Your intention with LINES was
to capture the sensation of
touching sheep's wool following
a linear order and changing
direction... What inspired you
to create this kind of sensory
experience?
How did you handle the wool
for LINES? How does the len-
gth of the pile affect the texture
and feel of the rug?
In your projects you incorpo-
rate craftsmanship to revitalize
it and make it evolve. How has
your experience been with
hand loom, the technique used
in LINES?
White, brown, grey, charcoal...
no dyes have been used in
LINES?
The use of undyed wool offers
distinctive nuances that give
uniqueness and authenticity to
the rugs in the collection. Is this
part of your creative process?
TOUCH IS THE FIRST SENSE TO DEVELOP IN HUMAN LIFE, SO
WE FELT IT WAS IMPORTANT TO ASSOCIATE IT WITH A RUG. WE
ENJOY WORKING WITH NOBLE AND AUTHENTIC MATERIALS BE-
CAUSE THEY FEEL HONEST TO US AND ARE CLOSELY CONNECTED
TO NATURE.
WHEN ANALYZING THE GAN CATALOG, WE NOTICED THERE
WERE NO LONG-PILE RUGS, AND WE ALWAYS ENJOY SITTING ON
THE FLOOR. IF YOU HAVE A LONG-PILE RUG, MADE OF MERINO
WOOL, WITH A NATURAL WEAVE, THE EXPERIENCE IS ALWAYS MORE
PLEASANT. ADDITIONALLY, WOOL IS AN INSULATING MATERIAL,
AND THAT'S WHY WE WANTED TO WORK IN THIS DIRECTION.
WHENEVER WE SHOW THIS PROJECT TO PEOPLE OF DIFFE-
RENT AGES, THEY ALWAYS TELL US, "HOW BADLY WE WANT TO
LIE ON THE FLOOR."
THE WOOLS ARE NATURAL WOOL IN NATURAL COLORS: NEUTRAL
TONES, WHITE-COLORED WOOL, EARTH-COLORED WOOL IN BROWN
TONES, AND WOOLS IN DARK GRAY TONES.
NATURAL MERINO WOOL ALWAYS HAS NUANCES AND CHAN-
GING SHADES, WHICH ARE UNIQUE QUALITIES IN NATURAL-TONE,
UNDYED WOOLS.
AS FOR THE LENGTH OF THE WOOL, WE ENVISION SHEEP'S
WOOL BEFORE IT IS SHEARED. IT IS ALWAYS NICE TO TOUCH
THESE KINDS OF NATURAL MATERIALS.
WE HAVEN'T BEEN ABLE TO VISIT THE SITE, WHICH IS A FIRST
FOR US IN DESIGNING AND MANUFACTURING OBJECTS OR SPACES.
IT'S THE FIRST TIME WE HAVEN'T HAD THE CHANCE TO BE IN
THE WORKSHOP, ON-SITE, TO SEE WHERE IT'S ALL BEING BUILT.
HOWEVER, THE GAN TEAM HAS HANDLED THIS ASPECT MASTERFU-
LLY. THE TECHNIQUE INVOLVED SEEMS QUITE CHALLENGING TO
US. IN PARTICULAR, THE CHANGE IN THE DIRECTION OF THE
WOOL PRESENTED A NEW CHALLENGE FOR THE CRAFTSMEN, BUT
WE'RE VERY PLEASED WITH THE OUTCOME.
WE WANTED TO CONVEY THE NATURAL FEEL OF NATURE'S WOOL, SO
NO DYES WERE USED ON THIS OCCASION.
YES, UNCONSCIOUSLY. WHEN WE EXAMINE OUR DESIGNS THAT WE
HAVE PERSONALLY EDITED AND THOSE IN WHICH OUR INVOLVE-
MENT HAS BEEN PROFOUND, WE FIND THAT ALL OF THEM POSSESS
THOSE NATURAL NUANCES, LIGHTS, SHADOWS, AND CHANGES IN
TONES, DUE TO THE USE OF NOBLE MATERIALS.
SINCE 2018, WE HAVE BEEN COLLABORATING WITH THE
SUZHOU SILK EMBROIDERY MUSEUM IN CHINA, AND WORKING WITH
SILK, ANOTHER NATURAL MATERIAL, WHICH ALSO PRODUCES
GLEAMS THAT CHANGE WITH THE LIGHT.
To what extent does the geome-
try of LINES allow you to adjust
the rugs to create environments
that connect with nature?
THE ARRANGEMENT REMINDED US OF ORDERLY FIELDS. IT FOLLOWS
A GEOMETRY, LIKE THE PAINTINGS OF FRANK STELLA. THE SHAPE
IS CONCEIVED AS A PUZZLE TO CREATE HALLWAY RUGS WITH A
RHYTHM, OR INTERCONNECTED RUGS.
ANNEX GAN [INTERVIEW]
ANNEX GAN [NEW COLLECTIONS]
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