Eco-sustainability and design for resilient flooring.

After creating countless styles of modular carpet, distinguished by high performances and sustainability, Interface launches a luxury modular vinyl flooring featured by the same green vision and based on biophilic design approach.

Level Set is the first Luxury Vinyl Tile (LVT) collection by Interface. It is environmental friendly and is inspired by natural elements like wood and stone, according to biophilic design approach.
It offers options that evoke distressed, reclaimed and exposed natural materials. The textures, colours and patterns available provide more light reflection to maximising the benefits of daylight.
Available in 28 variations of Natural and Textured Woodgrains & Stones, it comes in Interface’s standard (25 cm x 1 m and 50 x 50 cm squares) and is complementary to carpet tile collections.
Since it is fully compatible in size and height, you can combine existing carpet and new LVT for a unique space of varied textures and designs.


We’re seeing an increased focus on cohesive design throughout the built environment, as well as a rise in demand for soft and hard flooring that blends well and functions as part of a modular design system– said Mandy Leeming, Design and Development Manager for Interface EMEALevel Set embraces our customers’ interest in flooring that has the look of natural materials with the functionality, durability and affordability of LVT, while ensuring they can select a mix of hard and soft flooring from a single partner to create a unified look and feel.”


An eco-sustainable design aimed at environmental comfort.
To install Level Set is simple and clean thanks to glue-free TacTiles. It emits virtually zero VOCs and allows for an environmental footprint over 90% lower than installation with traditional glue adhesives.
Engineered to compatible height (4.5mm total thickness) with Interface’s carpet tiles, providing the ability to effortlessly move from hard to soft flooring without transition strips, eliminating an unnecessary trip hazard and reducing the number of materials for specification and purchase.
To improve acoustic comfort the sound absorbing “Sound Choice” is available for LVT collections.




Solid Air by Koz Susani: light art and 3D printing.

Solid Air is the new collection of 12 light sculptures, the first of the new brand One-Off-Infinity created by the studio Koz Susani Design.
Solid Air is an exercise to free the mind, to explore shapes, textures and light effects made possible only by new light sources and new manufacturing techniques: LED, parametric geometries and 3D printing.

Solid air is not just ‘lamps’ in the conventional sense. They were thought as light-clouds, immaterial but palpable shapes of materialized light floating in the darkness, light volumes defined by reflections and ‘wrapped’ in delicate meshes.
Some of these ‘clouds’ have the shape of a nest in perforated filigree, others are ‘tower’, sculptures generated by many very thin ‘straws’ that form a lattice structure, lit from the inside.
The idea behind One-Off-Infinity’s collection represents a ‘possible oxymoron’, a paradox born through the real combination of
the way of thinking art (one-off pieces) with neo-industrial manufacturing (3D printing on-demand).
The process innovation in oneoff∞ is that each piece is different from the next one, aesthetically perfect, but with little imperfections, totally in compliance with the ‘Wabi-Sabi” principle, the Japanese aesthetic concept derived from Buddhist teaching which recognizes beauty as “imperfect, impermanent, and incomplete”.
A concept explained by Defne Koz and Marco Susani in this way: “We will ‘plant’ an imperfection, and we will permutate each piece according to the data that we will derive from getting in contact – via internet/digitally – with the end consumer.
The flexibility and variants we imagine will not come from a catalogue of choices given to the consumer – an old idea that still represent the rigidity of old mass manufacturing – but we’ll manage variations using mysterious, unpredictable data, such as the weather in a certain city at the very moment the order is placed, or a mathematical algorithm based on the date of birth of the consumers”.
Text by Gabriele Masi.



A sphere-skin: Hanjie Wanda Square, China.

The eccentric sphere-facade and the interior design of Hanjie Wanda Square, the shopping plaza inside the Wuhan Central Culture Centre (one of the most important areas of Wuhan City in China) were designed by UNStudio, winner of an international competition in 2011. “The complex becomes almost a stage or a place of performance and offers a variety of different impressions and experiences to the visitor.” Explains Ben van Berkel, one of the founders of UN Studio.
The concept of luxury is incorporated through the craftsmanship of noble, yet simple materials expecially in the amazing jewel-facade made by polished stainless steel 42.333 spheres (nine differently trimmed standardised typology), LED lighting integrated in the building envelope and patterned glass.The final effect is movement and reflection in water, or the sensuous folds of silk fabric.
The key concept to all this theatrical project is the ‘synergy of flows’: the fluid articulation of the building envelope, the programming of the dynamic facade lighting and the interior pattern language which guides customers from the central atria to the upper levels and throughout the building via linking corridors. The circular motif is repeated in many different ways and patterns, both in the facade and throughout the interior and enriched by local traditional and cultural influences.
The North and South atria, create two different and integrated atmospheres reflecting the dynamic duality of the two Hanjie Wanda Square identities: the North atrium is characterised by warm golden and bronze materials reflecting a cultural, traditional identity. The South atrium – silver and grey nuances with reflective textures- reflect the city identity and its urban rhythm. Both atria are crowned by skylights with a monumental funnel structure (2600 glass panels and are digitally printed with an intricate pattern) which connects the roof and the ground floor and houses a pair of panorama lifts.
Photos by Edmon Leong.