that took effect Jan. 1, 2005. To alleviate pollution in the area, the Ozone Transport Commission (OTC) developed volatile organic compound (VOC) restrictions that affect paint primers and Reclaimed wood floors, such as this one
topcoats, industrial and rust-prevention
from TerraMai, help preserve forests.
coatings, sealers and varnishes. While new restrictions benefit the environment, they often pose challenges
B y A N D R EA G RA Z Z I N I WA LST R O M
countertop made of plastic milk jugs? It’s not an art-school display, just one of many design products created from recycled materials. Some of the most environmentally — and aesthetically — pleasing products make great alternatives to old standards, such as solid-countertop materials, natural stone and common woods, whose processing can take a heavy toll on the environment.
Sustainable surfaces If milk jugs are off-putting, a number of companies are producing beautiful, durable countertops made of more mundane materials. Avonite is made of recycled plastic; Armstone Slask! of waste marble chips. Vetrazzo is a recycled glass and concrete conglomerate that can be installed without toxic adherents. Mithun, a Seattle architecture firm, used Blazestone Tiles by Bedrock Industries in an environmental school. The tiles, which are composed of 100 percent recycled glass, are beautiful, says Jill Miller, resource specialist for the firm. “The finished product is a real ‘Wow!’”
for specifiers. Sherwin-Williams has
long been committed to low-emissions
Reclaimed, rediscovered or recycled woods preserve forests — and provide floors that come with a history. Goodwin Heart Pine Company recovers lost river logs and leaves the 100-year-old axe marks intact. TerraMai reclaims woods from around the world. And everything from branches to windblown timber go into Natural Reflections laminate floors by Bruce. Even carpet can do its part. Milliken Carpet recycles used carpet that ends up costing less due to reduced materials costs. Miller is delighted that manufacturers are producing more environmentally friendly product lines to meet higher demand. “But you have to be careful,” she says. Some are stretching the meaning of green. She advises designers to do their research before writing a spec. You’ll want to be sure those are really milk jugs in that countertop. ■
coatings and offers both the products
For more information: Avonite — www.avonite.com Vetrazzo — www.counterproduction.com Goodwin Heart Pine Company — www.heartpine.com TerraMai — www.terramai.com Milliken Carpet — www.millikencarpet.com
and the technical support to ensure that specifications are compliant. Most Sherwin-Williams products already meet OTC requirements, including low-VOC products in high solids or waterborne formulations that deliver durability for even the most challenging applications. For areas with the strictest regulations, Sherwin-Williams has developed the only alkyd on the market that meets 150 grams/liter VOC limits. New ProClassic XP™ Alkyd Enamel SemiGloss ensures a rich look and feel on interior trim without sacrificing performance. It is available in select markets only. Although the OTC serves only the Mid-Atlantic region, some areas already have similar restrictions. To learn more, call Sherwin-Williams’ Architect and Designer Answerline at (800) 321-8194. ■ SHERWIN-WILLIAMS
S t i r 21
L I V I N G
C O L O R
GLINT OF STEEL “ Stainless steel reflects both light (natural and artificial) and surrounding color within a space. It’s a versatile material that translates into many styles of architecture and furnishings.” – SHERI THOMPSON, DIRECTOR OF SHERWIN-WILLIAMS’ COLOR AND DESIGN MARKETING GROUP
2. Aurora Ceiling Fan
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All trademarks are the property of their respective owners.
S t i r 23
I N S P I R AT I O N What’s shading your imagination these days? Interior designers share their current color influences. By ELIZABETH LARSEN
Keeping it reel
“I subscribe to Southwest Art magazine,” says Kim Spillum of Kim Spillum Designs in Minneapolis. The photos evoke memories of her trip to Santa Fe, N.M. “The elevation there is 7,000 feet, and the air is so clear that the pinks of the adobes and the bright blue in the sky are magnified. It reminds me to work in clearer, sharper colors and to rely less on the muddier colors of my Midwestern upbringing.”
“I watch a lot of foreign films, like ‘Amélie’ and the movies of Pedro Almodóvar, to look at the houses,” says Jill Miller, an interior designer and resource specialist with the Seattle-based design firm Mithun. “When I’m watching, I wonder why we can’t do a red wall next to a turquoise wall. But it’s hard to negotiate such a bold use of color with American clients, so I usually keep it to accent pieces — like pillows on sofas, or artwork.”
“I went back East last fall to see the leaves change,” says Janet Friedman, of Friedman & Shields in San Francisco. “I was a maniac driving all over trying to find the perfect lighting and perfect peak. I thought that I would like the foliage best when it was at 75 percent peak. But what I realized was that I prefer 50 percent peak because I like the juxtaposition of all those reds, oranges and purples against the green leaves. I know that when I have a client who favors that color palette, I’ll be more conscious about using a contrasting color to accentuate it.” ■
Close to home “I look at nature,” says Laura Bohn, of Laura Bohn Design in New York City. She’s particularly inspired by the 50 acres of land surrounding her country house in Bucks County, Pa. “I’m always aware of the colors of the rolling hills, timothy grass, alfalfa, corn and the purple mountains off in the distance.” This restful palette of taupes, pale aquas, grays, chartreuse and lavender is the thread that runs through all of her work, Bohn says. “But if you looked at 20 different projects, they wouldn’t feel similar.”
Research online “I’m very interested in how color can help or harm your health,” says Linda Elliot Smith, a Dallas-based interior designer and president of education-works inc., a continuing education center for design professionals. Smith relies on the research gathered at www.colormatters.com, a Web site that explores the physiological, psychological, philosophical and artistic uses of color. Among the findings: Blue is an appetite suppressant, and jail holding cells painted in bright pink (think Pepto-Bismol) help curb violence among prisoners because the color turns off the anger impulse. “The media focuses on trendiness, and I pay attention to that,” Smith says. “But I want to make sure the color doesn’t hurt the person who will be living with it.”
Elusive Bloom A blue rose. It doesn’t exist in nature. But it’s become the Holy Grail among floral breeders, even though roses lack the gene that produces blue pigment. (Purple and lavender roses get their color from a reaction between red pigment and other molecules in their petals.) Scientists have manipulated roses’ genetic code, using genes from petunias and pansies, and even indigoproducing enzymes from the human liver. So far, the blooms have been more violet than true blue, but researchers insist they’re getting close.
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. ®
Now there’s a coating that meets your quality expectations without compromising environmental concerns. We call it Harmony. This high-hiding, low-odor, zero VOC, silica-free paint has anti-microbial properties that protect the paint film, and is available in hundreds of colors. Plus it is washable and durable, so you know your look will last. Keep performance and aesthetic requirements covered in perfect Harmony. To learn more, see your Sherwin-Williams Architectural Account Executive or call our Architect and Designer Answerline at 1-800-321-8194 for color and product information.
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