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Colour futures 2012 rascunho


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rascunho do livro colour futures 2012

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Colour futures 2012 rascunho

  2. 2. Looking at the world from different perspectives opens up WORLD OF POSSIBILITIES
  3. 3. WELCOME AKZONOBEL IS THE WORLD’S LARGEST PAINT AND COATINGS MANUFACTURER. OUR MISSION IS TO ‘ DD COLOUR TO A PEOPLE’S LIVES’ . We understand the power of colour and the positive effect it has on our mood. Colour is all around us and influences all aspects of our lives. Uplifting, soothing, inspiring, chall- enging or intriguing, colour can change the way we view our surroundings. Being the largest colour manufacturer world- wide, it is AkzoNobel’s responsibility to know all there is to know about how colour works. We pride ourselves on our knowledge of colour formulas and design principles. Knowledge collected, researched and interpreted on an ongoing basis by AkzoNobel’s Aesthetic Center enables ColourFutures to showcase colour forecasts , TM and collections that inspire our customers.02
  5. 5. POSSIBILITIESEVERY YEAR, COLOURFUTURES PRESENTS ONE DOMI- TMNANT TREND, ONE ESSENTIAL VALUE. FIVE RELATEDTRENDS STEM FROM THAT DOMINANT IDEA, WHICHARE ALL TRANSLATED INTO COLOUR PALETTES. FROMTHESE, A SINGLE ‘COLOUR OF THE YEAR’ IS SELECTED,THE COLOUR THAT BEST SUMS UP THE PREVAILING MOOD.This year’ driving influence logically follows from those that sset the mood in the last few years. 2010 was about ‘Reclaiming’what we knew to be true and solid, about relying on our indiv-idual strength and our capability to regroup, in the hope ofmoving forward.2011 had ‘Appreciation’ as the common denominator hinting ,at our new-found appreciation for simplicity and purity, find-ing joy in everyday things we had been taking for granted forso long, and treasuring them.The concept of ‘Possibilities’ builds on this. It offers the exhila-rating and inspiritional idea that new options are waiting to beuncovered inside all those things we have recently reclaimedand have come to appreciate for what they are.Because although appreciation is wonderful and much-needed, it holds an element of acceptance, which is by naturecomplacent. That is why the concept of ‘Possibilities’ is onestep up: it moves towards the pro-active. It spurs us on tomine our newly-appreciated familiar world for hidden rawmaterials. Stuff to combine in new, unsuspected and verysatisfying ways. Imagine us awakening to the fact that theworld – both the physical one outside and the imaginaryworld inside us – still has so much to offer so much that only ,needs to be found. 07
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  8. 8. 14-31 Delicate Mix32-4 9 ONE SMALL SEED 50-67 living scrapbook 68-85 Different Worlds 86 -103 REDISCOVERED HEROES 104-111 Colour of the year 112-128 Colour transitions
  10. 10. DelicateMix
  11. 11. IN TIMES OF TURBULENCE, WE ARE ATTRACTED TO DESIGN THAT OFFERS SILENCE AND VISUAL STILL- NESS. THIS ETHOS ENGAGES THE MIND WHILE SOOTH- ING THE SOUL. IT IS DELIVERED WITH A LIGHTNESS OF TOUCH AND GIVES A LEVEL OF REFINEMENT THAT WE EXPERIENCE AS LUXURY. Consumers now understand and appreciate design, a subject once the domain of artists and architects. They grasp the idea behind highly conceptualized, magnificently executed objects, appreciating the thought and attention that went into their creation. Visitors of the yearly Salone del Mobile increasingly flock to the exhibi- tions by Dutch designers like Studio Job, Droog Design and students of the Design Academy Eindhoven. It’s because they know what to expect: a unique level of refinement and insightfulness, expressed in beautiful objects. Design is a process of refinement. Whether a designer makes jewellery, furniture, clothing or industrial objects, the objective to get it even better next time is always there. Designing objects as we know it now, is the outcome of a slow but steady development. It started in the late 19th century, when artisans and cabinet makers felt the need to step away from traditionalism and create new shapes. The turn of the century saw the rise of a new creative class that embraced the notion of novelty, and started highly influential movements like Arts and Crafts, Wiener Werkstätte and Bauhaus. Design theory entered a new stage. Thinking about the shape of furniture, buildings, fashion and decoration went beyond a mere need for beauty and incorporated philosophy and even politics.16
  12. 12. A century ago, it was quite common to be a multidisciplinarian in thecreative field of your choice. René Lalique, these days mostly known forhis priceless lead crystal statuettes, started out as a jewellery designerand also created beautiful windows and church interiors. De Stijl’s topfurniture designer and architect, Gerrit Rietveld, was widely admired forthe book covers he made as a graphic designer. Due to their forays intovarious fields, many artists and designers of the day knew each other .They discussed the relevance of their work extensively and examined itbravely. The socialist movement inspired many to theorize on the needfor democratic design – low-cost furniture available to every householdto ‘elevate the minds and spirits of the workforce’ Rietveld in particular .tried to design furniture that was easy to mass-produce and assemble, ata minimal investment.His efforts did pay off – but only to a certain extent. Anyone who owns aRietveld chair or has ever been in one of his buildings, will have discoveredthat his designs leave a lot to be desired in terms of comfort and main-tenance. The valuable lesson here was that purity of form may seem likethe ultimate goal, but it is only the first step.Mid-Century modern designers like Charles and Ray Eames, ArneJacobsen, George Nelson and Isamo Noguchi made a conscious effort tocombine beauty, style and comfort. Modern manufacturing and newmaterials turned out to be key in this process. Inspired by Rietveld’ Zigzag schair Danish designer Verner Panton dreamed up his famous Panton ,Chair as early as 1957. But it took almost 10 years of experimenting beforeVitra finally found a way to mass-produce a model that did not buckleunder its own weight or disintegrate in sunlight.All of this led up to the more recent focus on the cultural value of shapesand materials, and how these speak to us. Playing with our sensibilitiesand challenging traditional concepts, designers have developed new,subtle ways to communicate with us.The colours that go with this theme are largely based on an subtleapproach of luxury. Here, luxury means harmony, modesty and refine-ment. It whispers of elegance and intellect, and is all about the juxta-position of materials and meaningful shapes, about artistic composition.Fully appreciating the beauty of an unobtrusive object requires someunderstanding of the design process, of manufacturing. KNOWINGTHAT AN OBJECT WAS A LONG TIME IN THE MAKING AND THAT A LOTOF FINE-TUNING AND RESEARCH WENT INTO IT, EVEN BEFORE ITEVER REACHED THE DRAWING TABLE STAGE, WILL MAKE YOUAPPRECIATE A PORCELAIN LAMPSHADE WITH THE SENSIBILITY OFAN EGGSHELL– OR AN IMPECCABLY WOVEN CASHMERE THROW – ASMUCH AS AN ANTIQUES AFICIONADO WOULD ADMIRE A GILDEDMIRROR. It’s about a new type of luxury that doesn’t aspire to expresswealth. Instead, it expresses cognition and a discerning taste. 21
  13. 13. A new type of LUXURY that aspires to express vision and elegance
  14. 14. Delicate Mix Colours This colour theme revolves around subtlety. Here, simplicity is a deliberate choice in the search for perfect balance, the result of careful reduction and attention to detail, and smoothness is a key element. The materials contemporary designers prefer – concrete, metal, wood, stoneware, wool, new plastics – may be pure, but they are never raw. Surfaces are honed carefully and professionally, making good use of industrial processes, to reveal the intrinsic beauty of the material. Which is quite the opposite of leaving them unpolished, the way a craftsman would. All of this is reflected in the palette: cool, elegant neutrals, luxurious warm camels, blushy coral and nude pinks, paired with nuances of forged iron, steel, polished concrete and anodised aluminium, wood, copper and oiled leathers. CON T EMP OR A RY POE TIC24
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  18. 18. ONE SMALL SEED
  19. 19. Personalised N A t u R e
  20. 20. ONE LESSON LEARNED: WE CAN’T SAVE THE WORLD ON OUR OWN. BUT WE CAN CREATE SMALL WONDERS ON OUR OWN, LIKE SOWING A SEED IN A POT AND WATERING IT EVERY DAY TO CREATE NEW LIFE. RIGHT THERE, IN OUR OWN LIVING ROOM. The focus of this theme is our personal bond with nature and how that bond relates to our general view on nature. It’s about the seemingly mundane, but on second inspection delightful fact that a whole plant can grow from a single seed. John Fu, associate professor of industrial design at Shanghai’s School for Media & Design, recently noticed many of his students had taken up growing plants from scratch, either in a small jar or pot on their desks or in front of a well-lit window. ‘The process of sowing a seed, watering it, watching it germinate into a tiny green sprout and making sure it gets all the nutrients necessary to turn it into an actual plant completely fascinates them,’ he reports. ‘It’s as if they see life happening for the first time.’ At the same time in India, Ayurvedic practitioners prescribe plants with medicinal properties instead of industrial medicines for patients. The point is to take the plant home, take care of it and make it thrive. By doing so, you grow your own medicine – healing the body while nourishing the soul. It allows patients to be actively in control of the healing process, as opposed to simply being on the receiving end of what the doctor prescribes. Having something pretty to look at is an added bonus.34
  21. 21. Taking matters into our own hands plays an important part in the new waypeople surround themselves with plants. Larger-scale events threateningour well-being make us rethink the extent to which we are in control ofour own health, and how our interaction with nature relates to that. Whatlogically follows is the need for better personal understanding of nature, ,and manageable, low-tech proportions to interact with it.The concept of self-sufficiency and the notion that nature help us if wehelp it, is fundamental to many of these initiatives. More and more peopleare drawn to the idea of creating clean water by filtering used waterfrom their own households through an ingenious natural system thatuses plants and a series of rock pools, positioned on a slope to create acascading stream. It works like a charm as long as you have the gardenspace, and offers visually interesting landscaping at the same time.In a similar vein, growing your own vegetables has become popular witha whole new crowd since the seventies, and not just with owners of hip,organic restaurants. In Detroit, neighborhood groups have taken it uponthemselves to clean empty factory lots and turn them into collectivegardens where organic produce is grown. Most of the work is done byvolunteers. The fruits of their labour are sold for cost-covering prices thatevery low-income household can afford, allowing families with smallchildren to eat healthy amounts of fruit and vegetables. As a side effect,the dreariest parts of town have become much better looking, creating abetter living environment for all. A win-win-win situation for everyoneinvolved, and living proof that from small acorns mighty oaks do actuallygrow, as our grandmothers used to say.The idea of one small seed represents so much that is valuable to humans.Inviting nature into your home on a small scale and surrounding yourselfwith its offerings allows you to enjoy the beauty of tender leaves, thepattern of twigs and stems, the surprise of a sudden bloom and the scentof fresh earth,even if larger-scale nature is out of reach. A major departurefrom the days when plants were simply decorative. It is an ode to thepower that one small seed holds. 39
  22. 22. The world needsDREAMERS AND DO’ERS but most of all, dreamers who do
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  24. 24. ONE SMALL SEED COLOURS The basic principle of photosynthesis is the inspiration for this colour theme, and the need to acknowledge and protect our interconnection with nature. Water sun, , earth and clay are all featured, with an emphasis on a feeling of early morning, or early spring, and the tenderness of saplings and sprouts. Watery greens, rain clouds and pale, fresh pastels and neutrals set the mood, with dark soil and bright blossom colours as counterweights. T ogether they form an indoor garden of delight. SM A LL SC A LE TENDER PRECIOUS42
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  29. 29. living scrapbook
  30. 30. Sharing my story
  31. 31. MUCH HAS BEEN SAID ABOUT THE EFFECTS OF FACEBOOK, MYSPACE AND BLOGS LIKE TUMBLR ON WHAT PRIVACY MEANS TO US. LESS HAS BEEN SAID ABOUT HOW THESE ALSO CREATE A GIANT WAVE OF CREATIVITY AND FRESH THOUGHT YET THAT IS WHAT . MATTERS MOST RIGHT NOW. LATELY, DOCUMENTING THE SELF HAS BECOME A MULTIPURPOSED, MULTIFACETED THING OF BEAUTY. NOT SO LONG AGO, WE HAD ONLY A FEW OPTIONS... If we wanted to record our thoughts and experiences for our own benefit, we kept a diary. If we wanted to share them, we wrote memoirs. If we wanted to create an image of ourselves as seen through our own eyes and minds, we made a selfportrait. Anything that didn’t fit a known art category, was a‘hobby’ . Collections were about amassing stuff. Everything was clear and in all its clarity, limited. Diaries were , not only personal, but meant to be kept private. Documen- taries and selfportraits, on the other hand, were intended to be seen. You started a collection to complete, then sell it.52
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  33. 33. These days, documenting the self is about diary-keeping and self-expression and documentation and collecting and inviting people intoyour personal experience, but its implications go much further Facebook, .myspace and a myriad of blogs allow people to create a personal envir-onment or a personal impression of themselves,then show it to the world.Sometimes as a means of communication, but definitely not always.The same goes for the new type of collecting that has become the stapleof many stylists’ and designers’ lives. A collection of things that have nospecific value, to please and inspire you and only you is a new thing.Maybe it’s just for fun. Maybe it’s a conscious exercise in deliberaterandomness. Maybe it’s creating a scrapbook that looks like a tag cloudof things that mean something to you. But whatever it is, it’s highlypersonal. At the same time, we are fully aware of the fact that no onemay care. And that’s fine, too. The practice of broadcasting yourself with-out the specific intention to be found, circumnavigates the ego and bydoing so, creates this incredible freedom to play.And so, the internet has become a living, breathing scrapbook filled withmillions of notions and creations, views, interpretations and reactions.Singer/songwriters, stop-motion filmmakers, backyard wildlife photogra-phers, cupcake-baking geniuses, inspired young writers and designersspecializing in socks for dogs all revel in the wide array of possibilitiesthey now have. What’s more, the ability to share and modify everythingthrough state-of-the-art applications has inspired new art forms, aesthe-tics, opinions and means of self-expression and creativity. Not only can wecreate whatever we like, however eclectic and idiosyncratic it may be, wecan also do with it as we please. We have become our own authors.In the wake of all these possibilities, we find ourselves free to enjoy otherpeoples’ creations too, whatever they may be. The worlds of high and lowculture have been blending together for some time now, creating aplatform for work that didn’t fit anywhere before. Criticism is no longer thedomain of the expert, just as finding like-minded people is no longer amatter of geography. People like Scott Schuman, a fashion photographerwho runs a blog with nothing but pictures of people he considers well-dressed, can attest to that. His blog,, is immenselypopular among fashion lovers and fashion professionals alike, and thegreat thing is that Scott and nobody but Scott gets to decide what’s on it.As a side-effect, The Sartorialist has altered many peoples’ perceptions ofwhat personal style is supposed to be. It’s not about head-to-toe designer ,it’s about wearing what you fancy. Reason enough to take another look atthe contents of our own wardrobes, and maybe even develop some newfashion aesthetics of our own.Being fully in charge of our self-created environment kick-starts ourcreativity. If you want to showcase your collection of pastel Dinky Toysfrom the sixties and give in to the need to build miniature garages forthem, without a doubt, someone will love you for being your unstoppable,inimitable self. Or not, in which case you can still have fun on your own. 57
  34. 34. CREATING FOR ITS OWN SAKE a new way to express the self
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  36. 36. living scrapbook COLOURS The colour palette reflects the aesthetics of blogs and social media, and the quirkiness that is the product of highly personal tastes and predilections. It’s also a ‘perfect’palette, balanced, warm and charming, but not particularly nostalgic. There are hints of craftpaper and cardboard and a lot of happy, yet mature pastels. The colours beloved by Ray and Charles Eames: modern, but ever so slightly degraded and non-mainstream. AUTHENTIC60
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  39. 39. Exploring fantasy and reality68
  40. 40. Different Worlds
  41. 41. STATE-OF-THE-ART TECH ALLOWS US TO ‘BE’ IN DIFF- ERENT WORLDS OR REALITIES AT THE SAME TIME, WITH VERY LITTLE EFFORT. ONE MINUTE WE ARE SKYPING WITH AN AUNT IN BRAZIL OR JAPAN, THE NEXT WE ARE PLAYING WORLD OF WARCRAFT WITH FRIENDS FROM FINLAND AND AT NIGHT WE PUT ON OUR 3D-SHADES TO MEET UP WITH ALICE. Could it be that our modern-day concept of virtual reality came about when Alice first dropped down a rabbit hole. In Lewis Carroll’s ‘Alice in Wonderland’ we’re presented with a different world that is at once remarkably familiar and somewhat strange. Ruled by dream logic, this world offers as many adorable characters as it does dangerous ones. But while Alice – based on Carroll’s real-life ten-year old family friend Alice Liddell – forges ahead undaunted, like the intrepid girl scientist that Carroll sees in her the reader really wants , her to find a way back home, back into reality as we know it. Which in the end she does, thankfully.70
  42. 42. Book genres like science fiction and fantasy have been exploring theconcept of reality perception for years, as have artists. Not only surrealistslike René Magritte, in whose famous paintings visual illusion and themeaning of words find themselves at a crossroads, but also modernsculptors like Anish Kapoor and James Turrell. Both create spatial insta-llations that make you wonder what you are looking at and whether yourmind is fooling you.Humans seem to have an inner need to stimulate the mind with illusionaryimages. Luckily, we live in an age where the level of technical refinementmeets that need, providing us with everything from computer games toanimated movies.A good example is Monsters Inc. In the story, we meet scary monstersgoing about their daily lives and doing their job – scaring children. Thefilm presents us with a delightful, brightly coloured depiction of how tomove between worlds. To get from monster reality to human reality,the monsters step through a door that is not attached to a wall, but hangson a rail. You can walk around it and nothing happens, but once you stepthrough it, the door opens and you find yourself a child’s room. Seen fromthat room, it is simply the door to a dark cupboard.Of course, the idea behind it isn’t new. It is, in fact, very familiar to Britishculture, where generations of children have been brought up with Dr Who, .who travels through time in a telephone box and ends up somewhere elseeverytime he opens the door Roald Dahl’s Willy Wonka in his amazingly ,mobile glass elevator and C.S. Lewis’s Narnia books. In the first Narniastory, a little girl playing hide-and-seek hides in a big old wardrobe in theattic. As she moves through a jungle of coats to reach the back wall inan attempt to remain uncaught, the coats turn into trees and the woodunderfoot into snow. Suddenly, she notices a lamp post in the distanceand she steps out into the twinkling icy magic of Narnia.The virtual and the surreal have become an intregral part of our lives,and living in an age with more reality than we bargained for, we aspireto have more control over both. Recent films reflect that. In Inception,Leonardo DiCaprio leads a group of trained dream specialists throughlayers of other people’s dreams, navigating through amazing cityscapesand architectural environments where the rules of physics don’t apply.In the 3D animation miracle Avatar scientists immerse themselves in a ,magical, jaw-drop-beautiful world of blue people, light-emitting treesand floating islands. Recent Hollywood history even saw the 3D-returnof our beloved Alice, a little more mature but no less brave or intrepid,who finds herself invited to Wonderland once more – just a less Victorian,brighter, even more surreal version of it. 75
  43. 43. Humans seem to have WITH ILLUSIONARY IMAGES. an inner need to stimulate the mind76
  44. 44. Luckily, we live in an age where the level of technical refinement meets that need
  45. 45. Different Worlds COLOURS From a visual and graphical point of view, some ingredients turn up time and again. Trompe l’oeil, an age-old technique to fool the eye, is something that never fails to delight. The concept of layered worlds or parallel universes is by now generally understood. The colour palette chosen for this theme reflects the extremes: it swings from the dreamy and surreal to the solid and super real. Lush, velvety bright blues, greens and reds are played off against ethereal and translucent pastels. A LT ERED PERCEP TIONS POE TRY78
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  51. 51. COMING TO AN ECONOMIC STANDSTILL HAS ITS ADVANTAGES: IT ALLOWS US TO TAKE A LOOK AROUND AT WHAT IS ALREADY THERE AND DISCOVER NEW POSSIBILITIES IN THE MOST UNLIKELY PLACES – LIKE ABANDONED OLD BUILDINGS THAT ARE NOT EVEN PICTURESQUE. We are surrounded by things we never notice. Things so ordinary, we become oblivious to their existence. As a rule, things like these serve very simple and unromantic purposes. And yet, on closer inspection, they reveal their own beauty and value. Take a look around in a hardware store, a garage, an office or a factory. Spaces filled with useful, reliable materials, tools and equipment, stacked in the most logical way. Buckets, paintbrushes, wood, plaster Paper paperclips, pencils . , and folders. But also tiny objects like nails and screws in all shapes and sizes, gleaming at us from behind convenient little windows that allow us to pick the exact right type for what we set out to do. Most of those spaces are literally built from ordinary things as well, with concrete, glass, metal beams, wood and nails all doing their unassuming, trusted jobs. And yet the Vitra Design Museum in Germany devoted a whole exhition to them in 2010. A sign of our times.88
  52. 52. If there is any colour to be found at all, it’s usually there for a reason. Paintis applied to protect materials that are at risk from corrosion, like metalequipment or machine parts. Materials less at risk, such as concret walls,tend to be left the way they are. If it’s something a factory worker stares atall day long, like a sewing machine or a drill, it usually is neutral in colour– grey, tan or a muted green. On the other hand, if an object or piece ofequipment needs to stand out, a bright colour is administered. When itcomes to utility, form follows function even extends to colour choices.That is how we regard the fabric that holds our physical world together ,the material reality that makes it possible for us to get on with our lives.The problem with simple, useful objects and even buildings is that theyare easily discarded once their use runs out. All cities around the worldhave areas with old factories, offices and other edifices that once providedworkplaces for thousands of breadwinners. These days, many standabandoned, our appreciation for them evaporated since the day thecompany relocated and the janitor switched the light off for the very lasttime.But our appreciation for buildings like these has grown over the years.Perhaps it always takes a while before we understand the true culturalmeaning and value of anything we create. Increasingly, people recognizethat abandoned industrial buildings, although not built for beauty, are partof our architectural heritage and deserve a place in our lives.In New York, people started repurposing former factory lofts during theyears after the Second World War simply leaving the brick walls and ,steel pillars as they were to create living and working spaces for artists,who didn’t need much except low rent, big windows, running tap waterand a roof over their heads. During the eighties, the London Docklandsfamously followed suit, when rows upon rows of old warehouses on thesouth bank of the Thames River were renovated to become apartments,businesses and smart restaurants. Shanghai in its turn decided not totear down the old empty villas along the Bund, but to turn them into clubs,hotels and restaurants.The general idea is that a lack of space on the one hand, and an abundanceof delapidated old buildings on the other equals a brilliant opportunity,with the added benefit of preserving cultural history. And in turn theyinspire us to rediscover the functional simplicity that was there all along.It doesn’t take a repurposed factory to grasp the idea: even the commongarden shed offers its own brand of humble genius to contemplate. 93
  53. 53. Once we acknowledge the functional value of even the simplest items LIKE NAILS AND PAPERCLIPS, we start seeing them as the forgotten treasures that they are
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  55. 55. REDISCOVERED HEROES COLOURS Once we acknowledge the history of specific structures, or even the simplest of office supplies, we start seeing them as the forgotten treasures that they are, which changes the context of what they represent. In other words, by acknowledging their function, we automatically re-evaluate and revalue their form. This colour theme is inspired by the down-to-earth qualities of our industrial heritage, and the masculine aesthetics that have always accom- panied them – denim blue, industrial neutrals, rusty metal tones, sewing machine green, the signal-bright hues of wire, metal doors and pipework and last but not not least, engine and concrete greys. RE VITALISE96
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  59. 59. COLOUR OF THE YEAR 2012 The colour of the year is a blushy, lively, juicy red. Unusual, but also a solid statement. The reason why it encompasses all 2012 trends is because it spans a whole new spectrum of possibilities. It is at once whimsical and serious, perfect for a tiny accent or for a feature wall. A colour that reminds us not to look for simple solutions, but to put our minds out there, to venture into the unknown where new ideas are waiting to be discovered. Red is a powerful mood-modifier It’s held in high regard . around the world for its many symbolic purposes. In China, red is associated with good fortune; in India it signals marital bliss and insightfulness. In many western societies it is the colour of passion, power and festivity. Children prefer it to other colours, grown-ups feel attracted to those who dare to wear red in public. Red is the perfect tool to convey value and meaning. And since we cannot ignore it, it’s also used to alert us to danger. In a colour palette, a hue like this offers many possibilities; offsetting one colour bringing out a certain depth or cool quality , in the next, allowing a third to recede. Like the jester in a deck of cards, it can change the game in an instant, brightening your outlook in unpredictable ways.106
  60. 60. KEY ELEMENT glowing
  61. 61. daring tropicalnew horizon STATEMENT
  62. 62. COLOUR TRANSITION FOR 20122011 was clean, fresh, joyful and charming, with playful, zingypastels riding the crest of the wave.2012 is full of take-charge optimism. As you will discover this ,translates into full-bodied hues with lots of character andmeaning, but also into tender hushed pastels, chic neutrals ,and edgy brights, complementing each other in stimulatingnew ways. The complete palette for 2012 can be found on thenext few pages. It visually represents the world’s newunderstanding of our need for diversity – of concepts, ofviewpoints, of approaches. 2011 WA S CLE A N , FRESH, J OY FUL A N D CH A RMIN G
  63. 63. 2012 IS FULL OF TAKE- CHARGE OP TIMISM 111
  64. 64. RED’S TRANSITION The intense fiery quality of 2011’s red is toned down by a misty, dusky veil, making this new red slightly more enigmatic and versatile.112
  65. 65. 2007 2008 2009 2010 2011 2012
  66. 66. ORANGE’S TRANSITION Orange has steadily been cooling off over the years. Moving away from the ochre-based, reassuring pumpkin tones via citrus and coral, it now matures into an rustier hue.114
  67. 67. 2007 20082009 2010 2012 2011
  68. 68. YELLOW’S TRANSITION Stepping away from its traditional task to represent easy simplicity, yellow moves out from the sunny, buttery and lemonade-like center and nudges towards green, but also towards tans and warm neutrals.116
  69. 69. 2012 2011 2010 2009 2008 2007
  70. 70. GREEN’S TRANSITION Green had a very influencial ‘army’moment a few years ago, which paled, then suddenly transitioned into an bright absinthe green tinged with blue. This year natural is the buzzword. ,118
  71. 71. 2012 2011 2010 2009 2008 2007
  72. 72. BLUE’S TRANSITION Apart from a temporary venture into airy pale, blue on the whole is on a prolongued greenish streak. Last year’s brighter teal dives down into a even more mysterious underwater depth.120
  73. 73. 20072008 2009 2010 2012 2011
  74. 74. VIOLET’S TRANSITION Violet is growing darker and bluer by the year and has not been in burgundy territory for a while.This year’ deep, austere s violet is very much like last year’s, with a hint of slate.122
  75. 75. 2012 20112010 2009 2008 2007
  76. 76. WARM NEUTRAL’S TRANSITION Key warm neutrals tend to darken and lighten along with the mood of the moment. Last year’ oyster shell taupe now s settles into a lighter warmer hue. ,124
  77. 77. 2007 2008 2009 20102011 2012
  78. 78. COOL NEUTRAL’S TRANSITION Last year’s modern, industrial grey had a lilac tinge. This hue looks almost green in comparison, and downy soft, like the undercoat of a rabbit.128
  79. 79. 2012 2011 2010 20092008 2007
  80. 80. ConceptAkzoNobel Global Aesthetic CenterWITH THANKS TO...Colour expertsCho-yun ChenKrim DanzingerJohn FuCatherine FilocheHeleen van GentEsther van HoudtWilleke JongejanLatika KoshlaJenni LittleChristiane MullerPer NimerLouise SmithPaola VieiraUte WegenerStephanie ZhuGraphic & design supportMarieke van der BruggenMarieke WielingaStylingKamer 465 pages 14,17 32, 36, 37 38, 46, 56, 58, 72, 82, 84,108 , ,Hannah Simmons pages 18, 20, 30, 35, 36, 44, 48, 50, 54, 55, 64, 80, 90, 92,100,1 1 1Model conceptMaaike Koorman pages Cover 6, 8, 9 36, 72,107 Back cover , ,18, ,ArtistsArchitecture page 22Building page 98Ceramics page 17Cushions page 72Foodconcepts pages 36, 94Illustration page 55Interior Jaime Hayon for info center Groninger Museum page 76Objects page 38Tiles page 14PhotographyProef Amsterdam pages 36, 90, 94Roel Backaert page 22Arjan Benning pages 6, 8, 14, 17, 18, 19 26, 32, 36, 37 38, 46, 53, 54, 56, 58, 62, 71, 72, 82, 84, 89 90, 98, 102,108 , , ,James Gardiner pages 48, 50, 64, 90, 92Heleen van Gent pages 36, 40Mark Melling pages IFC, 3,18, 28, 35, 36,44, 50, 54, 55, 80, 86, 90,100,1 IBC 11,Peter Tahl page 76Anya van de Wetering, Kamer 465 page 68LocationsB&B Lieve Nachten page 53NDSM-werf Amsterdam pages 89 91, 98 ,Ijburg District Amsterdam pages 19 53, 54, 71 ,Info Center Groninger Museum page pages 32, 36, 58, 62, 84Loods 6, Amsterdam pages 26,102Proef Amsterdam page 90TextChristine van der HoffGraphic