INTERVIEW GERT WINGRDH

#29 / 2004
#29 / 2004
Forbo Linoleum B.V.
P.O. Box 13
1560 AA Krommenie
The Netherlands
Tel. +31 75 647 74 77
Fax +31 75 647 77 01
contact@forbo.com
www.forbo-linoleum.com
ArchIdea#29_1/15_wt 23-12-2003 16:54 Pagina 2
3
COLOPHON
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Erratum: the architect of the interior presented in the top right image on page 12 of ArchIdea #28 (Emma kinderziekenhuis
AMC project - Childrens hospital) is S & D Ontwerpers from Amsterdam.
FRONT COVER: RESIDENCE AT AMUNDN, BROTTKRR, GTEBORG, SWEDEN (1998-2001) Photo: ke E:son Lindman
FOCUS: NATURE AS IMAGE
The contact with nature and the image of the organization occupying the building form the central theme when
reviewing the interiors of De Posbank (a tearoom), the renovated Lairesse Apotheek (a pharmacy) and ING
House (the headquarters of ING Bank).
PROJECTS
The interiors of several projects involving the use of floors and furniture surfacing from Forbo Flooring are in-
cluded as a form of inspiration. The projects are located in various parts of the world and show the many possi-
bilities provided by Forbos products.
SUMMARY
The summaries of the interview and article have been translated into 12 languages.
INTERVIEW GERT WINGRDH
Gert Wingrdh likes strong contrasts, excitement and excess: to him, architecture is a celebration of life. This
Swedish architect is indicating that there should be a dialogue between nature and culture, since Nature is a
master at providing complexity.
12-15
16-29
30-35
4-11
CONTENTS
2
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ArchIdea#29_1/15_wt 23-12-2003 16:54 Pagina 2
5
Some of Gert Wingrdhs work is reminiscent of that of
Frank Lloyd Wright, and in other examples of his work one
can detect the influence of Mies van der Rohe, Le Corbusier
and Van Eyck. In his pronounced dialogue with nature its
not difficult to draw a parallel between him and the Swiss
architects Herzog and De Meuron. Even an Australian
modernist appears in his work: the use of corrugated
aluminium is derived from the regionalist architecture of
Glenn Murcutt. Gert Wingrdh is not dogmatic. He feels
free to take advantage of the ideas modern architecture
has brought forth and to draw inspiration from both his
predecessors and his contemporary colleagues. Does he
consider the history of modernism a catalogue from which
he can choose as he pleases?
More or less, Wingrdh answered cautiously when we
talked about this in his office in Gothenburg. There are
many influences in my work. Le Corbusier took the skilled
use of reinforced concrete as a basis for developing the
free plan. Frank Lloyd Wright westernised it. Then Mies van
der Rohe wholeheartedly pursued Wrights planning, but he
reduced it to minimalism and the grid. His minimalist style
was extremely influential in the twentieth century, but Ive
no interest in it. I dont work with minimalism and the grid;
I work outside the neo-classicist Schinkel tradition. Whats
important to me is the organic, the free flowing, the move-
ment of things. Dont misunderstand me: it can also be
done very well with square objects.
- Do you strive for a specific style or signature?
No, I dont go for something specific. I admire architects
like Herzog and De Meuron. Their way of dealing with
surfaces is outstanding. They have so many good ideas, and
such original ones too. They dont learn from other archi-
tects: they lead. Im trying to attain that level. Hopefully
Ill grow towards my own signature. Usually you start
imitating your teachers, but gradually your work becomes
more and more specific. However, I like to consider every
project as something singular, and let it grow in time, space
and context. One should avoid adopting a specific style.
Even some chaos can be appropriate. There should be an
element of chance in architecture.
Architecture isnt that important: humans always take over.
The Swedish architect Gert Wingrdh believes in the architect
as an artist, and in architecture as a celebration of life.

NATURE IS
A MASTER AT
PROVIDING
COMPLEXITY
RESIDENCE AT AMUNDN, BROTTKRR, GTEBORG, SWEDEN (1998-2001)
Photo: ke E:son Lindman
Gert Wingrdh:
Gert
Windgrdh
ArchIdea#29_1/15_wt 23-12-2003 16:55 Pagina 4
7
- One aspect of your signature is the contrasts you
create. Open, closed. Low, high. Why do you use
these strong contrasts?
Because I like to live a life thats very black and white. Its
a response to my personality, but then every balanced
person has these two sides, I guess. I like strong con-
trasts, I like excitement. Its like serving a dish: you
wouldnt put a green sauce on a green plate, would you.
I like to use materials in a new way, in a setting thats
uncommon. It makes you alert, it makes you think, and
thats what I want to get across to people.
- Shouldnt architecture be just background?
Id love to design a building that fits that description - a
very ordinary block of flats. But there are already so many
calm buildings, its not necessary to build any more of
them. Im very much exalted by spires in a city, such as in
Prague and Munich. Without spires, those cities wouldnt
be anything at all.
- You also create contrast or confrontation in the way
you react to the surrounding nature, for example in
the restaurant of Astra.
Yes, I think there should be contrast between nature and
culture: a dialogue. What I aim to do is start this dialogue.
Sometimes nature and culture clash, and sometimes they
merge. The way in which you express yourself artistically is
either in analogy with or in contrast to things. Like the Golf
Club - we covered a large part of the area with turf.
This reduced the elements we had to design. Then we were
able to create a stronger contrast and striking features in
other parts of the building. Nature is a master at providing
complexity. To have nature do complex things with your
buildings adds to their interest. Just think of the value of
decay! People are so obsessed with things being clean
and artificial. They cant stand to see moss growing on a
surface.
Wingrdh didnt plan to become an architect after finishing
secondary school. He wanted to be a gallery owner, so he
took up art history and economics. As an art history
student he often went to Rome and visited such buildings
as the Pantheon and the interior of Quatro Fontana. These
buildings really turned him on. It was a revelation, I never
thought of architecture as an art. I came from a family of
cement manufacturers. For them, architect had always
been an ugly word.
Wingrdh grew up in an idyllic environment. For the first
ten years of his life, he lived with his parents on a small
limestone mountain, to the north-west of Gothenburg.
A tumbling creek, layered limestone - they created the
steps that still occur in his work. Everybody had a crush on
him: he was an only child as well as the son of an impor-
tant man - the owner of the local cement factory. Then he
and his family moved to Gothenburg, and he was shocked:
all of a sudden he was nothing. Is this why he broke with
the family tradition and became an artist, so he could
recreate the paradise he had lost? Perhaps. What I do see,
though, are the parallels. I tend to do layering. Ive also
done some work with limestone. Its a material that ages
well. It comes quite close to the creek near the house
where I was born. Also the canopy of foliage - at one time
I wanted to create an architectonic equivalent.
- In Rome you were struck by Baroque architecture.
What exactly appealed to you?
I was much more taken by the interiors than by the
exteriors of the buildings. Id never experienced a space
like that of the Pantheon. I saw similarities with
Borrominis churches, with Berninis churches. At the time
I wasnt aware of what exactly appealed to me, but later
on I realized that they were more than just functional
spaces, that a single source of light could fill these big
volumes. I also realized that there was complexity in the
AUDITORIUM AND STUDENT UNION AT CHALMERS UNIVERSITY OF TECHNOLOGY
GTEBORG, SWEDEN (1997-2001)
IJARED EXECUTIVE COUNTRY CLUB
LERUM, SWEDEN (1986-1988)
Photo: Stefan Hallberg
Gert
Windgrdh
Photo: Tomas Yeh
Photo: Ulf Celander Photo: ke E:son Lindman
ArchIdea#29_1/15_wt 23-12-2003 16:55 Pagina 6
layering: one room could be circular, elliptical or whatever,
with a different structure added, shifting from a cross into
an ellipse, then into a circle and into an ellipse again, and
topped with a square lantern. Pure geometrical fun! The
sheer pleasure of designing! And not at all in conflict with
the big room youre in.
- Some architects use a simple plan, symmetry and
geometry to attain order, so the user can under-
stand a building at a single glance.
I find that boring - absolutely boring. Compare Baroque
spaces with Doric temples! I love complexity in architec-
ture. Venturis approach appeals to me. I very much like his
book Complexity and Contradiction in Architecture. He
takes a gable and shifts it slightly. A human way of making
architecture anti-symmetrical.
- Do you, in common with Venturi, like vulgarity in
architecture?
Yes, but you dont make it into a philosophy that you put
down on paper. I went to Las Vegas once, and I hated the
city. However, I think Venturis argumentation is still valid.
Architecture should be double-coded. It should make
possible a vulgar understanding, and at the same time a
complex, educated understanding. Id like both these
values to be present in my work. Its like rock n roll: a
good rock tune works at a vulgar level, but it can have
something else to it, something which makes it a lasting
piece. Sometimes we were successful and received both a
popular and an educated response. The Universeum was
awarded a public prize in 2001. In the same year the
building for Chalmers University received very positive
reviews in the architectural press.
- Do you believe truth exists in architecture?
No, theres no truth in architecture. There are just dif-
ferent solutions to a problem. At university I once did a
project in a modernist way, in a post-modern way and in
an Italian way. All these methods were valid. Then, of
course, its interesting to discuss which one to choose.
Also, architecture doesnt change peoples lives. Its not
that important. I think humans always take over.
Architecture can be compared with food: its better to eat
good food than bad food, but in the end its just a way of
surviving.
- What drives you to make the enormous effort
required to create architecture, if its not that
important?
I of course hope that my work is good for people. But
thats not the driving force. Its the artistry: the joy of
expressing oneself personally through architecture. Im
dedicated to my work, put all my energy into it, and by
doing so I can give something to the users of my buildings.
8
ASTRAZENECA R&D MLNDAL SITE
MLNDAL, SWEDEN (1989- )
UNIVERSEUM >
GTEBORG, SWEDEN (1998-2001)
Photo: Ulf Celander
Photo: Bjrn Breitholtz Photo: Bengt Ericksson
Photo: Bengt Ericksson
ArchIdea#29_1/15_wt 23-12-2003 16:55 Pagina 8
11 10
So the artistic ambition comes first. There are very few
people in Sweden who dare to admit it works that way.
The contrasts Wingrdh creates, the excitement - it all
seems very un-Swedish. Is his architecture a reaction to
this well-behaved, well-functioning social democracy,
where everything seems to be under control?
Yes, very much so. Its also a reaction to the overall
situation of architecture in Sweden. We had very nice
architecture up to the mid sixties. And then we saw this
huge development of the city centres and the expansion of
the peripheries of the cities, and for the first time the
public was not amused. All of a sudden there were
desolate office buildings in the centre of Stockholm, and
restaurants and shops that were empty. Architects lost
ground in those years. The focus was on the class struggle,
on humanistic values, on social programmes. When I
studied architecture it was all about teamwork and
programming; about the idea that everything should be
done by teams, not by strong leaders, strong architects.
The design of buildings received only little interest.
- How did you start your practice in this difficult
situation?
I was advised to leave Sweden. Sweden wasnt the place
for me if I wanted to pursue the egocentric ideas of an
artist. The recession in the seventies offered me my job
opportunities. Many Swedish firms had to look abroad. They
sought commissions in Iraq and Kuwait and needed some-
body with ideas. So for a short while I got a chance. Later
on I started my own practice. But it was nine years before
I got a serious commission: a golf club - a complex, mod-
ernistic building. It was my breakthrough. Through those
buildings we turned the tide in Sweden. For the first time it
became clear that an architect could be artistic and
interested in expressing himself.
- Do you like to show the construction, like many
modernists do?
Yes and no. For a long time I didnt do buildings which
showed all of the construction. Construction isnt that
beautiful these days. Usually you have square columns,
steel beams, concrete slabs. Not something to be too
happy about. I used to cover that up with a second shape.
More recently, though, I changed my attitude and did two
buildings, Chalmers University and the Mill House, which
celebrate structure.
- In contrast to many 20th-century modernists, your
use of materials is exuberant. Why this emphasis on
materiality?
I like the way these natural materials wear. Its inter-
esting to have a veneer that is more complex, more lively
than the modernist structure. Sweden had this great move-
ment of national romanticism at the beginning of the 20th
century. A tradition of wooden boxes which provide a
certain warmth in contrast to concrete.
- You use these materials in a very pronounced way.
In fact, excessively, Id say. Are you interested in
excess?
Yes, just like the architects of the Baroque were. At the
time, excess was a celebration of God. Nowadays its a
celebration of life. Sometimes its also to do with the
attainable. Its diving off a cliff and making a back flip with
a double twist: when it can be done, it should be done. The
excess makes you more human, it brings you out of your
mind, it goes beyond sheer functionality. Im not religious.
I dont believe in God, but I do believe that theres spiritu-
ality in it, something of a sparkling
SEA RESORT & CONFERENCE
NTSTER SKRHAMN
THE CHANCELLERY OF THE ROYAL
SWEDISH EMBASSY
BERLIN, GERMANY (1996-1999)
Photos: ke E:son Lindman
Gert
Windgrdh
ArchIdea#29_1/15_wt 23-12-2003 16:55 Pagina 10
FOCUS:
NATURE AS
IMAGE
Theepaviljoen De Posbank lies in the middle of the
Veluwe, an area formed by early masses of ice that pushed
up the land. The pavilion incorporates the slopes of the
landscape to intensify them into a spiral. The building is a
daring construction, an impossible dance step: its footprint
on nature is minimal while its projection is maximum. Its
as though the building has come loose from the hollow in
the landscape. It gives the visitor the impression that its
floating.
The pavilion makes an exciting gesture, its populistic,
said Bjarne Mastenbroek of the architectural firm SeARCH.
He and Natuurmonumenten had agreed on a progressive
building. We wanted every aspect of the building to
demonstrate that nature and culture cooperate rather than
exclude each other. And the message is there, all over the
pavilion. Spectacular modernism, toned down by quota-
tions taken from nature: a ceiling made of strips of beech,
a floor of acacia-trunk chips poured into synthetic resin
and tree-trunks as columns. In addition, the pavilions
energy consumption proves that nature and culture can
perfectly go hand in hand: it uses 60% less energy than
conventional buildings. Solar panels supply the electricity.
Air, blown in at the bottom of the building, spirals up auto-
matically to be exhausted at the top of it. The heat -
recovered by heat exchangers from the exhausted air - is
stored 110 metres below the surface. Heating or cooling
takes place by lowering or raising the ground water level,
using a pumping unit.
The confrontation of Mastenbroeks design with its natural
environment goes further than does that of Philip
Johnsons Glass House, where nature merely serves as
chic wallpaper. Nature penetrates the building in an
illustrative and didactic, but also elegant and relaxed man-
ner. The building symbolizes the cycle of nature and uses it
in an ingenious way. Above all, the building serves as an
emblem of a nature reserve organization that seeks to rid
itself of the image of being conservative.
ARCHITECTURE IS THE INIMITABLE MIRROR OF THE RELATIONSHIP BETWEEN MAN AND NATURE.
Architectural history reveals not only mans dependence on nature and his need to arm himself against it, but
also his will to subject nature and his desire to honour and imitate it. In this palette, modernism is very clear
about its basic principle: man should decide his own fate and turn his back on nature to create a totally
independent world - a world of abstractions, a rational, man-made world. Over the last few decades, though,
this attitude has been experienced as problematic, and reorientation on the relationship between man and
nature is now considered unavoidable, also in architecture. Energy consumption and the application of
materials, as well as the contact with nature and the image of the organization occupying the building,
are under discussion. Recently, the Netherlands saw the realization of two buildings and one interior that are
firmly anchored in the modernistic tradition, yet emphatically incorporate these themes: Theepaviljoen De
Posbank (a tearoom owned by Natuurmonumenten, a nature reserve organization) in the Dutch town of Rheden,
the renovated Lairesse Apotheek, a pharmacy in Amsterdam and ING House (built for ING Bank) in Amsterdam. 12 13
THEEPAVILJOEN DE POSBANK
(TEAROOM) RHEDEN, THE NETHERLANDS (1997-2002)
Nature
as image
Commissioned by: Vereniging Natuurmonumenten, s-Gravesand
Architect: de architectengroep
Design: Bjarne Mastenbroek
Photos: Christian Richters
ArchIdea#29_1/15_wt 23-12-2003 16:55 Pagina 12
15
LAIRESSE APOTHEEK
(PHARMACY) AMSTERDAM, THE NETHERLANDS
ING HOUSE
AMSTERDAM, THE NETHERLANDS
Equality of regular and alternative medicines is the idea
behind the interior design of Lairesse Apotheek. Every
medicine originates from the elements, explained Marjan
Terpstra, the pharmacist of the renovated chemists shop.
The chemical elements can be found on the shops faade,
as a didactic motto. During opening hours, part of the
faade is pushed backwards, thus creating an entrance -
an open area where brochures are available for passers-
by. Lairesse Apotheek isnt just a shop where you can get
your prescription filled and buy medicines. Its also a
semi-public space where you can acquaint yourself with
matters concerning health and disease.
Next, you step into a reception room. Its circular form
embraces you, protects you from the outside world. All
around you are 530 transparent drawers containing the
medicines: youre surrounded by what will restore your
health. Terpstra opted for a product presentation in which
homeopathic and regular medicines are shown as drugs of
equal quality, thus emphasizing that its up to the customer
which type of medicine he or she prefers to take. We
always ask ourselves what makes our client tick. We look
for the story he or she wants to tell, said Gilian Schrofer
and Rob Wagemans of Concrete Architectural Associates.
The interior should tell that story, both in its structure and
in the choice of materials.
Seeking clear structures, the architects of Concrete
Architectural Associates always opt for the square, the
circle, the triangle. The pharmacists story, for example,
inspired them to use the circle. The complexity lies only in
the irony of the masquerade, in the natural wrapped up in
the synthetic. The drawers in which the medicines are
stored look like glass but are made of high-grade plastic,
the Gingko biloba leaf prints on the floor look natural but
are photographic reproductions finished with a synthetic
lacquer, and the tree-trunk near the counter hides a steel
column from view.
The most striking feature of ING House is its shape: its
the result not of some architects whim but of simple basic
principles. The shape ascends, connecting the lake Het
Nieuwe Meer on one side of the building with the planned
high-rise blocks on the other. The building is on legs, with
the offices suspended above the elevated motorway.
The building was designed to impress, to act as a gateway
to the city and to be the dynamic figurehead of an inter-
national bank.
From a distance it looks like a monolithic building.
Aluminium imperceptibly metamorphoses into glass, and
bottom and faade are one - something which is against
every modernistic dogma. As you come closer, though,
youre struck by the amazing transparency and the
disintegration of the closed form into empty spaces, stair-
cases, people working at their desks, interior gardens.
ING found this transparency very important, explained
Roberto Meyer of the architectural firm Meyer en Van
Schooten Architecten. The bank wanted to present itself
as a transparent, socially responsible organization. At the
same time, the double glass skin ensures that the building
is energy efficient.
You find openness inside as well. Wherever you are, you
never feel locked up. The motorway, the trees, the
surrounding buildings - theyre almost tangible, so near, so
present. Huge empty spaces hollow out the building,
making other floors visible. Theres one element, though,
that belies this transparency: the interior gardens.
Providing warmth and protection, they counterbalance the
buildings odd location in the emptiness, alongside one of
the busiest arteries of the Dutch road network. The plants
range from ficus plants in one garden to bamboo and palms
in another. Then, at the top of the building theres an
outside garden with blue spruces. Each garden creates a
different atmosphere and some are open as meeting
places. These gardens make ING stand out and show that
it differs from other banks. Were green, the bank seems
to be saying, we care for our living environment. Look at
the palms, the bamboo, the blue spruces and the ficus
plants: were international, were in control. To us nature is
makable, manageable and subservient. Now, if that isnt
modernism
14
Nature
as image
Commissioned by: Ontwikkelingscombinatie ING Blauwhoed v.o.f., Rotterdam
Architects: Meyer en van Schooten architecten, Amsterdam
Interior design: Ontwerpgroep Trude Hooykaas, Amsterdam
Landscape architect: Michael van Gessel, Amsterdam
Photos: Georges Fessy
Commissioned by: Marjan Terpstra
Design: Concrete Architectural Associates, Amsterdam
Photos: Concrete Architectural Associates
ArchIdea#29_1/15_wt 23-12-2003 16:55 Pagina 14
16
Artoleum graphic 5302 Artoleum graphic 5304
VATTENFALL
Office building
Trollhttan, Sweden
Nordstrand & Rung Arkitekter
Vattenfall Fastigheter AB
Frndefors Golv
4.600 m
2
Marmoleum real, and Artoleum graphic
Location
Architect
Building contractor
Flooring contractor
Flooring material
PROJECTS
FYSIKCENTRUM
Office building
Stockholm, Sweden
Henning Larsen, Denmark
Acking & Wedel Arkitektkontor AB, Sweden
Intreprenr AB
26.000 m
2
Marmoleum real
Location
Architect
Installation
Flooring material
Marmoleum real 2939
17
Photos: Nina Barn
Photos: Per Arvidsson
ArchIdea#29_16/35_wt 23-12-2003 16:56 Pagina 16
SRUMSAND VIDREGENDE SKOLE High school
Srumsand, Norway
stgaard Arkitekter, Oslo
Arkerhus Fylkeskommune
Veidekke Veiidekke A/S
Kenneth Kjrnsmo A/S
9.000 m
2
Marmoleum real 2,5mm, 8.000 m
2
Corkment 2,0mm, 8.000 m
2
SureStep
Location
Architect & Interior design
General contractor
Building contractor
Flooring contractor
Flooring material
Marmoleum real 2939 Marmoleum real 3032
ENERGI E2 Combined power and heating plant station
Ballerup, Denmark
Maj Seligmann and Jette Caspersen, Hvidt & Mlgaard A/S
Energi E2
MT Hjgaard A/S
Duba Mbelindustri A/S
5.000 m
2
Desk Top eleganza
Location
Interior architect
Commissioned by
General contractor
Installation
Material (Furniture Linoleum)
Desk Top eleganza 4161
19
Photos: Tor Henning Stldal
ArchIdea#29_16/35_wt 23-12-2003 16:56 Pagina 18
21 20
Location
Architect
Interior design
Building contractor
Flooring contractor
Flooring material
Marmoleum real 3032 Marmoleum real 3131 Marmoleum real 3125
LUMO Upper secondary School and Library
Vantaa, Finland
P & R Arkkitehdit Simo Rautamki, Vantaa
Sisustussuunnittelija Desarc Leena Kolinen
Hartela
Mattoasennus J. Heikkinen
4.500 m
2
Marmoleum real 2,5mm
Photos: Studio Voitto Niemel Marmoleum real 3137
ArchIdea#29_16/35_wt 23-12-2003 16:56 Pagina 20
Marmoleum real 3125 Marmoleum real 3133 Marmoleum real 3030 Marmoleum real 3129
KINDERKRANKENHAUS ST. MARIEN
Childrens hospital
Landshut, Germany
Architekturbro Leinhupl, Landshut
Jungnickel GmbH, Freiberg
3.200 m2 Marmoleum real 2,5mm. Designs: Aquajet technique
Location
Architect
Flooring contractor
Flooring material
22
UNIVERSITY OF LODZ Management Faculty
Lodz, Poland
ARCADIS
Jacek Grabowski
SKANSKA
ABRA Company Ltd
5.000 m
2
Artoleum scala 2,5mm
Location
Architect
Interior architect
General contractor & Installation
Flooring contractor
Flooring material
KINDERDAGVERBLIJF T KLAVERTJE
Nursery
Utrecht, The Netherlands
Reinier van Overveld, Amsterdam
Aalberts Totaalproject, Loosdrecht
600 m
2
Artoleum, 200 m
2
Symfonie Solo, 200 m
2
Desk Top
Location
Architect
Flooring contractor
Flooring material
Artoleum scala 5073
Artoleum piazza 5409 Desk Top eleganza 4146
23
Photos: Elmar Kohn GmbH
Photos: G. van Hees, R. van Overveld
Photos: Abra Company Ltd
ArchIdea#29_16/35_wt 23-12-2003 16:56 Pagina 22
25 24
CENTRE DE RECHERCHE HENRI TUDOR
Research centre
Kirchberg, Luxemburg
Gubbini et Linster
Batiments Publics
4.500 m
2
Marmoleum real 2,5mm
Location
Architect
Building contractor
Flooring material
Marmoleum real 3126 Marmoleum real 3128 Marmoleum real 3030 Marmoleum real 3133
Marmoleum real 2939 Marmoleum real 3135
Location
Interior & Floor design
Installation
Flooring material
OFFICE AND SHOWROOM MAROESKA METZ B.V.
Wormerveer, The Netherlands
Maroeska Metz BV
Bscher projectservice, Wormerveer
410 m
2
Marmoleum real, and Marmoleum fresco 2,5mm
Photos: Fotostudio Frans van Wijk, Krommenie Marmoleum real 3141 Marmoleum real 3142 Marmoleum fresco 3867
Photos: Stefan Martens, Dilbeek
ArchIdea#29_16/35_wt 23-12-2003 16:56 Pagina 24
27 26
RESIDENCE ISABEAU DU BOSQUEL
Hospital
59 - Tourcoing, France
Architectes Philippe-Maurice Caucheteux, Sophie Bello, 59 - Villeneuve dAscq
Centre Hospitalier de Tourcoing
Sarl Montaigne - 59 - Loos
5.000 m
2
Marmoleum real, and Marmoleum fresco 2,5mm
Location
Architect
Commissioned by
Flooring contractor
Flooring material
CENTRE CULTUREL DE SAINT MEDARD EN JALLES
Cultural centre
33 - Saint Mdard en Jalles, France
BL2 ARCHITECTECTE, Ch. Bonhomme, M. Lorenz, 33 - Bordeaux
Mairie de Saint Mdard - 33
ACTI SOL - 33 Mrignac - PLA MUR SOL - 33 Begles
5.000 m
2
Sarlon Traffic, 600 m
2
Marmoleum real, and Marmoleum fresco 2,5mm
Location
Architect
Commissioned by
Flooring contractor
Flooring material
ALESSI STORE
Milano, Italy
Arch. Morra, Atelier Mendini
Arch. Magistrini, Alessi
MCA, Settimo Milanese
360 m
2
Plato sotto, Marmoleum meets Mendini collection, 360 m
2
Sarlibase
Location
Architect
Interior design
Flooring contractor
Flooring material
Marmoleum meets Mendini Plato sotto 18001
Marmoleum real 3127 Marmoleum fresco 3865
Marmoleum real 3129 Marmoleum real 3173 Marmoleum fresco 3847
Sarlon Traffic hoggar 43432
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THE ROYAL VICTORIA HOSPITAL
Belfast, Northern Ireland
Percy Thomas Partnership
Graham Martin Limited
Floorform (Newry) Limited
30.000 m
2
Marmoleum real, Marmoleum fresco, and Artoleum
Location
Architect
Building contractor
Flooring contractor
Flooring material
ERRATUM
INTERNATIONAL CENTRE FOR LIFE
Newcastle upon Tyne, UK
Big Blue Design Group
250 m
2
Marmoleum dual in tiles
Location
Architects & Interior
designers
Flooring material
EMMANUEL CHRISTIAN ACADEMY
Springfield, OH, USA
The Architectural Group
Robert Elliott
M & S Flooring Inc, Tipp City, OH
Scott Ankney, John Miller
2750 m
2
Marmoleum dual, Marmoleum real, and Marmoleum vivace
Location
Architects
Designer
Flooring consultant
Installation
Flooring material
Marmoleum dual 511 Marmoleum dual 450
Marmoleum dual 511 Marmoleum dual 713
Artoleum scala 5043 Marmoleum real 3027 Marmoleum real 3165
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Marmoleum real 3150 Marmoleum real 3140 Marmoleum fresco 3846
Photos: Barry Rustin, Evanston, IL Marmoleum dual 844 Marmoleum dual 969 Marmoleum dual 608
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