Forbo cooperated closely with 12 Dutch Designers to create the MarMoleuM Dutch Design collection. A range of Marmoleum floorings developed by twelve Dutch designers. The twelve designers were granted complete artistic freedom. Their inspiration was very personal: a favourite colour, a shade with a great future or a colour missing from the current ranges. The result is 12 unique colourings, 12 designs each telling their own story. MARMOLEUM With a track record of over 100 years, Marmoleum has gained popularity among architects, designers and consumers all over the world. Marmoleum is a flooring material with many identities. Suiting its environment, wherever that may be. From classic to modern, from public 12 NEW MARMOLEUM COLOURS spaces to the living room. The intensity of its colours and its uncomplicated character ensure a Created BY 12 DUTCH DESIGNERS floor that develops elegantly over time. Marmoleum Dutch Design is available in a thickness of 2.5mm with matching welding rods available for all designs. Marmoleum Dutch Design is protected with the unique Topshield MARCEL WANDERS - SAAR OOSTERHOF - EDWARD VAN VLIET - CLAUDY JONGSTRA - PIET HEIN EEK - EVELYNE MERKX finish. Thanks to Topshield each colour keeps its natural beauty, just as the designer intended. JURGEN BEY - MIRIAM VAN DER LUBBE - LI EDELKOORT - RICHARD HUTTEN - KIKI VAN EijK - IRMA GOEDEMONDT Marmoleum is produced from natural, renewable resources: linseed oil, rosins, wood flour, limestone, jute and environmentally safe pigments. These are both the secret to each design’s inimitable look and feel, and the reason why Marmoleum is non-allergenic. They also explain why life-cycle assessment shows that linoleum is an ecologically preferable floor covering. MARCEL WANDERS SAAR OOSTERHOF EDWARD VAN VLIET CLAUDY JONGSTRA PIET HEIN EEK eVELYNE MERKX JUrGEN BEY MIRIAM VAN DER lUBBe M0112 MARCEL WANDERS M0212 SAAR OOSTERHOF M0312 eDWARD VAN VLIET M0412 CLAUDY JONGSTRA LI EDELKOORT sunFloWer LANDSCAPe tree Twin Materials golD oF COLOURs Despite all climate changes, Marcel Wanders asserts that Dark tints illuminate. Brown, beige, taupe, blue...8 in all. Linoleum is a natural product, and so designer Edward van ‘I never realised linoleum and felt were so similar’, RICHARD hUTTEN there’s not enough sunshine in Holland. That’s why his bed- Inspired by a painting by Saar Oosterhof’s mother Carry Vliet immediately thought ‘tree’ when approached by Forbo. Claudy Jongstra exclaims almost incredulously. room features orange curtains, that every morning create Blase, the work was conceived after two trips to Tunisia. He enjoys photography and let himself be inspired by a ‘The structure is similar, the more layers the better. The the illusion of sunshine. Waking up is like bathing in golden huge birch pictured against a blue sky. materials are natural, with very little waste. The creative light. He caught that same sunlight in his flooring design. The painting is called ‘Infertile soil’ but for Saar it is the very process is almost totally controllable and yet every piece is KiKi VAN EIJK Bold, reminiscent of the fiery textures of Van Gogh’s sun- opposite. She took the painting with its natural colours as Almost simultaneously, he was approached by Stayokay, different, unique. And the smell of linseed oil in the plant is flowers, the design is magical and inspired Marcel to write: her point of departure, convinced it would lead to a thing the Dutch Youth Hostel Organisation to redesign their thirty reminiscent of the odour of sheep’s wool at home.’ Working of beauty. She adapted the colours until she achieved the hostel interiors using a ‘nature’ theme and utilising natural, with linoleum proved to be an inspiring experience. Short days longing for light, right balance. It led to a sensuous design with a rich aura, timeless materials. A heaven-sent opportunity for some- windows in want of sunrays. a fertile landscape. one who enjoys working contextually, choosing materials Jongstra loves felt, wool, sheep. She shepherds her own IRMa GOEDEMONDT To top it all, latitude is constant, and colours to measure and designing application-specific herd of 200 for their rare wool. Rams horns give her ozone is near, the sun’s a distant friend. furniture and lighting. The revamped hostels will as a result inspiration. She loves the finely-nerved, almost glasslike feature their own unique flooring material. texture which she translated into earthy tints including And so the Dutch lion seeks its golden shadow. anthracite and ochre. Running, dust clouds before his eyes, falling to the magically sun-drenched, shadowless soil, exhausted, his sunbeamed golden mane aflying. M0512 PIET HEIN EEK M0612 eVELYNE MERKX M0712 JURGEN BEY M0812 MIRIAM VAN DER LUBBE 2 % luMinous greY MATTER 51˚ 22’ 75” north, Flooring 5˚ 44’ 25” east Marmoleum is made from linseed oil, natural rosins, wood Interior designer Evelyne Merkx regularly uses Marmoleum Most people look on dust as something that is best absent. At these coordinates Miriam van der Lubbe’s studio is flour, pigments and jute, almost none of which can be in various shades, but rarely in white. Why? Because the Wherever it gathers, they want it removed. But not for situated. There, she dug up the peat that served as inspira- recognised in the final product, in the opinion of Piet Hein natural ingredients of Marmoleum (linseed oil, rosins and designer Jurgen Bey. Dust fascinates him, and he enjoys tion for her Marmoleum. ‘A floor to me is earth, ground. Eek whose roots in wreckage wood stemmed from a belief wood flour) are slightly opaque, which makes it hard to discovering unexpected qualities in it. An example: his We increasingly live on concrete despite the beautiful deep in recognisable, authentic materials. manufacture really light colours. chair-shaped refuse bags that he connects to vacuum colours of the earth. Especially the peat in this province. So when he learned that Marmoleum contains at least 2% cleaners. Once filled with dust, they provide comfortable That’s why I chose a dark, earthy tone, using lots of black pigments, it became his point of departure. He mixed the Nevertheless, that’s what Evelyne wanted. seating. and just a hint of dark green.’ most common pigments –black, white, red, green, yellow What she had in mind was the grey-white of concrete as and blue- in constant ratio’s to realise 30 balanced colour used in Japanese architecture, the white of a perfectly For his Marmoleum, Jurgen invited Forbo employees to bring Miriam’s almost monochrome floor has very little marbling, combinations. He selected the black version and ensured plastered wall, the white of pumice as used by herself in in the contents of their vacuum cleaner bags. They served thanks to the genuinely dark base colours that eliminated that a hint of the other colours shimmered through the the Concertgebouw in Amsterdam. The ‘natural’ colour of as reference for the development of an entire range of grey contrast. dark. This natural look is further enhanced by an innovative building materials. colour samples. Jurgen then created a marbled dust floor, cloudy structure. It took a lot of experimentation, resulting in a Marmoleum composed of dozens of different greys. The ultimate dusty with very little marbling and an almost luminous surface. floor, the ultimate camouflage for new dust that may stay on Evelyne definitely intends to employ it in her future projects. the floor, enjoying the beautiful world of grey. M0912 LI eDELKOORT M1012 RICHARD HUTTEN M1112 KiKi VAN EIJK M1212 IRMa GOEDeMONDt naKeD all the COLOURS PainteD FielDs reD oF the rainboW Since the early nineties, Li Edelkoort has been fascinated Richard Hutten wanted to do more than just add a colour Kiki van Eijk lets an imaginary flower girl drop patches of Magazine expert Irma Goedemondt wanted a daring, bright by the concept of nakedness that remains an avant-garde to the Marmoleum Dutch Design Collection. He wanted colour on a grass landscape. Fuchsia pink and dark brown colour. ‘Red’, she exclaims, ‘the red and orange of Chinese theme of interest to large numbers of artists. something more conceptual. The penny dropped when he in a bright meadow of green create an effect that invokes and Indian temples. Red with very little white added. Byron Kim, Kiki Smith and Orlan see the skin as a carrier of took his kids to school and witnessed a variety of ethnicities summer. Optimistic, lively and young. The green Kiki I know red flooring often fails to convince, but not with culture and emotions, and question the roles of clothing, in the playing ground. His concept fitting Dutch society was selected had to be somewhere between bright green and Marmoleum. It’s because of the mirroring, which adds concealment, protection, vulnerability, nudism and aging. born: all the colours of the rainbow. grass green. She was inspired by Swedish moss landscapes, warmth.’ Designers use similar themes. spring flowers and summer fruit. At first, he used all available colours. But because of the Initially, she opted for an almost plain red tint. When this Edelkoort associates the marbling in Marmoleum with the way pigments in Marmoleum interact, the colours combined But green floors often look rather greyish. So within the proved lacking in richness, she added little rivulets of yellow veins in human skin. Based on a photograph of a friend’s as in a Jackson Pollock painting. Soon he learned he only existing Marmoleum range Kiki preferred the Piano and orange. They bring the floor to life, almost felt-like, like wrist area, she designed a subtle skin-like surface in which needed the ‘Mondriaan’ colours yellow, blue, red and white. structure: an almost plain floor with snippets of colour. a woven or knitted material. she mixed the colours of skin and cosmetics.