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
8.
9.
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.