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Description
Standard Plus Antibacterial Vinyl FlooringComposed of a single layer of vinyl, compact homogeneous vinyl floors are glued to the sub floor and welded. Compact homogeneous vinyl floorings are tough and ultra durable solutions for heavy and very heavy traffic areas, especially recommended for applications in healthcare and education for their resistance and ease of cleaning. Tarkett homogeneous vinyl floors are the only vinyl floors on the market that can be dry buffed to avoid heavy cleaning
Composed of a single layer of vinyl, compact homogeneous vinyl floors are glued to the sub-floor and welded. Compact homogeneous vinyl floorings are tough and ultra-durable solutions for heavy and very heavy traffic areas, especially recommended for applications in healthcare and education for their resistance and ease of cleaning. Tarkett homogeneous vinyl floors are the only vinyl floors on the market that can be dry-buffed to avoid heavy cleaning protocols and to reduce maintenance costs by 30% over the floor’s lifespan. Acoustic, static-conductive, static-dissipative and anti-slip versions are also available.
Available in 31 colors of a soft, classic pattern, the Standard Plus (2.0mm) vinyl floor is designed for heavy traffic use. Standard Plus rolls and tiles are treated with a PUR surface for enhanced protection and easier maintenance. Ideal for healthcare, aged care, education and social housing-related projects.
KEY FEATURES:
- Made in Sweden
- Soft linear patterns in 31 fresh color
- Excellent value for money
- Easy to clean and maintain
- Factory finish for initial protection
TECHNICAL SPECIFICATIONS:
- Product type: Homogeneous vinyl floor covering
- Binder content: Type II
- Commercial classification: 34 Very Heavy
- Industrial classification: 43 Heavy
- Surface treatment: PUR Standard
Technical Specifications
Classification
| Product type | ISO 10581 | Homogeneous vinyl floor covering |
|---|---|---|
| Binder content | ISO 10581 | Type II |
| Commercial classification | ISO 10874 | 34 Very Heavy |
| Industrial classification | ISO 10874 | 43 Heavy |
Technical Characteristics
| Surface treatment | - | PUR |
|---|---|---|
| Total thickness | ISO 24346 | 2 mm |
| Wear layer thickness | ISO 24340 | 2 mm |
| Total weight | ISO 23997 | 3300 g/m² |
| Light Reflectance Value (LRV) % | - | Please refer to the product page. |
| NCS color code | - | Please refer to the product page. |
Performance for CE Marking
| Declaration of Performance # | EN 14041 | 0019-0031-DoP-2013-07 |
|---|---|---|
| Reaction to fire | EN 13501-1 | Bfl-s1 |
| Reaction to fire | EN ISO 9239-1 | ≥ 8 kW/m² |
| Reaction to fire - EN ISO 11925-2 | EN ISO 11925-2 | Pass |
| Static Electrical Propensity | EN 1815 | Antistatic (≤ 2 kV) |
| Thermal resistance | EN 12667 | ~0,010 m²•K/W |
| Slip resistance | EN 13893 | Class DS (µ ≥ 0,30) |
Technical Performance
| Marine Equipment | IMO 2010 FTP Code part 2 and 5 | Approved |
|---|---|---|
| Residual indentation | EN ISO 24343-1 | Best measured value: 0,04 mm |
| Curl resultant to heat | EN ISO 23999 | ≤|8|mm for rolls |
| Castor chair | ISO 4918 | Suitable |
| Light fastness | ISO 105-B02 | ≥ 6 |
| Dimensional stability | EN ISO 23999 | Average Measured Value : ≤ 0.40 % for rolls |
| Chemical resistance | ISO 26987 | Good resistance |
| Bacteria Resistance | ISO 846 Part C | Does not promote growth |
| Underfloor heating | - | Suitable (subfloor temperature maximum 27°C) |
| Seam Strength Average Value | EN 684 | ≥ 240 N/50mm |
| Seam Strength Individual Value | EN 684 | ≥ 400 N/50mm |
| Slip resistance | DIN 51130 | R9 |
| Slip Resistance | BS 7976-2 | Low risk of slip |
Sustainability performances
| Recyclability through ReStart® | - | Recyclable |
|---|---|---|
| ReStart® Ready | - | Yes |
| Formaldehyde emission | - | E1 |
| Made In | - | Europe |
| Country of origin | - | Sweden |
| Green Building Certifications Contribution | - | Yes |
| EPD Number | - | S-P-01504 |
| EPD | - | Available |
| Material Health Statement | - | Available |
| SCS Floorscore | - | Yes |
| French emissions label | - | A+ |
| Recycled content | - | 25,5 % |
| RTS emission class | - | M1 |
| Carbon Footprint (Cradle-to-Gate, EPD Modules A1-A3) | - | 5,69 kg CO₂eq /m² |
| Total VOC Emissions (after 28 days) | EN 16516 | Platinum (≤ 10 µg/m³) |
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Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
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- To process your return/exchange, please contact us at [email protected]
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4.7 ★★★★★
Based on 7 reviews
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Product Reviews
★★★★★ 4
Must Read for Novice Litigators
Format: Paperback
This book is a great starting point for developing the skill of storytelling for lawyers as was intended by the author. The author gives you the basics for developing the plot, characters, style, setting, and narrative for your trial with excellent examples. The author is a law professor and the book seems geared for the law student or novice lawyers getting into litigation.
I only gave the book 4 out of 5 stars because of a couple of minor problems. However, the chapter on narrative needs further exposition and appears to be written in rushed manner. In addition, the physical binding of the book is of poor quality requiring me to glue the cover back on. Finally, the author missed the point that the lawyer's job is to look at his case as a giant puzzle to be solved and then explained as a story.It is not enough to understand your case but equally imperative that you communicate your case which is best done through the storytelling technique. This is a must read for lawyers getting up to speed on litigation.
For further exposition on legal storytelling for lawyers after reading Meyer's book on Storytelling for Lawyers, I recommend the following:
ABA webinar available with an internet search for "Storytelling for Lawyers"
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Reviewed in the United States on July 25, 2018
★★★★★ 5
Much needed guide to narration in law practice
Format: Paperback
Meyer’s “Storytelling for Lawyers” is an important contribution to the literature on narration in law practice. We know that successful courtroom rhetoric can best be viewed through the prism of storytelling. But the literature does not contain a practical and detailed analysis of the elements of narration as used in law practice—that is, plotting, characterization, point of view, style, and settings in place and time. Meyer’s book fills this gap. It is blessedly free of jargon and full of practical examples of good legal storytelling. But the importance of this book goes well beyond providing practical assistance to litigators. It serves as a much-needed introduction to the principles of narration for teachers and students of literature, creative writing, and popular culture, who have lacked a readable introductory guide to the elements of successful storytelling.
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Reviewed in the United States on February 10, 2014
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
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Reviewed in the United States on May 7, 2014
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers
ISBN: 978-0-19-5396638
Read June, 13th-27th, 2017.
This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book.
After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time.
Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person.
Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma.
Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision.
The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
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