THERE ARE NO BAD COLOURS
After criticising ‘unthinking’ white architecture last month I feel obliged to follow up with some examples of ‘white done well’ to better explain myself, and to inspire a thinking approach to using whites.
I often say ‘there are no inherently bad colours, only colours used badly’. There are colours that are inherently unsuitable for architecture, but white is not one of them, white is very useful.
I recently came across a beautiful, ethereal interior project by newly formed practice Studio Zawa. What is important to note is that the surface texture of the all white interior is created with a beautiful micro cement finish, which invites a lovely play of light deep into the space. This pigmented product has a crystalline structure that catches and reflects light in a manner that is very pleasing to the eye, and cannot be achieved with standard acrylic paints. The outlook onto water and sky contributes to the beautiful effect - i.e; it would not look quite as good if the view was an asphalt car park!
It is worth noting the other elements in the design that introduce depth and provide contrast, or to put it another way, ‘allow the white to sing’, are the elegant timber joinery, and glass elements. In this almost completely white space, the colour of the glass sliding doors and mirrors becomes noticeable and interesting. The furnishings are deep earthy tones (olive, brown, rust, bone). This is a beautifully nuanced, site responsive, humane interior for a white loving client.
Another example from the Lymesmith archives…
Cronulla House, a Lymesmith collaboration with Amber Road. Photo: Pure Ruscoe
A very early project of mine was formative in learning about the limitations of all white interiors and how to overcome them. Before the renovation, this house was completely white with carrara marble floors. It was on the water with beautiful views and yet the interior felt dull, boring and lifeless.
I devised a charcoal, white and grey palette to complement the existing marble floors. New joinery design and furniture selections were by Amber Road (now YSG Studio). The paint palette and detailing were carefully designed to improve the spatial deficiencies throughout the house.
High tonal contrasts overcame the depressing grey shadows created by the former all white colour scheme and amplified the space. The result was an exceptionally crisp and dramatic interior, (which picked up a couple of awards) and more importantly has helped me to confidently communicate the importance of understanding how the interaction of colour in space can make or break a project.
Neutral colour schemes are often the hardest to get right. Too neutral and it becomes boring, too much contrast and it becomes uncomfortable. This home strikes just the right balance with a sophisticated well-crafted use of an achromatic spectrum. It’s a rhythmic scheme with continuity and flow as the colours easily transform from one part to another.
Resene Awards Jury Citation Winner: Best Neutral Colour Scheme, 2015
Cronulla House with Amber Road, 2015. Photograph: Prue Ruscoe