2013 Vanceva® Color Forecast: Collection Features 10 Refreshing Colors Suitable for Exterior and Interior Applications

No longer reserved for paint and wall coverings, Architects and Designers continue to push the envelope, developing innovative color design methods for every glazing application. When exploring light, form, and space in the design process, glass can be the answer for all three considerations with the addition of Vanceva Color System by Saflex. Now airports, living rooms, and urban facades can showcase color in the glazing design.

“No other interlayer brand delivers the complete spectrum of colors for laminated glass like Vanceva Color System by Saflex,” said Julie Schimmelpenningh, global architectural applications manager for Saflex. “Used in curtain walls, atriums, skylights, partitions and conference rooms, Vanceva color interlayers allow the most expressive designs with distinctive hues from the subtle to the dramatic.” Producing a broad spectrum of colors and moods that are unachievable using stock selections of glass, Vanceva Color System by Saflex gives architects and designers more creative freedom with glass than ever before. Vanceva color interlayers can be combined to produce more than three thousand transparent, translucent or opaque color options to help create the desired tone and intensity. When Vanceva color interlayers are combined with tinted or reflective glass, the design possibilities are nearly limitless.

Order a sample set of the Global 2013 Vanceva® Color Forecast

“Papa” The Striking Colors & Bold Simplicity of this Project Welcome Visitors into the Neighborhood

View “Papa” Project Profile

Situated in Gatineau, Québec, the work is accessed from Ottawa (the nation’s capital) via the Alexandra Bridge. The work is aligned with a neighboring apartment block of “modest” quality, anchoring it to its context and introducing a loose form of bilateral symmetry with respect to the centre of Boulevard des Allumettières. This creates a framework for a work that in the first instance intends to perform as a gateway to the city and to its park. At both points of entry into the site, the glass wall and a folded, linear bench draw inward in an embracing gesture that welcomes cyclists and pedestrians into an intimate neighborhood plaza.

Vertical stripes of transparent colored glass accentuate the structure’s height and form. Because of its south orientation, a dramatic wash of colored light is projected through its walls and on into the site on sunny days. The play of transparencies and reflections further accentuates a complex and palpable experience – a visual happening that if only momentarily, returns us to a child’ s capacity for wonder.  In the winter, this wash is particularly striking given the starkness of the winter sun, coupled with snow’s capacity to reflect light. In the autumn, the work blends with Gatineau’s autumnal colors. In evenings, when lit, Papa glows like a lantern. At both points of entry into the site, the glass wall and a folded, linear bench draw inward in an embracing gesture that welcomes cyclists and pedestrians into an intimate neighborhood plaza.

A glass wall reaches a height of 14.4m at the southeast corner of the site. It then spirals downward until it reaches a height of 2.4m at the northwest interior of the site. In concert with its folded geometry, perspective is dramatized and spatial hierarchy is established. The front of the site is urban, the symbolic gateway to the city and to the park.  It performs at the “fast” scale of a busy traffic intersection.  The rear of the site is intimate, a response to the “slow”, residential character of neighborhood life.

The work seeks to engage its audience via intense perceptual experience in community.  Its impressively scaled bench invites passers by to slow down and sit, so to generate public presence and therefore opportunities for chance encounters under which to view the ever-changing conditions that the passage of light works upon the space. In this sense, this work aspires to be a place where the contemporary tendency to privatize social relations is deterred – if only locally.

“Papa” was the winning submission in a national “public art and landscape integration” competition held by Canada’ s National Capital Commission.

Project Category: Exterior

Project Name: “Papa”

Location: Gatineau, Quebec

Glass Laminator: Prelco

Glass Supplier: Vitreco

Photographer Credit: Hal Ingberg

Architect: Hal Ingberg

Hal Ingberg Architecte

Address: 4844, Avenue Henri-Julien Montreal, H2T 2E1

Phone: 514 843 6578

The Rise of Lamination in Glass and Architecture

Courtesy of jury member Andrew Moor

Laminated glass comprises two layers of glass bonded together by a flexible plastic or resin interlayer that ensures the glass does not break into pieces if fractured.  The three methods in use are known as poured, UV-cured, and dry lamination.

For years, it has been possible to pigment the liquid resin that is used to make poured laminated glass- turning the glass almost any colour, transparent, or translucent. But this process has not been widely exploited, perhaps because each piece is hand-made and the process is not perceived as suitable for mass production.

In recent years, a large global glass company has patented a more mechanized system, developing a method of colouring the dry PVB (polyvinyl butyral) material that is used to laminate glass. Up to four sheets of these coloured interlayers can be mixed together, turning the range of nine base colours into a wide variety of possible tones. We’re now seeing many adventurous architects using colour in the design and execution of their projects, often citing colour as the central aesthetic to their design.

Pigmented laminated glass offers the opportunity to create rich, multicoloured glass or restrained quiet colours. Recently a system called EVA (ethylene vinyl acetate) has become more widely used. This creates much greater flexibility of lamination and allows the creation of many state-of-the-art features.  It has enabled the inclusion of different materials including LED lights inside the laminated glass panels as well allowing the use of textured glass and photovoltaic cells that can convert solar power into energy.

Color Perception, Measurement and Comparison… It’s NOT All the Same to Me!

World of color awards

Courtesy of Julie Schimmelpenningh, Global Architectural Technical Applications Manager at Solutia Inc.

Our world is enhanced and our interest is piqued everyday by the colors around us. The colors of the clothes we choose to wear, our cars, our homes and how we decorate our work areas all give some slight inkling into our personality and individualism. It’s the same for a façade or interior glass of a building.  “Some buildings are designed to blend harmoniously into the environment while others are meant to make a statement, stand out and be noticed.” Think of the elegant blue green buildings so prominently seen along coastlines, buildings meant to blend with the ocean, versus Circus Circus or New York New York in Las Vegas, Nevada, meant to draw attention.

The color choices for gl ass in a building can become very complicated if we let them. A basic underst anding of color science is necessary to elevate our underst anding and lead to inspiring selections of color that are endorsed by all members of the project team.

First we need to understand that colors are only seen by humans in the visible portion of the solar spectrum from about 380 – 400 nanometers (nm) through 700 – 780 nm, this varies with the reference consulted.  The colors are “assigned” wavelength regions or “blocks” where they predominately seen, however there is considerable transition between those assigned blocks. For instance, green is noted to occur from approximately 480 – 560 nm with blue occurring below 480 nm and yellow occurring above 560 nm. However, at the upper limit of the “blue” region the color isn’t considered blue, but blue-green. At the bottom end of the yellow region, it’s not yellow, but greenish-yellow.

W ith so many transitional color possibilities, it is no wonder color choices can seem to be a huge task. Couple the number of possibilities with all the variables in perceiving color, no two people see things the same. Variables like light source, viewing angle, the viewer’s sensitivities, perceptions of certain colors, their age and even which sex they are all affect how color is perceived and defined. So how is someone supposed to see the color they like and want, and get that exact color specified and delivered ?

There is no way to control all the variables, so pick a color that best states the objective of your project, ensure awareness of the variables throughout the value chain and don’t be wary to color often! 

Introducing the 2010 World of Color Award Winners

Solutia Inc. is proud to announce the winners of the inaugural World of Color Awards™ – Inspired by Vanceva®. For the past four months, designers around the world have been submitting the projects they believe demonstrate the most innovative and creative uses of colored glass, made with Vanceva®, in the built environment.

Click here to see the winners!

Special Preview: 2011 Color Forecasts

Around the world, modern trends continue to feature colored glass in architecture and design.    Solutia is proud to introduce all three of their 2011 Color Forecasts inspired by color trends around the world (Asia Pacific, Europe and the Americas). Be the first to discover these three distinct and dynamic palettes.

Special Preview: 2011 Color Forecast for Europe

Around the world, modern design trends continue to feature colored glass in architecture.  Solutia is proud to introduce ten new, sophisticated versions of classic standards inspired by color trends across Europe.  Be the first to discover this dynamic palette.

World of Color Awards Webisode #2: The 2010 Vanceva Color Forecast

Aimee Davis, Solutia’ s Architectural Market Manager for the America s, walks through the 2010 Vanceva Color Forecast.

World of Color Awards Webisode #1: The Color Forecasting Process

Aimee Davis, Solutia’s Architectural Market Manager for the Americas, talks about color forecast ing and current color trends in architectural glass.

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