SERRALUNGA Colour Consulting Days - Interview to Francesca Valan

On May 8/9 at Orders of Architects in Milan it was held the workshop "Colour Consulting Days" where there have been explored the new colour trends of Serralunga pots. The architects who took part in the event had the opportunity to colour in a personal way the pot NewPot design by Paolo Rizzato for Serralunga.


The famous Industrial Designer specialized in the use of colour Francesca Valan, coordinator of the project, has enriched the knowledge of participants on the new colour trends relating to his personal theory about the "Harmonies of place."Serralunga has met her for a brief but interesting interview. Enjoy the read.


S: What satisfaction has this workshop given to you? And, what was the approach to the colours by Architects?


F: The workshop has pleasantly surprised architects for its practical activities. It was a great experience, since the beginning we set up a mood of participation and harmony between people. Colour is very "social".


S: Can you briefly explain us the event?


F: The event dedicated to the new outdoor-indoor surfaces has quite changed the format of the course because it was organized as a big team work: a Co-Working Day.The architects had the chance to work for two days, planning colours, materials and finishes of their projects with the technical assistance of paint producers and with the advice of industry professionals.We used Serralunga pots to create "Harmonies of place" and to demonstrate how an object can become a link between a space colours and complete a visual story. The result was very interesting.


S: What do you think about the approach to the colours by Serralunga? How does the "light" used by Serralunga affect the colour?


F: Working with Serralunga has always given me great satisfaction because they understand the concept of "outdoor/indoor" use of colours. A colour, in fact, when used indoor it has different functionality than its outdoor use.Serralunga brings out the best from this place-distinction and indoor or in the shadow it proposes rich colours, while outdoor it favours neutral tones that resemble stones, sage.As for illuminated pots, so the duo "neutral colour-light" , my opinion is that the value of an object is also the emotion that it gives you.The light helps the product to become as less "concrete" as possible so that it can transmit emotions. Think about Paloma, a classic Serralunga that due to the shape and light, it can create an experience, an emotion that goes beyond design.


S: What is the role of colour in Design Industry?


F: More and more important.; nowadays a wrong colour means a wrong product. We can no longer work on the form, often imagining it white, and assign one or more colours at the end based on the preferences of the designer. The colour should be thought at the design stage, or even before.Otherwise, the relationship between form and colour doesn't work: the colour needs its visual space. An object changes a lot if from white turns to fire-red, the form should be simplified in order to make room to the colour.An example? The Restyling Cork by Naoto Fukasawa for Serralunga: a clean and simple form that's perfect for any colour.


S: Is the concept of colour universal or does it change from culture to culture?


F: The colours of the space change from culture to culture. Every civilization has its taboos. A demonstration is "green": still colour to Germany but sacred to Morocco. This diversity is an asset, a value that must be preserved. "Save cultural colours"!


S: What do you mean with "save"?


F: Unfortunately with the huge technological development of recent years, this cultural difference is gradually diminishing and the value of colour is unifying. Colour preferences in Korea and England vary more by age than by different cultures.


S: Probably many people have asked this before and you're probably tired of repeating it.Kindly, would you tell us how your passion for colours began?


F: I wonder about it sometimes, when I was child I loved coloured pencils, but I decided that I'd design colours after the Chromatology course by Jorrit Tornquist when I was a first year of Industrial Design at IED. And today teaching in different schools I hope that someone will get as passionate as I am.


S: A curiosity: what's your favorite colour?


F: Working with Colour allows me the luxury to change it often. I could tell this morning is apricot and tonight is dark blue; depends on the moment, the mood, the weather.


S: Finally, would you be able to imagine a world in black and white?


F: It would be useful to do it sometimes, to clear things a little and start over. Colour is often used in an inappropriate way and creates chromatic pollution. One day, calibrating the television screen in black and white during a game, this allows us to follow at best the game, the movements, the path of action. Often the colour wrongly becomes the protagonist. For example, many landscapes in Italy are ruined by lemon yellow or fuchsia houses.However, there is a quote by Pablo Picasso that responds perfectly to this question: "Colours, like features, follow the changes of the emotions." and you know that the human mind has more than two emotions.


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