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OPTIMISTIC ODysseY Our 2015 colormix™ color forecast has a bright outlook and adventurous spirit

THE SECRETS TO QUALITY PAINT Visit the “CSI: Cleveland” of paint — our state-of-the-art Breen Technical Center

HIGH-ROLLER HEAVEN A couture condo overlooks the bright lights of Las Vegas

SW 6720 Paradise

The Sherwin-Williams Company Director, Trade Communications: Tresa Makowski Director of Color Marketing: Jackie Jordan

Hanley Wood Marketing Creative Director: Robert Gibson Editor: Kim Palmer Executive Art Director: Sandy Girard Art Director: Cate Hubbard Production Director: Pam Mundstock Production Artists: John Hanka, James Kaump Project Manager: Julie Ollila Account Director: Martha Capps


Bright Prospects


repare to go on an optimistic odyssey! That’s the destination for our 2015 Sherwin-Williams colormix™ color forecast (p. 12). We’re stretching our color vistas: from the thrilling reaches of sea and space to the bright flora of exotic islands and rainforests. We hope the result is a new, more global

sense of balance, one that matches the increasingly sunny outlook for our design practices and clients. The 2015 forecast is the result of hard work by the Sherwin-Williams color team: product finishes expert Kathy Andersson, fashion and trend expert

STIR® magazine is published by Hanley Wood, LLC, on behalf of The Sherwin-Williams Company, for interior designers and architects.

Becky Ralich Spak, commercial markets specialist Kelly McCrone, and global

Please direct correspondence to: Sherwin-Williams STIR magazine Hanley Wood 430 1st Ave. N., Suite 550 Minneapolis, MN 55401 Phone: (612) 338-8300 Email: Website:

one of our uplifting color trend presentations held around the country. It

Printed in the United States, © 2014 Sherwin-Williams

the hashtag #SWStir to share your own thoughts and ideas about this year’s

color experts Carol Derov and Patricia Fecci, along with yours truly.


You can deepen your understanding of our color forecast by attending will earn you 0.1 CEU. We’ll be debuting some amazing stop-motion videos we created to bring the 2015 color trends to life — so stay tuned to our Facebook page (, where we’ll post these events as they’re scheduled. And don’t forget to follow us on Twitter @SWDesignPros. You can use STIR. We’re especially proud of the great work by this year’s SherwinWilliams Student Design Challenge winners (p. 25). We hope you enjoy this


issue — and I can’t wait to hear what you think.


Jackie Jordan Director of Color Marketing The Sherwin-Williams Company

Visit to: • Order color samples • Download color palettes into virtual design tools • Paint room scenes or upload your own photos in Color Visualizer • Download ColorSnap®, a free color-matching app

For other assistance: The trademarks and copyrights of Sherwin-Williams appearing in STIR are protected. All other trademarks are the property of their respective owners.

Find us on social media:

• For product or compliance questions, call (800) 321-8194


Sherwin-Williams® SPECIAL ISSUE 2014 Contents



New Acute Care and Senior Living Color Collections are designed specifically to serve your clients’ evolving needs.

DeeDee Gundberg



We talk color with Ann Sacks Tile creative director DeeDee Gundberg, designer “denim nerds” Matt and Carrie Eddmenson of Imogene + Willie, and antiques dealer Michael Trapp. COLORMIX COLOR FORECAST



Our 2015 colormix™ color forecast moves ahead in vibrant new directions that reflect our brightened outlook and adventurous spirit.



A couture condo full of luxe finishes overlooks the bright lights of Vegas. PAINT TECH



Take a trip inside the “CSI: Cleveland” of paint — the state-of-the-art Sherwin-Williams Breen Technical Center.




See the stunning work of the 2014 Sherwin-Williams® STIR® Student Design Challenge winners.

TURNING THE PAGE Have a question, comment or idea related to our STIR content? Just include the hashtag #SWStir when you share in your social channel of choice, and join the conversation online!



Refreshed and rebooted, the Cass Gilbert–designed Central Library in St. Louis enters its second century with an award-winning makeover. FINAL TOUCH



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NEW HEALTHCARE COLOR COLLECTIONS Our new Acute Care and Senior Living Color Collections are designed specifically to serve clients’ evolving needs. So long, clinical look. Thanks to rapidly changing demographics, facility usage patterns, architectural trends and technology, color specification for acute care and senior living facilities requires more sophisticated and nuanced palettes than ever. Our new Acute Care and Senior Living Color Collections provide you with the organic tones; worldly, saturated hues; and playful palettes that will please facility users and visitors alike. Best of all, these collections have been carefully researched and curated to coordinate with other manufacturers’ finishes and furnishings, making it easier to create holistic design solutions. Access these new color collections, plus our healthcare facility specification guide and healthcare coatings system guide, at facility-solutions/healthcare.

What's new from Sherwin-Williams

ColorSnap®: New and Enhanced for 2014 Our popular ColorSnap app is bigger, better and easier to use than ever.

ColorSnap turned five years old this spring, and to celebrate the milestone, we’ve relaunched the app with all new enhancements to make it even more useful to you as a design professional.


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ColorSnap for iPhone

ColorSnap Glass

ColorSnap for Android

• Refreshed look and feel to complement iOS7 technology and improve usability.

• Capture color with the first Glassware to turn real-world colors into paint color swatches.

• New feature automatically pulls a palette from a photo — just like Chip It!

• Snap a photo, explore paint colors in your timeline, find a store, share with a friend and more.

• We’ve totally rebuilt the app for Android users! Much-improved usability. • New feature automatically pulls a palette from a photo — just like Chip It!

• If you don’t have iOS7, don’t worry — the previous version of ColorSnap will still work until you’re able to update your phone’s operating system.


Learn more and download at colorsnap.

New: Seamless Integration With Autodesk Revit Instant access to Sherwin-Williams colors and coatings in Revit makes specification simple. Specification is a different process today than it was just five years ago. New staffing models, digital toolsets and demands for 4D design are radically altering how specs get written and delivered. To help you stay ahead of the curve, we now offer seamless integration with Autodesk Revit. Autodesk Material Library Files with Sherwin-Williams colors and coatings now make it point-and-click easy for you to specify the correct paint products and colors in your models and renderings. You can save our Autodesk Material Library Files locally on your computer or to a centralized network for access by multiple people. Access paint series, color number and name, and the appearance properties of the paint sheen. You can then instantly apply colors, with photo-realistic accuracy, throughout your model.

To learn more about Sherwin-Williams integration with Autodesk Revit, and to download the materials library, visit


We offer an array of other tools and resources, including: Guide Specifications If you need “off the shelf” guide specifications created for a particular type of commercial facility, simply go to Hands-On Consulting We have more architectural account representatives than any other North

American paint manufacturer — all trained to help you spec. You can locate your rep at architects-specifiers-designers, or simply email: specifications@sherwin. com. Our reps offer product consultations, specification reviews, compliance and standards assistance, and competitive crossovers.

All of these specification tools and services are in addition to our full complement of color tools — including the Online Color Visualizer and downloadable palettes — available at

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I love things

that show age. When I buy a new car, I throw a rock at it. I get that

idea of perfect right out of the way. 6

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Designer “denim nerds” Matt and Carrie Eddmenson elevate — and deconstruct — America’s wardrobe staple.

Feeling Blue b y C harlotte S toudt

If anyone knows about indigo, it’s designers Matt and Carrie Eddmenson. The couple has consulted at almost every major denim brand, including Ralph Lauren, Ernest Sewn, J Brand, Levi’s, Paper Denim & Cloth and Salt Works. So when they set out to design their own jeans, they were determined to offer something different. In just five years, their Nashville-based company, Imogene + Willie (www.imogeneandwillie.

Photography courtesy of Imogene + Willie

com), has become a cult hit, with their signature dark washes worn by everyone from ranch hands to Gwyneth Paltrow. We sat down with Matt and Carrie to get the skinny on blue jeans.

STIR: Jeans are so ubiquitous, it’s hard to even “see” them. Give us a crash course. ME: Denim is a fabric in which one thread goes left [when woven] and another goes right. One thread is white and the other is dyed with indigo. Over time, that dye leaves the thread, and it gets lighter and lighter. It develops a patina with age. No other fabric does what denim does. Only leather is similar — leather takes 20 years before it has a great look. STIR: What makes Imogene + Willie jeans unique? ME: We create an experience. We’re going to tailor these jeans to fit you. We want you to wear the heck out of them. It’s an art project — why not wear a pair of jeans where all the folds and creases reflect your own history? It’s you. It’s a timeline of your life. I love things that show age. When I buy a new car, I throw a rock at it. I get that idea of perfect right out of the way. STIR: Your washes are extremely dark. ME: Our jeans are dark because we encourage long-lasting wear. Anytime you wash a jean, you break the fabric down. The indigo is leaving the fabric. STIR: How do you decide which shade of indigo is the right one? CE: Well, Matt and I each have our own preferences — but even those preferences shift and change. For Imogene + Willie, our entire rainbow is blue. And I feel like we can use all of it.

ME: It’s like choosing a paint color. There’s no color that’s “better” — there are just characteristics you lean toward. Our men’s jeans are redcast. Our women’s jeans have more of a greenish cast. We over-dye our black denim to give that rock star, skinny-jean look. That denim has more yellow, because of the yellow in black. Denim nerds like us sit around wondering how we can recreate the high-contrast look of old Levi’s, worn by working men who didn’t wash their jeans all the time. Redcast denim, after it’s been worn, develops a brilliant optic blue. It has distinct patterns, depending on how you move, where the fabric has wrinkled up and worn smooth. If you wait every three months to clean your jeans, those light places stay light, and the dark places stay dark.

STIR: Your showroom was a gas station in the ’50s. How did you make it your own? ME: We didn’t renovate the space much, but we painted the walls and ceiling using Sherwin-Williams Black Fox (SW 7020), which has a dark leather, dark mulch feel. We liked the color so much we used it in our bathrooms and warehouse. Charlotte Stoudt is a Los Angeles–based freelance writer.

>> See more with Matt and Carrie Our video visit to Imogene + Willie is at >> Join the #SWStir Conversation Share your opinion or question about our interview with Matt and Carrie! Sherwin-Williams | stir


colorconversation Age and beauty are intertwined in the discerning eye of designer and antiques dealer Michael Trapp.

Past Perfect His shop in West Cornwall, Conn., doesn’t have a sign — or even a name. But it’s become a destination for those seeking unusual furniture, artwork and accent pieces. “It’s off the beaten path — people either stumble across it or are told about it,” says Michael Trapp ( of his ever-changing collection of antiques and “curiosities.” Trapp, an interior and garden designer, travels the world in search of distinctive objects that find their way into his shop, his clients’ homes and landscapes, or one of his own nearby houses (he has four, “like Monopoly,” he says). We caught up with the globe-hopping curator at home in Connecticut.


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STIR: You clearly love antiquities, and the distressed, patinated finishes that develop with age. Why? MT: I like things that are honestly used and loved, worn from use and care. Anything really beautiful has been used and dropped. Perfect things are too mundane, a little too precious. The colors in patinas are complex. If you look at a good patina, it has multiple colors, one laid on top of the other. Vertigris isn’t something you paint on.

STIR: What’s the most curious thing you’ve ever had in the shop? MT: That could be a very long list. I had a whale skeleton — a pilot whale. It’s 25 feet long. I took it home and mounted it above the dining table. STIR: Tell us about a piece in the shop that you love for its color. MT: A big pile of mid-19th century storage jars from Borneo. They’re intense emerald green to turquoise blue glaze that varies with the heat of firing, with little bits of deep plum.

STIR: So you don’t believe in faking patina? MT: When I paint my walls, there are layers and washes, creating the sense of age. The walls in my shop are 16 layers. It keeps building up this wonderful depth. I do it myself. They’re soft gray. Not quite cement, not mouse gray, but layers of washes of gray.

STIR: You travel – what country inspires you? MT: Cambodia has a beautiful sense of color. They combine really unusual colors very successfully — like acid green and saffron. It’s so sophisticated, and it translates easily to a Western palette.

STIR: How do you choose what to display in the shop? MT: It’s purely inspiration, usually desperation. I just look around and say, “That’s cool.” The shop is always moving and changing. It’s not a museum. It’s kind of like a tide that moves in and out.

STIR: Share a color risk you’ve taken recently. MT: I have a chief’s robe from Guyana that I was using as a carpet and is now on my bed. It’s an intense pattern in a room with a lot of pattern already — that was the risk. There’s a striped Iranian rug on the floor, and a Sumatran mounted textile in purple and green. The bedside tables are covered with 18th-century carpet fragments. I love old, threadbare textiles.

STIR: What’s moving with the tide right now? MT: Right now, I have a pretty cool French sycamore table and an old Italian leather chair, and tamarind seeds hanging from the ceiling … and collections of insects from Paris. I do love natural history and science. STIR: Do you have a favorite specimen? MT: I love those butterflies from Brazil that are intense iridescent blue. They are amazing. Mother Nature does the best, in color and design.

STIR: What colors do you surround yourself with at home? MT: I like natural colors but I also like intensity. I love Baroque, 17th-century colors — rich, intense and encompassing. I love yellow rooms, and a lot of intense red inside yellow rooms. There’s an energy, an opulence. Kim Palmer is editor of STIR.

Photography by Lanny Nagler

b y K im P almer

>> Join the #SWStir Conversation Share your opinion or question about our interview with Michael!

The shop is always moving and changing. It’s not a museum.

It’s kind of like a tide that moves in and out.

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>> Join the #SWStir Conversation Share your opinion or question about our interview with DeeDee.


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From fruit-embedded tile to porcelain “wood,” tile design guru DeeDee Gundberg expands the possibilities of an ancient art form.

Style Squared b y C harlotte S toudt

As the brand visionary for Ann Sacks Tile, DeeDee Gundberg decides what’s on our walls and floors as we shower, cook and binge on Breaking Bad. An Angeleno by birth, Gundberg studied historic preservation and figured she’d work in architecture. But while living in Portland, Ore., she found herself drawn to the showroom at Ann Sacks ( A mentorship with Sacks herself led Gundberg to 19 years and counting for the luxury tile company, where she’s currently senior new product

Photography by Ty milford

development manager.

STIR: How did you first become interested in design? DG: I’ve always loved seeing the inside of people’s homes. I was reading Architectural Digest when I was 8. STIR: What are some of the insights you learned from Ann Sacks? DG: My biggest take-away is don’t follow the market, lead it. That’s really hard to do. It requires you to take risks. Twenty years ago, the stone business was all about a beveled edge, which was easy for installers. Ann wanted a straight edge. She thought it looked more elegant. It took the market a while to catch up, but it did. STIR: Your new Market collection of tiles features tissue-thin slices of real fruits and vegetables preserved between layers of glass. What’s the back story? DG: When artist Tony Davlin approached me with the idea, I was really excited. My job was to make sure we balanced the right blend of color and texture. We also didn’t want to overwhelm the customer with too many options. Certain fruits are not in season all year long. Some are too exotic and expensive. Starfruit is cool-looking but not always available. I was excited about the idea of a radish, but it didn’t pan out. The pear is incredible. The way the colors blend together, the tiles look dusted in gold. STIR: What’s the most surprising trend in tile design today? DG: Porcelain flooring. It was always considered cheap, a secondary option for a laundry room or guest bath. For a long time

My biggest

take-away is don’t follow the market, lead it. That’s really

hard to do.

it was hard to find really beautiful porcelain. Now with inkjet technology, you can print a very high resolution directly onto the surface of the tile. The technology took off around 2000 and has improved substantially year after year, with better resolution and more realistic imagery, to the point where it’s difficult to tell the difference between a porcelain tile made to look like marble — or wood or concrete or granite — and the real thing. Sometimes I cannot tell the difference until I touch it, as a marble tile will always be cool to the touch. If I’m fooled, then I know we need to launch it!

STIR: How has technology expanded your color and design options? DG: Older methods of printing images on porcelain often left the image pixilated and the color dull. Inkjet technology can print up to 1,000 dpi, so no pixilation will occur, and color remains rich and layered. STIR: What other technological advances have influenced how you design tile? DG: Waterjet technology has revolutionized how we make mosaics. And a CNC [Computer Numerical Control] machine can carve marble into gorgeous dimensional shapes. Dimensional tile like Network [which mimics wood paneling] is a fantastic way to bring visual interest to a feature wall without being over the top. People really respond to it. It’s very Mad Men.

Charlotte Stoudt is a Los Angeles–based freelance writer.

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Color us upbeat! We’re moving ahead in vibrant new directions that reflect our brightened outlook and adventurous spirit.

Optimistic Odyssey What color is your happy place? Maybe it’s a perfect balance of earthly hues or a magical alchemy of supernatural shimmer. Maybe you crave the lush shades of a tropical rainforest or a bold palette sampled and spun

Whatever hues light up your personal spectrum, you’ll find them in the 2015 colormix™ color forecast. The universe is your paintbox, and you’re the curator, collecting colors that speak to you and combining them in fresh ways that will put a smile on your — and your client’s — face.


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Photography BY tim nehotte, Set Design and Styling by STUDIO bstyle

together from all over the world.

SW 7020 Black Fox

SW 7104 Cotton White

SW 0046 White Hyacinth

SW 7565 Oyster Bar

SW 7503 Sticks & Stones

SW 6065 Bona Fide Beige

SW 7741 Willow Tree

SW 6221 Moody Blue

SW 7613 Aqua-Sphere

SW 2844 Roycroft Mist Gray

Chrysalis Like a butterfly emerging from its cocoon and unfurling its wings for flight, we’re poised for change. As modern life and technology rush at us, we seek an oasis — a place where we can find balance, mindful living and tempo giusto (the “right time,” or the steady, regular beat of the heart). We look to earth and sky for inspiration, finding raw beauty in striations and cloudy, gently blurred hues and patterns. Artisans break the mold, creating objects that aren’t what they seem. Shapes are layered and deconstructed — recognizable, but transformed into something new. In this moment, silence is the greatest luxury, and metamorphosis is the mother of invention.

Mindful living • Rebalancing • The mortal landscape • Blurred images • Deconstructed geometrics

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SW 2847 Roycroft Bottle Green

SW 6482 Cape Verde

SW 6720 Paradise

SW 6423 Ryegrass

SW 6557 Wood Violet

SW 6837 Baroness

SW 0044 Hubbard Squash

SW 6606 Coral Reef

SW 7545 Pier

SW 6169 Sedate Gray

Buoyant Happy days are here again! We’ve weathered the recession and are finally seeing signs of growth. Our revived good spirits echo the optimism that followed World War II, when GIs returned home from exotic locales. Like that era, we’re expressing ourselves with bright florals — in fashion and interiors. But today, our fascination with the tropics runs deeper. We’re exploring the secrets of the rainforest, discovering and applying the medicinal and cosmetic benefits of its botanical bounty. We’re looking to the natural world in other ways, too, incorporating green spaces and garden retreats into even dense urban environments — trusting in nature to keep our spirits bright.


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Renewed optimism • Vintage tropical florals • Vertical outdoors • Beneficial botanicals • Respecting the rainforest

SW 7076 Cyberspace

SW 6278 Cloak Gray

SW 6271 Expressive Plum

SW 0007 Decorous Amber

SW 6402 Antiquity

SW 6916 Impetuous

SW 6756 Crystal Clear

SW 6478 Watery

SW 6222 Riverway

SW 7620 Seaworthy

Voyage “To boldly go where no man has gone before.” That phrase was

Space tourism • Cosmic sport • Planetary pioneers • Aurora borealis • Undersea development

fantasy when it was born during the Sputnik era. Today we’re living it. The sci-fi dreams of the past have become everyday reality — from space tourism to undersea resorts. Technology is moving at warp speed, and its limits are unknown. No longer confined to our earthly plain, we look to the beyond and find colors that are supernatural and magical — high-tech hues that shimmer and shine. Unusual astronomical and atmospheric events, including a decade-best aurora borealis and a rare sequence of “blood moons,” will keep our focus on the heavens in the months ahead.

Featured Products





These unique pieces played key roles in helping us bring to life our vision for the 2015 colormix color forecast palettes. For more specifics, join our #SWStir conversation online.

Set Materials: left wall covering by Eric Blum, center wall tile by Interglass, right wall covering by NLXL, floor tile by Interceramic. Props: Vetri Murano glass lamps, s-shaped bent-reed table base; Abrazo soaking tub by Kohler.

Set Materials: center wall custom covering by Ellie Cashman, terra cotta floor tile by studiobstyle. Props: Aubrey Angelo rug, 1stdibs vintage server and chair, Jack Sullivan Home vintage birdcage.

Set Materials: outer walls’ hand-painted custom coverings by Yoshika Alexander, floor tile by Interceramic. Props: Aubrey Angelo rug; 1stdibs vintage Vladamir Kagan sofa, golden figure, chandelier; Laura Kirar table; custom vertical color wheel by Wilsonart.

Set Materials: left wall is Frank Blue (SW 6967), center wall custom covering by Kristen Morkel, custom floor by studiobstyle. Props: Aubrey Angelo rugs, Jacques Garcia table, Aaron Brand custom light.

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Artisans and purveyors of luxury goods are getting in the spirit, adding unconventional materials to traditional craft and putting an irreverant spin on their work. South Africa and its colorful art scene exert a strong pull, while the 2016 Summer Olympics will rivet the world’s attention on Rio de Janeiro.


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SW 6601 Tanager

eager to celebrate: from bold, ethnicinspired colors, designs and crafts to the Bohemian lifestyle. But today’s wandering nomads aren’t starving artists — they’re fusing the carefree spirit of the gypsy with the sophistication of the jet set. An influential subculture, they work and play all over the world, spending serious money but with a light touch.

Graffiti chic • Heirloom modern • Lighthearted luxury • Joie de vivre • Clashing, pulsing palettes • Wanderlust

SW 6650 Marquis Orange

Life is a Carnival, and we’re

SW 6902 Decisive Yellow

SW 6918 Humorous Green

SW 7001 Marshmallow

SW 6991 Black Magic

SW 6725 Pickle

SW 6941 Nifty Turquoise

SW 6794 Flyway

SW 6967 Frank Blue


Get Colormix Colors

Order a colormix color deck or large-size color samples at

Download these colors into virtual design tools at

Design with these colors using our Color Visualizer or ColorSnap速 apps at

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here’s a new must-do in Las Vegas: a

A couture condo

nighttime trip on High Roller, the world’s highest

full of luxe finishes

Ferris wheel. Topping out at 550 feet, High Roller offers a spectacular view of Vegas’ famed strip, flashing in

overlooks the bright

neon and buzzing with frenetic energy. From that high up, you see the spectacle without noise and crowds —

lights of Vegas.

a megawatt masterpiece far below.


High-Roller It’s a delicious but fleeting feeling. That is, unless

B y A lyssa F ord

you live in one of three penthouse condos at the top of the 560-foot-tall Mandarin Oriental hotel. It’s the same panorama as the High Roller, but from a significantly better vantage point. Look south out the bedroom window: There’s the boxy Tropicana tower, the “wings” of the MGM Grand glowing emerald green. Look there: It’s New York, New York with its Manhattan skyline in miniature, and the Disney-esque castle of Excalibur. Now look north, out the kitchen window. There’s the Eiffel Tower at Paris, and its Montgolfier balloon, lit in blue and yellow. And, oh yes, there’s the High Roller, putting on its nightly “There are only a handful of condos in Vegas with views like this,” says Bruce Anderson, principal at Anderson Environmental Design in Las Vegas. sophisticated Hues

Anonymous SW 7046


Gray Screen SW 7071

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Aloof Gray SW 6197

Rare Gray SW 6199

Photography by Luxury Homes Photography

LED light show.

A sophisticated neutral palette supports the sleek interior design without drawing attention away from the breathtaking views.

ven “There are only a handful of condos in Vegas with views like this,� says Bruce Anderson, principal at Anderson Environmental Design in Las Vegas.

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Anderson should know. Not only does he live on the Strip, in the sleek, Helmut Jahn–designed Veer Towers, but he’s helped design interiors for some of the most significant properties in Vegas, including the Wynn, the Encore, the Bellagio, the Palazzo, Caesar’s Palace and Mandalay Bay. A year ago, Martin Zapp of Las Vegas–based KNB Associates approached Anderson with a proposal. Zapp had a client who had purchased three shell (unfinished) penthouse condos at the ultra-luxe Mandarin Oriental. Did Anderson want to finish them for sale? “My vision was, get the best guy in Vegas to do the interiors, and just let him do his magic, completely carte blanche,” says Zapp.

Turkish Black Magic marble in the shower. There’s a Roche Bobois Astrolab table that extends out using a system of visible gears, like a Swiss pocket watch. cases where, if you There are glass sculptures by none other than Dale walk in and notice the Chihuly. At the same time, nothing gets in the way of that paint color, you’ve view. Take the kitchen in Anderson’s favorite of the three penthouses. There’s serious luxury happening done something in here: German-made matte lacquer Poggenpohl cabinetry, textured Matrix granite counters, touchless wrong,” says Laurie Kohler faucets. There’s a glass, stainless steel and porcelain-coated cast-iron Wolf cooktop with five Clark, a Las Vegas– dual-stacked sealed burners with LED-backlit based representative controls; an M-series Wolf double oven with nine cooking modes; and a Sub-Zero wine chiller with two for Sherwin-Williams. temperature zones and space for 46 bottles. Pedigreed products Even with all that eye candy, when you walk into Anderson set out to make the three condos a showplace of residential the kitchen at nighttime, you see nothing but Vegas. Your eye immediately design and innovation. He partnered with top brands, including Kohler, goes out the north-facing window, to the Strip below, lit up like a slot Wolf, Sub-Zero, Roche Bobois, Lutron, Poggenpohl and Sherwinmachine during payout. Williams, to select from their very best offerings. As a result, top “That’s the money shot,” says Anderson. “The view is why people pay residential designers and product reps from around the country have the big bucks.” toured the three penthouses to see what it’s like when you mix ultraAnderson’s secret to muting the kitchen’s glamour and letting the high-end furnishings and finishes with a sublime locale. Strip steal the show? Color — a sophisticated neutral palette that supports And when Anderson says “high-end,” he means it. Every fixture, every without calling attention to itself. The Poggenpohl cabinets are a subtle light switch and lamp is absolutely the crème de la crème. There’s rare gray. For the walls in one unit, Anderson chose Sherwin-Williams


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“This is one of those

Anderson selected the finest of everything for these prime penthouses — from finishes to furnishings and art. The matte-finish Emerald Paint provides a perfectly elegant companion to the refined luxury of the spaces.


Sin City


Anonymous (SW 7046), a rich taupe, with Gray Screen (SW 7071) for the tray ceilings. In another, he chose Aloof Gray (SW 6197) for the walls and Rare Gray (SW 6199) for the ceilings and pillars. In a third, the walls were done in Popular Gray (SW 6071) and the ceilings in Perfect Greige (SW 6073). “This is one of those cases where, if you walk in and notice the paint color, you’ve done something wrong,” says Laurie Clark, a Las Vegas–based representative for Sherwin-Williams. “But that’s the magic of color, really; make it come alive, or make it disappear entirely.” For the project, Anderson requested paint with a matte finish. “But I also wanted something soft, organic and dramatic,” he says. Clark helped him select Emerald™ Paint, a premium line introduced just two years ago. “This was an ultra-luxe project that needed the Maserati of paint,” says Clark. “Emerald Paint is scrub resistant and burnish resistant, and it meets the most stringent VOC [volatile organic compounds] regulations.” Anderson says the paint achieved exactly the look he wanted. Plus, he says, “we had some of the best painters in Las Vegas do the work, and they raved to me about the quality.” By the rubric that matters most, Anderson did his job well: He’s not 100 percent finished, but already the condos have generated A-list interest: a Hollywood actor and a top-shelf Vegas DJ. (Anderson says he knows the names of the potential buyers, but he’s not spilling.) Anderson is pleased with the finished product, but a little sad to lose his access to the view. “If I lived here, I don’t think I’d ever watch TV. I’d just sit back and watch the Bellagio fountains. They put on a water and light show every 30 minutes, and you can see it all — right from the living-room window.”

egas, the capital of kitsch, continues its transformation into a sophisticated destination. The Mandarin Oriental is part of a massive complex called CityCenter that opened in 2009. Conceptualized as a roofless “megaresort,” CityCenter boasts a Cesar Pelli–designed casino (Aria), twin luxury condo towers designed by Helmut Jahn (Veer), luxury retail (The Shops at Crystals), plus more than $40 million worth of modern sculptures and installations by the likes of Maya Lin, Claes Oldenburg and Frank Stella. This prime location on the Strip wasn’t always so luxe. In fact, it was once The Boardwalk, a Coney Island–themed casino that stood between the Bellagio and the Monte Carlo. To go with its East Coast vibe, Boardwalk had a faux wooden rollercoaster across its front façade. Regulars entered by walking under the grinning head of Jocko the Clown, in aqua ruff and matching eye shadow. They came for the discount rooms, $1.99 shrimp cocktail, $3 blackjack and the two-for-one “Surf Buffet” available — at your own risk — 24 hours a day. The Boardwalk was imploded in 2006 to make way for CityCenter. Other kitsch classics on the Strip shared its fate: The circa-1958 Stardust was razed in 2007 to make way for three boutique hotels: Shangri-La, Delano and Mondrian. Tam O’Shanter, the no-frills motel, went the way of the desert wind in 2004. The upscale Palazzo, with its own Barneys New York, holds that address now. “That’s the thing about Vegas,” says Bruce Anderson, who designed the interiors of three penthouses at the Mandarin Oriental, and also worked on Palazzo. “The city is constantly reinventing itself. That why it’s the best place on earth to work if you’re in construction or design.”

PAINT tech

Discover the Secrets to

Quality Paint Take a trip inside the “CSI: Cleveland” of paint — the state-of-the-art Sherwin-Williams Breen Technical Center.

What makes one paint formulation better than another? And how does

a high-quality paint get designed and manufactured in the first place? Strap on your safety goggles and button up your lab coat. We’re going to take you inside our own Breen Technical Center so you can find out. Here in the Breen Center, located in downtown Cleveland, Ohio, no characteristic of paint goes untested. Those hums and beeps you hear are the sound of more than 300 scientists and chemists using the world’s most sophisticated equipment to assess and improve hundreds of performance factors. The goal: Always find new ways to improve the coatings you’re specifying for your clients.

How the Very Best Paint Gets Made



Identify market needs.

Identify technology.

Thousands of Sherwin-Williams stores and field representatives help to identify market needs through their one-on-one contacts with customers. Our paints are designed to solve your clients’ real-world challenges.

Scientists at our Breen Technology Center are constantly expanding the possibilities of what paint can do — everything from solution-specific polymers that create new levels of beauty in a finish to innovative biosusceptibility strategies to combat paint degradation.

So how do these ingredients come together at scale?

For some brands, that process starts with finding an “off the shelf” formulation. In the case of Sherwin-Williams, all of our paints are produced in one of 34 Sherwin-Williams manufacturing sites across North America — each with its own quality manager. Standardized production specifications, rigorously tested instrumentation and ongoing trend analysis ensure every batch is consistent across a host of characteristics, from viscosity to on-the-wall performance, no matter where your client’s project is. Every gallon of Sherwin-Williams paint has been engineered under the company’s step-by-step product development methodology:


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What’s in the can? Every paint is composed of four principal ingredients:





Higher-quality paints contain more prime pigments, offering better hide and color retention.

These provide adhesion and resistance to cracking, blistering and peeling. The type and quality of binders affect everything from stain resistance to gloss and adhesion. Latex paints contain acrylic binders, while oil paints contain linseed oil, soya oil or alkyds.

Simply the “carrier” to help a contractor get the paint from the can to the wall. The lower-quality the paint, the more “watered down” it usually is.

“Extra” ingredients that give paint specific performance characteristics. Examples include mildewcides and rheology modifiers. The right additives can offer better flow, leveling, dry time and extended storage, or even help reduce odors already present in a room.





Develop and test prototype.

Certify raw materials. With a validated prototype in hand, we work directly with suppliers to ensure that every ingredient that goes into our paint meets our own uncompromising quality criteria.

Establish manufacturing parameters.

Customer field tests.

Each prototype is tested for washability, burnish resistance, scrubbability, color retention, hide and more. Interior coatings are evaluated with American Society for Testing and Materials standards.

By scaling up our production runs, we ensure consistency in volume and further refine the product when necessary.

Finally, we test large batches in the hands of hundreds of real-world contractors. Our localized expert analysts respond daily to productrelated issues in the field. And as restless innovators, we regularly release enhancements and expanded finish offerings to our product lines.

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PAINT tech


Questions for Steve Revnew

Steve is Vice President of Product Innovation at Sherwin-Williams.

Q. What is the most misunderstood component of paint quality? A. There’s a lot of confusion around ingredients. Some brands trumpet the amount of a key ingredient in their paint. But it’s really the quality of ingredients that’s important. Take titanium dioxide (TiO2), which gives paint its whiteness; hide; and ability to deliver clean, crisp colors. Some manufacturers have turned to lowerquality, higher-volume TiO2 to cut costs. But it’s TiO2 quality — not just quantity — that matters. TiO2 is one of hundreds of ingredients we monitor and rigorously certify for quality throughout our manufacturing process.

Q. What are some basic tips for making better decisions about paint? A. We design products for specific jobs, rather than broad formulations. If you’re considering specifying a lower-cost coating, ask: “What performance characteristics am I sacrificing for price?” It’s always wise to be sure you’re comparing “like” products from different manufacturers. We’re confident our coatings will deliver the beautiful finish and performance your client is looking for. Finally, ask: “Which coating solution is going to give my client the best long-term value?” Investing a little more in high-quality Sherwin-Williams paint can offer big dividends in reduced maintenance costs over time.

Q. What qualities define a high-quality interior paint?

“Which coating solution is going to give me the best long-term value?” Investing a little more in high-quality Sherwin-Williams paint can offer big dividends in reduced maintenance costs over time. 24

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A. You’re going to want both aesthetics and durability. Key properties to look for include hide, and resistance to stains, dirt and burnishing. And the paint should be specially formulated to go on smoothly, so you avoid brush marks, roller marks and spattering.


Strong Products for Tough Standards Sherwin-Williams offers a broad array of coatings that meet many different environmental standards including GREENGUARD Gold Certified, MPI Green Performance® Standard and LEED® v4. To learn more, go to

2014 Winning Portfolios

Meet the winners of our fourth annual Sherwin-Williams® STIR® Student Design Challenge

Call it yet another sign the design industry is bouncing back: We received a record number of entries for this year’s Sherwin-Williams STIR Student Design Challenge — including twice as many commercial entries as residential ones. “I’ve judged our design challenge four times, and both the quantity and quality of this year’s work made the process of choosing winners the most difficult yet,” said Jackie Jordan, director of color marketing at Sherwin-Williams. Joining Jordan as judges were commercial designer Tamara Bopp, RID, IIDA, director of interior design for Texas-based Hahnfeld Hoffer Stanford; as well as residential designer Ernesto Garcia, ASID, of Scottsdale, Arizona. “The graphic expertise of these designers is unbelievable. I really got excited about the state of our education process for interior design,” said Bopp. “It was an honor and a pleasure to have this opportunity to evaluate such a remarkable group of creative people,” said Garcia. Three entries prevailed in each category. First-place winners received a $2,500 cash prize, second-place winners received $1,000, and third-place winners received $500. Sherwin-Williams | stir


1 ST


Pure white SW 7005


Springtime SW 6708

Designer: Cortni Stevenson

mÉlange green SW 6710

School: Texas Christian University

Spalding Gray SW 6074

Ardent Coral SW 6874

Concept: A contemporary design of a high-rise condominium located in Miami Beach, Florida. The design involves a colorful space for a fun, eclectic client whose profile was given to students in class. The client’s interests included whimsical furniture, Art Deco, Brazilian street art and the Bauhaus style of architecture. The concept was

“More than anything, this design challenge taught me how to be unafraid of color. I learned different ways of tying together multiple colors to express a story within an interior, which is something that truly amazes me.”

-Cortni Stevenson


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to create a relaxing environment that included aspects of all her assorted tastes, including her love of all things colorful. For this reason color was a very integral aspect of my design. Through color I was able to reflect the personality of my client on every wall in her home, creating an inviting environment that reflected her fun, spirited style.

2 ND Place Residential

Mocha SW 6067

Avocado SW 2861

Designer: Anna Hickman

venetian lace SW 7119

School: Marywood University

3 RD Place Residential

Arresting auburn SW 6034

Lightweight beige SW 6092

Daring SW 6879

crĂˆme SW 7556

Banana Cream SW 6673

Wild Berry SW 3103-B


Judith Grant School:

Art Institute of Atlanta Sherwin-Williams | stir


1 ST


Rhythmic Blue SW 6806


Designer: Elena Proskurina

Coral Bead SW 6873

Dancing Green SW 6716

School: LSU

Lime Granita SW 6715

Concept: Idea & Invention Office. A polymath is someone who has broad intellectual interests in both arts and sciences. While this term was often applied to only a few great thinkers of the Renaissance, the 21st century challenges each of us to be a scientist, an artist and a naturalist. My office design creates an environment that encourages all of these qualities in a person. It’s a fantasy workplace where people feel

“I’ve been using Sherwin-Williams paints in all of my projects throughout school. It’s amazing to be recognized by such a great company. Winning the Sherwin-Williams STIR Student Design Challenge is a great chance to showcase my design, and share it with other people who follow Sherwin-Williams.”

-Elena Proskurina 28

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transformation in time and place, where every line is diagonal and every angle is obtuse or acute. The I.I. office space becomes a sheet of paper you grab to quickly scribble down immediate ideas that come into your head. The sheet gradually fills with formulas, notes, doodles and scrawls. The use of Sherwin-Williams colors enhances my design by adding bright splashes into the space and visually dividing it into different functional areas. As you circulate through the space, you notice how the forms and colors merge together and wheel into one solid concept, an ultimate solution.

2 ND Place Commercial

Seaworthy SW 7620

Moody Blue SW 6221

Warm stone SW 7032

sealskin SW 7675

silver gray SW 0049

everyday Designer: Patrick Gagnon White School: UniversitĂŠ de Moncton SW 6077

3 RD Place Commercial

Marigold SW 6664

Earl Grey SW 7660

Teal Stencil SW 0018

EIder White SW 7014

Rivulet SW 6760

Designer: Gisella Allen School: University of Texas at Austin

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A $70 million restoration preserved historic elements of this remarkable example of Classic Revival architecture, while reinventing the unsafe book stacks as a modern multi-story atrium.


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Photography by Timothy Hursley

Turning the

Page Refreshed and rebooted, the Cass Gilbert-designed Central Library in St. Louis enters its second century with an awardwinning makeover. B y K itty shea

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ong before the Internet, when libraries and books were the headquarters of knowledge, Central Library stood among the mightiest. The crown jewel of the public library system in St. Louis, Mo., had imposing size — 185,000 square feet covering a full city block — and an impressive pedigree. Philanthropist Andrew Carnegie was its original benefactor, while renowned 19th-century architect Cass Gilbert was the visionary behind its Beaux Arts neo-Italian Renaissance style. The granite and marble edifice awes in a way that no website ever will.

Time expands human knowledge, but does few favors for buildings, save for patina on bronze doors. As it neared its centennial, Central Library lacked high-speed data delivery, updated lighting and HVAC, handicap accessibility, fire protection — and overall panache. So the library hung a “Closed” sign for two years, while general contractor BSI Constructors Inc. of St. Louis tackled a massive $70 million restoration. “The most important thing was the preservation of the historic elements,” says Paul Goelz, BSI project manager. Those included irreplaceable stained-glass windows, 6-foot alabaster fixtures, stone staircases and huge ornate chandeliers. “The best thing we ever did at the library was to never break anything,” he says, half-joking.

A n e w at r i u m One original feature was significantly altered — a seven-story book tower separated by glass floors. An engineering marvel in its day, it represented Gilbert’s genius: a building floating within a building. But by the time of the restoration, it had become an off-limits fire hazard. To save space and money while preserving Gilbert’s original vision, lead architect


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George Z. Nikolajevich from Cannon Design of St. Louis advocated working within the library’s existing footprint rather than expanding it. He reconceptualized the book stack into a multi-story public atrium. Light pours through Gilbertdesigned windows, bouncing off walls of white, a nod to Gilbert’s original white-glazed industrial brick. Some of the existing white brick was left exposed, and other surfaces were painted Extra White (SW 7006). “The white was, for us, very critical,” says Lynn Grossman, a Cannon Design vice president. “For the painters, white paint is bread-and-butter. But for us, it’s an essential and magical element in the space, highlighting light and form.” Jamie Callaway, project manager for The PaintSmiths of St. Louis, says his first scouting mission to the library “blew my mind. I thought, ‘Oh, my God, I would love to paint this!’” His second thought was: “How are we going to do this?” The project came with 20-some miles of quarter-sawn white oak bookshelves and woodwork. All the dusty 100-yearold surfaces had to be cleaned and prepped before painting — without damaging the wood. “We had to be extremely careful,” Callaway says.

a tale of

two ceilings The library’s makeover included the restoration of several ornate ceilings. One ceiling on one particularly harrowing day prompted about two dozen phone calls from the worried paint crew to The PaintSmiths project manager Jamie Callaway. “They were saying, ‘We can’t “just” clean this ceiling,’” Callaway says. The painted historic and literary figures in the main entrance hall’s stairway mural looked great from the ground. But as soon as Callaway’s crew got up into the vaulted ceiling and started wiping off accumulated soot, which was left behind from the original coal heating system, the paint started flaking off. A chemical analyst finally came up with a solution: 1) a book-binding agent sprayed on the ceiling, then 2) an 8-1/2" x 11" Mylar surface that painters used as a barrier sheet across some 7,000 square feet, which prevented the loss of paint chips as painters re-adhered them to the mural. Ceiling stabilized, decorative painter Brian Shreckengost hand-mixed colors to match the original art and touched up all the tiny flaws. Another challenge on high was the Fine Arts room’s hand-carved ceiling, which was inspired by the church of La Badia in Florence, Italy. In the 1950s, Central Library cut out sections of the ceiling to install fluorescent lights, a gasp-worthy offense by today’s standards. The light fixtures were removed, and a specialist created plaster molds to cover the holes. “We had to look at old black-and-white photographs from the library and also from the original church to create the plaster,” says Lynn Grossman, vice president of Cannon Design. “The painting is unique to the library, and our intention was to keep the colors already there.” Using five basic colors, Shreckengost hand-tinted paint to replicate the 100-year-old finishes.

“The painting is unique to the library, and our intention was to keep the colors already there.”

Painstakingly cleaned and restored, the ornately detailed paintings of the main entrance’s vaulted ceilings depict the history of printing.

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Color was another challenge, with some hues chosen from the Sherwin-Williams palette and others hand-mixed on site to achieve an exact match to historically accurate shades. Gilbert’s original painter, Elmer Garnsey, consulted from the grave; the artisan had left behind, in the library’s archives, a letter describing his intentions, plus a specifications book. It took careful color calibration to find the precise shades, Grossman says. The Great Hall Reading Room, for example, was a sea of gray, filled with Tennessee pink and Tennessee gray marble. “A lot of it was trying to match this pink marble, which looked like one color but turned out to be more beige than pink,” she says. It took two or three tries to nail the right hues.

B o w i n g to h i sto ry The room’s resulting palette of grays and beiges, which include Intellectual Gray (SW 7045), Ancient Marble (SW 6162), Sands of Time (SW 6101) and Bona Fide Beige (SW 6065), was influenced by historical deference rather than Grossman’s own first instincts. “I love this building and always Intellectual Ancient have,” she says, “but for me, getting Gray Marble SW 7045 SW 6162 to understand its beauty meant embracing its softness and grayness as a strategy.” Muted colors are what the woodwork and marble wanted. The PaintSmiths used SherwinSands of Bona Fide Williams ProMar 200® Zero VOC Time Beige Interior Latex Paint on walls SW 6065 SW 6101 throughout the project, and some specialty products, including Sher-Cryl HPA, where highperformance coatings were required, such as on metal doors. Extra White The painstaking two-year project SW 7006 has won a distinguished lineup of honors and accolades, including a 2013 AIA/ALA Library Building Award, a 2014 AIA Institute Honor Award for Architecture, an Architizer A+ Award for best library and many others. But even more important, the restoration breathed new life into the beautiful century-old building. Today it’s a bustling 21st-century library, hosting seminars, film series, docent-led tours and even theater productions in its new auditorium, which was created out of a former sub-basement space that once served as a coal bin. Contractor Goelz is pleased to have played a role in the library’s rebirth. “These projects will tell you what they need,” he says. “It’s about listening to the building.”

Muted shades help blend historic elements with modern augmentations

Kitty Shea is a Minneapolis-based freelance writer.


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“For the painters, white paint is bread-and-butter. But for us, it’s an essential and magical element in the space, highlighting light and form.”


ideas SW

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Incarnadine originally meant pink. But since Shakespeare’s famous use of it in Macbeth, it has come to mean blood-red.


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"Highest in Customer Satisfaction Among Exterior Paints" "Sherwin-Williams received the highest numerical scores among exterior paints in the proprietary J.D. Power 2014 Paint Satisfaction StudySM. Study based on responses from 9,578 consumers measuring 5 brands and opinions of consumers who purchased and applied exterior paint within the previous 12 months. Proprietary study results are based on experiences and perceptions of consumers surveyed January–March 2014. Your experiences may vary. Visit" Sherwin-Williams | stir


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SW 6767 aquarium

You create the dream. We’ll supply the color. Designed for people who are passionate about performance. Color without compromise: our array of innovative solutions now includes ColorCast EcotonerŽ colorants, which do not add to the VOC content of paint during tinting. Set your designs on success at

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STIR 2014 Special Issue  

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STIR 2014 Special Issue  

STIR magazine for Sherwin-Williams

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