PAS PERDUS are nature inspired rugs, designed for pacing up and down. To be explored barefoot.
‘La Salle des pas perdus’ literally translates into the hall of lost steps. The expression traditionally refers to the large hall in courthouses where people wait for their trial or verdict; nowadays it is also used for public waiting rooms. Similarly, this carpet invites people to pace up and down while they wait, make phone calls, think or worry.
Horsehair, wool, cotton, and chenille in various lengths and patterns create a tactile surface that prickles the senses – especially when you take off your shoes. The black surface does not reveal its variety at first sight, but rather adds an element of surprise to the experience.
The rug is hand tufted and developed at the Textile Museum Tilburg and the horsehair is bundled at the Handweverij Tilburg with much care and attention. The jacquard weaving is done with great precision at EE labels.
In Pas Perdus sensation and tactility stand central. It aims for a person to take off his shoes and discover the sensations which he perceives visually in a surprising way by touch.
I believe that in a society which is more and more digitalized, people go back to objects that they can grasp. We like to understand how what surrounds us, feels like. Especially in the context of our homes. When seeing grass, mud or rock we can sense how it will feel, just by the look of it. We can almost feel those sensations before actually touching them.
Tactual perception tells us that vision influences how we physically feel something. As we feel with our eyes, materials and surfaces with a high level of tactility arouse our senses and create anticipation of touch. When adding the element of surprise it emphasizes our awareness. We put our attention in that moment, to try to understand what we feel. In the rug, this is translated into the use of very different yarns and materials, which don’t all reveal themselves at first sight.
The horsehair reflects light and gives a tickling sensation which contrasts with the chenille yarns, tufted in a considerable hight to create a soft surface that absorbs the footsteps. On the other hand, there are two woven parts, inspired by drawings of natural textures that have a high visual-tactile level but are completely flat and when walking over the rug you can sense strong knots almost hidden between the cotton and the woolen yarns.
The trends, besides the ‘tactile revolution’ which I believe I respond to, is the actual questioning on the functionality of an object. Which leads to pieces that are further away from known design dogmas because there is a shift in the desired function of an object. There is grown attention towards the emotional relationship between object and user and new materials development. This can lead to an abstraction of known shapes and allows the designer more freedom in creation. I believe the artistic development of a functional object to find appreciation in our society because it adds to the singularity of the piece. We value the visible traces of human thinking and creation in an object.