Collections Magazine_once Upon a Tile

8/10/2019 Collections Magazine_once Upon a Tile

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2011

THOUGHT

LEADERS

How cultural trends

inspire our designs

WISE

WORDS

Insights from designs

major players

The secrets behind our

latest campaign


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Contents 2011

COVER STORY

Red Riding Hood, aka Louisa Gamon,is just one of the fairy tale characters tofeature in our latest creative campaign.

ORIGINS & TRENDS

Discover the themes influencing designaround the world and learn how theyhave inspired our new collections.

INTERVIEWS

The design worlds leading experts tellus about their work, their influences andtheir thoughts on our industrysbig issues.

BEHIND THE SCENES

A surreal take on classic fairy tales is theconcept behind Once upon a tile butgetting those amazing shots wasnt easy.Find out more

EXHIBITIONS

Ecobuild, Milan Design Week and BAU2011. See how we made a stand at thesemajor international shows.

www.interfaceflor.eu

As the future becomes increasingly uncertain, theres

trend in our culture towards escapism. Artists and

designers are embracing themes from fantasy and fiction

often with a sense of mystery. Sometimes playful.

ometimes dark. Always dramatic.

o for our latest collections, and the campaign that

elebrates them, it seemed natural to explore the

maginative world of fables and fairy tales. We have

aken some of the most popular childrens classics,

nd delved into their sinister side. By emphasising the

heatrical, even macabre, character of these stories, wehave created a foreboding yet equally beguiling aesthetic.

You can see this in our designs, and in the surrealism and

ntrigue of Once upon a Tile.

4.

2.

3.

5.

1. Red Riding Hood, aka Louisa Gamon (p36). 2. Janine Benyus is a biologist & natural history writer (p56). 3. Model Charly Wright on the Hansel& Gretel set (p78). 4. Endorsing Interfaceflors sustainability, our stand at this years EcoBuild (p104). 5. Our eye-catching whirlwind installation at

BAU trade fair in Munich ( p104).

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2011

THOUGHT

LEADERS

How culturaltrendsinspireour designs

WISE

WORDS

Insightsfrom designsmajor players

Thesecretsbehind ourlatestcampaign


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(Design trends & predictions for 2011)

Our collections are built on firm foundations on the trends that pervade

our culture and society. These are powerful themes, influencing artists

and thinkers worldwide. They resonate with consumers and businesses,

informing spending habits and inspiring lifestyles.

Over the next few pages, we explore how these trends have worked as

catalysts for our latest designs.

ORIGINS &TRENDS

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Calvin Lamp.

LUXURY & INDULGENCE

n enjoyment of luxury could be seen as surprising in these challenging economic times. But high

uality, crafted goods are increasingly in demand for two reasons.

irst, people today think more carefully about their spending. Instead of frequent, low-value,

disposable purchases, they prefer to invest in goods they know will give them long-lasting pleasure.

hey place value on qualities such as timelessness, authenticity, reliability and longevity.

he second reason for choosing luxury is the comfort and reassurance it offers. For many, items made

rom superior materials to the very highest standards are a well-deserved indulgence or even an

scape. When something you own feels good, you feel good too.

n design, this trend translates into warm, soothing colours and fabrics and an interest in fine details,

uch as textured or lustrous finishes, intricate patterns, pleats and tassels, velvet and lace. Luxury

iving picks up on this through its deep, rich tones and fascinating, tactile surface. Opulent but not

stentatious, this carpet has wealth and integrity in equal measure.

There is a trend for products with a very high luxurious factor, so we have developed thisroduct to please the need for feeling warm, cosy and surrounded by luxury. The colours arech and warm, giving a cocooning effect people need in tough times. Its pleasing the eye

nd if you touch it or walk over, this is feeling relaxed and like being treated well

lisabeth Arndt. Design and Development Manager (Netherlands)

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urface design show 2011.

Autumn/Winter 11 - Julien Macdonald.

INDUSTRIAL

A trend that focuses on structural, linear and layered forms. Even in soft furnishings, we are now seeing

rigidity and geometry.

An almost monochromatic palette is key to this 3D, architectural look. Black and muted greys provide

definition and perspective, and neutral tones add subtle warmth. These are the colours of building

materials: plaster, stone, cement and, of course, concrete.

And it is not only the colour of concrete that informs this theme. Finish, texture and surface pattern

play vital roles in creating layering and depth. Inspiration also comes from the structures we build with

concrete: stairways, bridges, tower blocks, factories. Their outlines provide the shapes and proportions

of many aspects of interior design.

Embracing this love of the industrial, Concrete Mix reflects the world of construction. But its lines are

not conventional. Characterised by intricacy and asymmetry, this design retains the complexity and

multiplicity of the urban terrain.

Creating a 3D, architectural look on a flat surface is always a challenge, and the recent trendtowards angular, geometric forms was a great starting point. The name of this design is noaccident: concrete inspires everything its lines, colours and textures.

Mandy Leeming. Design and Development Manager (UK)

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ntwerp, roche-bobois.

Hope light, Luceplan.

ORGANIC FORMS

ack to basics. Over recent years, many have paid lip service to the idea. But now, there really is a move

o revisit our roots. We are returning to the very beginning to the simplest, most elemental images

nd symbols.

he design world is investigating the essence of the natural world. Exploring the origins of life itself.

rganic forms in their raw state now provide profound inspiration and can be seen in abstract, random

nd repetitive patterns.

ell structures are the ultimate expression of this trend. Their convoluted relationships and

nterdependent shapes are a rich source of ideas for graphic compositions and textures. We can use

hem to create designs which at first seem chaotic, but have a primitive fundamental order.

morphous yet somehow structured, they appeal to us on an intuitive level.

his irregular regularity is the foundation of Cellular. Unpredictable, yet reassuring. Strange,

et familiar.

Organic forms open up so many possibilities for pattern, colour and texture. We decided toocus on cell structures because of the curious way they relate to each other. Individually theyan be quite shapeless, but they fit together perfectly.

Mandy Leeming. Design and Development Manager (UK)

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Eda, Emmanuelle Moureaux. Helen Dumkow, surface design show.

Eda, Emmanuelle Moureaux.

ORDERED CHAOS

he shock of the simple. The power of the primitive. The appeal of the artless. What purer expression

f these qualities than a wild, liberated flourish of a pen or brush?

s design has become more and more sophisticated, there is a growing trend in the opposite direction.

yearning to break away from the accepted and the expected. To create something so nave and

nstudied it demands a rethink of the rules. Shaking up perceptions and going beyond limits. Daring,

erhaps even a little dangerous.

or all its irreverence, this approach has an important place in todays design world. Its uncontrolled

wanderings provide a refreshing counterpoint to more predictable linear forms. And this is how

cribble finds its purpose. It opens possibilities within a space, and offers freedom in spite of other

lements that must conform.

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LN-CC store, London.

INTERTWINED

Sometimes two seemingly contradictory influences combine to create harmony. And when this

happens its usually a revelation a wake-up call that refreshes the designer as much as the products

he or she designs.

With Consolidation, todays fascination for yesterdays craft skills joins forces with the current trend

for creating texture by layering. The result is the perfect integration of form with function. Our form

is inspired by the u neven yet intricate intertwining of woven materials: baskets, crude fabrics, coarse

paper. And this loosely layered structure gives us our function: a blend of two materials, with one

standing out in relief of the other. A revolutionary encounter between carpet and hard floor.

So ancient techniques provide not just the symbolism for this design. They also lie behind its substance.

Then, with the very latest techniques, we pick up this theme, and run with it. Imagining and realising

something never seen before.

hift, Matthias Pleissnig.

We wanted to create a flatweave product with a totally new technique. Weve been inspired bytrends weve seen at Cologne and Milan Furniture Fair - nature structures and materials such asbaskets, paper weaves and loom chairs. This translates into a modern cool look and feel

Elisabeth Arndt. Design and Development Manager (Netherlands)

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Maarten Baas, Smoke Chair series.

FADED & WEATHERED

he pursuit of perfection will always be an aspect of design. But now, theres also a growing

ppreciation of imperfection particularly of objects that show they have a history. Faded fabrics,

arnished metals, weathered paintwork. These are increasingly welcome in todays interiors, reflecting

ur nostalgia for a simpler, slower-paced past.

his readiness to reuse, rather than reject, also tunes into our concerns over the environment. So were

witnessing a trend that looks both ways: longingly at the past, and anxiously into the future.

or textile design, this impulse to salvage and recycle means dusting off some bygone techniques.

apestry is topical again the more lived-in it looks, the better. And textures reminiscent of other

mature materials, such as stone, plaster or brickwork, are starting to make an appearance.

eissue, with its shadowy grading of muted colours, is a distinctive take on this trend. Staggered

triping creates a paradoxical illusion: a new carpet that is proud of its past.

Theres such a fascination with the past. For many, its an escape from the realities of today,nd it brings a new willingness to value ageing objects. We have picked up on this with theded decoration of Ornate and Refine, and the weathered, muted shades of Reissue.

Mandy Leeming Design and Development Manager (UK)


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FADED GRANDEUR

Taking comfort in twilight shadows. Retreating from todays harsh reality into a surreal version of the

past. These current trends are leading designers towards a rarefied vision of luxury. Decorative, delicate

and dreamlike.

We are creating a sanctuary. Reassuring and secure, yet quietly seductive. An enticing escape. Harking

back to a history everyone shares, but no one actually experienced. Another time, another place.

Imagination inspired by memory.

The atmosphere could be Victorian London, or fin de sicle Paris. Design details give a flavour of these

intriguing, romantic periods without committing to a specific moment. We see subtle ornamentation in

subdued colours. Scrolls, filigree, fluting, beading and tracery in soft greys and faded tints.

With Ornate and Refine, these principles merge in an understated display of faded grandeur.

The pattern is familiar yet strange. Has there ever or never been a design like this?


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These are the results of our most recent thinking, picking up on the cultural, social and

rtistic trends currently influencing the world of design. With a great diversity of styles,

ones and textures, our latest collections offer flooring for every type of interior.

OUR LATEST 2011 DESIGNS

LUXURY & INDULGENCE - LUXURY LIVING

FADED & WEATHERED -VINTAGE REISSUE

INTERTWINED - CONSOLIDATION

ORDERED CHAOS - SCRIBBLE

INDUSTRIAL - CONCRETE MIX

ORGANIC FORMS - CELLULAR FADED GRANDEUR -VINTAGE ORNATE & REFINE


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338192 LimestoneINDUSTRIAL - CONCRETE MIX

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332025 JotORDERED CHAOS - SCRIBBLE

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332014 ClusterORGANIC FORMS - CELLULAR

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346001 Great HallFADED GRANDEUR - VINTAGE ORNATE

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8332 SamannaLUXURY & INDULGENCE - LUXURY LIVING

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8906 TimberINTERTWINED - CONSOLIDATION

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344001 Grand StaircaseFADED & WEATHERED - VINTAGE REISSUE

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Discover how our interpretation of classic fairy tales brings out the creativity

nd character of our latest designs.


THE 2011

CAMPAIGN

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(Rapunzel)

tructural, strong, and yet intricately formed. These principles are

nfluencing many US designers, and now we want to transport this theme to

urope. Concrete Mix progresses the idea by means of geometrical shapes,

ngular and interlocking. Architectural, industrial, and s oftened through

ubtle shading. Reflections of the built environment, brought indoors.

With its tufted, structured loop pile construction, ConcreteMix is highly resistant and hardwearing, so its ideal for high-traffic areas.

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We all need a little luxury in our lives. Something to feel good about.

ndulgence is always in fashion and here is the richness and warmth

eople crave. Deep, opulent colours. Soft, pampering textures. A delight

or the eye, and a joy to touch and walk on. When someone decides to treat

hemselves, this is their carpet.


(Cinderella)

Available in a range of 36 striking colours, Luxury Living offersthree tufted cut-pile constructions in one tile.

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Revisiting history. Reawakening bygone values. Weve seen these themes

emerging in textile design. Its a delight in the reassuring romanticism of

the past, characterised by subtle decoration and subdued colours.

Embracing this trend, weve created fading, ageing designs with a

strong sense of heritage.


nspired by a trend towards heritage, history and a lived-inok, the Vintage Collection can complement a variety of

nterior fixtures and furnishings.

(Sleeping Beauty)

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s longevity and authenticity become more and more highly valued, the

ived-in look is in demand. Objects once discarded are now celebrated,

nd we find beauty in the ravages of time in well-worn textiles, grading

olours, tarnished metals and distressed fabrics. The patina of the past,

einvented for todays interiors.


(Goldilocks)

The Vintage Collection have Cool Carpet as standard,which means their carbon emissions are offset during theirentire lifecycle.

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Available Autumn 2011.


(Goldilocks)


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here is always demand for something genuinely new. With Consolidation,

weve achieved it. A hybrid blend of carpet and hard floor. A technique never

efore seen. A texture never before experienced. Our influences are simple

tructures, created from the materials of nature. Basket weaves, paper

weaves, fabric twines. Constructed yet feeling organic. A pattern standing

roud of its surface. Contrasts and contradictions. Consolidation has a Microtuft construction so it usesminimal yarn.

(Red Riding Hood)

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Cell structures and organic forms are set to play an important role in many

aspects of interior design. Moulded features in particular, such as panelling

and seating, have started to pick up on the shapes and patterns of nature.

And weve translated this theme into truly distinctive flooring. Layering is

an essential element, and we explore this through pile heights and textures.

Inspiration you can feel as well as see.ellular is installed non-directionally, which means lowertting costs and less waste.

(Hansel & Gretel)

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vailable Autumn 2011.


(Snow White)


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BIOMIMICRY

Q&A


Janine Benyus, the biologist credited with identifying

Biomimicry, explains this highly influential discipline

and discusses why responsible companies should make it

part of their purchasing decisions.

InterfaceFLOR highlights:

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hoto courtesy of The Biomimicry Institute


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anine Benyus is the biologist, natural history writer, and innovationsonsultant credited with identifying the discipline of Biomimicry andving it a name. Her 1997 book Biomimicry: Innovation Inspired by

ature was seminal; it put Biomimicry on the map and inspired Interfaceo become the first company to consult nature in the design of its products

nd the running of its business.

anine has since gone on to found The Biomimicry Guild and, moreecently, The Biomimicry Institute a not-for-profit whose aim is toducate the next generation of biomimics and spread the benefits of

iomimicry to any inventor anywhere in the world, regardless of their

bility to pay. Her passion for the solutions that can be found in natureclear, and you sense that she can hardly believe the impact that

iomimicry has had.

ollections Magazine speaks to her about the genesis of Biomimicry, theward-winning projects she is currently working on, how she sees the

uture of sustainability and many other things besides.

How would you describe Biomimicry?

iomimicry is learning from and emulating lifes designs, recipes andrategies to create more sustainable products and processes. Its

ffectively looking to nature for sustainable innovation.

How and when did you first get involved with Biomimicry?

In 1990 I began to see a trend. I had written five natural history booksabout plant and animal adaptations and I began to wonder whether thesenatural technologies were inspiring new innovations. I not iced that

people were studying nature in a new way not only looking at a leafto see how it photosynthesises, but also taking the next step to try and

emulate it in a solar cell. As I began to collect that information, I quicklyrealised that it was a trend across many realms of human endeavour, yet itdidnt really have a name. So I wrote a b ook that described that research,

but never really expected it to have quite the impact it has had.

Can you describe the process of using Biomimicry?

Say a life sciences company needs a cooler to store and ship bloodsamples, but doesnt want to use polystyrene. They would invite one of

our biologists to the design table, and they will ask a biological question

related to function, in this case: how does nature insulate? The next stepis what we call an amoeba through zebra report, in which we look at all

classes of organism, from bacteria, to fungi, to plants to animals. We ask,how do each of these different classes of organisms stop heat transfer?

We capture the examples, consolidate them, classify them and then goto the client with 25 new ideas of how to insulate. We work with theproduct designers and continue to ask lots of questions, not only how

would nature insulate, but what material would nature use? How wouldnature manufacture this, package it, ship it? What would happen to thatmaterial at the end of its life? Usually this will be the first time

that biology has been consulted, so you can expect incredible amountsof novelty.

What do you see as the next big thing in Biomimicry?

At the moment we are exploring nature as measure, working on various

city plans with architectural firm HoK. We have been redesigningLang Fang in China, which right now is in water deficit. They rely on

underground aquifers that do not recharge for thousands of years. Thecurrent years water races through the town in concrete sluices thatused to be riverbeds. To make up for the deficit, the city has signed up

to receive water plumbed all the way from the Yangtze River far to thesouth. But we said to Lang Fang, turn that water away. You can be waterself-reliant and show the rest of China how it is done. So, we started by

looking at the ecosystem that would have been in place if the city hadntbeen there, which is essentially a mixed deciduous forest. We let natureset the standard. First we calculated how many metric tons of water are

captured, cleaned, and stored by healthy native ecosystems of the NorthChina Plainand thats the new measure of how much water Lang Fang

should be capturing, cleaning, and storing. With the help of a hydrologist,we recreated this cycle by redesigning the way the city uses water and t he

way it physically has water moving through it. This master concept plan,which has just won an AIA award for city planning, is now in the hands ofthe city officials to implement.

For me the next step in sustainability is, can we give back to the placeswhere we work? Can our manufacturing plants, for instance, be the places

where a citys water goes to get cleaned? And can we learn anything fromlocal organisms about how to clean that water in energy-efficient ways?

People think of CSR as giving back to the community socially, but I thinkthere will be a time when we give back to our community in terms ofecosystem services. In order to be able to do that, we need to be able to

judge ourselves against some sort of metric. Thats where nature as ameasure comes in.

InterfaceFLOR highlights:

InterfaceFLOR launched Lets be Clear to promote transparencyin environmental claims. Do you think people are guilty ofnature-washing?

We call it bio-wash, and given the popularity of Biomimicry right now,

I suspect people are going to begin using the term a lot. Fortunatelywith Biomimicry we have a very clear framework that helps us definehow Biomimicry differs from other approaches. One is bio-ut ilisation.

People think that putting wooden floors in their house is Biomimicry;its just bio-utilisation. People also think that using bacteria to clean

their waste water is Biomimicry, but thats simply a bio-assistedtechnology. The third category is Biomimicry, which is mimickingan organism. Say you want to replicate the beautiful iridescence of

mother of pearl in a c eramic. You can either go into the oc ean andharvest abalones and take the shell; thats bio-utilisation. You canfarm abalones and they can create the shell for you, which is bio-

assisted. Or you can go in to the chemistry lab yourself and learn fromthe abalone. You can then create the ceramic yourself, and this is trueBiomimicry - mimicking the architecture of the shell and also the

abalones manufacturing process. For Biomimicry to be fully realized,the organisms form, process, and system strategies have got to be at

the design table. Mimicking some aspect of the critter s shape, butmaking the product using wasteful, toxic processes misses the point.

What is the benefit of a customer buying a Biomimicrybased product?

I think a beneficial cost differential will be proven over time. Truebiomimetic manufacturing would use common raw materials, whichare abundant and therefore cheaper. Manufacturing processes would

not need high heats, reducing energy bills. You wouldnt need toxicmaterials that have waste regulations, therefore costs would go down.Manufacturing would be very simple and safe enough that you could

have it in a neighbourhood. So you could pursue either distributedmanufacturing or scale it large; in either case, you avoid the costs

associated with high-energy, high-hazard manufacture.

But the benefit for consumers right now is that they get somethingthat works in a breakthrough way. A popular biomimetic invention

at the moment is the lotus effect, inspired by the lotus leaf. Its a selfcleaning material with a slightly bumpy structure that repels water.The water pearls up, picking up the loose dirt as it rolls away. Sto

Corp in Atlanta has developed a special paint which, when it dries,has the lotus effect. Every time it rains, the building gets clean, andthe removal of algae, mould, and dirt keeps the building looking clean

without frequent repainting. You save on maintenance costs, and

the environment benefits too because youve taken detergent andsandblasting out of the equation.

What achievements are you are most proud of?

Im proud to have been part of the entire Interface story, working oninnovations such as TacTiles and Entropy, which inherently reduce

waste and toxins. Im also incredibly proud of some of the work weredoing right now at the Biomimicry Institute. Thousands of K-12teachers are downloading our curricula, and dozens of universities

are joining our affiliate programme. Weve also created a website, AskNature.org, so that anyone can be inspired by a biological strategyat the moment of creation. We have more than 1200 strategies now,

in what is the worlds only digital library of biological strategiesorganised by function. The first product to have been conceived

through the site is from a c ompany called Vitalis. They wanted tomake the lightest PET bottle on the market. The designers consultedAsk Nature on how to make something strong but lightweight,

and came across whitebark pine. Thats a tree that lives on top ofa mountain, in very windy conditions. It needs to be strong but itdoesnt have a lot of material to do it with, so it actually spirals the

grain in the trunk, just as we twist cables to make them stronger.The trees spirals grow at a particular angle that adds strength with aminimum of material. So this team put in beautiful spiral ridges and

were able to make the lightest PET bottle on the market. They weregenerous enough to share their story on AskNature.org, so Im hoping

other manufacturers will borrow the idea to lightweight all kinds ofpackaging. Mimicry at its best!

At the moment we are exploring

nature as measure, working on various

city plans with architectural firm HoK.

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Photo by BakaOnigiri, Courtesy of The Biomimicry Institute, Wikimedia


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ReEntry

www.interfaceflor.eu/ReEntry

As part of its commitment to sustainability, InterfaceFLOR

s determined to reduce the volume of used product that is

sent to landfill. We have developed the ReEntry scheme to

reclaim as much end-of-life product as possible.


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Q & A HENN ARCHITECTS

ntrance Hall China Life, Beijing

Thinking tools, programming, netgraphing. What are

they? And how do they apply to modern architecture?

Gunter Henn, of Henn Architekten sheds some light on

these innovative approaches.

HENN

Q&A

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InterfaceFLOR talks to customers:


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ou say: Our thinking tools make the abstract ideas of an organisationisible before the architecture. What exactly do you mean by thinkingools for architecture?

Many buildings are now characterised by information and knowledge

ows. We therefore need thinking, decision-making and developmentools to make these flows visible. Our thinking tools visualise thebstract ideas of an organisation even before the architecture. With

rogramming and netgraphing, we have developed methods which cane used to visualise the task.

Can you please explain the programming method by providing anexample?

Together with the client, we specify the project objectives and therequirements of the building project. By means of programming, we

visualise knowledge in real time: this means we immediately translatethe task, subject and approach into the pictorial language of architecture.

However, this visualised knowledge does not directly result inarchitecture but in the context for the solution.

What exactly is netgraphing?

The social behaviour of people within a company has a great influence

on architecture. In order to make this behaviour measurable, wedeveloped netgraphing together with the Massachusetts Institute ofTechnology (MIT). Using this method, we not only examine face-to-

face communication but, for example, e-mail correspondence as well.

This enables us to illustrate the communication flows within a companybetween departments, places, hierarchies and between processing stages

of projects, just like in an x-ray image.

Do you also work with emotions as well as using these rational methods?

We have an emotional connection with projects because of our passion

for our work and because of our enthusiasm for transparent conceptsadopted by users of our buildings.

What is your position on certification in architecture? Do you think thatcertification is a help or a hindrance?

Quality management is central to our daily work and, in this respect,it is also our self-commitment to our clients. It is therefore of greatimportance for us to use certified products in our projects.

You also offer interior design what is your creative approach here?

Interior design is not an aspect of our work which is isolated fromthe process of creating buildings but is an integral part of our holisticapproach so the design specifications developed in programming can be

converted into colour and material codes at an early stage.

What role does design play in your work?

Design is never an end in itself in our projects but is used to reinforce andaccentuate the programme we have developed with our clients.

Which designer would you like to design a house with?

With ourselves! And this is because we impartially create each job fromscratch and designing the programme in dialogue with our clients is oneof our core skills. Not least because it is of great concern to us to look after

our own projects from the initial idea to the handover of the keys.

The China Life* Project in Beijing has the motto of tradition and future.How do you combine these two elements?

To build in China means you first have to learn how to think like yourChinese clients. This way of thinking in pictures is a culture and tradition

going back thousands of years. For example, at the headquarters of ChinaLife, the connection of the symbols for jade stone and island forms an

associative image sequence explaining the companys history in picturesin the foyer. Without this understanding and this approach you cannot besuccessful as an architect in China either now or in the foreseeable future.

About HENN:

Gunter Henn was born in Dresden in 1947 and studied Architecture andCivil Engineering in Munich and Berlin. Gunter Henn is Chairman of HennArchitekten. He established the office in Munich in 1979 following on from

Walter Henns office, with offices in Berlin, Munich, Peking, Shanghai and

Dubai. Since 1994, Gunter Henn is a visiting professor at the MassachusettsInstitute of Technology (MIT) in Cambridge. At the Dresden University

of Technology, Gunter Henn is the head of the Department of IndustrialConstruction and the Center for Knowledge Architecture.

*China Life Insurance Research and Development Centre, Location: Beijing,

CN, International competition: 2008, 1st prize, Area GFA: 20 ha, Completion:2012 InterfaceFLOR won the order for this cross-border project, the product

Pietra Collection was specified.



Our thinking tools visualise the

abstract ideas of an organisation

even before the architecture.

unter Henn, Chairman of Henn Architekten. The companys history is represented with an image sequence of symbols in the foyer.

China Life headquarters.


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Installationredefined

TacTiles

A new way toinstall flooring

without glue.

Discover how at www.interfaceflor.eu/tactiles


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ok selected InterfaceFLOR to upgrade their interior office spaces.

The team at leading international design practice, HoK,

tell us about their influences and recent projects and

share their views on the future. They also explain their

approach to sustainability, and why this has encouraged

them to work with InterfaceFLOR.

HOK

Q&A

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There are many ways to incorporate sustainable strategies into the

upgrading of interior spaces. HoK advocate the use of third partyverification systems such as BREEAM or the LEED certification, which

independently rate the sustainability of projects based on a strict set ofcriteria. In the absence of this type of third party verification, HoK willuse a Sustainable Design checklist, which provides a structured approach

to incorporating sustainability into all aspects of the project, including;briefing; concept design; scheme design; furniture and materialsspecifications; construction information; contract administration;

handover; maintenance/servicing of the project.

So in order to meet our sustainability objectives, it is important that wework with manufacturers and suppliers that set themselves equally high

standards when it comes to sustainability, and as such, InterfaceFLOR isone of HoKs sustainable suppliers.

How does the HoK team see the future of design? Are there anyprominent new themes/trends coming through or expected?

The designer, in one sense, spends his or her life in the future. Every daywe look at the world and propose ways to change and improve it. Gooddesign uncovers the potential in every situation. Technology differentiates

the present and the future from the past.

Technology has made the past a different country, but it willchange tomorrow even more. In our profession and industry, Building

Information Modelling is promising sweeping change in how we designand deliver our work. Technology, embedded in our designs, is offering

a future in which intelligent places and communities will be moreconvenient, connected and coordinated. An intelligent community, basedon natures principles and biomimicry, has the potential to truly be a

brave new world.

Tell us a bit about HoK

HoK is one of the worlds most successful design practices, with twoozen offices and projects around the globe. However, size alone has

ever been HoKs objective; creating innovative design solutions that helpients and communities solve everyday challenges has always been our

oal, and we have grown because people like what we do for them. Our

ommitment to sustainability and improving our environment resonatewith clients.

What are the main influences for design at HoK and how important isesign to the practice?

Design is at the heart of everything we do, and the creative process iss important to us as the artefact that results, whether it is an interior, auilding or a new town. Our global approach enables HoK to explore and

ntegrate new ideas from around the world, and to serve as a catalyst for

ients who may be looking for fresh and imaginative answers to theirroperty needs.

HoK works closely with the Biomimicry Guild, looking at using natureswn processes as a guide to better ways to solve enduring problems of theuilding industry. By emulating nature, for instance, we learn how to use

minimal material in our designs, and how to eliminate waste and work inollaborative harmony.

HoK and the Biomimicry Guild have formed an exclusive alliance,

nking the natural and built environment. Through this relationship,HoK is integrating natures innovations into the planning and design of

uildings, communities and cities worldwide.

Are there any high profile projects that the company is currentlyworking on?

We are currently designing Lavasa Hill Station Community which

is under development near Mose Valley, India. Lavasa is a lifestyledevelopment which defines a new way to support human habitationwhile preserving and improving Indias important natural ecosystems

by building a sustainable community, both in its relationship to theenvironment and in how people live, learn, work and play. As such, oneof our main objectives for the project is to integrate biomimicry into its

design.

Aside from Lavasa Hill, there are a number of global projects currentlybeing undertaken by HoK, including the Salvador Dali Museum in Miami;the interior design for the BBCs new flagship development in central

London; the National Assembly Building and Central Bank of Kuwait, andthe new British Embassy in Jakarta, Indonesia.

As a company, what measures do you take to ensure you deliversustainable design?

In the early 1990s, HoK designated sustainability as a core value andstated its commitment to helping preserve the environment. After adecade of developing in-house resources and design specialists, HoK

has expanded its vision to progressively integrate sustainable designprinciples into all work. Our goal is to influence our entire body of work

as a firm, to move our projects and the profession as a whole towardsustainable design.

HoK have registered Accredited Professionals for delivering LEED

(Leadership in Energy and Environmental Design) certified corporateinteriors, which enable clients to have third party verification of thesustainable design features of their projects. Our clients have found that

this internationally recognised certification has helped with marketingthemselves as sustainable organisations, committed to lowering carbondioxide emissions and impact on the environment.

To date, we have over 900 LEED accredited professionals, and a total of88 LEED certified projects, and are currently pursuing over 200 projects

with this international green building certification. In the UK we havenine BREEAM (Building Research Establishment Energy Assessmentmethod) certified buildings.

Why do you chose to work with InterfaceFLOR?

HoK and InterfaceFLOR both have very strong roots in sustainabilityand continue to push the boundaries going forward.



HoK and InterfaceFLOR both have

very strong roots in sustainability

and continue to push the boundariesgoing forward.

HoK and the Biomimicry Guild have

formed an exclusive alliance, linking

the natural and built environment.

oks global network includes 25 regional offices on three continents.

Hok selected InterfaceFLOR to upgrade their interior office spaces.

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(behind the scenes of the once upon a tilecampaign)

Our Once upon a tile campaign is built around some magical photography ofeight fairy tales still images for printed media and video for our website.

Were delighted with the results, but to achieve them took months of

planning and preparation. And the shoots were hard work and very eventful

almost stories in themselves! Over the next few pages, we give you a glimpse

of what happened.

REPORTAGE

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WOOLLEY


MICHAEL

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InterfaceFLOR introduces:

When we came up with the concept for Once upon a tile,

we knew we would need someone very special in charge

f the camera. Someone who would understand our

ision of the sinister side of fairy tales, and bring this to

ife in a series of fabulous images.

We had seen Michael Woolleys outstanding work for Vogue,

LLE, Marie Claire and many other major fashion titles. It wasbvious he had the experience, skill and creative flair to give us

ur shots. And now weve got to know him, weve found out

ome interesting things about him.

Michael was born and brought up in Australia, and moved to

ondon at the age of 10 with his father, an orchestral musician,

nd his mother, a painter. He bought a camera while taking his

nal exams towards a degree in English History. First to pose

or him was his girlfriend, a well-known model at the time

and thats where his international photographic career began.

Since then, Michael has travelled widely, working not only for

the fashion press, but also for designers and retailers such asIssey Miyake, Bloomingdales and Banana Republic. He has lived

in Paris for a number of years, but is now settled again in London

(when hes not jetting off to far-flung locations).


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CHECKLAND KINDLEYSIDES

Checkland Kindleysides was established in 1979 and over

the years the company has developed a unique culture and

longstanding relationships with clients.

In the time that we have been working with InterfaceFLOR

we have undertaken a number of projects including the

design and build of their highly successful exhibition stand at

EcoBuild; the creation and art direction of their latest campaign

Once Upon a Tile as well as the design of a range of sales and

marketing literature.

Creativity at Checkland Kindleysides is driven by robust

customer, design and trends insight and an ability to make

things work aesthetically, physically and commercially, with

innovation and thought leadership coming from a unique mix

of skills - inventiveness, almost part scientific and part craft

based thinking.

We have the ability to create conceptual thoughts and

translate seemingly technical impossibilities into astonishingly

simple executions.

www.checklandkindleysides.com

InterfaceFLOR introduces:

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Their costumes were designed to create an innocent look as you can see in Hansels

preppy cut-off trousers with braces, and in Gretels short frilly dress.

HANSEL & GRETEL

As with every shoot for this campaign, the day began with the

all-important carpet fitting. The organic forms of our Cellular

design were to provide our sets forest floor. Then, while the

crew set up the lighting and props, models Charly and Rob

underwent a transformation in hair and make-up.

By noon we were ready for a final Hoover before taking the

main shots. Here you can see some of the fun we had creating

these images a variety of scenarios, based on this well-known,

slightly chilling tale.

1. Carefully selected costumes; the stylists rail for Hansel&Gretel. 2. Gretel, AKA model Charly Wright poses for the camera. 3. Hansel, AKA model RobODonovan takes a break from shooting. 4. Lights, Camera, Action! The shoot commences. 5. What you dont see, the makings of the set. 6. Attention todetail; the models have their costumes altered on set.

Before

After

ABOUT THE LOCATION

he photography studio in Leicestershire is a purpose built large studio space (2235 sq ft)

ully equipped to handle all kinds of photographic scenarios.

heckland Kindleysides Photographic Studioossington,eicestershire.

1.

2.

3.

4.

Reportage: Behind the scenes

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RED RIDING HOOD

Again, the carpet fitters were first on set. While the rest of the

crew were being briefed, they carefully laid Consolidation, our

textured design that literally weaves its way through the trees.

Our Red Riding Hood model, Louisa, spent several hours having

her hair, make-up and costume perfected. Under the opulent

crimson cape, she wore a striking Vintage Vivienne Westwood

customised white dress. Ameena completed the look with black

knee-high boots. All was ready, then at 12.30pm the wolves

arrived. Well, they were huskies actually in the interests of

health and safety. Weve since transformed them into wolves

by the miracle of post-production technology, but all the same,

these four-legged friends were very playful in the studio.

Before

After

ABOUT THE LOCATION




1. Red Riding Hood, AKA model Louisa Gamon comes out of hair and make up. 2. The green room. 3. Our lively props are let loose on set. 4. The huskiesarrive. 5. The purpose built set, with forest panels and real birch trees. 6. Post production magic.

1.

2.

4.

3.


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CINDERELLA

While the shoots for Hansel and Gretel and Red Riding Hood

took place in purpose-built studio sets, for this one we travelled

to Hammerwood House in Sussex. Wed chosen this location for

its authentic sense of faded grandeur which you can see here,

in one of its part-restored rooms. In this characterful, lived-in

dining room, there was furniture to shift as well as carpet to lay.

Our grand table, with its candelabra and antique chairs, was

positioned precisely on a rectangle created from our Luxury

Living design. Charly, our Cinders, put on her finest rags a

distressed and layered

couture dress. Then, after a couple more hours giving her hair

and make-up an equally bedraggled look, she was ready for

action. The main shots show our downtrodden heroine with her

sweeping brush, then for the video she was joined by a Border

Canary. He was a popular prop with some of us on the set

especially our own Michele, as these fly-on-the-wall shots show.


Before

After

ABOUT THE LOCATION

Hammerwood Park was built in 1792 by Latrobe, architect of the White House, Washington D.C.

Hammerwood Park achieved infamy in the hands of the rock group Led Zeppelin in the 1970s and is now a

amily home which has been largely restored together with the parkland. The hall has been decorated by a

eading European muralist and the original gilt decoration of the Grand Ballroom is being restored.

wo pipe organs, pianos and concerts bring the house to life.

Hammerwood Houseast Grinstead,

West Sussex.

1. All dressed up with nowhere to go Cinderella on set. 2. Model Charly Wright has her costume fitted. 3. Photographer Michael Woolley assesseseach shot meticulously. 4. InterfaceFLORs Michele Iacovitti makes a new friend. 5. In all its glory the ballroom at Hammerwood prior to having itsCinderella make over. 6. The grounds. 7. Retouched and fabulous.

1.

6.

4.

2. 3.


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SLEEPING BEAUTY

Rochester Cathedral in Kent, with its gothic arches and

crumbling keep, was the setting for our version of the

romantic tale of Sleeping Beauty. Here we created a dreamlike

atmosphere, with the help of several miles of foliage. Ornate

and Refine enhanced the scene and gave our Prince Charming

somewhere comfortable to kneel during the lengthy process of

adjusting lighting and props.


Before

After

ABOUT THE LOCATION

eing the second oldest cathedral foundation in England,

ochester Cathedrals history goes back to AD604 when

ugustine sent Bishop Justus to establish the house founded

y King Ethelbert of Kent. The glorious Norman architecture

f the nave, parts of the crypt, as well as one of the finest

Romanesque facades in England, make this an inspirational

place to visit. The Cathedral is blessed with some fine

examples of later Gothic styles as well as the magnificent 14th

century Chapter Library door.

ochester CathedralKent.

1. Digital video operator Jeremy Irwin sets up his equipment. 2. Prince charming awaits his call to set. 3. Sleeping Beauty has her skin whitened. 4.Rochester Cathedral at night. 5. The cameras and lighting are thoroughly considered. 6. The hard work pays off.

1. 3.

2.

5.



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BEAUTY & THE BEAST

To evoke the claustrophobic atmosphere of the Beautys ordeal,

we chose an unrestored room in Copped Hall, a fire-damaged

Georgian mansion near Epping in Essex. Here we created our

splendidly sinister set, perfect for the tale of possession,

desperation and miraculous transformation. The deep crimson

of Scribble influenced the drapes and even the costumes and

made conditions a little more civilised for the crew.

1. InterfaceFLOR carpet fitters Doug Swaffield and Steve Walton begin to lay the Scribble carpet tiles. 2. Model Louisa re-enacts Beauty, prisoner in adark enchanted castle. 3. Fashion stylist Ameena Kara Callender carefully steams the silk dress. 4. The room as we arrived in the early morning.5. Steeped in history, Copped Hall as it stands today. 6. In love, the hero shot.

Before

After

opped Hallpping,ssex.

5.


1. 3.

2.

ABOUT THE LOCATION

opped Hall is a fine Georgian mansion superbly sited on a

dge overlooking its peaceful landscaped parkland, a f ar cry

rom the nearby M25. Recorded history of the building begins

n the 12th Century, belonging to the Kings huntsmen.

Ownership spans from Henry V111 in 1537, through

Elizabethan, Georgian and Victorian periods, until a fire

during the war in 1917 burnt out the main block. Copped Hall

is currently under restoration.


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SNOW WHITE

Our futuristic take on the legend of Snow White demanded a

specific style of room, which we found at Lordship Park, a large

Victorian House in London. Its white, light space and disco vibe

gave us the perfect canvas all we had to add was twisted

branches, poisoned apples, and of course, that famous mirror,

mirror. Circles completed the picture, standing up to several

hours of wear from our models killer heels.

1. First steps, the carpet is fitted into room of our snow white set. 2. The fateful red apples are carefully placed by our prop stylist assistant Ros Butler.3. The make-up artists table, where the magic happens. 4. The Hero shot of our Snow White. 5. The judgemental mirror. 6. From blonde to black, modelCharly Wright has her hairpiece cut.

1.

3.

2.


Before

After4.

ABOUT THE LOCATION

Lordship Park is a large Victorian House, a namesake of its location in North London.

photographic location spread distinctly over four floors, we selected level 1 for its 1960s

nspired futuristic vibe, complete with its large bay window and beautiful chandelier.

9 Lordship Parktoke Newington,ondon.


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RAPUNZEL

For Rapunzel we needed to create height, to show off our

heroines iconic woven hair. So we built a staircase in the studio,

and made a feature of its geometry to complement the carpet,

Concrete Mix.

Our model, Louisa, became quite used to perching here. She

also managed to last the whole day without tripping over those

flowing locks.

1. Model Louisa Gamon emerges from styling and the finishing touches are made. 2. Taking a break from the high heels and heavy hairpiece.3. Photographer Michael Woolley pauses to reflect and consider. 4. The stairs of Rapunzels tower, custom made and built into the set. 5. Model Louisaundergoes extensive back-combing to achieve the Rapunzel look. 6. The fairy t ale comes to life.

1.

3.

2.

Before

After

ABOUT THE LOCATION




5.


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GOLDILOCKS

A young girl intrudes in the house of the three bears. For this

house, we chose a genuinely run-down property in North

London then switched its location to the forest of the fairy

tale simply by hanging a woodland scene outside the window.

As our Goldilocks, Charly, broke the baby bears chair, she

landed on Reissue, which reflects the lived-in appeal

of our location.

1. A very well equipped dressing room for the stylist teams. 2. Model Charly Wright has her Goldilocks costume tailored. 3. The art of lighting.4. Carpet fitter Doug Swaffield works against the clock. 5. Smooth operation, the digital side of the shoot. 6. Goldilocks strikes the pose.

1.

3.

2.


Before

After

The House Next Door,8a Manor Road,toke Newington,ondon.

5.

ABOUT THE LOCATION

The House Next Door is a photographic location to hire in

he London borough of Hackney. Selected for its eclectic,

intage style; the dusky hues and age-old furniture were

erfect for this shoot.

It has played host to some of the worlds leading cultural

icons; Mario Testino and Steven Meisel are among the many

fashion photographers who have shot against the dilapidated

walls of The House.


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Architect Paul de Ruiter and interior designer Odette

Ex describe how they took on the challenge of making

TNTs new head office the most sustainable building

n Europe.

REPORTTNT

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TNT set an ambitious goal: to make their new head office in Hoofddorp,the Netherlands, the most sustainable building in Europe, in four teen

months time. Architect Paul de Ruiter and interior designer Odette Exwere hired to realize this ambitious project. They are b oth well-knownfor their innovative creativity, but this project was quite a challenge. Its

all about applying materials meticulously, Odette Ex explains. This TNT-project is the best any designer could wish for; one really has to breaknew grounds.

The project in Hoofddorp is the first in a series of six TNT Green Offices,part of the Planet-Me program. The program was launched in 2007 toreduce negative environmental effects of TNTs business activities, and to

improve financial results through fuel-efficiency. By that, TNT aims to bethe first CO

2-neutral transportation and distribution company worldwide.

To reach that goal, their companies have to meet the highest sustainability

standards - like the American LEED Platinum and the highest Greencalc+of a 1000 points minimum ever met by any company in the Netherlands.

TNTs new head office is a compact building. It is built around an atrium,

allowing natural daylight to enter the building and offering employeesa view on the natural surroundings. The building is somewhat twisted,in order to catch more sunlight, De Ruiter explains. Sixty percent of the

building consists of recycled materials. A true challenge, since the choicesfor materials are limited, says De Ruiter. Suppliers and manufacturers

are open to sustainable production, but they have to adjust their ways ofthinking. The casualness to use certain materials is gone, so one has to bemore innovative.

For example, woodwool cement is a basic material, often used in car

park and swimming pool construction, thus giving it a bad name amongdesigners. Since woodwool cement meets the certification standards,

De Ruiter and Ex were provoked t o use it, while still maintaining thedesired charisma. De Ruiter used it in the atriums parapet, Ex designedthe interior walls based on it. The concrete quality of woodwool cement

gives it the right air of simplicity. Just like flax and felt, Ex explains. Itsall about keeping the context of the building in mind. The acoustics areexcellent, it almost makes one whisper. Im very pleased with the result.

Open work spaces, set up for the new world of work, demand far lessmaterial; everything is flexible and removable. The use of sustainableInterfaceFLOR carpet tiles tops it all of and matches the philosophy

behind this TNT project of joining sustainability and design.InterfaceFLOR leads the field in sustainability and design and joined theproject at an early stage, Ex says. Together we matched the colours of the

carpet tiles with the rest of the interior.

Supplementary colours white, grey and brown are complementary andcreate a soothing interior atmosphere. Each floor accommodates a coffee

corner with sofas to c reate an informal work climate. Between workspaces, white chairs made out of recycled Coca Cola bottles accompany

tables made from scaffolding beams. These Navy chairs are based onaluminium American navy chairs, only this time made out of 111 recycledsoda bottles. The phone booths and cubicle work spaces in the atrium

are covered with fully recycled flax, and match the principles of the newworld of work.

Both De Ruiter and Exs architecture firms are well known for theircost-efficiency and standards in sustainability. But a brand new office

that meets the highest standards in sustainability offered a big challenge,even to them. Different certifications can have opposing demands. Wedid endless research to find the b est materials, Paul explains, the day

after the buildings completion. The joint cooperation with real estatedeveloper OVG and investor Triodos bank, has turned this project into ahuge success. TNT was very involved in this project, even their CEO Peter

Bakker participated. Thats quite unusual; clients usually delegate theirprojects to a project developer, and do not meddle with use of materials.

Besides the high sustainability demands, this project proved extra

challenging, because of the limited time on one hand, and the demand forlow building costs on the other. The project started by the end of 2009and on February 9 2011 - a mere fourteen months later it was completed.

This is extremely fast considering the 18.000 m 2of this project. Allparties involved were extremely focused. People are always the starting

point for De Ruiter and Ex. De Ruiter: People no longer wish to workin ugly buildings that dont even allow for open windows. Nothing lesssustainable than an ugly building.

In March the new office will be inaugurated and employees will

experience their new head office. I can only hope the building fits themlike a warm winter coat, Ex concludes.

This TNT-project is the best any

designer could wish for; one really has

to break new grounds.



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Recyclingfor real

Choose fact over fiction. www.interfaceflor.eu/letsbeclear

InterfaceFLOR introduced the first carpet tile using recycled

content in 1999. Today almost all of our extensive standard

range contains a proportion of recycled material, whether its

the yarn, the backing or both.


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CALQ

REPORTTo succeed as an architect, you need many skills not

least the ability to satisfy the demands of a variety of

people. At Paris-based CALQ Architecture, this balancing

act is a way of life. Associate Architect, Jean-Philippe Le

Boeuf, tells us more.

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(London, Milan & Munich)

We love to get out there and talk to architects, designers and flooring

contractors and theres no better way than by putting on a show at themajor international exhibitions. Here we look at what happened at three

of this years biggest ones.

EXHIBITIONS



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ECOBUILD

aking a stand at Ecobuild.

We chose a variety of organisations to join forces with. For example,n the Capita Symonds stand, we contributed to the Cool Workspace

nitiative, depicting the sustainable office of the future. And for theuilding Research Establishment (BRE), we provided A-rated flooring

hat they could use in their bookshop after the exhibition.

ur own stand was in the UK Green Building Council (UKGBC) Village,einforcing our partnership with the organisation, and with the globalnion of green building councils, WorldGBC, which the UKGBC is part of.

his location gave members of the InterfaceFLOR team the opportunityo speak in the debates in the Big Tent on the Village Green.

s a powerful endorsement of our products sustainability, UKGBC choseo reuse our Transformation and Straightforward ranges on its stand.ransformations random design and non-directional installation methodves greater flexibility and less waste and Straightforward was one

f the first carpet tiles in Europe to achieve an Environmental Producteclaration (EPD). An EPD is a single source of scientifically proven

nformation about the full environmental impact of a product.

We continued this straightforward theme for our own stand at Ecobuild.Nine 3-metre high units with 3D displays each represented a specificquestion customers should ask when looking for a sustainableflooring manufacturer.

Our Sustainability Director, Ramon Arratia, puts our point of view verysimply: There are an increasing number of green claims pervading themarket place, and while some are clear and accurate, others are vagueand dont correctly represent the environmental benefits of a product.

We wanted our presence at the event to raise the importance of fulltransparency in environmental claims.

We hope anyone visiting Ecobuild will have picked up this messageloud and clear.

At this years Ecobuild, we made the most of our presenc e to drive home the message of our

Lets Be Clear campaign. Teaming up with leading supporters of sustainable design and

onstruction, we moved a big step closer to stopping exaggerated green claims in our industry.


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MILAN

Changing perceptions at Milans Triennale.

We set up our installation in Milans Triennale. This temple of Italian artsand design provided the perfect backdrop for our unusual, labyrinth-likeconcept, developed by designer Francesco Maria Bandini.

Visitors began by entering the dream-like environment of a towering display,rising up within a pure white space. Guided by their own sensitivity andinterpretation of their surroundings, they then moved between imposingprisms, topped with vibrant multi-coloured surfaces. These prismscreated the effect of ground cracked by the heat of the sun an allusion toenvironmental concerns and our continuing commitment to sustainability.

Made from InterfaceFLOR carpet tiles, the prisms surfaces were reflectedin a mirrored ceiling. So by looking up, visitors could check their positionin this topsy-turvy maze. As Michele Iacovitti, Vice Presisdent, Branding& Marketing Communications, explains, The installation aims to takepeoples perception of flooring and turn it on its head. We have created aphysical journey into the surreal where what should be under our feet, thefloor, exists high up in another reality.

In this way, The positive floor has enhanced our reputation for doing thingsdifferently and for encouraging our customers to do the same.

When we look up, whilst searching for the ground we need to continueour journey and give our choices the right direction, a thought crossesour minds. For just this one moment we wish that our feet were up in theair, comments the designer Francesco Maria Bandini, who developed theproject for InterfaceFLOR.

For InterfaceFLOR, Milan Design Week is an opportunity

to impress visitors with a truly memorable experience.

This year, with The positive floor, we encouraged them to

take a radically different view of flooring.


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BAU

Bringing a message to life in Munich.

Rising up from our exhibition stand, Whirlwind caught the eye ofarchitects, designers and flooring contractors from all corners of the venue.As a visual theme, it symbolised our high standards of performance andimpressed visitors with our innovative approach to design.

On another level, Whirlwind was also a powerful reminder of the needto be environmentally responsible to help control climate change byavoiding harmful production methods. We constructed the installation fromcarpet tiles from our new Ambiance Collection, which is one of the mostsustainable and environmentally friendly weve launched to date.

With this range, we move another step closer to accomplishing MissionZero our commitment to eliminating any harmful impact we may have onthe environment by 2020. Under the motto, Piece by piece to the perfect

planet, we support architects and builders in the design and construction ofsustainable buildings. We also arrange lectures, workshops and theme nightsto pass on our knowledge and experience and our Whirlwind at BAU 2011was yet another way of getting our message across.

A special thank you to Simple

Our success with Whirlwind was due in no small part to the talents andhard work of Simple, a Cologne-based communications agency. Drawing ontheir international experience and multidisciplinary skills, they created thedesign for the display, and brought it to life in their characteristically

playful style.

For BAU 2011, InterfaceFLOR partnered with raumPROBE, a young,dynamic independent materials agency based in Stuttgart. Part of anongoing, highly fruitful relationship between the two companies, this wasthe perfect opportunity to enhance the exhibition experience for visitors.

Following the shows theme, The future of building, raumPROBEdeveloped their displays to complement our Whirlwind concept. Thisinvolved presenting a selection of innovative and sustainable materials,

carefully chosen from their main exhibition, which consists of morethan 10,000 materials and samples. Working with raumPROBE in thisway, we were able to give architects, designers and representatives of theconstruction industry more detailed information and new levelsof inspiration.

Grabbing visitors attention at busy trade fairs is every exhibitors main objective.

And we achieved this spectacularly at BAU 2011, with our Whirlwind installation.


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RAUMPROBE

Q&A


Stuttgart-based materials agency, raumPROBE, aims to

make life easier for designers through its exhibition and

online search facility. Its two managing directors tell us

more about this Google for architectural materials.

InterfaceFLOR talks to:


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What does raumPROBE do?

aumPROBE is an independent materials agency based in Stuttgart.

More than 10,000 materials and samples are displayed over an areaf 400sqm.

n its exhibition and online at HYPERLINK http://www.raumprobe.e/www.raumprobe.de, raumPROBE gives decision-makers and designershe opportunity to search effectively for materials for their latest buildingrojects. Guided tours and events for design offices and colleges are alsoegularly held in the exhibition area.

Who is behind raumPROBE?

aumPROBE is run by its two managing directors, Hannes Buerle (interioresigner) and Joachim Stumpp (architect). They areupported by a skilled team of specialists in architecture, interior

esign and textile technology.

Who is raumPROBEs target group?

aumPROBE considers itself to be an intermediary between manufacturersnd designers.

rchitects, interior designers, industrial and product designers, stagend set designers as well as the trades, industry and colleges with aocus on design.

he company motto is: quality not quantity.

What does it mean to be an exhibitor at raumPROBE?

he majority of exhibitors are manufacturers of products used inuilding and design.

or these manufacturers, raumPROBE provides a sort of permanentxhibition where they can exhibit their samples as partners of raumPROBE.n so doing, the manufacturer is actively basedt raumPROBE.

What forms of presentation are used?

distinction is made here between the exhibition and the database:

n the exhibition, material samples are displayed on boards in a shelvingystem where they can be handled. The associated collections are clearlyrranged behind them.

Highly innovative and novel products are always included.

n the database, a product is presented using a data sheet.

rtwork, installation examples and a 3D view attempt to provide a virtualgrasp of the actual product. The search function works using specificmaterial properties.

his enables a manufacturer to reach more than 9,000 registered andnterested designers worldwide.

What benefits does raumPROBE offer a manufacturer?

The manufacturer achieves effective and efficient product marketing bymeans of this direct and unique contact with the target group, i.e. architectslooking for materials. The price and low amount of effort involved are highlyattractive to manufacturers in comparison to other forms of presentationand advertising.

Questions from specialist designers

What does raumPROBE offer me as a designer?

raumPROBE is Google for architectural materials!

In addition, it offers the direct and personal contact so highly valued byarchitects and people looking for materials.

raumPROBE also provides an up-to-date newsletter, recommendations forfurther reading and a targeted search for materials.

How does the materials search work?

Online, raumPROBE offers a category or keyword search or can show a

variety of materials to provide inspiration.

In the actual exhibition, the designer can search in particular categories, i.e.wood flooring, or he can just wander around and be pleasantly surprised.Using a material code, he will then find the appropriate material sheet forthe product either in the exhibition or online inthe office.

InterfaceFLOR talks to : Raumprobe

What does membership include?

raumPROBE offers different types of membership tailored to thespecific requirements of the user or office concerned.

They range from 0 euros to a maximum of 180 euros per year.

All rates can be seen on the website under Register now.

How many samples are included in the materials database?

Online, there are currently 2300 materials included and retrievablefrom the database.

The exhibition contains several tens of thousands of materials andsamples. However, the company archives contain even moresurprises on request!

How is it guaranteed that materials are up to date?

As it is in the best interests of each manufacturer to present his latestproducts, the exhibition is always very up to date and so is one stepahead of many other channels of information.

raumPROBE also considers itself to be a materials scout for itsdesigners and has a passion for hunting down materials from all overthe world!

raumPROBE considers itself to be anintermediary between manufacturers

and designers.


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Lets be clear

Its time to tell the truth about carpet tiles,

green claims and sustainability.

InterfaceFLOR has created everything you need

to cut through the greenwash and help you to make

the most sustainable product choices.

www interfaceflor eu/letsbeclear

Date post:	02-Jun-2018
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