Every room already has colours it cannot change — the floor, the walls, the timber. This page takes those grounds and asks what sits well against them, drawing on every colour measured anywhere on the property. It is the mood-board half: there is no constraint here about what can physically be carried where. For that, see Staging — and where nothing on site will do, this page says what colour to go and look for.
Part one is about moving what exists. Pick a room and its ground is already decided for you. What is left is the choosing: a piece for the wall and a piece for the room. The strip across the top of each set reads left to right in that order, so you are looking at the finished room as one palette rather than as four separate swatches. Band widths are roughly how much of the room each colour accounts for — the ground is most of what you see.
Part two is for the shop floor. Some things this property needs do not exist here yet. Each target names a colour that is already in the building, the object it came off, and what to look for — material, scale, and what to walk away from. Nothing proposed anywhere in this document is impossible: equipment bolted into a rack, built-in shelving, poured counters and floors were measured for their colour and are never offered as things to move. Heavy pieces are only offered for the room they already stand in. Interior textiles are never sent outdoors.
These are the gaps — things this property needs that it does not have. Each one names a colour already in the building and the object it came off, so there is something real to compare against in a shop. Match the family and the material; do not chase the number. Where a choice has to be made between a slightly-off colour in the right material and a perfect colour in the wrong one, take the material every time.
A burnt orange-red that already exists indoors, brought outside as the one strong colour against granite, concrete and timber.
Warm timber or timber-toned seating that reads as an extension of the deck rather than as furniture placed on it.
Something genuinely pale, in quantity, in almost every room. The property has no light mass anywhere, and that is its one real structural weakness.
A runner or rug for the entrance and hallway, which currently holds exactly one movable object.
Every blue on this property is on a piece of rack equipment bolted into a rack. If a cool accent is wanted anywhere, it does not exist as something that can be moved — it has to be acquired.
The cabin's outside has one measured surface and no movable object whatsoever. Nothing on the property can be carried out there.
Blankets, cushions and throws in the browns and rust-reds already all over the building. Buy on sight when the material is right.
31 combinations across 11 rooms, and 7 things to go and find. Every colour on this page is a measured reading off a real object. Nothing was sampled from a screen and nothing was invented to complete a set.
Printed colour is close but not exact. Deep saturated reds, very dark browns and high-chroma golds shift most on an office printer. Where a colour matters, work from the screen version or from the object itself.