The role of the designer ?
How can a company or designers contribute to the creation of accessible, aesthetically quality spaces. Does the designer, architect pay attention not only to structural and visual elements, but also to the psychological needs of people? Does it lead to the creation of apartments and spaces, objects that offer elements of comfort, aesthetics or partial noise reduction?
Carpets are used in architecture in various ways, with functions that extend far beyond mere decorative elements. Thanks to their insulating properties and sound absorption capabilities, they have significant practical applications. Historically, their use also reflected social status and wealth, with their function varying depending on the setting and social class.
Thermal Insulation:
Carpets greatly help reduce heat loss by trapping warmth within their fibers, preventing it from escaping. In cold interiors, such as castles and old stone buildings, carpets were an ideal solution for retaining heat. This was especially important in regions with harsh winters, where carpets helped improve comfort in living spaces.
Acoustic Insulation:
Carpets are excellent at absorbing sound, reducing echo, and dampening noise in rooms. Therefore, they are commonly used in offices, conference rooms, and modern living spaces, contributing to a quieter environment.
Aesthetic and Decorative Use:
Carpets can define spaces within interiors, highlight architectural features, and add a warm visual element. Luxurious patterned carpets gave castle rooms a sense of grandeur, and their designs often symbolized specific cultural references or aesthetic ideals.
Surface Protection:
In historical architecture, carpets were often used to protect flooring, whether wood or stone, from wear and tear. In modern spaces, they serve a similar purpose—protecting floors while enhancing aesthetics.
Carpets have both functional and symbolic significance in architecture, past and present. For higher social classes, they represented not only insulation and comfort but also served as a means to express status and cultural values.
In high society, carpets were often used not only as a decorative element, but also as a symbol of wealth and prestige. For the lower classes, carpets were expensive and often unaffordable, so other materials or simpler textiles were used.
Silence as a luxury versus the availability of harmony for everyone ?
In book Silence in the Age of Noise, Erling Kagge mentions that silence is privileged, available especially to those who can afford to live in locations and spaces where environmental noise does not affect their mental health and well-being. We can consider how to bring these qualities to a lower-quality environment by improving the availability of quiet zones, or by using interior elements - fabrics, carpets or other textile items that at least partially dampen the noise.
In Japanese interiors, simplicity and the multifunctionality of furniture and decor are essential. For example, tatami mats serve not only as flooring but also as acoustic and insulating elements, contributing to a quiet and comfortable space. The simplicity of design reflects values of tranquility and functionality while creating visual harmony. This approach is accessible to all social classes, as it doesn’t require expensive items but rather an effective arrangement and the right choice of textures.
Connection with nature is a fundamental part of Japanese aesthetics and lifestyle, whether through live plants or textiles with floral patterns. The principle of MA (the value of empty space) is one of the core concepts in Japanese aesthetics and philosophy. It involves understanding and appreciating emptiness, silence, or the space between objects, events, or thoughts. Emptiness is not seen as “lacking” or “incomplete”; rather, MA is considered an essential element that enables harmony and deeper perception of surroundings.
No material wealth is required. Silence, simplicity, and the beauty of art and design are values that create an aesthetically rich environment for everyone, regardless of social status, place, environment, or budget. In Japanese architecture, MA is reflected in how rooms are arranged and separated by empty spaces or sliding walls. These gaps allow people to enjoy the space without feeling crowded, promoting peace and harmony.
In book Silence in the Age of Noise, Erling Kagge raises questions about environmental disparities among social classes, especially regarding access to silence, aesthetics, and quality of life. His insights reflect contemporary reality: those with greater financial resources have more options—whether it’s access to a better environment, healthier food, superior housing, or tranquility. In contrast, people from lower social classes are often exposed to noise, poorer housing, and less favorable conditions, which can impact their physical and mental well-being.
The question often arises: How quickly can we change a space — transform it into an environment where we feel most natural and at home in our essence? A good designer, in my view, is someone who can create a lot of quality work — even within a short time frame and with a limited amount of materials. Anyone can purchase and transform a space with "new things," but it’s rare to see someone create a lot from little.
Social theorists like Henri Lefebvre and Michel Foucault explored how space is produced and controlled in relation to time. Lefebvre, in his work The Production of Space (1974), asserts that space is not a passive backdrop, but something that actively creates social relationships.
How does our energy — our unique essence — influence the space around us and create a feeling of home and positive atmosphere? Is it merely caused by accessories, or is it us ourselves, depending on the energy we put into it? Sometimes, it’s the feeling when the entire space transforms into a color from Yves Klein, filled with positive blue energy.
What is the main goal we want to represent in the end? That everyone deserves quality living — and should strive for it? Working with materials? Or should we go deeper and find our purpose in what we create and want to create for life? Why do we choose certain colors, what path do we follow, and what should that path bring us? And what is our meaning?
1. Luxurious oriental carpets and tapestries were considered symbols of prestige and wealth. Carpets were often used not only on floors, but also on walls and tables. On the floor they helped increase comfort, while on the walls they protected against the cold and decorated the room. Richly decorated patterns and colors represented the social class to which the owner belonged and were often an heirloom. In the upper class of society, carpets were sometimes considered works of art with motifs and symbols expressing family history, local or religious motifs. Thus, carpets could be interpreted not only as a decorative element, but also as a means of expressing the identity and value system of the owners.
2. In common people and in city houses, the lower social class could not afford carpets to the same extent, because it was a very expensive item. Instead, they used simpler fabrics or handmade mats made of straw or grasses. Such solutions provided a certain thermal insulation and comfort, but were not as decorative and symbolic as carpets of higher classes.
Aesthetics, the way to mental well-being ?
Silence as a space for development and inner satisfaction, we can also perceive aesthetics as a means to improve the psychological state and the feeling of comfort. If aesthetics is a basic human need and not just a luxury, then even those with a limited budget - or a limited style - should be able to create a space that meets their aesthetic preferences and provides a sense of peace.
The empty spaces between furniture and objects enhance their appreciation, making the interior feel airy and balanced. In painting and calligraphy, MA signifies the empty areas surrounding letters or painted objects. These empty spaces give meaning to the filled parts and create balance. In calligraphy, the space between strokes is considered as important as the characters themselves.
In traditional Japanese music and dance, the principle of MA appears in the silence between individual tones or movements. These pauses create tension and allow the audience or listener to focus on each moment. Silence in music or stillness in dance has its value, giving meaning to each subsequent tone or step. The principle of MA can also be applied to everyday life as we learn to appreciate silence, pauses, and simplicity. In a fast-paced modern world, MA can bring inner peace and space for reflection. Appreciating emptiness helps us find beauty in simple moments and realize the value of calm and space without the need for constant activity. In Japanese philosophy, MA is understood as something that exists “between” things—whether objects, events, or thoughts. This “between” is not just ordinary emptiness but a space of potential and growth. The principle of MA teaches us that empty space gives us room to breathe, to better understand the essence of things, and to focus more on the present moment. It is an important part of harmony and balance in life.
Connecting aesthetics and sustainability ?
Kagge also talks about the values of silence and simplification of life inherent in the minimalist approach. Minimalism, simple design and upcycling become tools that can help to achieve an aesthetic environment while using available resources.
Types of Japanese carpets:
1. Tatami Mats — tatami mats are a fundamental part of Japanese interiors. Made from rice straw and covered with woven rush grass, they provide insulation and a natural aesthetic.
2. Nihonbashi Carpets — these carpets often feature traditional Japanese patterns and motifs, such as florals or geometric designs.
3. Kumamoto Carpets — carpets are known for their vibrant colors and artistic patterns. They often incorporate natural dyes and traditional weaving techniques.
4. Bokhara Carpets — carpets are characterized by their rich colors and intricate motifs, often reflecting traditional Japanese design elements.
5. Shaggy Carpets (Aizome or Indigo Dyed) — carpets are often handwoven and dyed using natural indigo, giving them a deep blue color. The shaggy texture is achieved through specific weaving techniques.
6. Tansu Carpets — carpets often feature intricate patterns reminiscent of the craftsmanship found in tansu.
7. Zabuton — carpets in traditional Japanese settings. They are flat cushions used for sitting, often placed on tatami mats.
8. Woven or Braided Rugs — carpets are made from a variety of materials, including cotton and wool, and are often handwoven or braided. They can feature unique patterns and textures.
9. Modern Japanese Carpets — Contemporary Japanese carpets often blend traditional motifs with modern designs and techniques, using synthetic materials or natural fibers.