BY  RAMONA  SOLOMON  

 Lecture  5    

 Colours  &  Materials  

   

   

Colour    

“colours  present  themselves  in  con2nuous  flux,  constantly  related  to  changing  neighbours  and  changing  condi2ons”  

                             -­‐  Joseph  Albers  (painter  &  colour  theorist)  

   Colour  remains  one  of   the  most  challenging  and  conten>ous  aspects  of   interior  design.  

The  applica>on  and  mixing  of  colour  has  long  been  an  intense  area  of  study  for  scien>st,  ar>sts   and   designers.   At   the   same   >me,   colour   can   be   an   extremely   subjec>ve   topic:  Everyone  has  their  favourite  colours  –  colours  that  remind  them  of  a  place  or  >me  or  that  have  specific  emo>ve  quali>es.    The  role  of  colour  in  interior  design  resists  dissemina>on  into  simple  rules  and  ideas,  and  yet  understanding  the  complexi>es  of  using  colour  in  space  is  fundamental  to  crea>ng  a  successful   interior.  Thus,   interior  designers  must   learn   the  characteris>cs  of  colour  and  how  it  can  act  as  a  focusing  and  organising  agent.  

   

Colour  &  Material    

The  role  of  colour  in  interior  design  is  further  complicated  by  its  associa>on  with  materials.  Materials  have  quali>es  of  absorp>on,  reflectance,   luminance  that  the  abstract  of  colour  do   not   take   into   account.   Materials   might   contain   many   layers   of   colour,   and   oPen  varia>ons   of   colour   can   occur   within   a   single  material   sample.   The   propor>onal   use   of  material  within  a  3-­‐dimen>onal  space  also  affects  how  colour  is  experienced.  Through  the  complex  interac>on  of  colour  and  material,  an  interior  designer  can  create  atmospheres  of  in>macy    or  freshness,  vibrancy  or  muteness,  and  even  begin  to  affect  other  senses  such  as  sight  and  hearing.    Colour  in  interior  design  can,  moreover,  can  be  divided  into  two  dis>nct  categories:  colour  as   applied   surface  and   colour   as   integral   to   a  material.   Paint,   lacquer,   specialty  finishes,  certain  laminates,  and  other  applica>ons  of  colour  to  the  finishes  surface  of  an  object  are  efficient  and  modifiable  strategies  for  colour  use.    There   are  many   instances  were   paint   and   applied   finishes   should   be   avoided,   however:  Adolf  Loos’s  saying  “Do  not  paint  concrete  grey,  or  wood  brown’  hold  true  here.  Materials  with  integral  colour  –  which  require  no  finish  other  than  a  sealer  –  have  greater  depth  of  surface,  which  allows  more  complex,  precise  colour  rela>onships  to  be  developed.    

   

Colour  Scheme    

Colour   schemes   are   the   result   of   turning   colour   combina>ons   into   a   set   of   rules   for   an  interior  paleYe.  Grounded  in  colour  theory,  the  designer  can  crea>vely  select  and  organise  colour   in  harmonious  combina>ons.   In   the  abstract  –   that   is,  when  colour   is  not  >ed   to  a  material   –   there   are   6   ‘classic’   combina>ons   of   colour:   monochroma>c,   analogous,  complementary,  split  complementary,  triadic  and  tetradic.  These  examples  below  use  a  full-­‐satura>on  olour  wheel,  but  the  designer  can  vary  both  satura>on  and  brightness.  

   

Applying  rules  of  contrast  to  an  interior  space    Contrast   is   considered   as   a   range   of   differences   between   the   compared   effects   of  colour  interac>on.    There  are  7  varia>ons  of  contrast:      1.  Contrast  of  Hue  

   2.  Light-­‐  Dark  Contrast        3.  Cold-­‐Warm  Contrast  

   

   

   4.  Complementary  Contrast        5.  Simultaneous  Contrast        6.  Contrast  of  Satura>on        7.  Contrast  of  Extension    

   

Con$nual   connec$vity   through   technology   has   reinforced   our   basic   human   desire   to  connect   in   the   real   world.   Connect   with   the   earth   by   feeling   the   soil   between   our  fingers,  connect  with  ourselves  by  taking  $me  to  pause,  connect  with  our  heritage  by  relearning  forgo=en  skills,  connect  with  our  playful  side  by  indulging  in  colour.    How  will  you  explore  your  connec$on?      Watch  Video  hYps://www.youtube.com/watch?v=iObV7VEK4W8      

   

   

   

1:COLOURS    This   year   we’ll   be   seeing   a   diversity   of   colour   like   we   haven’t   seen   in  ages.   Our   aYen>on   is   has   seYled   gentle   colours   like   muted   pastels,  smoky  shades  of  grey,  soP  neutrals,  metal  hues,  rich  leather  and  marine  tones  along  with  at  the  opposite  end  of  the  spectrum  vibrant  jewel  and  fruit   colours.   Paint   colours   for   the   home   s>ll   revolve   around  sophis>cated  basics  with  preference  for  cleaner  whites,  smokier  neutrals  and   updated   muted   pastels.   Feature   walls   are   out,   zone   pain>ng  schemes  are  in  and  beige  is  a  thing  of  the  past.  

   

2:FABRICS  AND  PATTERN      Prints   and   paYern   are   definitely   back   on   the   rise   –   visual  impact   is   the  key   theme.    On  one  side  we  see  fluid   looking  prints,   peacock   feather   paYerns,   photographic   images,  graded   dip   dye   designs,   text,   blurred   images,   florals   and  tropical   prints.       On   the   other   we   see   a   strong   geometric  designs,   3d   paYerns,   repeated   forms,   kaleidoscopic   images  and   paYerns   inspired   by   cells   and   molecules.   Fabrics   are  about  texture  be  it  visual  or  otherwise.  Velvet,  textures  and  raw   looking   weaves   are   popular   and   the   use   of   fabric   for  sofas  and  upholstery  is  back.  

   

3:NATURAL  WORLD    Textures   derived   from   nature,   whether   they   are   animal,  mineral   or   vegetable   are   in.     Think  botany,   insect   prints,  fossils,   bone,  wood,   bark,   stone   and   organic   shapes.  We  are   tending   to   like  our  woods   looking   raw,  or   if   they  are  shiny   –   shown   in   a   way   that   we   can   really   appreciate  them.    We  want  materials   and  finishes   to   look  authen>c  and  we   are   using   them   in  more   simple  ways   in   order   to  appreciate   their   beauty.     Addi>onally   we   are   leaning  towards   steel,   copper,   pewter,   gold   and   other   metal  accents  in  preference  to  just  chrome  and  stainless  steel.  

   

4:MATTE  FINISHES    The  popularity   of  maYe  finishes   is   growing   in  modern  décor  as  we  seek  to  add  differing  depths  of  interest  into  our   buildings   and   interiors.   A   maYe   finish   gives   an  object   a   raw,   edgy   look   and   also   allows   you   to  appreciate  the  overall  form  and  material  that  an  item  is  made  of.    This  principle  is  crucial  in  modern  design  and  it   also   harks   back   to   our   desire   for   natural   and  authen>c   soPer   finishes.   This   trend   is   growing   in  everything   from   tapware,   ligh>ng,   furniture,  accessories,   kitchens   and   bathrooms,   right   through   to  en>re  rooms.  

   

5:INDUSTRIAL  DESIGN    Industrial  style  pieces  in  the  home  have  been  a  staple  in  the  past  few  years,  primarily  in  the  form  of  ligh>ng  and  furniture.   We   are   con>nuing   to   love   the   look   and  character  of  these  pieces.    The  approach  of  blending  the  purpose   of   an   item   and   a   considered   industrially  designed  form  is  set  to  make  its  way  into  other  items  of  a   more   prac>cal   nature   within   the   home.     There’s   a  move   towards  convenience,   func>onality  and   longevity  and   we   now   want   quality   from   items   that   are   mass-­‐produced  to  go  along  with  character  in  our  homes.  

   

6:ORGANIC  SHAPES    To   soPen   the   lines   of   our   crisper   and   cleaner   looking  modern  homes  we  are  adding  accents  of   less   rigid  and  more   organic   inspired   shapes.   Graceful,   rounded,  expanded   looking   shapes   con>nue   to   be   very   popular  but  we  are   seeing   that   trend   taken  a   liYle   further   into  the   direc>on   of   droplet,   hanging,   dripping,   pulled,  “gloopy”   looking   forms   that   look   like   they   almost   just  “happened”  or  grew   in   the   space.  This   trend   is   coming  through   mostly   in   accent   pieces   such   as   ligh>ng,  ceramics,  glassware  and  accessories.  

   

7:CRAFTED  WITH  CARE    Our   apprecia>on   for   items  made   by   human   hands   and   a  learned   skill   is   undergoing   resurgence.   CraP   made   items  and  those  with  a  unique  one  off  “handmade  like”  feel  offer  us   the   chance   to   have   pieces   that   we   perceive   as  “authen>c”   in   a   widely   mechanized   and   mass   produced  world.  Whether  its  using  tradi>onal  techniques  or  crea>ng  new   ones   “craP”   is   an   expression   of   wan>ng   to   stay  connected   to   what   makes   us   human.   Skills   like   binding,  weaving,  knoong,  quil>ng  and  needlework  will  be  evident  in  furnishings  and  accessories.    

   

8:PHOTOGRAPHIC  IMAGERY    Social  media  and   informa>on  technology  are  beginning   to  have   an   effect   on   the  way   that  we   live   and   also   the  way  that  we  appreciate  seeing  things  around  us.    Photographic  images   and   images   that   have   been   manipulated   with  “instagram   like”   soP   filters   to   add   a   nostalgic   dream   like  quality   will   be   seen   in   wall   art,   soP   furnishings   and  accessories.   Advancements   in   digital   prin>ng   have   made  the  possibili>es  to  use  images  unlimited.  Artworks  can  now  be   whatever   size   you   like,   put   wherever   you   want   and  designed  to  feature  whatever  takes  your  fancy.  

   

9:MERGING  OF  CULTURES    The   influence   of   cultures   from   many   different  regions  has  been  enriching  our  own  for  a  long  >me  now.   We   are   seeing   new   interpreta>ons   of  tradi>onal   ethnic   designs   as   they   morph   into  unending   new   possibili>es.   We   see   the   influence  not  only   in   colour,   texture  and  paYern  but  also   in  the  “mix  it  all  up”  style  of  decora>on  that  we  tend  to   use.   Major   influences   come   from   Africa,   Asia,  The   Middle   East   and   Europe.     We   are   now   also  tapping  directly  into  the  USA’s  own  pre-­‐melted  pot  for  new  inspira>on.  

   

10:ENVIRONMENT  FRIENDLY  IS  MAINSTREAM    Environmental   considera>on   is  no   longer   something  that  just  sits  in  the  back  of  our  heads.    We  recognise  that   the  way  that  we   live   in   the  world  and  what  we  take   from   it   ul>mately   has   an   impact   directly   upon  us.     Environmentally   friendly   design,   sustainability,  passive   homes,   products   that   require   less   energy,  reducing   the   running   costs   of   our   homes,   new  ligh>ng   op>ons,   repurposing,   recycling,   up-­‐cycling  and   new   hybrid   materials   are   either   standard   or  con>nue  to  emerge.    

   

INTERNATIONAL  design   trade   fairs   are   a   lightning   rod   for   future   forecas2ng  of   global  trends  in  furniture,  furnishings,  ligh2ng,  accessories  and  technology.    The  Milan  Furniture  Fair,  Chicago’s  NeoCon  Fair  for  commercial   interiors  and  Orgatec,  a  biennial   exhibi>on   for   the   future   of   office   and   workspace   design   held   in   Cologne,   are  highly  an>cipated  events  that  aYract  thousands  of  design  professionals.    A  week  aPer  his  return  from  the  NeoCon  Fair  in  June,  Laminex  Group  Design  Director  Neil  Sookee  presented  Global  Trends  2015  to  a  group  of  Melbourne  designers  who  gathered  at  the  Workspace  showroom  in  South  Melbourne.  His  insights  into  the  future  direc>on  of  global  design  in  office  and  living  environments  observed  in  Milan,  Cologne,  Chicago  and  New   York   covered   new   technology   in   workspace   design,   ergonomics,   colour,   finishes,  texture  and  light.      

Global  Interior  Design  Trends  2015  

   

At   NeoCon   2014,   the   theme   of   ‘Place   MaYers’   focused   on   design   that   promotes  workplace   collabora>on,   flexibility,   energy   and   intellect   as   an   extension   of   the   Living  Office  philosophy   introduced  by  acclaimed   furniture  company  Herman  Miller   last   year.  The  aim  is  to  create  a  workplace  that  encourages  relaxa>on  and  wellness  which  in  turn  s>mulates  a  crea>ve,  focused  and  produc>ve  working  environment.    “Felt  is  the  darling  material  for  the  office  interior,”  Sookee  said,  no>ng  that  the  selec>on  of  finishes  and  designing  for  the  senses   is  an   important  element  of  the  design  process.  SoP  to  the  touch,  felt  is  used  to  upholster  worksta>on  screens  and  panels  which  absorb  ambient  noise,  task  sea>ng  and  casual  sea>ng  in  public  and  private  mee>ng  areas.  Wool,  >mber   and   the   emergence   of   cork   tex>les   are   other  materials   that   connect   the   office  interior  with  nature.    Contemporary   office   design   also   looks   to   new   technology   to   improve   the   flexibility  needed   for   modern   shared   workspaces,   fully   wired   work   sta>ons   and   wireless   and  Bluetooth   technology.   The   height   adjustable   Kine>c  Desk   by   S>r,   launched   at  NeoCon  2014,   remembers   pre-­‐programmed   seongs   for   each   individual.   It   extends   from   the  typical   desk-­‐based   siong   posi>on   to   standing   height   for   a   healthy   alterna>ve   to   the  sta>c  desk  and  sedentary  mode  of  work.    

   

Colour  paleYes  range  from  rus>c  earthy  tones  inspired  by  real  leather,  to  >nted  neutrals  and  pastels  in  combina>on  with  light  wood  grains.  “Blue  is  favoured  for  corporate  interiors  from  vapour  blues  to  the  deepest  indigo”  Sookee   noted.   “Yellow,   green   and   retro   paYerns   con>nue   to   influence  colour   schemes   today   and   large   scale   paYerns   in   black   and   white   are  >meless  combina>ons.”          

   

   “Light   natural   woods   and   the   ubiquitous   whitewashed   oak   remain  popular   in   Europe   and   reclaimed   woods   are   beginning   to   enter   the  office  market,”  he  said.      

   

 White  has  replaced  office  grey  as  a  popular  base  colour  for  worksta>ons  but  the  classic  accent  colours  of  apple  green  and  orange  remain  while   the  red  colour  paleYe  is  soPened  with  a  grey  base.  Retro  colours  such  as  burgundy,  gold  and  terracoYa,  grey-­‐browns  and  brown-­‐greys  have  emerged  alongside  >nted  neutrals,  pastels   and  neutral  woods.  Rose  gold  and  metallic   colours  are  also  found  in  ligh>ng  and  accessories.      

   

 Wall   treatments  can  also  be  ephemeral.   Light  projec>on   installa>ons  such   as   Lightweeds   designed   by   Simon   Heijdens,   and   natural   light  manipulated  by  architecture,  as  seen  in  the  interior  of  the  Light  Walls  House   designed   by   Japanese   studio   mA-­‐style   Architects,   create  dynamic  shadows  that  connect  interiors  with  nature.      

   

 There   are   many   reasons   for   a   sustainable   shiP   in   reference   to   Interior  Design   including   environmental   responsibility,   energy   and   water  efficiency,  and  community.  

COMMERCIAL  DESIGN  TRENDS:  SUSTAINABILITY  

   

Environmental  Responsibility    We  know  that  we  have  damaged  our  beau>ful  Mother  Earth  and  that  we  have  depleted  many  of  the  natural  resources  she  offers.  The  construc>on  industry  is  a  major  culprit  in  this  regards,  but  manufacturers  of  materials  are  stepping  up  to  the  plate  to  make  their  products   more   environmentally   friendly.   Recycled   content,   use   of   recyclable  ingredients,  reducing  or  elimina>ng  harmful  toxins,  and  reusing  or  reclaiming  materials  are  just  a  few  of  the  ways  they  are  doing  this.  Stay  tuned  for  our  upcoming  series  with  useful  >ps  for  selec>ng  sustainable  materials.  

The  Jim  Paoson  Centre  for  Excellence  by  CEI  Architecture  is  an  excellent  example  of  sustainable  design.  Pictured  above:  Gymnasium  with  radiant  concrete/wood  walls  panels.  

   

As  Interior  Designers  we  are  always  looking  for  ways  to  reduce  the  impact  of  our  designs   on   the   environment.   This   is   done   through   process,   research   and  implementa>on  of  innova>ve  or  tried  and  true  prac>ces  like  these:    •  For  a  renova>on,  careful  inventory  is  done  prior  to  the  space  planning  phase  

to  determine  what  is  exis>ng  and  what  can  be  reused.  The  best  case  scenario  for   reuse   is   when   something   can   remain   as-­‐is,   but   other   opportuni>es   to  refinish,  relocate  or  reconfigure  exis>ng  items  are  also  inves>gated.  

•  Research  and  proposal  of  environmentally  friendly  material  op>ons.  •  Informed  design  of  ligh>ng  for  energy  efficiency.  •  Passive  design  strategies  considering  daylight,  solar  gain  and  the  poten>al  for  

natural  ven>la>on.  

   

Energy  and  Water  Efficiency    Incorpora>ng  energy  and  water  efficient  fixtures  not  only  helps   reduce   your   carbon   footprint,   it   also   reduces   your  u>lity   bills   every   month.   It’s   a   win-­‐win   as   far   as   we’re  concerned!   Manufacturers   have   made   selec>ng   water  efficient  washroom  and  staff  room  fixtures  a  simple  task.  High   efficiency   toilets   (HETs)   and   natures   youth   hgh  dishwashers,   and   low   flow   faucets   with   aerators   are   a  couple  ways  to  use  less  water.    Constant   innova>ons   are   being   made   in   ligh>ng  technology,  specifically  energy  efficient  ligh>ng.  There  are  specific   waYage   requirements   that   your   commercial  space  must  meet   to  adhere   to   the   regula>ons  set  out   in  the  Canadian  Electrical  Code.  Working  with  professionals  to   design   the   ligh>ng   of   your   space   is   impera>ve   to  ensure  an  effec>ve   ligh>ng  scheme   for  your   space  while  mee>ng  the  code  requirements.  

Profile  Smart  toilet  by  Caroma.  

   

Community    The   true   defini>on   of   sustainability   is   an   all   encompassing   one   that   includes  suppor>ng  the  communi>es  you  live  in  or  that  are  close  to  you.  In  most  cases  you  will  not  be  able  to  source  everything  your  project  requires  locally,  but  you  may  be  surprised  at  the  talent  located  just  outside  your  door.  U>lizing  products  from  local  ar>sts   and   manufacturers   is   one   way   to   give   back   your   community   and   show  apprecia>on  for  their  talents.  To  put  a  green  spin  on  this  point  the  product  does  not  have  to  travel  which  cuts  down  on  greenhouse  gas  emissions.  And,  hey!,  you  don’t  pay  for  the  delivery  charges  either.  

The   Centre   for   Excellence   at  Okanagan   College   is   designed   to  the   standards   of   the   Living  Building   Challenge   with   strict  guidelines   on   materials   used   and  where   they   are   sourced   from.  Locally   sourced   pine   beetle   wood  was  used  extensively  throughout.