Art & Design 02·09·2020
A new wave of colour lifestyle
Colours evolve and change the stimuli we receive from them. As materials are transformed, technology directly influences the emergence of new colour gradations.
This creates a very different perception and experience of the relationship between colour and function, between colour and its aesthetic nuances, where it acts as an element that evokes emotions and impacts our understanding of space. We are internalising and learning the value of a contemporary, representative and cultural conception of colour in terms of design and architecture.
Going beyond what’s trendy, some researchers, architects and designers have turned colour into their personal fingerprint, a sign of the contemporary significance of using colour to capture freedom and progress.
“Colours form our identify. In the 21st century we have lost the conception we have about colour and its gradations, and its modulation is infinite”, says one of the world’s leading experts in colour and design, Hella Jonguerious, in her recent book: “I don’t have a favourite color”. The publication presents the advancements of her colour laboratory in collaboration with the company VITRA, starting ten years ago. Her well-known colour variations on pieces by Jean Prouvé, Charles and Ray Eames and Verner Panton and her collaborations with current designers such as the Ronan brothers and Erwan Bourullec and Jasper Morrison are all part of her constant research. “The evolution of colour is alive and is transformed at high speed. New processes generate different influences on people and environments. We are deep in a new learning process”, she commented at her latest exhibition, “Breathing Colors”, at the National Museum of Stockholm, which ended in March 2020.
“Colour defines new ways of living, new ways of dreaming”, asserts vehemently David R. Shah, another of today’s great colour experts, editor of the magazine Viewpoint, university professor and colour consultant for Pantone. “In 2020, the colour is the Classic Blue, and we need the confidence and strength that this color transmits”, he said at a premonitory launch of Pantone that took place before the global outbreak of the pandemic. At this point, Pantone has 315 new colours, new chromatic dimensions and stimuli on its new website that directly affect the evolution of design.
One of the main factors in our current conceptions of colours is the recycling of materials. Jesica den Hartog is a colour researcher who has focused her work on reformulating colours and developing a new response to colour in recycled materials, especially plastic. “Recolored – Recycling” is her personal project that gives meaning to this new colour identity that we are internalising.
Cutting-edge materials, new colours
The momentum of modern colour is also driven by the progress of new materials. Hundreds of shades that pose a major challenge and bring new dimensions to interiors. Homes, offices and commercial and leisure spaces that improve their liveability or functionality thanks to new colours and new relationships of colour and texture.
Interiors, colours and networks
Color blocking can no longer be considered a trend. It is an ongoing force that creates unique spatial sensations. Another of its inevitable uses is to awaken interest on social networks, a recurring communication channel for both product designers and interior designers. Countless professionals have used colour as their emblem, the narrative thread of their work.
Teresa Sapey’s “maximisation” of colour is full of a sense of humour.
Javier Jiménez Iniesta from Studio Animal stamps character and resilience on interior commercial spaces.
Mariano brings strength and positive energy to new offices.
Paola Lenti manages to link colour with elegance, and MUT Design awakens a new existential conception of furniture.
Polychrome architecture is part of the history of mankind and its structures, acting as a tool for interaction in buildings as well as for identification. In the 20th century, Le Corbusier designed a tool to mix colours and architectural forms, creating two collections of colour ranges in 1931 and 1959. The effects of colour-based architecture on users of different structures bring meaning to health and the entertainment or home experience, where they are represented by a specific painting. However, in recent years, these colours have lost their limitations and blend more openly.
Colours have been irrevocably freed from prejudice and borders. Andrés Jaque uses colour as an extension of the conceptual significance of the installations, interiors and buildings he creates.
Antoñito and Manolín, Trini Salamanca and Pablo Párraga amaze in each project -all loaded with research in materials and color fusions- from their studio in Seville.
Nacho Martín and Marta Pelegrín revolutionise the grey periphery of industrial cities through the emotional and formal stroke of colour.