here’s one I made earlier :: concrete rug

Katie | April 3, 2013

Alex Chinneck Concrete Rug

I love concrete and I love juxtapositions, so when I heard about Alex Chinneck’s Concrete Rug I was intrigued. He very kindly talked me though how it was conceived, designed and made.

Of his inspirations, he said: “Every day I walk over an arrangement of two by six paving slabs to get my lunch. I used to look them and liked the line, just the material on the ground as an arrangement. I also walked past an enormous old parachute factory with thousands of smashed windows, I think these images influenced me through osmosis.”

Alex Chinneck Concrete Rug

“Another reference was probably my girlfriend [fashion designer Lu Flux]’s vast collection of vintage fabric samples. It’s definitely the most obvious example of her presence infiltrating my designs – her studio is in our home.”

Alex Chinneck Concrete Rug

The concept itself stemmed from an interest in decorative marquetry and the level of complexity that can be achieved. Alex said: “The rug was originally going to be made of wood. I like to bring contemporary processes and techniques to materials that have a rich history; a blending of the old and the new.  It was just a way of using the material nature of something – using the natural pattern and colour to do the work. The original idea was to create wooden rugs with a fairly basic pattern, but allow the grain within the wood to create another level of complexity.”

“What was quite nice about the rug idea was taking something decorative, domestic, and soft, and taking it away from soft furnishings and into a harder material, but I realised that wood wasn’t doing that enough. I started to think about more industrial, heavy, brutal, sharp materials, which of course led me to concrete. Then I was asked to create a piece of outdoor sculpture – a well-timed realisation with that commission led to a concrete Persian rug.”

Alex Chinneck Concrete Rug

Alex had been exploring ways of water-jet cutting brick, so took a standard paving slab to see how cleanly he could cut the concrete. He said: “All things begin in their simplest form, so from there we set about designing a very a basic simple Persian rug. I wanted to use council paving slabs – they’re always on the floor, beneath our feet – they’re very simple and mundane. I wanted to elevate the familiar into a whole new arena, but keep it beneath your feet. I liked the idea of removing it from its context, interfering with it and putting it back.”

Alex Chinneck Concrete Rug

“So I just started playing with the idea; just doodling, I did a digital drawing then made something from six by three paving slabs. It was very basic, but a lovely foundation for what we did in its brutalist form. I loved how it looked inside too, especially on a wooden floor – it really heightened the contradictions going on.”

Alex Chinneck Concrete Rug

“After the first outdoor rug, I couldn’t shake the idea of a wooden rug – so I made one, but it didn’t work. There wasn’t enough tension. It was too much about decoration, it took the baroque associations too far, it was too deeply rooted in wealth and craft and beauty. But it was a very useful step in the process.”

Alex Chinneck Wooden Rug

Seeing the pieces for the first rug stacked up outside made Alex realise that he needed to break out of the grid set by the paving slabs. He said: “It was so nice tonally, and there was so much going on. I loved it stacked it up.”

Alex Chinneck Concrete Rug

So the next iteration was a lot smaller and broke away from using the paving slabs in their original grid layout, although it was still made from slabs. “We upped the complexity at this stage – it was still about paving slabs and concrete, but the complexity gave it more fluidity and intensified the illustion we were trying to create,” said Alex.

Alex Chinneck Concrete Rug

“What I was originally excited about with wood was the ingrained patination and colour, but I found that in its own way the concrete had that too. In creating the pattern, there was a real tonal variation within the concrete – it was doing so much of the work for me – the colour, and tone and surface so often unnoticed on paving slabs. By working with a familiar materials, so much of which go unnoticed, it’s really nice to present the familiar in a slightly tweaked way, so that we learn to observe the world around us a bit better.”

Alex Chinneck Concrete Rug

“It took weeks of work to get to the next drawing. There was lots of to-ing and fro-ing with the design – it’s about understanding the material and the cutting process, and knowing which shapes and angles will work. Drawing for the machine, not for the eye. The cutter has to have a path, entrances and exits, so the design has to be visually right and technically right. I learnt through many, many failings; pieces snapping, and wasted time and money.”

Alex Chinneck Concrete Rug

“At this point in the process, we founded The Sculpture House, which works with emerging sculptors to create furniture – the concrete rug explored this idea of domesticity, design and function, so we set out to design a new version for The Sculpture House. It was a hybrid of all the lessons learnt – it needed to be easy for the person to install – a fun jigsaw puzzle, rather than a self-assembly nightmare, it needed to stand people walking on it without ever breaking, it needed  simple design, yet something that was complex enough to be decorative.”

Alex Chinneck Concrete Rug

“So I don’t know what we were thinking with the next design! It had 450 pieces. It tooks hours and three laptopos to install. It was far too complicated. And it moved around too much.”

Alex Chinneck Concrete Rug

“It was a complete failure and and an expenseive failure.  We got it all wrong.”

Alex Chinneck Concrete Rug

So Alex went away and refined it and eventually got a design that worked, and from this design came the Sculpture House rug.

Alex Chinneck Concrete Rug

And it’s just perfect!

Alex Chinneck Concrete Rug

Further reading for the especially geeky:

Further Reading for the Especially Geeky ::

Founding Editor – Katie Treggiden

Having established confessions of a design geek in 2010, Katie Treggiden has gone on to a career in design journalism, writing for titles such as The Guardian, The Telegraph, Elle Decoration, Stylist, Design Milk and Ideal Home. In 2014, she launched Fiera, an independent magazine dedicated to discovering new talent at the world’s design fairs. Her second book, Makers of East London, was published in 2015.

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  • Won’t the dye eventually lose its colour over time, or if left in sunlight or put in the dishwasher?

    • The higher the concentration of dye in the solution, the less colour is lost. There seems to be a point at which the moisture is fully absorbed back into the air, leaving the particles of dye in the ceramic body unable to move and so the colour/ pattern is fixed

      Sunlight doesn’t seem to affect the colour; I had a few test pieces sat on the window sill in direct sunlight with a line of tape on them to see if sunlight did anything and nothing happened. The test was conducted over the few months so am not sure about longer term exposure

      The pieces are decorative so wouldn’t need to be put in the dishwater but I did test them, one with a sealant on and one without, and there wasn’t any change – although I left some tiled pieces I made in the rain and the dye moved around again and became very vibrant

      There is lot of science behind the process, most of which I don’t fully understand and sometimes doesn’t make any sense – could talk about it for hours but I’ve tried to be concise!

  • Kuo

    this is such a cool process. did your friend emma come up with this on her own?? that’s incredible! also, i was watching the video while listening to “Goodnight, Travel Well” by the Killers, so the video was very dramatic for me haha

    • Thank you and yes – the process came from trying to dye everything, even the studio sink!

  • The technique is so pretty and natural. Thanks for sharing.

  • Fer

    Wow! I love your work. Congratulations!

  • Christine Lynn

    I like the watercolour effect on the pieces. They look very natural because they don’t look like they were painted. By using the dye to colour the pieces, is it safe to use the bowls and cups for dinnerware?

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