Cq 17 by Asian Paints Limited

INSIGHT

Issue 17

Nov 2014

Regalia

CONTENTS

INSIGHT Regalia Two leading creative professionals provide insights into creating opulent colour palettes around the issue’s colour, Grape Riot–X138.

Colourful Festivities

With the festivities of Christmas and New Year around the corner and a nip in the air with winter approaching, we chose the gorgeous Grape Riot–X138 as our colour for this issue of Colour Quotient. The issue’s theme Regalia is reflected in this rich, royal shade. Get started by creating moods like Cityslick, Imperial, or Enigma with our expert stylist Ritu Nanda. Pick up decor tips as two practising designers talk to us about how they see the issue’s theme being used in spaces and suggest their colour palettes for creating the look. Even today, ancient Italian architecture awes and inspires us with its elegance and beauty. But using it in current times hasn’t always been easy. With the new stone finish range from Asian Paints Apex Ultima Allura inspired by Italian textures, you can create masterpieces that leave a lasting impression. Colour Quotient 17 takes you on two journeys, the first across the border to neighbouring Bangladesh, for a conversation with Rafiq Azam, principal architect of Dhaka-based architecture firm, Shatotto. He shares his thoughts on context, culture, and colour in the landscape of Dhaka through the work he has done. The second journey is to a small village in Odisha called Raghurajpur—the birthplace of the ‘Patachitra’ art form of storytelling, and its modern adaptations in design. The third part of our ‘Colour Palate’ research story takes us to Kashmir, Punjab, Kerala, and Tamil Nadu to explore the colours inspired by the cuisines of these states, and leaves you with four inspiring palettes. In colour theory, we take you through the Munsell Colour System as explained by international colour expert, Kate Smith; and explain Light Reflectance Value and how you can use this knowledge in your work. As always, we’d love to hear your thoughts about Colour Quotient. Do write to us at cq@asianpaints.com with your suggestions, ideas, and feedback. Here’s wishing you a Merry Christmas and a Happy New Year!

Divya Nambiar

CQ 17 IN FOCUS Faux Stone Finishes for a Sophisticated Look Introducing the exquisite Apex Ultima Allura range of stone texture wall coverings from Royale Play.

Introducing The Chromantic and Flora Two new additions to Colour Code.

The third and final instalment in this series explores the colours and cuisines of Punjab and Kashmir in the North, and Kerala and Tamil Nadu in the South.

32 Patachitra—The Story Unfolds

Shweta Mohapatra and Sibanand Bhol, the founders of Collective Craft, share the story of Patachitra art from Odisha.

INSIGHT Light Reflectance Value A system to understand and measure how different colours reflect light.

INDIA CONNECT 25 Colour Palate

INSPIRATION 16 Colour Love

Karishma Shahani Khan’s label, [Ka] [Sha] transforms colourful fabric used for clothing into vibrant footwear.

The Colour Resource Index 24 Colour resources from around the world, hand-picked for utility and inspiration.

17 The Soul & The Shell

An interview with the principal architect of Shatotto—Rafiq Azam.

Quantifying Colour 36 Using the Munsell Colour System for better colour knowledge and application.

ASK ASIAN PAINTS 40 Colour Query

Issue 17

_Colour Quotient Team

Ayush Kasliwal

Nov 2014

ON THE COVER

Regalia represents regal, opulent spaces which are spirited and indulgent. A pillar head, used as architectural embellishment for centuries, transforms into a geometrical ornamentation, brought to life by the issue’s colour, Grape Riot–X138.

Regalia

COLOUR MAP

Vintage table lamp.

Colour Map is a visual map of ideas to inspire and kick-start your creative process. In this edition of Colour Map, Ritu Nanda curates a collection of decor ideas originating from the issue’s colour, Grape Riot–X138. Furniture upholstered in silk fabric.

Pink glass candle stand with gold accessories on a beautiful antique table.

CURATOR: RITU NANDA Ritu Nanda, the founder of Ritu Nanda Design, is known for her integrated approach that brings together interior design, architecture, and styling to create stylish and dramatic environments. www.ritunandadesign.com

GRAPE RIOT–X138

Lilac Dash–8210 | R 214 G 199 B 204

Sofa chair.

Apex Ultima Metallics Antique Gold–M403

Rich fabrics, elegant colours, sumptuous decor, and a majestic crystal chandelier create a regal atmosphere.

CITYSLICK

Purple beads in glass and crystal.

Imperial Colour Palette

IMPERIAL ENIGMA

Minimal purple shelving.

Purple cushions add colour to utilitarian furniture. Rich upholstery and intricate patterns create an inviting lounge area.

Glass roof panels with coloured accents.

Purple cushion and table-ware.

Marbled paper.

Lamp shade in ornate patterns.

Raining Grey–9481 | R 134 G 140 B 139

Strings of beads on a pink tablecloth.

Pillow covers in rich fabrics.

Cream Pie–L152 | R 247 G 245 B 236

Purple cushions, sleek glassware, and a yellow centre table add chic accents to a modern living room.

Cheeky Yellow–7902 | R 246 G 202 B 81 Silver chair in metal and fabric. Cityslick 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.

Cherry Brandy–X126 | R 174 G 61 B 85

Velvet curtains in bright red add plushness and mystique.

Sofa in red velvet.

Enigma Colour Palette

IN FOCUS

4–5

Faux Stone Finishes For A Sophisticated Look Accessible and aesthetic stone finishes with the Apex Ultima Allura range

tone, one of the most durable materials found in nature, is one of the first building materials that man ever used. It is perceived as solid, secure, and strong with beauty as an additional benefit. The use of natural stone turns architecture into a piece of art, which is why it has always been the choice for building heritage monuments and important institutions. The various textures and colours available in stone can, in skillful hands, accentuate the look of any structure. In modern structures, the varied patterns, colours, and textures that are naturally available in stone, bring in an added element of novelty whether they are used indoors or on exteriors. Until recently, it was impossible to achieve an authentic stone texture without using real stone, which has the limitations of being heavy and expensive. However, with the launch of the Asian Paints Apex Ultima Allura range of premium products, these limitations have become a thing of the past. The Ultima Allura range provides realistic stone finishes with binders that are vapour permeable, water repellent, erosion resistant and anti-mould. These features ensure that the walls that sport them will look stylish for years to come.

GRANIZA FOR A FAUX GRANITE LOOK Inspired by the timeless beauty of granite, this decorative coating recreates the natural look, feel, and texture of stone. Whether used in interiors or exteriors, Graniza gives your home a dignified elegance and creates an aura of natural beauty. The Graniza textured finish for exteriors is imported from Argentina. This finish imitates granite, offering a sophisticated finish on the wall. It is a water-based product based on advanced acrylic binders. The ability to achieve a cool and classy ‘granite’ surface and weave it aesthetically into interiors and exteriors without having to worry about how the stone’s weight will impact other aspects, is a boon for architects. The finish that you choose with care will retain its charm for years due to

the high erosion resistance property. This property enables the finish to resist the damaging effects of pollution, ensuring that the finish retains its subtle charm for years. The use of a clear coat will ensure that the finish chosen will retain its original look, while additionally protecting the surface from damage from algal and fungal growth. Using Graniza ensures an authentic granite-like finish, without the hassles of continuous maintenance.

Apex Ultima Allura Graniza Light Grey

Apex Ultima Allura Graniza Dark Grey

Apex Ultima Allura Graniza Yellow

Apex Ultima Allura Graniza Green

Apex Ultima Allura Graniza Red

This product is available in five ready-to-use shades.

All textures are printed representations and may vary slightly from actual textures. Please refer to the Apex Ultima Allura swatches for an actual texture representation.

INFOCUS COLOUR QUOTIENT 17

6â&#x20AC;&#x201C;7

A GRAND ITALIAN STRUCTURE WITH TORINO Apex Ultima Allura Torino Travertine Effect

Apex Ultima Allura Torino Moon Effect

Apex Ultima Allura Torino Desert Effect

Limestone subjected to exterior exposure will soon deteriorate due to weathering from the natural effects of wind, rain, and changing temperatures. Using Torino provides a realistic Italian stone texture finish, without the limitations of real stone.

Torino is inspired by the classical ornamental stones that were used by the great artists and sculptors of Italy. Its soothing, sandy tones and natural textures create an excellent, neutral backdrop for any kind of exterior. The usage of Torino on exterior walls can make a building look very grand. Imported from Italy, Torino is an antimould, medium grained textured finish for exteriors. It replicates an antique coating effect for exteriors, offering various patterns for your wall. The versatility it offers can help architects create stunning effects that would not have been possible had they been working with stone. All the glory of stone without any of the hassle is what you get when you opt for a classy product like Torino.

SOPHISTICATION WITH VENEZIO Torino is a water-based product based on advanced siloxane-modified acrylic binders. The high water repellent property of siloxane ensures low water absorption levels. When such levels are maintained over time it results in painted surfaces that do not swell and scale. Torino, as it has a siloxane binder, has high levels of resistance to the growth of fungus and bacteria. The strong adherence of Torino to the substrate ensures a longlasting protective coating. The anti-mould performance ensures that the finish overcomes the negative impact of weather and mould. As the permeable surface ensures that there is no moisture trapped between layers, the conditions are not suitable for the growth of mould. And the absence of mould ensures a long-lasting painted surface.

All textures are printed representations and may vary slightly from actual textures. Please refer to the Apex Ultima Allura swatches for an actual texture representation.

Venezio replicates the rustic look of Italian exteriors with a fine grained textured finish lending an air of sophistication to the surfaces that it is used on. This elegant and subtle limestone finish has the sophistication of real stone, while providing numerous advantages over its natural counterpart. Apex Ultima Allura Venezio has excellent vapour permeability, letting walls breathe by allowing water vapour to pass outward through its film. Water affects the health of a building and any decay can be highly detrimental to the health of both a building and its occupants. The breathability of a painted surface allows quick and unhindered release of humidity. Breathability also contributes to the life of the painted surface

as moisture trapped behind acrylic barriers leads to blistering and flaking of paint layers. There is also a possibility of having saturated surfaces which eventually leads to crumbly walls that need repairs. In short, breathability guarantees a prolonged aesthetic appeal. Venezio also provides superior water repellence, protecting your exteriors from rain and running water. The pores on a surface painted with Venezio are the right size for water vapour to pass outward, however they are too small to allow water molecules in, thus making them repel any water that falls on them.

Real stone is both heavy and expensive and it does not have the advantages that a faux stone finish has, namely that of permeability. While a faux stone finish cannot compare with real stone for longevity, it can sure give you the option to change the look if you so wish to. It is, after all, not written in stone!

Ultima Allura Venezio and Torino need to be top coated with Apex Ultima for best results.

Apex Ultima Allura Venezio Top Coat: Stonewareâ&#x20AC;&#x201C;8008

Limestone has been used in European and Middle Eastern architecture for centuries for its unique aesthetics. Venezio provides the luxurious aesthetics of authentic stone, with the added benefits of longevity, weatherresistance, and ease of application.

If you would like to know more about Apex Ultima Allura, visit us at: www.asianpaints.com/products/exteriorpaints/exterior-textures/apex-ultima-allura.aspx

INSIGHT

8–9

REGALIA Regalia are emblems and symbols of royalty, signifying the visual and experiential cues associated with nobility, opulence, and luxury.

DIVYA NAMBIAR

MY REGALIA COLOUR INSPIRATION

Founder and Designer

Regalia spells luxury. To me, Regalia is visible throughout the rich 17th century South Indian palaces. The lush greenery surrounding the palace, and the opulence and grandeur of the architecture cannot be missed. The rays of the sun passing through the dark teak wood interiors give it a warm ambience. I am currently on holiday in Goa, where

Unniyarcha

3 Hand-crafted, gold plated jewellery made with semi-

precious gemstones such as lapis lazuli & turquoise.

Divya studied financial mathematics at Columbia University in New York City, where she was taken in, as much by the magic of numbers, as by the cutting-edge fashion and design she saw around her. Returning to India to work with the family business in specialised engineering design, where designers bent materials to the will of the mind, she was inspired to apply everything to her childhood passion of designing jewellery. Divya’s label, Unniyarcha, is named after the legendary warrior of 16th century South India famous for her beauty and her strength.

“Different colours, their combinations, evoke different emotions. Their power to instil and portray different meanings is what excites me the most. In jewellery, the expression of colour itself can be achieved by different means, from the cut of the stone, to the polish of the metal. The mood of a single piece, from regal to spunky, can be governed completely by the selection of colours and colour combinations. Colour is one of the principal ways to define & accentuate the beauty of each piece of jewellery and its wearer.”

Regalia represents spirited and indulgent opulence. Together with designers Divya Nambiar and Ayush Kasliwal, we explore its colour expressions.

it is the end of the monsoon season. There is lush greenery all around, with dark blue skies, and short bursts of heavy rainfall. The warm sunshine, deep blue of the ocean, and bright hues of bougainvillea flowers are my inspiration for the Regalia palette. The issue’s colour, Grape Riot–X138, is a very strong colour. Using Jade Green–2435 along with

Grape Riot–X138 adds a slight contrast, while Ocean Force–X146 is a soothing colour that ties the other two shades together.

7 Colour inspiration for Divya Nambiar’s colour palette.

Ocean Force–X146 | R 0 G 84 B 136

Grape Riot–X138 | R 148 G 67 B 124

Jade Green–2435 | R 31 G 125 B 67

SHOWCASE Unniyarcha’s first collection is inspired by the characteristics of the legendary warrior Unniyarcha, who was known for her boldness and grace, as well as for being a formidable and powerful fighter. The collection features a bold, fierce look, coupled with the grace, beauty, and gentleness of a princess. Regalia as a theme connotes royalty, sumptuousness,

and elegance echoing the ideals of this collection. Every piece in the collection expresses itself through colour, as well as form. For this collection, blue, red, & a warm yellow are our primary colours, expressing boldness, strength, and timelessness. Each piece combines with the spirit of the wearer to create a unique expression.

Divya Nambiar 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.

10–11

INSIGHT COLOUR QUOTIENT 17

MY REGALIA COLOUR INSPIRATION

AYUSH KASLIWAL Co-founder and Designer

To me, Regalia, particularly in the Indian context, is about materials which are simple and pure, manipulated in a rich and sensuous manner. A quiet confidence, and comfort in being that way. Metallic gold or burnished brass, jewel tones, tempered with rich colours in satin. Refined and sensuous shapes, in a sparse but rich environment. Refined lines and forms, which stand by universal values of beauty, while being

AKFD Design Studio & Anantaya Decor Ayush is the founder of AKFD Design Studio, and an alumnus of the National Institute of Design, Ahmedabad, where he studied furniture design. Based in Jaipur, AKFD offers a fresh twist to traditional crafts, producing cutting-edge artefacts, accessories, textiles, and furniture. Strategically located in Jaipur, with access to centuries of rich craft tradition in Rajasthan, AKFD combines these local crafts with a modern perspective on products and materials, creating a unique range of products. Ayush is also co-founder of Anantaya Decor, an inter-disciplinary lifestyle design studio, that serves as the retail arm of AKFD, while also working to develop innovative new ideas through an understanding of the importance of preservation of traditional crafts.

identifiably Indian. Inspired by nature, but not imitating it, the spirit of Regalia infuses everything we do. The inspiration for my Regalia palette originates in the blend of rich, intense shades paired with muted, but full-bodied colours one finds in the palaces of Rajasthan. The tones of terre-verte, which is used in Aariash work, the rich red of kumkum, and the purple of exotic sarees and patkas worn by royalty.

SHOWCASE “I am personally a little shy of colours. However, having said that, the natural colour of materials and the way light plays on it is central to our designs. Colours are part of the process, be it the deep shades of patina on copper, or the delicate lustre of glass. We do not see colour as something that is applied on, rather it is something that is intrinsic to, and identifiable with the material, like an emerald. Colour is the material, and the material is the colour.”

Regalia is a play of intensities, without being loud. This approach is visible in the Oas Marble Ball candle stand and bell lamps. The body of the Oas candle stand is made from brass, with the outside finished in a dark patina, while the inner surfaces have been polished to a brilliant shine. The candle-holder itself is made of white marble. The Fat and Long bell lamps are adjustable pendant lights, inspired by temple bells. In this case, the contrast between the inside and the outside is more pronounced, with

the spun-brass interiors reflecting a glow of warm light. The culmination of this approach is clearly visible in our choice of colours for the Mars Attacks table, chosen to be as striking as possible. Each table features a play of saturated, yet pastel shades. This vision extends to the Kalam table, illustrated by skilled miniature-painting artists, who have decorated the tables with images selected from and inspired by traditional Rajput and Mughal miniature paintings.

Ayush Kasliwal Colour Palette Still Aqua–7480 | R 130 G 169 B 170

12 13 14 15

Colour inspiration for Ayush Kasliwal’s colour palette. Signal Red–0520 | R 189 G 46 B 50

Grape Riot–X138 | R 148 G 67 B 124

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.

The Oas Marble Ball candle stand.

9 10 The Fat and The Long bell lamps.

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

11 Mughal miniature art adorns the Kalam table.

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

12–13

In standard LRV notation, absolute black is assigned a Light Reflectance Value of zero, and a perfectly reflective white is assumed to have an LRV of 100. However, absolute black and perfectly reflective white do not occur in everyday scenarios. In practical application, the blackest black has an LRV of 5, and the whitest white has an LRV of 85. Yellows are also highly reflective, some yellows have LRVs close to those of the brightest whites.

There are several terms that are commonly used when describing or measuring light reflectance. LRV, luminance, and luminosity function are terms describing the same concept—the amount of incident light that a surface reflects. Tools such as a spectrophotometer measure LRV using the CIE Standard, established by the International Commission on Illumination (Commission Internationale de l’Éclairage).

TERMINOLOGY

i na n

LRV SCALE

Illum

LIGHT REFLECTANCE VALUE

It is important to remember that illuminance is not the same as luminance. Illuminance is the light falling on the surface and is independent of reflectivity. Luminance is the amount of light reflected from the surface and has nothing to do with the original light source.

“Indeed rays, properly expressed, are not coloured. There is nothing else in them but a certain power and disposition to produce in us the sensation of this or that colour.” —Sir Isaac Newton UNDERSTANDING LIGHT REFLECTANCE VALUE

LIGHT REFLECTANCE VALUE

Colour is a psychological phenomenon. It is an interpretation by the brain of sensations that are stimulated by radiation. Objects themselves are not coloured, they only appear coloured because they reflect light from a particular wavelength of the visible spectrum. The illuminating light in our environment is white, but we see most objects as coloured, not white. This is because objects absorb certain wavelengths contained in the white light and reflect the rest. This reflected light creates a particular sensation of colour. Colours therefore are a result of the light they reflect, and not the light they absorb. The phenomenon of reflectivity, when expressed as the amount of light reflected by a particular colour, is called its Light Reflectance Value, commonly known by the acronym, LRV.

British Standard (BS 8300:2001/A1:2005) defines Light Reflectance Value (LRV) as the total quantity of visible and usable light reflected by a surface in all directions and at all wavelengths when illuminated by a light source. LRV is a numerical rating assigned to each colour and is a scientifically determined assessment of the amount of light that colour will reflect on a scale of 0 to 100. The reflected radiations considered are those in the visible region only. The term albedo is broadly used when the total reflectance is considered, and is not restricted to the visible region only. Pure black which has an LRV of zero, absorbs all light. On the other hand, pure white has an LRV of nearly 100, and can reflect all the incident light. All colours fit in between these two extremes. A colour with an LRV of 50 will reflect 50% of the light that falls on it.

anc

in Lum

BENEFITS OF USING LRV 1

Colours with high LRVs can dramatically change the perceived brightness of a space.

Comparison LRV is a standardised, objective, and easy way to compare colours, to find the ones that suit a specific purpose. Colour appearance is not always obvious from looking at samples. 0

100

Lightness LRV describes the lightness or darkness of a colour. Increasing the LRV of surfaces within a space increases the brightness of the space. This can be achieved by adding white to the colour. Decreasing the LRV reduces the

brightness of the space. This can be achieved by adding black or a complementary colour. When choosing between shades and tints of the same colour, using LRV will help identify which are the truly lighter and brighter shades. However, two completely different colours could have the same LRV.

INSIGHT COLOUR QUOTIENT 17

HOW LRV CHANGES WITH CHANGE IN DEPTH OF COLOUR

14–15

APPEARANCE OF SHADES HAVING SIMILAR LRV

Coral Bells–8674 | R 242 G 191 B 180

Spring Breeze–7723 | R 231 G 236 B 209

Mahogany–0R05 | R 104 G 47 B 52

Cedar Path–8673 | R 235 G 173 B 161

Lemon Burst–7864 | R 254 G 238 B 145

Armada–0U29 | R 36 G 58 B 82

CONTRAST LRVs are an important means to control contrast. If you want to use multiple colours with little contrast, choose ones with LRVs that are no more than 10 units apart. A difference in LRV of 30 units between adjacent

surfaces ensures sufficient contrast. In case of sufficiently high illumination levels, an LRV difference of 20 units may also be sufficient. Such LRV differences are typically mandated in some buildings to facilitate

movement of visually impaired people. In case of certain specific applications such as badminton courts, LRV values of 30–50 are mandated to ensure contrast between the shuttle cocks and the background walls.

SIGN CONTRASTS 2

Cinnamon Rose–8672 | R 207 G 133 B 123

Iced Silver–8236 | R 234 G 232 B 229

Cool Lagoon–7477 | R 32 G 71 B 73

Spice Jar–8671 | R 181 G 102 B 91

Natural Linen–L132 | R 242 G 236 B 218

Hip Purple–8197 | R 81 G 50 B 73

Mohican Trail–8670 | R 165 G 81 B 68

Light Shades: The colours above share a high LRV of 79–80, though they come from different colour families.

Dark Shades: The colours above share low LRVs of 7–8, but have diverse hues.

Light Reflectance Values are particularly difficult to determine for semi-transparent finishes such as wood stains. Light travelling through these finishes gets reflected by the underlying wood. A stain applied over a pine wood will have a relatively higher LRV than the same stain applied over a rosewood. This is why there is no standard Light Reflectance Value provided for wood stains.

As an industry rule of thumb, an LRV of 70 units of contrast between sign text and background colours is an ideal guideline to follow when evaluating colour and finish options. 70 is not a fixed number and contrasts of a few units below the recommended figure, depending on the colours chosen, can also yield highly legible results.

LRV Formula Contrast = ( B1 - B2 ) x 100 / B1 B1 = LRV of lighter area B2 = LRV of darker area 2

3 Signs can communicate critical information effectively,

by combining colours that have contrasting LRVs.

LRV AND GREEN BUILDINGS From a sustainability point of view, a wall colour with higher LRV supports lighting plans by helping propagate daylight deep into the room space. LRVs of fittings such as tiles, carpets, and furnishings also help in reflecting existing light within the room. Colours with LRVs higher than 50 will be lighter and will reflect more light back into the room. This reduces the requirement of the standard number of lighting fixtures required to enable efficient and safe performance of tasks. The reflectivity of exterior paint colours can even keep inner environments cool which helps consume less electricity for cooling purposes.

Aquadur PU Mahogany–0R05

Aquadur PU Rose Wood–0709

Aquadur PU Walnut–0805

Aquadur PU Oak Yellow–0852

For more information on finding Light Reflectance Values of Asian Paints colours, please contact your Relationship Officer.

Aquadur PU Bianco–1959 4

Yellow is one of the most reflective colours in the spectrum and hence has a high LRV. Some yellows have an LRV of more than 80. However, at times this can be misleading. Choosing a yellow using just its LRV could result in an intense yellow as opposed to a calmer, softer yellow.

This corridor at the Technological Institute of the Philippines demonstrates how paints with high LRV can reduce the need for artificial lighting.

Temperature Control The heating effect of the sun is due to the Near Infrared Radiations (NIR) in sunlight. As LRV is restricted to the visible region of radiations, it theoretically does not govern the heating effect. However, it has been observed that whites tend to reflect radiation not only in the visible region but also in the NIR region and hence are able to reduce the heating effect of sunlight. Most blacks tend to have low LRVs in the visible, as well as the NIR region, which results in an increase in overall temperature.

INSPIRATION

INSIGHT

16–17

[Ka] [Sha] Footwear

The Soul & The Shell

[Ka] [Sha], a label started in 2011 by Karishma Shahani Khan, post her graduation from the London College of Fashion focuses on creating hand-crafted contemporary fashion that employs surface techniques from India’s extensive heritage of textiles. In addition to clothing, [Ka] [Sha] retails their own characteristic line of footwear and accessories, made of the same colourful fabric as the clothing.

An in depth conversation on context, culture, and colour with Rafiq Azam, principal architect of Dhaka-based architecture firm, Shatotto. Since its inception in 1995, Shatotto’s focus has been on creating architecture for green living, guided by the underlying philosophy of using Bangladesh’s rich heritage and environment to create responsible architecture for people, communities, and societies.

“We started designing footwear with our Autumn Winter 2013 collection last year. It was a natural progression as an extension to the label, considering footwear plays a vital part in enhancing a single look. But the main reason for developing footwear was our need to fully utilise fabric leftovers from production. As a label, we follow a zero-waste policy and footwear, like many other accessories, is a by-product of the same. Each season, our colours are derived from our undying love to use dyes that are the least harmful to the wearer. Colour is one of the most visually stimulating characteristics of a product. You may not remember details of something you have seen but colour will always stand as a reference.” [Ka] [Sha] retails from a number of stores around India, and through online stores as well. The label is fast growing into one of India’s most colourful fashion brands.

To learn more about [Ka] [Sha]’s initiatives visit www.facebook.com/label.Ka.Sha

A sketch of Bangladesh by Rafiq Azam.

INSIGHT COLOUR QUOTIENT 17

18–19

How do your roots in Bangladesh and its culture inspire your work and philosophy?

What does Shatotto mean, and why did you choose the name to represent your design practice? The 19th century poet Michael Madhusudan Dutta wrote a poem ‘Kapotaksho Nod’ (River Kapotaksho). While staying in Versailles, France far from his home in Bangladesh, Madhusudan Dutta pondered over the river from his childhood. The first word he mentions in the poem is ‘Shatotto’ which means continuous. It is my belief that creativity is a continuous journey of innovation, hence the name.

Rafiq Azam, the principal architect at Shatotto.

A sketch of Bangladesh by Rafiq Azam.

At SP Setia headquarters in Kuala Lumpur, Malaysia.

Alif Breeze apartments in Dhaka, Bangladesh.

South Water Caress in Dhaka, Bangladesh.

My childhood and experience of growing up in the Lalbagh area of Old Dhaka (where I was born) influence my work a lot. In Old Dhaka, where people laughed and cried, lived and loved together, one always found help without asking. A friendly atmosphere lingered even on the roads as people freely exchanged greetings and smiled as they crossed each other. Walking through the narrow alleys, the touch of the silent sun, giggling of the children on the street, loud hawkers passing by, ringing bells of rickshaws, sudden rains and music on the tin roof, father nagging us about trivial issues—these are the memories that have made me who I am today. My family was big and I was the sixth of nine siblings. Amid other things, we shared our growing up years and learnt from each other in the wonderful house we lived in. A big courtyard and a garden in the south was the centre of most of our activities. My mother and father tended to the flowering plants and they blossomed in a myriad of colours. I still harbour in my heart the pleasures of relishing freshly plucked fruit while sitting on the branch of the tree it grew on! Why do you think it is important to retain the connection with culture and traditional wisdom in the practice of modern architecture? The beauty of civilisation is in its transformations. We cannot forget and ignore the Stone Age; we also cannot live in the Stone Age. The reason is due to transformation, whether you want it or not. In fact, it is a linear and critical journey. When we lose the connections with time and space, there

is more of the possibility to ‘nowhere.’ In the realm of urban society with its own complex dynamics, it is a challenge to see how we intertwine the essence of the simplicity of our village in terms of time and space. Bangladesh is the largest delta on Earth with 52 rivers carrying water from the Himalayas in an intricate pattern to the Bay of Bengal. During the monsoon, these rivers inundate two-thirds of the country’s land, making water the major element of our landscape. When the water recedes, it leaves a fine layer of fertile alluvial soil and the entire landscape is transformed into large patches of paddy fields. The yellow harvest field and dense green bouncing paddy, vast sky and moving clouds, breeze flowing over the water and swampy land, mid-day sun setting and stretching its last light to twilight, thousands of years old ruins and history, coming back as mystery, sweet memory, and melody—all these are my sources of inspiration.

Do the indigenous colours from the heritage of Bangladesh come into play in your work with spaces?

How do you define ‘green living?’ Certification of a green building as per green building standards is important to attain certain physical aspects of the building. But the most important thing is to understand the essence of green, psychologically. For example, in Bangladesh, the important thing is to understand the essence of water and its transforming relation with green. Water is the protagonist in our landscape, human life here exists in a fine balance with water, light, and greenery, which is lost when there is separation from these fundamental elements. That separation—not necessarily in urban living—is the cause of our alienation and waning imagination. So it’s important that our architecture restores this equilibrium. 2

What propelled you to incorporate green living as a guiding element in your works? In any situation, I don’t want to be a pessimist. Civilisation is a continuous process of struggle and attainment. Perhaps we are in the phase of struggle. Unfortunately, it’s true that despite having resources, the lack of political will and policy have failed to produce any proper physical planning for Dhaka. And gradually Dhaka has become one of the most densely populated cities in the world, characterised as urban mayhem, fermented by unregulated 4

development, unreliable infrastructure, and lack of green space. Within this framework, by working on individual buildings, an architect can play a key role in society. I see architecture as a responsibility with its own dialects of conviction and comprehension. It has its own body and poetry, and has the power to transform the society into a healthy, thriving community. Green is the essence of my work. ‘Shattoto—Architecture for Green Living’ is the name of my office and as the name suggests, for me architecture is the amalgamation of the natural and the built environment which cannot survive in isolation and as humans we form the third point in the triangle. In the contemporary world, ‘green’ means being sustainable and energy efficient but my understanding of ‘green’, as a painter came from my natural environment, my Bangladesh, where the land turns to water and the water turns to green pastures and the green pastures then form the land and the cycle keeps turning. Yes, in my designs I cater to the idea of being energy efficient as well, where all considerations are given to reducing the buildings’ overall carbon footprint. When one ignores environment and history, then there is no sense of belonging. How can one exist in such a world?

Since Bangladesh is a country of six seasons, it produces a variety of colours in the natural environment. During summer trees bloom in a range of colours, from yellow to red to orange to purple, which then changes with the growth of fruit that takes over. In the monsoon the environment is almost monochromatic grey. In autumn the sky transforms into a dramatic array of blue and white. Late autumn brings with it the time for cultivation where the fields shine bright gold. Winter brings with it the growth of green shrubs and vegetables, and finally, in spring, the colourful flowers, perennials, vines, creepers, and hedges make Bangladesh a country of colour. As architects, it becomes our duty to create buildings which inherit natural materials and only complement their surroundings. What is the role of colour in your work with spaces and materials? Considering the climate of Bangladesh, it is important to let the building breathe like a living entity. As it is a tropical country, the high levels of moisture and temperatures that range between 28°C to 40°C, create a haven for bacteria and fungi. It is important to create a healthy environment with healthy buildings. All of this is done by bringing in ventilation and open spaces. In this manner, when one caters to all these important features of designing in Bangladesh, the materiality also presents itself as an entity. The rawness of the brick, terracotta, and concrete is an essential part of retaining the honesty of elements coinciding with that of nature. Hence one is able to create buildings that breathe in the colourful environment of Bangladesh.

INSIGHT COLOUR QUOTIENT 17

Rafiq Azam elaborates on the philosophy, intent, and architecture of Khazedewan Apartments and SA Residence—two projects he feels best represent his architectural practice.

Daylight, air, and greenery incorporated into the space.

Khazedewan Apartments in Noor Fatah Lane.

Detail of the exterior at Khazedewan Apartments.

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01. KHAZEDEWAN APARTMENTS Old Dhaka is being mercilessly transformed into a ramshackle state with an increasing population, lack of adequate building construction policy, and vision. Existing plots are constructed increasingly in smaller units to cater to the livelihood of more nuclear families and also for revenue. The wonderful, historical Old Dhaka, the costliest land in the region, is getting crammed, disarrayed, and fast losing its cultural ambiance, traditional morphology, and human quality. Moreover, most built houses these days lack the sensitivities for providing space for greenery, daylight, and wind—all basic requirements for healthy living. With this backdrop, this small, multifamily apartment building, located at the dense Noor Fatah Lane, Khazedewan was developed for low-income families to live in a healthy environment at affordable rents. This also provided livelihood to the landowner. Though the current trend of apartment living induces isolation, the effort here was to revive the warmth of collective living and sharing of the Old Dhaka lifestyle. An architectural element of Old Dhaka—mer (a friendly threshold space between building and street) has been used in a transformed manner with a patch of green. The traditional courtyard has been transformed into its extreme dimension with the alliance of air, rain, sunlight, and greenery. Peeping through the window, a traditional in-house custom, particularly by women and children growing up and living in Old Dhaka, has

been articulated by designing the fuchkee khilkee for communicating with the world beyond. The special care in incorporating the elements of nature such as adequate air, daylight, and presence of greenery, into the design, has not only improved the overall health and well-being of tenants, particularly children, but has also been successful in reducing electricity consumption, thus leading to a decrease in the cost of living. With a garden towards the roadside, the Khazedewan Apartments have expressed a keen interest in creating spaces where friendships can grow between humans and nature and within the community, where desires may come to life, thus proposing a new paradigm for building in an otherwise architecturally improvised locale. The building is located in a 2.75 metre by 122 metre alley where even a single rickshaw cannot pass through, let alone ambulances, in the case of emergencies. This persistent traffic problem was addressed by creating a setback of 2.13 metre, making the street 4.9 metre wide, enabling at least two vehicles to pass through from opposite directions, a solace indeed to the neighbourhood. The entire team worked on this project as social workers, rather than professionals, with the challenge of an extremely tight budget, and a target to accommodate fourteen families in 37.16 square metre, 55.74 square metre, and 65 square metre apartments, on a 260 square metre plot, creating spaces with a sense of abundance.

“It’s a typical phenomenon now that guests talk about the house for the first few minutes, stay longer, and enjoy the special ambiance. Close relatives often want to sleep over. It’s a sweet problem.” —Mrs. Hossain, Tenant at Khazedewan Apartments

INSIGHT COLOUR QUOTIENT 17

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02. SA RESIDENCE Inspiration Water, the most precious and abundant resource in Bangladesh, with life subtly woven in it, is making the country one of toil and poetry. As Lalon, a mystic minstrel, Sufi, and philosopher of this land, said in the 18th century, “If there is not one thing inside the body then it is not outside the body either.” Just like the human body, there is a body of architecture. The human being has two parts, its shell and thinking as its soul. Architecture has a similar shell and Mother Nature as its soul. Shell and soul are interdependent yet independent. They belong to each other and they belong to themselves. A good soul needs a good shell. Reality In this three-storied, single family residence, the shell is a pure square made of a single material, concrete and the soul is Mother Nature conversing with the shell. The site is surrounded by multi-storied buildings as onlookers. Considering the socioeconomic condition of Dhaka, a very simple architectural vocabulary was adopted through a subtle intervention with form, material, and vegetation. Also, in the current trend of real estate development, this residence has been

a challenge, particularly placing a water court as a swimming pond in the middle of the house, a surely difficult task to ensure privacy. As a result, an introverted design has been adopted. In the SA Residence, traditional space qualities, from both urban and rural typologies are merged. The courtyard connected to the adjacent pond in traditional typology was transformed into the urban context and created a quad of water symbolising nothingness, yet containing, capturing, reflecting, and refracting the sky, flying birds, smiling sun, shying moon, and the composed cosmos as a whole. The south and the south east have been designed to bring in a cool breeze during the hot, humid summer and the warmth of the sun during winter. The central water court acts as natural exhaust system and getaway for hot air and makes the middle court a solace. Dream A small dinghy boat waiting by the ghat, a patch of green and light with its silence, the space becomes a natural habitat within a man-made dwelling, with layers of insight to unfold into nothingness.

In your time away from professional practice, you also paint. Tell us a bit about how it keeps you inspired. I wanted to be a painter, just a painter and nothing else. Since the age of seven, I have indulged myself, especially, by pouring green and light into my watercolour paintings. Eventually, green, light, and water became inseparable in my life. But my parents’ desire of seeing me become an engineer put me into the Department of Architecture, Bangladesh University of Engineering and Technology (BUET). Even then I was happy realising that architecture had the scope to continue my painting journey. Even today, I consider myself an architect by chance and a painter by conviction. Any advice for student & young architects? I believe architects are creators, creation is not magic but magical. Becoming a creator needs a long journey, a journey with honesty, generosity, and perseverance to attain the goal of well-being of the society. Success is not something to wait for; it is something to work for. As Jalaluddin Rumi says, “When light returns to its source, it takes back nothing from what it illuminated.” Before we leave this world, let us become light.

The courtyard around the central pond at SA Residence.

10 Entrance of SA Residence. 11 A painting by Rafiq Azam. 11

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Unfolding nothingness… When light caresses the wall or the water touches the land, or the land pats the green, or the green cuddles the breeze, or the breeze ushers—it’s all about touching and feeling the soul. The destiny is nothingness, where the soul and shell cohabit and purify themselves. Let the soul come inside the home and let go of it. And let it be and let it be…

INSIGHT

INDIA CONNECT

Color Objects |

www.colorobjects.com

T SO HE C UR OL CE OU IND R EX

Color Objects is a colour portal through to a wide range of articles that feature the works of designers, artists, illustrators, and architects from around the world. The site features content curated to enable you to ‘get a better eye and appreciation for colours.’ Articles on the site are divided into five content categories, balancing informative and inspirational content.

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Colour P

THE TH I

ES ERI TS

E IN A THRE TICL EP AR AR RD

NOR TH & SOUTH

Color Columns

Magazine

Things We Found

‘Magazine’ features coverage of projects, practitioners, and products that range across design domains such as architecture, interior design, lighting, painting, graphic design, and more.

‘Things We Found’ contains an eclectic collection of links to interesting colourfocussed objects, from around the world, such as the ColoRing furniture collection above, from Schemata Architects, Japan.

Learn All About Colors

On the Net

Colour Palate travels through India, exploring the colour quotient of food traditions across geographical regions of Central, East, West, North, and South India. Based on exclusive Asian Paints research, the series presents a snapshot of each region and the medley of core ingredients which contribute to a unique colour palette per region. The second edition covered West Bengal and Odisha from East India, and Gujarat and Goa from West India. In this issue we travel to the North, exploring the colours in the cuisines of Punjab and Kashmir and then the South, to Tamil Nadu and Kerala. ASIAN PAINTS RESEARCH

The ‘Color Columns’ section consists of blogs from the site’s founders, who write colour-centric posts across diverse disciplines such as branding, architecture, fashion, and art. ‘The Colour Real’ is of particular interest, featuring the writing of Toronto-based colour consultant Sylvia O’Brien, who writes about colour in the context of architecture and decor.

‘Learn All About Colors’ contains articles introducing the colour wheel, and a glossary of colour terms.

‘On the Net’ features a miscellany of interesting colour-focussed content from sources around the internet.

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

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PUNJAB Punjab was considered one of the most important kingdoms in ancient India, and has seen many rulers in its turbulent history, from the Aryans and Persians, to the Afghans and Mughals. At the end of the British Raj, the region was divided between India and Pakistan, leading to the modern state we know as Punjab. This legacy of war has instilled a fiercely independent and distinct culture in the people, a characteristic that also manifests in the cuisine of the region. The name Punjab is derived from the words ‘paanch’ which means five and ‘aab’ which means river, symbolising the five rivers that flow through the region, making it extremely fertile. The region has long enjoyed agricultural prosperity, with cultivation and

KASHMIR animal husbandry being the primary sources of wealth for a majority of the populace. The dairy industry is particularly well-entrenched, with cattle being raised for their milk, which is consumed in myriad forms, from cream and ghee, to cottage cheese and sweet dishes. Most Punjabi dishes include their staple cereal wheat, which is used to make the famous Punjabi parathas, and corn, used to make delicacies such as makke di roti, which are now famous throughout India. Most ingredients used in Punjabi food are sourced locally, and the fertility of the land and the rich agrarian history provides a diverse array of ingredients to choose from. Apart from cereals, many different vegetables are used, especially onions and tomatoes, which, along with mustard seeds and oil, form the base of

most curries. Chicken is also commonly consumed, and is prepared in a variety of ways from frying, grilling, and baking, to the signature tandoori style of cooking, which uses a cylindrical clay oven. Chicken or paneer cooked in a tandoor is typically accompanied by a green chutney made using pudina or mint leaves. The colours of the palette inspired by Punjabi cooking are pure, saturated, and intense, reminiscent of the determination, bravery, and zest for life that Punjabis are known for. The colours are well-suited to nurseries and schools, reflecting the energy desirable in a child’s environment. The palette can also be adapted for use in retail spaces, where they can be used during festive occasions to spread cheer and joy.

Kashmir has long enjoyed a reputation as heaven on Earth, based on its location at the northern tip of India, as well as the scenic beauty of the region. While the region has changed many hands, possibly the most culturally influential event was the invasion by Timur in the 15th century, which saw the advent of many people from the city of Samarkand, who traveled to Kashmir along with their ruler. This history has led to the evolution of a unique dichotomy in the culture, with the Kashmiri Buddhists and Pandits contrasting against the Islamic heritage reflected in the Kashmiri Muslims. This history is particularly evident in the evolution of Kashmiri cuisine. The cuisine of the Pandits is elaborate, and makes plentiful use of yoghurt, oil, and spices, while

the use of garlic, onions, and meat is typically avoided. Kashmiri Muslims on the other hand, use large quantities of meat, particularly lamb. One tradition that has survived to modern times, is the Wazwan—a ceremonial banquet that consists of many courses, primarily featuring meat and lamb in many forms, derived from Persian, Afghan, and other Central Asian preparations. The absence of sweets from Kashmiri cuisine is notable. Instead of desserts, kahwah or Kashmiri green tea, made from saffron, spices, and dried fruits, is consumed after most meals. The quality of colours in this palette is light, airy, and fresh. It is reminiscent of the humble lifestyle of the people and their

respect for their surroundings. The palette of colours inspired by Kashmiri cuisine is well-suited to living rooms and bedrooms, as well as office spaces, where it can create a harmonious atmosphere. Fashion houses can work with the palette to create beautiful collections which have an exotic feel to them.

The sunset orange of the tandoori chicken, bright green and yellow of chutney and mustard flowers, and deep red of red chillies form the colour palette of Punjab.

The beautiful yellow of saffron, flaming red of Kashmiri chilli powder, white of yoghurt, and deep brown of lamb form the Kashmiri palette.

LEAD COLOURS

ACCENT COLOURS

INSPIRED SPACE

ACCENT COLOURS

Touch Of Beige–8508 | R 243 G 236 B 216

Mustard Field–X102 | R 210 G 177 B 29

Milky Way–L102 | R 245 G 242 B 232

Goldfish–7973 | R 253 G 131 B 35

Velvet Dream–8117 | R 160 G 41 B 61

Sahara Sunset–X115 | R 230 G 78 B 43

Eager Yellow–7906 | R 251 G 241 B 198

Rich Tomato–9405 | R 142 G 69 B 73

Fresh Olive–7725 | R 119 G 151 B 58

Solemn Yellow–7882 | R 244 G 231 B 184

Antique Brass–8581 | R 124 G 85 B 57

Country Roads–8576 | R 179 G 146 B 119

TEXTURE

INSPIRED SPACE

TEXTURE

Royale Play Sponging Base Coat: Crimson Depth–X123 Top Coat: Copper–0587

Royale Play Dapple Base Coat: Icy Chill–9216 Top Coat: Green Sleeves-N–2420 Living room inspired by the colours of Punjab.

Sitting area styled with the colours of Kashmir.

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TAMIL NADU The region of Tamil Nadu has been largely independent of external occupation for much of its history. Ruled by four mighty empires, the Cheras, the Cholas, the Pallavas, and the Pandyas for many centuries, the region developed a distinct art, literature, and culture. With the growth of maritime trade with Europe, the region was eventually occupied by France and Britain in the 19th and 20th centuries. The rise and fall of mighty empires from the region, culminating in European rule is reflected in the culture and cuisine of the region. The different parts of the state each have their specialties, which come together to form the cuisine. The famous Chettinad cuisine of the South is known for a variety of vegetarian and non-vegetarian fare, while

KERALA the coastal regions specialise in seafood and fiery curries. A traditional Tamilian meal or Saapaadu, is consumed while sitting cross-legged on the floor and is eaten using one’s hands. Food is traditionally served on banana leaves. However, stainless steel plates are more common these days. Rice and legumes play a central role in the cuisine, and are often used in various forms to create the different meals of the day. Flavourful ingredients such as turmeric, tamarind, fresh coconut, and hingh or asafoetida, are used liberally, with gingelly seed oil being the preferred cooking medium. Meals typically end with a sweet dish, called payasam, followed by a

beeda, made using betel leaves, which aids digestion. Tamilians take pride in brewing a divine pick-me-up drink, the irreplaceable filter coffee, piping hot, frothy, and a deep, muddy brown. The quality of the colours is mostly bright, with the neutrals being muddy. It is reminiscent of the Tamil people’s reverence for tradition and their emphasis on purity. This palette will work well in corporate settings and restaurants, where they create an environment of sincerity and kindness. Fashion can take cues from this palette to create a uniquely Indian feel without the use of bright colours. Retail and home decor can also use these colours to create an aura of warmth.

Kerala’s history is intrinsically tied to the spice trade. Many Jewish and Arab traders set up trade centres in Kerala, leading to the formation of the city known as Mattancherry, a predominantly Jewish settlement in Cochin. Maritime trade with the Portuguese developed soon after, and the Dutch, the French, and the British soon followed. These different cultures have left an indelible mark on Keralite culture, from art and architecture, to dance, literature, and of course, food. The state is fertile, and well-endowed with natural resources. Often referred to as god’s own country, Kerala is a wondrous mix of misty hills, extensive backwaters, and shimmering lagoons. Such diversity in geography means a vast variety of

ingredients for cooking, from seafood to oils and spices. The coconut tree is a trademark of Kerala, and the people use many different parts of the tree in their food, from the kernel to the milk, the cream, and the oil. Seafood, coconut, and tapioca form the staple of most Keralite dishes, and their flavours are accentuated with the use of cinnamon, garlic, ginger, cardamom, and peppers. Sadhya is the traditional banquet meal of Kerala, typically served to celebrate Onam, the harvest festival. It is customarily served on a banana leaf, with the dishes traditionally prepared in clay pots. The meal typically ends with payasam, a sweet dish made from rice and milk. Kokam, the sweet-sour spice found

in abundance along the Konkan coast, is known for its therapeutic value, and is believed to have healing powers. It is an astringent, and cools the body, while also having antiseptic properties. Kokam, besides being used in several Kerala dishes, is often boiled in water, which turns it a deep pink colour, and sipped throughout the morning for increased health benefits.

The colour palette of Tamil Nadu is comprised of the bright green of the betel leaf, the khaki green of hingh, the pale white of gingelly seeds and the muddy brown of coffee.

The earthy brown of clay pots paired with the pure white of coconut milk, the pale yellow of jackfruit, and the deep pink of kokum form Kerala’s colour palette.

LEAD COLOURS

ACCENT COLOURS

INSPIRED SPACE

ACCENT COLOURS

White Gold–8292 | R 231 G 231 B 227

Sporting Green–7741 | R 161 G 190 B 26

Skimmed Cream–L122 | R 244 G 242 B 230

Jade Green–2435 | R 31 G 125 B 67

Brown Tan–8535 | R 176 G 142 B 103

Pure Red–8093 | R 207 G 37 B 43

Yellow Suds–7857 | R 243 G 234 B 179

Geranium–0509 | R 179 G 75 B 66

Camouflage Green–9389 | R 117 G 106 B 80

Pebble Moss–7849 | R 207 G 200 B 159

Peaceful Blue–9193 | R 139 G 184 B 217

Deep Sea Blue–9159 | R 98 G 116 B 139

TEXTURE

INSPIRED SPACE

TEXTURE

Royale Play Sponging Base Coat: Marigold–7986 Top Coat: Greenery–7806

Royale Play Dapple Base Coat: Bright Jade–7510 Top Coat: Meadow Path–7541 Bedroom inspired by the colours of Tamil Nadu.

Dining area styled with the colours of Kerala.

Please share your feedback by writing to us at cq@asianpaints.com

IN FOCUS

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Colour Code introduces two sets of colour

TheChromantic The Chromantic set celebrates the distinct mood and connotations of each colour family, and explores combinations with complementary and contrasting hues and textures.

inspiration for architects and designers.

Flora The influence of nature is seen widely in the work of designers and artists. Flora explores the rich world of colour inspirations seen in flowers, capturing unique, natural palettes.

The Flora set contains a selection of four stencils, inspired by elements from nature. The stencils can be used individually, as well as in combination with each other to create interesting wall graphics.

Disclaimer: Stencil simulation not actual size.

Asian Paints Colour Code is a colour inspiration tool for architects and interior design professionals that uses thematic visuals as the starting point to explore creative colour palettes and moodboards.

Colour Code theme sets are developed under five categories, each representing a unique approach to colour ideation. Each thematic set consists of ten reference cards with inspirational imagery that presents a facet of the theme and corresponding palettes.

Inspiration: Driven by tangible and visually impactful references

• Flavours • Seamless Nature

Culture: Rooted in traditions and rituals, specific to cultural communication

• Vibrant India

Mood: Led by emotions and feelings

• Romantic Embrace • Flora

Personality: Driven by distinct temperament and disposition of a personality type

• Forever Young • Happiness Unbound

Connoisseur: Guided by premium and exclusive aesthetic principles

• Venezio • The Chromantic

For more information T 1800 209 5678 E cq@asianpaints.com

INDIA CONNECT

PATAC HITRA

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The Story Unfolds

A traditional Patachitra painting depicting a mythological scene.

ORIGINS AND EVOLUTION CONTRIBUTOR: COLLECTIVE CRAFT

atachitra refers to the traditional, cloth-based scroll paintings, from the state of Odisha in Eastern India. In Sanskrit, ‘patta’ literally means cloth and ‘chitra’ means picture. The origins of the craft date back to the 5th century BC, from the fragmented evidences of cave paintings in Khandagari, Udaigiri, and Sitabhinji in Odisha, and in Chitralakshana—the earliest known Indian treatise on painting. Traditionally Patachitra was used to depict religious themes, drawing from Hindu mythology, especially the folklore of Lord Jagannath and the Vaishnava cult. The artisans or practitioners of the craft are called chitrakars. The craft has grown in and around the famed Jagannath Temple complex in Puri, where chitrakars and other artisan groups flourished under the Temple’s

Collective Craft is a collaborative of designers and skilled artisans, primarily spread across Odisha. The collaborative attempts to secure rural livelihoods, besides preserving and developing the cultural traditions of crafts threatened with extinction, or in the process of decline. In this article, the founders of Collective Craft, Shweta Mohapatra and Sibanand Bhol, share the story of Patachitra art from Odisha and their efforts to promote it through contemporary design products.

ODISHA

Decorated house fronts at Raghurajpur village.

patronage. Even today chitrakars keep their date with the deity and paint temple chariots and murals inside the temple on festive occasions like the Rath Yatra. In 2000, following a two-year research and documentation project by INTACH (Indian National Trust for Art and Cultural Heritage), the artisan village of Raghurajpur in Puri district was accorded the status of a heritage crafts village where visitors can observe chitrakars at work. A large number of practicing artisans also live and work in and around the capital city of Bhubaneswar. While many from the original chitrakar families have moved away from their traditional vocation, young artisans from other communities have now adopted the craft.

INDIA CONNECT COLOUR QUOTIENT 17 1

34â&#x20AC;&#x201C;35 3

Coconut shells used to mix pigments.

An artist adds detail to a Patachitra depiction of clouds.

A painting showing the use of frames in Patachitra storytelling.

Traditional techniques meet modern product design aesthetics in these trays, coasters, and jewellery boxes from Collective Craft.

TRADITIONAL TECHNIQUE The narrative in every Patachitra painting is composed within multiple frames. The principal theme usually occupies a large, central frame in the painting while the remaining narrative is composed in smaller frames around it. The borders of the frames contain elaborate patterns, with floral and animal motifs. Patachitra is highly stylised with very well defined postures and colours that are associated with each character of the narrative, for instance, Lord Krishna is always in blue. A chitrakar can identify a character from just the moustache, beard, or simply the eyes. Flora and fauna also follow a well defined style. The leaf of every species is drawn differently and the level of detail continues all the way to how branches are arranged, and the depiction of flowers and fruits. Repetition and patterns are important in the entire artwork and

A DESIGN-LED INTERVENTION FOR PATACHITRA there is often a simple order and organisation to the entire composition. Preparation of Cloth The cotton cloth for a painting is prepared by coating it with a mixture of chalk and gum made from tamarind seeds, followed by rubbing with stones and drying. Colours Artisans draw directly on to the cloth with brushes made of hair from domestic animals. Traditionally, the palette was limited to white, red, yellow, blue, green, and black. Colours were created from mineral, vegetable, and other natural sources, such as white from conch shells, blue from indigo, and black from lamp black. This method of creating colours is now considered tedious by many younger practitioners, who prefer

to use ready-made paint and new media such as paper and silk. Finished paintings are given a protective coating of varnish, giving them a distinctive glossy look. Process The chitrakar starts with broad outlines and then fills in one colour at a time. The process begins with white and ends with black outlines, the thinnest and finest lines in the painting. Jewellery and adornments are added at the end, after which the painting receives a coat of natural lacquer. When a group of chitrakars work on a single painting, each one of them fills in a single colour before passing on the artwork to the next artisan. The master artisan usually begins the painting by defining the characters in white and the youngest apprentices painstakingly fill in the borders and patterns.

The founders of Collective Craft identified the opportunity to employ traditional skills in contemporary space design, interiors and architecture, communication design, graphic design and animation, and product design, with a focus on traditional crafts of Odisha. The presence of a large community of artisans in Odisha, who are trained to work collectively in groups, in a common shared style to complete large assignments, facilitated their crafts-inspired approach to contemporary design. Through its work, Collective Craft strives to generate greater work opportunities for artisans by intervention and innovation in design, technical processes, and easier access to markets. The group works as a collaborative that draws inspiration from the individual and collective skills of all its members. Collective Craftâ&#x20AC;&#x2122;s work has a contemporary aesthetic but draws inspiration from traditional design expressions.

The balance between old and new stems from an environment where constant dialogue between artisans, designers, merchandisers, and clients, encourages product development and innovation. If you would like us to feature or know more about a particular art form, write to us at cq@asianpaints.com

INSIGHT

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The complex field of spatial design encompasses everything from broad, abstract theories to specific, concrete minutiae. It is both a way of thinking about physical spaces and a holistic approach to design, one that seeks to incorporate traditional design elements like furnishings and decoration with disciplines such as landscaping, performance, and art. CONTRIBUTOR: KATE SMITH

QUANTIFYING COLOUR

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

interesting and important tools is the use of colour. Colour is simultaneously accessible to everyone and inherently difficult to describe, sometimes even for professionals. It stubbornly defies our attempts to convey it to others, and resists precise duplication. For something so universal and fundamental, colour can be hard to pin down, a challenge to collaborate on.

MUNSELL COLOUR SYSTEM

Value

om Chr

Using the Munsell Colour System for better colour knowledge and application.

While it may sound complex and convoluted, in fact spatial design is simple in its goal of achieving harmony in our spaces, both public and private. Whether you’re talking about politics or paint chips, though, harmony can be elusive. Spatial designers have an arsenal of approaches, perspectives, theories, and tools that they employ in the pursuit of harmony in design, and one of the most

Value, Hue, and Chroma are the three components of the Munsell e H u Colour System.

Albert Munsell (1858–1918) set out to develop a method for scientifically approaching our need to be able to describe and reproduce colours precisely. He created a system that relies on three properties, the combination of which can accurately, reliably describe any colour: hue, value, and chroma. Munsell Colour Theory relies on a three dimensional model with numerical values that makes it easy to understand the relationships among hue, value, and chroma, as well as between and among different colours. Put simply, Munsell Colour Notation is a lingua franca for colour, a way for all of us to understand and communicate something that we would otherwise struggle to express.

Hue refers to the pure colour associated with a particular wavelength of visible light.

Value describes the lightness or darkness— meaning how close to white or black a given hue is.

rp Pu

Re d

le –Purp

Blue

Red

Blue–Green

Chroma refers to the brightness or purity of a colour, sometimes described as its saturation or intensity.

Yellow –Red

n Gree

Yel lo

w llo Ye – n e Gre

INSIGHT COLOUR QUOTIENT 17

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DESIGNING SPACES USING THE MUNSELL COLOUR SYSTEM

COLOUR ACCURACY ACROSS MATERIALS AND PROCESSES

So what does Munsell Colour have to do with spatial design? Since the primary goal of spatial design is harmonising spaces, taking into account the ways in which people interact with their environments, and ensuring that both the interior and the exterior of built spaces are integrated in a way that is both functional and comfortable, it makes sense that a better way to work with colour would be a powerful tool. In short, a designer who can accurately understand one colour’s relationship with another colour is better able to employ those colours effectively.

Precise use of colour is not limited to physical spaces, and Munsell Colour also plays a pivotal role in a wide range of applications. Colour is used to convey a brand image in marketing campaigns. It is used to influence emotions in the graphics of video games and in the paint on the walls of police stations. Whether you are trying to match the precise shade of blue that you saw from your window on your vacation in the Caribbean, or whether you are trying to differentiate a company from its competitor by choosing a colour that accurately conveys that company’s unique message, the ability to pick a colour

Let’s look at an example of how Munsell Colour can help solve a problem that a spatial designer would face in the course of a project. While spatial designers would incorporate many different factors into designing an interior space, sooner or later, they still have to decide what colour to paint the walls. If your goal is to use a harmonious set of colours that flows effortlessly from one room to the next, perfectly coordinated, there is a need for a precise way to discuss colour and precisely, mathematically understand all of a colour’s attributes and relationships to other colours… cue Albert Munsell.

CREATING COLOUR HARMONIES

whose precise numerical value lets printers, textile manufacturers, and paint companies produce and reproduce that colour every time without fail is a huge advantage. A client who wants a logo that will appear on everything from business cards to caps won’t be pleased if the forest green on the cards is the colour of a blue spruce, while the hats are the colour of a maple leaf. Once a client decides on a colour, you can dispense with paint chips and fabric swatches when you’re putting orders in with printers and painters. All they need is the Munsell number, and they’re equipped with all of

the information necessary to get the exact right colour—mass tone, undertone, and all. Colour precision, like that provided by Munsell Colour, doesn’t obviate the need for a designer. The scope of spatial design is so large, so comprehensive, that colour is but a single aspect of design, albeit an integral one. Having a colour language that lets a designer accurately achieve a client’s vision gives the designer an edge, a selling point that differentiates one designer from the next.

CONSISTENT COLOUR ACROSS MATERIALS AND PRODUCTION TECHNIQUES

COMPLEMENTARY COLOURS

Y GY

5R 5/10

A colour is fully specified by listing the three numbers for hue, value, and chroma in that order. For instance, a red of medium lightness and medium saturation would be 5R 5/10 with 5R meaning the colour in the middle of the red hue band, 5 meaning medium value or ‘lightness’, and a chroma, or ‘intensity’, of 10.

A clear, consistent system of colour notation ensures accurate reproduction, regardless of the ink, printing substrate, or production method used. Knowledge of the Munsell Notation and how to use it can be a valuable tool for a designer, enabling him or her to deliver consistent colour results that meet the client’s expectations.

Colours from opposing sides of the colour space are known as complementary colours. The high-contrast between colours in a complementary colour scheme creates dynamic, vibrant spaces.

COLOURS

ANA LOG

OUS

Colours adjacent to each other on the colour wheel are known as analogous colours. The low-contrast between analogous colours can be used to create relaxed, comforting spaces.

Munsell Colour eliminates guesswork, ensuring that your colour choices will work and freeing you to spend your time and energy on other elements of your design project.

Speaking the language of colour with precision and consistency makes a designer both more confident and more marketable, and ensures that clients see the results they’d imagined.

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

INDIA CONNECT COLOUR QUOTIENT 13

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Ask Asian Paints

INCOMING Asian Paints ColourNext 2015 ColourNext is India’s foremost colour trend forecast, derived from extensive research conducted into the latest social, lifestyle, design, and decor trends in India. In the next issue of Colour Quotient, we look forward to sharing the ColourNext trends for 2015, translated into inspiring colour stories.

COlOUR QUERY Q. Can the same space be made to look very different using only paint and decor? A. Yes! If making structural changes to a space is too expensive or time-consuming, you can completely alter the mood and look of a space with furnishing, lighting, and paint. Here are some examples of how different looks have been achieved in a space using a combination of paint and decor. SPACE 1: URBAN CHIC A sombre, neutral colour on the walls is offset by a feature wall in metallic texture. Sumptuous decor accessories in wood and glass complete the chic urban look.

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

Tanned Green–8397 | R 88 G 92 B 73

Royale Play Sponging Base Coat: Olive Grove–8493 Top Coat: Gold–M003 Colour Quotient 15 May 2014

SPACE 2: COZY BOHEMIAN IMAGE CREDITS

The intriguing grey texture on the walls bears a stark contrast to the deep purple of the central feature wall. Bouquets of flowers and plush cushions add the finishing touch to this cozy bohemian setting.

REACH US

REGALIA DIVYA NAMBIAR All images courtesy Divya Nambiar, except: • Nedim Chaabene » flickr.com/photos/124075341@ N03/14378432510/ • Zaqqy » flickr.com/photos/zaqography/3761519814/ • frederik_rowing » flickr.com/photos/untershit/9112640187/ AYUSH KASLIWAL All images courtesy Ayush Kasliwal, except: • snikrap » commons.wikimedia.org/wiki/File:Jairpur_city_ palace_interior2.jpg • Jeff Hart » flickr.com/photos/ipeguy/5350777245/ • Vladimer Shioshvili » commons.wikimedia.org/wiki/File:Red_ powder_in_Jerash,_Jordan.jpg • Anilbhardwajnoida » commons.wikimedia.org/wiki/File:Benaras_brocade_sari.jpg LIGHT REFLECTANCE VALUE • Yvan Charbonneau » commons.wikimedia.org/wiki/ File:Hughton_highway_sign.jpg • TampAGS, for AGS Media » commons.wikimedia.org/wiki/ File:Caution_Venomous_Snakes_Sign.jpg • Icqgirl » commons.wikimedia.org/wiki/File:Technological_Institute_of_the_Philippines_Manila_Department_of_Architecture_corridor.jpg

Egg Plant Delite–7157 | R 88 G 62 B 123

Royale Play Stucco–Marble Finish Oyster Grey–8473

SPACE 3: A TOUCH OF GREY Eclectic furniture and assorted knickknacks, coloured glassware, and patinated wooden candle stands are tied together, and brought to life by the muted sheen of the grey feature wall.

Colour Quotient 16 August 2014

COLOUR LOVE All images courtesy Karishma Shahani Khan. THE SOUL & THE SHELL All images courtesy Rafiq Azam, including: • commons.wikimedia.org/wiki/File:Rafiq_Azam.jpg • commons.wikimedia.org/wiki/File:South_Water_ Caress.jpg • commons.wikimedia.org/wiki/File:Alif_Breeze.jpg PATACHITRA—THE STORY UNFOLDS All images courtesy Collective Craft, except: • Shakti » commons.wikimedia.org/wiki/File:Patta_ Chitra_02.jpg • Revanthv552 » commons.wikimedia.org/wiki/ File:Raghurajpur_Village.JPG • Revanthv552 » commons.wikimedia.org/wiki/ File:Another_painting_by_an_artist_from_Raghurajpur_ village,_Odisha,_India.JPG

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

Purple Verve 9101 | R 87 G 63 B 77

Royale Play Brushing Base Coat: Rich Berry–8213 Top Coat: Silver–M002

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‘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

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“To me, Regalia, particularly in the Indian context, is about materials which are simple and pure, manipulated in a rich and sensuous manner.” Ayush Kasliwal

“Since the age of seven I have indulged myself, especially, by pouring green and light into my watercolour paintings. Eventually, green, light, and water became inseparable in my life…” Rafiq Azam

“Speaking the language of colour with precision and consistency makes a designer both more confident and more marketable, and ensures that clients see the results they’d imagined.” Kate Smith

For access to the Colour Quotient archive and exclusive features, visit the online platform at asianpaints.com/cq