Sherwin-Williams STIR Special Issue 2019

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COLORFUL HISTORY Reviving a century-old temple as a nightlife hotspot

MUSEUMS SHARE THEIR SECRETS Paint color tips from gallery experts







The Sherwin-Williams Company Director of Color Marketing: Sue Wadden Director of Marketing Communications, Trade: Katie Butler

Hanley Wood Marketing Executive Editor: Shawn Gilliam Executive Art Director: Sandy Girard Art Director: Melissa Gehrig Writer: Jean Cox Copy Editor: Vlad Boz Production Director: Pam Mundstock Production Artists: John Hanka, Karen Wolcenski Project Manager: Elinor Belk Account Director: Martha Capps Consulting Creative Director: Dobby Gibson STIR® magazine is published by Hanley Wood, LLC, on behalf of The Sherwin-Williams Company, for interior designers and architects. 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: Printed in the United States, © 2019 Sherwin-Williams



s restoration work begins this summer on one of the world’s greatest works of art — Rembrandt’s “The Night Watch” at the Rijksmuseum in Amsterdam — I’ve been thinking a lot about the enduring importance of color. While conservators work their magic restoring the painting’s true colors right before our eyes (p. 33), we as designers are creating real-life masterpieces of our own.

It’s hard to find a better example than our cover story, the recently restored 1916 Elks Temple

in Tacoma, Washington (p. 24). Vacant for more than three decades, it’s now a whimsical McMenamins property with a live music venue, small hotel, brewery and five pubs, all aglow with color. Sure, architect George Signori and his team’s color choices create a spirited vibe that will carry the building through countless concerts and celebrations. But what’s really cool is how rooted the project is in the colors that archaeologists believe once detailed the buildings of ancient Greece and Rome. Not many designers get to work with a canvas like the Elks Temple, but nearly all of us are charged with finding colors to make our clients’ art pop. So we asked exhibition designers at four leading art museums for their tips and tricks (p. 30). Add to that our Colormix® Color Forecast 2020 (p. 14) — an expression of joy, serenity and focus — and you are on top of the trends. Projects such as these are made possible with help from the artists at heart I’m proud to work with, including our designer account executive of the year, Kendall Alio (Metro New Jersey South), and architectural account executive of the year, Glenn Remler (South Florida, Southwest Florida and Caribbean). Along with the rest of the Sherwin-Williams team, they are here to ensure you have everything you need to bring your masterpieces to life. Cheers,

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


Color samples shown approximate actual paint colors as closely as possible.

Director of Color Marketing The Sherwin-Williams Company




COLOR CHIPS Introducing Krylon® Chalky Finish Interior Latex Paint, SnapDryTM Satin Finish Door and Trim Paint, our Finest Whites color collection, and more. COLOR CONVERSATION

A CULTURE OF BRILLIANT COLOR 6 Kei Iwaizumi, the director of PIGMENT TOKYO, brings us inside his museum-style shop.



A trio of projects glows with color and personal style.

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Five palettes with 45 on-trend colors bring joy, serenity and focus to the mind, body and spirit. COMMERCIAL PROJECT



An Ivy League college’s new engineering building is designed to last a lifetime. COMMERCIAL PROJECT



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Exquisite color and an exterior coated with Loxon® Self-Cleaning Acrylic Coating breathe new life into a century-old temple.



See the winning portfolios. COLOR TECH



Exhibition designers from four art museums share their tips and tricks.

Follow us on Instagram! Follow @SWDesignPros for the latest on color, coatings and industry trends.




Witness history as conservators return a Rembrandt to its original colorful glory. ON THE COVER

The McMenamins Elks Temple in Tacoma, Washington.

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4 4S hSehr ewriwn -i nW- iWl l i lal m i a sm|s s| tsi r tir

Make It


ultra-matte finish that can transform the look of any project. Also available in a convenient spray, this paint features excellent adhesion properties that make it possible to paint wood, metal, plastic, laminate, wicker, ceramic or glass with no primer needed. It’s fast-drying and sandable, too, and looks great as is or distressed for a distinctive look.

Like this look? Try Krylon Chalky Finish in Exuberant Pink SW 6840 (101-C1) for a smooth, ultra-matte finish.

a fresh take DISCOVER A RANGE OF WHITES that can evoke a quiet mood

Convenient all-in-one brochure

or strike a lively one. Our Finest Whites color collection is a curated palette of our top whites arranged by color temperature and undertone. Choose from an array of cool whites, warm whites and timeless whites to find the perfect match for any project.

Learn more about this project, p. 24.


KEEP BUILDINGS LOOKING CLEAN with LoxonŽ Self-Cleaning Acrylic Coating. This special formula is engineered to shed dirt with rain or water contact, so projects stay cleaner longer than with normal coatings. It’s also highly durable, mildew-resistant, and can help avoid costly repaints and extensive cleaning without sacrificing aesthetics. Available in both satin and flat, this coating is a great solution for many different types of projects, it meets the most-stringent VOC regulations and it can be applied to multiple substrates.

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COLOR chips

Dressed Up THE JULIAN PRICE HOUSE in Greensboro, North Carolina, hadn’t seen much love for years. In fact, the 1929 Tudor

Finding Inspiration

mansion was featured on the most-watched episode of

Luckett treated her assignment with extra care. “A

A&E’s series Hoarders, filled from floor to ceiling with the

dressing room is where you prepare yourself for the

previous owner’s possessions.

world, so it’s a place that deserves special attention,” she says. “I wanted to make sure the design kept within

DESIGNER Cheryl Luckett @dwellbycheryl

Once the show’s crew gutted the expansive home of its

the style of the home but also wanted to be true to the

contents, the new owners opened up its doors to the

new owners, who are two very stylish men.” Her design

talents of 25 interior designers from New York to Florida.

research led her to historic British men’s fashion and its

Cheryl Luckett of Dwell by Cheryl Interiors in nearby

intricate details, which became her inspiration for the

Charlotte was tasked with designing the closet and dressing

very buttoned-up dressing room.

space. “To see the home go from the original condition to where it is today was pretty astounding,” she says.


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fast-drying Paint for Windows and Doors ADD A RICH, LUSTROUS LOOK to interiors and exteriors

with SnapDry™ Satin Finish Door and Trim Paint. Dry to the touch in as little as one hour, this coating is ideal for doors and window trim. And because SnapDry resists dirt, fingerprints and UV weathering, any new look continues looking great longer.

Resists dirt and fingerprints

Setting a Mood The space is filled with natural light, so Luckett felt she could use a strong color to create a masculine vibe without it feeling too dark. She chose Granite Peak SW 6250 (225-C6) for the walls and ceiling, and a custom white that runs throughout the rest of the home for the trim. Everything was painted in Emerald® Interior Acrylic Latex. “I wanted the closet to feel like a warm, enveloping space, and Granite Peak really made that happen,” she says.

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COLOR conversation

A Culture of Brilliant Color Kei Iwaizumi shares the inside story on the goods at PIGMENT TOKYO, the museum-style shop where he serves as director.

Why is using pigment so prevalent in Japan? A big influence comes from the concept of religion. In the Eastern world, nature is believed to be where the gods live. Divine beings live not only on the earth but also in inorganic and artificial substances in the whole universe, including pigment. That is why Japanese people believe pigment is not just color but that it is carefully chosen for artworks based on its characteristics. Different textures of pigments are placed on the same artwork, and they must be in harmony. Therefore, using pigment — both organic and artificial — is part of the earth and also a form of prayer.

More than 600 types of paint brushes (above) and dozens of colorful ink sticks (insets) join jars with 4,500 types of pigment at PIGMENT TOKYO.

Using pigment has traditionally been more practical, too, right? Yes, that is mostly because [in the past] the main medium that has been used with pigment since ancient times is animal glue. It is collagen derived from skin and bone of animals and fish, and its characteristics have contributed to why Japanese artists have preferred to use pigment for such a long time. What kinds of characteristics? One is that animal glue spoils. Even though preservatives are used today, it used to be difficult to keep the paint in a tube because the medium went bad quickly. Another characteristic is that animal glue creates a color very close to the original pigment


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compared to other mediums, such as oil, gum and acrylic. Animal glue does not completely coat the particles of pigments, so the original color and texture of pigment are emphasized. Again, the Japanese spirit of respecting nature.

Your expertise is impressive. Part of your role at PIGMENT is to teach, yes? Yes, and this year, I became a professor at Kyoto University of Art and Design, which means my current role at PIGMENT is to spread the knowledge of art materials through workshops. As an artist and student, I researched art materials and techniques of animal glue and sumi ink sticks. Color is my current interest, and it is an important element that is related to many fields beyond art. Tell us more. How are you rethinking color? The answer to this question is deeply related to the concept behind my artwork right now, where I question the existence of substance. All substances go through a journey from birth to death, even though they have different life spans. And although death is imminent, people are moved by the sublime nature of life’s moments and are motivated to live out their lives. Today, though, digital technology is rapidly growing and our society can feel like what you see in sci-fi movies. In such a world, existences would earn eternity. And if almost everything were replaced by digital technology, analog products such as pigment would be traded at a high price. Fascinating. It sounds like pigment has an important place in the future. Using a primitive material such as pigment to control color and texture not only helps us express originality, but it also leads us to the time when humanity learned to express them in art. So it is critical for contemporary art, which is required to have meaning in the act of painting. That is why I choose to keep painting with pigment as a symbol of the color — and encourage other artists to do the same.


Iwa Gungo No. 7, derived from the mineral azurite, is Kei Iwaizumi’s favorite pigment. But as the director of PIGMENT TOKYO, Iwaizumi has a hard time deciding. That’s because he has 4,500 options, all displayed on shelves in a sleek shop designed by acclaimed Japanese architect Kengo Kuma. Why pigments rather than paint? The answer, it turns out, is in Japanese culture itself.

pigment “—Using both organic and artificial — is part of the earth and also a form of prayer.

— Kei Iwaizumi, director, PIGMENT TOKYO

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INTERIOR DESIGNERS Jayne and Joan Michaels @2michaelsdesign


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Interior designer Jayne Michaels’ 1973 home, painted Inkwell SW 6992 (251-C4) inside and out, was designed by notable minimalist designer Joseph D’Urso, who went on to develop a collection of clean-lined furniture for Knoll. The home’s walls were black from day 1. “This was way before anybody ever had black houses, so he was well ahead of his time,” Michaels says.

The home’s original T1-11 plywood walls had started to fade by the time Michaels and her twin sister, Joan Michaels — fellow interior designer in New York–based firm 2Michaels — embarked on the renovation, which included a sunroom addition. In keeping with D’Urso’s original design intent, all perimeter walls (on the outside and inside) are painted black and interior walls are painted white — High Reflective White SW 7757 (256-C1).


Black may seem like the last choice for a sunroom. But in this East Hampton, New York, home, it recedes — letting the scenery steal the show.

1 Black walls frame the wooded view and “provide a beautiful backdrop to all of the furnishings,” interior designer Jayne Michaels says. 2 In keeping with the original designer’s intent of black perimeter walls, Michaels chose black tile for the kitchen backsplash. 3 The home’s original minimalistic design inspired the sunroom addition. 4 The living room connects to a simple spiral stair, painted in Inkwell SW 6992 (251-C4), which becomes a sculptural element against the white walls.



COATINGS Emerald® Exterior Acrylic Latex Paint in Flat Emerald Interior Acrylic Latex Paint in Flat

PALETTE Inkwell SW 6992 (251-C4)

High Reflective White SW 7757 (256-C1)




“The black walls recede — almost like the idea of white, but in reverse,” Jayne Michaels says. “And then the emphasis is on the outdoors and on the green or the color of the time of year.” The resulting feeling, she notes, is surprisingly serene. “It’s very warm, and you really feel cocooned,” she says. “I never would have thought a black house would offer that.”

To ensure the home felt warm and welcoming year-round, she introduced a slightly organic layer of furnishings. “I’m drawn to beautiful patinas and woods and vintage textiles and nubby fabrics that offset the spare aesthetic,” she says. Hans Wegner rope chairs, a D’Urso sofa by Knoll, kilim pillows and vintage Swedish flat-weave rugs do the trick.

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for drama

A designer adds layers of personal style — including rich color — to his own mid-century modern Orlando home.

INTERIOR DESIGNER Marc Thee @marcmichaelsid


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Over the years, interior designer Marc Thee has designed hundreds of homes — and a handful of yachts — for clients, all with his trademark luxe look. But none afforded him the freedom to express his precise personal style until he transformed a circa-1960 modern home for himself. “This house couldn’t be a better representative of what my inner voice told me about color, aesthetic and feeling — how to combine materials to make you feel a certain way,” he says.

Most of the home’s stucco exterior is painted Alabaster SW 7008 (255-C2). “It feels crisp, it feels fresh, it feels white — but it doesn’t feel stark at all,” Thee says. “I’m not going to call it a warm white, but there is a rich depth to it.” Bold color — Urbane Bronze SW 7048 (245-C7) around the entry and Naval SW 6244 (253-C6) for the loggia — breaks up the expanse. “Colors like these that are dark but used in small moments are really wonderful,” he says.



1 Naval SW 6244


(253-C6) on walls and ceilings helps the loggia visually pop. 2 Quartzitecovered walls pair dramatically with a guest bedroom’s Naval-painted cove ceiling. 3 The 1960 home, which interior designer Marc Thee purchased from the original owner, maintains its vintage look.

Interior walls/ ceilings: Harmony® Interior Acrylic Latex Paint

Interior trim: Emerald® Urethane Trim Enamel

Exterior: Loxon® Primer and SuperPaint® Exterior Acrylic Latex Paint


Agreeable Gray SW 7029 (243-C1)


Alabaster SW 7008 (255-C2)

Urbane Bronze SW 7048 (245-C7)



Thee designed spaces to convey slightly different messages. “When you walk into each room, I want there to be a little bit of a different emotional tug, and paint does that so well,” he says. Walls in the living room, dining room and kitchen are painted Agreeable Gray SW 7029 (243-C1) but get darker and moodier in the bedrooms, including a guest suite with a ceiling painted Naval, the same color as the loggia.

Every color contributes to the overall aesthetic in an important way. “The colors I used are incredibly committed, right down to the Alabaster and Agreeable Gray,” Thee says. “Those are the lightest tones, but they’re noticeable. I didn’t want to end up with an interior that was in any way murky or dusty. I wanted strength and crispness everywhere you look — a unified backdrop that allowed me to build my layers on top of it.”

Naval SW 6244 (253-C6)

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Inspired in part by fundamentals of fashion, interior designer Elizabeth Krueger sets an elegant yet family-friendly style for a new Chicago home.

2 3 1 A study in contrasts, the



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As with the classic black dress found in most women’s wardrobes, a black motif in an interior space provides the perfect foundation for building an elevated and fresh look, interior designer Elizabeth Krueger says. “Black is my favorite color, and it’s interesting because, depending on the light, it can have a charcoal cast to it or a really rich black or blue. I like that it’s a chameleon color and that it works well with the other colors it’s paired with.”

In the same way she’d add a fabulous pair of shoes or piece of jewelry to a black dress, Krueger layered luxe furnishings onto a simple, yet impactful, foundation of Iron Ore SW 7069 (251-C7) in the Chicago home she designed for her brother’s family. Among the furnishings used were a pair of Mongolian lambskin– covered chairs in the living room. “They were chairs my brother wasn’t quite sure about,” she says. “But I was confident in their value and told him, ‘You have to have them. And if you don’t take them, I will!’”



kitchen combines cabinets painted in Iron Ore SW 7069 (251-C7) with white quartzite countertops and subway-tile backsplashes. 2 Iron Ore also extends to the master bath cabinets, doors and mirrors, where it pairs with honed marble tile. 3 Off-white furnishings and a pair of oversized mirrors in the living room reflect light and balance out the darker Iron Ore walls.

COATING ProMar® 400 Zero VOC Interior Latex Paint in Eg-Shel

PALETTE Iron Ore SW 7069 (251-C7)

Custom pale gray and white*

*Note: ColorSnap® Precision Advanced Color Matching Technology ensures accurate custom color matches.




The same Iron Ore color used on the living and dining room walls extends to the windows, doors and cabinetry throughout the house. Cabinet panels on kitchen appliances, along with glass-front cabinets flanking the range, create the look of a living space with furniture pieces, Krueger says. “I think you can get away with that more in doing the Iron Ore color than doing a white or pale gray. It feels more striking.”

Krueger’s love of nature inspires her work, including a willingness to take chances. “I love it when you can let your mind wander and see things for their beauty,” she says. The same goes for travel. “Getting out of your day-to-day routine helps you see things from a fresh perspective,” Krueger says. “You’re really able to see how people live and pull from different experiences, different architecture, different food, different colors.”

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COLOR in Balance We’re pleased to share 45 on-trend colors that we’ve woven into five welcoming and intuitive palettes that bring joy, serenity and focus to the mind, body and spirit.







these colors into virtual design tools at

with these colors using our ColorSnap® tools at

a Colormix color deck or large-size color samples at

the forecast and see bonus rooms and videos at

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ALIVE Be present. Be positive. And relish the moments of this amazing life. Enjoy it in an authentic space touched by a palette whose colors keep good company. Here, nurturing neutrals are artfully arranged with rich blues and a deep, ripe olive, evoking a satisfying and rejuvenating sense of community and living well. Influences: Optimism, Authenticity, Glocalization, New Local

RIPE OLIVE SW 6209 (217-C7)

NAVAL SW 6244 (253-C6)

SLEEPY BLUE SW 6225 (220-C1)

TASSEL SW 6369 (128-C5)

ENDLESS SEA SW 9150 (223-C7)

CAVERN CLAY SW 7701 (290-C6)

TOUCH OF SAND SW 9085 (199-C1)

SANDBANK SW 6052 (194-C3)

CANYON CLAY SW 6054 (194-C6)

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MANTRA East meets West in this palette, and both styles have entwined in the most appealing way. Now Nordic simplicity happily engages with the order and elegance of Japanese aesthetics to create a look that is the best of both worlds. With softly muted neutrals that glide from warm to cool, it embraces all that is simple yet utterly essential. Influences: Minimalism, Serenity, Scandinese, Sanctuary

GRAYISH SW 6001 (240-C1)

BREATHLESS SW 6022 (191-C1)


SOFTWARE SW 7074 (235-C5)

MISTY SW 6232 (222-C1) POISED TAUPE SW 6039 (232-C5)

GLAMOUR SW 6031 (192-C3) INDIVIDUAL WHITE SW 6008 (231-C1)

SPATIAL WHITE SW 6259 (273-C6)


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JUNEBERRY SW 6573 (103-C6)

PURE WHITE SW 7005 (255-C1)

EROS PINK SW 6860 (105-C5)

GAMBOL GOLD SW 6690 (136-C5)

OCEANSIDE SW 6496 (172-C7)

ROCK CANDY SW 6231 (257-C6)

AURIC SW 6692 (136-C7)

AQUARIUM SW 6767 (164-C5)

CAVIAR SW 6990 (251-C2)

PLAY Tag. You’re it. These buoyant colors extend an invitation to jump into the game and have fun. Energetic and clever, this palette packs a lot of charm. Starting with a fresh, pure white, it’s peppered with surprising pops of brightness. Its mission is to add humor and warmth to all it touches — and to help us recall that deep down, we’re still kids who love to play. Influences: Escapism, Humor, Joy, Energy

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HAVEN Like being welcomed home with open arms, this palette beckons to those seeking an oasis. Inspired by Earth’s seasonal cycles, it features richly subtle shades of sea, sand, forest and sky. An innate reminder that sometimes real beauty lies in the spaces outside the lines and calm comes from knowing perfect isn’t the only way to be. Influences: Simplicity, Wabi-Sabi, Conservation, Material Health

ACACIA HAZE SW 9132 (217-C4)

BEIGE INTENSO SW 9096 (202-C3)

PEWTER GREEN SW 6208 (217-C6)

PERLE NOIR SW 9154 (226-C7)

EIDER WHITE SW 7014 (256-C5)

STARDEW SW 9138 (221-C3)

KINGDOM GOLD SW 6698 (137-C5)

GRANITE PEAK SW 6250 (225-C6)



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ANGORA SW 6036 (232-C1)

LIKEABLE SAND SW 6058 (195-C2)

REDEND POINT SW 9081 (195-C4)


COCOA WHIP SW 9084 (198-C4)

DARK CLOVE SW 9183 (277-C4)

CORAL CLAY SW 9005 (114-C4)

DIVERSE BEIGE SW 6079 (198-C2)

VERDE MARRON SW 9124 (209-C6)

HEART A confluence of genres and emotions permeates this palette. It’s a unique fusion of iconic modern design mixed with an intergenerational boho vibe. The result is a collection of colors that harmonize amazingly well. From silky earth tones to clove and soft coral, these nine colors are a meditation on comfort, connection and the pleasures found in the everyday. Influences: Bauhaus, Bohemian, Fusion, Humanity

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A new addition to an Ivy League campus is designed to help educate generations of future engineers in an environment that’s

Engineered for Life Nearly 120 dedicated student workstations

The research taking place here is

and 22 research labs and cleanrooms

serious business. “Because we’re in a lab

make up the core of the new Engineering

environment, we had to have higher-

Research Center at Brown University in

performing coatings in many areas — like

Providence, Rhode Island. “You’ve seen

in cleanrooms, where we used epoxy

cleanrooms in movies,” says architect Mark

paints for their durability and wipeability,”

Davis of KieranTimberlake, the architectural

Davis says. A coating of Pro Industrial™

firm responsible for the center’s design.

High Performance Epoxy on the concrete

“They’re where people get into white

walls helps keep the cleanrooms just that —

suits and work in these highly sterile

squeaky clean.

environments to do sensitive research.”


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ARCHITECT Mark Davis @kierantimberlake


safe, durable and surprisingly social.

EXTERIOR Glass fiber reinforced concrete (commonly called “GFRC”) fins on the exterior (opposite) help manage sunlight and solar heat gain into the space.

STAIR “They’re deeper where we need to keep direct sunlight out of a lab or workspace, and they’re shallower where we want to let that in,” architect Mark Davis says.

A steel stairway coated with Pro IndustrialTM ProCryl Primer and ProClassic® Waterborne Interior Acrylic Enamel crisscrosses the building’s three floors.

There are always people in the “Commons, and a number of faculty members now take their office hours in the social spaces.

— Mark Davis, architect, KieranTimberlake

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The architectural team chose coatings

a uniform appearance. “It was critical to

here and throughout the building not only

making that all read evenly and cohesively,

for durability but for longevity, as well.

and getting a good coat that would work

“The building was designed on more of a

across multiple materials,” he says.

50–100-year life span, rather than a shorter outlook,” Davis says. “And as we were

On Track for LEED Gold

selecting our interior coatings, it was critical

The team is proud that its efforts, including

that we had a product that was durable not

the use of ProMar® 200 Zero VOC

just for day-to-day wear and tear but that

coatings on most key surfaces, helped

could withstand and live up to the research

to put the building on track to earn LEED

that was happening in the building.” That

Gold certification. But they’re especially

research, he says, comprises a wide range

proud that the building has drawn in the

of lab work, including the use of hazardous

students, faculty and staff it was designed

chemicals. “Everything needed to be

to serve. “Brown really prides itself on an

resilient as the building is used for different

interdisciplinary approach to education,

purposes over that 50–100-year life span.”

and one of the strategies for the School of Engineering was to form tighter bonds

That desire for flexibility also takes shape

with other departments within the university

in the building’s overall scheme. The

— and having facilities that are outward

labs, for example, were planned so that

facing,” Davis says.

facilities could be easily assembled and disassembled as requirements changed over time. The resulting design looks more like a loft than a traditional lab and means that infrastructure such as lab piping remains exposed — and easily accessible. “We didn’t put a lot of enclosed ceilings around the lab, but we wanted it to look neat and clean,” Davis says. Using Pro Industrial


Waterborne Acrylic Dryfall in

a custom gray color for all ceiling, piping, lighting and ductwork surfaces creates


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Answering the call is the Commons, where a café, lounge area and bleacher seating next to the main stairwell have come together to become a popular social space.


“There are always people in the Commons,

An exposed steel structure and walls of glass come together with concrete walls, floors and 15-foot ceilings in the building’s ground-floor gathering space (top left).

and a number of faculty members now take their office hours in the social spaces, rather than in their more enclosed offices in the older adjacent buildings,” Davis says. “It’s a runaway success.”

Putting the Best Coatings to Work ProMar® 200 Zero VOC Interior Latex Paint Used on concrete walls and gypsum board walls and ceilings in the Commons and lab spaces.

Pro IndustrialTM High Performance Coatings Multiple products from this line used throughout the building, including concrete and gypsum board walls in the cleanrooms.

Loxon® Block Surfacer Used on concrete masonry wall units.

ArmorSeal® Floor Coatings Used on painted concrete floors.

H&C® Clarishield Water-Based Wet Look Sealer Used on sealed concrete floors.




Colorful panels designed by artist Spencer Finch — part of a larger art commission throughout the building — conceal air-handling equipment that helps keep the cleanroom beyond the window clean (top center).

Architecture that connects engineering students to the campus environment (top right) — rather than enclosing them, as previous buildings’ designs had — makes the most of a position on a popular

The research labs (above) handle different engineering focuses, including mechanical, electrical, chemical and materials research. Desks for graduate students sit just outside the glass walls.

ProClassic® Waterborne Interior Acrylic Enamel Used on steel doors and frames.

pedestrian thoroughfare.

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Rising Star



Paint color combinations in the lobby highlight architectural flourishes and help convey the fun-loving spirit that has become a trademark for McMenamins.

To ensure the building’s renovated neoclassical exterior (opposite) stays clean, it’s coated with Loxon® Self-Cleaning Acrylic Coating, which sheds dirt with rain and water contact.


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After more than three decades of disrepair, a former Elks lodge in Tacoma, Washington, is reborn as a live music venue, hotel, brewery and five bars — all resplendent with Earlier this year, Knife Knights — an innovative hip-hop duo repped by iconic Seattle record label Sub Pop — launched its 2019 North American tour at the McMenamins Elks Temple in Tacoma, Washington. It was one day after the newly ARCHITECT George Signori @ankrommoisan

renovated Elks Temple opened to the public, and the show was packed in the building’s 700-personcapacity Spanish Ballroom.

In many respects, though, the headliner that night was the Elks Temple itself. Originally built in 1916 by the Elks fraternal organization, it stood empty for more than 30 years, and once-grand spaces, including the Spanish


Go to the Sherwin-Williams YouTube page to explore the Elks Temple with architect George Signori.


Ballroom, fell into decay and were covered floor to ceiling with graffiti. That’s when McMenamins — a chain of whimsical brewpubs, music venues and historic hotels with 55 locations in Washington and Oregon — stepped in, along with its architectural firm of 20 years, Ankrom Moisan, and architect George Signori. “Because many of their buildings are historic and have often been neglected, they require a lot of structural attention,” Signori says. “And that’s part of the fun — how to creatively integrate that.” Sherwin-Williams | stir



Go to @SWDesignPros on Instagram to see photos and videos of the Spanish Ballroom, The Old Hangout bar and more.

In keeping with that spirit, the architectural

reimagining its square footage. “To feel good

team was careful not to apply too much polish.

as a place to hang out and have a beer, you

“With McMenamins, they prefer to keep their

conventional wisdom, considering the Elks

really need smaller spaces,” Signori says. The

buildings a little rough,” Signori says. “They

Temple was originally painted white inside

building’s vast, 28-foot-ceiling Temple Room,

never like to make things look brand new. They

and out — part of the architectural movement

for example, was fitted with 20 hotel rooms

embrace the bumps and bruises and scars that

that followed the 1893 Chicago World’s Fair’s

(of the building’s total 45), many in the middle

have developed over the years and that display

“White City” and the use of classicism for city

of the space so that the grand architectural

the patina of time.”

halls, libraries and other buildings. “Back then,

walls and ceilings remain. The club’s former restaurant and athletic facilities were reworked to include a brewery and five bars. The Spanish Ballroom — complete with an elevated stage — was one of the only spaces that largely

They also added a layer of whimsical character for a look that’s become a trademark of sorts. “McMenamins always brings a troupe of artists and artisans with them,” Signori says. “Their

Using so many colors may seem to defy

the prevailing thought was that the architecture was white and white and white,” Signori says. “Architecture students were sent to look at the buildings in Greece and Rome.”

plumber is a great plumber, but he’s a lot more

But archaeologists have since learned that

than that.” Plaster workers set up shop on

these buildings weren’t all white after all.

“Everybody who has been through this building

the temple’s fourth floor, casting plaster for

“Greek and Roman temples were actually fairly

gets lost,” Signori says. “It’s a remarkable maze

months. And painters brushed walls, ceilings

elaborate with color — they were painted,”

— almost like Venice, where a map is useless.

and architectural details with dozens of colors,

Signori says. Working closely with Andersen

Eventually, you’ll find your way out, but along

from the low-key Tin Lizzie SW 9163 (236-C4) to the rousing Rhumba Orange SW 6642 (121-C6).

Construction and SKIS Painting, he deliberated

remained as is.

the way, you’ll encounter some fun.”


Rooted in History

Shoring up the structure happened alongside

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over dozens of color combinations, taking

his cues from scholars’ renderings of classical

were originally built in tandem with the Elks


schemes. “We went through four or five

Temple. And it will continue to look white for


variations of blue to get it right,” Signori says.

years to come, thanks to Loxon® Self-Cleaning

“And then once you put the blue next to the

Acrylic Coating, which is formulated to shed

SuperPaint® Interior Acrylic Latex Paint

gold, the gold isn’t quite right, so you have to

dirt upon rain or water contact.

push the gold.” Walls and architectural features

That sparkling appearance should suit good

such as cornices, capitals and medallions now

times well into the future. But the impact of the

glow with color.

renovation means more than that, Signori says.

Moving Outside

ProMar® 200 Zero VOC Interior Latex Paint SoloTM 100% Acrylic Interior/Exterior Latex Paint

“Over the years, we’ve found that when you


The exterior’s restored concrete with plaster

bring these buildings back, you also help bring

skim coat glows again, too. It, however, remains

the neighborhood back. That’s what makes

Loxon® Self-Cleaning Acrylic Coating

white to tie in with the adjacent Spanish Steps

preserving this building interesting to me.

— inspired by the Spanish Steps in Rome — that

That’s a big part of the fun.”

PALETTE Rhumba Orange SW 6642 (121-C6)

With McMenamins, it’s all about music and food and drink. You get all three things there. And usually, when you combine all three, you need a fourth thing,

which is overnight accommodations.

— George Signori, architect, Ankrom Moisan

Awesome Violet SW 6815 (180-C4)

Secure Blue SW 6508 (175-C5)

Grizzle Gray SW 7068 (236-C6)

Tin Lizzie SW 9163 (236-C4)



Hotel rooms built within the top-level Temple Room (opposite) preserve the sense of scale of the 75-by-75-foot space as well as architectural details along perimeter walls and on the ceiling.

The Temple Room’s original plaster medallion — placed in the center of the room’s 28-foot-high ceiling — glows with color after years of disrepair. In some cases, however, architectural plaster elements had deteriorated beyond repair, so plaster workers set up shop on site to cast replacements.

Custom navy*

*Note: ColorSnap® Precision Advanced Color Matching Technology ensures accurate custom color matches.

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DESIGNER: Andre Silvestre SCHOOL: Suffolk University A SYMPHONY IN COLOR

“Colors contrast and unify in this design for a New York City luxury apartment located just steps from Carnegie Hall. Much like a symphonic melody defines a musical composition, the Cavern Clay and Night Owl duo acts as the recurring theme while other colors weave in and out to present soft or bold atmospheres.”

CAVERN CLAY SW 7701 (290-C6)

NIGHT OWL SW 7061 (237-C6)

SPARE WHITE SW 6203 (258-C1)

ELLIE GRAY SW 7650 (239-C6)


ND Samantha Kragel PLACE Iowa State University


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RD You Li PLACE Savannah College of Art and Design

House of Spring


The Sherwin-Williams Student Design Challenge celebrates excellence in interior design by students in both residential and commercial categories. Check out the first-place designs below, and then visit to see all the winning entries.




“Patients experience better outcomes in healing environments that utilize soothing color palettes. By using Silvermist as the main color and then introducing two warm colors to convey a feeling of ‘home,’ the design helps patients and their families feel more relaxed.”

SILVERMIST SW 7621 (281-C1)

COOL AVOCADO SW 9029 (145-C3)

CRÈME SW 7556 (262-C4)


ND Karine LeBlanc PLACE Université de Moncton

Le Crabe Bleu


RD Gabriela Morales PLACE Thomas Jefferson University

Museum of Cultural Discovery

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The Perfect Backdrop for Art Exhibition designers from four art museums share their secrets for choosing paint colors to make artwork shine.


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pproximately 300,000 people visit the Milwaukee Art Museum every year. Enough of them inquire about the paint colors used on the gallery walls that the museum sends them directly to the closest Sherwin-Williams store (at 807 E. Brady St.), which is ready to share the exact specifications for

every space. “People really pay attention to those colors and say, ‘I’m going to imitate that,’” says David Russick, the museum’s exhibition designer. The interest is sincere, but is the approach that simple? STIR tapped Russick and exhibition designers from three other leading art museums — all Sherwin-Williams customers — for the inside scoop on their color and finish preferences, process and more.

The Milwaukee Art Museum’s 2018 exhibition of works by artist Winslow Homer — all influenced by time he spent in remote coastal England — called for a custom blue backdrop (above).

Designed by Steven Holl Architects, the NelsonAtkins Museum of Art’s Bloch Building houses the museum’s contemporary galleries, where all walls are painted Pure White SW 7005 (255-C1) (right).


Exhibition designers at the Milwaukee Art Museum chose a custom gold paint for walls for the recent exhibition Bouguereau & America, which explored French academic painter William-Adolphe Bouguereau’s popularity during America’s Gilded Age (opposite).

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COLOR AND SATURATION The Milwaukee Art Museum’s Russick likens color to sound volume. “It’s literally infinite,” he says. “You can shout, you can whisper and you can do every decibel level in between.” What he chooses, often asking a Sherwin-Williams store to tint a color slightly lighter or darker to become custom, reinforces what the art is attempting to share. “If it’s done properly, I think color becomes a glue — a binding element — that brings the works together,” he says.

For a Georgia O’Keefe exhibition at the NCMA, that meant Vesper Violet SW 6542 (187-C3), Daydream 6541 (187-C2) and Superwhite SW 6995. (Note: Superwhite SW 6995 is a retired color that is still available via custom tinting.) “We’re constantly looking for colors that recede from view so that they don’t get in front of our objects,” Waung says. Paler, quieter colors aren’t always the answer. In the past, popular belief might have placed 19th-century impressionist paintings, for example, against cotton candy, baby blue or light green walls, says John Jackson, an exhibition designer at the Nelson-Atkins Museum of Art in Kansas City, Missouri. “But the trend lately has been to go with darker, richer colors to make the paintings themselves have a whiter value so that they pop and come off the walls instead of blending in,” he says. For Jackson, the same approach applies to creating backdrops for decorative arts and sculptural objects. A special exhibition on view at the museum through May 2020, Teachers of Enlightenment: Traditions in Tibetan Buddhism, includes bronze sculptural pieces that resemble a navy color. They stand out beautifully against the reddish Tanager SW 6601 (107-C6) Jackson chose for the walls.

Whereas the permanent collection contemporary galleries at the North Carolina Museum of Art are painted Superwhite SW 6995 (above), galleries for temporary exhibitions tend to glow with color, including Positive Red SW 6871 (101-C7), which was chosen for a recent exhibition of Renaissance paintings from Venice (right).


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But exhibition designers walk a fine line between choosing resonant colors — and choosing colors that stand out too much. “We have a fairly well-known collection of Dutch paintings that tend to be really dark with a lot of glazing, and when they’re up against a white wall, it takes a while for your eyes to adjust,” Waung says. “So, we’re mindful of doing something that’s easier on the eyes.” That said, for more modern and contemporary art, exhibition designers often find white works best. For the Nelson-Atkins Museum of Art, it’s Pure White SW 7005 (255-C1); for the NCMA, it’s Superwhite SW 6995; for the Milwaukee Art Museum, it’s a custom white.

FINISH Exhibition designers recommend a non-reflective flat finish, which prevents glare from track and natural lighting. Jackson, however, sometimes prefers satin or eg-shel finishes, which are traditionally easier to keep clean. “If we use flat, we can have scuffmarks and handprints on the wall within hours,” he says. (Note: Both Sherwin-Williams Emerald® and Duration Home® paints now come in cleanable flat finishes.)

AN ITERATIVE PROCESS Choosing the best paint color for a gallery wall tends to be an iterative process, the exhibition designers say. “We often start by taking a simple color wheel and looking at what’s on the opposite end,” Jackson says. He then applies that principle to a fan deck of swatches, zeroes in on the top three or four paint colors, and has them painted on 2-by-4-foot foam core boards to hold up against the art. Hans Schmitt-Matzen, the assistant director of internal affairs at the Frist Art Museum in Nashville, Tennessee, does the same. “We often go back and forth a couple of times to make sure it’s just right,” he says. “We never, ever pick a color without doing a color sample to make sure it’s right. I highly recommend investing in a quart of paint before making a commitment to paint the whole room or wall.”


Lawrence Waung, the chief exhibition designer at the North Carolina Museum of Art (NCMA) in Raleigh, agrees and acknowledges the importance of paint color in creating a connection. “We’re always trying to use color that will help define the special relationship we want the viewer to have with the artwork,” he says. “It’s more psychological than physical.”

FINAL touch

Reviving a Masterpiece Amsterdam’s Rijksmuseum just began the largest ever public restoration of a work of art.

“THE NIGHT WATCH” has been through the paces since it was painted by Rembrandt van Rijn 377 years ago. The life-size depiction of a volunteer militia was cut to size in 1715, rolled up and hidden during World War II, stabbed in 1975, and splattered with acid in 1990. And in the 40-plus years since its last complete restoration, a number of issues have started to appear within its surface. Curators at the Rijksmuseum in Amsterdam decided it was time to look at the painting through a microscopic lens. Conservators and restorers recently began mapping every square inch with high-resolution photography so they can guide the use of dozens, if not hundreds, of colors to return the painting to its original glory. What’s most unusual is that the piece will remain on the museum’s wall throughout the entire process. The millions of annual visitors to the museum will be able to witness the restoration through a 23-foot glass enclosure, and countless others will be able to see it via live stream. Rijksmuseum General Director Taco Dibbits is particularly enthusiastic about the massive project. “‘The Night Watch’ … belongs to us all,” he says. “And that is why we have decided to conduct the restoration within the museum itself — and everyone, wherever they are, will be able to follow the process online.” See the restoration at, and follow #operationnightwatch on Instagram for more information.

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