Moroccan rugs and mid-century design
Moroccan Berber carpets keep a unique position in early and mid-twentieth century Western conception - distinguishing tribal textiles and rugs that were handcrafted by different societies of Moroccan Berber and Arab travellers and established peoples. Berber tied collection rugs and flat-woven kilims began to attract a lot of consideration in the 1920s and 30s
They presented in the homes of collectors and design fans across Europe and North America, often championed by French specialists. Till that moment, there was limited or no demand for Moroccan rugs globally, and they had for centuries made for individual family use or regional commerce
The aspects of contemporary and mid-century design
These rural weavings used a decades-old method that conformed with the views of modern and mid-century design - minimalist and geometric designs, intense colours and patterns, and real spirituality. It was for this cause, with others, that they so famously caught the consideration of designers and architects at the start of the twentieth century. The refusal of symbolic representation, a choice for abstraction, a natural and bold style, even a reduction of technical realisation: all these characters rang with modernism's chase of new kinds of art
Famous designer Le Corbusier made these carpets to the observation of others in the early twentieth century, applying intense and boldly-coloured Berber rugs and horizontal patterns, mostly in Villa La Roche in Paris (1924-25). He further revealed Berber carpets in the chambers of the Pavillon de l'Esprit Nouveau (1925), explaining, 'Do as the Berber do: join imagination to the most recognisable geometry, but determine the imagination,' and added these rugs in the handful of great decorations he used in his chambers
Marcel Breuer is considered to have made the Bauhaus conscious of Berber textiles, possibly excited to the visible dominance and instrumental compositions of the rugs. Moroccan rugs also gave a warm interior to a building made mostly of glass and steel.
In 1939, when Alvar Aalto planned Villa Mairea for the fathers of Finnish architect Kristian Gullischen, it was equipped with simplistic yet luxurious cream, and charcoal painted Beni Ouarain carpets, highlighting large and strong lozenges.
Frank Lloyd Wright
Famously, Frank Lloyd Wright operated large creamy-coloured Beni Ouarain rugs in decorating his Fallingwater house in 1939, formed for the Kaufmann family at Bear Run in Pennsylvania.
Charles and Ray Eames' residence in Pacific Palisades persists as an epitome of mid-century California design. And the interpretation of modernity and enthusiasm: mid-century photos show them applying complex geometric red, rust and orange-hued Moroccan flat-woven rugs in their house to imitate this artistic.
The power and novelty of Moroccan Berber carpets, with their connections to human consciousness, presented them with charming associates and articles for modernist architecture and design.
The original use of colour and reflection in Moroccan Berber rugs, their effectively independent style, their small variations and their authentic representation of culture and ideas continue to improve contemporary and 20th-century interiors