Based on the name, you’d be forgiven for assuming Ca’Pietra is an exclusively Italian brand. In fact, the family-owned supplier of stone and tile surfaces roots are deeply British. Having formed in 2009 the team has developed a design-led approach to material specification, and last summer, merged with Artisans of Devizes to fold in 35 years of craftsmanship within the industry. 

Head of Partnerships, Holly Kerslake, works across residential and commercial sectors, and shares some insights into how she helps the company seamlessly intersect traditional stonemasonry and contemporary surface design.

What does a typical day look like for you?

I’m based in Ca’ Pietra’s beautiful Wiltshire HQ in Devizes, which houses our Slab gallery & flagship showroom. Much of my role centres around people - connecting with them, inspiring them, and helping them bring their ideas to life!

A typical day might involve hosting interior designers, architects, or members of our retail network, giving them a tour of the slab gallery, showing them what our artisans are currently crafting, and perhaps even popping into our in-house photo studio to preview new materials that are about to launch.

I also chat designers and architects through the correct specification of materials for their projects. Sometimes that means guiding them toward a quartzite where they may initially have considered marble, or advising on which limestone will perform best in a kitchen or bathroom setting.

Another part of my role involves organising events across our three showrooms in Wiltshire, London, and Hartley Wintney. There’s usually a CPD, networking event, or fun workshop on the horizon, so a fair amount of my day is spent on the phone or speaking with people - which suits me perfectly, as I’ve always been a bit of a chatterbox!

How integral are materials/surfaces to your day-to-day? 

I literally can’t go through a day without moodboarding samples, discussing stone vs porcelain, and chatting about trends. It’s essential to stay on top of what’s new and what’s inspiring designers visually, but equally important is making sure materials are appropriate for how they’ll be used. We work across hospitality, residential, and commercial spaces, so it’s vital to consider how spaces will be used and not just get lost in the aesthetics. 

Seeing all those elements come together into a cohesive design is one of the best parts of my job! I’m naturally very enthusiastic, and if I can share that excitement with designers and help spark creativity in their projects, then that’s a blooming good day.

What are the biggest lessons you have taken forward from your original training?

At school, my strongest subjects were art and maths, and both have proved incredibly relevant in my career! I never imagined I would end up working with stone & tile, but I’ve always loved natural textures & materials, which you can see in my university artworks! 

My first role after university was as a metalsmith at DeVOL, a kitchen company in Loughborough where I was pouring molten metal and patinating work surfaces. I loved the individuality of each piece and it really made me appreciate how raw materials behave. I eventually began designing kitchens – advising clients on the practicality and beauty of raw materials. When I moved to Ca’ Pietra my love of materials translated easily into the world of stone where every slab has its own character and story.

My love of mathematics also proves surprisingly useful - whether it’s calculating quantities, weights for transport, or the ever-important wastage allowances on projects. Of course, I’ve learned a great deal along the way about the care and performance of stone, but the creative side - pairing materials and building beautiful schemes - has always felt second nature.

Which project/s are you most proud of being involved with and why?

It’s always tempting to name-drop celebrities here, but the one that brings me the most joy right now is a project that’s about to open – Calcot Manor and Spa.

I love this project visually, but I’m actually most proud of how this project began. Last year I started a project with the RHS to create a collection of external stone and porcelain tiles which celebrate the RHS’s heritage and promote the use of natural stones externally. This range led to a series of collaborations at the Chelsea Flower Show, which led to us working with other suppliers, and eventually ended up with us connecting to the team at Calcot! I just love how one opportunity can snowball into the next, eventually creating something entirely new!

The project has a sense of confidence that Cathy Birtle (the designer) has brought to it. They’ve combined different formats of natural stone with bold porcelain patterns and contrasting colours, creating something that feels both playful and sophisticated in the new wellness area of the hotel. They’ve also incorporated elements from our hand-made Studio Collection, which is made in England, adding a sense of heritage and craftsmanship to the design.

What do you feel are the main challenges facing the stone and surfaces industry today?

One of the biggest challenges is awareness. I think there are some misconceptions around care, sustainability, and pricing which discourage its use, which is why training and CPD’s are so important in our industry!

Natural stone is a beautiful, authentic, and durable material, but there’s still some hesitation around it. Some people assume it’s difficult to maintain or prohibitively expensive, when in reality, that’s not always the case. In fact, many man-made materials can cost more!

Stone has been used in architecture for thousands of years, and its longevity is part of its appeal (just look at the Pantheon in Rome). Each piece is unique, and that individuality is something you simply cannot replicate.

In your opinion, what are the positives of using stone in the built environment? 

So much of the conversation in specification today is on sustainability, longevity, and authenticity. Natural stone answers all three beautifully in my humble opinion.

There aren’t many materials that can boast the same range of visual possibilities with colour and texture either, so it’s kind of the perfect material to build with. I also love the elevation that natural stone brings to any project. Adding a moulded piece of marble as a shelf, or a trim of stone around a room just adds the final wow factor!

How does sustainability shape your thinking and decision-making, and how do materials fit into this?

Sustainability informs both our product development and the conversations we have with designers & contractors. In fact, we’re speaking about sustainability so frequently that I just finished developing a CPD with our marketing team focused on the sustainability of stone.

Within product development, we’re seeing an increase in the use of recycled material - like our Reform range, made from 60% recycled stone, which are made into new tiles reminiscent of terracotta but available in a range of colourways.

Another growing trend is the use of off-cuts from our bespoke fabrication team to create “crazy paving” style installations - an excellent way to minimise waste while creating something visually distinctive!

It’s also really vital to review practical aspects of the business, from reducing packaging, and re-using samples, to relocating some ceramic production closer to home to cut down on transport miles. 

The long relationship between stone and water is the focus of an upcoming industry event bringing together landscape and architectural perspectives this week. Organised by the Stone Collective, Stone Speaks Water examines how the two materials have historically shaped one another, while highlighting contemporary projects that reinterpret that exchange through design, fabrication and reuse.

“For millennia, stone has been in dialogue with water,” the organisers note. “From stone-built cisterns to flour mills where stone and water became a single machine, stone has shaped how water is stored, used, diverted and resisted.” At the same time, they add, water has “carved, weathered and culturally charged stone,” underscoring a reciprocal relationship that continues to inform design thinking today.

Central to the programme are two UK projects that demonstrate how this relationship can be reimagined through both landscape architecture and structural innovation.

The Diana, Princess of Wales Memorial Fountain in London’s Hyde Park remains one of the most recognisable examples of stone and water working in unison at a civic scale. Designed by Gustafson Porter + Bowman and completed more than two decades ago, the project combines a carefully modelled landform with a continuous water flow that encourages public interaction. Its construction, which contains 545 individually cut pieces of Cornish granite, shaped using early digital fabrication techniques, marked a significant moment in the application of advanced tooling to natural stone.

Mary Bowman, founding partner of the practice, and trained architect and landscape architect will reflect on the project’s legacy and the role of landscape architecture in shaping public space. 

Alongside this large-scale public work, the event will also present a more compact but materially ambitious project by Studio Weave: a stone toilet block in Maida Vale that explores the structural and aesthetic potential of self-supporting masonry.

The building reuses granite salvaged from 100 Liverpool Street, a demolished Broadgate office building originally designed by Peter Foggo of Arup in the 1980s. Developed with Webb Yates and The Stonemasonry Company, the scheme foregrounds the textures of stone processing while embedding circular principles into its construction. Studio Weave’s intervention utilises Finnish granite and Larvikite from Norway and has been detailed so it can be demounted and reassembled elsewhere, sparking further discussions around reconfiguration and adaptability in the built environment.

Eddie Blake and Esther Escribano of Studio Weave will present the project, offering an early insight into its design and fabrication.

Reserve a free place here.

Join the team at The Market Building, Thursday 26th March 6-8pm

Along with work from the three artists who make up the 2025 Adobe Creative Residents programme, visitors to the current V&A exhibition are also in line for an in-the-flesh Surface Spot.

The exhibition design, which showcases the trio’s collective culmination of a year-long residency at the V&A South Kensington, includes plinths and display tables made from a material sourced and created from a ubiquitous local waste stream.

Developed by Blast Studio, Cupsan is a material made from discarded takeaway coffee cups and paper packaging collected across London. While made of seemingly recyclable paper, these one-use vessels are, in fact, difficult to reconstitute due to their layered composition.   

Working as a micro-factory, Blast Studio collects, processes and manufactures Cupsan within a tightly controlled loop. The team sources waste from nearby cafés and offices before transforming it into dense, machinable boards. Discarded cups are shredded into pulp and combined with a plastic-free, bio-based binder to form solid panels. The result is a high-density board with a performance comparable to conventional sheet materials, yet with a distinct origin and aesthetic appeal.

While essentially a paper composite, Cupsan occupies an interesting position between timber-based boards and mineral surfaces. It can be cut, CNC-machined, sanded and assembled using standard woodworking tools, allowing it to integrate easily into established fabrication processes. At the same time, its surface character diverges from the uniformity of MDF or laminate. Depending on the finish, it can read as softly fibrous or take on a more terrazzo-like quality, with fragments of its former life subtly embedded within the surface.

Designed for interior use, Cupsan is applied across furniture, joinery and architectural elements, from wall panelling and countertops to retail fit-outs and, as in this recent case, exhibition design. Its modular production system allows smaller planks to be assembled into larger panels, enabling flexibility in scale while maintaining material consistency. What’s more, protective finishes can be applied to improve durability and resistance, extending its use into more demanding environments.

By working with hyper-local waste streams, the material reduces transport, retains value within the city, and offers an alternative to resource-intensive production models. Each square metre incorporates hundreds of discarded cups, underscoring the scale at which everyday waste can be redirected into the built environment.

When healthcare services provider Inizio relocated to its 18,000 sq ft headquarters in Ashby-de-la-Zouch, the brief extended beyond a simple office fit-out. The ambition was to create a workplace that could reflect the company’s growth, support hybrid working and embed its sustainability values into the physical environment.

Working with Blueprint Interiors and flooring manufacturer Interface, the project developed into a carefully zoned interior where materiality plays a central role in defining how the space is used.

Sustainability underpinned the scheme from the outset. Existing furniture was retained where possible, energy-efficient lighting was introduced and workstations were arranged to maximise natural daylight. Alongside this, biophilic principles informed the palette, with natural textures, planting and muted tones used to create a connection to landscape and material.

Central to the design was the need to organise a large open-plan floorplate into a series of distinct but visually coherent zones. Rather than relying on partitions, the design team used surface changes to signal shifts in function, with flooring acting as both a spatial and sensory guide.

Interface’s Concept Design Team developed a layered approach using carpet tile collections with subtle references to natural materials. In larger, collaborative areas, the Icebreaker range introduces a soft, etched pattern that reads almost like sediment or lightly eroded stone, bringing texture without visual noise. A neutral base tone establishes continuity across the open plan, allowing other materials – timber finishes and planting – to sit comfortably alongside it.

In contrast, quieter working zones are defined through deeper, more saturated tones from the same collection. These shifts are not abrupt but calibrated, creating a gradient of spaces that move from active to focused without breaking the overall visual language.

For primary desk areas, the Human Connections collection introduces a more explicit material reference. Inspired by the patterns of stone and rock, the surface carries a granular, layered quality that echoes geological formations. “The collection is inspired by the organic patterns of stone and rock and can really help to promote a sense of calm,” said Interface account manager Jack Maclennan. Here, material association becomes part of the spatial experience, reinforcing a sense of stability and quiet within work zones.

Material performance was equally critical. Both carpet tile ranges are manufactured using recycled yarn and backed with carbon-negative technology, aligning with the project’s wider environmental ambitions while offering durability suitable for daily use.

In high-traffic areas such as circulation routes, teapoints and reception, the palette shifts again. Luxury vinyl tiles from Interface’s Walk on By collection provide a more robust surface, engineered to withstand wear while maintaining visual clarity. A ceramic bead coating protects against scratching and scuffing, while acoustic backing helps reduce impact noise across the busy workspace.

Here, the material language becomes more expressive. Pattern and colour are used more freely, particularly in social areas such as the workplace café, where the flooring introduces a more dynamic character. These moments of contrast help signal informal, communal spaces within the wider scheme, encouraging interaction and pause.

“The task was to create an environment that would help staff not only do their very best work but switch off when needed too – all whilst having as little impact on the planet as possible,” said Maclennan.

The completed workspace includes a mix of hot-desking areas, quiet rooms, a control room for hybrid events and a central social hub. Across each, flooring plays a consistent role in guiding movement and defining use, demonstrating how surface specification can operate at both a technical and spatial level.

Reflecting on the project, Blueprint Interiors’ project designer Jed Salmon described the outcome as “meticulously curated to embody Inizio’s values of sustainability, wellbeing and innovation”.

In this context, material selection moves beyond finish to become an organising principle – structuring space, shaping experience and reinforcing the relationship between workplace, user and environment.

On Maui, where construction is shaped as much by environmental constraint as by cultural identity, Surf Block Maui has developed a building system that responds directly to both. Drawing on the island’s deep-rooted surf culture and a highly visible waste stream, Surf Block transforms discarded surfboard foam into insulated composite concrete forms (ICCFs) for use in construction.

The material originates from expanded polystyrene (EPS) offcuts generated during surfboard production, a lightweight, high-performance foam that would otherwise be sent to landfill. By reclaiming and reprocessing this waste, Surf Block redirects a locally abundant material into a new, long-life application within the built environment. The result is a composite block that combines recycled EPS with a cementitious binder, forming units that are stacked, reinforced and infilled with concrete to create structural walls.

As a system, ICCFs are not new, but Surf Block’s approach lies in its rethinking of feedstock. Conventional insulated concrete forms typically rely on virgin materials; here, the insulating component is derived from recycled sources. In this sense, the material sits between established construction methods and emerging circular design thinking, adapting a known system through a more localised and resource-conscious lens.

Materially, Surf Block is defined by this duality. The EPS component provides insulation and reduces weight, while the concrete core delivers structural performance. Together, they form a continuous wall assembly that integrates thermal and structural functions within a single build-up. This consolidation simplifies construction while contributing to the energy performance of the finished building — a key consideration in Maui’s hot, humid climate.

From a surface perspective, the material retains a visible connection to its origins. Unlike conventional concrete block, which tends towards uniformity, Surf Block carries a more heterogeneous character. Fragments of recycled foam are embedded within the matrix, creating a lightly textured, particulate surface that reflects the composite nature of the material. It is not a surface designed for refinement, but one that expresses process, where the narrative of reuse remains legible.

This directness aligns with the project’s broader environmental intent. By working with a waste stream generated on the island, Surf Block reduces reliance on imported materials — a significant factor in Hawaii, where much of the construction supply chain is externally sourced. The approach also addresses the issue of disposal, diverting foam waste from landfill and embedding it within long-life building fabric.

At the same time, the system responds to the demands of building in a coastal environment. ICCF construction is widely recognised for its robustness, and Surf Block builds on this with a material designed to perform in conditions of humidity, salt exposure and variable weather. The result is a construction method that balances durability with resource efficiency, without requiring additional layers of insulation or complex assemblies.

While the technical aspects are central, the project is equally defined by its cultural context. Surfing is not simply a recreational activity in Maui, but part of the island’s identity. By using surfboard waste as a primary material, Surf Block establishes a tangible link between local industry and the built environment, translating a by-product of one into the fabric of another.

What gives the system wider relevance, however, is not the specificity of surf culture, but the logic underpinning it. Surf Block points to a model in which construction materials are derived from regionally available waste streams, rather than standardised, globally sourced products. This could involve a range of industrial by-products, from demolition to agricultural waste, but by sourcing and producing locally, such materials can create a deeper connection to place while reducing transport costs and saving waste.

It’s another great example of waste being given value and the result is a system that is both useful and transferable. In this sense, Surf Block represents a pertinent construction material while offering a way of working that could be adapted to different geographies, industries and material flows.

As we reported before the event, professionals from across the natural stone sector gathered in London to mark International Women’s Day at a panel discussion organised by Women in Natural Stone (WINS).

Held at The Society Building, the discussion followed the theme “How did you come into the stone industry?” and brought together speakers from different parts of the supply chain, including Lisa Nunn of FMDC Ltd, Isobel Brodrick of DBR Limited, Emily Guest of Stonewest Ltd, and Christine Ellis at Laing O'Rourke.

The panel shared their personal experiences of entering the stone sector, reflecting on the variety of routes that can lead into the industry. From technical and geological backgrounds to craft-based stonemasonry and construction management, the discussion demonstrated the breadth of roles available within natural stone.

Speakers also addressed the challenges and opportunities they have encountered during their careers, emphasising the importance of visibility, mentoring and continued industry support to encourage more women to consider careers in stone and construction.

The event attracted a strong turnout from professionals working across architecture, design, manufacturing and contracting, creating an opportunity for networking and informal discussion following the panel session.

Such events underline the value of sharing individual stories to highlight the diversity of pathways into the sector and serve to inspire those considering a career change or entering the industry for the first time. WINS thanked attendees for contributing to what they described as an “engaging and positive conversation” about the future of women in natural stone.

The organisation also acknowledged the support of event sponsors DBR Limited and Vetter UK, whose backing helped make the event possible.

Specialist stonemasonry contractor Classic Masonry has completed a series of conservation and repair projects at historic churches across the North East, including works at St Hilda’s Church, Christ Church, and St Andrew’s Church.

The programme reflects the continuing need for specialist masonry knowledge when working with historic ecclesiastical buildings, where sensitive repair and careful maintenance are essential to preserving original stonework and ensuring long-term structural stability.

Mike Moody, managing director at Classic Masonry, said the projects demonstrated the variety of challenges presented by historic ecclesiastical buildings:

“The three churches all had different requirements, and it is a tribute to the depth of skill and expertise within our teams that we were able to provide solutions we know will stand the test of time.” 

At St Hilda’s Church in Hartlepool, a Grade I listed building standing on the Headland overlooking the North Sea, Classic Masonry undertook a range of works as part of a wider restoration programme. The church is widely regarded as an important example of Early English architecture and is believed to occupy the site of a 7th-century monastery associated with St Hilda before she founded Whitby Abbey.

The project included masonry repairs alongside re-roofing works, leadwork and rainwater goods, together with restoration of clerestory windows. Internal glazed partitions and associated electrical works were also carried out as part of the scheme. Funding support for the project came through the National Lottery Heritage Fund Heritage at Risk programme, which supports historic buildings considered vulnerable to neglect or decay.

Further conservation work was carried out at St Andrew’s Church in Newcastle, widely considered the city’s oldest church, with origins dating back to the 12th century. The building contains significant surviving medieval stonework, including a Norman chancel arch decorated with chevron ornamentation.

Here, Classic Masonry was commissioned to dismantle and rebuild the tomb of Ouseburn Foundry owner James Glynn after the structure became unsafe. The works were undertaken in liaison with an archaeologist to ensure the protection of historic material.

At Christ Church in Shieldfield, a Grade II listed Victorian Gothic building constructed between 1859 and 1861, the company undertook a number of targeted repair works. These included repointing sections of masonry to the adjoining church hall, repairs to hoodmoulds above one of the principal arch windows, and lifting and rebedding water tables on a gable end.

Such a layered project further highlights the team's expertise and care in stone restoration, which is born out of a passion for the craft, as Mike underlines:

“While each project differed, the combining element that brought them together was their wonderful history and heritage that goes back many hundreds of years. It was a pleasure to play our part in restoring and protecting them for other generations to enjoy well into the future.”

For more than six decades, Italian manufacturer Florim has been a major presence in the global ceramics industry, producing porcelain surfaces for architecture, construction and interior design. Based in Italy’s historic ceramic district, the company has developed a reputation for combining industrial production with design-led research, positioning porcelain stoneware as a material capable of responding to both aesthetic and technical demands in contemporary architecture.

One expression of this approach is Florim Stone, a brand conceived as a design platform rather than simply a tile collection. The system is centred on a large format slab measuring 320 × 160cm, available in three thicknesses – 6mm, 12mm and 20mm – allowing surfaces to move fluidly between applications such as wall cladding, countertops, furnishings and bespoke architectural elements.

The concept reflects a broader shift in how porcelain surfaces are specified. Rather than being confined to traditional tiling, large-format slabs are increasingly treated as architectural materials in their own right. Florim Stone is designed to support this approach, offering visual continuity across surfaces while allowing designers to integrate porcelain into different spatial scales, from residential interiors to hospitality and retail environments.

Material research plays a central role in the system’s development. Florim uses advanced digital decoration technologies to generate surfaces that capture the depth and variation of natural materials, supported by full-body coloured blends that enhance visual realism and durability. The aim is not simply to replicate stone or concrete, but to translate their aesthetic language into a technically controlled ceramic format.

Within the range, several stylistic directions reflect different material references. Marble-inspired surfaces reinterpret natural stone through pronounced veining and refined tonal contrasts, while concrete-influenced designs offer a more neutral, architectural aesthetic suited to minimalist spaces. A third group draws directly on geological textures, emphasising irregularity and surface depth to evoke the character of natural stone landscapes.

Recent introductions illustrate the breadth of the palette. Designs inspired by quartz and marble explore warm browns, copper-toned veining and soft green hues, while stone-based surfaces reference volcanic lava, limestone and tuff. These interpretations draw on a range of geological precedents, translating their textures and colour variations into porcelain slabs capable of being fabricated into a variety of interior elements.

Underlying the design ambition is a strong emphasis on sustainability. Florim operates manufacturing facilities where production waste and wastewater are recovered, and the company is capable of generating up to 100% of the electricity required by its Italian plants through self-produced energy, supplemented by certified renewable supplies when needed. The Florim Stone range also forms part of the company’s CarbonZero programme, which offsets lifecycle carbon emissions associated with its surfaces.

Led by chief executive Claudio Lucchese, the company has grown into a global design brand with flagship showrooms in major architecture and design centres including Milan, New York and London. The latter, located on St John Street, is a mainstay of the UK specification scene and will be taking part in this year’s Clerkwenwell Design Week.

As biophilic design continues to influence commercial interiors, the challenge for specifiers is often practical rather than aesthetic. Living walls require irrigation, light and long-term maintenance strategies that are not always compatible with high-traffic workplaces or hospitality environments. It is within this gap that Innerspace positions its Preserved Moss and Foliage Walls — real botanical surfaces engineered for longevity rather than growth.

Founded by Richard Russell and Ian Lamb, Innerspace specialises in naturally derived interior surfaces and works with clients from specification to installation. They include corporate, education and hospitality settings, and their preserved moss systems are a favourite within the product portfolio. That’s in no small part because they provide an instant and infinite way to introduce texture and greenery into enclosed spaces without the infrastructure associated with living planting.

The material itself is genuine moss and foliage that has been harvested and preserved through a natural process, replacing sap with a plant-based solution that retains suppleness and colour. The result is a surface that remains visually vibrant and tactile, but requires no watering, soil or sunlight. Unlike artificial greenery, the botanical origin remains legible, with variations in tone, density and structure creating depth across the wall plane, giving each installation a subtle irregularity akin to other natural surface materials.

From a specification perspective, preserved moss walls are lightweight and adaptable. Installations can range from simple framed panels to full-height feature walls incorporating layered foliage, relief elements or integrated branding. The fibrous, open texture of the moss also contributes to sound absorption, making the system particularly suited to offices, reception areas and educational environments where acoustics are a consideration.

Material performance is central to their appeal. In environments where living systems may struggle such as internal corridors, windowless meeting rooms or high-level installations, preserved foliage provides a stable alternative. With no requirement for irrigation or artificial lighting rigs, the embodied and operational impacts associated with maintenance are significantly reduced.

Innerspace’s approach is fundamentally bespoke. Each wall is composed to suit site conditions and client intent, whether that is a restrained, single-species moss field or a more complex botanical composition. The emphasis is less on spectacle and more on material presence — using preserved greenery as a surface layer that enhances spatial character without imposing ongoing technical demands.

Global flooring manufacturer Interface has launched noravant™, a new PVC-free resilient rubber flooring range designed to combine high performance with increased design flexibility and a reduced carbon footprint.

It extends Interface’s existing rubber portfolio, which includes noraplan and norament, and marks what the company describes as a new chapter in its long-standing development of rubber flooring systems.

noravant timber, introduces what Interface says is the industry’s first woodgrain design in rubber flooring. The move is aimed at sectors such as healthcare, where specifiers are often required to balance domestic visual cues with stringent hygiene and durability demands. By translating timber aesthetics into a resilient rubber format, the product offers a more natural interior character in waiting areas, circulation zones and patient rooms, without compromising on cleanability or long-term wear.

Available in 10 Nordic-inspired colourways, the range moves from pale ivories and sandy neutrals to deeper, grounding tones. The intention is to provide designers with a warmer, biophilic palette while retaining the performance characteristics traditionally associated with nora rubber flooring.

Technically, noravant is built around a new multi-layered construction. According to Interface, this approach is designed to deliver the durability and resilience expected of rubber flooring while enabling greater surface design variation. The range also incorporates ShieldForm™, a proprietary surface technology developed to enhance chemical and stain resistance and to support ease of maintenance in high-traffic interiors.

Anne Marie Lisko, Vice President of Global Product Category Management at Interface, said: “noravant is a major breakthrough in flooring – there’s now a PVC-free resilient product that combines superior performance with unmatched design flexibility, all while maintaining a low carbon footprint.

“Our R&D, manufacturing, product, and design teams have been working on this groundbreaking platform for quite some time, conducting extensive in-market tests to ensure it meets our quality and performance standards. Building on more than 70 years of expertise in the rubber category, noravant adds to our portfolio of hardworking rubber flooring solutions.”

The platform builds on the legacy of noracare, Interface’s rubber flooring engineered for enhanced cleaning performance and resistance in hygiene-critical environments. Launched in Europe in 2020, noracare set new benchmarks within the rubber category. Under the noravant name, the product retains the same technical performance while aligning with the broader design ambitions of the new platform.

From a sustainability perspective, noravant has been developed to support Interface’s commitment to become carbon negative by 2040, without the use of offsets. The company states that the platform has one of the lowest carbon footprints in the rubber category and includes 10% post-industrial recycled content alongside bio-based materials. It is PVC-free and holds Cradle to Cradle Certified® Silver status. Products can be recycled at Interface’s dedicated facility in Germany and will be incorporated into the company’s nora take-back programme.

Kelly Simcox, Head of Global Design at Interface, said: “With noravant, we’re bringing disruptive design thinking and expertise in innovation to the rubber category. We’ve already elevated our nora portfolio using innovative chip blends and nuanced color to generate marble and terrazzo inspired looks. noravant builds on this success and expands the creative potential of rubber even further. It’s a true design platform that empowers designers to create inspiring spaces – especially in healthcare, where high performance is essential.”

For specifiers working across healthcare, education and other demanding interiors, noravant signals a continued shift within the resilient flooring sector towards materials that combine technical robustness with a more nuanced, design-led surface language.