Tuesday, January 19, 2010

Tropical Turquoise Top Color of 2010


Interior designer Debbie Sheaf of Orlando, Fla., is way ahead of the curve.
Last February, inspired by the blues and greens in her collection of antique majolica pottery, she painted the room that houses her collection a vibrant turquoise.

Turquoise was selected as the color of the year for 2010 by Pantone, a global color authority. The blue-green shade replaces mimosa, the sunny yellow that was Pantone's top pick for 2009.

Combining the "serene qualities of blue with the invigorating aspects of green," turquoise evokes thoughts of "soothing tropical waters and a languorous escape from the everyday troubles of the world, while restoring our sense of wellbeing," said Leatrice Eiseman, executive director of the Pantone Color Institute in Carlstadt, N.J.

Just the kind of feel-good color we need in 2010, the year in which the depressed economy is expected to start recovering.

To determine color trends, the Color Institute's team of specialists travels the world, observing colors in many contexts and studying consumer psychology. Pantone then creates the standardized color palettes used in the design and fashion industries.

"In many cultures, turquoise occupies a special position in the world of color," Eiseman said. "It is believed to be a protective talisman, a color of deep compassion and healing, and a color of faith and truth, inspired by water and sky.

Most people respond positively to turquoise, she said. Universally flattering, it appeals to men and women, can look elegant or casual, and because it has both warm and cool undertones, it pairs well with any other color in the spectrum. It adds a splash of excitement to neutrals and browns, complements reds and pinks, creates a classic maritime look with deep blues and is especially trend-setting with yellow-greens.

People who like turquoise tend to be complex, imaginative and original, said Ron Redding, vice president of design for York Wallcoverings in York, Pa.

Once seen mainly in resort decor and clothing, turquoise now is making its way into "everyday homes," said Gina Shaw, a designer with York Wallcoverings. In addition, "turquoise and other ocean-inspired blues are 'eco-colors' that reflect increasing consumer appreciation of the environment and nature."

In general, a high-voltage color such as turquoise is best confined to smaller areas, such as a single wall. But if you're not brave enough to splash the color of the year on your walls, at least use accessories to update your decor, said Sheaf.

"Pop in a turquoise lamp, picture frames, towels or a painted chair. The result will be magical."

Thursday, January 7, 2010

MoMA gives Modern a Makeover


The modern design section of the Museum of Modern Art (MoMA) recently received a facelift. Running from December 23, 2009 to July of 2010, the museum’s third floor Philip Johnson Architecture and Design Galleries showcases “Shaping Modernity: Design 1880–1980.” The exhibit houses a selection of visionary objects, graphics, architectural fragments, and textiles from the Museum’s collection that reveal the attempts of successive generations to shape their experience of living in the modern world. Curator Juliet Kinchin and curatorial assistant Aidan O’Connor organized some 300 works into the following five sections:


The International New Art 1890–1914

The International New Art flourished in urban centers around the world taking on many localized forms and names (among them Art Nouveau, Jugendstil, Arte Modernista, Sezession, and Glasgow Style). The pieces in this installation were used in the office of the MoMA’s founding director, Alfred H. Barr, Jr. Other examples in the exhibition include a side chair by Charles Rennie Mackintosh, a side table by Mackay Hugh Baillie Scott, and a plaster cast of Antoni Gaudí’s original finial sculpture for the Church of the Sagrada Familia in Barcelona.

New Typography 1927–37

In the 1920s and 1930s, the movement known as the New Typography brought graphics and information design to the forefront of artistic avant-gardes in Europe. Rejecting traditional arrangement of type in symmetrical columns, modernist designers organized the printed page or poster as a blank field in which blocks of type and illustration (frequently photomontage) could be arranged in harmonious, strikingly asymmetrical compositions. Included in the exhibition are 14 works by Jan Tschichold, Ladislav Sutnar, Johannes Molzahn, Theo H. Ballmer, Herbert Bayer, Frantisek Kalivoda, Zdenek Rossmann, Joost Schmidt, and Aleksandr Rodchenko.

Mind, Body, Machine 1925–40
The tone of this section is set by a giant railroad-car spring and a boat propeller first shown in MoMA’s landmark Machine Art exhibition in 1934, which celebrated such items of anonymous industrial design as symbols of social improvement and technological progress. The theme is further explored in utilitarian objects such as a streamlined meat-slicer (given in memory of the Yippie leader Abbie Hoffman), and the Vipp trash can, designed for a Danish hair salon.

What Was Good Design? MoMA’s Message 1944–56

This section,which opened in May of 2009, presents over 100 selections from the museum’s collection—ranging from domestic furnishings and appliances to textiles, sporting goods, and graphics—to illuminate the primary values of Good Design as promoted by MoMA within an international debate conducted by museums, design councils, and department stores.

Continuity and Critique 1960–80
The clean and elegant forms of classic modernism continued to appear in the domestic appliances of Dieter Rams for Braun, and the Vignelli Associates’ stacking plastic dinnerware. For many however, the emphasis on pop music, youth, and counterculture opened up new possibilities in materials, colors, and forms, as well as more humorous, expendable design.