Perched on a hillside, the Swedish Institute in Rome is a remarkable example of Swedish cultural presence abroad. Completed in 1940, the building was designed by Ivar Tengbom, whose classical yet modern approach gave the institute a sense of gravitas and timelessness. It was conceived not only as a center for archaeological research, but also as a showcase of Sweden’s architectural and artistic excellence on an international stage.

Inside, the institute reflects the same ambition. Swedish craftsmanship and design were commissioned at the highest level, creating an interior that combined scholarly seriousness with a warm, Nordic sensibility. Furniture, textiles, lighting, and art were carefully selected to represent the best of Swedish design in the 1930s and 1940s.

A significant commission was the rugs from Märta Måås-Fjetterström’s workshop in Båstad. These handwoven pieces brought a richness to the interiors. Their patterns and colors—often inspired by nature, folklore, and modernist abstraction—created a dialogue with Tengbom’s architecture, softening the austerity of stone and plaster with textile warmth and rhythm. The rugs not only served a practical purpose but also acted as cultural ambassadors, embodying the artistry and refinement of Swedish textile art.

Still today, the Swedish Institute in Rome stands as both an academic hub and a living monument to Sweden’s artistic heritage. The presence of Märta Måås-Fjetterström’s rugs reminds us of the vision behind the project: that architecture and interiors, when woven together with art and craft, can represent a nation’s spirit abroad.

The T.matta (short for Trasmatta, “rag rug”) is Märta Måås-Fjetterström’s sophisticated reimagining of one of Sweden’s most humble and beloved textile traditions. Designed in 1934, the design reflects her lifelong interest in elevating everyday craft into works of art, bridging rural tradition with modern design sensibilities.

Rag rugs have a long history in Sweden, stretching back to the 18th century but becoming especially widespread in the 19th century. They were typically made in the home from worn-out clothing and household textiles, torn into strips and woven into long, durable runners. These rugs became a hallmark of Swedish interiors: simple, colorful, and endlessly practical. They were often laid across the floors of farmhouses, bringing warmth to wooden planks, and their stripes and patterns could reveal much about a household’s thrift, creativity, and sense of style.

By the early 1900s, rag rugs had become an emblem of Swedish domestic culture—an object associated with both necessity and nostalgia. When the “peasant aesthetic” became a celebrated part of Swedish national identity, rag rugs were embraced not just in rural homes, but also in urban apartments and even exhibitions showcasing “Swedishness.”

With the T.matta, Märta Måås-Fjetterström took the essence of the rag rug—the rhythmic stripes, the interplay of color, the idea of weaving memory into fabric—and transformed it into something refined and intentional. While traditional rag rugs were often woven on narrow looms and used as long runners, Måås-Fjetterström expanded the format and brought the design into a more monumental scale, making it suitable for prestigious interiors as well as everyday use.