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<\/figure><\/div><\/div>Elevator finishes at a glance<\/h2>
Four groups, and the difference between them is how much of the light comes back.<\/p>
- Reflective<\/strong>\u00a0\u2014 mirror (NO.19\u201330). The surface returns an image.<\/li>\n\n
- Broken reflection<\/strong>\u00a0\u2014 mirror etched (NO.1\u201318). The surface still shines, but the pattern scatters the image.<\/li>\n\n
- Directional grain<\/strong>\u00a0\u2014 hairline (NO.31\u201342) and 2B cross-brushed (NO.91\u201399). Fine parallel lines, running one way or crossing.<\/li>\n\n
- Matte and relief<\/strong>\u00a0\u2014 sandblasted (NO.43\u201354), apple sand (NO.55\u201366), tumbling (NO.67\u201378), embossed and antiqued (NO.100\u2013108). No image, and in the last group no flat face either.<\/li><\/ul>
Anti-fingerprint (NO.79\u201390) sits outside the four: it is a coating applied over any of them.<\/p>
What the swatches are for<\/h2>
The book covers the visible faces of a car and its landing doors. The elevator car wall panels<\/strong> \u2014 front return either side of the door, side panels, rear panel \u2014 the ceiling, the car door, the landing door and the skirting. Those faces together are the elevator cab interior panels<\/strong>, and the finish on them is the elevator cab interior finishes<\/strong> most enquiries are about.<\/p>
Ceiling and floor are usually specified alongside: an elevator interior finishes<\/strong> scheme is not only elevator wall finishes<\/strong>, \u060c \u0648 elevator floor finishes<\/strong> \u0648 elevator door finishes<\/strong> have to agree with them.<\/p>
The book is also the reference for an elevator cabin interior design<\/strong> at drawing stage, for an elevator car interior design<\/strong> revision, and for an elevator cab refurbishment<\/strong>, where the existing car sets the limit on what can be re-faced.<\/p>
Mirror \u2014 NO.19 to NO.30<\/h2>
Polished to full reflectivity. A mirror stainless steel<\/strong> face turns a wall into a second window: it returns the light, the ceiling and the wall opposite, so a small car reads wider and a low ceiling reads higher.<\/p>
Twelve swatches \u2014 the natural mirror, then ten colours and the base again in the deeper tones. The reflection is the whole effect, and anything applied over it removes it.<\/p>
Mirror etched \u2014 NO.1 to NO.18<\/h2>
\u0648 etched stainless steel<\/strong> face is acid-cut with a pattern. The surface still shines, but it no longer returns an image.<\/p>
Eighteen swatches, and not one process:<\/p>
- Plain and coloured etch<\/strong>\u00a0\u2014 NO.1, NO.2, NO.4 to NO.9. A fine mirror or hairline etch, on natural stainless or over a colour.<\/li>\n\n
- Artistic spray pattern<\/strong>\u00a0\u2014 NO.3. A looser, hand-drawn register.<\/li>\n\n
- Recessed etch<\/strong>\u00a0\u2014 NO.10 to NO.15. Cut deeper, with a second colour inside the recess, and pairs such as bronze with recessed gold.<\/li>\n\n
- Bright pattern<\/strong>\u00a0\u2014 NO.16 to NO.18. Ribbon, ice crack and waterfall, which read as texture rather than as an image.<\/li><\/ul>
Hairline \u2014 NO.31 to NO.42<\/h2>
A fine, continuous abrasive grain running one way. The surface reads as metal at rest: the grain follows the sheet, so the panel has a direction but no pattern.<\/p>
The most widely used finish in the book: hairline stainless steel<\/strong> is what most specifications mean when they simply say stainless.<\/p>
2B cross-brushed \u2014 NO.91 to NO.99<\/h2>
The base is 2B \u2014 cold-rolled, annealed and skin-passed \u2014 and the grain is brushed across the sheet rather than along it. The face is flat and low in sheen, with a faint change of direction where the light rakes across it.<\/p>
Nine swatches, in the shorter colour set.<\/p>
Sandblasted \u2014 NO.43 to NO.54<\/h2>
Abrasive blasted across the face leaves an even matte with no direction at all. Light scatters instead of reflecting, so the panel holds one tone from any angle and the reflection of a person disappears.<\/p>
Twelve swatches.<\/p>
Apple sand \u2014 NO.55 to NO.66<\/h2>
A finer blast than sandblasting, which is why the two sit in separate families. The surface is smoother and more even, and the matte is shallower \u2014 so more of the colour underneath shows through.<\/p>
Twelve swatches, in the same colour set as sandblasted.<\/p>
Tumbling \u2014 NO.67 to NO.78<\/h2>
A random, orbital swirl, laid down in overlapping passes. Unlike every other grain in the book, tumbling has no direction.<\/p>
That is what gives it its look: a dense, soft sheen with no repeat to follow. It is also why the swirl is random by definition, and why two batches cannot be matched to each other.<\/p>
Twelve swatches.<\/p>
Embossed and antiqued \u2014 NO.100 to NO.108<\/h2>
The only family with real relief \u2014 a decorative stainless steel sheet<\/strong> in the literal sense, not a pattern printed on a flat face. Nine swatches, in three ideas:<\/p>
- Embossed grain<\/strong>\u00a0\u2014 bark (NO.100), 6WL (NO.101), hammered (NO.102), small grain (NO.103), cowhide (NO.104).<\/li>\n\n
- Antiqued<\/strong>\u00a0\u2014 a patina worked into the surface: HL green bronze (NO.105), tumbling yellow bronze (NO.106), cross-brushed bronze (NO.108).<\/li>\n\n
- Variegated antiqued<\/strong>\u00a0\u2014 NO.107, where the patina is deliberately uneven across the sheet.<\/li><\/ul>
Anti-fingerprint \u2014 NO.79 to NO.90<\/h2>
Not a ninth surface. A coating applied over a base, and the twelve swatches show the same coating on different bases: mirror, sandblasted, apple sand, tumbling, 2B cross-brushed, grey Ti matte, and mirror cross-brushed.<\/p>
This is the one family where the sample number matters more than the colour, because the base underneath decides how the face looks. Anti fingerprint stainless steel<\/strong> is a coated version of something else in this book, never a finish of its own.<\/p>
Colours<\/h2>
Eleven colours run across the families: Ti Gold, Champagne Gold, Rose Gold, Antique Bronze, Coffee Gold, Grey Ti, Black Ti, Deep Black Ti, Bronze, Sapphire Blue and Brown.<\/p>
The etched, 2B and textured groups use their own sets, so the number is the reliable reference. A stainless steel finish chart<\/strong> sorted by colour loses that, and an architectural hardware finishes chart<\/strong> sorted by product loses it too. This book keeps it in the number, which is why the same eleven colours still produce types of elevator finishes<\/strong> that behave nothing alike.<\/p>
Cabins and landing doors<\/h2>
The book covers both, in the same finishes and the same numbering. Car wall panels and landing door faces come out of one reference, which is what keeps a lobby consistent from the door in the hall to the door in the car.<\/p>
Ordering a finish<\/h2>
Quote the number. Elevator cab finishes<\/strong> named by colour alone are ambiguous \u2014 NO.32 is a Ti Gold hairline, while “Ti Gold” on its own could be any of six processes.<\/p>
- Antiqued<\/strong>\u00a0\u2014 a patina worked into the surface: HL green bronze (NO.105), tumbling yellow bronze (NO.106), cross-brushed bronze (NO.108).<\/li>\n\n
- Artistic spray pattern<\/strong>\u00a0\u2014 NO.3. A looser, hand-drawn register.<\/li>\n\n
- Broken reflection<\/strong>\u00a0\u2014 mirror etched (NO.1\u201318). The surface still shines, but the pattern scatters the image.<\/li>\n\n