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#30 / 2004
INTERVIEW HANI RASHID, ASYMPTOTE
#30 / 2004

2
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FRONT COVER: MERCEDES-BENZ MUSEUM (2001) Photo: Asymptote
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CONTENTS
INTERVIEW
HANI RASHID, ASYMPTOTE
What is virtual architecture? According to Hani Rashid of the US-based architectural firm Asymptote, ‘Virtual
architecture has to do with the experience of the body, with perception and memory.’ Asymptote Architecture’s
achievements include experimental installations and computer-generated environments.
FOCUS ON INTERIORS
MULTIMEDIA CENTRE ARCHITECTURE
The library has changed from a refuge of scholarship into a public market place. It is broadening its horizons
and exploring new grounds. The consequences for library architecture are described on the basis of a study of
the interiors of the médiathèque in Vénissieux, the Seattle Public Library and the multimedia centre in Sendai.
PROJECTS
The interiors of several projects involving the use of floors and furniture surfacing from Forbo Flooring are
included as a form of inspiration. The projects are located in various parts of the world and show the many
possibilities provided by Forbo’s products.
SUMMARY
The summaries of the interview and article have been translated into 12 languages.
3

4
Hani Rashid:
‘VIRTUAL
ARCHITEC-
TURE HAS
TO DO WITH
THE BODY,
WITH PER-
CEPTION
AND TIME’
Photo: Alex Cao
‘In architecture we need a hook. We can’t do pure selfindulgent
architecture and hope people will understand
it,’ said the architect Hani Rashid, who, together with his
partner Lise Anne Couture, is director of the New York
based architectural office Asymptote Architecture.
‘However, symbolism shouldn’t be overt and figurative.’
NEW YORK STOCK EXCHANGE, NEW YORK, NY, USA
(1997-2001)
Photo: Arc Photo Eduard Hueber
What is virtual architecture? Does it exist? Should architects
expand their territory to include virtual reality? These
questions arose when Asymptote Architecture was asked
by the New York Stock Exchange to design a virtual stock
exchange. Some time later, the architectural firm received
another such commission: the design of a virtual
Guggenheim Museum, which visitors enter through the
Internet. Thus, Asymptote Architecture became a pioneer
of virtual architecture. ‘It isn’t terra incognita, though,’
explained Hani Rashid. ‘Architects develop ideas about
spatiality and project them into the future. They virtualise
space. As such, virtual architecture has existed for a long
time. Architects like Piranesi and Ledoux were true architects.
They worked in virtual reality, on the other side of the
mirror. But the computer opened up the possibility to introduce
reactive and visceral space, which doesn’t exist in the
tangible, plastic world.’
-What’s the difference between virtual reality and
virtual architecture? Where does architecture come
in?
‘When the Stock Exchange asked us to do the project,
they’d already designed a virtual reality environment. But it
was meaningless. It was just an abstract field of numbers:
no form, no structure, no semblance to any physical reality.
They asked us whether we could do something with it.
We didn’t know anything about the stock exchange, but
realised that architecture is the architect’s best artillery.
So we brought in order and form and employed everything
we, as architects, traditionally do. No-one really scrutinises
such aspects of architecture as the movement through
space, what you look at, where you are in time and space.
In a physical space we take them all for granted. When you
design a house you don’t talk about how slowly you move
through the door, which colours or which surfaces attract
you, or how the light plays in the house and changes form
and space through the day. These aspects are the underlying
notes of our score, which had to be rediscovered in
virtual reality. We as a group felt it as a kind of awakening:
virtual reality taught us what architecture is really about.
‘A lot of people think that virtual architecture has to look
Hani
Rashid
5

6
like a real building. They expect us to put marble in a wire
frame on the computer. But that’s a proxy of a building, not
virtual architecture. Virtual architecture has to do with the
experience of the body, with perception and memory.’
-What did this mean for the virtual stock exchange?
‘We replaced about 40 monitors with data sheets in a
three-dimensional environment. It was like driving a car or
flying a plane. It was learning how to move through space
to get the essential information. It became a fully immersed
visceral place, where you find yourself inside information
and where you can correlate information through
memory and perception. The client had expected that we
would make it look better, add a little bit of design to it.
Had we done so, we wouldn’t have achieved the richness of
a three-dimensional environment. The same goes for the
Guggenheim. We could’ve built just a bunch of little cubes,
where you can go in to see the works of art. But we wanted
to create an architectural experience, as in the great
museums of the world. The keywords are perception and
time. And these bring into play memory, body and form. So
it’s far from creating a web page with easy access to
information. In the virtual Guggenheim it takes time to get
somewhere. You always return to the same kind of spaces.
The rooms are complex and the geometry is intriguing and
mystical. There’s a constant notion that it’s a foreign place
that needs to be discovered. And through the discovery you
get to appreciate it and get immersed in it. It becomes a
real experience. At that point it becomes architecture, as
opposed to a visual interface.’
Perception is the main interest of Asymptote Architecture.
In their early work they even used optical instruments in
order to deconstruct perspective thinking. Where does
their strong fascination with this theme come from? ‘It has
really been one of the key movements in our culture for the
last fifty years,’ said Rashid. ‘Post-Duchamp, post-surrealism,
post-abstract-expressionism. Views of the world in
terms of what happened to the object, to the space, to the
body. We want to be in this time and are interested in figuring
out what the next level in the creating of space for
human inhabitation will be. The other day, I sat in the train
for many hours. Throughout the journey a guy was SMS-ing,
writing as it were with the thumb. What a difference from
a hundred years ago, when people sat in the train writing
on a writing pad in a shaking carriage. To me this guy was
in an entirely different spatial envelope than his Proustian
counterpart. We want to understand this envelope. We
don’t believe in resurrecting the past to a post-modern
pastiche. We don’t like to live on a kind of stage. We’re not
convinced that simple problem-solving is pushing the new
buttons or envelopes.’
-What’s your aim?
‘We want to confront people with their spatial presence.
Think of the Hydrapier in the Netherlands. Here we got the
opportunity to do a garden pavilion. But by the same token
it had to be built in a remarkable place, that is, in a polder,
man-made, next to Schiphol airport. How do you embody all
that into a structure that can allow users to understand the
present state of their spatial condition and at the same
time have a forward trajectory? To inspire a sense of awe
that every artist is after? To raise questions about what a
pavilion is and what it means to build in the polder, next to
an airport?’
-You could’ve opted for a space that’s easy to comprehend,
a commodity.
‘I don’t think there’s such a thing as "easy to comprehend
spatiality". Unless you’re dealing with nostalgia and a
retrograde mentality. I think that resurrecting the past, like
in European urbanism, is wrong. The repeating of styles
from the Weimar Republic in Austria and Germany is completely
out of alignment with the condition in the urban
context. But people tend to feel more comfortable because
they recognise it. So the question is how important it is
to give people what they expect and want to see. I think
there’s something better on the horizon. I see ourselves as
being very responsible with our "playing around". And we
receive very positive reactions, even though our architecture
is questioning.’
- In your architecture you refer to themes and shapes
outside the field of architecture. Like the wing of an
airplane in the Hydrapier. Many architects are
against this kind of symbolism, stating that architecture
should be about architecture and nothing
else. Why do you opt for such symbols?
GUGGENHEIM VIRTUAL MUSEUM (2000)
Photos: Asymptote
Hani
Rashid
7

8
HYDRAPIER FLORIADE PAVILION
HAARLEMMERMEER, THE NETHERLANDS (2001)
Photos: Christian Richters
‘Our buildings are made for people, not for other architects.
We consider it a problem that architecture has become
something that only the architectural profession talks
about. I’ve sat through countless lectures, during which
architects showed how they handled their windows or floor
slabs, supposedly exciting other architects. However, the
question is: how do you get to that awe, that sense of wonder?
A term we like to borrow from advertising is the hook.
How do you get people interested in the story? In architecture
we also need a hook. We cannot do pure selfindulgent
architecture and hope people will understand it.’
-Why should it refer to something else? Perhaps
people will appreciate a building as it is.
‘Ultimately they will. History tells us that sooner or later
the architects shut up, time takes over and buildings are
talked about differently. This talking has more to do with
culture and time than with the architect’s opinions. When
we load up a building with so-called symbolism, we don’t
mean 19th-century symbolism but symbolism extracted
from the present time. The Hydrapier is a hybrid, a kind of
mutation. For a moment it looks like a wing, the next it all
of a sudden shifts into a pumping plant, then again into an
art piece. The symbolism is the result of hybrid, formal
exercises. It’s ambiguity opposed to outright symbolism.
‘Our first important work was the Los Angeles project.
DODGER STADIUM, LOS ANGELES, CA, USA (2000)
Photo: Asymptote
We were trying to tackle a project for an eighty story high
Marilyn Monroe statue on the Hollywood freeway. A kind of
post-modern symbolic architecture of the late 20th century.
But symbolism should not be overt and figurative. We
said, why can’t we make symbolism that relates to the
ephemeral, the ethereal, the non-visible, the information
age and data space? Our symbolism never has a singular
meaning, it will never become obsolete or anachronistic.’
- Many artists, writers and architects of your generation
are into ambivalence. Why not make a strong
statement, a clear gesture?
‘We came out of a very burdensome period of ideology. Too
much ideology and too much certainty about the future.
When I started teaching at Columbia University in 1988,
the notion of a master plan was tantamount to a criminal
act. That’s part of the thinking my generation has come out
of. We try to discover new territories, new possibilities, but
we don’t want to be authoritarian or deterministic about it.
It’s a healthy issue, it leaves a lot of stuff flowing.’
Asymptote’s work seems to refer to the designs of cars
and industrial artefacts: the same fluid forms, the same
strange, surrealist shapes and similar seductive qualities.
Rashid: ‘We try to figure out an alignment with the contemporary
state of culture. Within that we search for
9

CARLOS MIELE FLAGSHIP STORE, NEW YORK, NY, USA (2003)
Photo: Paul Warchol
Courtesy of: Carlos Miele
longevity, not for a moment of fad. All of a sudden all cars
look the same. So do the designs of shoes, watches, industrial
artefacts and furniture. Where does this ubiquitous
quality come from? Partly from the software being used.
Also it’s the mass market that drives these things. We run
a precarious line. In the I-scape and B-scape projects we
were targeting to unravel and reveal these tendencies. But
instead of making a new watch, a new shoe or a new house,
we made enigmatic, problematic objects. We skipped the
utility and focussed on the desired structures.’
- Do you want to put your architecture in resonance
with this kind of design?
‘No, we want to understand how these things are resonating
with the public realm. By surveying and scrutinising
them. By performing their weird surrealistic operations we
feel we can get a hand on it and react to it. We do that in
a critical way, but not in a sense of outright denial or by
creating a problematic counterproposal. It’s a dubious trajectory.
But I believe architects who simply deny it are far
deeper involved. There’re certain successful minimalist
architects who produce architecture that fits perfectly into
the pages of a magazine and becomes a perfect surrogate
B-SCAPE SERIES (1999)
Photos: Asymptote
KNOLL A3 FURNITURE SYSTEM (1999-2002)
Photo: Ramak Fazel
of an advertising campaign or a large company’s interest in
mass marketing. At the same time these architects maintain
a notion to be against it. I think there’s a lot of hypocrisy
here. We say: what of this is retrievable? What do
we want to continue? What gets left behind?’
- Rem Koolhaas once described the architect as a
surfer on the waves. Is your way of dealing with
commercialism a way of getting on the surfboard?
‘It goes back and forth. We get on the surfboard, but we
know the surf is going to make us crash. We’ll definitely
end up climbing back on our board. The Stock Exchange is
a good example. We had very high expectations for virtual
territories that were strange, problematic, almost esoteric,
and had a strange liquidity. But the Stock Exchange moves
around 18 trillion dollars’ worth of capital. They don’t have
time for games or theory. We don’t have to bow down in
defeat, because the project is loaded with possibilities for
the future. And that’s the moment of having to get back up
and resurface - resurface in a very noble way. And that part
is better than anything else you dreamed of at the beginning,
because it’s been tempered by the derailment.’
Hani
Rashid
11

FOCUS ON INTERIORS:
MULTIMEDIA
CENTRE
ARCHITECTURE
12
THE LIBRARY HAS BEEN TRANSFORMED WITHIN A VERY SHORT TIME, INTO A MARKET PLACE. What used to be a quiet
room, lit by subdued light, with books all around and reading tables neatly lined up, can now be best compared with a
supermarket. Unlike in the old days, when the books were kept in storerooms guarded by librarians, visitors can now stroll
around and take books and other information media from the shelves and displays. In addition, the book has lost its status
of exclusivity now that libraries also provide such information carriers as videos, CDs, CD-ROMs and DVDs, and have
computers that give visitors access to the Internet and to digital information available in other libraries. The library's key
activity - providing study material and loaning books - has been extended to include such services as auditoria, cafes
and playrooms for children, as well as facilities for exhibitions, films and workshops. Today’s library combines education
with pleasure.
The library has changed from a bastion into a public space, perhaps even the last public space where anyone can walk
in and where everything is almost free of charge. This, of course, has consequences for library architecture. It means that
architects have to deal with questions like, for example, how to give shape to the public nature of such buildings, and
how to best organise and provide access to the huge diversity of information, while leaving scope for flexibility. They also
have to decide how to give the construction material a function in expressing that the building stores dematerialised,
digitised information and that today images and digital data might be even more important than hardcopy information.
MÉDIATHÈQUE
VÉNISSIEUX, FRANCE (1997-2001)
Dominique Perrault’s médiathèque in Vénissieux (a
southern suburb of Lyons, France) is a perfect illustration
of the fact that basically the library is nothing
but a supermarket. This multimedia centre has been
located there to provide the dreary area of apartment
blocks with a heart. The principle of the building is
quite simple: a flat box, or rather an extensive roof
under which nearly all parts of the programme have
been assembled. The only protruding part is the offices
on top, placed above the internal central street.
Viewed from a distance, the building looks closed and
impenetrable, clearly meant to store and, just like a
book or a computer, not disclosing its content in any
way. ‘Médiathèque’ is printed in playful letters on the
sliding doors, the only transparent part of the building.
Commissioned by: City of Vénissieux
Architect: Dominique Perrault Architecte, Paris
Photos: Georges Fessy, André Morin, Perrault Projets
Inside, the building looks the opposite: an open, wide
landscape with bookracks, magazine displays, reading
tables and computers. That which blocks the view on
the outside, creates openness inside the building.
Perrault placed U-shaped metal panels between the
double-glazed walls in a random pattern, so that one
may face outwards and the other inwards, while top
and bottom may alternate. The panels are designed to
both admit and soften the sunlight. The construction
of the multimedia centre is open and honest - almost
rough, one would say. Concrete columns support the
roof, which is no more but no less than a covering -
functional and industrial - with a framework of steel
beams, and pipes entwining around them. In this
multimedia centre it’s not difficult to image oneself
pushing a shopping trolley or driving a forklift truck.
Multimedia
centre
architecture
13

SEATTLE CENTRAL LIBRARY (THE SEATTLE PUBLIC LIBRARY)
SEATTLE, WA, USA (1999-2004)
The principle that underlies the design of the Seattle Public
Library by Rem Koolhaas of OMA (Office for Metropolitan
Architecture) is the equivalence between books and digital
media. The building, which occupies a whole block in
Seattle’s city centre, is spectacular. It’s an awkward, exciting
combination of materiality and immateriality - an urban
icon amidst several anonymous skyscrapers. The staggered
layers, some transparent, others open, are stacked one
upon the other. The construction looks like a skyscraper
that has been pressed together. The metal lattice encasing
it seems to prevent it from springing back into its original
shape.
In response to the library’s diversity of functions, the team
at OMA opted for organisation. They deconstructed the
programme and rearranged it into clusters of related functions.
Each layer accommodates one such cluster. The new
organisation, which creates clarity and intensifies the programme,
prevents rooms from becoming clogged with
bookcases. It also helps to prevent chaos, to ensure openness
and to create an environment in which books and multi-
media facilities are truly equivalent. The various elements
strengthen one another instead of standing in each other’s
way.
The closed layers of the building differ in height. Because
each part of the programme is clearly distinguishable,
people do not get easily confused. These closed layers contain
popular reading matter and multimedia facilities
(store), meeting rooms and networking facilities (assembly),
the books on loan and - right on top - the offices
(headquarters). The layers in between are transparent so
that everything that occurs inside is clearly visible from the
outside through the metal lattice. They’re like trading floors
- open and public - where there’s room for interaction
between the various layers. Here people can find information
and stimulation. These floors also accommodate the
reception room, the café and the ‘mixing chamber’ for
information exchange and technical facilities. Further up
are the reading room and the terrace. The transparent
intermediate layers let in daylight and advertise the building
as the last bastion of public accessibility.
14 Architects: Office for Metropolitan Architecture (OMA), Rotterdam,
The Netherlands in a joint venture with LMN Architects, Seattle
Landscaping: Inside/Outside, Petra Blaisse, The Netherlands
Jones & Jones, Seattle
Interior design: OMA/LMN Architects, Inside/Outside
Photos: Pragnesh Parikh, OMA/LMN Architects
Courtesy of The Seattle Public Library
Toyo Ito’s architectural approach is totally different. Ito is
not interested in the programme. His focus is on flexibility.
Even a short time before the completion of his multimedia
library in Sendai (Japan), the purpose of the centre was
still unclear and the discussion about the programme still
going on. With six multipurpose floors, the building permitted
that. All options had been left open - a plan libre, the
revitalisation of Maison Domino by Le Corbusier and the
extreme consequence of the library as a supermarket. The
building’s basic principle is familiar: six floors of different
heights, thirteen columns to support them and a transparent
skin. It’s not so much the architecture as the furniture
- desks, bookcases, tables, chairs and couches - which has
been given a role to play in determining the space, with
huge freedom for the interior as a result. Ito worked on
this project with other architects - Ross Lovegrove, Karim
Rashid, Kazuyo Sejima and K.T. Architecture - each of whom
designed a floor in order to provide it with a distinct signature.
Together, the layers are, as it were, city fragments,
one stacked upon the other.
SENDAI MEDIATHEQUE
SENDAI, JAPAN (1997-2000)
More than any other library, the Sendai multimedia centre
represents the immateriality of digital information.
Transparent, weightless and with floors seemingly suspended,
it looks more like a fata morgana than a building or an
object. It’s amazing that Ito has been able to deny the constructive
nature of architecture as much as possible, using
such materials as glass and steel. The skin, the floors and
the columns seem to exist separate from one another. The
skin is thin and graphic, and each facade has been given a
different character. The floors differ in height and have
been kept as thin as possible. The most striking features
are the thirteen hollow-tube columns: they are open, twisted,
distorted, honeycomb-like structures. Like trees, they
penetrate the floors and break through the roof. It’s as
though they’re there just for themselves, seemingly without
any supporting function. The columns accommodate
staircases and elevators, and they conduct light, air, cables
and people. The building’s programmic generosity in combination
with its ephemeral, immaterial appearance make
it a model and prototype of new library architecture.
Architect: Toyo Ito, Toyo Ito & Associates, Tokyo, Japan
Interior architects: Kazuyo Sejima, K.T. Architecture,
Karim Rashid, Ross Lovegrove
Photos: Hiro Sakaguchi
Multimedia
centre
architecture
15

PROJECTS
16
Marmoleum real 3146 Marmoleum real 3127
SIDDALL HALL
Dining Facility, University of Cincinnati
Cincinnati, OH, USA
Michael Schuster & Associates, Douglas Richards
Dupont Flooring Systems, Cincinnati, OH
Adam Dryer (Master Mechanic)
670 m2 Location
Architect
Flooring contractor
Installation
Flooring material Marmoleum real, and Marmoleum dual 2,5mm
Marmoleum dual 614
Photos: Ron Forth Photography
Marmoleum real 3048
Marmoleum real 3139 Marmoleum dual 766
Photos: Pierre Halmaï, Montreal
MONTREAL (DORVAL) INTERNATIONAL AIRPORT
International Terminal - Jetée Transfrontalière
Montreal, QC, Canada
Association from Provencher Roy, Cardinal Hardy, Jodoin Lamarre Pratt, and Arcop
12.540 m2 Location
Architect
Flooring material
Marmoleum real, and Marmoleum dual 2,5mm
17

18
Marmoleum real 3055 Marmoleum fresco 3846
Marmoleum real 3030 Marmoleum real 3126
GREAT WESTERN HOSPITAL
Swindon, UK
Adrian Hitchcock, BDP
Lee Cheong, BDP
Swindon & Marlborough Trust
Carillion / Building Economist: Jas Dhami
Tynedale
35.000 m2 Location
Architect
Interior architect
Commissioned by
General contractor
Flooring contractor
Flooring material
Marmoleum 2,5mm. Designs: Aquajet technique
ELISABETH KRANKENHAUS Hospital
Photos: David Barbour, BDP
Essen, Germany
Becker, Burgatz & Partner, Essen
Plan M, Niederkassel
Baustoffkontor Oberhausen, Oberhausen
1.500 m2 Location
Architect
Interior architect
Flooring contractor
Flooring material
Marmoleum real, Marmoleum fresco, Marmoleum dual, Marmoleum vivace,
Artoleum scala 2,5mm, and ColoRex EC
Marmoleum real 3125 Marmoleum vivace 3403
Architect Lee Cheong: "I started with an
impression, a vision in terms of design and
colours, but then it was important to consider
practical features, especially sustainability.
We vetted all our suppliers’ green policies and
questioned every aspect of the design to
ensure that we were employing the most
appropriate environmentally-friendly methods
and materials".
Photos: Christoph Leniger
Marmoleum real 3146
Marmoleum real 3136 Marmoleum real 3135
LIVING TOMORROW House and office of the future
Amsterdam, The Netherlands
UN Studio, Amsterdam
Studio Beliën, Heusden-Zolder, Belgium
Forbo Flooring, Design Studio
Büscher project service, Wormerveer
830 m2 Marmoleum, Marmoleum meets Mendini, Artoleum, and Corklinoleum
Designs: Aquajet technique. 680 m2 Arsenal, Symfonie and Granit, 60 m2 Eternal
140 m2 Location
Architect
Interior architect
Floor design
Installation
Flooring material
Material Bulletin Board and Furniture Linoleum
Photos: Fotostudio Van Wijk, Krommenie
19

20
Marmoleum real 3174 Marmoleum real 3164
Marmoleum vivace 3405
ZORGCENTRUM DE DIE
Elderly home
Amsterdam, The Netherlands
Manon Hees, Forbo Flooring
Lykele de Vries, Amsterdam
520 m2 Marmoleum real, Marmoleum fresco, and Artoleum 2,5mm, 120 m2 Location
Floor designer
Installation
Flooring material
Eternal wood
Marmoleum fresco 3855
Eternal wood 11542
GREVELØKKA SKOLE School
Photos: Forbo Flooring
Photos: Arnfinn Johnsen
Hamar, Norway
Jacobsen og Reiten AS, Gjøvik
Inger Ingeberg
Hamar Kommune
Martin M. Bakken A/S
Malermester Morten Skancke A/S
2.000 m2 Location
Architect
Interior architect
General contractor
Building contractor
Flooring contractor
Flooring material
Marmoleum real, Marmoleum vivace 2,5mm, and Marmoleum acoustic
Artoleum graphic 5303
VÍKURSKÓLI Primary School
Reykjavik, Iceland
Sigurdur Gústafsson FAI
Reykjavik City Council
Sveinbjörn Sigurdsson Ehf
Kjaran Ehf
Gólfdúkur HH Gólf Ehf
3.100 m2 Location
Architect
Commissioned by
Building contractor
Flooring consultant
Installation
Flooring material
Artoleum graphic 2,5mm
Photos: Adalsteinn Birgisson
21

Artoleum graphic 5305 Artoleum graphic 5306
BIBLIOTECA CAMPUS UNIVERSIDAD REY JUAN CARLOS
University Library
Alcorcón (Madrid), Spain
Luis García Gil, Félix Garrido Morán, Francisco José Palancar Arranz
Construcciones San José
Inverna SA
13.500 m2 Location
Architect
General contractor
Flooring contractor
Flooring material
Marmoleum fresco 2,0mm, Artoleum graphic 2,5mm, and Corkment 2,0mm
BIBLIOTECA CAMPUS MÓSTOLES UNIVERSIDAD
REY JUAN CARLOS University Library
Marmoleum real 3030 Marmoleum real 3125 Marmoleum real 3127
Marmoleum real 3131 Marmoleum real 3133
Móstoles (Madrid), Spain
Francisco Rodríguez de Parte Arroyo, Francisco José Palancar Arranz
Dragados Obras y Construcciones
Korce SA
9.000 m2 Location
Architect
General contractor
NURSERY SCHOOL
Flooring contractor
Flooring material
Marmoleum acoustic 4,5mm, and Walton
Castello Sopra Lecco (LC), Italy
Arch. Piergiorgio De’ Flumeri, UniProItalia (BG) and Arch. Giorgio Conca (LC)
Lariana Linoleum snc, Lecco
Marmoleum acoustic 3055
350 m2 22 23
Location
Architect
Installation
Flooring material Marmoleum real, and Marmoleum dual 2,5mm

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Walton 171 Desk Top eleganza 4023
NIKE DENMARK Head office
Location Kokkedal, Denmark
Architect Lauritzen 1968
Floor designer Arkitekt MAA Morten Lauritzen
Commissioned by Nike Denmark
Flooring contractor JELU Gulvbelægning, Hillerød
Installation (Furniture Linoleum) Spørring Møbler & Inventar
Flooring material Walton
Material (Furniture Linoleum) Desk Top eleganza
Photos: Tom Jersø
Marmoleum vivace 3408 Marmoleum vivace 3405 Photos: Bernt Brolin
Artoleum graphic 5302
Artoleum graphic 5303 Artoleum graphic 5304
RYDSKOLAN School
Skövde, Sweden
CH Arkitekter Skövde
Skövde kommun
Asplunds Bygg AB
R-Golv AB
1.500 m2 Location
Architect
General contractor
Building contractor
Flooring contractor
Flooring material
Marmoleum vivace 2,5mm
TRYGGHETSRÅDET
Office building
Göteborg, Sweden
Nordstrand & Rung Arkitektkontor AB
Granova Bygg
Golvet Göteborg AB
1.200 m2 Location
Architect
Building contractor
Flooring contractor
Flooring material
Artoleum graphic 2,5mm
Photos: Bernt Brolin
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Artoleum graphic 5306
ALVALÁXIA
Bingo Sporting Club (ALVALADE XXI stadium)
Lisbon, Portugal
Projectório
Intergrau - Decoração de Interiores, Lda
900 m2 Location
Architect
Installation
Flooring material Artoleum graphic 2,5mm
Marmoleum real 3173 Marmoleum real 3146 Marmoleum real 3143 Photos: Kostas Zagas
MEDIA PRESS CENTER Olympic Games
Athens Marousi, Greece
K. Kyriakidis & Associates SA
J/V Michaniki SA - Athina AETB & TE
Christos Thanopoulos
Decofloor LTD
15.500 m2 Location
Architect
General contractor
Installation
Flooring consultant
Flooring material
Marmoleum real 2,5mm
Marmoleum fresco 3826
Tweeds & Crocodiles 3326 Tweeds & Crocodiles 3327 Tweeds & Crocodiles 3330 Tweeds & Crocodiles 3332
ALGEMEEN STEDELIJK ZIEKENHUIS AALST (ASZ)
Hospital
Aalst, Belgium
Raf Sterck
Tint NV
20.000 m2 Location
Interior architect
Flooring contractor
Flooring material
Marmoleum, Artoleum, Tweeds & Crocodiles, Step, and ColoRex
Photos: Jan Landau - Lighthouse
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Marmoleum real 3181 Marmoleum real 3038
Marmoleum real 3137 Marmoleum real 3163
SHANGHAI DIAMOND EXCHANGE
Shanghai, China
SOM
Ms. Claire Xiang
Shanghai Lujiazui Import and Export Co Ltd
Shanghai Xiangfu Decoration Co Ltd
2.000 m2 Location
Architect
Floor designer
Flooring contractor
Installation
Flooring material
Marmoleum real 2,5mm
GUANGDONG CHINESE MEDICINE HOSPITAL
Location Guangzhou, China
Architect Guangzhou Space Survey and Architect Ltd
Interior design Mr. Chen Zhutang, Mr. Yang Hao
Floor designer Mr. Yang Hao
General contractor Guangzhou Living Building Construction Engineering Company
Flooring contractor Guangzhou Taize Construction Material Company
Flooring material 40.000 m2 Marmoleum real, and Marmoleum fresco 2,0/2,5mm
Photos: Mr. Wang Geng
Photos: Mr. Feng Xiao-tian
Marmoleum real 3032 Marmoleum real 3055 Marmoleum real 3030
RETAIL SPORT SHOP SPORT MASTER
Moscow, Russia
Ecoscan
Ecoscan Service
1.100 m2 Location
Flooring consultant
Installation
Flooring material
Marmoleum real 2,0mm
Marmoleum real 3131
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