Real-Life Decision Making
You are an architectural color designer. You are helping a client, Ms.
Salton, decide on a new color scheme for her office building.
Since she bought the building a year ago, the vacancy rate has remained
at over half. She is getting anxious about the empty space that's available
and the fact that no matter what she does, she can't seem to interest
any new clients. She's even tried offering major discounts just so the
building would fill up. But so far, no one has shown much interest.
Ms. Salton calls you, hoping you'll be able to help her. However,
she had the building repainted when she bought it and it didn't seem
to make any difference. So she's a little skeptical about spending more
money on its exterior.
You're anxious to help her, as you know the area where the building
is located. It's an upscale business park and quite well known -- a perfect
area to add to your portfolio.
As you drive through the area, you see Ms. Salton's building. It's
older than some of the others in the area, but it has an interesting look
to it. But the colors are dreadful -- no wonder it's sitting half-empty.
By the time you arrive at Ms. Salton's office, you have a perfect
look in mind for the building. After chatting with your client briefly, you
pull out your color samples and show Ms. Salton what you think would be a
perfect match -- a deep red shade of rust that will work well with the building's
antique look and its original brickwork.
But Ms. Salton has other ideas in mind. "I don't like it," she states
matter-of-factly. "I was thinking something more trendy, more eye-catching...more...bright."
She reaches towards the color samples and pulls out another rust shade, but
one that is definitely more orange.
You can understand why she'd like it, especially when it's only
a small color sample. "That's a great color, and it would look fine in
a room this size," you explain politely. "But paint that shade over several
hundred square feet and it's going to look very orange, like a pumpkin."
Ms. Salton stares icily at you before replying. "The last guy I hired suggested
I paint this building brown, so I did. I went with his decision because he
said he was a professional. However, my building is still sitting half-empty,
so I think we should take my opinion into consideration."
You nod in agreement, thinking that's exactly what you intend to do.
However, you can't let Ms. Salton choose this color. You've seen
it up on buildings before and it looks terrible. And on a building like this
that's tall and square, the color will probably look even worse, not
to mention that it will clash terribly with the office building next door.
"I want that color," insists Ms. Salton. "If you won't do it, I'm
sure I can find someone else who will." She turns to answer the phone in her
office, leaving you to decide what you're going to do.
You've always been quite adamant in your work that you won't
take on a job that goes against your better tastes. You refuse to have your
name associated with a building that looks hideous.
But it's a job you've been anxious to get. Many of the building
owners use the same designers that their competitors use, meaning it could
lead to a lot more jobs down the road.
What do you do?