VAIBASEERIAd POHL; POHL.BETOOn

Monika järg ja tema stuudio Tekstiil ruumis mõtleb välja ja valmistab sisustustekstiile. Inimsõbralikke ja kauakestvaid. Kasutab selleks naturaalseid materjale ning väärikaid tehnoloogiaid. Lisab tekstiilile ruumilise mõõtme, funktsiooni ja materjalikasutuse kaudu. Väärtustab disaini, mis liidab vajadused, funktsionaalsuse ja esteetika. on lihtsalt eriline.

Monika Järg and her studio Tekstiil Ruumis devise and prepare textiles for interior design. People-friendly and durable. They use natural materials and honourable technologies. They add a spatial dimension to textiles through their function and use of material. They appreciate design that combines needs, functionality and aesthetics. It is simply exceptional.

www.tekstiilruumis.ee

carpEt linEs cowbErry; cowbErry.concrEtE

autor/author:

fotod/photos:

Monika järg (Tekstiil Ruumis)

juta Kübarsepp

lihtne, vaimustav ja vaimukas, kerge paberlennukina unelmate, tootedisaini, ruumikujunduse ja tekstiilikunsti piirimail hõljuv kollektsioon. puudumas ainult veel see rahutukstegev „miski“.

Tarmo Piirmets, sisearhitekt ja ESLi aastapreemiate žürii liige

Ruumi ja tekstiili omavaheline suhe on võluv kooslus, üks ei saa ilma teiseta isegi siis, kui see alguses nii ei tundu. Tekstiilil on ainulaadne võime luua omanäolist atmosfääri, pehmendada helisid, olla lihtsalt mõnus. Kas kaasaegne inimene armastab seda pehmust ning väärtustab erakordsust, mis kaasneb autoritekstiili puudutusega?

Räägime sinu tekstiilist. Kust see vaibaseeria alguse sai? Monika Järg (MJ): See sai alguse tellimusest, koostöös sisearhitektidega Jan ja Ken, kes tahtsid kujundatavasse kontoriruumi saada vaipa, mis pidi olema erikujuline. See tingis ka tehnoloogilise pöörde, ma ei saanud kasutada varasemat tehnikat. Valley vaibatehase tüüpstruktuuride baasil kujundasin oma struktuuri, kuhu tikkisin vahele suured roosad puumunad. Paigutus oli juhuslik – nagu oleks peoga visatud marju. See ei olnud edasiseks muidugi mõistlik tootmisviis.

Kui sa oma faktuurseid vaipu teed, kas mõtled kohe konkreetsele ruumile või inimesele? MJ: Enamik tooteid on alguse saanud konkreetsest projektist, seega ruumist ja tellijast. olen paljusid projekte võtnud kui katsetusi, kuhu aega on kulunud oluliselt enam kui planeeritud. Samal ajal olen saanud teha katsetusi ja kohe ka järeldusi, kas see on teema, millega on mõistlik edasi minna.

Kui töö saab alguse tellimusest, kellegi kodust näiteks – kuidas ruum sind kõnetab, milliseid raame ruum sinu jaoks seab? MJ: olulisim on see, kuidas ruumi kasutatakse, tihti on aspekte, mida ei ole esmapilgul näha. oleneb, kas see on era- või avalik ruum, see mõjutab materjalivalikut. avaliku ruumi puhul võtan endale vabaduse palju julgemalt väljenduda, pakkuda erilahendusi, põhjendada neid ja kaitsta oma ideid. Erakliendi puhul arvestan tema maitset, sest ta ju peab seal elama.

Kas inimesed armastavad värvi või pigem kardavad? Muhuvärvid siis ikkagi ei realiseeru? MJ: Vahel küll, kuid intensiivsed värvid on alati olnud pigem n-ö „pidupäeva rõivas“, eriliseks puhuks. Vaibaost on pikaajalisem investeering. Kuigi värvi võiks kasutada julgemalt, on keeruline elada näiteks punasega koos, siin tuleb mängu emotsionaalse turvalisuse aspekt. Mul on endal kärtspunast selles ruumis, kus ma iga päev ei viibi.

Autoritöö tellimisel tahaks, et tekiks väikegi vau-efekt. Kas Eesti inimene on ikka ja alati pigem praktiline? MJ: Jah, seda võib ka nii öelda, kodus tahaks mina ise olla, et ei pea kellegagi konkureerima.

Oled väga faktuurne, rõhud hoopis teistele aistingutele, nagu kompimine. MJ: Tekstiil on minu jaoks eelkõige materjal, pean sellest aru saama ka siis, kui ma seda ei näe, kui oleksin pime. aga ma arvestan kõrgustega, et pind vajub, et oleks mugav. Mille poolest see vaibaseeria on teistsugune? MJ: olen liikunud selles suunas, et mitte teha kõike käsitööna – see on aeganõudev, väga kallis ja seega nii vähestele kättesaadav. disaini juures on ülioluline, et ta jõuaks inimesteni, tiraaž ei ole disainis põhiasi, kuid see peab olema korratav. otsin koostööd teostaja võimalustega, et tulemus poleks kompromiss, aga leitaks see õige, et säiliks minu käekiri.

Luua on väga inspireeriv ja teinekord isegi lihtne võrreldes sellega, mida toob kaasa müük. Kui oled õppinud loomingut, siis on raske ümber orienteeruda müügile, kuid ka vastupidi on võimatu. Kus saab näha sinu vaipu? MJ: Need on lihtsalt täiesti erinevad oskused. Seda ei õpigi, need on lihtsalt soodumused. Hindan väga kõrgelt inimesi, kes seda oskavad. Kalasadama galeriis on paratamatult veidi segane, seal on umbes 70 disaineri käekirjad. Pole ju seda ressurssi, et teeks päris oma vaibagalerii, muidugi see unistus jääb. olen proovinud ka ekspordivõimalusi, katsetanud oma vaipadega Helsingis, Stockmannis. Sügisel käisin Habitarel, juhtisin kogu protsessi, tahtsin saada seda kogemust algusest lõpuni.

The relationship between space and textiles is a charming association. One cannot manage without the other even when it doesn’t seem so at first. Textiles have the unique capacity to create a distinct atmosphere, to soften sounds, to simply be pleasant. Do people nowadays like that softness and appreciate the extraordinariness that goes with the touch of designer textiles?

Let’s talk about your textiles. Where did this line of carpets start? Monika Järg (MJ): It started with a commission in cooperation with the interior architects Jan and Ken, who wanted a carpet of a particular shape for an office room that they were designing. This required a technological turn. I couldn’t use the usual techniques. I developed my own structure on the basis of the model structures of the Valley carpet factory. I embroidered large, pink, wooden eggs into the fabric. They were placed at random – as if they were berries tossed onto the carpet. This was not, of course, a rational means of manufacturing for future projects.

When you make your textural carpets, do you immediately think of a specific space or person? MJ: Most products began with a specific project, thus from a particular space and customer. I have approached many projects as experiments, which have taken up considerably more time than planned. At the same time, I have been able to conduct experiments and then immediately draw conclusions on whether this is a theme that makes sense to develop further.

When a job starts with a commission, from someone’s home, for instance – how does the room speak to you, what sort of framework does the room determine for you? MJ: The most important point is how the room is going to be used. There are often aspects that are not

Simple, charming and witty, light, a collection that floats like a paper plane at the fringes of dreams, product design, spatial design and textile art. It lacks only that “something” that makes one restless.

Tarmo Piirmets, interior architect and member of the ESL annual awards jury visible at first glance. It depends on whether it is a private or public room. That influences the choice of materials. In the case of public spaces, I allow myself the freedom to express myself much more boldly, to suggest specially designed solutions, to justify them and defend my ideas. In the case of private customers, I take their taste into account because they have to live there after all.

Do people love colour or are they afraid of it? The bright colours from Muhu folk costumes can’t really be used? MJ: Sometimes they can, but intense colours have always been “festive clothing”, so to speak, for special occasions. The purchase of a carpet is more of a long-term investment. Even though colour could be used more boldly, it isn’t so easy to live with red, for instance. The aspect of emotional security comes into play here. I have bright red in a room where I don’t go every day.

People want a wow effect when they order a designer item. Are Estonians still always more practical? MJ: Yes, you could say so. At home I’d like to be myself so that I don’t have to compete with anybody.

You’re very textural. You stress altogether different sensations, like touching and feeling. MJ: Textile is material for me first and foremost. I have to understand it even if I can’t see it, even if I were blind. But I take heights into account so that the surface sinks, so that it would be comfortable.

In what sense is this line of carpets different? MJ: I have gone in the direction that everything is not done by hand – that is time-consuming, very expensive and thus it is affordable for few people. It is extremely important that design should reach the people. The number of copies produced is not the main thing in design, but it must be repeatable. I’m seeking cooperation with a manufacturer so that the result would not be a compromise, rather that the right one would be found to preserve my style.

Creation is very inspiring and sometimes even easy compared to what sales involves. When you have learned creative work, it’s difficult to reorient yourself to sales but the opposite is impossible. Where can your carpets be seen? MJ: They are simply completely different skills. You can’t learn it, they are simply dispositions. I greatly appreciate people who know how to do it. The situation is unavoidably somewhat confused at the Kalasadama Gallery since there are about 70 designer styles. I don’t have the resources to start up my own carpet gallery but that dream remains, of course. I have tried export opportunities and experimented with my own carpets in Helsinki, at Stockmann’s. I went to Habitare in the autumn. I ran the entire process, as I wanted that experience from beginning to end.