Issue 12
Apr 2013
Earthen Symphony
COLOUR MAP
HANDMADE
INDIA
CRAFT ROOTS
TACTILE BASIC
RUSTIC SIMPLE
TERRACOTTA-N SINCERE
PURE WARM
FOUNDATION STEADY
NATURAL Colours are rich in inspiration—each colour carries with it a multitude of meanings, associations, and connotations. The Colour Map is a visual map of ideas originating from our issue colour, Terracotta-N‒0427, to inspire and kickstart your creative process.
RELIABLE OPEN
Blue Vision–7432 | R 118 G 190 B 211
Crowded Beach–9536 | R 178 G 140 B 133
Marco Polo–8607 | R 193 G 129 B 107
Ginger Pop–8053 | R 204 G 83 B 69
Velvet Dream–8117 | R 161 G 41 B 62
Terracotta-N–0427 | R 139 G 60 B 42
CONTENTS
INSIGHT Earthen Symphony Three leading design professionals provide insights into creating soulful, earthen colour palettes around the issue colour, Terracotta-N–0427. Bhagyashree Patwardhan
Nachiket Barve
Anand Patel
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CQ 12 IN FOCUS The Future of Paint Pushing the boundaries of innovation in paint-technology with the revolutionary Asian Paints Royale Aspira.
INSIGHT 14 31 Colour for Hospitality
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Insights on creating memorable experiences in hospitality spaces with the thoughtful use of colour.
In the Making 38 From concept to execution, this two part series offers a glimpse into the creation of the ColourNext 2013 exhibitions.
24 A New Daylight
The importance of daylight in maximizing productivity and the factors involved in creating good lighting conditions.
34 Crafting Spaces
INDIA CONNECT Colours of Navarasa The continuing series on the Navarasa focuses on the colour associations of Raudra (Anger) and Shringaara (Love).
An interview with Harini Chandrasekar on crafting eclectic interiors for her clients.
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INSPIRATION ASK ASIAN PAINTS
30 Living Craft Traditions of Chettinad
The colours of Chettinad manifest in the rich heritage of its architecture and crafts.
Paint Query 44
Issue 12
Apr 2013
ON THE COVER
Carrying forward the theme of an Earthen Symphony, the cover is a celebration of the stability, warmth, and purity of the earth. It represents the juxtaposition of the natural and the man-made, and the symphony of its intera-ction with the issue colour Terracotta-N–0427.
Earthen Symphony
IN FOCUS
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The
Future of Paint Royale Aspira Right from the concept board, we at Asian Paints were clear that the consumers for Royale Aspira would be architects and interior designers—influencers who are able to distinguish fine products, and demand nothing but the best in terms of performance as well as colours.
IN FOCUS COLOUR QUOTIENT 12
O
ver the last decade, Asian Paints Royale Luxury Emulsion has come to define the performance standards of the interior emulsions market. As a market leader, the Royale brand wanted to push the boundaries of innovation even further. The aim was not just to improve an existing product, but to create an entirely new product—one that would globally revolutionise the paint industry. It was with this goal in mind, and after extensive market research that the project of creating Royale Aspira came into being.
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Revolutionary features of Royale Aspira Anti-Microbial Properties The anti-bacterial and anti-fungal formula retards microbial growth, creating a hygienic and therefore, healthier living environment. We put Royale Aspira through a rigorous standard EN 150 22196:2007 bacterial resistance test internally and subsequently got certification from PRA UK using the BS 3900: G6 test where Royale Aspira scored an impressive 1 from a rating of 0, 1, 2 that represents the pass level. Water Beading Technology When water comes in contact with a Royale Aspira surface, it does not wet, penetrate, trickle down, or spot. Like a lotus leaf, Royale Aspira’s hydrophobic nature forces water to roll down in little beads. This effectively translates into an easy to clean, smooth, and highly painted surface.
Five Year Performance Warranty To demonstrate our confidence in the product, Asian Paints offers a five year performance warranty for Royale Aspira. A first of its kind in the interiors category in India, the warranty covers product performance against fading, flaking, and peeling. Crack Bridging Ability Wall cracks appear due to structural defects, heat and cold, expansion and contraction. Royale Aspira has an elastic film that stretches by almost 400% to cover up static hairline cracks. It has enhanced strength and greater elasticity; dual attributes rarely seen together. To enhance the crack bridging performance, we recommend an undercoat of Asian Paints SmartCare Crack Seal.
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
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We at Asian Paints put Royale Aspira to the toughest tests available globally with the result that each key property of Royale Aspira has been certified by leading third party laboratories worldwide.
Camp Fire–X114 | R 248 G 111 B 41
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Flame Spread Resistance Royale Aspira offers enhanced fire safety and security. It has the distinction of the slowest flame spread in its category of paint. The paint is not fire proof, but is established as the slowest burning paint as compared to other paints in the market. It has been tested by Exova Warringtonfire—the world’s leading independent certification, testing, and fire engineering organisation. In accordance to class definitions given in BS 476: Part 7: 1997, Royale Aspira has received the highest Class 1 rating. Environmentally Responsible To create a world class, high performance paint is an achievement all by itself. The challenge however lies in making a product that conforms to the toughest international standards for environmental safety and
health. Royale Aspira has been benchmarked to Green Seal (GS11) standards and also complies with LEED specifications for interior paints. It comes with Asian Paints Green Assure which is more than just VOC (Volatile Organic Compound) Safe. It not only confirms to international VOC specifications but also does not contain any hazardous raw materials like lead, heavy metals, APEO (Alkylphenol Ehoxylates), and toxic materials. All of this also translates into virtually no odour while painting.
Deep Dive–9327 | R 122 G 153 B 123
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Use a fiery orange to create a bold, modern room.
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A muted green can enhance a peaceful interior.
IN FOCUS COLOUR QUOTIENT 12
The Element of Colour in SpaceS
Royale Aspira is proud to present, for the first time in Asia, the colour collections created by Le Corbusier in partnership with Les Couleurs, Zurich and Fondation Le Corbusier, Paris.
One of the questions that Asian Paints regularly deals with is the role of wall colour in decor. Is wall colour an add-on or is it an integral an element of the space? Royale Aspira decided to answer this question by studying the work of architectural masters across the world. The most striking work that we came across was Le Corbusier’s Polychromie Architecturale. In the introduction to the Polychromie Architecturale, a colour palette that he created, Le Corbusier writes about how his own perception of the role of colour in space changed through his career. As his career progressed, he came to realize that colour in a space plays an equally important role as its material. Le Corbusier formed three principles for the physiological and psychological effects of colour on the spectator. The Polychromie Architecturale is based on these principles, which have been listed below. • Colour modifies space. • Colour classifies objects. • Colour acts physiologically upon us and reacts strongly upon our sensitivities.
LES COULEURS® LE CORBUSIER 32001 Blanc 32010 Gris Foncé 31 32011 Gris 31 32012 Gris Moyen 32013 Gris Clair 31 32020 Bleu Outremer 31 32021 Outremer Moyen 32022 Outremer Clair 32023 Outremer Pâle 32024 Outremer Gris 32030 Bleu Céruléen 31 32031 Céruléen Vif 32032 Céruléen Moyen 32033 Céruléen Clair 32034 Céruléen Pâle 32040 Vert Anglais 32041 Vert Anglais Clair 32042 Vert Anglais Pâle 32050 Vert Foncé 32051 Vert 31 32052 Vert Clair 32053 Vert Jaune Clair 32060 Ocre 32080 Orange 32081 Orange Clair 32082 Orange Pâle 32090 Rouge Vermillon 31
“Blue and its green combinations creates space, gives dimension, makes an atmosphere, distances the wall, makes it imperceptible…Red (and its brown, orange, etc… combinations) fixes the wall, affirms exact position, its dimension, its presence.” —Le Corbusier
32091 Rose Pâle 32100 Rouge Carmin 32101 Rouge Rubia 32102 Rose Clair 32110 L'Ocre Rouge 32111 L'Ocre Rouge Moyen 32112 l'Ocre Rouge Clair 32120 Terre Sienne Brûlée 31 32121 Terre Sienne Brique 32122 Terre Sienne Claire 31 32123 Terre Sienne Pâle 32130 Terre D'Ombre Brûlée 31 32131 Ombre Brûlée Claire 32140 Ombre Naturelle 31 32141 Ombre Naturelle Moyenne 32142 Ombre Naturelle Claire
All shades are printed representations and may vary slightly from actual colours. For Royale Aspira colours please refer to the product collateral; they are not the same as the Asian Paints Colour Spectra. Currently available in Delhi, Mumbai, Hyderabad, Bangalore, Punjab, and Rajasthan.
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Charles-Édouard Jeanneret known as Le Corbusier was an architect, designer, urbanist, and a pioneer of modern architecture. Examples of his architecture can be seen across Europe, India, and America. His studies on the role of colour in space led to the creation of the colour collection—Polychromie Architectural.
POLYCHROMIE ARCHITECTURALE During his career Le Corbusier created two colour collections; the first in 1931, and the second in 1959. Both comprise of a set of shades that are organised in such a way that an individual colour selection corresponding to the personality of the user can be achieved easily. Each consists of a set of claviers de couleurs (colour keyboards). In his first keyboard Le Corbusier developed 12 sentiments with representative names such as space, sky, velvet, and sand.
Each sentiment contains a collection of 14 accentual colours that can be mixed in accordance with the needs and designs of the architect and the user. Almost 30 years later Le Corbusier created the 1959 collection with a total of 20 stronger and more dynamic base tones. Le Corbusier’s colour harmony logic is not just a tool for colour selection—it is a work of art in its own right.
We firmly believe that these colour collections will inspire designers across India to understand and interpret the ‘Le Corbusier Polychromie Architecturale’ through Royale Aspira. This will also be the first among many steps that Royale Aspira will undertake to engage in a meaningful conversation with the design community in India.
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Please contact your Asian Paints Relationship Officer to be part of the Royale Aspira and Polychromies Le Corbusier launch experience in your city. For more information T 1800 209 5678 E cq@asianpaints.com
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Le Corbusier, a pioneer of modern architecture.
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Royale Aspira's colour tools that guide selection processes.
INSIGHT
Earthen
Earthen Symphony is a celebration of the simplicity and enduring strength of earth—it refers to the stability, warmth, and purity of the earth element and is a call to rediscover the harmonious relationship of other elements and our lives with it. In this issue of Colour Quotient we explore the soulful colour stories of Earthen Symphony through conversations with three design professionals representing three unique design practices based in India—Bhagyashree Patwardhan (Paper Boat Collective), Nachiket Barve (Nachiket Barve Design), and Anand Patel (Anand Patel and Associates). Inspired by the issue theme colour (Terracotta-N–0427), the three
design professionals share their colour interpretations of Earthen Symphony. In ‘Spirit of Earthen Symphony’ and ‘Colour Inspiration’, each designer shares their interpretation of the theme and presents a custom colour palette for the same. In the section ‘Showcase’, each designer delves into their folio of work, and shares an instance of contemporary design work that represents the qualities of Earthen Symphony.
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Bhagyashree Patwardhan Ceramic Designer Founder and Partner Paper Boat Collective—A Unit of Monkey Business Bhagyashree Patwardhan is a graduate of the National Institute of Design and a founder-partner at two independent creative ventures—Monkey Business (a studio making hand crafted ceramics) and Paper Boat Collective (a shop selling handmade and small scale curated collections of ceramic, textiles, furniture, and children’s merchandise). From her specialisation in ceramic design, she branched out to work in retail, branding, and art direction for sets and sound and light museums. Over the last 15 years, Bhagyashree has traversed the design discipline through its various interpretations. After living in Pune, Bangalore, and spending a large part of her career in Mumbai, Bhagyashree now lives in Goa, in the peaceful and happy village of Socorro.
“Colour features in our work right from the beginning when we start exploring the form. As the clay takes shape and textures and techniques build the final form, thoughts on the final appearance are always at the back of our minds.”
SPIRIT OF Earthen symphony
Colour Inspiration
Earthen Symphony is the song of the earth, of our lives and of our dreams. It is the warmth of the cool breeze gently caressing our skin, the calm that resonates within when the seawater swirls around our tired feet and the beautiful melody of the leaves swaying and birds chirping. It is the rhythm of our soul, our heart, our wishes, and desires woven into the changing seasons, the sun and sand, the water and ice; the spectacular displays of the diverse surroundings and the enchantment of the elements that surround us, that we are part of and are one with.
The hills, the sea, the sun, the sand, the trees, and the butterflies are my inspiration for Earthen Symphony. Living in the peaceful hinterland of Goa, the calm resides in the tall trees, the song in the birds and butterflies, and the quiet in the land around us. The land here is largely made up of laterite—a red stone, used for all kinds of construction. The mud is a rich red brown. The perennial well water and the luscious monsoon make the surrounding landscape a collage of greens.
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Besides the villages and the interiors, Goa is also synonymous with the sea, the sun, and the beach. The sand is in varying shades of grey and has textures of browns, with beiges and whites intermingled in it. Living in an environment as rich and diverse as this reflects in our life and work.
Antartica–8464 | R 152 G 144 B 129
Terracotta-N–0427 | R 139 G 60 B 42
Autumn Gold–0254 | R 124 G 121 B 71
Bhagyashree Patwardhan Colour Palette
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Colour Inspiration for Bhagyashree Patwardhan's Colour Palette.
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
INSIGHT COLOUR QUOTIENT 12
Bhagyashree Patwardhan’s Showcase We work with clay. So the main theme for our work is the earth, the various elements, and colours that constitute the earth, be it the rich brown terracotta or the grey black clay. The sea and sand motivate us, and the textures found in elements around us excite our interpretation. The corals are a huge inspiration in most of our work and have inspired a very prominent sea collection. A beautifully malleable material like clay allows us to explore a multitude of textures and the vibrant glazes in bright colours help translate the rich colours of the corals onto a product. Fired raw clay looks beautiful—it has a great texture and a rich grey brown colour but isn’t strong enough as a finished product. Use of the right colour can either enrich or demean the form. The high-gloss, the mattes, the application, and the thickness, all play a pivotal role in the final manifestation of a beautiful piece of ceramic. Nachiket Barve
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Fashion Designer CEO and Creative Director Nachiket Barve Design Having studied design at the National Institute of Design in India and ENSAD in Paris, and after an internship with CELINE, Nachiket has been showing at Indian and International Fashion Weeks since 2007. Eclectic inspirations, unusual use of colour, modern interpretation of Indian techniques and textiles, and fresh sophisticated glamour are the DNA of the Nachiket Barve label. The label is a favourite with Bollywood and fashion style icons and retails out of 32 top boutiques in India and abroad. In 2010, Nachiket was awarded the ‘Young Fashion Entrepreneur of the Year’ by the British Council and Elle. Nachiket’s work has been featured in major national and international fashion and design publications. He was the first Indian designer to be invited to show at Buenos Aires Fashion Week in Argentina, as well as at Coterie in New York. Amongst his current achievements, Nachiket has been invited to talk at the Entrepreneurs Conference by the Italian Government, and has been invited by the British Council to showcase his collection at Alchemy in London. 2
A collection of ceramics inspired by the sea and its corals.
“Glazing is a tedious and complex process in our work. When you apply it to the product, it is a washed-out, powdery, dull coating, but once it goes through a 12 hour firing in the kiln it transforms into a bright high-gloss finish, which you only get to see after the length of the firing. You are never actually 100% sure of what it is going to turn up looking like, just a vague sample and a lot of hope. Therefore it becomes very critical for us to think of how this final process will alter the look of the product, right from the beginning, and allow a margin for error.”
“Colour is amongst the most dominant elements that define my oeuvre. It is one of the first things that we notice about any object. Colour can transport one to another place, transform emotions, and make something look very right or absolutely wrong. Usually, one of the first things that I use as a starting point for a new collection is the colour palette. It evokes a mood, a place, an emotion, a texture; basically it sets the tone for the whole collection. I am known for the bold yet surprising use of colour in my work and it is something that provides challenge and satisfaction, each time I think of a new collection.”
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SPIRIT OF earthen symphony
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Earthen Symphony represents an exciting amalgam of deep rich colour, warmth, a touch of ethnicity, tradition, sensuality, texture, and richness. I imagine an aesthetic rooted in the ethos of traditional cultures, rustic textures, an imperfect yet beautiful way of making objects. Fiery warmth, soothing earth, sand, dust, wood, pottery are the things I associate with this theme. COLOUR Inspiration For me, Earthen Symphony evokes the sun-baked earth of barren dusty plains, the colours of Masai tribesmen’s costumes, the rich hues of Kutch craft and textiles, and terracotta pottery from Mexico. There is an element of the unfinished, the handmade, the traditional crafts and yet a sense of happiness, languid restfulness, nostalgia, and rugged beauty. Rich sensual colours, hand-done dung flooring, heat and dust, minimal architecture are the visual cues that resonate with this theme. Terracotta-N–0427 | R 139 G 60 B 42
Code Red–X120 | R 196 G 52 B 45
Orange Tango–X113 | R 227 G 98 B 47
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SHOWCASE For centuries, trade routes like the Silk Route, Spice Route, and Incense Route were the main arteries of contact between the various ancient empires of the Old World. Cities along these trade routes had oasis towns known as ‘caravanserai’ and these served as international marketplaces. They also became cultural and artistic centers, where people of different ethnic and cultural backgrounds could meet. My Autumn/Winter 2012-13 collection, Caravan, was inspired by the rich legacy of these points of intersection. A multitude of textile and aesthetic influences across Asia, Arabia, and Sahara, from star motifs from Istanbul to Mashru textiles from Kutch, were interpreted through surface details and embroideries. The palette was an amalgam of deep spice and musk colours, with resist dyeing effects. Shades of cinnamon, saffron, amber, teal, olive, and mustard play with deep browns and blacks.
Nachiket Barve Colour Palette
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Colour Inspiration for Nachiket Barve's Colour Palette.
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An ensemble from the Caravan collection.
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
INSIGHT COLOUR QUOTIENT 12
Anand Patel
SPIRIT OF earthen symphony
COLOUR Inspiration
Perhaps it means the music of the earth, such as Vivaldi's Four Seasons! And many such associations one makes with varied sense perceptions, since no association is devoid of evoking something from another realm to perceive the one in focus. Thus when a colour is sensed it brings with it associations from memory or it evokes a new desire. A picture emerges and a new memory is formed which in turn will form a back drop to yet another to become sense perception all over anew and again.
I like primary colours in buildings as they complement and contrast well with the natural colouration of building materials such as bricks, stones, cement, and metals.
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Architect Principal Anand Patel and Associates After studying architecture at the Technical University Delft in The Netherlands (1995-1999), Anand read Philosophy at the University of Amsterdam, The Netherlands (1999-2001). He has been a practicing architect in India and Europe for over ten years. In March 2008, he set up his private practice, Anand Patel and Associates, with the aim of developing a collective of professionals that will provide condition-specific architectural design and technical services. The practice strives to address the needs and aspirations of a country which is at the dawn of a major social and economic shift. The concerns of establishing prudent and sustainable building practices, in the midst of so much change, form the core of this collective. Anand is also active in promoting the concept of ‘Barrier Free Built Environments’; he has co-authored the first design manual for architects that addresses the access requirements of the physically challenged in India. He has been an advisor to the Government of India in the field of accessibility rights and related design issues since 2006. Terracotta-N–0427 | R 139 G 60 B 42
“Just as spices are to the taste, colour is to the eyes. And with that we view the world with a balance and passion that can only be summed by experience.”
Passion Flower–X107 | R 218 G 158 B 25
Mineral Blue–X147 | R 0 G 108 B 146
Anand Patel Colour Palette
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Colour Inspiration for Anand Patel's Colour Palette.
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The auditorium of the Science Museum, Art Gallery and City Museum of Surat.
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SHOWCASE
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Of course each project has a colour balance that is a result of site specifics. Since building design is not the same as fashion design, architects do not generally create colourful built masses based on season, style trends, or on popular demand. The intensity of the sun and local flora play an important role in the overall colours, as much as the use of primary construction materials play, the final colour perception is then the net result of these various elements brought together in light.
EXPERT COLOUR PALETTES Colour palettes derived from the swatches chosen by Bhagyashree Patwardhan, Nachiket Barve, and Anand Patel reflect the colours of an Earthen Symphony around the issue colour Terracotta-N–0427. The colours have been selected using the professional Asian Paints fandeck, Colour Spectra PRO.
Bhagyashree Patwardhan Colour Palette
Nachiket Barve Colour Palette
Anand Patel Colour Palette
COLOUR SPECTRA PRO A Professional Fandeck Colour Spectra PRO contains a range of 1800 colours from Asian Paints in large size swatches. These 3 x 5 inch colour swatches not only help you see the colour in a bigger spread but also make the process of trying various combinations easier. Colour Spectra PRO comes as a set of 6 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/colouritup/colour_spectra_pro.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.
INSIGHT
Colour for Hospitality Spaces by Kate Smith, CMG, CfYH
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The design and colour combinations chosen for hospitality zones involve more than just creating a beautiful environment; it is about creating an overall experience for your clientele.
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reating an experience of hospitality spaces is accomplished not only through the proper use of colour but also through the use of specialised lighting, sounds, and scents that create and enhance the entire visitor experience. When the time comes to choose a colour palette and other amenities for hospitality zones, several factors must be considered, including the colours and designs that will attract your target clientele and the feeling or emotion you wish to evoke from them. It is also important to consider the location of the space.
Insight COLOUR QUOTIENT 12
The Organisation's Clientele Good interior design responds to the desires of the people using the space. This is particularly important in the hospitality industry where a space must not only meet the known needs of your target clientele but also fulfill their unspoken desires for a particular type of experience, all the while eliciting the response your business desires. The first step in determining the correct colour scheme for your project is to learn as much as possible about those who will be visiting your hotel, nightclub, spa, or restaurant. This is often referred to as your target market or target clientele. It is important to know exactly whom you are trying to attract before making any colour choices for the space you are designing.
Use carefully chosen colour schemes that reflect the nature of the space and are targeted towards the needs of the clientele.
A group of young adults connected by the latest technology will be attracted to bright, upbeat colours such as red, green, and orange when used in both public areas and meeting rooms. Those clients involved in sales or are frequent travellers may respond to calming neutral colour schemes in shades of blue and green in private guest rooms but will prefer high energy colours in meeting rooms, lobbies, and other frequented public spaces. When designing recreational and entertainment areas such as spas, gyms, nightclubs, bars, and stores, smart colour and design choices can make an establishment more appealing to the target clientele and more successful in eliciting the response the business owner desires.
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Banana Cream–7850 | R 224 G 216 B 180
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Caspian Sea–7294 | R 71 G 106 B 143
For example, those involved in professions that include attorneys, doctors, and educators may react positively to traditional colour combinations that communicate authority, stability, and respect when used in conference rooms or social areas. For these areas you will want to consider the use of brown, navy blue, or grey as the foundation for your scheme.
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The Sha Wellness Clinic in Benidorm, Spain.
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A classic colour scheme in use at a hotel suite.
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 the product manuals for exact shade reference.
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Evoke Responses with Colour
the surrounding neighboUrhood
In order to create a memorable experience that will encourage your clientele to choose your establishment over the competition it is important that you first identify the reaction you are seeking from them. If you are designing a hotel and the target market is primarily the frequent business traveller then a guest room will be used for unwinding, sleeping, or preparing for the next day’s business; a calming colour palette is in order, with the goal of insuring that he or she awakes refreshed. On the other hand if the guests are on vacation, a key target market for resorts, playful and vibrant colours that reflect the local region or culture might make their stay even more memorable. A nightclub’s primary goal for their clientele is to provide an exciting and fun social experience while as a business the primary goal of the club may be to encourage the sale of liquor and food. In this instance, vibrant and energising colours would work best. Retail stores within a hotel will look to increase sales of their merchandise and the goal of in-house spas and workout areas is to not only provide this amenity to their clientele but to also offer additional products and services that will benefit their health and well-being. The correct use of colour can encourage all of these reactions.
While it is important for your particular company’s brand and colours to be identifiable and visible it is also important that your business appears to belong in the neighbourhood. When the time comes to choose a colour palette for the exterior of your establishment, be sure to take into consideration the colours used by those businesses and residential areas that are in close proximity to your hotel, nightclub, or restaurant. You will want to avoid glaring differences in your colour scheme and the colours of neighbouring businesses as well as avoid duplicating a colour scheme that might make it difficult for your clients to locate your business. 4
Aquadur PU Walnut
Royale Play–Dune Coral Pink–M524
Poppy Seed–9125 | R 86 G 68 B 105
The Iron Horse Hotel Colour Palette
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Playful use of colour and texture at The Iron Horse Hotel.
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The Pangkor Laut Resort makes best use of its natural environ.
Insight COLOUR QUOTIENT 12
Create a Memorable experience
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Specialised lighting can accentuate the colours of a space.
In order to make their overall experience a memorable one, all of your clientele’s senses must be addressed. Along with the correct colour combinations, this can be accomplished through the use of specialised lighting, for example, those that enhance the experience in a nightclub or with aromatherapy in spas and gyms. This will help insure that the visitors to your spa, nightclub, or hotel will return time and again. The key to creating a successful hospitality space is to meet the needs of your clientele and guests
and to immerse them in an environment that takes them away from their everyday experiences whether for a few hours or for several days. The best businesses in the hospitality industry create such wonderful experiences for their guests, that they don’t want the experience to end. When people borrow design ideas from hospitality spaces to use in their own home to replicate the pleasant time experienced, you know you have created a memorable space.
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Asian Paints special effects interior paint products for hospitality spaces:
ROYALE PLAY SAFARI Capturing the essence of the African jungle safari, Royale Play Safari is a water-based paint that gives walls a unique grain texturing. Available in 30 shades including gold, silver, and direct shades, it adds an exotic appeal to walls with its metallic dual tones.
ROYALE PLAY DUNE Royale Play Dune draws its inspiration from the magnificent sand dunes of the African desert. Adding sophistication to any corner of a room, this water-based paint is available in three patterns, Drizzle, Halo, and Whirl, each with 45 shades, including gold, silver, and direct shades.
ROYALE PLAY STUCCO Royale Play Stucco brings the old world sophistication of stone and marble to walls. Designed for those who possess an artistic flair, this lime based putty/decorative plaster offers effects like Marble, Slate, Quartz, Cobbled, and Igneous—each available in 67 shades.
Lemon Sprig–7873 | R 252 G 241 B 183
Soft Honey–7876 | R 247 G 245 B 225
Asian Paints offers best-in-class products* which are truly green and conform to the guidelines laid out as per the international GS–11 Standard. *For more information, log on to www. asianpaints.com
If you are planning to paint a hospitality space, email us at cq@asianpaints.com, or connect with our Colour Connect Relationship Officer, or visit www.asianpaints. com for more product information.
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
INDIA CONNECT
Colours of
Navarasa
Raudra
20–21
Shringaara
The previous article in the series, Colours of Navarasa, investigated the colours associated with the Rasas, Bhayanaka (Fear) and Shaanta (Calm). The fourth article will explore the archetypal and experiential colour associations of the Rasas, Raudra (Anger) and Shringaara (Love).
INDIA CONNECT COLOUR QUOTIENT 12
RAUDRA (ANGER) Anger, on the whole, might seem like a straightforward emotion. However, it is quite complex, in that it has many overlapping shades of negativity. From embarrassment and disappointment, to retaliation and jealousy, it morphs from one to the other, with surprising fluidity. One would assume that such a complex emotion would have complex archetypal (generic) associations, and experiential (learned) associations.
Archetypal Associations Intense reds dominate this category. Not many other colours are associated with Anger. These associations are a reflection of the physical representation of the colour red—blood, fire, pain, and danger amongst others. Being a very versatile colour, red is able to evoke almost conflicting emotions, as we see in Love and Fear. Due to the heat that it exudes, it acts as a stimulant, therefore increasing energy, hunger, and activity. It does not refer to a passive anger.
Experiential Associations Red’s neighbouring colour family, orange is present in this category. An intense, saturated orange is associated with disappointment and dissatisfaction. It refers to a simmering passive anger. Colours close to orange are also associated with a fervour and fanaticism.
Both of these categories see the associated colours as intense, overpowering, active, powerful, and evocative. Anger is an energetic emotion; it pushes people to act, both physiologically and emotionally. The colours associated also evoke similar feelings. LEAD COLOURS Hot Shot–8021 | R 237 G 97 B 54
Pure Red–8093 | R 207 G 37 B 43
Pale Dawn–8003 | R 251 G 234 B 216
ACCENT COLOURS Steel–6142 | R 186 G 189 B 188
Indian Earth–8688 | R 181 G 149 B 149
Dark Shadow–8294 | R 95 G 93 B 90
Colour Play Mix the lead colours with the accents given to create moods of Anger.
The colours associated with Anger are pure, intense, and dramatic. Raudra Colour Palette
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
22–23
SHRINGAARA (LOVE) Love as a sentiment has many facets. A maternal and protective love, an erotic and romantic love, the love emerging from attachment to pets, familial and kinship related love, even desires for food and indulgences, amongst others. The representative colours for this emotion are a melange of all these different categories of Love. Shringaara or Love is also explored through its archetypal and experiential associations.
The characteristics of the colours that define Love are feminine, fresh, light, and spirited. LEAD COLOURS
Archetypal Associations Tints of pinks and purples as well as intense reds dominate this category. The colour red as an association was expected, but it is interesting to note its reasoning. There are nuances of exaggeration, aggression, and carefree attitudes represented by reds that define the excited, powerful, enveloping feelings of love. The tints of pinks and purples provide more comforting, familiar feelings of maternal love and femininity. These pastels are also reminiscent of food, candy, candy-floss, children, and stuffed toys, regardless of gender.
Rich Rouge–X122 | R 193 G 61 B 68
Early Bloom–9408 | R 208 G 141 B 148
Japanese Lilac–7111 | R 197 G 147 B 200
ACCENT COLOURS Warmstone–0N02 | R 200 G 189 B 169
Experiential Associations The experiential associations of Love are a bit more serious and saturated. Garden greens and earthy browns are associated with Love. The greens refer to freshness, energy, and passion. The brightness of the greens refer to the spirited character of the emotion. There is a lot of continuity, activity, and motion that is associated with green. The browns on the other hand are a more stable representation of the emotion. They speak of loyalty, permanence, and the precious nature of the sentiment; something that is rare, natural, and clean.
The archetypal and experiential categories explore Love in very different manners. The common thread in both being the purity and energy associated with this emotion.
Please share your feedback by writing to us at cq@asianpaints.com
Dropping Leaves–9366 | R 172 G 180 B 113
Desert Dreams–8779 | R 226 G 214 B 200
Colour Play Mix the lead colours with the accents given to create moods that evoke Love.
Shringaara Colour Palette
INSIGHT
‘The Weather Project’ by Olafur Eliasson brought daylight and its emotional associations into the gallery space in 2003.
24–25
A NEW DAYLIGHT Dhun Patel Therefore Design
Art and fiction have always pushed the boundaries of our reality. In 2003, artist Olafur Eliasson created an installation titled ‘The Weather Project’ in the Turbine Hall at the Tate Modern. A representation of the sun and the sky, the installation involves a semi-circular disc made up of hundreds of mono-frequency lamps emitting yellow light, a mist of sugar water created with dehumidifiers, and a huge mirror which covered the ceiling and reflected visitors back at themselves. Today corporates are attempting to recreate this illusion in offices and commercial spaces.
Insight COLOUR QUOTIENT 12
Daylight stimulates the production of vitamin D, essential for maintaining a healthy immune system, and plays a major role in balancing our circadian rhythm, making it a vital enabler to lead a healthy and balanced life. 1
E
xtensive research is being conducted on office environments and the physiological and psychological impact of extended interactions with these spaces. Although the evidence is not always conclusive, it is now strongly believed that improvement in productivity can be correlated to a well-lit workplace, which is illuminated at least in part by daylight. In fact, research shows a direct link between an employee’s distance from the window and frequency and symptoms of illness.
1
Workstations near large windows maximize daylight.
However it is not possible for lighting needs of a building to be fulfilled solely by daylight. Artificial light is needed to produce the right levels of light. This has led to a new challenge for the lighting industry; that of simulating daylight using available technology. Designers and manufacturers are working on developing lighting solutions that mimic the rhythms and patterns of daylight. These products attempt to bring the dynamics of daylight indoors by offering flexible solutions that adapt to different needs and moods.
This effect is achieved by: • Creating products that reproduce the daylight spectrum • Factoring colour temperatures ranging from warm white to cool white into products • Developing solutions using ambient light and task lights which can be managed by an individual depending on their needs, thus giving them a sense of control • Having lighting solutions that brighten and dim based on the available level of natural light thus ensuring that light levels in the office are synced with the surrounding environs
26–27
Research conducted by Lumiversal in 2010 has proved that humans function better mentally and physically under lighting sources that mimic daylight. They found that businesses that upgrade their workplace
lighting may see a reduction in the occurrence of headaches, eyestrain, low morale, and other problems often caused by low quality lighting. In one case study, West Bend Mutual Insurance upgraded their
lighting and saw a 16% increase in productivity in their claims processing department. This, plus a 40% decrease in energy costs, resulted in significant savings for the company.
IN THEIR PAPER ‘MIMICKING DAYLIGHT WITH ARTIFICIAL LIGHT’ LUMIVERSAL SITES TEN FACTORS TO CONSIDER WHEN CHOOSING A LIGHTING TECHNOLOGY THAT SIMULATES DAYLIGHT Colour Rendering Index (CRI)
Correlated Colour Temperature (CT) Warm
Daylight
Cool
3500K
~5500K
27000K
The CRI measures the ability of a light source to reveal variations in shades of colours. The closer a light source is to 100, the closer its rendering ability is to matching the rendering ability of sunlight. It is best to choose an artificial light with a CRI as close to 100 as possible to produce the most aesthetically pleasing effect. When comparing the CRI of two lights, the lamps’ correlated colour temperatures must be the same.
Colour Temperature, measured in Kelvins, is a method of describing the colour appearance of a lamp and the light that is produced by that lamp. A CT of 3500K or less usually emits a warm glow and brings out reds and oranges in an indoor environment. A CT of 4100K or higher emits a cooler blue-white
light. A lamp with a CT between 3500K and 4100K seems neutral, and brings out colours in the surrounding environment more evenly. Ideally, to emit a light with a colour appearance closest to that of strong daylight, a lamp will have a CT of around 5500K and a CRI as close to 100 as possible.
Brightness
Glare
Lumen Depreciation
Brightness, or luminance, is the amount of light per unit area that a lamp produces or that is reflected off surfaces as the result of a light source. Generally, the more luminance a lighting technology produces, the easier it is to perform detailed tasks under that light. However, too much luminance can cause glare.
It is necessary to ensure that the light source is bright enough for building inhabitants to successfully complete tasks, but not so bright that the light source causes glare. If a lighting technology with greater luminance is required, glare can be avoided by choosing the proper fixtures, or by adjusting the angle or visual size of the light source.
Lumen depreciation is the measure of the reduction in light output over a lamp’s lifespan. Many factors can cause a drop in lumen production, including dust, surrounding temperature, and a technology’s inability to handle lighting controls. The best lighting technology will have the least amount of lumen depreciation over the longest lifespan.
Insight COLOUR QUOTIENT 12
If you are considering two different lighting technologies that replicate daylight closely, choose the technology that will use the least energy to produce the most light.
Flicker
Acoustics Low
High
The sun’s rays give out steady light, without the patterned variation and flicker that artificial lights sometimes generate. A low flicker frequency is visible and leads to headaches and eyestrain. A higher frequency is harder to detect. The best lighting products will mimic daylight in appearance and have an undetectable flicker.
2
Energy Efficiency
Too Low
Too High
Whine
Buzz
In addition to the absence of flicker, sunlight also lacks the electronic buzz that artificial lighting often produces. If flicker frequency is too low, fluorescent light can emit a buzz or hum. If flicker frequency is too high, fluorescent light can produce a whining sound. Studies suggest that flicker frequency of a lighting source should range from 20 kHz – 60 kHz to eliminate unwanted noise.
Although energy efficiency does not directly influence light quality, it is an important factor to consider when choosing a lighting technology. If you are considering two different lighting technologies that replicate daylight closely, choose the technology that will use the least energy to produce the most light. This will result in greater energy savings and is yet another way to demonstrate environmental responsibility to consumers.
Lighting Control Compatibility
Rated Life
Experts suggest that employees who can control their lighting may be able to avert many of the disadvantages associated with both daylight and artificial light. Workers who can adjust lighting levels are more productive than workers who have no control over their lighting.
The rated life of a lighting technology, measured in life hours, is an estimate of the average lifespan of a lighting technology. Installing quality lighting for workers is more feasible if the lighting upgrade is a good long term investment.
28–29 3
Shopping centers and theme parks are mastering the manipulation of time by accelerating and contracting our experiences according to the length and duration of the ticket you purchase. In her paper ‘Timer Design: Light and Color in the Interaction with Time,’ Anna Barbara talks about pseudo environments created to replicate holiday experiences such as snow slopes for skiing in the mountains or
wavy beaches complete with water currents. These experiences, Barbara remarks are made real by the manipulation of time, meant more as a ‘timer’ than as ‘time’. The scan of time in these places has nothing to do with chronological time marked on our clocks or with time outside. Artificial light is used to give rhythm, accelerated and decelerated
time to these places. If a solar day lasts 24 hours in one of these buildings it is equivalent to 3 days of 8 hours, simply activate a timer and cash is tripling. In this case 3 times the sun rises and sets and the lighting of the slope is always perfect.
The next step would be to simulate this experience in the modern workplace. Soon we may find that no matter what shift you work in, your office space reflects the perfect morning when you get to work.
4
Register for Spectrum, a part of the Asian Paints Interact module, introducing students to the interaction between colour and light. For more information connect with your Asian Paints Relationship Officer.
2
Artificial light can be manipulated to mimic daylight.
3
Combining natural and artificial light in a retail space.
4
Appropriate light fixtures increase office productivity.
For more information T 1800 209 5678 E cq@asianpaints.com
INSPIRATION
30–31 Kottan weave, a craft from Chettinad.
From the palatial mansions and handmade aathangudi tiles to the textile and basket crafts, Chettinad’s rich cultural traditions permeate its architecture, spaces, and lifestyles.
S
outhern India’s rich architectural and craft heritage stems from the diversity of its traditions. These crafts, unique to each region, have grown and developed as a blend of influences, resources, and needs. The Chettinad region in the Sivaganga district of Tamil Nadu is a prominent cultural hub. Historically, the Chettiars were a banking and business community whose prosperity had resulted in thriving art and craft practices. The living traditions of these crafts continue to provide inspiration for modern day architecture and design.
INSPIRATION COLOUR QUOTIENT 12
Chettinad Architecture 1
The exposure from trade and commerce with various Southeast Asian countries, coupled later with colonial British influences, is reflected in the eclectic aesthetic of Chettiar architecture and interiors. The palatial homes, built in a heterogenous amalgamation of styles, are signature of a warm and welcoming, yet opulent and grand Chettinad. A massive mogappu or entrance to the home was built using wood or stone and would lead to multiple rows of kalyan kottais or open courtyards surrounded by spacious rooms. The smooth, highly polished walls were specially plastered with a locally made paste of egg whites. This in itself, a dying craft, is known as Madras plaster. Found inside these homes were intricately carved Burmese teak pillars, doors, and beams of colossal sizes. Furniture and lighting
imported from Southeast Asian countries were used in conjunction with marble imported from Italy, cutlery from England, Victorian paintings, and indigenously produced aathangudi tiles. Following Burmese and Malaysian independence, trade and commerce opportunities for the Chettiars lessened and their economic stronghold was challenged, making it difficult to maintain their grand homes. Since their heyday, the number of Chettinad mansions have been fast dwindling, but efforts are being made to preserve its tradition and aesthetics. Besides conscious efforts to restore and preserve architectural sites, the traditional aesthetic continues to inspire design and decor for contemporary dwellings.
2
Brick Red-N–0533 | R 165 G 100 B 77
Amazon Trail–7655 | R 139 G 211 B 133
Radiance–7893 | R 242 G 186 B 43
Chettinad Architecture Colour Palette
1
An interior courtyard of a Chettinad mansion.
2
An exterior view of a temple in Chettinad.
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
32–33
3
Aathangudi Tiles
KottanS
Tamil Nadu’s characteristic soil is used to form the unique handmade tiles of Chettinad known as aathangudi tiles. The craft originated from the need to create an indigenous and cost effective replacement for the then imported Japanese and Belgian tiles. The glass of the tile is polished with daily use and over time gains a luminous quality. The tiles are a medley of bright playful hues together with more earthy tones. Aathangudi tiles are now used to impart a traditional touch to modern, urban spaces.
Colourful Chettinad baskets called kottans are created using leaves from palmyra trees common in Tamil Nadu. Often, to offset the texture and colour of the dried and braided leaf, brightly coloured cotton fabric and beads are woven into the basket. There has been a concentrated effort to generate and renew interest in the kottan craft through upgrading and mechanising original craft processes, encouraging weaving as a vocation, and building new markets for Chettinad’s crafts. 5
4
Spring Beauty– 7822 | R 191 G 185 B 92
Mehendi-N–2361 | R 76 G 108 B 76
3
Rooftop detail of a Chettinad mansion.
4
An aathungadi tile created with soil from Tamil Nadu.
5
A woven kottan from Chettinad.
Chettinad Saris Traditionally, Chettinad saris are woven using cotton on a handloom. The weave produces a thick fabric with bold contrasting colours that are combined in stripes or checks. In the past, the width of the Chettinad sari used to be shorter than a typical sari, allowing jewellery around the ankles to be exposed. Nowadays, the processes used to craft the sari are being used to craft different forms of clothing. Zari and silk have been introduced into the once pure cotton sari, providing weavers with greater opportunities for experimentation with texture, pattern, and colour.
Crafts across the world originate in response to the needs and aesthetic of their time. As time goes by, the greatest challenge they face is to retain their relevance as artefacts. The crafts of Chettinad are a unique example of living traditions that have adapted and continue to inspire application in contemporary design.
Please share your feedback by writing to us at cq@asianpaints.com
INSIGHT
Crafting Spaces In conversation with Harini Chandrasekar
34–35
Harini Chandrasekar is a trained textile designer from the National Institute of Design, Ahmedabad. Design schools in Sweden and Milan contributed to her education and gave her international perspective as well, after which she went on to teach and work across India and Europe in several capacities. Currently residing in the historic city of Boston, Harini works on projects in the realm of illustration, textile, murals, and product design.
INSIGHT COLOUR Quotient 12
You were trained as a textile designer. How did you get interested in design for spaces? In my mind, textiles are always linked to a context and function. It is never just a pretty print. In that sense, this was a sort of logical application of the same sensibility to energise a living space by working directly on the wall instead of a textile screen. Still tactile and textural, walls allow for a playful expression of similar skills and sensibilities used in designing fabrics. Your work with spaces, primarily uses the wall as a canvas for creative explorations. Why? Although I have worked on art and installations that stand separate from a wall, I find the ready wall simply less fuss to work with. It is literally a blank canvas that frames a space and just a few strokes or motifs placed strategically can convert a static room into a dynamic, exciting one.
“The important thing is to create a space that isn’t intimidating but one which is a happy zone that engages people and makes them want to spend more time there.”
1
In your work with the child’s playroom wall, you play with the idea of interactivity. What was the inspiration behind this project and how did you develop it into its final form? My main muse for that particular project was my four year old niece. The aim was to create a safe playroom for her which could hold her attention. Given the fact that children tire of their toys easily and have short attention spans, I wanted to create an area which could amuse and engage her for hours. That is the thought that lead to creating different interactive zones in which she could communicate with the space differently every day allowing the room to adapt and grow with her. The interactive spheres appear in the form of chalkboard or blackboard paint as well as magnetic wall patches. The zones are large enough and scattered aesthetically all over the room allowing the doodle and artwork areas of today to become homework and reminder charts of tomorrow.
36–37
How do your Indian roots influence your work with interiors, such as the Warli inspired interiors for a home in Texas?
2
Warli combines the best of two of my passions—stories and craft! I have always been passionate about craft and the concept of ‘handmade’ and painstakingly created, each stroke a testament of love. Warli art is essentially panels of narratives that tell us about the tribe and its activities and beliefs through its simple yet intricate paintings steeped in wonderfully expressive age old traditions. The family for whom I created this wanted an Indian-inspired mural which would run across the walls of the room and integrate well with their existing furniture and art. Warli, with its clean lines and the simple use of just two colours seemed to work well to fit the space.
3
Your work shows great versatility of style and execution. Do you have a particular process with which you approach a commissioned project? Being Indian and having worked closely with craft skills on many levels, that is such a big part of who I am, I believe it emerges through all my different styles of work. Commissioned projects are interesting as they come with their own unique constraints and the fact that there is already so much happening in a space that people have been interacting with and living in. My process is always simple. To try and create a fun space that also reflects the client’s personality on some level. To view more projects, vist www. themadrasdesignery.wordpress.com or www. harini.carbonmade.com Cheeky Yellow–7902 | R 246 G 202 B 81
Please share your feedback by writing to us at cq@asianpaints.com
Copper Moon–8013 | R 175 G 99 B 62
Glowing Rust–X112 | R 232 G 121 B 49
1
Creating interactive zones in a child's playroom.
2
Warli-inspired murals along the walls of an interior space.
3
Detail of a mural painted in soft, feminine colours.
Warli Colour Palette
All shades are printed representations and may vary slightly from actual colours. Please refer to the Asian Paints Colour Spectra for exact shade reference.
IN FOCUS
Upcycle
38–39
Taste of Earth
Asian Paints ColourNext is India’s pioneering colour forecast, curated by design experts across India and synthesized by a select panel into definitive aesthetic and colour directions for the year. In this two part series, we share the translation of these colour directions into multi-sensorial thematic installations for the Asian Paints ColourNext 2013 exhibition at India Design ID 2013 in New Delhi.
IN FOCUS COLOUR QUOTIENT 12
The design team realized early on in the project that a single instance of a well repurposed product could not adequately capture the essence of ‘Upcycle’. Initial ideas like the backs of truncated cars becoming cool sofas were discarded to give way to a more conceptually powerful, visual metaphor—the concept of a tree made out of discarded objects.
A plausible direction for the upcycled tree was created as a sketch, and not a production drawing, to act as the starting point for the installation.
The materials were sourced through exhaustive market visits—the first being right at the beginning and the second after a substantial part of the tree had been roughly assembled.
During the first phase a quick assembly of the pipes with rough welding provided basic definition to the shape of the tree. The basic shape grew with constant on-site supervision.
40–41
Elements like metres, lights, and fans were added towards the end. Multiple processes and materials came together to recreate the aesthetic of the rough and the raw textures of used surfaces. Programmed, variable-speed rotating fans added a dynamic dimension by forming the foliage.
Additional pipes were added to refine the overall shape and joint details were designed to provide additional strength.
The idea of Upcycle was detailed with exhaust pipes becoming a key element and completing the visual twist—something synonymous with pollution, repurposed into the positive, life-giving form of a tree.
Concept and Design: Trapeze Fabrication and Structural Detail: Sree Jothi Creations Fan Motion Programming: Twistopen Lighting: Shailan Parker and Modern Stage Service Sound Design: Clay Kelton Photo Credits for Final Installation: Ram Sinam
IN FOCUS COLOUR QUOTIENT 12
The installation for Taste of Earth needed to reflect the extremely refined persona of a person who is widely travelled, appreciates crafts, materials, and not only curates but is also passionate about creating objects and art. The vision for the installation was distilled to a single grand work table surface.
The fabrication involved casting the various objects in plaster to create the moulds which were then used to cast the final shapes in paper.
The forms and their composition on the table (curated objects, tools, work in progress etc. on a large work table) created a first layer of meaning. The expressive use of material (paper) and colour (white) and the fused elements as a singular composite form, built a second layer of meaning.
42–43
Each of the four parts of the table were cast as a singular piece, meaning, multiple moulds were used at one time to cast one single complex shape and repeated thrice to complete the table.
The forms suggested a creative and a passionate work table; the white textured paper objects, cast as a singular object transported the real to the metaphorical. Instead of using paper as a medium to print the messaging, the shape, colour, and texture of paper was used to reveal the story of Taste of Earth.
Look out for the ColourNext 2013 colour journeys at: • Pune: 26 April 2013 • Jaipur: 4 May 2013 • Ahmedabad: May 2013 • Baroda: May 2013 • Bangalore: May 2013
To know more about the ColourNext launch dates contact your Colour Connect Relationship Officer. For more information T 1800 209 5678 E cq@asianpaints.com
Concept and Design: Trapeze Casting of Paper Table: Glitter Art Studio Consultant for Paper Casting: Shantamani Muddaiah Design of Wood Base, Stools, and Floor: Twistopen Lighting: Shailan Parker and Modern Stage Service
Ask Asian Paints PAINT QUERY
Q. What colours and shades are appropriate for kitchens? A. Choosing colours for kitchens should not be dependent on the colour of your fridge or countertops. Kitchens are used for many activities and each space, for example, cutting, eating, cooking, browsing recipes, storage, and washing, requires a special finish or colour. It is also important to identify your residential kitchen type—landscape, U-shaped, or linear, —and choose colour appropriatley. Cabinetry covers at least 50% of most kitchen wall-space, while a smaller area is used for backsplashes, trim, and other nonpaint areas. Therefore there is a small area for paint in the kitchen and colour decisions have to be made carefully.
Important considerations while designing and painting a kitchen Kitchen interiors should be organised and made soothing for work. Instead of painting bright colours on every wall in the kitchen, restrict their use around the chimney and the stove. The colour will help conceal the damages of smoke and will keep black spots away. In particular, this area should be painted with Asian Paints Satin Enamel, as it provides a gloss finish and is easy to clean. Light, especially natural light, adds exceptional warmth to the kitchen. Some tried and tested colour themes for kitchen interiors have been mentioned.
1. Pure White Colour Theme Use a white colour for the kitchen surface along with light storage areas, accented with one highly distinctive colour. 2. Bold Colour Theme To achieve a modern look, use pure white for most of the kitchen space in parallel with a bold accent colour and light coloured cabinets. 3. Unified Colour Theme For a harmoniously designed kitchen, use light tones for the ceiling and cabinets. For the shelves and trims use whites and for the walls use a mid-tone.
Rain Drop–L143 | R 247 G 243 B 233
Buttercup-N–0336 | R 222 G 193 B 151
New Day–7410 | R 159 G 215 B 233
Bold Theme Colour Palette
Cool colours like white, off-white, cream, and peach are appropriate choices for any kitchen. They make the space look airy and conducive for work. A contrast colour at times adds interest and warmth. A balance of the two has to be carefully negotiated. Use the Asian Paints Colour Shastra for selecting colours inspired by vaastu shastra. For more information T 1800 209 5678 E cq@asianpaints.com W www.asianpaints.com
44–45
INCOMING Woodtech Polyester Woodtech Polyester is a cutting-edge wood finish from Asian Paints. This bestin-class finish for wood is manufactured in Italy and imported in its original Italian packaging. The shiny mirror-like finish with a glass-like thickness transforms wooden furniture into masterpieces. Its clear variant highlights the elegant grain pattern of wood, adding charisma and character to furniture. Woodtech Polyester is also available in luxuriant opaque finishes to bring wooden surfaces to life with colour. Add a touch of style and sophistication to your design and decor ideas for wood with Asian Paints Woodtech Polyester. View current issue and archive at www.asianpaints.com/cq
Colour Quotient 11 January 2013
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‘Colour Quotient’ is Asian Paints’ initiative that reects signiďŹ cance 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
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A/P QBSU PG UIJT NBUFSJBM NBZ CF SFQSP duced or copied in any form or by any means (graphic, electronic or mechanical, including photocopying, recording, taping or information storage retrieval system) or reproduced in any disc, tape, perforated media or other information storage device etc. without the written permission of Asian Paints Ltd. All rights reserved. Copyright Asian Paints Ltd. All disputes are subject to Mumbai Jurisdiction only.’
QIPUPT !/ XJUI UIF FYDFQUJPO PG t 4ZNQIPOFZ 4ZNQIPOFZ Âť GMJDLS DPN QIPUPT TZNQIPOFZ BOE t 5IF LPUUBO CBTLFU QIPUPHSBQIFE CZ $PEFTJHO CRAFTING SPACES t All images courtesy Harini Chandrasekar IN THE MAKING t All images courtesy Trapeze ASK ASIAN PAINTS t BMJTPOBOEKPFM Âť GMJDLS DPN QIPUPT BMJTPO BOE KPFM 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 Âť cq@asianpaints.com Asian Paints Helpline Âť Contact us at 1800 209 5678 for queries on products, colour tools, services Asian Paints painting service Âť Available in Delhi, Chandigarh, Jaipur, Bangalore, Hyderabad, Coimbatore, Chennai, Cochin, Kolkata, Ahmedabad, Baroda, Mumbai, and Pune
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The April palette is created using the Colour Scheme PRO app by Asian Paints—the easy way to create professional colour combinations. Pick a colour from over 1800 Asian Paints shades and allow the app to guide you to the perfect Monochromatic, Analogous, or Compleme-ntary combinations. Available as a free download for Android and iOS smartphones and tablets.
Monochromatic Combination
Complementary Combination
Analogous Combination
Terracotta-N–0427
Mahogany–0R05
Velvet Dream–8117
Marooned Brown–8669
Ginger Pop–8053
Blue Vision–7432
Scan the QR code to download Colour Scheme PRO for free to your Android or iOS smartphone or tablet.