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BY	
  RAMONA	
  SOLOMON	
  
	
  
Lecture	
  5	
  	
  
	
  
Colours	
  &	
  Materials	
  
	
  
	
  
 
	
  
Colour	
  
	
  
“colours	
  present	
  themselves	
  in	
  con2nuous	
  flux,	
  constantly	
  related	
  to	
  changing	
  
neighbours	
  and	
  changing	
  condi2ons”	
  
	
   	
   	
  	
  	
   	
   	
  	
  	
   	
   	
  	
  	
   	
  	
  -­‐	
  Joseph	
  Albers	
  (painter	
  &	
  colour	
  theorist)	
  
	
  
	
  Colour	
  remains	
  one	
  of	
  the	
  most	
  challenging	
  and	
  conten>ous	
  aspects	
  of	
  interior	
  design.	
  
The	
  applica>on	
  and	
  mixing	
  of	
  colour	
  has	
  long	
  been	
  an	
  intense	
  area	
  of	
  study	
  for	
  scien>st,	
  
ar>sts	
   and	
   designers.	
   At	
   the	
   same	
   >me,	
   colour	
   can	
   be	
   an	
   extremely	
   subjec>ve	
   topic:	
  
Everyone	
  has	
  their	
  favourite	
  colours	
  –	
  colours	
  that	
  remind	
  them	
  of	
  a	
  place	
  or	
  >me	
  or	
  that	
  
have	
  specific	
  emo>ve	
  quali>es.	
  
	
  
The	
  role	
  of	
  colour	
  in	
  interior	
  design	
  resists	
  dissemina>on	
  into	
  simple	
  rules	
  and	
  ideas,	
  and	
  
yet	
  understanding	
  the	
  complexi>es	
  of	
  using	
  colour	
  in	
  space	
  is	
  fundamental	
  to	
  crea>ng	
  a	
  
successful	
  interior.	
  Thus,	
  interior	
  designers	
  must	
  learn	
  the	
  characteris>cs	
  of	
  colour	
  and	
  
how	
  it	
  can	
  act	
  as	
  a	
  focusing	
  and	
  organising	
  agent.	
  
 
	
  
Colour	
  &	
  Material	
  
	
  
The	
  role	
  of	
  colour	
  in	
  interior	
  design	
  is	
  further	
  complicated	
  by	
  its	
  associa>on	
  with	
  materials.	
  
Materials	
  have	
  quali>es	
  of	
  absorp>on,	
  reflectance,	
  luminance	
  that	
  the	
  abstract	
  of	
  colour	
  
do	
   not	
   take	
   into	
   account.	
   Materials	
   might	
   contain	
   many	
   layers	
   of	
   colour,	
   and	
   oPen	
  
varia>ons	
   of	
   colour	
   can	
   occur	
   within	
   a	
   single	
   material	
   sample.	
   The	
   propor>onal	
   use	
   of	
  
material	
  within	
  a	
  3-­‐dimen>onal	
  space	
  also	
  affects	
  how	
  colour	
  is	
  experienced.	
  Through	
  the	
  
complex	
  interac>on	
  of	
  colour	
  and	
  material,	
  an	
  interior	
  designer	
  can	
  create	
  atmospheres	
  of	
  
in>macy	
  	
  or	
  freshness,	
  vibrancy	
  or	
  muteness,	
  and	
  even	
  begin	
  to	
  affect	
  other	
  senses	
  such	
  
as	
  sight	
  and	
  hearing.	
  
	
  
Colour	
  in	
  interior	
  design	
  can,	
  moreover,	
  can	
  be	
  divided	
  into	
  two	
  dis>nct	
  categories:	
  colour	
  
as	
  applied	
  surface	
  and	
  colour	
  as	
  integral	
  to	
  a	
  material.	
  Paint,	
  lacquer,	
  specialty	
  finishes,	
  
certain	
  laminates,	
  and	
  other	
  applica>ons	
  of	
  colour	
  to	
  the	
  finishes	
  surface	
  of	
  an	
  object	
  are	
  
efficient	
  and	
  modifiable	
  strategies	
  for	
  colour	
  use.	
  
	
  
There	
  are	
  many	
  instances	
  were	
  paint	
  and	
  applied	
  finishes	
  should	
  be	
  avoided,	
  however:	
  
Adolf	
  Loos’s	
  saying	
  “Do	
  not	
  paint	
  concrete	
  grey,	
  or	
  wood	
  brown’	
  hold	
  true	
  here.	
  Materials	
  
with	
  integral	
  colour	
  –	
  which	
  require	
  no	
  finish	
  other	
  than	
  a	
  sealer	
  –	
  have	
  greater	
  depth	
  of	
  
surface,	
  which	
  allows	
  more	
  complex,	
  precise	
  colour	
  rela>onships	
  to	
  be	
  developed.	
  
	
  
 
	
  
Colour	
  Scheme	
  
	
  
Colour	
   schemes	
   are	
   the	
   result	
   of	
   turning	
   colour	
   combina>ons	
   into	
   a	
   set	
   of	
   rules	
   for	
   an	
  
interior	
  paleYe.	
  Grounded	
  in	
  colour	
  theory,	
  the	
  designer	
  can	
  crea>vely	
  select	
  and	
  organise	
  
colour	
  in	
  harmonious	
  combina>ons.	
  In	
  the	
  abstract	
  –	
  that	
  is,	
  when	
  colour	
  is	
  not	
  >ed	
  to	
  a	
  
material	
   –	
   there	
   are	
   6	
   ‘classic’	
   combina>ons	
   of	
   colour:	
   monochroma>c,	
   analogous,	
  
complementary,	
  split	
  complementary,	
  triadic	
  and	
  tetradic.	
  These	
  examples	
  below	
  use	
  a	
  full-­‐
satura>on	
  olour	
  wheel,	
  but	
  the	
  designer	
  can	
  vary	
  both	
  satura>on	
  and	
  brightness.	
  
 
	
  
Applying	
  rules	
  of	
  contrast	
  to	
  an	
  interior	
  space	
  
	
  
Contrast	
   is	
   considered	
   as	
   a	
   range	
   of	
   differences	
   between	
   the	
   compared	
   effects	
   of	
  
colour	
  interac>on.	
  
	
  
There	
  are	
  7	
  varia>ons	
  of	
  contrast:	
  
	
  
	
  
1.  Contrast	
  of	
  Hue	
  
	
  
	
  
2.  Light-­‐	
  Dark	
  Contrast	
  
	
  
	
  
	
  
3.  Cold-­‐Warm	
  Contrast	
  
	
  
	
  
 
	
  
	
  
	
  
4.	
  Complementary	
  Contrast	
  
	
  
	
  
	
  
5.	
  Simultaneous	
  Contrast	
  
	
  
	
  
	
  
6.	
  Contrast	
  of	
  Satura>on	
  
	
  
	
  
	
  
7.	
  Contrast	
  of	
  Extension	
  	
  
 
	
  
Con$nual	
   connec$vity	
   through	
   technology	
   has	
   reinforced	
   our	
   basic	
   human	
   desire	
   to	
  
connect	
   in	
   the	
   real	
   world.	
   Connect	
   with	
   the	
   earth	
   by	
   feeling	
   the	
   soil	
   between	
   our	
  
fingers,	
  connect	
  with	
  ourselves	
  by	
  taking	
  $me	
  to	
  pause,	
  connect	
  with	
  our	
  heritage	
  by	
  
relearning	
  forgo=en	
  skills,	
  connect	
  with	
  our	
  playful	
  side	
  by	
  indulging	
  in	
  colour.	
  
	
  
How	
  will	
  you	
  explore	
  your	
  connec$on?	
  	
  
	
  
Watch	
  Video	
  
hYps://www.youtube.com/watch?v=iObV7VEK4W8	
  
	
  
	
  
 
	
  
 
	
  
 
	
  
1:COLOURS	
  
	
  
This	
   year	
   we’ll	
   be	
   seeing	
   a	
   diversity	
   of	
   colour	
   like	
   we	
   haven’t	
   seen	
   in	
  
ages.	
   Our	
   aYen>on	
   is	
   has	
   seYled	
   gentle	
   colours	
   like	
   muted	
   pastels,	
  
smoky	
  shades	
  of	
  grey,	
  soP	
  neutrals,	
  metal	
  hues,	
  rich	
  leather	
  and	
  marine	
  
tones	
  along	
  with	
  at	
  the	
  opposite	
  end	
  of	
  the	
  spectrum	
  vibrant	
  jewel	
  and	
  
fruit	
   colours.	
   Paint	
   colours	
   for	
   the	
   home	
   s>ll	
   revolve	
   around	
  
sophis>cated	
  basics	
  with	
  preference	
  for	
  cleaner	
  whites,	
  smokier	
  neutrals	
  
and	
   updated	
   muted	
   pastels.	
   Feature	
   walls	
   are	
   out,	
   zone	
   pain>ng	
  
schemes	
  are	
  in	
  and	
  beige	
  is	
  a	
  thing	
  of	
  the	
  past.	
  
 
	
  
2:FABRICS	
  AND	
  PATTERN	
  	
  
	
  
Prints	
   and	
   paYern	
   are	
   definitely	
   back	
   on	
   the	
   rise	
   –	
   visual	
  
impact	
  is	
  the	
  key	
  theme.	
   	
  On	
  one	
  side	
  we	
  see	
  fluid	
  looking	
  
prints,	
   peacock	
   feather	
   paYerns,	
   photographic	
   images,	
  
graded	
   dip	
   dye	
   designs,	
   text,	
   blurred	
   images,	
   florals	
   and	
  
tropical	
   prints.	
   	
   	
   On	
   the	
   other	
   we	
   see	
   a	
   strong	
   geometric	
  
designs,	
   3d	
   paYerns,	
   repeated	
   forms,	
   kaleidoscopic	
   images	
  
and	
   paYerns	
   inspired	
   by	
   cells	
   and	
   molecules.	
   Fabrics	
   are	
  
about	
  texture	
  be	
  it	
  visual	
  or	
  otherwise.	
  Velvet,	
  textures	
  and	
  
raw	
   looking	
   weaves	
   are	
   popular	
   and	
   the	
   use	
   of	
   fabric	
   for	
  
sofas	
  and	
  upholstery	
  is	
  back.	
  
 
	
  
3:NATURAL	
  WORLD	
  
	
  
Textures	
   derived	
   from	
   nature,	
   whether	
   they	
   are	
   animal,	
  
mineral	
  or	
  vegetable	
  are	
  in.	
   	
  Think	
  botany,	
  insect	
  prints,	
  
fossils,	
   bone,	
   wood,	
   bark,	
   stone	
   and	
   organic	
   shapes.	
   We	
  
are	
  tending	
  to	
  like	
  our	
  woods	
  looking	
  raw,	
  or	
  if	
  they	
  are	
  
shiny	
   –	
   shown	
   in	
   a	
   way	
   that	
   we	
   can	
   really	
   appreciate	
  
them.	
   	
  We	
  want	
  materials	
  and	
  finishes	
  to	
  look	
  authen>c	
  
and	
  we	
  are	
  using	
  them	
  in	
  more	
  simple	
  ways	
  in	
  order	
  to	
  
appreciate	
   their	
   beauty.	
   	
   Addi>onally	
   we	
   are	
   leaning	
  
towards	
   steel,	
   copper,	
   pewter,	
   gold	
   and	
   other	
   metal	
  
accents	
  in	
  preference	
  to	
  just	
  chrome	
  and	
  stainless	
  steel.	
  
 
	
  
4:MATTE	
  FINISHES	
  
	
  
The	
  popularity	
  of	
  maYe	
  finishes	
  is	
  growing	
  in	
  modern	
  
décor	
  as	
  we	
  seek	
  to	
  add	
  differing	
  depths	
  of	
  interest	
  into	
  
our	
   buildings	
   and	
   interiors.	
   A	
   maYe	
   finish	
   gives	
   an	
  
object	
   a	
   raw,	
   edgy	
   look	
   and	
   also	
   allows	
   you	
   to	
  
appreciate	
  the	
  overall	
  form	
  and	
  material	
  that	
  an	
  item	
  is	
  
made	
  of.	
  	
  This	
  principle	
  is	
  crucial	
  in	
  modern	
  design	
  and	
  
it	
   also	
   harks	
   back	
   to	
   our	
   desire	
   for	
   natural	
   and	
  
authen>c	
   soPer	
   finishes.	
   This	
   trend	
   is	
   growing	
   in	
  
everything	
   from	
   tapware,	
   ligh>ng,	
   furniture,	
  
accessories,	
  kitchens	
  and	
  bathrooms,	
  right	
  through	
  to	
  
en>re	
  rooms.	
  
 
	
  
5:INDUSTRIAL	
  DESIGN	
  
	
  
Industrial	
  style	
  pieces	
  in	
  the	
  home	
  have	
  been	
  a	
  staple	
  in	
  
the	
  past	
  few	
  years,	
  primarily	
  in	
  the	
  form	
  of	
  ligh>ng	
  and	
  
furniture.	
   We	
   are	
   con>nuing	
   to	
   love	
   the	
   look	
   and	
  
character	
  of	
  these	
  pieces.	
  	
  The	
  approach	
  of	
  blending	
  the	
  
purpose	
   of	
   an	
   item	
   and	
   a	
   considered	
   industrially	
  
designed	
  form	
  is	
  set	
  to	
  make	
  its	
  way	
  into	
  other	
  items	
  of	
  
a	
   more	
   prac>cal	
   nature	
   within	
   the	
   home.	
   	
   There’s	
   a	
  
move	
  towards	
  convenience,	
  func>onality	
  and	
  longevity	
  
and	
   we	
   now	
   want	
   quality	
   from	
   items	
   that	
   are	
   mass-­‐
produced	
  to	
  go	
  along	
  with	
  character	
  in	
  our	
  homes.	
  
 
	
  
6:ORGANIC	
  SHAPES	
  
	
  
To	
   soPen	
   the	
   lines	
   of	
   our	
   crisper	
   and	
   cleaner	
   looking	
  
modern	
  homes	
  we	
  are	
  adding	
  accents	
  of	
  less	
  rigid	
  and	
  
more	
   organic	
   inspired	
   shapes.	
   Graceful,	
   rounded,	
  
expanded	
   looking	
   shapes	
   con>nue	
   to	
   be	
   very	
   popular	
  
but	
  we	
  are	
  seeing	
  that	
  trend	
  taken	
  a	
  liYle	
  further	
  into	
  
the	
   direc>on	
   of	
   droplet,	
   hanging,	
   dripping,	
   pulled,	
  
“gloopy”	
   looking	
   forms	
   that	
   look	
   like	
   they	
   almost	
   just	
  
“happened”	
  or	
  grew	
  in	
  the	
  space.	
  This	
  trend	
  is	
  coming	
  
through	
   mostly	
   in	
   accent	
   pieces	
   such	
   as	
   ligh>ng,	
  
ceramics,	
  glassware	
  and	
  accessories.	
  
 
	
  
7:CRAFTED	
  WITH	
  CARE	
  
	
  
Our	
   apprecia>on	
   for	
   items	
   made	
   by	
   human	
   hands	
   and	
   a	
  
learned	
   skill	
   is	
   undergoing	
   resurgence.	
   CraP	
   made	
   items	
  
and	
  those	
  with	
  a	
  unique	
  one	
  off	
  “handmade	
  like”	
  feel	
  offer	
  
us	
   the	
   chance	
   to	
   have	
   pieces	
   that	
   we	
   perceive	
   as	
  
“authen>c”	
   in	
   a	
   widely	
   mechanized	
   and	
   mass	
   produced	
  
world.	
  Whether	
  its	
  using	
  tradi>onal	
  techniques	
  or	
  crea>ng	
  
new	
   ones	
   “craP”	
   is	
   an	
   expression	
   of	
   wan>ng	
   to	
   stay	
  
connected	
   to	
   what	
   makes	
   us	
   human.	
   Skills	
   like	
   binding,	
  
weaving,	
  knoong,	
  quil>ng	
  and	
  needlework	
  will	
  be	
  evident	
  
in	
  furnishings	
  and	
  accessories.	
  
	
  
 
	
  
8:PHOTOGRAPHIC	
  IMAGERY	
  
	
  
Social	
  media	
  and	
  informa>on	
  technology	
  are	
  beginning	
  to	
  
have	
  an	
  effect	
  on	
  the	
  way	
  that	
  we	
  live	
  and	
  also	
  the	
  way	
  
that	
  we	
  appreciate	
  seeing	
  things	
  around	
  us.	
  	
  Photographic	
  
images	
   and	
   images	
   that	
   have	
   been	
   manipulated	
   with	
  
“instagram	
   like”	
   soP	
   filters	
   to	
   add	
   a	
   nostalgic	
   dream	
   like	
  
quality	
   will	
   be	
   seen	
   in	
   wall	
   art,	
   soP	
   furnishings	
   and	
  
accessories.	
   Advancements	
   in	
   digital	
   prin>ng	
   have	
   made	
  
the	
  possibili>es	
  to	
  use	
  images	
  unlimited.	
  Artworks	
  can	
  now	
  
be	
   whatever	
   size	
   you	
   like,	
   put	
   wherever	
   you	
   want	
   and	
  
designed	
  to	
  feature	
  whatever	
  takes	
  your	
  fancy.	
  
 
	
  
9:MERGING	
  OF	
  CULTURES	
  
	
  
The	
   influence	
   of	
   cultures	
   from	
   many	
   different	
  
regions	
  has	
  been	
  enriching	
  our	
  own	
  for	
  a	
  long	
  >me	
  
now.	
   We	
   are	
   seeing	
   new	
   interpreta>ons	
   of	
  
tradi>onal	
   ethnic	
   designs	
   as	
   they	
   morph	
   into	
  
unending	
   new	
   possibili>es.	
   We	
   see	
   the	
   influence	
  
not	
  only	
  in	
  colour,	
  texture	
  and	
  paYern	
  but	
  also	
  in	
  
the	
  “mix	
  it	
  all	
  up”	
  style	
  of	
  decora>on	
  that	
  we	
  tend	
  
to	
   use.	
   Major	
   influences	
   come	
   from	
   Africa,	
   Asia,	
  
The	
   Middle	
   East	
   and	
   Europe.	
   	
   We	
   are	
   now	
   also	
  
tapping	
  directly	
  into	
  the	
  USA’s	
  own	
  pre-­‐melted	
  pot	
  
for	
  new	
  inspira>on.	
  
 
	
  
10:ENVIRONMENT	
  FRIENDLY	
  IS	
  MAINSTREAM	
  
	
  
Environmental	
  considera>on	
  is	
  no	
  longer	
  something	
  
that	
  just	
  sits	
  in	
  the	
  back	
  of	
  our	
  heads.	
  	
  We	
  recognise	
  
that	
  the	
  way	
  that	
  we	
  live	
  in	
  the	
  world	
  and	
  what	
  we	
  
take	
   from	
   it	
   ul>mately	
   has	
   an	
   impact	
   directly	
   upon	
  
us.	
   	
   Environmentally	
   friendly	
   design,	
   sustainability,	
  
passive	
   homes,	
   products	
   that	
   require	
   less	
   energy,	
  
reducing	
   the	
   running	
   costs	
   of	
   our	
   homes,	
   new	
  
ligh>ng	
   op>ons,	
   repurposing,	
   recycling,	
   up-­‐cycling	
  
and	
   new	
   hybrid	
   materials	
   are	
   either	
   standard	
   or	
  
con>nue	
  to	
  emerge.	
  	
  
 
	
  
INTERNATIONAL	
  design	
  trade	
  fairs	
  are	
  a	
  lightning	
  rod	
  for	
  future	
  forecas2ng	
  of	
  global	
  
trends	
  in	
  furniture,	
  furnishings,	
  ligh2ng,	
  accessories	
  and	
  technology.	
  
	
  
The	
  Milan	
  Furniture	
  Fair,	
  Chicago’s	
  NeoCon	
  Fair	
  for	
  commercial	
  interiors	
  and	
  Orgatec,	
  a	
  
biennial	
   exhibi>on	
   for	
   the	
   future	
   of	
   office	
   and	
   workspace	
   design	
   held	
   in	
   Cologne,	
   are	
  
highly	
  an>cipated	
  events	
  that	
  aYract	
  thousands	
  of	
  design	
  professionals.	
  
	
  
A	
  week	
  aPer	
  his	
  return	
  from	
  the	
  NeoCon	
  Fair	
  in	
  June,	
  Laminex	
  Group	
  Design	
  Director	
  Neil	
  
Sookee	
  presented	
  Global	
  Trends	
  2015	
  to	
  a	
  group	
  of	
  Melbourne	
  designers	
  who	
  gathered	
  
at	
  the	
  Workspace	
  showroom	
  in	
  South	
  Melbourne.	
  His	
  insights	
  into	
  the	
  future	
  direc>on	
  of	
  
global	
  design	
  in	
  office	
  and	
  living	
  environments	
  observed	
  in	
  Milan,	
  Cologne,	
  Chicago	
  and	
  
New	
   York	
   covered	
   new	
   technology	
   in	
   workspace	
   design,	
   ergonomics,	
   colour,	
   finishes,	
  
texture	
  and	
  light.	
  
	
  
	
  
Global	
  Interior	
  Design	
  Trends	
  2015	
  
 
	
  
At	
   NeoCon	
   2014,	
   the	
   theme	
   of	
   ‘Place	
   MaYers’	
   focused	
   on	
   design	
   that	
   promotes	
  
workplace	
   collabora>on,	
   flexibility,	
   energy	
   and	
   intellect	
   as	
   an	
   extension	
   of	
   the	
   Living	
  
Office	
  philosophy	
  introduced	
  by	
  acclaimed	
  furniture	
  company	
  Herman	
  Miller	
  last	
  year.	
  
The	
  aim	
  is	
  to	
  create	
  a	
  workplace	
  that	
  encourages	
  relaxa>on	
  and	
  wellness	
  which	
  in	
  turn	
  
s>mulates	
  a	
  crea>ve,	
  focused	
  and	
  produc>ve	
  working	
  environment.	
  
	
  
“Felt	
  is	
  the	
  darling	
  material	
  for	
  the	
  office	
  interior,”	
  Sookee	
  said,	
  no>ng	
  that	
  the	
  selec>on	
  
of	
  finishes	
  and	
  designing	
  for	
  the	
  senses	
  is	
  an	
  important	
  element	
  of	
  the	
  design	
  process.	
  
SoP	
  to	
  the	
  touch,	
  felt	
  is	
  used	
  to	
  upholster	
  worksta>on	
  screens	
  and	
  panels	
  which	
  absorb	
  
ambient	
  noise,	
  task	
  sea>ng	
  and	
  casual	
  sea>ng	
  in	
  public	
  and	
  private	
  mee>ng	
  areas.	
  Wool,	
  
>mber	
  and	
  the	
  emergence	
  of	
  cork	
  tex>les	
  are	
  other	
  materials	
  that	
  connect	
  the	
  office	
  
interior	
  with	
  nature.	
  
	
  
Contemporary	
   office	
   design	
   also	
   looks	
   to	
   new	
   technology	
   to	
   improve	
   the	
   flexibility	
  
needed	
   for	
   modern	
   shared	
   workspaces,	
   fully	
   wired	
   work	
   sta>ons	
   and	
   wireless	
   and	
  
Bluetooth	
  technology.	
  The	
  height	
  adjustable	
  Kine>c	
  Desk	
  by	
  S>r,	
  launched	
  at	
  NeoCon	
  
2014,	
   remembers	
   pre-­‐programmed	
   seongs	
   for	
   each	
   individual.	
   It	
   extends	
   from	
   the	
  
typical	
   desk-­‐based	
   siong	
   posi>on	
   to	
   standing	
   height	
   for	
   a	
   healthy	
   alterna>ve	
   to	
   the	
  
sta>c	
  desk	
  and	
  sedentary	
  mode	
  of	
  work.	
  
	
  
 
	
  
Colour	
  paleYes	
  range	
  from	
  rus>c	
  earthy	
  tones	
  inspired	
  by	
  real	
  leather,	
  to	
  
>nted	
  neutrals	
  and	
  pastels	
  in	
  combina>on	
  with	
  light	
  wood	
  grains.	
  “Blue	
  is	
  
favoured	
  for	
  corporate	
  interiors	
  from	
  vapour	
  blues	
  to	
  the	
  deepest	
  indigo”	
  
Sookee	
   noted.	
   “Yellow,	
   green	
   and	
   retro	
   paYerns	
   con>nue	
   to	
   influence	
  
colour	
   schemes	
   today	
   and	
   large	
   scale	
   paYerns	
   in	
   black	
   and	
   white	
   are	
  
>meless	
  combina>ons.”	
  
	
  
	
  
	
  
	
  
 
	
  
	
  
	
  
“Light	
   natural	
   woods	
   and	
   the	
   ubiquitous	
   whitewashed	
   oak	
   remain	
  
popular	
   in	
   Europe	
   and	
   reclaimed	
   woods	
   are	
   beginning	
   to	
   enter	
   the	
  
office	
  market,”	
  he	
  said.	
  
	
  
	
  
 
	
  
	
  
White	
  has	
  replaced	
  office	
  grey	
  as	
  a	
  popular	
  base	
  colour	
  for	
  worksta>ons	
  but	
  
the	
  classic	
  accent	
  colours	
  of	
  apple	
  green	
  and	
  orange	
  remain	
  while	
  the	
  red	
  
colour	
  paleYe	
  is	
  soPened	
  with	
  a	
  grey	
  base.	
  Retro	
  colours	
  such	
  as	
  burgundy,	
  
gold	
  and	
  terracoYa,	
  grey-­‐browns	
  and	
  brown-­‐greys	
  have	
  emerged	
  alongside	
  
>nted	
  neutrals,	
  pastels	
  and	
  neutral	
  woods.	
  Rose	
  gold	
  and	
  metallic	
  colours	
  
are	
  also	
  found	
  in	
  ligh>ng	
  and	
  accessories.	
  
	
  
	
  
 
	
  
	
  
Wall	
  treatments	
  can	
  also	
  be	
  ephemeral.	
  Light	
  projec>on	
  installa>ons	
  
such	
   as	
   Lightweeds	
   designed	
   by	
   Simon	
   Heijdens,	
   and	
   natural	
   light	
  
manipulated	
  by	
  architecture,	
  as	
  seen	
  in	
  the	
  interior	
  of	
  the	
  Light	
  Walls	
  
House	
   designed	
   by	
   Japanese	
   studio	
   mA-­‐style	
   Architects,	
   create	
  
dynamic	
  shadows	
  that	
  connect	
  interiors	
  with	
  nature.	
  
	
  
	
  
 
	
  
	
  
There	
   are	
   many	
   reasons	
   for	
   a	
   sustainable	
   shiP	
   in	
   reference	
   to	
   Interior	
  
Design	
   including	
   environmental	
   responsibility,	
   energy	
   and	
   water	
  
efficiency,	
  and	
  community.	
  
COMMERCIAL	
  DESIGN	
  TRENDS:	
  
SUSTAINABILITY	
  
 
	
  
Environmental	
  Responsibility	
  
	
  
We	
  know	
  that	
  we	
  have	
  damaged	
  our	
  beau>ful	
  Mother	
  Earth	
  and	
  that	
  we	
  have	
  depleted	
  
many	
  of	
  the	
  natural	
  resources	
  she	
  offers.	
  The	
  construc>on	
  industry	
  is	
  a	
  major	
  culprit	
  in	
  
this	
  regards,	
  but	
  manufacturers	
  of	
  materials	
  are	
  stepping	
  up	
  to	
  the	
  plate	
  to	
  make	
  their	
  
products	
   more	
   environmentally	
   friendly.	
   Recycled	
   content,	
   use	
   of	
   recyclable	
  
ingredients,	
  reducing	
  or	
  elimina>ng	
  harmful	
  toxins,	
  and	
  reusing	
  or	
  reclaiming	
  materials	
  
are	
  just	
  a	
  few	
  of	
  the	
  ways	
  they	
  are	
  doing	
  this.	
  Stay	
  tuned	
  for	
  our	
  upcoming	
  series	
  with	
  
useful	
  >ps	
  for	
  selec>ng	
  sustainable	
  materials.	
  
The	
  Jim	
  Paoson	
  Centre	
  for	
  
Excellence	
  by	
  CEI	
  Architecture	
  is	
  
an	
  excellent	
  example	
  of	
  
sustainable	
  design.	
  Pictured	
  
above:	
  Gymnasium	
  with	
  radiant	
  
concrete/wood	
  walls	
  panels.	
  
 
	
  
As	
  Interior	
  Designers	
  we	
  are	
  always	
  looking	
  for	
  ways	
  to	
  reduce	
  the	
  impact	
  of	
  our	
  
designs	
   on	
   the	
   environment.	
   This	
   is	
   done	
   through	
   process,	
   research	
   and	
  
implementa>on	
  of	
  innova>ve	
  or	
  tried	
  and	
  true	
  prac>ces	
  like	
  these:	
  
	
  
•  For	
  a	
  renova>on,	
  careful	
  inventory	
  is	
  done	
  prior	
  to	
  the	
  space	
  planning	
  phase	
  
to	
  determine	
  what	
  is	
  exis>ng	
  and	
  what	
  can	
  be	
  reused.	
  The	
  best	
  case	
  scenario	
  
for	
   reuse	
   is	
   when	
   something	
   can	
   remain	
   as-­‐is,	
   but	
   other	
   opportuni>es	
   to	
  
refinish,	
  relocate	
  or	
  reconfigure	
  exis>ng	
  items	
  are	
  also	
  inves>gated.	
  
•  Research	
  and	
  proposal	
  of	
  environmentally	
  friendly	
  material	
  op>ons.	
  
•  Informed	
  design	
  of	
  ligh>ng	
  for	
  energy	
  efficiency.	
  
•  Passive	
  design	
  strategies	
  considering	
  daylight,	
  solar	
  gain	
  and	
  the	
  poten>al	
  for	
  
natural	
  ven>la>on.	
  
 
	
  
Energy	
  and	
  Water	
  Efficiency	
  
	
  
Incorpora>ng	
  energy	
  and	
  water	
  efficient	
  fixtures	
  not	
  only	
  
helps	
  reduce	
  your	
  carbon	
  footprint,	
  it	
  also	
  reduces	
  your	
  
u>lity	
   bills	
   every	
   month.	
   It’s	
   a	
   win-­‐win	
   as	
   far	
   as	
   we’re	
  
concerned!	
   Manufacturers	
   have	
   made	
   selec>ng	
   water	
  
efficient	
  washroom	
  and	
  staff	
  room	
  fixtures	
  a	
  simple	
  task.	
  
High	
   efficiency	
   toilets	
   (HETs)	
   and	
   natures	
   youth	
   hgh	
  
dishwashers,	
   and	
   low	
   flow	
   faucets	
   with	
   aerators	
   are	
   a	
  
couple	
  ways	
  to	
  use	
  less	
  water.	
  
	
  
Constant	
   innova>ons	
   are	
   being	
   made	
   in	
   ligh>ng	
  
technology,	
  specifically	
  energy	
  efficient	
  ligh>ng.	
  There	
  are	
  
specific	
   waYage	
   requirements	
   that	
   your	
   commercial	
  
space	
  must	
  meet	
  to	
  adhere	
  to	
  the	
  regula>ons	
  set	
  out	
  in	
  
the	
  Canadian	
  Electrical	
  Code.	
  Working	
  with	
  professionals	
  
to	
   design	
   the	
   ligh>ng	
   of	
   your	
   space	
   is	
   impera>ve	
   to	
  
ensure	
  an	
  effec>ve	
  ligh>ng	
  scheme	
  for	
  your	
  space	
  while	
  
mee>ng	
  the	
  code	
  requirements.	
  
Profile	
  Smart	
  toilet	
  by	
  Caroma.	
  
 
	
  
Community	
  
	
  
The	
   true	
   defini>on	
   of	
   sustainability	
   is	
   an	
   all	
   encompassing	
   one	
   that	
   includes	
  
suppor>ng	
  the	
  communi>es	
  you	
  live	
  in	
  or	
  that	
  are	
  close	
  to	
  you.	
  In	
  most	
  cases	
  you	
  
will	
  not	
  be	
  able	
  to	
  source	
  everything	
  your	
  project	
  requires	
  locally,	
  but	
  you	
  may	
  be	
  
surprised	
  at	
  the	
  talent	
  located	
  just	
  outside	
  your	
  door.	
  U>lizing	
  products	
  from	
  local	
  
ar>sts	
   and	
   manufacturers	
   is	
   one	
   way	
   to	
   give	
   back	
   your	
   community	
   and	
   show	
  
apprecia>on	
  for	
  their	
  talents.	
  To	
  put	
  a	
  green	
  spin	
  on	
  this	
  point	
  the	
  product	
  does	
  
not	
  have	
  to	
  travel	
  which	
  cuts	
  down	
  on	
  greenhouse	
  gas	
  emissions.	
  And,	
  hey!,	
  you	
  
don’t	
  pay	
  for	
  the	
  delivery	
  charges	
  either.	
  
The	
   Centre	
   for	
   Excellence	
   at	
  
Okanagan	
   College	
   is	
   designed	
   to	
  
the	
   standards	
   of	
   the	
   Living	
  
Building	
   Challenge	
   with	
   strict	
  
guidelines	
   on	
   materials	
   used	
   and	
  
where	
   they	
   are	
   sourced	
   from.	
  
Locally	
   sourced	
   pine	
   beetle	
   wood	
  
was	
  used	
  extensively	
  throughout.	
  	
  

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Lecture 5 - Colours and Materials - Commercial-Institutional Interiors VDIS10009

  • 1. BY  RAMONA  SOLOMON     Lecture  5       Colours  &  Materials      
  • 2.     Colour     “colours  present  themselves  in  con2nuous  flux,  constantly  related  to  changing   neighbours  and  changing  condi2ons”                                -­‐  Joseph  Albers  (painter  &  colour  theorist)      Colour  remains  one  of  the  most  challenging  and  conten>ous  aspects  of  interior  design.   The  applica>on  and  mixing  of  colour  has  long  been  an  intense  area  of  study  for  scien>st,   ar>sts   and   designers.   At   the   same   >me,   colour   can   be   an   extremely   subjec>ve   topic:   Everyone  has  their  favourite  colours  –  colours  that  remind  them  of  a  place  or  >me  or  that   have  specific  emo>ve  quali>es.     The  role  of  colour  in  interior  design  resists  dissemina>on  into  simple  rules  and  ideas,  and   yet  understanding  the  complexi>es  of  using  colour  in  space  is  fundamental  to  crea>ng  a   successful  interior.  Thus,  interior  designers  must  learn  the  characteris>cs  of  colour  and   how  it  can  act  as  a  focusing  and  organising  agent.  
  • 3.     Colour  &  Material     The  role  of  colour  in  interior  design  is  further  complicated  by  its  associa>on  with  materials.   Materials  have  quali>es  of  absorp>on,  reflectance,  luminance  that  the  abstract  of  colour   do   not   take   into   account.   Materials   might   contain   many   layers   of   colour,   and   oPen   varia>ons   of   colour   can   occur   within   a   single   material   sample.   The   propor>onal   use   of   material  within  a  3-­‐dimen>onal  space  also  affects  how  colour  is  experienced.  Through  the   complex  interac>on  of  colour  and  material,  an  interior  designer  can  create  atmospheres  of   in>macy    or  freshness,  vibrancy  or  muteness,  and  even  begin  to  affect  other  senses  such   as  sight  and  hearing.     Colour  in  interior  design  can,  moreover,  can  be  divided  into  two  dis>nct  categories:  colour   as  applied  surface  and  colour  as  integral  to  a  material.  Paint,  lacquer,  specialty  finishes,   certain  laminates,  and  other  applica>ons  of  colour  to  the  finishes  surface  of  an  object  are   efficient  and  modifiable  strategies  for  colour  use.     There  are  many  instances  were  paint  and  applied  finishes  should  be  avoided,  however:   Adolf  Loos’s  saying  “Do  not  paint  concrete  grey,  or  wood  brown’  hold  true  here.  Materials   with  integral  colour  –  which  require  no  finish  other  than  a  sealer  –  have  greater  depth  of   surface,  which  allows  more  complex,  precise  colour  rela>onships  to  be  developed.    
  • 4.     Colour  Scheme     Colour   schemes   are   the   result   of   turning   colour   combina>ons   into   a   set   of   rules   for   an   interior  paleYe.  Grounded  in  colour  theory,  the  designer  can  crea>vely  select  and  organise   colour  in  harmonious  combina>ons.  In  the  abstract  –  that  is,  when  colour  is  not  >ed  to  a   material   –   there   are   6   ‘classic’   combina>ons   of   colour:   monochroma>c,   analogous,   complementary,  split  complementary,  triadic  and  tetradic.  These  examples  below  use  a  full-­‐ satura>on  olour  wheel,  but  the  designer  can  vary  both  satura>on  and  brightness.  
  • 5.     Applying  rules  of  contrast  to  an  interior  space     Contrast   is   considered   as   a   range   of   differences   between   the   compared   effects   of   colour  interac>on.     There  are  7  varia>ons  of  contrast:       1.  Contrast  of  Hue       2.  Light-­‐  Dark  Contrast         3.  Cold-­‐Warm  Contrast      
  • 6.         4.  Complementary  Contrast         5.  Simultaneous  Contrast         6.  Contrast  of  Satura>on         7.  Contrast  of  Extension    
  • 7.     Con$nual   connec$vity   through   technology   has   reinforced   our   basic   human   desire   to   connect   in   the   real   world.   Connect   with   the   earth   by   feeling   the   soil   between   our   fingers,  connect  with  ourselves  by  taking  $me  to  pause,  connect  with  our  heritage  by   relearning  forgo=en  skills,  connect  with  our  playful  side  by  indulging  in  colour.     How  will  you  explore  your  connec$on?       Watch  Video   hYps://www.youtube.com/watch?v=iObV7VEK4W8      
  • 10.     1:COLOURS     This   year   we’ll   be   seeing   a   diversity   of   colour   like   we   haven’t   seen   in   ages.   Our   aYen>on   is   has   seYled   gentle   colours   like   muted   pastels,   smoky  shades  of  grey,  soP  neutrals,  metal  hues,  rich  leather  and  marine   tones  along  with  at  the  opposite  end  of  the  spectrum  vibrant  jewel  and   fruit   colours.   Paint   colours   for   the   home   s>ll   revolve   around   sophis>cated  basics  with  preference  for  cleaner  whites,  smokier  neutrals   and   updated   muted   pastels.   Feature   walls   are   out,   zone   pain>ng   schemes  are  in  and  beige  is  a  thing  of  the  past.  
  • 11.     2:FABRICS  AND  PATTERN       Prints   and   paYern   are   definitely   back   on   the   rise   –   visual   impact  is  the  key  theme.    On  one  side  we  see  fluid  looking   prints,   peacock   feather   paYerns,   photographic   images,   graded   dip   dye   designs,   text,   blurred   images,   florals   and   tropical   prints.       On   the   other   we   see   a   strong   geometric   designs,   3d   paYerns,   repeated   forms,   kaleidoscopic   images   and   paYerns   inspired   by   cells   and   molecules.   Fabrics   are   about  texture  be  it  visual  or  otherwise.  Velvet,  textures  and   raw   looking   weaves   are   popular   and   the   use   of   fabric   for   sofas  and  upholstery  is  back.  
  • 12.     3:NATURAL  WORLD     Textures   derived   from   nature,   whether   they   are   animal,   mineral  or  vegetable  are  in.    Think  botany,  insect  prints,   fossils,   bone,   wood,   bark,   stone   and   organic   shapes.   We   are  tending  to  like  our  woods  looking  raw,  or  if  they  are   shiny   –   shown   in   a   way   that   we   can   really   appreciate   them.    We  want  materials  and  finishes  to  look  authen>c   and  we  are  using  them  in  more  simple  ways  in  order  to   appreciate   their   beauty.     Addi>onally   we   are   leaning   towards   steel,   copper,   pewter,   gold   and   other   metal   accents  in  preference  to  just  chrome  and  stainless  steel.  
  • 13.     4:MATTE  FINISHES     The  popularity  of  maYe  finishes  is  growing  in  modern   décor  as  we  seek  to  add  differing  depths  of  interest  into   our   buildings   and   interiors.   A   maYe   finish   gives   an   object   a   raw,   edgy   look   and   also   allows   you   to   appreciate  the  overall  form  and  material  that  an  item  is   made  of.    This  principle  is  crucial  in  modern  design  and   it   also   harks   back   to   our   desire   for   natural   and   authen>c   soPer   finishes.   This   trend   is   growing   in   everything   from   tapware,   ligh>ng,   furniture,   accessories,  kitchens  and  bathrooms,  right  through  to   en>re  rooms.  
  • 14.     5:INDUSTRIAL  DESIGN     Industrial  style  pieces  in  the  home  have  been  a  staple  in   the  past  few  years,  primarily  in  the  form  of  ligh>ng  and   furniture.   We   are   con>nuing   to   love   the   look   and   character  of  these  pieces.    The  approach  of  blending  the   purpose   of   an   item   and   a   considered   industrially   designed  form  is  set  to  make  its  way  into  other  items  of   a   more   prac>cal   nature   within   the   home.     There’s   a   move  towards  convenience,  func>onality  and  longevity   and   we   now   want   quality   from   items   that   are   mass-­‐ produced  to  go  along  with  character  in  our  homes.  
  • 15.     6:ORGANIC  SHAPES     To   soPen   the   lines   of   our   crisper   and   cleaner   looking   modern  homes  we  are  adding  accents  of  less  rigid  and   more   organic   inspired   shapes.   Graceful,   rounded,   expanded   looking   shapes   con>nue   to   be   very   popular   but  we  are  seeing  that  trend  taken  a  liYle  further  into   the   direc>on   of   droplet,   hanging,   dripping,   pulled,   “gloopy”   looking   forms   that   look   like   they   almost   just   “happened”  or  grew  in  the  space.  This  trend  is  coming   through   mostly   in   accent   pieces   such   as   ligh>ng,   ceramics,  glassware  and  accessories.  
  • 16.     7:CRAFTED  WITH  CARE     Our   apprecia>on   for   items   made   by   human   hands   and   a   learned   skill   is   undergoing   resurgence.   CraP   made   items   and  those  with  a  unique  one  off  “handmade  like”  feel  offer   us   the   chance   to   have   pieces   that   we   perceive   as   “authen>c”   in   a   widely   mechanized   and   mass   produced   world.  Whether  its  using  tradi>onal  techniques  or  crea>ng   new   ones   “craP”   is   an   expression   of   wan>ng   to   stay   connected   to   what   makes   us   human.   Skills   like   binding,   weaving,  knoong,  quil>ng  and  needlework  will  be  evident   in  furnishings  and  accessories.    
  • 17.     8:PHOTOGRAPHIC  IMAGERY     Social  media  and  informa>on  technology  are  beginning  to   have  an  effect  on  the  way  that  we  live  and  also  the  way   that  we  appreciate  seeing  things  around  us.    Photographic   images   and   images   that   have   been   manipulated   with   “instagram   like”   soP   filters   to   add   a   nostalgic   dream   like   quality   will   be   seen   in   wall   art,   soP   furnishings   and   accessories.   Advancements   in   digital   prin>ng   have   made   the  possibili>es  to  use  images  unlimited.  Artworks  can  now   be   whatever   size   you   like,   put   wherever   you   want   and   designed  to  feature  whatever  takes  your  fancy.  
  • 18.     9:MERGING  OF  CULTURES     The   influence   of   cultures   from   many   different   regions  has  been  enriching  our  own  for  a  long  >me   now.   We   are   seeing   new   interpreta>ons   of   tradi>onal   ethnic   designs   as   they   morph   into   unending   new   possibili>es.   We   see   the   influence   not  only  in  colour,  texture  and  paYern  but  also  in   the  “mix  it  all  up”  style  of  decora>on  that  we  tend   to   use.   Major   influences   come   from   Africa,   Asia,   The   Middle   East   and   Europe.     We   are   now   also   tapping  directly  into  the  USA’s  own  pre-­‐melted  pot   for  new  inspira>on.  
  • 19.     10:ENVIRONMENT  FRIENDLY  IS  MAINSTREAM     Environmental  considera>on  is  no  longer  something   that  just  sits  in  the  back  of  our  heads.    We  recognise   that  the  way  that  we  live  in  the  world  and  what  we   take   from   it   ul>mately   has   an   impact   directly   upon   us.     Environmentally   friendly   design,   sustainability,   passive   homes,   products   that   require   less   energy,   reducing   the   running   costs   of   our   homes,   new   ligh>ng   op>ons,   repurposing,   recycling,   up-­‐cycling   and   new   hybrid   materials   are   either   standard   or   con>nue  to  emerge.    
  • 20.     INTERNATIONAL  design  trade  fairs  are  a  lightning  rod  for  future  forecas2ng  of  global   trends  in  furniture,  furnishings,  ligh2ng,  accessories  and  technology.     The  Milan  Furniture  Fair,  Chicago’s  NeoCon  Fair  for  commercial  interiors  and  Orgatec,  a   biennial   exhibi>on   for   the   future   of   office   and   workspace   design   held   in   Cologne,   are   highly  an>cipated  events  that  aYract  thousands  of  design  professionals.     A  week  aPer  his  return  from  the  NeoCon  Fair  in  June,  Laminex  Group  Design  Director  Neil   Sookee  presented  Global  Trends  2015  to  a  group  of  Melbourne  designers  who  gathered   at  the  Workspace  showroom  in  South  Melbourne.  His  insights  into  the  future  direc>on  of   global  design  in  office  and  living  environments  observed  in  Milan,  Cologne,  Chicago  and   New   York   covered   new   technology   in   workspace   design,   ergonomics,   colour,   finishes,   texture  and  light.       Global  Interior  Design  Trends  2015  
  • 21.     At   NeoCon   2014,   the   theme   of   ‘Place   MaYers’   focused   on   design   that   promotes   workplace   collabora>on,   flexibility,   energy   and   intellect   as   an   extension   of   the   Living   Office  philosophy  introduced  by  acclaimed  furniture  company  Herman  Miller  last  year.   The  aim  is  to  create  a  workplace  that  encourages  relaxa>on  and  wellness  which  in  turn   s>mulates  a  crea>ve,  focused  and  produc>ve  working  environment.     “Felt  is  the  darling  material  for  the  office  interior,”  Sookee  said,  no>ng  that  the  selec>on   of  finishes  and  designing  for  the  senses  is  an  important  element  of  the  design  process.   SoP  to  the  touch,  felt  is  used  to  upholster  worksta>on  screens  and  panels  which  absorb   ambient  noise,  task  sea>ng  and  casual  sea>ng  in  public  and  private  mee>ng  areas.  Wool,   >mber  and  the  emergence  of  cork  tex>les  are  other  materials  that  connect  the  office   interior  with  nature.     Contemporary   office   design   also   looks   to   new   technology   to   improve   the   flexibility   needed   for   modern   shared   workspaces,   fully   wired   work   sta>ons   and   wireless   and   Bluetooth  technology.  The  height  adjustable  Kine>c  Desk  by  S>r,  launched  at  NeoCon   2014,   remembers   pre-­‐programmed   seongs   for   each   individual.   It   extends   from   the   typical   desk-­‐based   siong   posi>on   to   standing   height   for   a   healthy   alterna>ve   to   the   sta>c  desk  and  sedentary  mode  of  work.    
  • 22.     Colour  paleYes  range  from  rus>c  earthy  tones  inspired  by  real  leather,  to   >nted  neutrals  and  pastels  in  combina>on  with  light  wood  grains.  “Blue  is   favoured  for  corporate  interiors  from  vapour  blues  to  the  deepest  indigo”   Sookee   noted.   “Yellow,   green   and   retro   paYerns   con>nue   to   influence   colour   schemes   today   and   large   scale   paYerns   in   black   and   white   are   >meless  combina>ons.”          
  • 23.         “Light   natural   woods   and   the   ubiquitous   whitewashed   oak   remain   popular   in   Europe   and   reclaimed   woods   are   beginning   to   enter   the   office  market,”  he  said.      
  • 24.       White  has  replaced  office  grey  as  a  popular  base  colour  for  worksta>ons  but   the  classic  accent  colours  of  apple  green  and  orange  remain  while  the  red   colour  paleYe  is  soPened  with  a  grey  base.  Retro  colours  such  as  burgundy,   gold  and  terracoYa,  grey-­‐browns  and  brown-­‐greys  have  emerged  alongside   >nted  neutrals,  pastels  and  neutral  woods.  Rose  gold  and  metallic  colours   are  also  found  in  ligh>ng  and  accessories.      
  • 25.       Wall  treatments  can  also  be  ephemeral.  Light  projec>on  installa>ons   such   as   Lightweeds   designed   by   Simon   Heijdens,   and   natural   light   manipulated  by  architecture,  as  seen  in  the  interior  of  the  Light  Walls   House   designed   by   Japanese   studio   mA-­‐style   Architects,   create   dynamic  shadows  that  connect  interiors  with  nature.      
  • 26.       There   are   many   reasons   for   a   sustainable   shiP   in   reference   to   Interior   Design   including   environmental   responsibility,   energy   and   water   efficiency,  and  community.   COMMERCIAL  DESIGN  TRENDS:   SUSTAINABILITY  
  • 27.     Environmental  Responsibility     We  know  that  we  have  damaged  our  beau>ful  Mother  Earth  and  that  we  have  depleted   many  of  the  natural  resources  she  offers.  The  construc>on  industry  is  a  major  culprit  in   this  regards,  but  manufacturers  of  materials  are  stepping  up  to  the  plate  to  make  their   products   more   environmentally   friendly.   Recycled   content,   use   of   recyclable   ingredients,  reducing  or  elimina>ng  harmful  toxins,  and  reusing  or  reclaiming  materials   are  just  a  few  of  the  ways  they  are  doing  this.  Stay  tuned  for  our  upcoming  series  with   useful  >ps  for  selec>ng  sustainable  materials.   The  Jim  Paoson  Centre  for   Excellence  by  CEI  Architecture  is   an  excellent  example  of   sustainable  design.  Pictured   above:  Gymnasium  with  radiant   concrete/wood  walls  panels.  
  • 28.     As  Interior  Designers  we  are  always  looking  for  ways  to  reduce  the  impact  of  our   designs   on   the   environment.   This   is   done   through   process,   research   and   implementa>on  of  innova>ve  or  tried  and  true  prac>ces  like  these:     •  For  a  renova>on,  careful  inventory  is  done  prior  to  the  space  planning  phase   to  determine  what  is  exis>ng  and  what  can  be  reused.  The  best  case  scenario   for   reuse   is   when   something   can   remain   as-­‐is,   but   other   opportuni>es   to   refinish,  relocate  or  reconfigure  exis>ng  items  are  also  inves>gated.   •  Research  and  proposal  of  environmentally  friendly  material  op>ons.   •  Informed  design  of  ligh>ng  for  energy  efficiency.   •  Passive  design  strategies  considering  daylight,  solar  gain  and  the  poten>al  for   natural  ven>la>on.  
  • 29.     Energy  and  Water  Efficiency     Incorpora>ng  energy  and  water  efficient  fixtures  not  only   helps  reduce  your  carbon  footprint,  it  also  reduces  your   u>lity   bills   every   month.   It’s   a   win-­‐win   as   far   as   we’re   concerned!   Manufacturers   have   made   selec>ng   water   efficient  washroom  and  staff  room  fixtures  a  simple  task.   High   efficiency   toilets   (HETs)   and   natures   youth   hgh   dishwashers,   and   low   flow   faucets   with   aerators   are   a   couple  ways  to  use  less  water.     Constant   innova>ons   are   being   made   in   ligh>ng   technology,  specifically  energy  efficient  ligh>ng.  There  are   specific   waYage   requirements   that   your   commercial   space  must  meet  to  adhere  to  the  regula>ons  set  out  in   the  Canadian  Electrical  Code.  Working  with  professionals   to   design   the   ligh>ng   of   your   space   is   impera>ve   to   ensure  an  effec>ve  ligh>ng  scheme  for  your  space  while   mee>ng  the  code  requirements.   Profile  Smart  toilet  by  Caroma.  
  • 30.     Community     The   true   defini>on   of   sustainability   is   an   all   encompassing   one   that   includes   suppor>ng  the  communi>es  you  live  in  or  that  are  close  to  you.  In  most  cases  you   will  not  be  able  to  source  everything  your  project  requires  locally,  but  you  may  be   surprised  at  the  talent  located  just  outside  your  door.  U>lizing  products  from  local   ar>sts   and   manufacturers   is   one   way   to   give   back   your   community   and   show   apprecia>on  for  their  talents.  To  put  a  green  spin  on  this  point  the  product  does   not  have  to  travel  which  cuts  down  on  greenhouse  gas  emissions.  And,  hey!,  you   don’t  pay  for  the  delivery  charges  either.   The   Centre   for   Excellence   at   Okanagan   College   is   designed   to   the   standards   of   the   Living   Building   Challenge   with   strict   guidelines   on   materials   used   and   where   they   are   sourced   from.   Locally   sourced   pine   beetle   wood   was  used  extensively  throughout.