See more architecture and design movies on dezeen.com/movies Dutch designer Hella Jongerius is launching her first range of rugs as the newly appointed design director for Dutch firm Danskina. Showing at the Salone Internazionale del Mobile in Milan, the collection includes six designs, four of which are by Jongerius. Her designs are called Bold, Cork&Felt, Duotone and Multitone. "A rug is a two-dimensional product', Jongerius said. "There is no construction needed, just an expression of yarn and colour. A Danskina rug has clear colour concepts, the colour and texture on the floor is very important in giving a space a certain atmosphere." Each design is created using a different mix of techniques, materials and colours. According to senior designer at Danskina, Edith van Berkel, Duotone took the longest to design. "We worked on this fabric for a longer time. We thought it was interesting to make a nice balance of colours. It was made with a flat woven carpet warb in one colour and weft in the other so that the design appears in squares." In contrast, the hand woven Bold design is created by using just one piece of wool yarn that is dyed in two different colours. This makes the two block colours in the rug appear to grip one another. The Cork&Felt design is the only unwoven design, instead made of assembled strips of cork and felt. The strips appear randomly in the design making each rug unique. The Multitone rug started out as a colour blanket to see how colours mixed and was not supposed to be in the collection at all. "We thought the colours worked so well that it deserved a place in our collection," said van Berkel. The other pieces in the collection are two hand-knotted designs by Dutch designer Karin An Rijlaarsdam. The rugs will be on show in Pavilion 16, stand D20 at the Salone Internazionale del Mobile, Milan until 13 April.+ More details
See more architecture and design movies at http://www.dezeen.com/movies Movie: Dutch designer Hella Jongerius explains why she enjoys working with colours and textiles rather than designing full pieces of furniture in the third video interview we filmed at her studio in Berlin. "It's just one solution for design, making stuff," says Jongerius, who works with Swiss furniture company Vitra as creative director of colours, textiles and surfaces. "You can do so much more with your talent and brains [as a designer]." Jongerius has worked on refreshing the colour palette Vitra uses for its furniture, including famous designs by Charles and Ray Eames and Jean Prouvé. "Vitra have great stuff," she says. "Why do they need me to create another piece of furniture? They need me on another level." Jongerius says that she enjoys working with textiles for the same reason; they enable her to express her creativity without designing a new product from scratch. "If you design a textile you don't have to design a full new piece," she says. "Just the skin can make the new design. That's why I find textiles interesting and also a nice subject for the future. There are not many designers that are good in textiles." However, Jongerius says that many companies are resistant to using new colours or textiles in their products, valuing consistency and durability over quality of colour or texture. "There are very many colours to choose from," she says. "But [the colours manufacturers use] only come from a certain scheme in the whole colour world: colours that do not change due to daylight. That's what they think consumers want, colours that stay the same from morning to the evening and I think that's really a mistake." She continues: "Testing in the industrial world is really so outdated. It's all about the functional level. If you ask people if they care that a colour changes during the day, or if a fabric wears out after some years, I think there are many consumers who will see that as a quality." "But still we are testing as if you are wearing velcro on your jeans all the time, or you [will] invite an elephant to sit on your armrest. A lot is lost because of the testing." Despite the difficulty in convincing manufacturers to change their approach to colours and materials, Jongerius believes it is a worthwhile pursuit. "It's very difficult to sell," she says. "But it's a topic where I can use my brains and talent to change something in the industrial world. If you design the skin you have a new product and you don't have to have a whole new table or a whole new sofa."+ More details
Hella Jongerius received worldwide recognition for her Soft Urn in 1994. A traditional vase made out of rubber. Her work, including this knitted lamp or this embroidered tablecloth is exposed all over the world including MoMa New York. Jongerius is famous for using traditional craftsmanship to create something completely new. Jongerius has a love/hate relationship with the mass-production industry but nevertheless decided to corporate with companies like Vitra or Ikea. In her philosophy, mass production and craftsmanship can go hand in hand. For over two years, Jongerius has been developing a new range of colors for Swiss furniture giant Vitra. http://www.jongeriuslab.com CREDITS Commissioning editor Submarine: Geert van de Wetering Producer: Olivia Sophie van Leeuwen Director: Noud Holtman Camera: Jacko van 't Hof Sound: Eric Leek Editor: Niels de Roos Colour Correction: Maurik de Ridder Music/Sound Design: Pastelle Music Produced by Submarine, Femke Wolting & Bruno Felix http://www.submarine.nl Commissioned by DutchDFA http://www.dutchdfa.com Like Dutch Profiles on Facebook http://www.facebook.com/dutchprofiles+ More details
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