2023-05-01 16:18:35
AAs a freelance graphic designer, Florian Markl-Berger worked for a long time on the design of large wall surfaces and visual guidance systems for trade fair stands, pop-up stores and showrooms – temporary architectures that disappeared again after the events for which they were set up. But at some point he wanted to create something more permanent and sustainable: “Around the turn of the year 2019/2020 I looked into myself, put together what I had done so far – and against the background of my preoccupation with rooms and large areas, the paths are in the carpet for me converged.”
As the pandemic raged, Markl-Berger began designing rugs and seeking suitable suppliers and producers. It wasn’t easy, as he wanted to create an environmentally friendly, animal-friendly product that was created along a transparent supply chain. “I wanted to rethink carpet production and see how far you could get with regional production.” Markl-Berger did not find any suitable wool in Germany for the carpets he had in mind. He obtains these from New Zealand sheep, which are kept under high animal welfare standards and whose wool comes directly to Germany.
“Islands of Communication”
With the “robot tufting” process, Florian Markl-Berger found a way to produce his carpets regionally. In the process, which is mainly used in the production of carpets, a robotic arm drives yarn into a base fabric. “This is the only way to make it possible in this country, because the proportion of manual work falls to 35 to 40 percent.” The carpets are made “on demand” – so only what has been ordered is produced. The process also benefits Markl-Berger when designing the carpets, as it allows the geometric pattern to be precisely translated onto the material.
Florian Markl-Berger produces carpets with geometric patterns.
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Bild: Koshka Berlin
Markl-Berger wanted to refrain from the traditional forms and ornaments from the world of carpets and, as a graphic designer, wanted to take a new look at the product. “I let myself be guided by the realization that designed surfaces are perceived differently on floors than on walls. In the case of carpets, a specific interactivity between the object and the viewer arises in the room. When designing, I always try to imagine how the perception of the carpet changes with the observer’s point of view.”
Despite all the modern-minimalist strictness of form, he also wanted to include humor. “In some of my designs, when viewed from certain angles, the grids and elements start to wobble a bit, almost like a moiré effect.”
Markl-Berger had a clear idea of how his carpets should feel. “I just think it’s wonderful to stand on a dense, compact volume.” That’s why he opted for medium-height sectional floor carpets, which created the “dense, valuable feeling” he was looking for and were particularly well suited to show off the geometric shapes and color contrasts to bring out that characterize Markl-Berger’s design. “Last but not least, the medium cutting height also makes the carpet an easy-care product that can be easily vacuumed.”
According to Markl-Berger, his carpets are primarily for private living space, but they are also eye-catchers in the office, where they can enhance lounges as “islands of communication”. The best metaphor for the “gentle appearance” that his rugs are supposed to offer was “Koshka” – the name of a cat he loved as a teenager and who inspired him with “stubbornness, liveliness, beauty and warmth”. He stayed true to the theme: the collection is called “Tigres de Sol”, meaning “Bodentiger”. And each design’s name is derived from foreign-language words for “cat.”
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