Colour Quotient by Asian Paints Limited

INSIGHT

CONTENTS

INSIGHT New Energy Two leading architects provide an insight into two projects that define the ethos of a New Energy.

Kamal Malik

As we enter a new year…

There is the promise of new beginnings, renewed hope, new resolutions, and a whole set of fresh opportunities. We try and make every edition of Colour Quotient better than the previous one and your feedback and encouragement has been key to this. In our 18th issue, we feature the colour trend forecast for 2015— ColourNext 2015. A standard annual feature in Colour Quotient, ColourNext this year brings with it Coral Radiance, a beautiful shade of orange as the Colour of the Year. We hope you find inspiration in the Colour of the Year for 2015 and the rest of the forecast palette. Our last few editions have covered traditional arts and crafts and in this issue we cover the Lippaikaam art form from Kutch. As part of our regular series, Kate Smith talks about Bauhaus design and its influence in our understanding of colour. Kamal Malik and Stephane Paumier talk us through their projects, design inspirations, and the output. In 2015, we promise to place in front of you a whole new range of content and perspectives, each of it designed to keep the magazine an engaging and interesting offering from Asian Paints. And what better time to start off on this than now. In this issue, we feature two new stories—DIY Diaries and an inspirational article on the Doors of Zanzibar. By placing a promise in front of you, we have committed ourselves to a series of experiments, which hopefully will appeal to you. Wishing you all a stimulating and successful 2015!

Stephane Paumier

CQ 18 IN FOCUS Asian Paints ColourNext 2015 Introducing the year’s colour themes and trends developed by Asian Paints.

28 Lippaikaam

Baaya Design delves into the traditions and contemporary re-interpretations of the Lippaikaam craft from Kutch, Gujarat.

INsight Bauhaus Colour Theory A look at the pioneering work of four artists from Bauhaus that helped shape modern colour theory.

INDIA CONNECT

INspiration 20 DIY Diaries

Give old furniture a charming French distressed look using this step-by-step guide by Aarti Karwayun Chawda.

The Colour Resource Index 27 Colour resources from around the world, hand-picked for utility and inspiration.

32 ColourLove

1701 and NorBlack NorWhite are our colour picks for this edition of ColourLove.

33 Doors of Zanzibar

Street Art Mumbai 36 A feature on four murals painted during the second edition of the St+art Festival in Mumbai.

ON THE COVER

Siddhartha Joshi travels to Zanzibar to explore the colourful cultural traditions of its exotic doors.

ASK ASIAN PAINTS 40 Colour Query

The cover is an expression of a New Energy that is shaping contemporary aesthetics and approaches. It symbolises a liberation from the banal, embracing a progression towards the bold and experimental. The dynamism manifests through the use of the Colour of the Year—Coral Radiance 2015.

Colour of the Year 2015

Coral Radiance 2015

Colour of the late afternoon sun, fall leaves, the richest amber, the ripest fruit. An orange of a deep, dense hue. With none of the ferocity of red but all of its passion, none of the casualness of yellow but all its cheer. Its inherent goodwill and warm embrace imbue it with an irresistible galvanising effect.

In an instant, you are awake. It accentuates and enhances—glamorising an already sophisticated black, contemporising grey, tangoing perfectly with blue. (“There is no blue without yellow and without orange,” said Van Gogh.) As a dominant shade it has enormous longevity, never tiring the senses, enriching and soothing. Such positivity makes it the perfect colour expression for this year’s ColourNext dominated as it is by action oriented themes, each one essentially about progression, about moving on and forward where determined action yields concrete results.

Through each ColourNext 15 theme we witness the emergence of a new, driven individual, no longer mutely accepting of the status quo but taking charge. In civic matters (My City My Home), entrepreneurship (Startup), reclaiming freedom from a heavily corporatised world (My Freewill) or colouring urban greyness with irrepressible individual spirit and humour (No Pun In Ten Did). We are getting up, talking less and doing more— we are creating, moving, building…an Indian ethos is being born.

With its immediately rejuvenating and invigorating effect, orange is the perfect fuel. Like all things dynamic, orange is versatile. Tone down the red and a sorbet freshness emerges with youthful energy, with a sprightly, fun step. A deeper hue gives it a more sophisticated feel, the warmth of a more mature fire. And its vividness, its bright sun, make it such an Indian colour. Welcome to our Colour of the Year. Let its positive spirit awaken & energise. Welcome to Coral Radiance.

EXOTIC

COLOUR MAP

Colour Map is a visual map of ideas to inspire and kick-start your creative process. In this edition of Colour Map, Pavitra Rajaram curates a collection of decor ideas originating from the issueâ&#x20AC;&#x2122;s colour, Coral Radiance 2015.

Jewel-coloured glasses.

Pink and gold-printed butah cushions.

CURATOR: PAVITRA RAJARAM Pavitra Rajaram is the Creative Head of Pavitra Rajaram Design. The firm focuses on providing strategic design consulting, product design in textiles and tableware, global product sourcing, visual merchandising, and styling services to premium brands in the lifestyle design space.

CORAL RADIANCE 2015

Lattice screen room separators.

Jaipur Dreams 8047 | R 251 G 152 B 143

Apex Ultima Metallics Antique Gold M403 A rich colour palette with metallic highlights, punctuated with cool colours is used to build an exotic effect.

Exotic Colour Palette

ECLECTIC RUSTIC

Ceramic Anatolian dinner plates.

A combination of textures and an earthy material palette helps create a rustic living room.

Antiquities add an interesting focal point within a room.

Metal candle stands and colourful candles.

Carved decorative figurines.

Blue printed cushion.

Pure Red 8093 | R 207 G 37 B 43

Deep-blue candle stands.

Chapel Grey 8441 | R 178 G 169 B 158

Contrasting colours, boldly applied, add intensity to an eclectic living room.

Peacock Blue-N 0161 | R 0 G 92 B 123

Eclectic Colour Palette

All shades and textures are printed representations and may vary slightly from actual colours and textures. Please refer to the Asian Paints Colour Spectra or product manual for exact shade reference.

Brown Bread 9526 | R 120 G 99 B 85

An embroidered Suzani cushion.

Rustic Colour Palette

In Focus

6â&#x20AC;&#x201C;7

My city My home

An Indian ethos is emerging, stronger than before, where public spaces are given as much care as the private. Indians are claiming spaces outside their own front door, colouring it with their unique, beautiful soul.

ColourNext 15 is our 12th year of an annual series of colour forecasts. It contains, yet again, a spellbinding array of colours curated by design experts across the land. The selections are based on our close study of the subtle societal shifts that are taking place before our very eyes and which affect the way we live and express ourselves. Taking a snapshot, as it were, of social currents, honing in on the most defining features, adding to that the intuition and aesthetic flair of our select panel of advisors we bring to you the Asian Paints colour trends for the year.

Introduced in 2003, ColourNext, our annual colour forecast, has become widely recognised as a powerful tool for designers, architects, and anyone working with colour, to refer to for the upcoming yearâ&#x20AC;&#x2122;s freshest colours and a springboard for design ideas. Contribute to the ColourNext 2016 process: Write to us at colournext@asianpaints.com or visit www.asianpaints.com/colournext

In these times of frenzied information exchange where every human action is potential data for large corporates to mine, the individual is claiming his independence, using his discretion and diligence to navigate the world on his own terms.

Startup These are fertile times, everything is just right for entrepreneurship to flourish and businesses big and small are mushrooming everywhere.

No pun in ten did The irrepressible human spirit spills out with humour and surprising perspectives rescuing us from the grey spaces of urban existence.

In FOCUS Colour quotient 18

My city My home

8–9

Public spaces reflect who we are as people, what we do, how we engage with each other. People meet and talk and ideas are born from these talks, there is physical and intellectual interaction and culture is born from such interactions. In India, so culturally vibrant, public spaces are curiously neglected, people strangely indifferent. Streets are carelessly, callously littered, garbage piles grow. But now, lately, the urban Indian fed up of the slovenliness, is claiming ownership of the space outside his front door. And there are signs of action being taken towards creating a more positive, invigorating environment such as building cultural centres or open air theatres. There is evidence of growing civic responsibility: people coming together to dispose of garbage the right way, demanding streets be swept, teaching their children not to litter. A renewal of neighbourly bonds

is visible through community action such as weekend groups painting colourful artwork over unsightly advertisements. A thrilling redefinition of public spaces is underway, imbued with a more proud and positive, beautiful Indian ethos. This is the spirit captured and expressed in the world of design, a gorgeous interpretation characterised by contemporary takes on traditional Indian crafts and textile. A simple form emerges, more essence than embellishment. The outside comes in through the use of natural textures, decor pieces more sun soaked and wind-crafted in look and feel — a delicate interplay between a rich past and todays’ simpler expression.

palette

There is a blurring of lines between spaces in this colour interpretation. The outside is let indoors ever so subtly allowing for a harmonious melding of both spaces. An earthy, natural, gentle look is the result. Surfaces are less polished and finished,

more antiquated, mirroring old city walls and structures. Bright accessories liven up the scheme. Colours echo non-refined textures, washed out looks, and neutral tones inspired by the street, tar surfaces, footpaths, metal and stone finishes.

Lead palette

supporting palette

Coral Radiance 2015

Truffle Surprise 8605 | R 159 G 77 B 56

Royale Play Stucco Marble Effect Soothing Silk 9531

Oyster Grey 8473 | R 199 G 191 B 178

Garden Bench 8432 | R 139 G 137 B 126

Apex Duracast Dholpurtex Brushing Effect Top Coat: Ultima Truffle Surprise 8605

Royale Play Torrent Base Coat: Sombre Moon 7988 Top Coat: 1. Night Edition 7429 | 2: Camp Fire X114

Ultima Allura Graniza Dark Grey

Dusky Saffron 7981 | R 217 G 134 B 58

Royale Glitter Collection Antique Gold M403

Green Tropics 7486 | R 60 G 133 B 131

Royale Play (IDC) Ironic

Red Alert X124 | R 171 G 46 B 70

Royale Play (IDC) Archi Concrete Platinum Disca 8297

Emphasis 7357 | R 6 G 79 B 119

colour play

Combinations for lead and accent colours in various proportions can be used to style each My City My Home space differently.

In FOCUS Colour quotient 18

10–11

It’s a like, share, text, tweet world. With every action, transaction, online and off, we give away personal information. We become data. The unsolicited messages, customised search results, advertisements are all made of this. Before we know it, we are surrounded on all sides — blasted, jostled, and hustled by an invasion of information we didn’t ask for, herded into corporate frameworks, unwitting consumers of one-size-fits-all monopolies. The new luxury of our times, therefore, becomes accessing exactly what we want, accessing independent resources. But awareness helps us break free. The filter bubble bursts as we exercise authentic free will and our own diligence in making independent, informed choices.

We create companies that respect our privacy, promising not to track us, offering secure communication platforms. And this context — this push and pull between personal and public — becomes a compelling motif from which an edgy design sensibility emerges. It influences the environment around us. Spaces take on a minimalist beauty warmed by the day’s light streaming in unfettered, through large windows. A sense of expanse, of sophistication, and simplicity combine to create a world of understated luxury. Curated decor touches add to this quiet, mature glamour, highlighting the subtle interplay of spaces and moods, a modern dance between clean lines and natural light.

palette

The private/public colour palette reflects transition, a gradual movement of greys. The palette is highlighted with accents of intense midnight blues, burgundy, and deep maroons

with dull metallic trims. It is a colour story of intensity and emotion mirroring the human spirit of resilience.

Lead palette

supporting palette

Nilaya Exquisite Surfaces by Royale Play Grasscloth & natural by Ronald Redding W017D17YY75

Sound Of Music 8756 | R 223 B 213 G 205

Woodtech Insignia Mother of Pearl

Camphor 8260 | R 240 G 240 B 235

Rain Mist 8370 | R 189 B 200 G 188

Ultima Allura Torino Travertina Stone Effect Top Coat: Ultima Camphor 8260

Deep Mine 8246 | R 90 G 92 B 100

Maple Syrup 8747 | R 219 G 204 B 199

Raining Grey 9481 | R 134 G 140 B 139

Soft Light 9465 | R 162 G 163 B 171

Silica Dream 8235 | R 217 G 215 B 214

colour play

Combinations for lead and accent colours in various proportions can be used to style each My Freewill space differently.

In FOCUS Colour quotient 18

Startup

12–13

“Any time is a good time to start a company,” said noted startup investor Ron Conway and it couldn’t be truer now. People are more willing to take that big risk, responding to a world suddenly bursting with conditions favourable for entrepreneurship: high technology, intense connectivity, the spirit of collaboration, the growing acceptance of less conventional professions. So, the erstwhile housewife baking a cake is now helming a catering business, young software engineers are following their instincts, building businesses around everything from terrace gardening to dog training. Self-confidence, courage, and zeal is what drives them, a willingness to plunge into the unknown, a constant initiation into a life of exploration — of the self, new experiences, the possibility of failure, the incomparable

thrill of success. It is through these doers and their every innovation, big or small, that the rest of us experience the wonders of a forever shape-shifting world. It is not surprising that this trend would impact todays’ design language with its overtones of spirited individuality. The ideas of innovation, independence, and quirkiness influence spaces and the way colours are used. This is a space in flux, shaped and added to as and when materials come by. Look for cool, unpretentious design statements. Everything is put to good use — whatever is available at hand to furnish and to decorate, and the end result is imaginative, surprising, intelligent, and fun.

palette

This is a dynamic, provocative, and sophisticated palette designed to quicken the senses and kickstart the creative juices. A bold interplay between smart neutrals and sophisticated patterns holds

the palette giving it depth, offset by fresh mint greens, blues with dark indigo, and neon trims. The palette is energetically supported by bright and lively accents of oranges, yellows, and reds.

Lead palette

supporting palette

Passion Flower X107 | R 218 G 158 B 25

Sands of Time 4202 | R 202 G 188 B 168

Nilaya Exquisite Surfaces by Royale Play Paintables I W033D1G2B75

Rodeo X117 | R 196 G 69 B 56

Iced Teal 7483 | R 201 G 224 B 221

Nilaya Exquisite Surfaces by Royale Play Inspired by Colours Yellow W009DOX5Y75

Lost Blue 9182 | R 76 G 97 B 112

Carbon Copy 8293 | R 60 G 55 B 49

Royale Glitter Collection Silver Escapade M604

Sea Kelp 7854 | R 208 G 190 B 85

colour play

Combinations for lead and accent colours in various proportions can be used to style each Startup space differently.

In FOCUS Colour quotient 18

No pun in ten did

14–15

In this over communicative, over connected world, a media machine spewing out cliché after cliché, communication that dances to its own merry tune breaks through our dulled senses like a smile. A playful take on the commonplace reassures us that life is still out there — intelligent wit and sophisticated humour exist. We have the pleasure of looking at the same old thing differently and the usual grey of just another day is filled with colour. Advertising above the ordinary, packaging that speaks to us with a knowing wink, a coffee cup with a sly message, all get our heartfelt thanks; graffiti turns a tired slogan into an ironic statement, an alley wall undergoes a transcendent reinterpretation through soul stirring art. Surprise delights us all equally, irreverence raises a collectively

amused eyebrow and so in these anonymous times we find our commonality, become kindred spirits and the serious business of living becomes a little lighter. This irrepressible sensibility gives birth to new and exciting design ideas and spaces, are reinvented in unique and surprising ways. Here textures and colours find unexpected partners. Fun and whimsical decor pieces peep out of corners, colour blocking and layering, in ways that stretch the boundaries of imagination, thrives. This design universe is the playground for the soul — intelligent, witty, and alive.

palette

The colour expression of this whimsical theme is composed of a palette in which sparky bubblegum pink breaks through an otherwise

sombre and serious series of neutral tints. This striking and surprising accent is supported by contrasting patterns and textures.

Lead palette

supporting palette

Young Wine 8086 | R 224 G 106 B 120

In Vogue 8105 | R 218 G 171 B 177

Nilaya Exquisite Surfaces by Royale Play Inspired by Colour, Metallic W003D075Y75

Balsam Brown 8520 | R 204 G 169 B 120

Pomegranate 8143 | R 197 G 130 B 163

Fresh Carrot 9397 | R 194 G 85 B 86

Pluto 7301 | R 52 B 67 G 91

Nilaya Exquisite Surfaces by Royale Play Textured Surfaces W022D144R25

Maize Stalk 7903 | R 249 G 216 B 119

Woodtech Insignia Transparent Coat Ruby Red 0E57

colour play

Combinations for lead and accent colours in various proportions can be used to style each No Pun In Ten Did space differently.

16–17

Insight

New Energy

New Energy is a bold, dynamic expression of a new Indian ethos. It is driven by fresh processes and approaches to existing materials and techniques that help shape an original aesthetic.

“Colour plays an important role in O.P. Jindal Global University Academic Block as it enhances the substance and quality of the structure and the glass facade of the buildings is an important feature of the whole campus creating the identity of the different buildings.”

Material and colour Double-glazed ceramic fitted glass was used on the facade of the Academic Block, while red was used on the trusses of the main structure. The glass uses bichromy by superimposing red or yellow or green creating orange, light green, and khaki.

Stephane Paumier Director, SPA Design Pvt Ltd Stephane Paumier was born in 1971, in Versailles, France. He studied industrial design at the National School of Applied Arts and Crafts (Olivier de Serres) and Architecture, at the School of Architecture of Paris-Belleville, under Professor and architect Henri Ciriani.

In 2005 Stephane Paumier founded SPA Design Pvt Ltd as a principal, with Anupam Bansal and Krishnachandran Balakrishnan as co-directors, both graduates from the School of Planning and Architecture, Delhi and Masters from Kansas and Berkeley University respectively.

Client: O.P. Jindal Global University Year of Completion: 2010 Project: Academic Block, O.P. Jindal Global University Area: 28,000 m2 Location: Sonepat, Haryana (Delhi NCR)

About the PROject The brief was to design and execute a state of the art Academic Centre for 2,000 students in 18 months’ time. The architect’s team decided to design a pre-engineered structure in steel and glass where colour played an important role. As a greenfield project with no built surroundings, the design is based on a very rigorous geometrical framework of traces regulateurs of squares and golden rectangles, dear to European architecture as well as Indian classical architecture.

The project is designed like a vast classical garden where the nature has been tamed by the rule of geometry as a metaphor for men pacified by the rule of law. The centre of the campus is occupied by the Academic Block conceived like a floating square mandala of 160m by 160m. The entire building is lifted on pilotis to offer a continuous shaded park below the structures. The program is a combination of flexible spaces like classrooms, seminar rooms, and faculty offices and pre-

determined spaces like the auditorium, library, reception, and kitchen. The large span steel trusses are exposed as the facade and are entirely flexible inside as no columns hamper the open spaces. The heroic character of the trusses is reinforced by the red paint that signals the project on the horizon of the plains of Haryana, like a piece of land-art in the green fields. The progress expresses an elemental frugality dear to the Indian way of life.

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

Night view of the Academic Block.

View of the auditorium at the centre of a courtyard.

A courtyard from the Academic Block.

Detail of the trusses on the exterior of the Academic Block.

Detail of the facade from inside the Academic Block toilet.

Academic Block Corridor.

Interaction between layers of colour.

Signal Red 0520 | R 189 G 46 B 50

Blade of Grass 7566 | R 0 G 176 B 128

Sunny Yellow 7861 | R 255 G 215 B 4

O.P Jindal Global University Colour Palette

INSIGHT COLOUR QUOTIENT 18

18–19

Light and shadow, like day and night, are intertwined, one cannot exist without the other, and it is these two elements that have been juxtaposed in a myriad number of permutations to produce a rhapsody—from the ethereal play of light on the walls, ramp, and steps leading to the animal house; the surrealistic imposition of the pergolas sociography onto the floor, the silver prism of the auditorium, and the dark silhouette of the ‘cube’ sculpture; the splintering of light from tiny points to lengthening stippled bands moving like a sun-dial echoing the passage of time; the dappled play of light and shade in the main library and dining court; the gradual increase of light intensity as one moves up the north-south axis (echoing the very act of regeneration/re-birth)—are all representative of the dialogue and rapport that the built forms have with the sun.

Material and colour

Kamal Malik Founder and Principal, Malik Architecture Kamal Malik was born and raised in Shimla in the pristine environs of the Himalayas; even today, nature remains the source of his inspiration. He completed his architectural studies at the School of Planning and Architecture (SPA) in New Delhi. With over 35 years of experience, the firm continues to strive to develop a contemporary design syntax approaching Architecture as a synthesis of ‘Ecology’ and ‘Spirit’.

Malik Architecture has garnered acclaim at multiple design competitions and is the recipient of over 100 national and international awards. The firm’s work has also been featured in over 300 publications, both domestic and overseas.

Client: Lupin Year of Completion: 2001 Project: Research Park Area: 1,40,000 ft2 Location: Pune, Maharashtra

The material employed for the project was uniform throughout. The colour pigment changes therefore played an important role in giving distinct identities to different parts of the complex. They provide the accents to a muted earth tone colour that blends in with the hills in the backdrop.

A wall bounding the edge of Lupin Research Park.

The architecture interfaces with the surrounding hills.

10 The entrance to the Lupin Research Park. 11 The open amphitheatre at the Lupin Research Park. 12 Pergolas are used on paths that connect buildings. 13 A play of light and shadow.

Rustic Charm 8567 | R 177 G 139 B 104

Cider Red X116 | R 170 G 72 B 50

Blue Fragrance 9191 | R 74 G 140 B 192

Golden Ray 7870 | R 255 G 218 B 64

“For me, all inspiration is drawn from nature and the context and memory of the site determines the response…the very nature of the environment, the flora, the colour of light, the colour of the sky, the colour/texture of local building materials, textiles, etc. influence the evolution of the concept; colour is one aspect of the entire gamut of the design process.”

About the Project The act of research and discovery is essentially an intuitive function. This complex therefore explores those elements that, to my mind, foster and inspire intuitive thought, which is the core of the creative process. I was also clear, therefore, that the complex should provide a multitude of spaces that inspire a scientist and also serve as meeting points for groups to jointly interact, explore, and discover. Nature has therefore become the nucleus at both the micro and macro levels and serves as a backdrop for two almost paradoxical elements: eastern philosophy and western technology. The inspiration for

the project is the timeless mandala with the administration complex representing the head (at the highest point of the hill) and the main research park flowing south to north, wrapped around a central courtyard. When I think of architecture in postindependence India, my first thoughts are of a massive cultural derailment. Exceptions aside, the bulk of our contemporary architectural community seems to be content either with mimicking the styles of the West or trivialising our past, rather than making a concerted effort to re-discover and reinterpret our rich heritage.

Where the project is concerned, Nature as a powerful and majestic backdrop and the timeless mandala concept ensure that the complex is perennially dynamic in both form and function. Cutting edge western technology resides side by side with the tranquil kund, for example, which is a hallmark of our traditional architecture and representative of a daily cycle and an entire way of life.

COLOUR SPECTRA PRO A Professional Fandeck Colour Spectra PRO contains a range of 1,800 colours from Asian Paints in large size swatches. These 3 x 5 inch colour swatches not only help you see colour in a larger format but also make the process of trying various combinations easier. Colour Spectra PRO comes as a set of six decks, each deck encased in a vibrant casing, which is designed to indicate the range of colours present in that deck. The kit includes two index books which help you search for colours by name or code.

To order Asian Paints Colour Spectra PRO W www.asianpaints.com/pro/ColourSpectraPro.aspx T 1800 209 5678 E cq@asianpaints.com

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

Inspiration

20–21

Once the top colour coat is dry, selectively apply few, uneven strokes of the highlight colour at places.

Vintage Charm Transform a regular brown teak wood table into a charming French distressed piece in five steps using multiple layers of colour.

Material Required

Once the highlight coat is completely dry, rub the table at places that commonly wear out with sandpaper. Edges and corners are typical areas where furniture shows signs of weathering. You can choose to distress the table more or less, depending on the desired effect. The table shown in the example has minimal distressing.

• Paints: In this example I have used

• • • •

3 colours—a base colour (cherry red), top colour (light blue), and a highlight colour (white) Hard bristle brushes: Flat and Round Sandpaper 100 Rough cloth Water container

Time Taken: 4 hours

Process

Apply 2–3 coats of the base colour, making sure every layer dries before application of the next.

Wet the cloth with clean water and clean the table to remove paint particles and dust from the distressing/rubbing. Your new vintage table is ready.

Once the base colour is dry, apply a single thick coat of top colour and let it dry. Contributor: Aarti Karwayun Chawda Aarti Karwayun Chawda is a fine art graduate, an ex-visual merchandiser in fashion retail, and now an independent artist. She focuses on fine art projects, commercial work, and home decor collections. She also takes up commissioned projects and collaborates with interior designers. www.ispaceart.com

Insight

22–23 2

white

colour

theory

yellowgreen

orange

blue

redviolet

black CONTRIBUTOR: KATE SMITH President and Chief Color Maven of Sensational Color, Kate Smith is an internationally renowned colour expert, sought out for her ability to guide businesses on how to use colour to gain recognition and generate revenue. www.sensationalcolor.com

We think of colour as transcendent—a language of sorts, independent of cultural differences, time period, or aesthetic movement. Colour is a powerful tool that permits designers to influence mood, compose spaces, and even make profound statements. We accept these as truths about colour, but don’t often take the time to examine the roots of these core beliefs— where these ideas came from and how they were promoted. If fact, it surprises many designers to discover that part of the foundation of our modern understanding of colour and its uses is rooted in a design movement dating back to the early 20th century. The Bauhaus movement and its institute were born in

Germany in 1919. Though the German school only lasted until 1933, when the Nazi government forced it to close, the Bauhaus not only educated many influential artists in a variety of disciplines, but it also spawned programs in other countries, including the U.S. One of the most enduring influences of the Bauhaus, though, is the colour theory that was taught under four prominent artists. The contributions of Johannes Itten, Wassily Kandinsky, Paul Klee, and Josef Albers undergird much of what we currently understand and believe about colour, and an examination of the teachings of these four artists helps us understand not only the formation of modern colour theory, but indeed how colour theory developed and was transmitted.

Johannes Itten Johannes Itten taught at the Bauhaus from 1919 until 1922, and he taught one of the fundamental preliminary courses that, among other things, grappled with colour theory. Itten gave us a colour sphere comprised of twelve colours (three primary, three secondary, and six tertiary) that shows the relationship among colours, as well as gradations of saturation. The influence of psychoanalysis is apparent in Itten’s colour theory, as he was one of the first to associate different colours with specific emotions and study the impact of colour on our moods. He also studied how individuals perceive colour.

Itten taught that there were seven different methods of contrast: contrast of saturation, of light and dark, of extension, complementary contrast, simultaneous contrast, contrast of hue, and contrast between warm and cool colours. A particularly interesting practice of his in the classroom was to work students through an examination of colour, and in particular his theory about contrast, by first examining abstract works, reflecting the Bauhaus’ move away from exclusively representational works. After students studied the abstract pieces, they would move on to look at more realistic works, and

finally would apply what they had learned of colour theory to their understanding of classical works. Itten’s most enduring contribution to modern day colour theory, though, is his characterisation of colours in terms of temperature, and his designation of certain colours as warm and others as cool persists to this day.

1 2 4

The main building of the Bauhaus Dessau. 3 Detail of the stairs and ceiling in the Bauhaus Dessau.

Itten's Colour Sphere from The Elements of Colour.

Insight Colour quotient 18

24–25 9

Wassily Kandinsky

Wassily Kandinsky, the Russian painter best known for his bold, geometric, abstract works, taught at the Bauhaus from 1922 until it closed in 1933. He considered colour to be an utterly transcendent language— a way to examine the universal aesthetic. He adopted a synesthetic relationship with colour, associating particular colours with specific geometric shapes and with musical tones and chords. Yellow, for example, was best expressed as a triangle and by a middle

Stairwell and rooms in the Klee/Kandinsky House.

The Spatial Effects of Colours and Forms, from Kandinsky's course at the Bauhaus Dessau. Credit: Bauhaus-Archiv Berlin.

Exterior of the Klee/Kandinsky House showing Walter Gropius' architecture.

Detail of colour and architecture in the Klee/Kandinsky House. Credit: Claudio Divizia/Shutterstock.com

Masters' Houses, Dessau The UNESCO World Cultural Heritage listed Bauhaus building and Masters' Houses offer an intriguing insight into applied Bauhaus colour theory in architectural spaces. Designed by Walter Gropius, the Masters' Houses were constructed along with the second Bauhaus school in Dessau. Kandinsky and Klee lived in two halves of the same semi-detached house and used their rooms for experiments and applications of colour. In hindsight we can see these as a reflection of their own theories and teaching on colour.

C played on a brassy trumpet. Circles best expressed the colour blue, and the colour black in musical terms was the colour of closure. The examination of colour in terms of the fullness of its expression is certainly one of Kandinsky’s legacies.

Paul Klee Paul Klee taught at the Bauhaus from 1921 until 1931. Like Kandinsky, Klee tended to think of colour in musical terms, making the connection between harmonious sounds and complementary colours, as well as dissonant sounds and colours that clash. Klee wanted his students to understand that colour wasn’t just a tool for the faithful reproduction of nature. Colour for Klee was a powerful device that enabled a painter to shape, compose, and influence paintings, rooms, and even the people who interact with artwork. In order to fully understand the power of colour, students had to see colour as freed from its naturalistic, descriptive role.

The Klee appreciation room in the Masters' Houses.

10 Staircase in the Klee/Kandinsky House. Credit: Julian Weyer. 11 Detail of the ceiling and window in the Masters' Houses. 12 Fire at Evening (Feuer Abends) by Paul Klee, 1929.

Insight Colour quotient 18

Josef Albers

INsight 13

Interaction of Color |

Although the Bauhaus closed in 1933, its legacy was far from finished. Josef Albers, first a student at the school, studying under Johannes Itten, became a professor in 1925, and emigrated to the U.S. after the Bauhaus’ closure. He taught at several institutions in the U.S., most notably Black Mountain College and Yale. Albers dealt both with the very physical reality of colour and of paint, in particular, making detailed notes on the precise materials he used in his work, but he was also intrigued by the more abstract aspect of colour theory and concluded that colours were governed by an internal and deceptive logic.

App for iPad

The work of artist and educator, Josef Albers (1888 – 1976), had far-reaching impact on design education of the twentieth century, particularly in Europe and the United States. Notable amongst his many contributions is the mammoth Interaction of Color, published in 1963—designed as a teaching aid with more than 150 printed silkscreen colour studies, a corresponding book of commentary, and a second book delving into Albers’ colour theories. Interaction of Color continues to find relevance and utility across geographies and Legacy

Features include:

As we see in other colour theories, the Bauhaus movement acknowledged the frustrating fact that even though colour is fundamental, powerful, and versatile, it is also difficult to discuss. Much in the way that language itself resists our efforts to understand it, the language of colour is similarly resistant. What the Bauhaus gave us, though, is an understanding of colour that pushes us to think beyond the representational. It forces us to confront the real emotional weight of our colour choices, and it urges us to try out our terminology that applies to shape and sound in our understanding of colour, giving us alternatives that open our minds to innovative and powerful ways to employ colour in our work and lives.

• Complete text and plate commentary from the original print version, describing Albers’ principles on how to see and understand colour. • Over 125 animated colour studies from the original book to demonstrate the theories. • Over 60 interactive plates that replicate the experience of working with colour swatches and paper to understand colour interaction, inspired by Albers’ teaching methodologies.

26–27 T SO HE C UR OL CE OU IND R EX

time, with its unique exploration of colour at the intersection of art, science, psychology, and practical application. The release of the Interaction of Color app for the iPad, by Yale University Press, provides greater access to, and increased functionality and interactivity to this iconic learning tool. The interactive experience provided by the app educates users on perception and use of colour, through both instructional and hands-on application features.

• Ability to create, save, and export final designs and palettes into vector-based design software for further use. • Video commentary, including archival videos of Albers and interviews with experts to explain key principles. • Interviews with leading designers and artists, talking about the use of colour in their professional practices.

The Interaction of Color is available for use on iPad, and can be purchased at the Apple App Store. 13 Nesting Tables by Josef Albers. 14 Hansaviertel Housing, Berlin, designed by Walter Gropius.

If you would like to know more about colour theory, write to us at cq@asianpaints.com

Let us know your favourite colour resources by writing to us at cq@asianpaints.com

India Connect

28–29

Origins OF LIPPAIKAAM

CONTRIBUTOR: BAAYA DESIGN Baaya Design is a retail store and studio that offers a range of folk and cultural art, home accessories, and skill-based consultancy services. Their range speaks of India’s age-old exquisite skills while mapping the current day markets with products that are contemporary expressions of traditional skills. Baaya Design aims to showcase the beauty and workmanship of Indian traditions through aesthetic products that combine traditional skills with a contemporary lifestyle.

GUJARAT

he arid, yet starkly beautiful desert regions of Kutch (northern parts of Gujarat, India) especially regions such as Sumrasar and Dhordo, hold traditional treasures in the form of loving constructed Bhunga huts which sparkle in the sun. And the beauty of the circular Bhunga huts with thatched roofs is complemented by the vibrant, embroidered costumes worn by the women of the region. The sparkle on the homes and on the traditional costumes, is due to the embedded mirror work used in both; the craft uses mirrors aligned in a unique way. Bhunga homes often comprise of single, individual cylindrical huts placed close together to form a home. These homes sport the glittering craft of Lippaikaam or Lippankaam as it is locally called, which is the traditional mud-relief art work done in this region. It is created on the inner and outer walls as well as on furniture of the homes. These homes are typically

Traditional Lippaikaam used inside a Bhunga hut.

occupied by the Rabari community that lives in Kutch. The homes’ interiors are resplendent with flowing white clay walls that seem to merge into their furniture. The use of intricate motifs that glitter with mirrors renders an overall dazzling effect. The completely unique art form makes the homes a visual treat. The Bhunga huts are not just beautiful homes but are safe ones too. The design of these huts is such that they can withstand catastrophic earthquakes. Apparently this design was conceived after a major earthquake in 1819. The houses are also climate responsive and provide good protection against sandstorms and cyclonic winds.

Traditional Technique

Equal proportions of sieved mud (clay) is mixed with dung to form the mixture that is applied onto walls. For the mixture to stick, the walls are treated with a clay surface that is then roughened. The patterns created are intricate and are embellished with mirror work. White clay is coated on top of the finished mirror embellished artwork, to get a pristine white look.

Lippai/Lippan means mud washing and kaam means work in Gujarati, and this is done by the women and men from Kutch on the walls of their mud huts. A rough, wet surface is the base on which the artwork is created. The tile-like base can be a rough plywood sheet or a cement sheet (a dried camel-dung base in earlier times), which is coated with a base layer of clay. A mixture of finely filtered local clay and camel/donkey dung is mixed together in equal parts and kneaded into a dough-like substance. The outline motifs are created by coiling the prepared clay mixture and then raising the soft clay by pinching it. An adhesive is used to make the clay stick to the base. First,

a raised border is created, and then the motifs are made within it. This is done by the artisans using their hands, without any tracing or sketching in advance. Small round, diamond, or triangular shaped mirror pieces are cut by hand on a sharpened surface and embedded to create a sparkling effect, which is beautifully offset by the hot desert sun. Sometimes, coloured glass pieces or other reflective surfaces are also used. The artwork, is then dried in the sun for about 4–5 days, during which it hardens and becomes a strong surface. The original Lippaikaam is in natural mud colour, and the outcome is in shades and tints of beige.

Inspiration from Kutch Embroidery Intricate motifs and patterns are created, similar to the embroidery work on the clothes worn by the women of the community. Kutch is renowned for its stunning embroidery patterns, which are also embellished with mirrors. There are over 16 varieties of embroidery found in Kutch, the motifs of which are also common to Lippaikaam. White clay is coated on top of the the finished mirror embellished artwork, to get a pristine white look.

The motifs used in Lippaikaam, beautifully and seamlessly, combine Kutch embroidery patterns, with images of birds such as peacocks, trees such as the mango tree, animals, and sometimes human figure motifs as well.

Contemporary LIppaIKaam

Lippaikaam detailed with a final coat of white clay.

Traditional application of Lippaikaam.

Kutch embroidery with forms that inspire Lippaikaam.

Lippaikaam in use at NID, Ahmedabad.

Contemporary use of Lippaikaam by Baaya Design at a residence.

Today this craft is being recreated in modern homes with interesting innovations—the clay surface is often painted over with vibrant pigments or acrylic colours. New motif inspirations are also seen in the art form. Baaya Design create contemporary renditions produced by artisans. Contemporary renditions of traditional motifs tend to be more abstract, more fluid, and are influenced by global motifs. The modern influence also brings with it protective coatings that can be given to the surface work, to ensure longevity of this stunning artwork for modern day homes.

If you would like us to feature or know more about a particular art form, write to us at cq@asianpaints.com

Inspiration

InSPIRATION Inspiration

32–33

The Aviator Briefcase & The Birthday Series

For this edition of ColourLove, we’re featuring projects from two young design practices bursting with colour and energy, reflective of a new edge in contemporary Indian design.

THE AVIATOR BRIEFCASE by 1701 1701, a label started by Ashwin Jain and Karishma Jhalani, creates luxurious travel cases and accessories. The Aviator Briefcase epitomizes their recent Aviator Collection. Says Karishma Jhalani, “The Aviator Collection was inspired by air travel and the Jet Age of the 1950’s. Our Aviator light line captures what flying meant for both people on the ground as well as in the air by reconciling opposites; you’ll find bright aquas reminiscent of touching the skies and fiery oranges harmonized with sombre tans. The colour palette was clearly defined by the flying experience—moving closer to the brightly lit sun in sunny blue skies, looking down at the somber tan ground.”

Doors of Zanzibar

“The Aviator Briefcase is made using matte tan and orange leathers. The print on the lining is inspired by the geometric prints used in curtains for airplanes in the 1950’s.” —Karishma Jhalani

THE birthday series by NorBlack NorWhite NorBlack NorWhite (NBNW) expresses their love of vivid colour through costume design, art direction, set design, installations, and curation, as seen their celebratory Birthday Collection. “Co-founder, Mriga Kapadiya designed the first piece of the collection as a birthday gift for her NBNW partner-in-crime, Amrit Kumar’s dirty thirty. We loved the way it turned out, so we made a series out of it, adding all our favourite party colours. Usually birthdays are celebrated with family and friends and can sometimes be more “We love the idea of celebrating yourself.” —Mriga Kapadiya & Amrit Kumar

overwhelming than reflective. We loved the idea of throwing an over-the-top birthday party for one! With balloons, a fancy cake, and lots and lots of potato chips. The thought behind using scraps from previous collections, to make up the cutwork details of the blouse, was to honour the creative working partnership of NBNW and use what we had to give birth to something new.” For more information, visit: www.1701.in and norblacknorwhite.com

Contributor: Siddhartha Joshi Siddhartha is a designer, traveller, and a travel blogger who loves people more than anything else. He derives his passion from interacting with people and is extremely passionate about inspiring the world around him to travel more, as he believes that only travel can break barriers and make us more tolerant and accepting of our differences. www.sid-thewanderer.com

The legendary Doors of Zanzibar are surrounded by a mythical aura and traditionally the door was the first part of a house to be erected. As trade flourished in the region, several traders became wealthy, important, and prominent. Men of wealth and power sought to proclaim their affluence and enhance their social prestige by commissioning the carving of great entrances to serve as opulent indicators of riches within. Important residential doorways in the old sections of Zanzibar city attained impressive dimensions, measuring about twice the height of a man from the base of the door. One such wealthy trader, Tippu Tip was especially instrumental in carved doorways becoming popular.

Inspiration Colour quotient 18

34–35

Distinguishing Elements

Motifs and their Symbolism

A typical Zanzibar door has seven distinguishing elements with the most prominent being the door panel which is generally not carved but adorned with brass or iron knobs. Much of the carving is on the top, sides, and the centre of the doors. The doors have two distinct parts with the right side being the male door and the left side, the female door. Some doors also have a smaller doorway within the door; this was to ensure that only one person could come inside at a time affording more security to the family inside. The feature is not as relevant today as it was in the past when doors provided primary security to the homes of the wealthy.

Stone Town, where Zanzibar’s doors are located, was a city divided into ethnic and economic districts. And clusters of similarly designed doors indicated the different districts. Door symbols indicated trade and personal status, functioning as ‘business cards’ as most traders conducted business from their homes. The motifs used to adorn these doors were a combination of local traditional designs and external influences. Flowers represented families and the number of flowers on a door would indicate the number of distinct family units residing in that house. Palatial houses would often sport up to twelve flowers! Pineapples denoted ‘welcome’, frankincense and date palms were symbols of wealth, fish scale motifs represented the fertility goddess Atargatis and indicated that the house owner was a fisherman, floral vines indicated an involvement in the spice trade, a rope indicated that the house was occupied by someone who owned fishing vessels, motifs of chains on the doors were purportedly to ward off evil spirits and represent security, but are said to be indicative of the residence of a slave trader and owner, geometric squares on a door indicated that the occupant was a mathematician/accountant, quotes from the Koran were to bless the house and motifs using beads indicated involvement in the jewellery business.

Cross-pollination of Designs

From tired grey to warm mahogany, chestnut brown to midnight black, the palette of the doors is dominated by wooden hues, with occasional flashes of turquoiseblue and aquamarine echoing the colours of the surrounding Indian Ocean.

As Arab traders settled here, Islam also came to the island and influenced the designs of the doors. Brass knobs on doors didn’t exist in Zanzibar till the nineteenth century, though they were common in the Indian subcontinent. The concept of knobs travelled from India to Zanzibar and became an important art influence. In India brass knobs had a practical purpose and were used to ward off attacks from elephants as they could not use their trunks to break doors studded with sharp brass knobs. In Zanzibar the knobs were purely decorative in nature. Designs developed in Zanzibar have also influenced doors in the Persian and Arabian Peninsula, for example the doors in Muscat in Oman, which bear a strong Swahili influence. Types of Doors Zanzibar’s doors are of three different types, each with its own distinct style and design elements: Arab Doors: Arabs were perhaps the first settlers on the island and when they came they brought with them their religion as well as culture which heavily influenced the designs of the doors they commissioned and were devoid of any human figures. Instead, they have Koranic verses incorporated as design elements. Indian Doors: These had two distinct influences from Indian settlers from Gujarat and Punjab and the brass knobs on the doors, found even now in many doors in the Indian subcontinent, were the most striking Indian influence. Local Swahilian Doors: Built for the local population of the island, these were much simpler in design and utilitarian in nature.

Colours and shades of the Zanzibar doors.

Colours of the Doors The doors of Zanzibar are mainly wood with metal embellishments. Four prominent colours are seen — many hues of natural wood, pale blue, pale green, and pale yellow. Wooden finishes are most common, and most of the large and elaborate doors have 6

An alleyway in Zanzibar.

Common motifs found on Zanzibar doors.

natural wood finishes. The pale colours were usually used in markets for shops and for smaller homes. Indian doors have paler colours as compared to the Arab or local doors that have brighter hues. Demise of the Culture of Doors The tradition of carving the doors developed and grew with the growth of trade, especially slave trade. As slave trade was abolished, Zanzibar lost its prominence and the need to show influence and opulence through doors also died out. Doors continue to be carved even now, but they have become linear, less ornate, and more functional. Many efforts are on to preserve these doors, but their numbers keep dwindling with every passing year.

Insight

36–37 2

मच मच, Amitabh Kumar, India

St+art Mumbai is an urban art festival that brings together some of the best Indian and international street artists for a month of murals, installations, performances, workshops, walks, and talks on the streets of Mumbai. The festival aims to promote street art and graffiti in India, as well as to provide a collaborative platform for artists from all over the world. St+art Mumbai is an initiative of St+art India Foundation which aims at making art accessible to a wider audience by making the streets more interactive, beautiful, and truly democratic for all.

Amitabh’s mural titled ‘मच मच’ can be found at the entrance of Pali Village, right next to Hawaiian Shack. When the selected site was given to him, he noticed how the street was symbolic of a gateway that connected Pali Village, a heritage society established in the 1700s, to the rest of Mumbai city. It highlights the urban existence of the society and a certain way of life that is quiet and quaint as opposed to the reality of the rest of Mumbai. The idea behind मच मच, a name given to the mural by the local paanwallah next door, was to reflect the tension prevalent between the two settlements, a battle that has been 3

going on for decades and continues to go on as societies thrive and perish. The mural Amitabh has painted of a double-headed crocodile palpably highlights the conflict of the past, present, and the future of Pali village with the chaotic Mumbai city. Continental Drift, Daan Botlek, Holland Daan’s mural titled ‘Continental Drift’ can be found at the Aseema School in Chimbai Village. His work is highly subjective and involves the use of many basic elements such as rocks, ropes, sticks, and human characters. These elements, when used in different arrangements, usually take shape

to form an image that can be interpreted in many ways. The basic idea behind all his murals is that there are no absolutes and each viewer’s interpretation of his work is as true as anyone else’s perception of it. The title Continental Drift came into being when one visiting local interpreted the mural as Pangaea, the supercontinent that existed 500 million years ago—a time when all continents were one and the same; however, slowly drifting apart over a period of time.

TONA at work on the Supari Tank School, Bandra.

मच मच by Amitabh Kumar.

Daan Botlek’s Continental Drift at the Aseema School.

Insight Colour quotient 18

38–39 5

Squeeze, ANPU, India Anpu’s mural titled ‘Squeeze’ can be found at Bandra Residency. The piece is called Squeeze because ANPU felt that Mumbai is cramped and everybody— from auto rickshaw wallahs to the train commuters—is constantly manoeuvring and squeezing through spaces. Playfully, Mumbai is likened to a custard apple— tough on the outside, but soft on the inside.

Coming Home, Dome, Germany Dome’s mural titled ‘Coming Home’ can be spotted on the diamond arch building near Salt Water Café, Bandra. Located in a Catholic community, Dome’s mural features a man on a bicycle returning home from his day’s work with a fish that signifies his earnings. The artist has also tried to highlight the contrast of the rich and poor in Mumbai city by using tons of copper and gold on a rustic wall. His style is surrealistic and dark and he uses a mix of stencil and exterior acrylic paint. 4

“The vision of St+art India Foundation is to provide a platform for street artists from all over the world to come and connect with the Indian movement. It is also for the creation of a platform for Indian artists to showcase their work and exchange ideas with the global community. At the same time its main focus is to change the dull grey landscape of our cities to be more interactive and colourful.” —Hanif Kureshi, Creative Director, Co-founder of St+art India Foundation 6

Full artwork and details of Coming Home by Dome.

Squeeze by ANPU.

A 3-D facade by Yantr, outside a residence, Bandra.

Colour is an integral part in the transformation of any space and is at the heart of everything we do at Asian Paints. It was only logical that Asian Paints supported St+art Mumbai for the colourful renewal of urban spaces. Share your feedback by writing to us at cq@asianpaints.com

tINDIA CONNECT COLOUR QUOTIENT 13

40–41

Ask Asian Paints

INCOMING Royale Luxury Enamel For wood and metal, there are only a few water-based enamel alternatives, which come at a performance compromise to more traditional solvent-based enamels. Addressing this need, Asian Paints presents the revolutionary Royale Luxury Enamel, the first full ‘Green Enamel’ system for wood and metal surfaces which meet stringent Health and Environmental Safety standards.

COLOUR QUERY Q. What are ways in which I can add a touch of creativity to my wall after it has already been painted?

A. A good paint job is the essential first step to create beautiful interiors, and colour is just a backdrop for the creative touches you can add to a home. One of the simplest and most effective ways to personalise your walls is with Asian Paints Royale Play Wallfashion —a series of wall stencil designs that allow you to experiment and play with colour.

The collection of more than 40 stencils has a variety of forms and designs inspired by nature, cultural traditions, and geometry which are categorised under the Motifs and Imagine Themes Collection. The stencils may be used in combination with other stencils, as well as in multiple colours, and are reusable, provided they are maintained properly.

View current issue and archive at www.asianpaints.com/cq

Colour Quotient 16 August 2014

Colour Quotient 17 November 2014

IMAGE CREDITS Yellow Scoop 7945 | R 255 G 234 B 167

Nautilus 7411 | R 197 G 230 B 237

Brook View 8265 | R 142 G 156 B 166

Sun Spray–10321560122

Creating a personalised Royale Play Wall fashion theme: 1. Mark out the position of the stencil on the wall using the grid reference.

2. Apply masking tape on all four sides of the stencil and ensure it is perfectly flat and stuck to the wall.

3. Using a regular 2” sponge roller, apply the paint using strokes only in one direction—bottom to top or left to right.

4. In case there is some leakage of paint outside the stencil, remove the excess paint immediately using a wet cloth.

5. Remove the stencil sheet before the paint has dried completely.

While applying the stencil colour, do not add any water to the paint. This is critical to ensure a good finish for the design. For best results, use Asian Paints Multipurpose Kit 700.

For more information visit www.asianpaints.com/products/effects/royaleplaywallfashion

All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.

NEW ENERGY STEPHANE PAUMIER • Profile image courtesy Shaily Gupta • O.P. Jindal Global University images courtesy Stephane Paumier, SPA Design Pvt Ltd KAMAL MALIK All images courtesy Kamal Malik, Malik Architecture BAUHAUS COLOUR THEORY • Cethegus » commons.wikimedia.org/wiki/File:Bauhaus-Dessau_main_building.jpg • André P. Meyer-Vitali » flickr.com/photos/andrepmeyer/6683339217 • André P. Meyer-Vitali » flickr.com/photos/andrepmeyer/6683339001 • Ben Garrett » flickr.com/photos/bengarrett77/10755031544 • Ben Garrett » flickr.com/photos/bengarrett77/10754998525 • Ben Garrett » flickr.com/photos/bengarrett77/10755062536 • Extrabreit » commons.wikimedia.org/wiki/File:BAUHAUS-DESSAU-2009_024.jpg • Fondation Beyeler » commons.wikimedia.org/wiki/File:Paul_ Klee_-_A_Woman_For_Gods_-_Google_Art_Project.jpg • René Spitz » flickr.com/photos/renespitz/4381856839 • Seier+Seier » flickr.com/photos/seier/2614229206 LIPPAIKAAM • Video screenshots courtesy Amitabh Tripathi, INDOVISION MEDIA • Image from NID courtetsy Bhushitendu Bhatt • Jainamishra » en.wikipedia.org/wiki/File:Antique_Kutch_ Embroidery.jpg

‘Colour Quotient’ is Asian Paints’ initiative that reflects significance of colours in varied cultures & traditions, and contemporary trends in paints. The objective of Colour Quotient is to share customers’ penchant for colours with architects, interior designers and other creative people and not to solicit business. Views expressed by the authors are personal and photographs used in Colour Quotient are illustrative. For more information, visit: www.asianpaints.com/cq

DOORS OF ZANZIBAR All images courtesy Siddhartha Joshi except; • David Berkowitz » flickr.com/photos/ davidberkowitz/5722322190 • Linh Vien Thai » flickr.com/photos/linhvienthai/6845411012 • Linh Vien Thai » flickr.com/photos/linhvienthai/6991517495 • Linh Vien Thai » flickr.com/photos/linhvienthai/6991533449 • Linh Vien Thai » flickr.com/photos/linhvienthai/6991521745 • Linh Vien Thai » flickr.com/photos/linhvienthai/6991527583 • Linh Vien Thai » flickr.com/photos/linhvienthai/6991535811 • Linh Vien Thai » flickr.com/photos/linhvienthai/6991538245 • Andrew Moore » flickr.com/photos/andryn2006/7007629354 • Andrew Moore » flickr.com/photos/ andryn2006/7007685442 • Andrew Moore » flickr.com/photos/andryn2006/7007711292 • Andrew Moore » flickr.com/photos/andryn2006/7154585236 • Katie Hunt » flickr.com/photos/scubagirl66/7929178220 • Rod Waddington » flickr.com/photos/rod_ waddington/8099658421 • Rod Waddington » flickr.com/photos/rod_ waddington/7966814376 • Rod Waddington » flickr.com/photos/rod_ waddington/7966804914 • Roman Boed » flickr.com/photos/romanboed/14242037520 • Roman Boed » flickr.com/photos/romanboed/14243415557 • Roman Boed » flickr.com/photos/romanboed/14428734635 • Olivier Lejade » commons.wikimedia.org/wiki/File:A_ Zanzibari_door.jpg • Olivier Lejade » www.flickr.com/photos/lejade/2825564068

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• Olivier Lejade » www.flickr.com/photos/lejade/2824852697 • Olivier Lejade » flickr.com/photos/lejade/2825598110 • David Berkowitz » http://commons.wikimedia.org/wiki/ File:Door_-_Stone_Town-5.jpg • Marc Veraart » flickr.com/photos/marcveraart/2759274893 • Marc Veraart » flickr.com/photos/marcveraart/2760101564 • Philip Sheldrake » flickr.com/photos/philip_ sheldrake/336052297 • Se Mo » https://www.flickr.com/photos/bochaco/8016808777 • Se Mo » https://www.flickr.com/photos/bochaco/8016752814 • Eileen Delhi » https://www.flickr.com/photos/ eileendelhi/5397954045 STREET ART MUMBAI • Continental Drift image courtesy Thomas Meyer • Coming Home image courtesy DOME • Much Much and Squeeze image courtesy Akshat Nauriyal REACH US Let us know what you felt about this issue of Colour Quotient. What would you like to see featured? Have something interesting to share? Write to us at » cq@asianpaints.com Asian Paints Helpline » Contact us at 1800 209 5678 for queries on products, colour tools, services Asian Paints painting service » Available in Delhi, Chandigarh, Jaipur, Bangalore, Hyderabad, Coimbatore, Chennai, Cochin, Kolkata, Ahmedabad, Baroda, Mumbai, and Pune

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