"Passion for interior design can be felt"

Carpet Concept presented the 11th INsider Award in Cologne

Yesterday, the INsider Award, the most prestigious interior design prize, was presented for the eleventh time in Cologne. "This award strengthens our position in architecture as a whole," describes Moritz Köhler from Studio Komo, Stuttgart, who came first in the INsider Award 2018. "It honours an industry in a special and continuous way that otherwise always has to argue strongly about its value and price."

"We initiated the INsider Award 2008 out of conviction," reports Thomas Trenkamp, Managing Partner of Carpet Concept, at the festive award ceremony. "We didn't just want to talk about floors, we are interested in architecture and the passion for this subject."

Moritz Köhler was awarded for his virtuously planned working environments as well as for the design of new catering areas. His holistic approach, which includes the graphics of a project as well as the formation of a name, was convincing. 

With his approach to interior design, Georg Thiersch from Büro eins:33, Munich, was also able to convince the expert jury, which awarded him second place of the INsider Award 2018. Creating architectural brand quality, rethinking exhibition design or retail concepts are the focal points of the studio, which was recently ranked among the top 50 agencies in the German creative industry. 

Annika Wegener from ESTHET Innenarchitektur, Hanover, was quickly chosen as the third prize-winner. The young interior designer and trained carpenter stands for customized design concepts and particularly for sustainability, which she focuses on in her work to improve coexistence and consumer behaviour in society.

The festive award ceremony of the INsider Award 2018 took place in the historic Sancta-Clara-Keller in Cologne and was opened by the patron and INsider Award winner of 2016, Robert Piotrowski.


About the INsider Award:

The INsider Award was initiated by Carpet Concept in 2008 to honour the best personal achievement in interior design every year. The award aims to find the outstanding interior designer of the year. In the run-up phase, the patron and the readers of AIT/AIT Dialog nominate the participants of the INsider Award.

At a three-day conference (held in Lisbon in 2018), the nominees present their work and their personal approach to interior design to each other and then choose the winners from among themselves. This selection process gives interior experts the opportunity to present their work and perspectives on interior design and to engage in discourse with colleagues.

NEO at the Stockholm Furniture & Light Fair 2019

Comfort for every room: NEO, the new tailored carpet from Carpet Concept.

Premiere for the new tailored carpets from Carpet Concept. Architects, designers, and other interested people from over 100 countries visited the Stockholm Furniture & Light Fair from 5 to 9 February. On more than 70,000 square metres of exhibition space, the Carpet Concept stand was considered a favourite.

With NEO, the innovative company is presenting a special collection – the tailored carpets are produced in an environmentally friendly way and were therefore in sustained demand at the most important trade fair for Scandinavian design.

With its free shapes, NEO makes for new configurations in lounge and living area as well as offices. In combination with armchairs and small tables, casual islands are created that provide a new homely feeling with very little effort. As a modular system, the new solitaires match the Carpet Concept tiles and broadloom carpets in terms of colours and textures. Innovative products for the trend towards natural, uncomplicated, and healthy living

Premiere for NEO

Forms of living are changing, so are carpets. With NEO, Carpet Concept and the interior designers of Raumkontor developed new formats: individually tailored carpets with free shapes that are reminiscent of pebbles or moss surfaces and have clear edges. Street style for the floor. NEO always fits in: new arrangements in the lounge, living area, hotel, or office. Because progress thrives on innovation.

With a clear edge: NEO 1
Individually tailored for creative statements: latex accentuates the edging. A cool fashion material that was brought to the carpet. NEO 1, a handmade, minimalist carpet. A casual statement that shows a clear edge and adds highlights.

Congenial non-adjustment: NEO 2
Free shapes make statements. Whether casual arrangement or islands in a room: NEO 2 are unadjusted components for real life. With its new design vocabulary, Carpet Concept is developing a real innovation for living environments.

The NEO collection from Carpet Concept is produced in an environmentally friendly way and designed for expansion.

100 creative ways for the room: As a modular system, the new solitaires correspond to tiles and broadloom carpets in terms of colours and textures.

Premiere for NEO at the Stockholm Furniture & Light Fair.
Visit us from 5 to 9 February 2019 - Booth A18:21

“Create and Connect”

Carpet Concept supports three-dimensional sculpture developed at the University of Wismar.

Following the main theme of Domotex 2019, "create'n'connect", an unusual, daily growing framework was created at the "connect it3" stand of the University of Wismar.

Over the course of the trade fair, visitors had the opportunity to continuously develop an interactive sculpture made of carpets from Carpet Concept like a growing cell by linking isosceles triangles. Sarah Strenge, an interior design student, had come up with this extraordinary idea. Carpet Concept supported her with a total of 100 m² of carpet from the collections Ply Rips, Cube, Lay, and Isy Rips as well as two ready-made woven velour products.

Orange cable ties provided stability between the modules. This allowed the textile triangles to be tilted along their axes at will to create three-dimensional sculptural forms and shapes.

Under the motto of "Analogue – Interactive – Together", Sarah Strenge's project, accompanied by Prof. Oliver Hantke, attracted numerous visitors to the stand. Every day, they playfully tried out new combinations of shapes and materials that resulted in an exciting and individual structure.



The newly renovated lecture hall of the MAKK in Cologne was bursting at the seams. Approximately 250 guests followed the lecture given by Nathalie de Vries as part of the VORDENKER series initiated by the KAP Forum and Carpet Concept, specialist for acoustic rooms and sustainable carpets. Under the title of "Hybrid/Experiments", the co-founder of MVRDV demonstrated the potential of multifunctional buildings and planning.

"Is the city a laboratory?" asked the architect rhetorically – and immediately gave the answer: "Urban spaces must condense, optimize, intermingle. We want a better, more livable city." This was also a rejection of Adenauer's election campaign slogan in the 1950s – no experiments. It is quite astonishing that the outgoing professor at Kunstakademie Düsseldorf (she is moving to Delft) could not find any examples of hybrid and multifunctional buildings in Germany – nor could her students.


Nathalie de Vries gave a one-hour lecture on the significance of hybrids in her own work. But what is a hybrid? It is about new, networked thinking, conceptual and free of barriers. There could be a third room, built for private use and yet completely public, a house so openly designed for very different users with very individual needs. This sounded a bit like postmodern theory, similar to what Wolfgang Welsch advocated in his "Perspektiven für das Design der Zukunft" ("Perspectives for the Design of the Future") published in 1990: "The classic-modern maxims of expression or transparency are losing their significance and are being replaced by strategies of contrast, invention and paradox. Only they take into account our "chaotic" world full of overlaps and instabilities. Disturbances and hybrid formations correspond to postmodern life experience."

A radiant sign of change is the Markthal in Rotterdam ( A hybrid of public space and intimate retreat, big gesture, big underground garage, and big thinking. The apartments stacked on both sides lean towards each other and form a barrel vault under which public life and togetherness take place: protected from the weather and perfectly accessible.


With each new project, the liberating element of hybrid thinking was condensed – from the Ku.Be House of Culture and Movement in Copenhagen (, a place where people from 1-101 years of age can come together, to the proposal of a greened and decelerated Schiphol Airport (2. place,, an urban planning project in Seoul (, and residential buildings such as "The Valley" ( – vertical living landscapes in Amsterdam that look as if the architects had poured acid onto a polystyrene block, but actually calculated optimal angles for balconies and apartments with the help of computers. "Living in high-rise buildings – we as lowlanders still have to learn that," said the architect and won over the audience one more time.


So why don't we build houses that contain everything within themselves right away, asked architect Nathalie de Vries quite rightly – and it sounded like a call for disposing of a few building regulations files. In the end, she gave some indications of what she so aptly described as "shallow": the ability to allow hybrid forms from the outset, such as at the threshold of office space and rented apartments, the rededication of which may not be as difficult as often experienced: higher ceiling heights than usual, an active, open ground floor with shops and public facilities, and a few undefined areas.

Hybridity actually means "doing a little more of everything" and "going outside". So, get up from the desk and from the comfortable sofa and get out to where life is happening, socialise, be ready to share ideas.

Are we not hybrids ourselves, the architect asked at the end – and numerous guests agreed.


Text: Dr. Oliver Herwig & Andreas Groß
Photographs: Studio für Gestaltung

Cologne in Beijing

In the Chinese capital, HGEsch and Carpet Concept made it possible for some 28,000 Chinese to enjoy a view from Cologne Cathedral.

For seven days, Chinese visitors to Beijing were able to test a real Cologne feeling: in November, around 28,000 visitors admired the unique view from Cologne Cathedral in the middle of the Chinese capital.


Cologne in Beijing – this was made possible by the Panorama Rotunda of photo artist HGEsch, which presents a 360° panoramic view of Cologne. The true-to-life panoramic image was created on the crossing tower of Cologne Cathedral and lets visitors literally immerse themselves. Thanks to the high resolution of the rotunda images, which are composed of 60 photographs, the smallest details can be discovered. Despite the distance of almost 8000 km, the Rhenish metropolis became a tangible experience, and deceptively real selfies with the cathedral in the background were taken in Beijing. The internationally successful rotunda idea of photo artist HGEsch has been supported from the beginning by Carpet Concept, a specialist for textile rooms and carpets designed with an architectural approach.


In the meantime, the Rotunda has returned to Cologne. Cologne's Lord Mayor Henriette Reker was so impressed, too, that the Panorama Rotunda will probably be shown in the centre of the cathedral city next year. Like HG Esch's Shanghai 360° Rotunda, which was last to be seen in Belgrade, the Cologne Rotunda will also go on a world tour – the various stops are still to be announced.

Recipes from the web-kitchen

Our web-kitchen is a centerpiece of Münchenbernsdorf - and it is not there by chance. Cooking is a creative as well as a sensual process and so is weaving.

So here we will present you once a month our best recipes

Voilá, the table is set. This time it's Swabian Spinach Ravioli in a Herb-Meat Stock

Download recipe here!


The House of Communication

Serviceplan, the largest owner-managed agency group in Europe, has a new office on the Museum Island in Berlin. When planning the office layout together with designfunktion, the company opted for CAS Rooms from Carpet Concept in order to create rooms for creative work.

You have to put up with more.

"I find it exciting to take carpets out of their context," says Patrick Lüth from Snøhetta in Innsbruck. Only recently, the architect was working with a carpet from Carpet Concept for a temporary installation."

Snøhetta Arkitektur og Landskap are known for their transdisciplinary way of thinking and working. Interdisciplinarity is not a buzzword at Snøhetta, but rather a driving force and attitude - whether in collaboration with creative minds, landscape designers, philosophers or artists such as Olafur Eliasson. Their buildings attract worldwide attention: the Bibliotheca Alexandrina, which they built in 2002, the Olympic Art Museum Lillehammer or the Opera House in Norway. The approach to consider architecture as a built landscape connects all projects of the office. This was also the key aspect of Snøhetta's exhibition in Innsbruck, with the focus being on the installation "Relations" - implemented with the carpet Eco Iqu from Carpet Concept. Patrick Lüth from Snøhetta talks about the office's special approach to projects and why landscape plays a central role in the focus of the architecture.



Mr. Lüth, what image did you particularly enjoy this morning?


Most of all the image of my children, who enjoyed the first snow in Innsbruck. This unbelievable change that the children capture and experience in the landscape is moving.



Which significance do you attach to landscape in design?


At Snøhetta, we have two components of the landscape concept. Every building is integrated in a landscape context, and for us this has an influence on structures. We are very much concerned with the physical context. We don’t know any dogmas. For example, it can be organic structures that determine the context. We believe that topography can make a difference for users, because interpersonal interactions are controlled by design. One example of this is our opera house in Norway.



What do you observe there?


The following happens in the interior: When people leave classic movement patterns, for example when walking on sloping surfaces, they behave in a new way. This influences the visitors, it removes inhibition thresholds, and many things are now happening at eye level. This is also the case on the rooftop of the Oslo Opera House. People are using it in a new way. When walking across the uneven surfaces, they walk very carefully, as in nature. You can experience architecture physically. The architecture itself is static, but we move the users, physically and in terms of content. Our aim is to get in direct contact with people through architecture.



How do you try to return nature to architecture?


We want to treat nature with respect. It is all about atmospheres that are derived from architecture and the retrieval and protection of nature. One example is Northern Norway, where it seemed necessary for us to remove a part of a mountain. But respectfully, to save the place.



Why are architecture and nature so often contradictory today?


In Central Europe, this is because architecture is perceived as a service and not as the design of living spaces. Buildings are often only a part, they are not considered in an overall context of living space. Frequently, there is a lack of sensitivity in cities to deal with this densified space.



Do you think the urban space is too dense?


I don't think the space is too densified. Density doesn't necessarily mean to build up everything. In such places we are trying to build vertically. Density is not bad, per se it shows frequency. But compaction is accompanied by sensitive planning. We are currently building a small project with 40 very densely laid out residential units. A vertical building, the roof surfaces are planted with greenery, the subject of "urban gardening" plays a role. A small example, but in the intermediate zone of cities of 5,000-20,000 inhabitants, this is a large vacuum.



How do you try to select materials?


Our choice of materials at Snøhetta follows fundamental considerations. We use as few materials as possible. For example, marble and wood are predominant at the Oslo Opera House, and these materials are carefully selected. If we specify marble, it is used on various surfaces, sometimes thinner, sometimes thicker.

In Saudi Arabia, we used rammed clay as it is deeply rooted in the local history. At the same time, we contrasted it with stainless steel, a high-tech material of the future. During the first meetings with the client, rammed clay caused great astonishment. But it made sense because the material is characteristic of the location.



Are there any textile landscapes you have been studying?


Textile landscapes are a subject that we have not yet exhausted. It is fascinating and has a soft quality. It would be a subject which we could work and experiment with well. One could, for example, also imagine an exciting study object using carpet and implement many exceptional ideas.



You do not shy away from taking materials out of their context. Do you also have a new idea for the topic of carpets?


Carpets are very high-quality materials, they are acoustically effective and comfortable. If we move the floor from three-dimensionality to verticality, I can imagine lining entire rooms, from the floor to the ceiling, and trying out a lot of new things.



You recently integrated the Eco Iqu S carpet from Carpet Concept into the "Relations" exhibition - why did you choose exactly this carpet?


The exciting thing about this carpet product is that it is bi-coloured. Our inspiration was that we wanted to show an architectural landscape which alludes to our origin from Norway. Carpet Concept's carpet has reminded us of reindeer lichens. At the same time, Eco Iqu proved to be functional and advantageous because it is relatively non-slip. Our installation at our exhibition in Innsbruck was very steep, at the steepest point the gradient was more than 30 percent - like a ski slope. Our motto is "you have to be prepared to put up with more", whether it's walking around the installation or concerns new ideas that we present to clients.

Once a year, we also take on a special challenge: climbing the Snøhetta Mountain in Norway. We achieve this together. And this is also true in the construction process: if you set yourself a demanding task and accomplish it, it is very satisfying.



Which project would you like to see implemented in the future?


Exciting projects are the ones for which we have to question ourselves and which we develop further with other individuals. Big competitions sometimes allow for real innovations. But it doesn't always have to be the things that can be marketed well at the end of the day.