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Description
Vinyl Flooring iQ Toro SC Conductive Antistatic AntibacterialiQ Toro SC is a permanently static conductive flooring developed for use in operating theatres, x ray rooms, clean rooms and laboratories. The advanced conductive properties are achieved by carbon black particles running through the vinyl along with a pure carbon backing. Part of the iQ range, this collection also offers extreme durability, as well as superior wear, stain and abrasion resistance for heavy traffic areas. Colors coordinated with the
iQ Toro SC is a permanently static-conductive flooring developed for use in operating theatres, x-ray rooms, clean rooms and laboratories. The advanced conductive properties are achieved by carbon-black particles running through the vinyl along with a pure carbon backing. Part of the iQ range, this collection also offers extreme durability, as well as superior wear, stain and abrasion resistance for heavy-traffic areas. Colors coordinated with the other products and accessories of our iQ ranges.
أرضيات فينيل انتى استاتيك كونداكتيف قياس (5*10.4) اوم يتم عمل شبكه نحاس للتفريغ الشحنات يتمتع الفينيل الكونداكتيف بقدره تحمل عالية
Technical Specifications
Classification
| Product type | ISO 10581 | Permanently static conductive pressed homogeneous vinyl flooring |
|---|---|---|
| Binder content | ISO 10581 | Type I |
| Commercial classification | ISO 10874 | 34 Very Heavy |
| Industrial classification | ISO 10874 | 43 Heavy |
Technical Characteristics
| Surface treatment | - | New iQ PUR |
|---|---|---|
| Surface Restoration | - | Yes |
| Total thickness | ISO 24346 | 2 mm |
| Wear layer thickness | ISO 24340 | 2 mm |
| Total weight | ISO 23997 | 2800 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 | 0019-0038-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
| Residual indentation | EN ISO 24343-1 | Best measured value: 0,02 mm |
|---|---|---|
| Electrical Resistance | EN/IEC 61340-4-1, 100 V | R 5x10⁴ ≤ R ≤ 10⁶ Ohms* |
| Electrical Resistance | EN/IEC 61340-4-5 | ≤ 3,5x10⁷ Ohms |
| Curl resultant to heat | EN ISO 23999 | ≤|8|mm for rolls, ≤|2|mm for tiles |
| Clean room | ISO 14644-1 | ISO class 4 |
| Castor chair | ISO 4918 | Suitable |
| Furniture leg | ISO 16581 | No damage |
| Light fastness | ISO 105-B02 | ≥ 7 |
| Dimensional stability | EN ISO 23999 | Average Measured Value : ≤ 0.40 %, Average measured value : ≤ 0.25 % for tiles |
| Ease of Decontamination | ISO 8690 – DIN 25415 | Excellent |
| Chemical resistance | ISO 26987 | Excellent 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 | ≥ 180 N/50mm |
| Slip resistance | DIN 51130 | R9 |
| Slip Resistance | BS 7976-2 | Low risk of slip |
| Electrical Insulation | VDE0100, Part 600 | Ri ≤ 5x10⁴Ohms |
| Electrical resistance | ESD-approval SP method 2472 | R ≤ 10⁹ Ohms |
| Electrical resistance | EN 1081 | R1 5x10⁴ ≤ R ≤ 10⁶ Ohms / R2 5x10⁴ ≤ R ≤ 10⁶ Ohms |
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-01346 |
| 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) | - | 5,24 kg CO₂eq /m² |
| Total Carbon Footprint (EPD Modules A-D, incl. recycling scenario) | - | 3,83 kg CO₂eq /m² |
| Phthalate - free | - | Yes |
| Total VOC Emissions (after 28 days) | EN 16516 | Platinum (≤ 10 µg/m³) |
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
- Delivery to the USA:
- Standard Shipping : 3-10 business days
- If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
- Final sale items are not eligible for returns or exchanges.
- To process your return/exchange, please contact us at [email protected]
- Please click here for more details>>> Return & Exchange Policy
4.0 ★★★★★
Based on 11 reviews
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Product Reviews
★★★★★ 5
One Of My Top Ten Movies
It's a Terry Gilliam masterpiece that blends a touch of Monty Python, Twilight Zone, and Broadway! Worth the watch!
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Reviewed in the United States on May 3, 2026
★★★★★ 5
Visually Brilliant, Darkly Funny, and Still Uncomfortably Relevant
I rented Brazil through Amazon primarily because I’d heard it described as a dystopian sci-fi classic, but I wasn’t fully prepared for just how strange, creative, and visually dense this movie actually is. It feels like George Orwell had a stress dream after getting trapped inside a malfunctioning government office building designed by someone obsessed with ducts and paperwork.
The film does an incredible job blending dark comedy, bureaucracy, paranoia, retro-futurism, and outright absurdity into something that somehow still feels coherent. The world-building is fantastic in a very grimy, claustrophobic way where technology exists everywhere but almost none of it works properly. Everything feels intentionally inefficient and overcomplicated, which makes the setting weirdly believable.
Jonathan Pryce does a great job playing a character slowly unraveling under the weight of an increasingly surreal system, and Robert De Niro’s appearance is memorable despite limited screen time. The production design is honestly one of the standout elements of the entire film. Nearly every scene has some strange visual detail happening in the background that adds to the oppressive but oddly humorous atmosphere.
This definitely is not a fast-paced mainstream sci-fi movie, though. The pacing can feel slow at times, and the tone swings between satire, anxiety, fantasy, and bleakness in ways that probably won’t work for everyone. It’s the kind of movie where you occasionally stop and think, “What exactly am I watching?” while still wanting to keep watching.
The Amazon streaming quality itself was good with no playback issues during my rental, and the film benefits from a decent screen because there’s so much visual detail packed into the sets and cinematography.
Overall, Brazil is one of those movies that feels increasingly relevant the older it gets. Strange, unsettling, funny, visually inventive, and much more layered than I expected.
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Reviewed in the United States on May 23, 2026
★★★★★ 4
Beautiful, glorious, and depressing but not without levity
Probably Gilliams most serious film, a story of a dreamer in a dystopian bureaucratic future, plagued by monotony and endless paperwork, our protagonist (played by Jonathan Pryce) isn't sure what he wants in his life, but he knows he wants something different. When the Department of Information Retrieval disappears the wrong person (played by Robert De Niro), our hero goes to reimburse the widow and discovers a woman living in the same building who looks like the woman out of his dreams (played by Kim Greist).
Really stellar performances by Pryce, and a gaggle of supporting actors such as Ian Holm, Michael Palin, Kathrine Helmond, and Bob Hoskins. Greists performance is probably the weakest, but she does enough for the role that the critique of it amounts to a nit pick really.
While this film is considered a cult classic, I would qualify it even less and say its just a classic, full of symbolism with a increasingly repressive tone throughout balanced by Gilliams puncturing, dark humor.
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Reviewed in the United States on September 29, 2024
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
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Reviewed in the United States on April 27, 2026
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
]
On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters.
(Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.)
All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut.
Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985.
I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail:
*In the 132-minute version you cut from Sam in bed with Jill, police sack goes
over head, then CUT TO Pull off police sack to reveal Sam in Torture
Chamber/Interrogation chair. This one cut is simply brilliant and very powerful.
In the Criterion Version you have the added scene of Mr. Helpman as Father
Christmas (completely out of charcater from the rest of the film) and the whole
interrogation scene of Sam hanging from the rack inside the police/mail pouch
which becomes narratively redundant and dilutes the impact of the final scene.
*To end it with cooling tower/interrogation room fade to clouds was a great Gilliam
wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to
the European cut of just credits over cooling tower/interrogation room.
*The Samurai Scene is divided into 3 separate scenes in the 132-minute version
versus 1 LONG scene in the European cut. And you know what? Like most things,
it works better in 3's.
*The 132-minute version cuts straight to the Dinner Scene with Ida (his mother)
ordering numero deux, trois, etc. while the European version has the entrance to
the restaurant of going through the metal detector which really doesn't add
anything and is again a bit redundant when the bomb does eventually go off in
the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert.
*And finally I just love that the 132-minute version opens on those clouds (outtakes
from The Never-Ending Story) then goes to the Central Services advert about
Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version
also has the clouds opening (The Original European Cut didn't) but it's funny
because the Studio asked Gilliam to start off with the clouds for the US Cut and he
actually prefers it as quoted in his Director's commentary. Hilarious.
Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011